Resurrection '06
Resurrection '11
An added feature here at BurnBlogBurn today (and going forward): audio! Slowly but haltingly my tech skills have crept up to the year 2006... the year in which I wrote the tune about which I'll be blogging today.
I managed to find the lyrics on March 10-11, 2006, and I dug up the very first demo I did of it, in my living room, in the summer of 2006. It was the first time Jay and I worked together on anything and it was part of the batch of songs we tried for what would become Look Alive.
It didn't make the cut for Look Alive.
I demoed a different, more uptempo version for Things We Would Rather Lose.
It didn't make the cut for Things We Would Rather Lose.
Finally, I demoed it for In the Morning and I'm pretty sure we recorded it just because Jay was sick of hearing it demoed.
I only half-kid.
It actually fit the mood and theme of In the Morning pretty well so it made sense to go after it during the sessions... I seem to remember this was one of the last songs we did during the 3 days at IV... particularly noteworthy I think are Drew's keys (the Prophet!) and Darren's percussion. I added an acoustic guitar and some weird electric overdubs with an eBow that build throughout the tune until they crest for the final chorus. I enjoyed cutting the vocals very much because of where they sat in my range.
It's so weird to listen to the original demo version from my living room... in some ways, I like it best. That living room session was a turning point for my entire musical career if not my life. It was one of the first times I actually liked the sound of my voice on a recording. It was recorded right after my ex-wife left. Like the same week I think? Or maybe the week before when a bunch of shit was going down and she wasn't coming home. So the damage and vulnerability in my voice on the demo recording is very very real. And touching to me.
Lyrically, it's very strange. It's around the time I was just kind of writing things that grabbed me without much regard for what they meant, mysterious things that I think turned out to be my subconscious wrestling with unhappiness.
It seems to be a song about someone seeking things: faith, reassurance, comfort, love. Security.
Funny that it took me until In the Morning to find it all and finally commit the song to tape.
Or maybe it's not funny at all.
RESURRECTION
Take this blood
For it's not mine
Take this sea
And make it wine
Take this mark
It's yours to wear
Take this cross
It's yours to bear
I'm on your side
Take this sand
It's yours to cross
Take this door
It's yours to lock
Take this air
It's yours to breathe
Take this heart
It's yours to leave
I'm on your side
jbg
Tuesday, May 31, 2011
Tuesday, May 24, 2011
(I Distinctly Heard You Say) Still Got You
Listen...
So... yet again, a month-plus passes without a peep, marshmallow or otherwise.
But it's not for lack of effort, really. I promise.
To wit, the efforts have resulted in:
Licensing In the Morning to 12 shows and networks, including: The new "Teen Wolf" on MTV (no, I'm not kidding: apparently werewolves are the new vampires) and a blanket license for any show on Discovery and its suite of networks.
This, is a good thing.
Additionally, there are efforts being made on our behalf to secure some additional advertising and movie licensing... more news as that comes in.
Individually, I've spent the last month wrapping up a really cool spring of Odyssey shows. Already some nice opportunities lined up for the fall, including a September trip to Jackson, Mississippi, to perform at Millsaps College.
And finally, we are in the swing of triathlon season, having completed our first race at Galena this past weekend... both Andrea and I overcame some obstacles to finish more than 6 minutes faster than we did last year at the same race. We were both really pleased and are looking forward to our next race in Lake Geneva next month, and then to the Chicago Triathlon in August for Andrea and the (gulp) Ironman Wisconsin race in September for me.
So... that's my excuse for not blogging more often.
And I'm sticking to it.
Now, on to a quick exegesis of the sixth tune on In the Morning... Still Got You.
This song turned out almost exactly as I heard it in my head when I wrote it. I wanted something upbeat, rocking and loose.
I tried to walk a line with the lyrics between simple and profound. I guess one doesn't need to walk a line between the two but... simple can very very easily be shallow, and I was hoping to capture something simple, elemental but ultimately meaningful.
The idea was to embrace this basic idea of being "okay" (which I've talked about in previous songs like Fading Days) but be able to simultaneously acknowledge some of the shit from the past. And try to be a little... I don't know, maybe playful with it? Wry? Something... less than heavy.
So I peppered these lyrics with a lot of real life stuff from when I went through my separation and divorce...
Yes: I did sleep on the couch in front of the television for... two years. Not because there was anybody in the bed I was avoiding, but because there was nobody and I needed the company of the blue light.
And that's okay.
Yes: there are streets that remind me of particularly difficult times, certain goodbyes.
And that's okay.
Because I've still got everything, all of my life, good and bad. And out of all that shit grew the incredible life that I have today, with my amazing wife and family and friends and music.
It's essentially the antidote to the sentiment of Things We Would Rather Lose (and there's a "skyscraper hearts" reference to boot).
I think I also had classic Motown in mind... the line about "seeds" is an homage to The Onion Song on Marvin Gaye/Tammi Terrell... and the chord pattern/harmonic progression is a straight up Motown rip-off (c.f. C-Lo, F*ck You).
For the recording of this one, we wanted an early Wilco, live-in-the-studio feel... but first, the band had to banish a couple of my stupid arrangement ideas to the "overly-cerebral-songwriting" graveyard. I had a modulation for the last verse and a couple other things which just detracted from the garage band feel of the tune as we ran it... so Drew deftly created the guitar solo chord pattern and the rest of the tune fell into place. We initially intended to fade the end, but the band sounded so good on the outro, and the end is so fun (including my stupid semi-sarcastic G'n'R meets Gershwin guitar quote) that we kept everything.
I went after the guitar solos with a vengeance and the results were one fairly composed Allman Bros-esque result for the main solo and a semi-unhinged outro passage. Very cool.
Finally, we went after some conversational vocals and Jay added backgrounds. And we had it.
So...
STILL GOT YOU
Can you tell that I've been down and out?
My heart's a bell and it's ringing, ringing loud
Been up all night and sleeping on the couch
In the blue light, just waiting and waiting and waiting and waiting now
Things change
That's okay
We're still here when the heartache fades
Still got you
Still got you
And nothing's gonna take it away
Now we dream of when it fell apart
How they beat, these skyscraper hearts
See the dawn following the dark
Feel the sun swallowing the stars
So... yet again, a month-plus passes without a peep, marshmallow or otherwise.
But it's not for lack of effort, really. I promise.
To wit, the efforts have resulted in:
Licensing In the Morning to 12 shows and networks, including: The new "Teen Wolf" on MTV (no, I'm not kidding: apparently werewolves are the new vampires) and a blanket license for any show on Discovery and its suite of networks.
This, is a good thing.
Additionally, there are efforts being made on our behalf to secure some additional advertising and movie licensing... more news as that comes in.
Individually, I've spent the last month wrapping up a really cool spring of Odyssey shows. Already some nice opportunities lined up for the fall, including a September trip to Jackson, Mississippi, to perform at Millsaps College.
And finally, we are in the swing of triathlon season, having completed our first race at Galena this past weekend... both Andrea and I overcame some obstacles to finish more than 6 minutes faster than we did last year at the same race. We were both really pleased and are looking forward to our next race in Lake Geneva next month, and then to the Chicago Triathlon in August for Andrea and the (gulp) Ironman Wisconsin race in September for me.
So... that's my excuse for not blogging more often.
And I'm sticking to it.
Now, on to a quick exegesis of the sixth tune on In the Morning... Still Got You.
This song turned out almost exactly as I heard it in my head when I wrote it. I wanted something upbeat, rocking and loose.
I tried to walk a line with the lyrics between simple and profound. I guess one doesn't need to walk a line between the two but... simple can very very easily be shallow, and I was hoping to capture something simple, elemental but ultimately meaningful.
The idea was to embrace this basic idea of being "okay" (which I've talked about in previous songs like Fading Days) but be able to simultaneously acknowledge some of the shit from the past. And try to be a little... I don't know, maybe playful with it? Wry? Something... less than heavy.
So I peppered these lyrics with a lot of real life stuff from when I went through my separation and divorce...
Yes: I did sleep on the couch in front of the television for... two years. Not because there was anybody in the bed I was avoiding, but because there was nobody and I needed the company of the blue light.
And that's okay.
Yes: there are streets that remind me of particularly difficult times, certain goodbyes.
And that's okay.
Because I've still got everything, all of my life, good and bad. And out of all that shit grew the incredible life that I have today, with my amazing wife and family and friends and music.
It's essentially the antidote to the sentiment of Things We Would Rather Lose (and there's a "skyscraper hearts" reference to boot).
I think I also had classic Motown in mind... the line about "seeds" is an homage to The Onion Song on Marvin Gaye/Tammi Terrell... and the chord pattern/harmonic progression is a straight up Motown rip-off (c.f. C-Lo, F*ck You).
For the recording of this one, we wanted an early Wilco, live-in-the-studio feel... but first, the band had to banish a couple of my stupid arrangement ideas to the "overly-cerebral-songwriting" graveyard. I had a modulation for the last verse and a couple other things which just detracted from the garage band feel of the tune as we ran it... so Drew deftly created the guitar solo chord pattern and the rest of the tune fell into place. We initially intended to fade the end, but the band sounded so good on the outro, and the end is so fun (including my stupid semi-sarcastic G'n'R meets Gershwin guitar quote) that we kept everything.
I went after the guitar solos with a vengeance and the results were one fairly composed Allman Bros-esque result for the main solo and a semi-unhinged outro passage. Very cool.
Finally, we went after some conversational vocals and Jay added backgrounds. And we had it.
So...
STILL GOT YOU
Can you tell that I've been down and out?
My heart's a bell and it's ringing, ringing loud
Been up all night and sleeping on the couch
In the blue light, just waiting and waiting and waiting and waiting now
Things change
That's okay
We're still here when the heartache fades
Still got you
Still got you
And nothing's gonna take it away
Now we dream of when it fell apart
How they beat, these skyscraper hearts
See the dawn following the dark
Feel the sun swallowing the stars
Things change
That's okay
We're still here when the heartache fades
Still got you
Still got you
And nothing's gonna take it away
Where the streets mark memories and goodbyes
We planted seeds which are growing to the sky
From the cracks in the pavement in our eyes
Coming back as proof that we survived
Things change
That's okay
We're still here when the heartache fades
Still got you
Still got you
And nothing's gonna take it away from me
jbg
Friday, April 15, 2011
Here and There (Dry)
Listen...
Yet another lapse in publishing... largely due to traveling here and there (mostly there) for some wonderful Odyssey performances.
It's not every month you find yourself in Rochester, New York, and Fayetteville, Arkansas, on successive weekends, to perform a folk opera. Isn't there an old proverb about that? Also, has anyone ever started a Kansas cover band called Arkansas? Probably.
On to the next song on In the Morning...
Dry.
Yet another lapse in publishing... largely due to traveling here and there (mostly there) for some wonderful Odyssey performances.
It's not every month you find yourself in Rochester, New York, and Fayetteville, Arkansas, on successive weekends, to perform a folk opera. Isn't there an old proverb about that? Also, has anyone ever started a Kansas cover band called Arkansas? Probably.
On to the next song on In the Morning...
Dry.
There's actually not much to say about this one.
Lyrically, it is what I like to call a "promise song." It had been a long long while since I was able to write about the future, and I took this opportunity to try and say everything I could to my then girlfriend, soon-to-be-fiancee, now-wife.
I recorded an acoustic version of this song as a wedding present and we played it at our ceremony.
And it was the first song we recorded for the In the Morning sessions... the live arrangement was frighteningly simple and we got a good take pretty quickly. I wound up redo-ing the guitar part with a wonderful tone on my old Gibson... and I played with my fingers rather than a pick, which seemed to be one of those small recording decisions which made a huge difference.
We brought in a guy named Brian Wilkie to record some pedal steel and he knocked it out of the park. Did like 3 takes, any of which we could have used almost wholesale. Really beautiful playing.
I did the vocals very quickly without thinking. The best way to do vocals.
And we got a really pleasant sounding mix.
I really love this song for its simplicity.... there are a couple little personal references... to old songs, to specific things between Andrea and me... and I guess writing this song made me realize that there's a subtle dark undercurrent to every shining love song... namely that when you consider staying with someone for the rest of your life, you also have to consider mortality...
But that's a little bit heavy for today.
So... here are the lyrics.
DRY
I'll take away all your sorrow
I'll take away all your pain
Before today becomes tomorrow
I'll say the things I couldn't say
'Cause time won't wait for us
The sky might open up
But I will keep you dry
Until we're gone
I will try and change the season
As summer fades and embers smoke
If the fight destroys the reason
I'll write the song I never wrote
'Cause time won't wait for us
The sky might open up
But I will keep you dry
Until we're gone
I will cry when you are grieving
I will smile when you are true
When the time has come for leaving
I'll fly with you into the blue
'Cause time won't wait for us
The sky might open up
But I will keep you dry
Until we're gone
I will keep you dry
Until we're gone
jbg
I recorded an acoustic version of this song as a wedding present and we played it at our ceremony.
And it was the first song we recorded for the In the Morning sessions... the live arrangement was frighteningly simple and we got a good take pretty quickly. I wound up redo-ing the guitar part with a wonderful tone on my old Gibson... and I played with my fingers rather than a pick, which seemed to be one of those small recording decisions which made a huge difference.
We brought in a guy named Brian Wilkie to record some pedal steel and he knocked it out of the park. Did like 3 takes, any of which we could have used almost wholesale. Really beautiful playing.
I did the vocals very quickly without thinking. The best way to do vocals.
And we got a really pleasant sounding mix.
I really love this song for its simplicity.... there are a couple little personal references... to old songs, to specific things between Andrea and me... and I guess writing this song made me realize that there's a subtle dark undercurrent to every shining love song... namely that when you consider staying with someone for the rest of your life, you also have to consider mortality...
But that's a little bit heavy for today.
So... here are the lyrics.
DRY
I'll take away all your sorrow
I'll take away all your pain
Before today becomes tomorrow
I'll say the things I couldn't say
'Cause time won't wait for us
The sky might open up
But I will keep you dry
Until we're gone
I will try and change the season
As summer fades and embers smoke
If the fight destroys the reason
I'll write the song I never wrote
'Cause time won't wait for us
The sky might open up
But I will keep you dry
Until we're gone
I will cry when you are grieving
I will smile when you are true
When the time has come for leaving
I'll fly with you into the blue
'Cause time won't wait for us
The sky might open up
But I will keep you dry
Until we're gone
I will keep you dry
Until we're gone
jbg
Tuesday, March 22, 2011
Fading Days
Listen...
Who can go two months between posting?
I can. Yes, I can.
Already almost a quarter of the way into 2011 with very little chance to catch our breath... because of mostly good things.
We officially released In the Morning this month, coordinated with a big college radio push to 300 stations. Results so far seem good: the record has been added to and played at about 150 stations, and only rejected from 10. Additionally, we've seen top 30 chart placement as high as number 3 on some stations, which is higher than Things We Would Rather Lose ever made it. Looking forward to seeing how the next month goes and how many additional stations add and play it.
It's available on iTunes, Amazon, and online retailers including CDBaby and Quell Records.
It's always interesting getting a little distance from a recording project. There is such an intense focus on it, from writing to pre-production to recording to pressing and marketing... you start to lose perspective on it somewhere in the process, and it's not until months after it's done, when you stop listening to and thinking about it all the time, that you can really assess what it means, how it turned out, and how you feel about it.
Sometimes it takes years to sort it all out.
So this week, as I've been working on press, radio, publicity and licensing, I've been listening to In the Morning again.
Maybe for the first time, actually.
And I like it.
A lot.
I'm proud of it and I think it says exactly what it means to say and sounds the way it should sound.
Actually, if I had to pick my favorite thing about all three Paper Arrows records, it would be that: a sense that each record (and really, each song) sounds the way it should sound. And each record embraces its own unique identity for (mostly) better or worse, but always for the sake of honesty.
On a personal note, I'm especially proud of the lyrics. They fit next to Look Alive and TWWRL, but I feel like I found a slightly different voice on this one... something both more personal and a little more universal, easier to grab onto.
So in honor of getting back into In the Morning, I'm going to finish what I started late last year, and do a little posting on each of the remaining 7 songs in the hope that it encourages readers to check the record out, and also because it helps me understand what I wrote and where to go next...
Today's song: Fading Days.
(Deep breath)
This one is a bear.
I think it qualifies as what I call a "kitchen sink" tune... I tried to throw everything I had into it, every meaningful image, every poetic device... every theme from the album as a whole.
I'll begin with the recording of it and then get to the lyrical content.
This is one of the few songs on which we started with a concrete idea of where we wanted to take the production and overall sound. We worked a wonderfully simple arrangement... and this song contained one of my favorite collaborative moments... well, ever. We got to the bridge and in about 30 seconds, everyone in the room contributed an idea, from the texture to the chord progression, down to leading tones on each instrument.
I wish this moment was recorded because it was just a beautiful example of everyone sublimating the ego for the betterment of the song.
Drew came up with a fantastic little variation for the double chorus at the end. And we had an organic and very live skeleton upon which to create the rest of the sound.
Darren added a second drum kit, and even with two drum tracks, the song maintained a certain amount of sonic space. I believe Drew added an organ track to go with the live piano he tracked. I was able to use my live rhythm guitar track in its entirety, which is always a nice feeling (all those lessons, finally paying off!).
This song has maybe the most involved guitar part on the record: a dense, Jimmy Page inspired lead track that fills up the choruses. Jay and I wrote and recorded this two nights before the Chicago Triathlon. I remember because I was abstaining from drinking for the race, which in the studio feels... different. I generally really enjoy a beer while I record, especially for tracking guitars. But in this case, I think I focused a bit better and the result is a simple but layered line which we doubled and put an octave pedal on for further impact.
I cut the lead vocals in Studio A and we did some cool layers on the choruses, making use of the space in the Vault... which Jay augmented with his typically great background parts.
And... we had it. To my ears, an awesome combination of space and density (god, I sound like an idiot rock critic... oops, that's redundant).
Although I guess the space/density was what I tried to navigate with the lyrics. As I wrote above, the verses have a certain labored over approach. They all follow the same imagery pattern and somewhat tricky rhyme scheme. Which is in contrast to the simplicity (both in verbiage and theme) of the choruses.
The basic idea, which pops up all over In the Morning, is that of just being "okay" with things. Which sounds... simple? Trite? Boring? Stupid?
I don't know. I think when we go through loss we tend to focus on being "good" again, when really we have to feel "okay" before we can be "good." And we have to be "okay" with the stop and start nature of recovery, that even when we think we're "good," we're still going to have shitty days.
And Fading Days is a way better title than Shitty Days, and actually, as I write this I realize that Fading Days and Shitty Days are two different things entirely...
Wow. I'm now having an argument with myself on my own blog about my own lyrics.
One more point and then maybe I should shut up and post the lyrics: this song also has instances of me writing something I thought I should believe, but wasn't really sure if I did at the time (or even now still).
Does that make sense?
Sometimes I write things that I want to believe in the hope that the act of writing it and putting it in song will make it true. Or at least help me believe it.
Maybe like an act of prayer... which is something I'm starting to connect to the fourth Paper Arrows record, which I've been writing for the last few months...
Anyway, here it is:
FADING DAYS
If I could take your scars I'd lay them in a line
And stitch the skin with needle and thread
Like the thread that runs from your life to mine
And pulled us in until our damage met
If I could live your days I'd put them in the ground
And work the dirt until the colors bloomed
Like the red that runs in rivers in these rooms
Within my heart as it beats for you
Do the echoes ever keep you up at night?
Why did someone have to leave for us to get it right?
It's okay to still have fading days
I know you do
If I could catch your tears I'd drop them in the sea
Where they would mix and finally disappear
When they were gone you know our lives would be as clear
As the lights on the lines that lead us here
Who can go two months between posting?
I can. Yes, I can.
Already almost a quarter of the way into 2011 with very little chance to catch our breath... because of mostly good things.
We officially released In the Morning this month, coordinated with a big college radio push to 300 stations. Results so far seem good: the record has been added to and played at about 150 stations, and only rejected from 10. Additionally, we've seen top 30 chart placement as high as number 3 on some stations, which is higher than Things We Would Rather Lose ever made it. Looking forward to seeing how the next month goes and how many additional stations add and play it.
It's available on iTunes, Amazon, and online retailers including CDBaby and Quell Records.
It's always interesting getting a little distance from a recording project. There is such an intense focus on it, from writing to pre-production to recording to pressing and marketing... you start to lose perspective on it somewhere in the process, and it's not until months after it's done, when you stop listening to and thinking about it all the time, that you can really assess what it means, how it turned out, and how you feel about it.
Sometimes it takes years to sort it all out.
So this week, as I've been working on press, radio, publicity and licensing, I've been listening to In the Morning again.
Maybe for the first time, actually.
And I like it.
A lot.
I'm proud of it and I think it says exactly what it means to say and sounds the way it should sound.
Actually, if I had to pick my favorite thing about all three Paper Arrows records, it would be that: a sense that each record (and really, each song) sounds the way it should sound. And each record embraces its own unique identity for (mostly) better or worse, but always for the sake of honesty.
On a personal note, I'm especially proud of the lyrics. They fit next to Look Alive and TWWRL, but I feel like I found a slightly different voice on this one... something both more personal and a little more universal, easier to grab onto.
So in honor of getting back into In the Morning, I'm going to finish what I started late last year, and do a little posting on each of the remaining 7 songs in the hope that it encourages readers to check the record out, and also because it helps me understand what I wrote and where to go next...
Today's song: Fading Days.
(Deep breath)
This one is a bear.
I think it qualifies as what I call a "kitchen sink" tune... I tried to throw everything I had into it, every meaningful image, every poetic device... every theme from the album as a whole.
I'll begin with the recording of it and then get to the lyrical content.
This is one of the few songs on which we started with a concrete idea of where we wanted to take the production and overall sound. We worked a wonderfully simple arrangement... and this song contained one of my favorite collaborative moments... well, ever. We got to the bridge and in about 30 seconds, everyone in the room contributed an idea, from the texture to the chord progression, down to leading tones on each instrument.
I wish this moment was recorded because it was just a beautiful example of everyone sublimating the ego for the betterment of the song.
Drew came up with a fantastic little variation for the double chorus at the end. And we had an organic and very live skeleton upon which to create the rest of the sound.
Darren added a second drum kit, and even with two drum tracks, the song maintained a certain amount of sonic space. I believe Drew added an organ track to go with the live piano he tracked. I was able to use my live rhythm guitar track in its entirety, which is always a nice feeling (all those lessons, finally paying off!).
This song has maybe the most involved guitar part on the record: a dense, Jimmy Page inspired lead track that fills up the choruses. Jay and I wrote and recorded this two nights before the Chicago Triathlon. I remember because I was abstaining from drinking for the race, which in the studio feels... different. I generally really enjoy a beer while I record, especially for tracking guitars. But in this case, I think I focused a bit better and the result is a simple but layered line which we doubled and put an octave pedal on for further impact.
I cut the lead vocals in Studio A and we did some cool layers on the choruses, making use of the space in the Vault... which Jay augmented with his typically great background parts.
And... we had it. To my ears, an awesome combination of space and density (god, I sound like an idiot rock critic... oops, that's redundant).
Although I guess the space/density was what I tried to navigate with the lyrics. As I wrote above, the verses have a certain labored over approach. They all follow the same imagery pattern and somewhat tricky rhyme scheme. Which is in contrast to the simplicity (both in verbiage and theme) of the choruses.
The basic idea, which pops up all over In the Morning, is that of just being "okay" with things. Which sounds... simple? Trite? Boring? Stupid?
I don't know. I think when we go through loss we tend to focus on being "good" again, when really we have to feel "okay" before we can be "good." And we have to be "okay" with the stop and start nature of recovery, that even when we think we're "good," we're still going to have shitty days.
And Fading Days is a way better title than Shitty Days, and actually, as I write this I realize that Fading Days and Shitty Days are two different things entirely...
Wow. I'm now having an argument with myself on my own blog about my own lyrics.
One more point and then maybe I should shut up and post the lyrics: this song also has instances of me writing something I thought I should believe, but wasn't really sure if I did at the time (or even now still).
Does that make sense?
Sometimes I write things that I want to believe in the hope that the act of writing it and putting it in song will make it true. Or at least help me believe it.
Maybe like an act of prayer... which is something I'm starting to connect to the fourth Paper Arrows record, which I've been writing for the last few months...
Anyway, here it is:
FADING DAYS
If I could take your scars I'd lay them in a line
And stitch the skin with needle and thread
Like the thread that runs from your life to mine
And pulled us in until our damage met
If I could live your days I'd put them in the ground
And work the dirt until the colors bloomed
Like the red that runs in rivers in these rooms
Within my heart as it beats for you
Do the echoes ever keep you up at night?
Why did someone have to leave for us to get it right?
It's okay to still have fading days
I know you do
If I could catch your tears I'd drop them in the sea
Where they would mix and finally disappear
When they were gone you know our lives would be as clear
As the lights on the lines that lead us here
Do the echoes ever keep you up at night?
Why did someone have to leave for us to get it right?
It's okay to still have fading days
I know you do
Where there is none
Don't look for pain
You can call it love
'Cause all love's not the same
If we can stay
Then we'll both be saved
Do the echoes ever keep you up at night?
Why did someone have to leave for us to get it right?
It's okay to still have fading days
You know I do
jbg
Wednesday, January 26, 2011
Goes to '11
Two months since I last wrote?
Wow.
Almost like I've been preoccupied with... everything.
But never fear (I know, you were afraid): big plans for '11.
How do you top a year in which you made a career change, heard your music on TV, got married, recorded two albums, and played a month of shows without repeating a song?
More soon.
jbg
Wow.
Almost like I've been preoccupied with... everything.
But never fear (I know, you were afraid): big plans for '11.
How do you top a year in which you made a career change, heard your music on TV, got married, recorded two albums, and played a month of shows without repeating a song?
More soon.
jbg
Subscribe to:
Posts (Atom)