On Thursday, May 2, 2013, Maryland Gov. Martin O’Malley signed a bill passed by the state legislature to make Maryland the eighteenth state (along with Washington, D.C.) to abolish capital punishment. In the last decade, six states have recognized that the death penalty is applied unfairly and that it does not make us safer than other punishments. Additionally, the discoveries of innocent people on death rows have illustrated the risks of the punishment, and studies also show that the death penalty is more expensive than a sentence of life in prison.
For these and other reasons, in recent years Connecticut, Illinois, New Jersey, New Mexico and New York also have stopped using capital punishment. Other state legislatures are considering bills to abolish the death penalty.
“Green, Green Grass of Home” and Its Twist Ending
Thinking about Maryland’s death penalty, I remembered a hit song from the 1960s called “Green, Green Grass of Home.” Claude “Curly” Putman, Jr. wrote “Green, Green Grass of Home,” which is probably his biggest hit song along with Tammy Wynette’s “D-I-V-O-R-C-E” (he also co-wrote the George Jones song “He Stopped Loving Her Today”).
“Green, Green Grass of Home” belongs in a unique group of songs that have a twist ending. The song begins with the singer talking about a trip home, but in the last verse, we learn that it was all a dream. Although there is no specific reference to the death penalty or executions, the verse makes clear that the singer will die at the hands of the state in the morning.
Then I awake and look around me,
At the four gray walls that surround me,
And I realize that I was only dreaming,
For there’s a guard and a sad old padre,
Arm in arm we’ll walk at daybreak,
And at last I’ll touch the green green grass of home.
Putnam performs a clever sleight of hand in the song. He gets us to see the singer as a human being, one with feelings we can relate to, because everyone has been homesick. Only then does he let us know that the singer is on death row. Had the song begun by telling us the singer was condemned, we would have seen him in a different light and judged him as something other than human. But like Steve Earle’s “Over Yonder,” the song “Green, Green Grass of Home” lets us see the humanity even in the worst of us, which is pretty cool.
Porter Wagoner Version
Many have performed and recorded “Green, Green Grass of Home,” including Elvis Presley, Johnny Cash, The Grateful Dead, and Gram Parsons. It was first recorded by Johnny Darrell.
But Porter Wagoner was the first one to have a hit with “Green, Green Grass of Home” in 1965. Check out this performance and note the subtle special effects where the prison bar shadows appear at the end.
Tom Jones Version
The next year in 1966, Tom Jones had a hit with the song. His version went to number 1 on the U.K. charts.
This TV rendition of the song goes for a less subtle approach than the Porter Wagoner shadows. Here, Tom Jones sings from a jail cell. The setting of the song, though, kind of spoils the surprise ending.
Jerry Lee Lewis Version
Tom Jones was inspired to record “Green, Green Grass of Home” after hearing it on Jerry Lee Lewis’s 1965 album Country Songs for City Folk
Here is Lewis’s version.
Joan Baez Version
Joan Baez gives a unique version by being one of the rare woman’s voices to tackle the song. It is appropriate because there currently are approximately sixty women on death rows around the country.
Baez does a nice job in this performance from The Smothers Brothers Show.
Finally, in 2006, Lewis and Jones performed “Green, Green Grass of Home” together. While the lyrics of the song constitute a soliloquy that does not lend itself to being a duet, it was still cool to see the great Tom Jones singing with the legend who inspired him to record one of his biggest hits. [October 2014 Update: Unfortunately, the video of the duet is no longer available on YouTube.]
Capital Punishment After “Green, Green Grass of Home”
One may only speculate about the impact of the song on society or society’s impact on the song. But in 1965-1966 when the song was a big hit for Porter Wagoner in the U.S. and for Tom Jones in the U.K., the death penalty was at low levels of popularity in those countries.
Great Britain would abolish the death penalty on a trial basis in 1965 and abolish it permanently in 1969. In the U.S., executions ground to a halt in the late 1960s as courts considered court challenges to the U.S. death penalty.
Within a decade, after states passed new laws, the U.S. death penalty machine began chugging along in the late 1970s, even as other countries continued to abolish capital punishment. But more recently, since the turn of the century, several states have joined the other states and countries that have decided the death penalty is unnecessary, uncivilized, and wasteful of resources.
Maryland has now joined those civilized states and countries. The end of the death penalty, unlike “Green, Green Grass of Home,” is not a dream.
What is your favorite version of “Green, Green Grass of Home”? Leave your two cents in the comments.
(Some related Chimesfreedom posts.)
(Some related Chimesfreedom posts.)
, Baez tells the story about the hotel and the “devastating” song, not Dylan. So he may have a different perspective on the night. In 
, Oliver Trager, who calls the Live Aid version above “botched,” notes that Dylan once explained that “When the Ship Comes In” was less about sitting down and writing a song than being a type of song “[t]hey’re just in you so they’ve got to come out.” A better live version of the song was recorded at Carnegie Hall on October 26, 1963, two months after the March on Washington performance. It is included on the soundtrack to the Martin Scorsese documentary on 
.
(1995), during the weeks between Pres. Lincoln’s inauguration and the first shots at Fort Sumter, the president was physically exhausted by stress. But there was some relief after this date. Because the first shots were fired by the Confederates, the rebels now had the burden of starting the war, not the North.
notes that Mickey Newbury’s original intent is unclear, as the combination could have been about America’s lack of innocence or been intended ironically in reference to Pres. Nixon and the Viet Nam War.
(1975), critic Greil Marcus considered “An American Trilogy” to be Elvis’s attempt to combine all aspects of America and bring everyone together in a fantasy of freedom. But Marcus believed that Elvis’s song failed in that goal because the lack of complexity in the song creates “a throwaway America where nothing is at stake.” (p. 124.) For example, Marcus claimed, “There is no John Brown in his ‘Battle Hymn,’ no romance in his ‘Dixie,’ no blood in his slave song.”