"Craig's Song"

This week's tune was written by a good friend of mine, thus the eponymous title. I contributed the last verse, perhaps some other words here or there, but other than vocal/guitar styling, I can't really claim the song as my own although over the years it feels I've turned it that way.

The song is basically a mash of two two-chord songs with a little play on "Em" and "A" in between. It's got great energy, and I've always dug the words, especially the opening verse.

As for Craig, I'm not sure if he was a wise man playing a fool or a fool playing a wise man. It never really mattered. I knew with Craig that I could depend on what mattered most. And it remains that way. I thank him for the tune.

CRAIG'S SONG

Every dying eye in this room
has got a fix on me and is seeing through
their magazines and color books...
I don't know how long I can stand

Every time I take a few
I find I got a few more left to lose
and your stealing me with your eyes and greedy looks...
I don't know how long I can stand

Didn't anybody ever tell you
that good things--they never stay the same
didn't anybody ever tell you
the only constant thing is change

Every other time I look at you
I get the feeling that I'm getting through
but I don't even know if I care...
who are you kidding anyway

And every time I try to try
I see you hanging in my sky
and I want to make you just go away...
who am I kidding anyway

Didn't anybody ever tell you
that good things--they never stay the same
didn't anybody ever tell you
the only constant thing is change

Zombie Apocalypse

"Zombie Apocalypse" has very little to do with zombies. Really it's about any paranoia, any myth of fear under which we attempt to umbrella our lives. I think there's no secret to the advent of zombies and end-of-times movies, books, tv shows in the last decade or so. Apparently there's also no lack of related songs.

The tune itself is new. It was conceived as a jam song, so it really would be best with electric, full-band, nice extended jam in the middle. But a single acoustic gets the idea across. Probably it's yet in draft form.

Lyrically I don't have much to say about it except I like the "they" in the song. It's so ambiguous. It's "them," you know? Them. And the they changes. They/them could be understood to change, anyway. When I jotted them down, I didn't think about it.

ZOMBIE APOCALYPSE

They say it's getting closer
It's feeling pretty scary
It's almost 'cross the river
It's feeling pretty heavy

C'mon, I think it's time we get on outta here
You know we've gotta get our shit together
We are supposed to meet them at the rendezvous
Yeah, yeah -- at the rendezous

Look at all these people
They're clogging up the highway
Don't look in the mirror
You're never going to make it

Images are closer than they appear
Everywhere I look they're closer closer closer
Do you think they'll ever make it to the rendezvous
Yeah, yeah -- the rendezvous

The truth is what you make it
We're always on our own
I've got a funny feeling
We're not in Kansas anymore

(rendition of the chorus)

"Albatross"

This next installment is one for which I can't really take much credit. It was written by my buddy Corey (of RSR and Ellison Station fame) and his girlfriend Monica. She wrote the lyrics, and he came up with the chord progression to follow. I'd like to think I've put my stamp on it, however, by making a few modifications here and there, altering the style a bit, and by adding the title. Typically when Corey brought a song to the band, as the singer I was given creative liberties and with such inevitably flavored it to my own tastes. That was the MO in general, though. Somebody brings a song in, and then the rest of us go to work on it.

Originally "Albatross" was a bit minstrel-like, maybe akin to some of the pop trend we've seen in recent years by groups like Mumford and Sons. At least when Corey first brought it to the group, that's what I thought of. My tendency is a bit moodier than that, a bit more melodic. Corey had some cool riffs that went along with the progression too, but they felt forced, and I cut them. That's always tough to do, but attachments don't fly when you're trying to help something become what it wants to be. To my ear, "Albatross" just isn't a riffy song. It's a folk song of one nature or another.

As for lyrics, I thought they were awesome, and the changes I made really were to suit my singing/playing style more than anything else. A wonky rhyme or syntax maybe. Of the original version I especially liked Monica's leap in the first two lines of the second verse. I don't recall her exact, original wording, but I dig her move from being anchored down to "wounds deeper than the ocean." There's no narrative connection, but the lines are tied by language--anchor, ocean. It's cool.


ALBATROSS

10,000 years or more, she said—I've been lost of flying
Far above my wings are spread—higher and higher I climb
Hold me down, hold me down—I can't float anymore
I desire to be on solid ground—won't you hold me down

All this time I'm looking around—for someplace to anchor me down
I've got wounds that would not heal—deeper than the ocean
Hold me down, hold me down—I can't float anymore
I desire to be on solid ground—won't you hold me down

From the clouds to the forest floor—I need you to touch me down
In your arms I will fold my wings—and I'll be safe with you

Hold me down, hold me down—I can't float anymore

I desire to be on solid ground—won't you hold me down