John Prine Made It OK to Stay a Kid

About the Song

When it comes to blending humor with heart, few songwriters ever did it better than John Prine—and “Please Don’t Bury Me” is one of his finest, funniest, and most enduring examples. Released in 1973 as the opening track of his sophomore album Sweet Revenge, this song welcomes listeners with a rollicking, upbeat melody that cleverly masks its unusual subject: death. But in classic Prine fashion, even a song about dying turns into a joyride filled with warmth, wit, and a surprisingly life-affirming message.

The premise of “Please Don’t Bury Me” is as whimsical as it is wise. The narrator, having apparently died by accident, requests not to be buried in the ground but to have his body donated—piece by piece—to the world. From giving his stomach to Milwaukee for beer-making, to handing his ears over to the deaf, he rattles off a list of bizarre, hilarious post-mortem wishes. But behind every quirky line is something deeply human: the desire to be remembered, to be useful, and to leave a little joy behind.

What makes the song so appealing—especially to older, seasoned listeners—is its refusal to treat death as something somber or untouchable. Prine strips away the fear and ceremony and replaces it with laughter and light. His delivery is cheerful, conversational, almost like he’s sitting on your porch telling tall tales with a grin. And underneath the jokes, you can hear a tender reverence for life. There’s no self-pity here—just a humble, humorous man who’s made peace with the inevitable and is cracking one last joke on the way out.

Musically, the song bounces with acoustic guitar, piano, and a bit of country twang. It’s toe-tapping and deceptively light for a song that starts with someone waking up to find they’ve died. But that contrast—that unique Prine magic—is what makes it unforgettable.

For many fans, “Please Don’t Bury Me” is more than just a novelty tune. It’s a reminder that even in our final moments, there’s room for laughter. And that joy, even in the face of death, might be the most generous legacy of all.

So the next time life feels heavy, put on this tune, smile at the absurdity of it all, and remember what John Prine taught us: that sometimes, the best way to face the end is with a wink, a grin, and a guitar in hand.Poet Laureate of the Suburbs: John Prine | Washerman's Dog

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Lyrics: Please Don’t Bury Me

Woke up this morning
Put on my slippers
Walked in the kitchen and died
And oh what a feeling!
When my soul
Went thru the ceiling
And on up into heaven I did ride
When I got there they did say
John, it happened this way
You slipped upon the floor
And hit your head
And all the angels say
Just before you passed away
These were the very last words
That you said:

[Chorus:]
Please don’t bury me
Down in that cold cold ground
No, I’d druther have “em” cut me up
And pass me all around
Throw my brain in a hurricane
And the blind can have my eyes
And the deaf can take both of my ears
If they don’t mind the size
Give my stomach to Milwaukee
If they run out of beer
Put my socks in a cedar box
Just get “em” out of here
Venus de Milo can have my arms
Look out! I’ve got your nose
Sell my heart to the junkman
And give my love to Rose

[Chorus]

Give my feet to the footloose
Careless, fancy free
Give my knees to the needy
Don’t pull that stuff on me
Hand me down my walking cane
It’s a sin to tell a lie
Send my mouth way down south
And kiss my ass goodbye

[Chorus]

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Before he ever laid a stick to a drumhead, Paul English was a Fort Worth hustler sliding fast down a dangerous road toward a prison cell or an early grave. Back in the mid-1950s, Willie Nelson was spinning records as a local disc jockey hosting a live radio broadcast. When the show’s regular drummer didn’t show up, someone turned to Paul—who had zero musical experience—handed him a snare and some brushes, and told him the only rule was to keep time. He tapped along, gradually expanding his kit as Willie later noted that Paul literally learned how to play behind him. Music was only a fraction of Paul’s chaotic reality at the time, as the Fort Worth underworld offered far easier money. He worked the streets as a hustler and fixer, navigating a dangerous circuit completely divorced from country radio before Willie relocated to Nashville, parting ways for years. When Willie found himself needing a rhythm man once again, Paul tracked him down across the miles. Told that another drummer was in consideration, Paul cut straight to the point: “I’m better’n him.” Willie offered thirty dollars a night, and Paul took the gig. Starting in the mid-1960s, he evolved into far more than just a sideman behind the kit. Serving as Willie’s road manager, bodyguard, accountant, and enforcer, Paul carried a piece, shook down shady promoters, and watched his friend’s back through endless highway breakdowns and the wild evolution of the Family band. Willie immortalized their unbreakable bond in the classic track “Me and Paul.” Paul kept his post for decades, touring right up until his health began to fade before passing away in 2020 at the age of 87. Looking back on a lifetime on the road, Paul openly admitted that Willie saved his life, knowing the alternative was a prison term or a headstone. The accidental drummer picked because of an empty chair ultimately became the one person Willie trusted implicitly when the performance ended and real life began.