A restless meditation on the changing seasons of life, capturing that bittersweet impulse to flee before the frost of winter—and reality—sets in.
Music has a peculiar way of capturing the shifting barometers of the human soul. When we speak of the folk revival that swept through the smoke-filled cellars of the 1960s, few voices carry the resonant, woody warmth of Tom Rush. His 1968 rendition of “Urge for Going”, the opening track of the seminal album The Circle Game, remains a masterclass in atmospheric storytelling. It is a song that doesn’t just play; it breathes, exhaling the chilled air of a fading autumn and the quiet anxiety of a man who feels the world closing in.
The Chart and the Legacy
While “Urge for Going” did not ignite the Billboard Hot 100 like a pop sensation—peaking more modestly on the Easy Listening (Adult Contemporary) charts—its commercial “rank” is a poor metric for its cultural weight. At the time of its release, it solidified Tom Rush as a premier tastemaker. It was the definitive version that introduced a broader audience to the songwriting genius of a then-unknown Canadian girl named Joni Mitchell. While Joni wrote it, Tom gave it the weary, masculine gravitas that turned a folk song into a timeless anthem for the restless.
The Story Behind the Song: A Gift from the North
The genesis of this piece is a beautiful piece of folk lore. Joni Mitchell had written the song after being inspired by the harsh winters of her native Saskatchewan, but she found herself unable to secure a record deal for it initially. She sent a tape to Tom Rush, who was already an established figure in the East Coast folk scene. Upon hearing those descending chords, Tom recognized a universal truth within the lyrics. He recorded it with a lush, yet somber arrangement that featured a delicate interplay of acoustic strings, creating a sonic landscape that feels like a lonely drive through a New England October.
A Critical Reflection: The Meaning of the “Going”
To listen to “Urge for Going” today is to confront the inevitable passage of time. The lyrics use the transition of seasons—the “shivering” poplars, the “summertime falling down”—as a poignant metaphor for the chapters of our lives we are forced to close.
For the discerning listener, the song operates on two levels. Literally, it is about the physical migration to warmer climates to escape the “bitter snow.” Metaphorically, however, it explores the psychological instinct to retreat when things become cold, difficult, or stagnant. Tom Rush’s baritone delivery acts as a steady hand on the shoulder, guiding us through the “meadows turning brown.” There is a profound sense of resignation in his voice; he knows that no matter how fast he runs, the winter—in both the weather and the heart—will eventually catch up.
The “urge” is something we all recognize as the years accumulate. It is that sudden, sharp desire to pack a bag and head toward a horizon where the sun still feels kind. Rush captures the tension between the beauty of the “falling leaves” and the terrifying “frost on the window pane.” It is a song for those who have seen many winters and understand that the “going” is often just as much about what we are leaving behind as it is about where we are headed.
Final Thoughts
In the grand tapestry of 1960s folk, The Circle Game album stands as a bridge between the traditional blues of the past and the introspective singer-songwriter era of the future. Tom Rush didn’t just sing “Urge for Going”; he curated an emotion. As the final notes fade, one is left with the lingering scent of woodsmoke and the quiet realization that while the seasons must change, a truly great song remains eternally in bloom.