“Scroll down to the end of the article to listen to music.”

Introduction

The first time I heard Engelbert Humperdinck’s “Please Release Me” emanating from my grandmother’s radio, I was struck by its plaintive melody and the haunting sincerity in Humperdinck’s voice. Little did I know, this song had a backstory just as compelling as its lyrics, originally penned by Eddie Miller and popularized decades later.

About The Composition

  • Title: Please Release Me
  • Composer: Eddie Miller, Robert Yount, and Dub Williams
  • Premiere Date: Initially released in 1949
  • Album/Opus/Collection: Featured on Engelbert Humperdinck’s 1967 album “Release Me”
  • Genre: Country, Pop

Background

“Please Release Me” was originally composed by Eddie Miller, who, despite having written it in 1949, could not find anyone to record it until Ray Price did in 1954. The song’s journey to fame took a decisive turn when Engelbert Humperdinck released his version in 1967, transforming it into a ballad that would climb charts globally. It marked a significant moment in Humperdinck’s career, establishing him as a prominent figure in the music industry.

Musical Style

Humperdinck’s version of “Please Release Me” features a lush orchestral arrangement that complements his smooth, baritone voice. The song is structured as a ballad, with a slow, steady tempo and a focus on the vocal melody, allowing the emotional weight of the lyrics to take center stage.

Lyrics/Libretto

The lyrics of “Please Release Me” tell a story of a man pleading to be let go from a relationship that binds him, as he yearns to be with someone else. The emotive power of the lyrics combined with Humperdinck’s expressive delivery creates a poignant musical experience.

Performance History

Since its release, “Please Release Me” has been covered by numerous artists, including Elvis Presley and Willie Nelson, indicating its enduring appeal. Humperdinck’s rendition remains the most iconic, often played at his concerts to rapturous applause.

Cultural Impact

The song has transcended its country roots to become a staple in pop culture, appearing in movies, TV shows, and even as a karaoke favorite. Its theme of longing and release resonates universally, making it a timeless piece.

Legacy

“Please Release Me” continues to be revered as a classic, with Humperdinck’s interpretation heralded as transformative. It remains a beloved piece in the annals of music history, cherished by generations of listeners.

Conclusion

Reflecting on “Please Release Me,” its melancholic beauty never fails to stir emotions. I recommend exploring Humperdinck’s version for its deep emotional resonance and vocal mastery. It’s a piece that promises to move and captivate any listener.

Video

Lyrics

Please release me, let me go
For I don’t love you anymore
To waste our lives would be a sin
Release me and let me love again
I have found a new love, dear
And I will always want her near
Her lips are warm while yours are cold
Release me, darling, let me go
For I don’t love you anymore
(To waste my life would be a sin)
So release me and let me love again
Please release me, can’t you see
You’d be a fool to cling to me
To live our lives would bring us pain
So release me and let me love again
(Let me love, let me go)

You Missed

In Muskogee, Oklahoma, there’s a pawn and guitar repair shop sandwiched between a laundromat and a lawyer’s office. It’s called “Gus’s Strings & Stories.” Inside, the air is thick with the smell of pine, fretboard oil, and old tube amplifiers. Gus, the owner, is a quiet man with hands calloused from thousands of hours of soldering wires and adjusting frets. On the walls, instead of flashy guitars, are the broken ones. One with a snapped neck. One with a hole where its previous owner punched it. Next to each is a short, handwritten story of how it was “saved.” The shop’s rule is etched on a small brass plaque on the counter: “Lie to your guitar, it’ll lie right back.” One day, a young man came in, wanting to sell his father’s acoustic guitar. “I need the money,” he said, eyes fixed on the floor. Gus took the guitar. He didn’t check the brand. He checked the pick marks near the soundhole. He looked at the wear on the G fret. He gently plucked a string. Then he handed it back to the boy. “This guitar has played ‘Sing Me Back Home’ one too many times,” Gus said. “It doesn’t belong in a pawnshop. It belongs at a campfire. Go home, son.” The young man looked up, confused. “But I need…” “No,” Gus interrupted, pointing to the etching. “You don’t need the money. You need to play for your father. Don’t lie to the guitar. Merle wouldn’t.” The young man stood there for a moment, then clutched the guitar and walked out the door. Gus nodded, returning to his work.