“Bed of Roses” is a song that resonates with many, and its journey from a simple idea to a beloved country hit is a story worth telling. Songwriters Rex Benson and Steve Gillette aimed to create songs with broad appeal and commercial success. One title idea that sparked their interest was the familiar phrase, “life ain’t always a bed of roses.” This cliché, seemingly both recognizable and musically suggestive, became the foundation for their songwriting endeavor.
Rex Benson, as Gillette recalls, often mused about the need for a “dictionary of clichés” – a resource to explore and understand these well-worn phrases. This was in a pre-internet era, before the vast online resources we have today. While books like Eric Partridge’s dictionaries of slang and unconventional English existed, they were perhaps too academic for everyday songwriting inspiration. The pair recognized the potential in common sayings, and several of their songs, like “Glass Houses,” “Healing Hands,” and “The Restless Wind,” draw inspiration from such familiar expressions. Their sights were set on the country music scene, aiming for artists who could turn their songs into hits.
This ambition brings up the often-discussed topic of “selling out” in the arts. Gillette reflects on this, stating he used to joke about trying to sell his soul without success. His perspective has shifted over time, focusing more on genuine communication with the listener. He mentions the concept of “spiritual materialism,” borrowed from Chogyam Trungpa Rinpoche, which describes pursuing material success within a spiritual context. In songwriting, this translates to using one’s talents for commercial gain, which might fall short of a deeper artistic purpose. Gillette emphasizes that a songwriter’s true power lies in honest communication with the audience, moving beyond tricks and manipulation to connect authentically.
He shares an anecdote about a songwriter friend who crafted a love song with interchangeable two-syllable women’s names in the chorus – a calculated, perhaps cynical, approach to songwriting. Gillette contrasts this with the idea of approaching the muse with genuine intention, as if facing her father who questions one’s motives. He acknowledges that “Bed of Roses” itself contains elements of flattery and persuasion. However, he defends these elements as part of a “respectful wordplay,” a playful poetic approach that hints at shared understanding and intimacy.
Alt text: Steve Gillette and Cindy Mangsen performing “Bed of Roses” live at the Rose Garden Coffeehouse, Massachusetts.
Gillette believes the song operates on multiple levels. While the literal language might not be its strongest feature, a symbolic language is at play. This symbolic layer was perhaps intuitive rather than consciously crafted, reflecting how words carry both literal and figurative weight, contributing to the song’s overall message.
The Music Theory Behind the Emotion: Secondary Dominant Chords
Beyond the lyrics, the harmonic choices in “Bed of Roses” significantly contribute to its emotional impact. Chords can evoke tension, movement, and resolution, guiding the listener’s feelings. Gillette highlights his fondness for the “secondary dominant chord,” a musical device effectively used in the song.
In simple terms, a dominant chord, typically built on the fifth degree of a musical scale, naturally seeks resolution to the tonic or “home” chord. Think of it as a musical question yearning for an answer. In “Bed of Roses,” performed in the key of E, the dominant chord is B (or B7). A secondary dominant chord creates a similar sense of yearning, but for a chord other than the tonic, adding harmonic interest and complexity.
The song’s melody and chord progression illustrate this concept beautifully. During the line, “one of these nights when we’re sharing a dream,” the chord shifts to F# minor (the second degree of the E scale). However, this F# minor is then transformed into F# major by raising its third note. This F# major chord becomes a secondary dominant, creating a strong pull towards the B chord (the dominant of E). This creates musical tension that resolves into the chorus, “and lay you down on a bed of roses,” providing a satisfying release. This sophisticated harmonic movement adds depth and emotional resonance to the song.
The band Chesapeake, featuring Linda Ronstadt, offered an alternative arrangement that creatively reinterprets this harmonic passage. By subtly shifting chords and the bass line, they bring a fresh and unexpected dimension to the song’s harmonic landscape, showcasing the song’s versatility.
From Metaphor to Hit Song: The Journey of “Bed of Roses”
The metaphor of a “bed of roses” as a place of love is, as Gillette admits, almost “unforgivable” in its directness. The absence of thorns in this idyllic image is a simplification, yet it works. The cryptic and suggestive nature of the lyrics, combined with a strong melody, can be deeply effective, especially when delivered by a charismatic voice associated with romance, like Kenny Rogers.
Mel Tillis was the first artist to record “Bed of Roses,” followed by Mickey Gilley, though Gilley’s version remained unreleased initially. The Oak Ridge Boys and Jerry Jeff Walker also performed the song, expanding its reach within the country music community. However, it was Kenny Rogers’ rendition that propelled “Bed of Roses” to widespread fame.
Alt text: A promotional image of Chesapeake featuring Linda Ronstadt, highlighting their collaborative performance of “Bed of Roses”.
The collaboration between Chesapeake and Linda Ronstadt resulted in a particularly cherished version. But it was Kenny Rogers who the songwriters had envisioned singing the song from the beginning. They imagined his voice bringing the lyrics to life, a common practice for songwriters envisioning their songs performed. It took time to convince Rogers that “Bed of Roses” was right for him, but his eventual recording, a duet with Linda Davis, became a definitive version.
Alt text: Kenny Rogers and Linda Davis performing a duet of “Bed of Roses”, showcasing their vocal harmony.
The online response to Kenny Rogers and Linda Davis’s version has been remarkable, with millions of plays and heartfelt comments. These messages revealed an unexpected dimension of the song – its capacity to offer comfort in loneliness and loss. This resonated with Elizabeth Cady Stanton’s concept of “the solitude of self” and Guy Clark’s line about “a coat from the cold” – the song became a source of solace for listeners facing personal struggles.
The symbolism of roses themselves adds another layer of meaning. Different colors of roses carry varied connotations, from passionate love (red) to delicate affection (pink) and even platonic love or regret (yellow). While the songwriters may not have been consciously aware of this intricate symbolism, the imagery of roses, deeply rooted in cultural understanding, enriches the song’s emotional palette. From its simple, almost cliché origin, “Bed of Roses” blossomed into a song that continues to touch hearts and resonate with listeners worldwide.
“Bed of Roses” Lyrics:
You’re that one special woman I thought I’d never find
With the strength to be gentle
And the courage to be kind.
And though it hasn’t all been roses
Still I know you understand
One of these nights when we’re sharing a dream
I’m gonna take you by the hand
And lay you down on a bed of roses
In that peaceful shelter only love can provide.
I’ll lay you down on a bed of roses
And then I’ll lay me down right by your side.
There’s no diamond on your finger,
Just a simple wedding band.
Seems your knight in shining armor
Is just an ordinary man.
Though I promised you a kingdom
And we don’t have all we planned
One of these nights when we’re making believe
I’m gonna take you by the hand
And lay you down on a bed of roses
In that peaceful shelter only love can provide
I’ll lay you down on a bed of roses
And then I’ll lay me down right by your side.
© 1983 Ensign Music / Rex to Riches Music, BMI
