Fall



Pretending that the way's through the door
I wanna see you falling
A thousand reasons why I lose my hair
I'm not your darling, darling
I wanna see you falling

You tell me that your back's to the wall
I wanna see you falling
The Saviour comes and the thief takes a walk
Take a walk
The feedback is on the wall
Your feedback don't taste good at all

You help yourself but it's at my expense
I wanna see you falling
And don't touch my fair love for no-one
I'm not your darling, darling
I wanna see you fall

??????
I'm not your darling, darling
A thousand reasons ??????
We're not your darlings, darling
The Saviour comes and the thief takes a walk
Take a walk


Lyrics by:
Brown

Music by:
Squire / Brown

Written:
1984

Personnel:
John Squire (lead guitar)
Ian Brown (vocals)
Andy Couzens (rhythm guitar)
Pete Garner (bass)
Alan Wren (drums)

Produced by:
Martin Hannett

Available on:
Garage Flower (2.46)

First live performance:
In 1985.

Pseudonyms:
'I Wanna See You Fall', 'The Saviour'

Details:
A barbed assault on the pretentiousness of the Factory Records / Hašienda scene. Ian Brown was the dominating lyrical influence in The Stone Roses' earliest work, before the classic Squire/Brown partnership that would yield the 1989 eponymous debut LP. While Squire brought an artistic vision to the band, Brown introduced a religious flavour to their work. In the nicknames given to the rhythm section of the band, one could locate this synthesis: (Guido) Reni meets Mani (Manichaeism) !

"The Saviour comes and the thief takes a walk" makes reference to one of two incidents surrounding Jesus' Passion, either the promise of Jesus to the thief on the cross that he would be with Him in Paradise, or the freeing of Barabbas. The Passover custom in Jerusalem allowed Pilate, the governor of Judaea, to commute one prisoner's death sentence by popular acclaim; the crowd were offered a choice of whether to have Barabbas ('the thief') or Christ ('the Saviour') released from Roman custody and chose the former:

From the four Gospel accounts, we learn that the crimes of Barabbas were murder and insurrection, and not thievery. Matthew (27: 16) refers to Barabbas only as a "well-known prisoner". It is interesting to note that the name Barabbas means son of the father ("bar" = son, "abba" = father). The true Son of the Father stood before them, but the crowd instead chose to free another.

The alternative interpretation of this lyric relates to Jesus being brought to the cross, and the "thief" at His side taking "a walk", in the sense of symbolically 'walking free' after a life of sin. Matthew (27: 38) and Mark (15: 27) describe the men on each side of Jesus as "rebels", and this (rather than thieves) is the truer translation. Jesus' disciples had fled or were lingering, disillusioned at the margins of the crowd, their hopelessness echoed by the men on the road to Emmaus, "...we had hoped that he was the one who was going to redeem Israel." (Luke 24: 21). Yet here on the cross to one side, a condemned man, life ebbing out of him, looks across and sees not another dying man, but the Messiah:

The rebel on the left of Christ wanted to be taken down; the rebel on His right wanted to be taken up. To the penitent rebel, it was promised that his soul instantly on leaving the body would be in the state of the blessed.

Top: 'Ecce Homo' (Behold the Man !) by Antonio Ciseri. Pontius Pilate presents a scourged Jesus of Nazareth to the crowd.
Bottom: 'Calvary' by Paolo Veronese.


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