1983 (A Merman I Should Turn To Be)
Jimi Hendrix · Electric Ladyland
alive but the war is here to stay
so my love catherina and me
decide to take our last walk
through the noise to the sea
not to die but to be re-born
away from a life so battered and torn....
forever...
oh say can you see its really such a mess
every inch of earth is a fighting nest
giant pencil and lip-stick tube shaped things
continue to rain and cause screaming pain
and the arctic stains
from silver blue to bloody red
as our feet find the sand
and the sea is strait ahead..
strait ahead.....
well its too bad
that our friends
cant be with us today
well thats too bad
"the machine
that we built
would never save us"
thats what they say
(thats why they aint coming with us today)
and they also said
"its impossible for man
to live and breath underwater..
forever" was their main complaint
(yeah)
and they also threw this in my face:
they said
anyway
you know good well
it would be beyond the will of God
and the grace of the King
(grace of the King yeah yeah)
so my darling and I
make love in the sand
to salute the last moment
ever on dry land
our machine has done its work
played its part well
without a scratch on our bodies
and we bid it farewell
starfish and giant foams
greet us with a smile
before our heads go under
we take a last look
at the killing noise
of the out of style...
the out of style, out of style
1983 (A Merman I Should Turn To Be)
1983 (A Merman I Should Turn To Be) stands as a surreal centerpiece on Jimi Hendrix's 1968 double album, Electric Ladyland. The track exemplifies the artist's experimental approach, blending psychedelic rock with avant-garde soundscapes to create a dreamlike atmosphere. Recorded during a period of intense creativity, the song showcases Hendrix's mastery of studio production techniques, utilizing heavy reverb and layered instrumentation to evoke an underwater fantasy. As a key component of his discography, the recording highlights his ability to merge poetic abstraction with complex musical arrangements. It remains a celebrated example of late 1960s rock innovation, reflecting the artist's willingness to push boundaries beyond conventional song structures while maintaining his signature guitar prowess.

