Who Is Still Alive From the Osmonds?

About the Song

You’re asking for a deep dive into The Osmonds’ “The Last Days,” a track that marks a significant departure from their bubblegum pop beginnings. This isn’t your typical Osmonds fare; it’s a much more complex and introspective piece, showcasing a different side of their musicality. Released in 1973 as part of their concept album The Plan, “The Last Days” delves into themes of spirituality, mortality, and the search for meaning, reflecting the band’s personal beliefs and their evolving artistic direction.

For those who primarily associate The Osmonds with hits like “One Bad Apple” or “Puppy Love,” “The Last Days” might come as a surprise. It’s a far cry from the upbeat, lighthearted pop that initially propelled them to fame. This song is a serious exploration of weighty topics, delivered with a sincerity and musical depth that might be unexpected to casual listeners. It’s a testament to their growth as musicians and their willingness to take risks and explore new sonic territories.

The context of the album The Plan is crucial to understanding “The Last Days.” The entire album is a concept piece, exploring themes of faith, family, and the purpose of life. “The Last Days” fits squarely within this framework, acting as a poignant reflection on the end of times and the importance of living a meaningful life. The lyrics, penned by Alan, Merrill, and Wayne Osmond, are rich with imagery and symbolism, inviting listeners to contemplate their own mortality and their place in the world.

Musically, “The Last Days” is a departure from their earlier work as well. While their signature harmonies are still present, the instrumentation is more complex and layered, incorporating elements of progressive rock and even a touch of psychedelia. The song builds gradually, starting with a gentle, almost melancholic melody and then escalating into a powerful and dramatic crescendo. This dynamic arrangement effectively conveys the emotional weight of the lyrics, creating a truly immersive listening experience.

It’s important to remember the era in which “The Last Days” was released. The early 1970s were a time of great social and political upheaval, and these anxieties were reflected in the music of the time. Many artists were exploring darker themes and pushing the boundaries of traditional pop music. The Osmonds, with “The Last Days” and The Plan, were participating in this broader cultural conversation, albeit from their own unique perspective.

This song isn’t just a collection of notes and words; it’s a statement. It’s The Osmonds saying that they are more than just teen idols; they are artists with something meaningful to say. It’s a challenge to those who might have dismissed them as simply a manufactured pop group. “The Last Days” demonstrates their musical talent, their songwriting ability, and their willingness to tackle complex and challenging themes.

In conclusion, “The Last Days” is a fascinating and often overlooked piece in The Osmonds’ discography. It’s a song that deserves to be rediscovered and appreciated for its musical depth, its lyrical complexity, and its historical context. It’s a reminder that even the most commercially successful artists can have hidden depths and that true artistry often lies in taking risks and pushing boundaries. It truly showcases a different side of The Osmonds and their musical capabilities.A brief musical history of the Osmonds in 13 songs - The Washington Post

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Lyrics: The Last Days

Nations take up there battle stations
Patrons of zodiac revelations
Lustations breaking family relations
Litigation allowing shoot up sensations
That’s what they said, someday it would be
Now just look around if that’s what you see
It’s gotta be the last days
Gotta be the last daysPeople living lives of confusion
Billions caught up in revolution
Cities lost in their own pollution
Question, what is the ConstitutionThat’s what they said, someday it would be
Now just look around if that’s what we see
It’s gotta be the last days
Gotta be the last daysThat’s what they said, someday it would be
Now just look around if that’s what we see
It’s gotta be the last days
Last days, it’s gotta be the last days
It’s gotta be the last days
It’s gotta be the last days
It’s gotta be the last days
It’s gotta be the last days
It’s gotta be the last days
It’s gotta be the last days

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WHEN A SUDDEN THUNDERSTORM BROUGHT DOWN “GENTLEMAN JIM” REEVES IN 1964, NASHVILLE MOURNED A GLOBAL SUPERSTAR, BUT TEXAS TOOK BACK HER FAVORITE SON. Long before his velvet baritone was melting hearts across the globe with timeless crossover hits like “He’ll Have to Go” and “Welcome to My World,” Jim Reeves was just a kid from Galloway, Texas, with his sights set on a baseball diamond. When an arm injury abruptly ended his stint in the St. Louis Cardinals farm system, he pivoted to radio in Shreveport—landing his life-changing break on the Louisiana Hayride simply because another singer failed to show up for a slot. By July 31, 1964, Reeves sat at the absolute pinnacle of country music, a polished icon in a signature bow tie who sang soft while the rest of the genre hollered. But while flying home to Nashville from a business trip in Arkansas alongside his pianist and road manager Dean Manuel, a violent thunderstorm swallowed the sky. Disoriented in the murk, the single-engine plane plunged into the trees near Brentwood, Tennessee, silencing one of the smoothest voices in American music at just forty years old. The grief split across state lines, resulting in two separate farewells: Nashville held the industry service, but Carthage, Texas, claimed the man. They buried him three miles east of town on Highway 79, beneath a striking marble statue of him in his tuxedo, holding his guitar. And in a final, heartbreaking testament to loyalty, when his beloved collie Cheyenne passed away in 1967, she was laid to rest inside that exact same circle—positioned just a few feet back and to one side, right where she would have walked beside him.