7.22-I CAN'T QUIT HER (Blood Sweat & Tears)

Blood Sweat & Tears


I can't quit her.
She's got a hold on me,
She got her hand on my soul.
I can't quit her
Cause I see her face everywhere I go.

     In the city streets, in the country fields
     In the back of my mind
     I know it can't be real
     For a woman to possess
     All the tenderness she had.

          But the hands of time
          Keep tickin' at my back
          Cause it's been so long
          Since I had her back beside me.

I can't quit her
‘Cause in my darkest night
She comes on like a light.
I can't quit her
Try as I may, with all my might.

     She had a woman's touch
     And a young girls’ eyes,
     And in seconds flat I was proselytized,
     Turned around,
     And made to feel sweet love.


               True love is something
               Every young boy knows about
               And he fights with his whole soul hoping to find some.

               I was a young boy
               Till I held her in my arms.
               Now I find that I'm strung out behind some.


[Repeat 1st verse]

I can’t quit her…


With I Can’t Quit Her, Al Kooper and Irwin Levine came up with a song that would have many of the characteristics of Blood Sweat & Tears numbers for the next two or three years. (Irwin Levine was a professional songwriter who had worked with Kooper before to compose the pop hit This Diamond Ring in 1965. He would go on to compose other hit pop records such as Tie a Yellow Ribbon, Knock Three Times, and Candida for Tony Orlando & Dawn.) Performed as a complex pop number of several parts, and featuring percussion-like horns, it doesn’t sound much like a psychedelic record until one reaches the last minute of the song’s coda. For a few seconds of the coda, after a short fanfare of horns, there’s a featured backwards guitar. Then the song begins to fade with hammering keyboards and horns providing a backdrop to Jim Fielder’s improvised bass guitar pushed way up front. I’ve included I Can’t Quit Her in the supplemental list of Psychedelic Masterworks to indicate how psychedelic aesthetic was being used as one of the options in a more extensive musical vocabulary.