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10.37-CAN'T FIND MY WAY HOME (Blind Faith)

Blind Faith

LISTEN

[Intro]

Come down off your throne
And leave your body alone.
Somebody must change.
You are the reason I've been waiting so long.
Somebody holds the key.

     Well, I'm near the end
     And I just ain't got the time.
     And I'm wasted and I
     Can't find my way home.

[Break]

Come down on your own
And leave your body alone.
Somebody must change.
You are the reason I've been waiting all these years.
Somebody holds the key.

     [Chorus]

[Break]

          But I can’t find my way home. (5x)
          And I ain’t done nothing wrong
          But I can’t find my way home.


Again, in the spirit of “blind faith” Winwood has written a song of yearning for the ineffable and frustration with physical limitations. The initial lines Come down off your throne / And leave your body alone implies to me masturbation on the toilet, as if the ineffable is trying to shame the poet into focusing himself upon other than physical pleasures. The “body” figures very strongly in these brief lyrics; however the identities of these bodies have been erased: Somebody must change…Somebody holds the key. The somebody that must change seems to be the poet, since he can’t find his way home. He’s too “wasted”. Of course, this was language for being a too high on drugs, but it also seems to (in a Christian context) refer to wasting ones talents. The somebody who holds the key could be possibly be a lover or a spiritual leader (guru).

As in Sea of Joy, death seems to be implied when the poet sings he’s near the end and ain’t got the time. The home in the lyrics seems to be a metaphor for Heaven rather than the literal situation of being lost (or “wasted”) in a manner that the poet can’t find his house. It’s interesting that in the conclusion, while the singer is merely improvising on the lyric, he slips in I ain’t done nothing wrong. Are we to assume that getting wasted on drugs, or that wasting one’s talents isn’t wrong? No, because the line is a cri du cœur, I believe it is beyond any sense of responsibility. Rather it is a cry of pain in separation from the ineffable, a cry that communicates the feeling of being so severely punished by God’s absence that the poet can’t understand what he did to deserve it.

Restless drums (akin to Cream’s We’re Going Wrong) drive an acoustic guitar to communicate a quiet desperate seeking. It probably wasn’t what Winwood had in mind when he wrote this song, but I would venture to guess that in the Zeitgeist of the moment, he was expressing the loss felt by an audience who had honestly believed in the power of love to resolve all problems in 1967. The dream of peace & love had been slapped down in 1968 and the years to follow by assassinations, a war that seemed unstoppable, and a reversal of liberal fortunes. Given this change of fate, the end of the decade did seem like the dramatic end of something, the death of a dream; it seemed that we had returned to the horrors of our nuclear extermination—the very end we’d hoped to escape with new ways of thinking. Hippies in 1969 were bewildered, looking frantically for yet another way out of catastrophe, and it seemed that to continue into the 1970s would indeed require blind faith that humanity would even continue to exist.

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