Thursday, March 21, 2013
Thursday, February 28, 2013
Days of Getting By
There are two more original songs from our last EP about which to write...
Which is interesting because just yesterday I heard the final mixes of our next EP (out soon on Slothtrop Records, natch).
So that means we're either really fast at recording or I'm slow at writing about what we've recorded. Or most likely both.
But hey... things get done at their own pace and it seems kind of fitting to tackle the title song from one project as you start to figure out how the next one fits into the bigger picture.
Or at least that's what I'm going to go with here.
One of the benefits of waiting to write about these songs is that my ears and my brain (and my heart I suppose) get a little distance from them... which is almost always for the better. When you wrap a project, you've heard the songs so many times, thought about them, obsessed about every detail, that you have zero objectivity in your assessment of how they sound and what they mean.
So this morning when I put on the song Days of Getting By it was probably the first time I'd listened to it in its entirety in 6 months.
And I was pleasantly surprised to discover that I liked it more than I remembered I did. I was on the fence about even recording this song and then once we committed to recording it, I never felt like I was on firm ground as we pieced it together.
I changed the key a number of times, changed the approach, thought about using the band on it, decided against it... sang it one way, sang it another, went back to the first way, recorded a couple other instruments that didn't make the final mix. It's definitely a tribute to the mix that it turned out as well as it did.
So why did I name the album after a song about which I was trending ambivalent?
Because the creation of it somehow captured the whole record both in substance and style.
When we started recording this group of songs, I had a grand vision of doing 11 of them, making a video for each, and then releasing them one at a time last year as something called "11 for '12" (11 songs for 2012). At the end of the year we were going to collect them all with their videos and release them as an album entitled "11:12."
Which is a great idea in theory but then... the reality of making 11 videos (that is, the cost of making 11 videos) scuttled that. Luckily, this was about the time Slothtrop came into the picture so we wound up having an outlet to release what we had recorded so far.
Because we had envisioned this group of songs as singles, we were recording them one at a time rather than as a group. Which meant they had a little less cohesion than, say, In the Morning did, when we recorded all ten songs with the same 4 people in 3 days.
So when it came time for naming the record... it wasn't as obvious to me as it had been in the past with Look Alive, Things We Would Rather Lose, and In the Morning.
I've written before that I see the first three Paper Arrows records as having a thematic arc of loss, recovery, and redemption.
So naturally this record felt like the chance to start a new arc... but after listening to the seven songs that became this record, I had only the vaguest idea of what I was writing about. I could tell I was wrestling with what comes after redemption, what comes after you work through loss... but I couldn't quite tell what that was.
And then, when I started writing the next record (the one I just heard yesterday for the first time), it clicked: I'm writing about love. What it is. How it is. What it means. How to shepherd it into the world and how to keep it close. Not destroy it. Fight for it.
Because love is what we're left with after we get rid of loss. Love is what we're looking for when we're trying to get through loss.
And on this record, I can hear myself building the confidence to write about it in a more direct way.
So the tag line going forward for Paper Arrows (thanks to Slothtrop) is "Literate Love Songs."
And, as will become clearer with the release of the next EP, that's what this project Paper Arrows has come to be about.
(ed. note: for the first time I'm using Paper Arrows as a front for and synonymous with me, Joe Goodkin.)
If we have entire world religions dedicated to the concept of love, can't we have a middling midwestern rock band?
Sure, why not.
So Days of Getting By...
The second verse is where I'm seeing the truth of the matter. After a quick telescoped run through loss and its ramifications in the first verse, we get to love is the second. And then we get to the last line...
"Wait for spring like we used to sing in the days of getting by."
The "spring" is from "Look Alive" and the "days of getting by" is from "Skeletonskinandsky."
Strange how that comes full circle.
And speaking of strange, man, it's a weird sounding song.
The main instrumental track is three classical guitars with similar fingerpicking patterns played on different parts of the neck all layered over one another and then run through a rotating leslie speaker. I think. There's also some (heavily edited) glockenspiel played by me and some (heavily edited) piano played by me. And then a high falsetto lead vocal with the lower octave "harmony," also me. At some point, I think the vocal gets run through a leslie speaker too.
The result is something weird, beautiful, and pretty striking I think.
And maybe just maybe almost by accident I captured exactly what I was supposed to on this record.
DAYS OF GETTING BY
The ice is grieving and what remains behind
This winter armor wrapped around a heartbeat, a pair of lowered eyes
The price of leaving is what remains ahead
This summer shame is thick as smoke and hangs about our bed
Take me
Love is seeing what stays in the dark
Is autumn's breath and midnight's blood, a sea of silent hearts
Love is needing to stay in the light
And wait for spring like we used to sing in the days of getting by
Take me
jbg
Which is interesting because just yesterday I heard the final mixes of our next EP (out soon on Slothtrop Records, natch).
So that means we're either really fast at recording or I'm slow at writing about what we've recorded. Or most likely both.
But hey... things get done at their own pace and it seems kind of fitting to tackle the title song from one project as you start to figure out how the next one fits into the bigger picture.
Or at least that's what I'm going to go with here.
One of the benefits of waiting to write about these songs is that my ears and my brain (and my heart I suppose) get a little distance from them... which is almost always for the better. When you wrap a project, you've heard the songs so many times, thought about them, obsessed about every detail, that you have zero objectivity in your assessment of how they sound and what they mean.
So this morning when I put on the song Days of Getting By it was probably the first time I'd listened to it in its entirety in 6 months.
And I was pleasantly surprised to discover that I liked it more than I remembered I did. I was on the fence about even recording this song and then once we committed to recording it, I never felt like I was on firm ground as we pieced it together.
I changed the key a number of times, changed the approach, thought about using the band on it, decided against it... sang it one way, sang it another, went back to the first way, recorded a couple other instruments that didn't make the final mix. It's definitely a tribute to the mix that it turned out as well as it did.
So why did I name the album after a song about which I was trending ambivalent?
Because the creation of it somehow captured the whole record both in substance and style.
When we started recording this group of songs, I had a grand vision of doing 11 of them, making a video for each, and then releasing them one at a time last year as something called "11 for '12" (11 songs for 2012). At the end of the year we were going to collect them all with their videos and release them as an album entitled "11:12."
Which is a great idea in theory but then... the reality of making 11 videos (that is, the cost of making 11 videos) scuttled that. Luckily, this was about the time Slothtrop came into the picture so we wound up having an outlet to release what we had recorded so far.
Because we had envisioned this group of songs as singles, we were recording them one at a time rather than as a group. Which meant they had a little less cohesion than, say, In the Morning did, when we recorded all ten songs with the same 4 people in 3 days.
So when it came time for naming the record... it wasn't as obvious to me as it had been in the past with Look Alive, Things We Would Rather Lose, and In the Morning.
I've written before that I see the first three Paper Arrows records as having a thematic arc of loss, recovery, and redemption.
So naturally this record felt like the chance to start a new arc... but after listening to the seven songs that became this record, I had only the vaguest idea of what I was writing about. I could tell I was wrestling with what comes after redemption, what comes after you work through loss... but I couldn't quite tell what that was.
And then, when I started writing the next record (the one I just heard yesterday for the first time), it clicked: I'm writing about love. What it is. How it is. What it means. How to shepherd it into the world and how to keep it close. Not destroy it. Fight for it.
Because love is what we're left with after we get rid of loss. Love is what we're looking for when we're trying to get through loss.
And on this record, I can hear myself building the confidence to write about it in a more direct way.
So the tag line going forward for Paper Arrows (thanks to Slothtrop) is "Literate Love Songs."
And, as will become clearer with the release of the next EP, that's what this project Paper Arrows has come to be about.
(ed. note: for the first time I'm using Paper Arrows as a front for and synonymous with me, Joe Goodkin.)
If we have entire world religions dedicated to the concept of love, can't we have a middling midwestern rock band?
Sure, why not.
So Days of Getting By...
The second verse is where I'm seeing the truth of the matter. After a quick telescoped run through loss and its ramifications in the first verse, we get to love is the second. And then we get to the last line...
"Wait for spring like we used to sing in the days of getting by."
The "spring" is from "Look Alive" and the "days of getting by" is from "Skeletonskinandsky."
Strange how that comes full circle.
And speaking of strange, man, it's a weird sounding song.
The main instrumental track is three classical guitars with similar fingerpicking patterns played on different parts of the neck all layered over one another and then run through a rotating leslie speaker. I think. There's also some (heavily edited) glockenspiel played by me and some (heavily edited) piano played by me. And then a high falsetto lead vocal with the lower octave "harmony," also me. At some point, I think the vocal gets run through a leslie speaker too.
The result is something weird, beautiful, and pretty striking I think.
And maybe just maybe almost by accident I captured exactly what I was supposed to on this record.
DAYS OF GETTING BY
The ice is grieving and what remains behind
This winter armor wrapped around a heartbeat, a pair of lowered eyes
The price of leaving is what remains ahead
This summer shame is thick as smoke and hangs about our bed
Take me
Love is seeing what stays in the dark
Is autumn's breath and midnight's blood, a sea of silent hearts
Love is needing to stay in the light
And wait for spring like we used to sing in the days of getting by
Take me
jbg
Friday, January 25, 2013
Only One
It's winter in Chicago and winter makes me think of quiet songs.
Every Paper Arrows album has had at least one quiet song.
Look Alive (the quietest of our albums) has Again and Again as well as Fight and also When You Left. And you can even throw December Static in there.
Things We Would Rather Lose has Almost Gone (and an ironically titled One More Quiet Song).
In the Morning the most polished has Near.
And Days of Getting By has Only One.
The thing about choosing to record a song sparely is that you are essentially telling the listener that the lyrics are the most important thing. There's nothing to hide behind, nothing to distract so the lyrics are front and center.
And that's appropriate for Only One.
Every once in awhile as a writer you go some place so far under your skin that it makes you uncomfortable. But in a good way. Because of the honesty.
Every once in awhile you get right down to the bone, right to the heart of what you're feeling and trying to say.
Jesus, maybe I could use one more cliched image involving the human body.
Fuck it.
Only One is that song for me.
I recorded the guitar part on a capo-ed 12 string acoustic.
The vocals are hard for me to listen to but, again, in a good way.
I can hear myself believing everything I wrote, which isn't always the case.
So here's to songs that capture the truth.
I guess even the loudest ones should be quiet at their cores.
ONLY ONE
She's out on the water
Wondering where he went
And if he's coming back again
And why she never left
But I am not a drinker
And you are not the one
Who walked away from what was made
Who turned your back on love
I am the only one
I am the only one
For you
He's out on the wire
Wondered when he fell
How he wasted what she gave
If he knew he'll never tell
And I am just a dreamer
But you are not a dream
Flesh and blood and skin and sky
And everything in between
I am the only one
I am the only one
For you
jbg
Every Paper Arrows album has had at least one quiet song.
Look Alive (the quietest of our albums) has Again and Again as well as Fight and also When You Left. And you can even throw December Static in there.
Things We Would Rather Lose has Almost Gone (and an ironically titled One More Quiet Song).
In the Morning the most polished has Near.
And Days of Getting By has Only One.
The thing about choosing to record a song sparely is that you are essentially telling the listener that the lyrics are the most important thing. There's nothing to hide behind, nothing to distract so the lyrics are front and center.
And that's appropriate for Only One.
Every once in awhile as a writer you go some place so far under your skin that it makes you uncomfortable. But in a good way. Because of the honesty.
Every once in awhile you get right down to the bone, right to the heart of what you're feeling and trying to say.
Jesus, maybe I could use one more cliched image involving the human body.
Fuck it.
Only One is that song for me.
I recorded the guitar part on a capo-ed 12 string acoustic.
The vocals are hard for me to listen to but, again, in a good way.
I can hear myself believing everything I wrote, which isn't always the case.
So here's to songs that capture the truth.
I guess even the loudest ones should be quiet at their cores.
ONLY ONE
She's out on the water
Wondering where he went
And if he's coming back again
And why she never left
But I am not a drinker
And you are not the one
Who walked away from what was made
Who turned your back on love
I am the only one
I am the only one
For you
He's out on the wire
Wondered when he fell
How he wasted what she gave
If he knew he'll never tell
And I am just a dreamer
But you are not a dream
Flesh and blood and skin and sky
And everything in between
I am the only one
I am the only one
For you
jbg
Wednesday, December 19, 2012
Love Goes On (Three Year Update)
You know what you can't fuck with?
Time.
It just happens.
And what marks the passage of time (for better or worse) more than anniversaries. A year is an arbitrary time period from the standpoint of actual accomplishment but it does offer a chance to reflect on accomplishments and take stock of what improvements can be made.
Which is particularly relevant because yesterday was the third anniversary of my last day working at Baker & McKenzie, the so-called "day job."
Three years of pursuing a career in music head-on, full-time.
Let me sum up the last three years in one word:
exhilaratingexcitingdepressingreallyreallyhardrewarding-
wonderfulterrifyingdepressinghumblingbeguilinggloriousmoving-
crushingfrustratingmystifyingultimatelythebest
I think that covers it.
While it's easy to get buried in the details and the day-to-day of building success in music (and any career or business I suppose), I try to remind myself as often as possible of how lucky I am, how hard I work, and how far I've come as an artist and a businessman in these three years.
Truly, my worst day as a musician is better than my best day doing just about any other job and that gets lost in the noise from time to time.
The other thing that gets lost in the mundane side of music is the reason why I did this to begin with: the music.
So much of being a musician has nothing to do with music. It's like any other business: administration takes up a disproportionate amount of time, a necessary evil for any measure of true success.
But at the center of this bizarre ride is and has to be music and my love for music.
One of my favorite songs ever is What I Did for Love from A Chorus Line. So simple, so perfect. Captures the common thread of love across so many different things in life, but especially the love for a craft or art, the sacrifices one makes, and the pain and failure one tolerates to pursue it.
That's the song I had in mind when I wrote Love Goes On and the idea of what love means and how it exists has become the subject of this next set of records we're working on.
Recording Love Goes On was a blast. We changed very little from my demo version... added a little interlude and a double chorus and that's about it. The core of the tune (including the rhythm guitar) is from the live tracking with the band. The lead part was done on some weird electronic-infused guitar that was hanging around the studio... it was like playing a live cat. The thing was just howling in my hands. So much fun. The background vocals and hand claps we all did in the big room together around one microphone. The lead vocals I cut near the end of my sinus infection period (it's like Picasso's Blue Period only with less post-nasal drip). And the mix was expertly handled, as usual.
As far as the lyrics... I think it's all there.
Love is love.
Love for people, love for music...
Love is going to face the same obstacles, the same challenges.
When you're weary and beaten up, when you're fighting doubt...
Love goes on.
I believe it.
No, I know it.
Because I'm lucky enough to live it every day.
**************
LOVE GOES ON
Walking the same roads
In these worn down shoes
Singing these worn down blues
Again and again
Waiting for new light
In a darkened place
With a belly full of broken grace
And remedy spent
But lines are drawn
From night to dawn
And in between
Love goes on
Digging the same hole
With a heave heart
Trying not to fall apart
In front of the kids
Leaving the light up
As the darkness crawls
From the windows to the pale walls
Of the heartache we hid
But lines are drawn
From night to dawn
And in between
Love goes on
jbg
Time.
It just happens.
And what marks the passage of time (for better or worse) more than anniversaries. A year is an arbitrary time period from the standpoint of actual accomplishment but it does offer a chance to reflect on accomplishments and take stock of what improvements can be made.
Which is particularly relevant because yesterday was the third anniversary of my last day working at Baker & McKenzie, the so-called "day job."
Three years of pursuing a career in music head-on, full-time.
Let me sum up the last three years in one word:
exhilaratingexcitingdepressingreallyreallyhardrewarding-
wonderfulterrifyingdepressinghumblingbeguilinggloriousmoving-
crushingfrustratingmystifyingultimatelythebest
I think that covers it.
While it's easy to get buried in the details and the day-to-day of building success in music (and any career or business I suppose), I try to remind myself as often as possible of how lucky I am, how hard I work, and how far I've come as an artist and a businessman in these three years.
Truly, my worst day as a musician is better than my best day doing just about any other job and that gets lost in the noise from time to time.
The other thing that gets lost in the mundane side of music is the reason why I did this to begin with: the music.
So much of being a musician has nothing to do with music. It's like any other business: administration takes up a disproportionate amount of time, a necessary evil for any measure of true success.
But at the center of this bizarre ride is and has to be music and my love for music.
One of my favorite songs ever is What I Did for Love from A Chorus Line. So simple, so perfect. Captures the common thread of love across so many different things in life, but especially the love for a craft or art, the sacrifices one makes, and the pain and failure one tolerates to pursue it.
That's the song I had in mind when I wrote Love Goes On and the idea of what love means and how it exists has become the subject of this next set of records we're working on.
Recording Love Goes On was a blast. We changed very little from my demo version... added a little interlude and a double chorus and that's about it. The core of the tune (including the rhythm guitar) is from the live tracking with the band. The lead part was done on some weird electronic-infused guitar that was hanging around the studio... it was like playing a live cat. The thing was just howling in my hands. So much fun. The background vocals and hand claps we all did in the big room together around one microphone. The lead vocals I cut near the end of my sinus infection period (it's like Picasso's Blue Period only with less post-nasal drip). And the mix was expertly handled, as usual.
As far as the lyrics... I think it's all there.
Love is love.
Love for people, love for music...
Love is going to face the same obstacles, the same challenges.
When you're weary and beaten up, when you're fighting doubt...
Love goes on.
I believe it.
No, I know it.
Because I'm lucky enough to live it every day.
**************
LOVE GOES ON
Walking the same roads
In these worn down shoes
Singing these worn down blues
Again and again
Waiting for new light
In a darkened place
With a belly full of broken grace
And remedy spent
But lines are drawn
From night to dawn
And in between
Love goes on
Digging the same hole
With a heave heart
Trying not to fall apart
In front of the kids
Leaving the light up
As the darkness crawls
From the windows to the pale walls
Of the heartache we hid
But lines are drawn
From night to dawn
And in between
Love goes on
jbg
Thursday, November 15, 2012
Love, Faith, Light (Out)
The life of a song is a strange, strange thing.
At some point I started to get used to it but even now when I stop and think about the steps of creation it amazes me to no end.
It's possible I'm thinking about this right now because somehow we're already starting to put together the details of our next recording. And between this new material and our current release I'm managing songs at just about every point in the process.
Which seems apropos for writing about the song Light Out.
Light Out is one of those songs that seems like it took forever to get right. From a writing standpoint at least. And then almost no time to get right in recording it. And then a whole lot more time to get it out for public consumption.
I wrote it (or the first draft of it) in March of 2011.
I went through a couple rounds of complete rewrites (like, everything except the choruses) in July of 2011.
We recorded the song in August of 2011.
It was released as part of our first Slothtrop single in July of 2012 and on the new EP in September of 2012.
The tune was arranged, rehearsed, tracked, and mostly mixed in one day, including the lead vocals. The only thing added afterwards were the background vocals. It was the first song we recorded for Days of Getting By and in some ways I think it's the best thing Paper Arrows has done. It's simple and moving, direct but complex in theme.
The coolest part of the process for me was recording the vocals in one take near the end of the day. I had taken a couple runs through it and we actually had what we thought was enough to put together a good performance. But I decided to give it one more shot and see if I could do something a little bit different with it. And it worked. Which is really, really rare for me when it comes to singing. Usually the more I think, the more I "try" things, the worse it gets. But somehow Light Out came together. I found the intimacy it needed but also added a little bit of extra muscle for the choruses. It was a great experience and even more meaningful to do it in front of a group of musicians I admire and respect.
The textures of the recording are very cool. Luke did some great work blending simple piano and organ parts. Jay plays a stoic but forceful bass line. Darren plays a truly beautiful drum part with a nod to Steve Gadd (to my non-drummer ears). And I added a ridiculously simple guitar part during the choruses as well as a couple of ambient eBow parts. Jay's backgrounds are typically wonderful and the lyrics he sings for the counterpoint... let's just say they'll be coming back on the next recording and featured more prominantly.
The lyrics...
As I mentioned, these went through some serious reworking... somewhere in this process the song went from being about as vague as possible (just a bunch of images strung together) to being about something specific: the idea that love is faith.
This may sound simple, trite, cliche (all of the above) but for me, for where I was in my life, it was a revelation on a number of levels.
I'm not a religious person. In fact I have a very uncomfortable relationship with religion both practically and theoretically. And a lot of it stems from vocabulary. I realized a couple years ago that I thought I was an atheist namely because religion has co-opted the word "God." Religion owns the word. So when I was saying "I don't believe in God" what I really meant was "I don't believe in anything I've heard attached to that word." Subtle but very meaningful distinction.
And what I found when I started examining my beliefs and my life is that I behave in ways that indicate I do believe in a God. And the more I dug, the more I realized that the language of faith in God and the language of falling in and staying in love are largely the same.
Here was this huge piece of life, the most important piece and the piece in which I've had the most struggles, in which I was expressing faith on a daily basis.
And so the song became an affirmation of that, of how faith in love (or anything) can be renewed every day, about how it deserves all the reverence normally apportioned to religion...
And this in turn became a kind of lynchpin for the next three records.
But there I am getting ahead of myself in the lifecycle of our music. Again.
jbg
*************
LIGHT OUT
Maybe love is just as strong as we let ourselves believe
And in the days it fades away and leaves us on our knees
So upon the setting sun we lay our hopes to keep
That in the silence we'll be healed while we sleep
Turn the light
Turn the light out on me
Turn the light out on me now
In the dark we built an ark to carry us to land
We gathered all our things around and made one final plan
And in this dream I let you go and the end was drawing near
I was left knee-deep in the water and I was trying to catch your tears
Turn the light
Turn the light out on me
Turn the light out on me now
(One for sorrow, two for tomorrow, three for the show)
Won't you go to the river maybe you can save yourself
If you go to the river maybe I'll see you there
'Cause if love is faith then I'm all out of prayers...
At some point I started to get used to it but even now when I stop and think about the steps of creation it amazes me to no end.
It's possible I'm thinking about this right now because somehow we're already starting to put together the details of our next recording. And between this new material and our current release I'm managing songs at just about every point in the process.
Which seems apropos for writing about the song Light Out.
Light Out is one of those songs that seems like it took forever to get right. From a writing standpoint at least. And then almost no time to get right in recording it. And then a whole lot more time to get it out for public consumption.
I wrote it (or the first draft of it) in March of 2011.
I went through a couple rounds of complete rewrites (like, everything except the choruses) in July of 2011.
We recorded the song in August of 2011.
It was released as part of our first Slothtrop single in July of 2012 and on the new EP in September of 2012.
The tune was arranged, rehearsed, tracked, and mostly mixed in one day, including the lead vocals. The only thing added afterwards were the background vocals. It was the first song we recorded for Days of Getting By and in some ways I think it's the best thing Paper Arrows has done. It's simple and moving, direct but complex in theme.
The coolest part of the process for me was recording the vocals in one take near the end of the day. I had taken a couple runs through it and we actually had what we thought was enough to put together a good performance. But I decided to give it one more shot and see if I could do something a little bit different with it. And it worked. Which is really, really rare for me when it comes to singing. Usually the more I think, the more I "try" things, the worse it gets. But somehow Light Out came together. I found the intimacy it needed but also added a little bit of extra muscle for the choruses. It was a great experience and even more meaningful to do it in front of a group of musicians I admire and respect.
The textures of the recording are very cool. Luke did some great work blending simple piano and organ parts. Jay plays a stoic but forceful bass line. Darren plays a truly beautiful drum part with a nod to Steve Gadd (to my non-drummer ears). And I added a ridiculously simple guitar part during the choruses as well as a couple of ambient eBow parts. Jay's backgrounds are typically wonderful and the lyrics he sings for the counterpoint... let's just say they'll be coming back on the next recording and featured more prominantly.
The lyrics...
As I mentioned, these went through some serious reworking... somewhere in this process the song went from being about as vague as possible (just a bunch of images strung together) to being about something specific: the idea that love is faith.
This may sound simple, trite, cliche (all of the above) but for me, for where I was in my life, it was a revelation on a number of levels.
I'm not a religious person. In fact I have a very uncomfortable relationship with religion both practically and theoretically. And a lot of it stems from vocabulary. I realized a couple years ago that I thought I was an atheist namely because religion has co-opted the word "God." Religion owns the word. So when I was saying "I don't believe in God" what I really meant was "I don't believe in anything I've heard attached to that word." Subtle but very meaningful distinction.
And what I found when I started examining my beliefs and my life is that I behave in ways that indicate I do believe in a God. And the more I dug, the more I realized that the language of faith in God and the language of falling in and staying in love are largely the same.
Here was this huge piece of life, the most important piece and the piece in which I've had the most struggles, in which I was expressing faith on a daily basis.
And so the song became an affirmation of that, of how faith in love (or anything) can be renewed every day, about how it deserves all the reverence normally apportioned to religion...
And this in turn became a kind of lynchpin for the next three records.
But there I am getting ahead of myself in the lifecycle of our music. Again.
jbg
*************
LIGHT OUT
Maybe love is just as strong as we let ourselves believe
And in the days it fades away and leaves us on our knees
So upon the setting sun we lay our hopes to keep
That in the silence we'll be healed while we sleep
Turn the light
Turn the light out on me
Turn the light out on me now
In the dark we built an ark to carry us to land
We gathered all our things around and made one final plan
And in this dream I let you go and the end was drawing near
I was left knee-deep in the water and I was trying to catch your tears
Turn the light
Turn the light out on me
Turn the light out on me now
(One for sorrow, two for tomorrow, three for the show)
Won't you go to the river maybe you can save yourself
If you go to the river maybe I'll see you there
'Cause if love is faith then I'm all out of prayers...
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