About the song

John Denver’s It Makes Me Giggle. A delightful ditty, wouldn’t you say? Released in 1976 on his album Spirit, this song offers a glimpse into the lighter side of Denver’s repertoire, a stark contrast to his more well-known anthems about nature and social consciousness.

John Denver, a titan of folk music in the latter half of the 20th century, was known for his earnest vocals, relatable lyrics, and genuine stage presence. While songs like “Take Me Home, Country Roads” and “Rocky Mountain High” cemented his image as a champion of the American landscape, It Makes Me Giggle showcases a different facet – the pure, unadulterated joy of fatherhood.

The song is a burst of unbridled happiness. Denver’s signature folksy guitar sets the scene, punctuated by a playful harmonica. The lyrics themselves are refreshingly simple, devoid of complex metaphors or philosophical ponderings. Instead, Denver focuses on the everyday moments of joy that come with having children.

It Makes Me Giggle isn’t a profound ballad, nor is it a commentary on the complexities of parenthood. It’s a celebration. Denver sings about the uncontrollable giggles that erupt when his “baby” is around, the way a grumpy morning can be chased away by a child’s love, as sweet “as candy.” He describes the physical manifestations of his joy – the wiggling, the jumping – a delightful display of uninhibited happiness rarely seen in more stoic genres.

This lightheartedness extends to the second verse, where the focus shifts to his “little boy child.” Denver paints a picture of a child who instinctively knows how to make his father happy, simply by calling him “Daddy” and offering his love. The line “If I ever felt better I can’t seem to recall” is a testament to the overwhelming joy that fatherhood brings.

It Makes Me Giggle isn’t without its sentimentality. The bridge features a plea for universal joy, urging the listener to “giggle” and “wiggle” along. Denver suggests that spreading this simple happiness could encompass the entire human race, a utopian vision that aligns with his optimistic outlook on life.

The song concludes by bringing the focus back to the act of singing love songs, an act that brings Denver immense pleasure. The final line, “There ain’t nothing that I’d rather do,” is a powerful statement, highlighting the simple joys that often get overlooked in life’s grander narratives.

It Makes Me Giggle may not be John Denver’s most critically acclaimed work, but it holds a special place in the hearts of many. It’s a reminder of the simple, unadulterated joy that comes with love, family, and the pure, infectious laughter of children.

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About the song

John Denver’s On the Wings of a Dream. Now that’s a song that takes you on a journey, both literal and metaphorical. Denver, a true titan of folk music, was known for his folksy charm, his love for nature, and his optimistic outlook. On the Wings of a Dream, released in 1982 on his album Dejin’ at Blind Joe’s, perfectly encapsulates all these elements.

But this song goes deeper than a simple campfire singalong. It’s a contemplative piece that explores themes of life, death, and the hereafter. It opens with a poignant verse, Denver singing about a dream of flying after death. This sets the stage for a song that grapples with mortality and the mysteries that lie beyond.

Denver, throughout his career, was never shy about incorporating his faith into his music. On the Wings of a Dream is no exception. The lyrics speak of a comforting presence, a guiding light even in the face of death. This theme resonated deeply with his audience, creating a song that offered solace and a sense of peace.

But On the Wings of a Dream isn’t all introspection. The folksy melody, complete with Denver’s signature gentle strumming on the acoustic guitar, creates a sense of warmth and hope. It’s a song that acknowledges the impermanence of life but ultimately celebrates the beauty of the journey. Listen closely, and you can almost hear the wind whistling through the pines, a nod to Denver’s love for the natural world.

The song’s bridge takes a more philosophical turn. Denver ponders the meaning of life, the fleeting nature of our time here. He asks the age-old questions: “Why is it thus we are here and so soon we are gone?” Yet, even in these ponderings, there’s a sense of acceptance, a belief in something greater than ourselves.

On the Wings of a Dream is a song that has transcended generations. It’s a staple at folk festivals and campfires, a song of comfort for those facing loss, and a reminder to cherish the precious moments we have. So, sit back, close your eyes, and let Denver’s gentle voice take you On the Wings of a Dream. You might just find yourself soaring above the worries of the world, carried by the melody and the simple wisdom of this timeless classic.

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John Denver’s Take Me to Tomorrow. Now that’s a song that brings back a wave of nostalgia, a gentle current carrying us back to the folk revival of the late 1960s and early 1970s. Denver, with his wholesome persona, folksy charm, and genuine love for the natural world, became a beacon of optimism during a turbulent time.

Take Me to Tomorrow, released in May 1970, wasn’t Denver’s debut album, but it was his sophomore effort, following Rhymes & Reasons. Interestingly, Denver’s early albums, including Take Me to Tomorrow, showcase a slightly different side of the artist we would come to know later. While the sunny disposition and environmental themes remained, there was a touch more introspection and a willingness to explore deeper emotions.

Take Me to Tomorrow itself reflects this. The song opens with a simple question – “Hey everybody, tell me how do you feel? Are you satisfied with your life? Do you think it’s real?” It’s a direct approach, one that cuts to the heart of the human experience. Are we content? Are we living authentically? Denver doesn’t shy away from the possibility of dissatisfaction, but rather uses it as a springboard for a more hopeful message.

The melody, a gentle acoustic guitar strumming with a touch of banjo, is quintessential Denver. It’s unpretentious and inviting, creating a warm space for the listener to ponder these introspective questions. The lyrics themselves are full of yearning. “Take Me to Tomorrow,” Denver sings, “Take me there today, I’ve had my fill of sorrow and living this way.” It’s a plea for something better, a desire to break free from the monotony or negativity of the present.

But Take Me to Tomorrow isn’t simply about escapism. The song isn’t advocating for ignoring the challenges of today. Denver acknowledges the possibility of a negative response – “Well maybe so, come on.” There’s a recognition that change can be difficult, that the path to a brighter tomorrow isn’t always clear.

Yet, the song’s core message remains one of hope. The insistent refrain, “Take me to tomorrow, that’s where I’d like to be, the day after tomorrow is waiting for me,” speaks to the power of optimism. It’s a belief that even if the present is fraught, a better future awaits. It’s a sentiment that resonated deeply with audiences during a time of social and political upheaval.

Take Me to Tomorrow might not be one of John Denver’s biggest hits, but it’s a song that offers a glimpse into the heart of a young artist still finding his voice. It’s a testament to the enduring power of folk music, its ability to connect with the human spirit on a fundamental level, offering solace and a flicker of hope in the face of uncertainty. So, sit back, let the gentle strumming of the guitar wash over you, and allow yourself to be carried Take Me to Tomorrow.

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John Denver’s powerful ballad, Let Us Begin (What Are We Making Weapons For?). John Denver, a name synonymous with folk music, environmental activism, and optimistic storytelling, isn’t often the first artist that comes to mind when discussing anti-war anthems. Yet, in 1986, with Let Us Begin, he delivered a poignant and thought-provoking song that challenged the very notion of war and its devastating consequences.

Denver, known for his folksy charm and sunny disposition, wasn’t afraid to tackle serious issues. The Vietnam War cast a long shadow over his generation, and its impact is evident in Let Us Begin. Released on his album One World, the song arrived at a time of heightened international tensions, with the Cold War still a potent force. The threat of nuclear war loomed large, and the arms race continued unabated. Let Us Begin became Denver’s plea for peace and a stark reminder of the human cost of conflict.

The song opens with a somber narrative. Denver adopts the persona of a farmer’s son, a character rooted in the heartland of America. He speaks of generational sacrifice, mentioning his father lost in the Korean War and his brother in Vietnam. This personalizes the cost of war, taking it beyond mere statistics.

The lyrics, “For generations on this land before I give up I would gladly… four generations of blood in this topsoil,” establish a deep connection to the land and the legacy passed down through family. This connection is further emphasized by the image of the “grassland farmer,” a man tied to his land and its bounty.

The song quickly pivots from the personal to the universal with the powerful refrain, “What are we making weapons for? Why keep on feeding the war machine?” These lines pierce through the listener’s conscience, demanding a reckoning. Denver doesn’t mince words. He calls out the “war machine,” a powerful symbol of the industrial complex that thrives on conflict. The indictment is clear: resources that could be used to improve lives are instead diverted to fuel the engines of war.

The devastation caused by war isn’t just about soldiers lost on battlefields. Let Us Begin emphasizes the impact on the most vulnerable. The line, “We take it right out of the mouths of our babies, take it away from the hands of the poor,” lays bare the harsh reality that funding for war comes at the expense of basic human needs. Education, healthcare, and basic necessities are sacrificed on the altar of military might.

Let Us Begin isn’t a song of despair, however. It’s a call to action. The repeated refrain, “If peace is our vision, let us begin,” serves as a powerful reminder that change is possible. Denver urges listeners to break free from the cycle of violence and work towards a more peaceful future. He reminds us of the fragility of life, with the line, “Have we all forgotten all the lives that we are given?” This question hangs heavy in the air, a stark reminder of the preciousness of human existence.

Let Us Begin remains a powerful and relevant song even today. While the Cold War may be over, new conflicts continue to erupt around the globe. The song’s message of peace, compassion, and the need to prioritize human life serves as a timeless reminder of our responsibility to build a better world.

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John Denver’s “Baby, You Look Good to Me Tonight”. A folksy gem nestled within the vast collection of this iconic singer-songwriter’s work. Denver, a titan of the country-folk genre during the 1960s and 70s, was known for his earnest vocals, optimistic outlook, and songs that celebrated nature, love, and the simple joys of life. “Baby, You Look Good to Me Tonight” falls squarely within this thematic wheelhouse.

Released in 1975, the song appeared on Denver’s album “Have a Nice Day”. This record marked a slight shift in Denver’s sound, incorporating elements of pop and rock alongside his traditional country-folk base. “Baby, You Look Good to Me Tonight” exemplifies this evolution. The track features a more prominent electric guitar than some of Denver’s earlier works, but it retains a warm, acoustic heart.

The song itself is a delightful ode to unexpected romance. The lyrics paint a picture of a weary traveler, a man “five days on a highway,” who finds himself captivated by a chance encounter. His shyness melts away in the face of the woman’s beauty – a beauty he describes not in terms of physical attributes, but in the confidence and allure she exudes.

Lines like “You know the look she left me with keeps telling me she won” and “Her face is the only thing I see whispering those words of prophecy” hint at a deeper connection, a spark that transcends the physical.

“Baby, You Look Good to Me Tonight” is more than just a love song, though. It’s a celebration of the transformative power of connection. The protagonist’s journey, his weariness replaced by a newfound vibrancy, reflects the way a simple encounter can alter our perspective. It’s a sentiment that resonates deeply with Denver’s core audience – those who find solace and inspiration in the everyday beauty of life.

The song’s upbeat tempo and catchy chorus, punctuated by Denver’s characteristic whistling, further elevate its spirit. It’s a track that’s impossible not to tap your foot to, a testament to Denver’s ability to blend folksy authenticity with undeniable pop appeal.

“Baby, You Look Good to Me Tonight” may not be one of Denver’s most critically acclaimed works, but it remains a beloved fan favorite. It’s a reminder of the simple pleasures in life, the unexpected connections that can brighten even the most ordinary day, all delivered with Denver’s trademark warmth and sincerity.

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John Denver’s “You Say That the Battle Is Over”. Now that’s a song that resonates deeply, a poignant ballad that cuts right to the core of environmentalism and the human impact on the natural world. Released in 1970 on Denver’s album “Take Me To Tomorrow”, it stands as a powerful critique against unchecked exploitation of wildlife and a call for a more sustainable relationship with our planet.

John Denver, of course, was a folk music icon. Known for his folksy charm, optimistic spirit, and love for the outdoors, his music often celebrated the beauty of nature. But “You Say That the Battle Is Over” takes a decidedly different turn. Here, Denver adopts a more critical lens, lamenting the devastating consequences of human actions on wildlife populations.

The song opens with a stark contrast. The listener encounters a sense of triumph, a declaration that a “battle is over” and a “war is all done.” But Denver quickly subverts this celebratory mood. He urges us to consider those who haven’t received the memo – the animals themselves, who still bear the brunt of human encroachment. The lyrics paint a vivid picture – creatures with “the wind in their nose” fleeing the “sound of the gun.” It’s a powerful image, one that forces us to confront the violence inherent in practices like hunting and whaling.

Denver doesn’t stop there. He delves deeper into the motivations behind these actions. We see a society driven by vanity – “fur coats and perfumes and trophies on walls.” The glorious chase, as Denver terms it, becomes a grotesque spectacle fueled by consumerism. The animals, imbued with a magical spark of life, are reduced to mere trophies, their loss immeasurable.

The song’s chorus, with its repeated line of “You say that the battle is over,” becomes a haunting refrain. It serves as a constant reminder of the disconnect between human perception and ecological reality. While some might believe the fight for resources is won, the true cost remains hidden, borne by the diminishing populations of wildlife.

“You Say That the Battle Is Over” wasn’t just a lament; it was a call to action. Released at the dawn of the modern environmental movement, the song resonated with a growing public consciousness about ecological issues. Denver, a respected and beloved figure, used his platform to raise awareness about the devastating effects of human actions.

The song’s message is as relevant today as it was in 1970. We continue to grapple with the challenges of habitat loss, endangered species, and unsustainable resource consumption. “You Say That the Battle Is Over” serves as a powerful reminder that the fight for a harmonious relationship with nature is far from over. It compels us to listen, not just to celebratory pronouncements of victory, but also to the silent cries of a planet under pressure.

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John Denver’s “Everyday”. A folksy gem nestled amongst the rich tapestry of his 1971 album, Aerie. Denver, a name synonymous with Americana and heartfelt storytelling, weaves a tale of patient longing and unwavering optimism in this track.

Released at the height of his career, Aerie marked a turning point for Denver. It showcased a newfound depth in his songwriting, venturing beyond the wide-eyed wonder of nature that characterized his earlier work. “Everyday” exemplifies this shift. While the song retains Denver’s signature folk influences and his trademark acoustic guitar, the lyrics delve into a more introspective space.

The opening lines set the stage for this introspective journey: “Every day, it’s a-gettin’ closer, goin’ faster than a roller coaster.” The imagery of a speeding roller coaster evokes a sense of anticipation, a yearning for something just out of reach. This feeling is further emphasized by the repetition of “love like yours will surely come my way.” It’s a declaration of faith, a belief that true love, like the approaching horizon, is inevitable.

“Everyday” doesn’t dwell on impatience, however. The chorus introduces a counterpoint: “Every day seems a little longer, and every way, my love’s a little stronger.” Here, Denver acknowledges the passage of time, the seemingly endless wait. Yet, within this waiting, there’s a quiet growth. The protagonist’s love, though unrequited, intensifies with each passing day. It’s a testament to the resilience of the human heart, the ability to find strength in the face of uncertainty.

The folksy arrangement mirrors the emotional core of the song. Denver’s warm baritone, accompanied by the gentle strum of his acoustic guitar, creates a sense of intimacy. The understated use of percussion and occasional flourishes of harmonica add texture without overwhelming the song’s delicate balance.

“Everyday” is more than just a love song. It’s a meditation on hope and perseverance. It reminds us that even in the face of longing, there’s beauty to be found in the journey. It’s a song that resonates with anyone who has ever held onto a dream, a testament to the enduring power of faith and the quiet strength that blooms within us as we wait.

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John Denver’s Amazon (Let This Be a Voice). Now that’s a song that takes you on a journey, both geographical and philosophical. Released in 1991 on his album Different Directions, it marked a bit of a shift in Denver’s usual folksy fare. This track delves into a deeper environmental consciousness, a theme that would become increasingly prominent in his later work.

Denver was never one to shy away from celebrating the beauty of the natural world. Songs like “Take Me Home, Country Roads” and “Rocky Mountain High” painted vivid pictures of landscapes he cherished. But Amazon (Let This Be a Voice) goes beyond simple appreciation. Here, he becomes a storyteller, weaving a tapestry of interconnectedness between nature’s elements.

The song opens with a powerful metaphor: “There is a river that runs from the mountains. That one river is all rivers. All rivers are that one.” It’s a reminder that everything in the natural world is part of a larger whole, a web of life where every creature and element plays a vital role.

Denver reinforces this concept throughout the song, using imagery that spans continents. From the towering trees of the forest to the lone flower blooming in the desert, each piece is a vital thread in the grand tapestry of nature.

Amazon (Let This Be a Voice) isn’t just about celebrating nature’s beauty, though. It’s a call to action, a plea for us to recognize the fragility of this interconnected system. The lyrics, “The Amazon rain forests, when they are gone, we the so called intelligence on the planet will not be far behind,” are a stark reminder of the consequences of environmental destruction.

This song was released at a time when the plight of the Amazon rainforest was gaining international attention. Deforestation rates were alarmingly high, and the world was beginning to understand the critical role this ecosystem played in the health of the planet. Denver, ever the advocate for environmental causes, used his platform to raise awareness and inspire action.

Amazon (Let This Be a Voice) is more than just a song; it’s a testament to John Denver’s evolving artistry. It showcases his continued love for nature while introducing a deeper environmental message. The song remains a powerful reminder of our responsibility to protect the delicate balance of the natural world, a message that continues to resonate with listeners today.

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John Denver’s Shanghai Breezes, a song that evokes a sense of gentle longing and the enduring power of love across distance. Released in 1982 on Denver’s album Seasons of the Heart, it became his fifteenth and final Top 40 hit on the Billboard Hot 100 chart. But its legacy extends far beyond chart success.

Shanghai Breezes marks a slight departure from Denver’s usual focus on wide-open landscapes and environmental themes. Here, he paints a more intimate picture, using the evocative imagery of a foreign city to express his feelings for a loved one who is far away. The song is a testament to Denver’s remarkable ability to connect with his audience through relatable emotions, even when placed in an unfamiliar setting.

The title itself piques curiosity. Shanghai, a bustling metropolis in China, wasn’t a typical subject for American folk singers in the early 1980s. Denver, however, had a lifelong fascination with travel and different cultures. Some speculate he may have visited Shanghai, but there’s no concrete evidence. Regardless, the city becomes a metaphor for his emotional state – a place both foreign and captivating.

The melody is classic John Denver. It’s a gentle, lilting folk ballad with a touch of country influence. The acoustic guitar provides a warm bed for Denver’s signature baritone vocals, which deliver the lyrics with a sincerity that resonates deeply. The chorus, with its repeated line “Shanghai breezes, cool and clearing, evening’s sweet caress,” is particularly memorable. It paints a vivid picture of a calming breeze washing away the worries of the day, a feeling many listeners can undoubtedly relate to.

Lyrically, the song is a beautiful expression of love that transcends physical separation. The narrator, presumably Denver himself, is in Shanghai, likely for work or travel. He’s surrounded by a new and unfamiliar environment, yet all he can think about is his love back home. The Shanghai breezes become a tangible connection between him and his beloved. He finds comfort in the fact that they’re both looking at the same moon and stars, bathed in the light of the same sun. Distance may separate them physically, but their love remains a constant source of solace.

Shanghai Breezes is not just a love song, however. It’s also a subtle exploration of the human yearning for connection. Being in a foreign land can be a lonely experience, and Denver captures that feeling perfectly. The song reminds us that even when we feel isolated, the power of love can bridge any gap.

Whether you’ve ever been to Shanghai or not, Shanghai Breezes has the power to transport you. It’s a song that speaks to the universal human experience of love, longing, and the enduring strength of the human spirit.

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