Ken Minty: Recent Episodes
Ken Minty
singer/songwriter from Yarra Valley, Australia. Struggling as much with modern times as with times past. I guess that makes me a chronic struggler.
In 2018 Dave (warfydave) Cooper sent me recording he had made, inviting me to contribute lyrics, vocals and steel guitar. Immediately on hearing the recording, the words to Lewis Carroll's “The Lobster Quadrille” (sometimes called “The Mock Turtle's Song) started running through my head. We recorded the track and Dave posted it on his SC website (https://soundcloud.com/warfydave). The song is still there at https://soundcloud.com/warfydave/lobster-quadrille-mix-4. The track I have posted here uses all the original stems except for the steel guitar (which I felt obliged to redo). It has been re-mixed and re-mastered. There are many versions of this song on SC, the only ones I strongly remember are by Bruce Klepper (at https://soundcloud.com/bruce-klepper-1/the-mock-turtles-songfeat-mark-ewart), and Steely Dan (at https://soundcloud.com/steely-dan-official/the-mock-turtle-song), but I am sure they are all worth a good listen.
The Lobster Quadrille appears in “Alice in Wonderland”. It is sung by the Mock Turtle while he and the Gryphon attempt to demonstrate the dance to Alice. John Tenniel's famous illustration (the cover art I have used) pictures both the Mock Turle and the Gryphon.
The Reservoir Dogs - a SC collaborative band consisting of Norbert (N.o.b.S.) Meyer, Tot., Andrea (Foresto) Martini and Ken Minty. We had done so many collaborations together we thought a band name would be appropriate. The song “Entranced Hearts” or “Hearts in Trance” - take your pick – originated as a percussive track by Tot. Norbert Meyer created a harmonic background with electric organ and a punchy bassline. He onforwarded it to me (Ken Minty) for my input, so I added a 12 string guitar rhythm track, a melodic line, and lyrics (a sequel to Foresto's “October 7”). Andrea Martini then added electric guitar. Lastly - a quick and careful mix by Norbert, and, voila – the finished item.
Lots of links: Tot. : https://soundcloud.com/tot-beat N.o.b.S. : https://soundcloud.com/nobsmeyer Foresto: : https://soundcloud.com/user-959329289 Foresto's “October 7”: https://soundcloud.com/user-959329289/7october The Reservoir Dogs playlist: https://soundcloud.com/kcm069/sets/the-reservoir-dogs
Lyrics:
gardens grow by the light of the moon moonlight flowers bloom so soon then they’re gone
now the shadows are fading fast e’en the memory cannot last for long they’ll soon be gone shadows lightly dance at night a darkling dance through moonlight night ‘til the dawn the coming of dawn
love’s unlikely lunacy blooms and withers ceaselessly a shadow dancing to a moonlight beat
nourished by desire’s light glances grow to ecstatic heights of romance a passionate dance grasping with our callous hands we reach for those magic lands of romance our hearts are in trance our hearts are in trance
Fans of nonsense poetry will recognize lines and images from two of Edward Lear's most famous poems: “The Owl and the Pussycat” and “The Jumblies”. I wrote the song in 2004 and have performed it occassionally as a solo acoustic number without ever really capturing the darkness the lyrics demanded. Tot's precision percussion, Andrea (Foresto) Martini's freestyle electric guitar and Norbert (N.o.b.S) Meyer's bass guitar technique have provided that darkness. I have done a number of collaborations with these three excellent musicians and have created a playlist of our combined efforts at: https://soundcloud.com/kcm069/sets/the-reservoir-dogs I highly recommend a visit to their respective SC sites if you do not already know them. Tot. https://soundcloud.com/tot-beat Foresto https://soundcloud.com/user-959329289 N.o.b.S. https://soundcloud.com/nobsmeyer
The cover image is by ĐÔ NGUYỄN from Pixabay
Lyrics: let’s sail away for a year or a day to the shores of our own blue lagoon hand in hand at the edge of the sand we will dance by the light of the moon the moon, we will dance by the light of the moon
far and few, far and few, are the lands where the pure of heart live on a winter’s morn at the height of a storm we’ll go to sea in a sieve
we are creatures of light, we are creatures of darkness ‘tis a web of intrigue that we spin the passage is dark, the voyage too long and our friends all remark it is terribly wrong to sail so far for our sin
far and few, far and few, are the lands where the pure of heart live on a winter’s morn at the height of a storm we’ll go to sea in a sieve
let’s sail away for a year or a day to the shores of our own blue lagoon hand in hand at the edge of the sand we will dance by the light of the moon the moon, we will dance by the light of the moon we will dance by the light of the moon the moon, we will dance by the light of the moon the moon the moon the moon
A one chord song about striking out on your own before full adulthood yet well after childhood. Maybe a bit lightweight, but no less real for all that.
Lyrics: o-oh hey, what is meant to be does anyone know what will happen to me o-oh hey, my will may be free but I am compelled by the vision I see
why wonder what is at the end of the road perhaps nothing more than a myth to explode so much to do, so much to know the journey is long but I’ve still got to go
this might be a game of chance that we play it might be a goal we will capture one day but if you think it is better to stay then open the door and get out of the way
This song was written by one of Australia's greatest songwriters, Archie Roach, in 1990 and was included in his first album “Charcoal Lane”. I have seen Archie live many times – he gives such great performances that I was a bit dubious about posting my own version of his song. I justify the posting on two grounds: one, this is not one of Archie's best known songs, and, two, I have done this song many times in small venues. If you wish to hear what this song really should sound like, go to: https://www.youtube.com/watch?v=7Wy9sxcxOFU for Archie Roach's original version.
The cover image is by Gerd Altmann from Pixabay.
Lyrics: Sitting here in a lonely old guest house I'm sure that my life is all through Scratching fleas and watching a grey mouse and making love to the memory of you
For without you I'm weak and uncertain And I feel so naked and cold Like a window without any curtains My innermost feelings unfold
The drink I just had It wasn't as bad as the first But drinking won't do When it's only for you I thirst
For your kiss it quenches all burning It's sweeter than the sweetest of wine Now you're gone I find myself yearning For the love that I left behind
Nobody can heal the pain that I feel inside And if I said I'm strong and I'm never wrong I lied
Nobody can heal the pain that I feel inside And if I said I'm strong and I'm never wrong I lied. I lied.
In August 2019 I posted a track made with Adelmo Silva in the EDM genre. Adelmo did the mix. This is a remix of the same track with emphasis on the rock side. Except for the guitars and some of the percussion I have used the same stems we put down in the original mix (and have shortened the song somewhat). Adelmo has disappeared from SC (as he does sometimes) so I cannot give his SC address, but the original track is still at https://soundcloud.com/kcm069/adelmo-ken-minty-let-your-hair-down. Hope I have not made too much of a mess of it
Lyrics: if the wine you drink and the lips you kiss end in tears, not in bliss just let your hair down, let your hair down
whether seen from above, or seen from below it's just a scene from a puppet show so let your hair down, just let your hair down
let your hair down, run through the jungle
Written for the 70th birthday of family friend Johanna.
Lyrics: here’s a thought 'tween you and me about the world we share in the beat of these busy streets there's seldom time to spare memories of the past, strong now, fade at last we might forget the flavours of the potions we were sold but we’ll recall the sum of all the stories that they told
the destinies of mice and men cannot be foretold we pursue, as all must do, our syncopated goals we seek to find some peace of mind, bring nothing to leave behind though our youth might run its course our lives are not forlorn so celebrate both long and late the date that you were born
cover image by Gerd Altmann from Pixabay
The lyrics to this song are a variation on those in The Riverton's “Papa Oom Mow Mow” released in 1962, and used most famously by The Trashmen in “Surfin' Bird” in 1963. These nonsense words create a deep and compelling rhythm which I felt would be very appropriate to this track - which is really about comparing a heavy 4:4 rock beat to an equally heavy 5:4 rock beat. While classical, traditional and jazz based music are quite comfortable with eccentric rhythms, Rock has not been so (with a few notable exceptions, such as Pink Floyd's “Money”). I wrote this song to try to figure out why. I still don't know why, but here is the song.
The cover art is an Image by Iván Tamás from Pixabay
Guitars and Keyboard by Ken Minty Recorder by Marcia “WhistleWeaver” Phillips. To hear more of Marcia's exceptional music please visit: https://soundcloud.com/whistleweaver Many thanks Marcia for taking part in this project. Cover Art by Karsten Paulick from Pixabay
Rat was the son of Rat, by Rat - one of a litter of 5 males and 6 females, whose names, respectively, were Rat, Rat, Rat, Rat, Rat, Rat, Rat, Rat, Rat, Rat and Rat.
Rat was a truly remarkable rat, beyond doubt, the rat of his generation. As is the nature of rats, Rat grew up very rapidly, and was soon wondering about the nature of life. Having become a master of the maze, he made it his life's purpose to inspect every facet of life and the universe. Rat is known mainly for developing the theory, and refining the practice, of the domestication of humans. He was the first to observe that domesticated humans do have a limited number of primitive emotions, the most important being loyalty. This seminal work was later further developed by his great-grand-daughter, Rat, who showed that, with training, humans could even display love at the most basic level. It is pertinent to point out that Rat was widely travelled – he explored, not only the entire building in which the lab is housed, but also a large part of the surrounding grounds, and even visited some sewers and other interesting constructions. He was a gifted intellectual, lived a long and fruitful life (almost three and a half years), was the progenitor of several hundred descendants, and will be remembered by ratkind until the end of the laboratory.
Rest in Peace, Rat
Long Time Gone was originally written as a “swing” blues for a recording session with Bill Kavanagh's Blues Affliction in 2014 (SC link below). In keeping with my fascination for eccentric rhythms, I later thought I would try it in a 7 beat meter. The result was good enough that I asked Foresto, N.O.B.S., and Tot. to give me a hand. These very talented musicians had joined with me previously on “Heart of Snow” (SC link below). The track came out even better than I had hoped ... retaining all the characteristics of a rock/funk boogie while losing none of the odd feel of the unusual meter.
Credit to: Andrea Martini aka Foresto (electric guitar) https://soundcloud.com/user-959329289 Norbert Meyer aka N.O.B.S. (bass) https://soundcloud.com/nobsmeyer Tot. (percussion) https://soundcloud.com/tot-beat I can be held to account for the lap steel, acoustic guitars and vocals
Cover image: L.Moonlight, acquired through Pixabay https://pixabay.com/users/LMoonlight-236255/ Swing blues version with Bill Kavanagh's Blues Affliction: https://soundcloud.com/kcm069/03-long-time-gone Previous collaboration with Foresto, N.O.B.S., and Tot.: https://soundcloud.com/kcm069/heart-of-snow-w-tot-foresto-n-meyer
Lyrics we're a short time here and a long time gone we're just a short time here but we're a long time gone make hay while the sun shines you can't once it's down
you might dance with the devil but that don't make him your friend you might gamble on the devil but that don't mean you're gonna win best to keep your cards close you just might meet him again
perhaps I'm just a fool behind a sage's mask I keep posing questions only heathens ask may be come judgement day I will pay for my faithless past
we're a short time here and a long time gone we're just a short time here but we're a long, long time gone make hay while the sun shines you can't once it's down
yes we're a long, long time gone
This song first entered my mind while I was comparing translations of the poetry of the remarkable Song dynasty poet Li Qingzhao.
The attraction I have to Li Qingzhao's work is twofold - firstly: the sheer power of her expression, which speaks to me through each and every translation (some translations being so different that I often fail to recognize them as being the same poem) - secondly: her “Ci” poetry, is, for all practical purposes, songwriting. “Ci” poetry began as lyrics to be sung to tunes both popular and original, not unlike the “12 bar blues” or “rock and roll” songs of the modern world.
The imagery used in this song largely comes from her Ci poem “Banana Trees”, but should in no way be thought of as a translation - I do not pretend to have that kind of scholarship or talent. It is, at best, a re-working of theme and image for a contemporary context.
I do not know the original source of the cover art I have used here, but I found it at http://www.chinesetimeschool.com/en-us/articles/li-qingzhao/. There are no extent images of Li Qinqzhao from her own time.
Lyrics: looking from our door, I see the poplars that we planted their green shadows fill the lawn their green shadows fill the lawn, leaves a-flutter in the breeze, in the quiet of the moment, they seem to share my thoughts
they seem to share my thoughts, I recall a last farewell at the gateway of our home at the gateway of our home I listen to the sound, in the quiet of the moment, to the rustling of leaves
the rustling of leaves, a sound you’ll never hear again it breaks my heart it breaks my heart we can no longer share our thoughts, in the quiet of the moment, looking from our door
This song started life many years ago as an instrumental piano boogie. At some stage I decided to add vocals, but only ever wrote one verse before other events intervened ,,, so ... the lyrics never got finished and the song never recorded. I have been a follower of the extraordinary vocalist, poet and songwriter W. E. Bartolotta (Bill) on SC for some time now, and one day, in my head, I heard “Life of the Party” in his voice. I contacted Bill, who was quite enthusiastic about a collaboration, so I passed on what I had, along with a preliminary recording. After some back and forth, we arrived at this final result.
Credits belong to: W. E. Bartolotta: lyrics, arrangement and vocal Ken Minty: music, lyrics, piano, bass and lap steel John Walsh: mouth harp Mike Konopka: percussion, bass, sound engineer, arrangement and mix
Please check out Bill's SC site at soundcloud.com/user-233624083 … I promise, it will be well worth your while.
Image by Tom and Nicki Löschner at Pixabay.com
Lyrics: have the words ever hung from the tip of your tongue but you knew not what to say i know how you feel it¹s no big deal you will survive another day still if you wish some assistance to keep that doubt at bay here is a fact for a winner, whether saint or sinner keep your cards in play cause you¹re the life of the party life of the party be free
some have the notion there exists a potion that can flip a fool to cool but when your stomach is churnin and you brain is burnin you may feel just a tool still if you need some assistance to keep that doubt at bay here is a fact for a winner, whether saint or sinner keep your cards in play cause you¹re the life of the party life of the party be free
there's no one like you in all the galaxy come join the party be free
some think life is merry just a bowl full of cherries each treat preceding the next some like to wallow in the causes they follow to fill up their emptiness still if you need some assistance to keep that doubt at bay here is a fact for a winner, whether saint or sinner just keep your cards in play cause you¹re the life of the party life of the party be free
Rodgers and Hart's “Blue Moon”, written in 1934, has been covered by so many great artists in so many distinctive styles that I shall not even attempt to list them. The song was written in 4:4 and all the versions I have been able to find are recorded in 4:4. Somewhere, and I do not remember where or by whom, I heard a version in 6:8 - if anyone can enlighten me, PLEASE DO! At any rate, as a soloist, I would do the song in 6:8 because it just swung so naturally in that meter. More recently while comparing the 4:4 and 6:8 versions of the song, I began to wonder if it could also be done convincingly in 7:8. Hence this recording. It consistes of 3 iterations, one in 8:8, one in 7:8 and one in 6:8. To give the recording more depth and consistency, I asked Dan (ProgRockDan) Lockhart to check it out and add whatever he thought the track could use. He very kindly, and promptly, did so. Many thanks Dan! The lead vocal, the rhythm guitar and the bass guitar are mine, Dan added percussion, the choral background and the instrumental orchestration. At 6 and a half minutes, this is a long and somewhat repetitive track, but, those with an interest in vocal phrasing and comparative ambience might find some reward in listening right through to the end. Dan "ProgRockDan" Lockhart can be found at: https://soundcloud.com/progrockdan1 The cover art is from Pixabay : https://pixabay.com/photos/alone-astronomy-blue-2297211/
“Bottle of Whiskey”, my attempt at a drinking song, is one of a handful of pieces which paying (and not-so-paying) customers would actually request and sing along with. It is easy to perform solo because of the simplicity and directness of the lyrics. It is also easy to perform in a band, or impromptu with other musicians, because there is nothing complicated about the music. This version features only two instruments, a lap steel and an overdubbed rhythm guitar ... hence the count-in … which, made after the recording of the lap steel, sounded so odd and out of time that I couldn't resist keeping it. Another version, made a few years ago with Bill Kavanagh's Blues Affliction, can be found at: https://soundcloud.com/kcm069/01-bottle-of-whiskey The cover image is from Pixabay, a free download site, at: https://pixabay.com/photos
PS: I know Gabriel is gonna “blow his trumpet” and not “ring his bell”, but I couldn't think of a suitable rhyme with “trumpet”, and no-one ever seemed to notice anyway.
Lyrics: bring me a bottle of whiskey, bring me a bottle of wine I’ll make my way to heaven some other time bring me a bottle of whiskey, bring me a bottle of wine let’s drink to my salvation one more time
now I believe in heaven, and I believe in hell and I believe that judgment day is nigh and I believe that Gabriel is gonna ring his bell and I believe that pigs might fly
so bring me a bottle of whiskey, bring me a bottle of wine I’ll make my way to heaven some other time bring me a bottle of whiskey, bring me a bottle of wine let’s drink to my salvation one more time
I guess I should consider what the gospels say you know I know you know the righteous way but bring me a bottle of whiskey, bring me a bottle of wine I’ll make my way to heaven some other day
As always, a pleasure, and an education, in working with EDM specialist Adelmo Silva. The music is straight from the mind of Adelmo, the lyrics from me. All electronic instruments (including percussion) are Adelmo's, the vocals and guitars are mine. The excellent and imaginative arrangement of the track is Adelmo's. I am, at this stage, working on an alternative, rock-based, arrangement - but that is some months away. Links to our previous collaborations: https://soundcloud.com/kcm069/i-gotta-getta-with-adelmo https://soundcloud.com/kcm069/sem-nome
Adelmo's SC site is: https://soundcloud.com/adelmolive
Lyrics: if the wine you drink and the lips you kiss end in tears, not in bliss just let your hair down, let your hair down
whether seen from above, or seen from below it's just a scene from a puppet show so let your hair down, just let your hair down
let your hair down, run through the jungle
One of my great failings (and I have many) as a writer of money making songs is that the kind of music I most like to write is not commercial. This song is typical. And what is the song all about? Well ... I'd tell you my friend ... but … but ...
Lyrics: ghost on the road ghost on the road ghost on the road ghost on the road
I see the rain I see the rain I see the rain I’d tell you my friend, but ... but ... is it really sane
Written by singer/songwriter Hamilton Camp in 1964, this song was most famously covered by Gordon Lightfoot (1966) and Quicksilver Messenger Service (1968). Perhaps not as well known as other apocalyptic protest songs of the time, such as “In the Year 2525” (Xager & Evans 1969), “It's Good News Week” (Hedgehoppers Anonymous 1965), and “The Eve of Destruction” (P F Sloan 1964) it has never the less survived the last half century, delivering a message still relevant to our times. I recorded this somewhat over-the-top version for no other reason than I really like the song.
Lyrics: turn around, go back down, back the way you came can’t you see that flash of fire, ten times brighter than the day and behold, a mighty city, broken in the dust again oh god, the pride of man lies broken in the dust again
turn around, go back down, back the way you came Babylon is laid to waste, Egypt’s buried in her shame their mighty men are beaten down, their kings have fallen in the ways oh god, the pride of man lies broken in the dust again
turn around, go back down, back the way you came terror is on every side, all the leaders are dismayed for those who put their faith in fire, in fire their faith shall be repaid oh god, the pride of man lies broken in the dust again
turn around, go back down, back the way you came shout a warning to the nations that the sword of god is raised on Babylon, that mighty city, rich in treasure, wide in fame it shall cause thy towers to fall in a sea of fire and flame oh god, the pride of man lies broken in the dust again
oh thou that dwell on many waters rich in treasure wide in fame bow unto a god of gold, thy pride and might shall be thy shame oh god, the pride of man lies broken in the dust again and only god can lead the people back onto the earth again
thy holy mountain be restored thy mercy on thy people Lord
This song, a companion piece to “The Valley of Falling Pianos” (https://soundcloud.com/kcm069/the-valley-of-falling-pianos), leaves a lot of questions unanswered. It does not specify, for example, the consequences to a house of having a family of 6 ton squirrels living in the attic, nor does it address the issue of why the Carduchian Squirrels are piano players instead of, for instance, guitar players (it has been theorized that their fingers are too big and stumpy for guitar playing). There is also the issue that the lyrics to the bridge of the folk-song are, in fact, taken from Lewis Carroll's poem “Jabberwocky”. It is clear case of anticipative plagiarism, the words having been purloined more than two millennia before they were even written. Lastly: what do the squirrels do with their pianos after they are finished playing them? This question, at least, I can answer - in a supreme fit of enthusiasm they hurl the pianos up into the atmosphere with such force that the instruments disappear from sight, presumably never to return to earth. Let this track be a warning to you - for if a Carduchian squirrel ever gets into your attic, it is best to turn off the TV and begin to search for alternative living quarters.
Lyrics: The squirrels of Carduchia are a little known species of mammal that dwell only in the valleys and high plains of the Carduchian Mountains Like squirrels everywhere, they love to invade the attics and wall spaces of the local houses where they can resolve family differences, hold track meets, have band practices and generally live life to the max. There is, however, one distinguishing feature of the Carduchian squirrel - they are the size and weight of elephants. In fact, they are elephants. Due to a poorly thought out fostering program they have grown up thinking they are squirrels. Be that as it may. the Carduchian squirrel can often be found sitting by a blazing campfire, playing the piano and singing the traditional folk songs.
hark to my words, O ye rodents, and prepare I’ve seen the future, and heard the song of despair you can fly from the owl, run from the cat you know where they’ve been and you know where they’re at but hark to my words, O ye rodents, and prepare
beware the jabberwok my son the jaws that bite, the claws that catch avoid the jubjub bird and shun the frumious bandersnatch
hark to my words, O ye rodents, and prepare the future approaches, feel the frost in the air so gather your treasures, hide them away, beware of the season, the cold endless days hark to my words, O ye rodents, and prepare
hark to my words, O ye rodents, and prepare hark to my words, O ye rodents, and beware
It has been my very great pleasure to work on this track with three talented musicians, to wit: Foresto, on electric guitar, who has a unique and arresting free style Tot., whose percussion is at once precise, restrained and immensely clever and Norbert Meyer with a driving and captivating bass guitar
I must say: what a magic rhythm section Tot. and Norbert make!!!
Tot. can be found at: https://soundcloud.com/tot-beat Foresto at: https://soundcloud.com/user-959329289 and Norbert Meyer at: https://soundcloud.com/nobsmeyer
For original and interesting music, all three of these musicians are worth more than just a casual visit.
Lyrics: I watched you dance last night, swinging in the light, with a heart of snow the air was winter still, frozen in the chill, of your heart of snow
you make me feel we might conspire, let’s always play the game for real and let our twinned desire, melt your heart of snow
you always move so nice, clean and cold as ice, with a heart of snow though the air is cold, you warm me with the glow, of your heart of snow
you make me feel we might conspire, let’s always play the game for real and let our twinned desire, melt your heart of snow
swinging in the light clean and cold as ice set my heart on fire melt your heart of snow heart of snow heart of snow
I composed this fugue some years ago partly as an investigation into the properties of the 9:8 meter, and partly to check out some of the tools available for writing digital music. There are no vocals, the instruments are all synthesized and the instrumental parts are all largely constructed rather than played … the idea being to concentrate on composition rather than instrumental technique. It was my first real foray into synthesized sound, hence the title.
The picture is part of an image I found at: humansarefree.com
In December 2017 I collaborated with Adelmo Silva on “I Gotta Getta. I sent him vocal and rhythm guitar tracks, and Adelmo took it from there. I promised at the time to post the original song “in a week or so”. Well, it's been a long long week. The rhythm guitar and lead vocal tracks are the ones I sent to Adelmo … all the rest has been added since.
This song is about being human - there are days when you wake up thinking you have missed out on life, and worse, that is is your own fault!. Part-and-parcel with this realization are deeply held, if unrealistic, ambitions, and a largely illusory view of what life has to offer. Adelmo's remix can be found at: https://soundcloud.com/kcm069/i-gotta-getta-with-adelmo
Lyrics: I never had no passion and I never had no cool I never learnt a trade and I couldn’t finish school I never got to travel and I never saw the light but I gotta get some action and I gotta getta a life
I gotta find enlightenment and learn some cosmic things and I gotta have a reason to laugh and dance and sing but I’m dying on the dole, cannot find a good career and I’m running out of money so I gotta get outta here
now I wanna be a pop star, and have a hit or two and I wanna getta habit, cause that’s what pop stars do and I wanna be a S.O.B., and drink and screw and curse and when my fans get wind of it, I wanna make it worse
I gotta get some status, gotta getta female friend and I gotta have a party where the good times never end and I gotta getta Cadillac and drive it all around impressing all the sheilas with the power of my sound
I gotta getta I gotta getta I gotta getta I gotta getta, gotta get outa ...
This lyrically lightweight song has been with me most of my musical life. There have been many versions and rewrites, but it survives essentially intact from the day it was written. At the current time it is largely just a vehicle for instrumental improvisations … it's main reason for being is the fun in the performance. The words in the bridge are from a Hanna-Barbera cartoon (spoken by Mr Jinks from The Huckleberry Hound Show, though I cannot find the original cartoon). The ending is my own facetious way of resolving the harmonic and rhythmic tension of the song.
Lyrics: sitting in this loud cafe I hear you call my name I look around but you're not there sometimes I think that I've gone quite insane 'cause I hear your voice everywhere and I can't get you no I can't get you out of my mind
on a city beach I suddenly see your face I start to stand ... then you're gone this scene can happen any time or place whether in a crowd or all alone 'cause I can't get you no I can't get you out of my mind
hey, like, uhh, where went the pinano?
well I can't get you no I can't get you out of my mind
I guess I'll pack up and be on my way go back to where I belong don't know the date, or what my cellphone says but I know its time I was heading home 'cause I can't get you no I can't get you out of my mind no I can't get you no I can't get you out of my mind
Collaboration between Dave(warfydave) Cooper and Ken Minty.
It is unusual for me to post another track so soon after the last one (6 days in this case). Dave originally sent me a rhythm guitar and vocal scat for this song. Using the ideas I heard in his scat I put down some lyrics. We passed the song back and forth a couple of times and in only a few days were able to post a final result. Rarely do things work so well and so fast for me, but there was something in Dave's track that captivated me. Hope you enjoy our combined effort.
Dave Cooper - Acoustic guitar, Bass, Drums and Backing Vocals. Ken Minty - Vocal and Lap Steel Guitar. the mix is by Dave Cooper
More of Dave's music you can find at: https://soundcloud.com/warfydave
Jeanne d'Arc (Joan of Arc) was found guilty of heresy and burned at the stake at Rouen in 1431. Her story needs no retelling. The first two verses of the song are from the standpoint of her executioner, Geoffrey Thérage, who was haunted by his part in her death - according to Pernoud, Thérage stated that he "greatly feared to be damned” for his part in the affair. The third verse places this moral crisis in a more modern context. Rachel Cory (Rachel Aliene Corrie) died in Rafah, Palestine in 2003 while taking part “in efforts to prevent the Israeli army's demolition of Palestinian houses” (quote from: https://en.wikipedia.org/wiki/Rachel_Corrie , 06 Feb 2017).
Lyrics: take this image from my eyes this blazing angel offends my sight her light shines through my disguise of a man who knows wrong from right though she is consumed by flame she does not hold the fire to blame and though I’m moved to call her mad she symbolizes all I’ve never had
Joan of Arc made no outcry when her belief condemned her to the stake by that final sacrifice she showed a faith no mortal man could break though she is consumed by fire it only lifts her spirit higher and though I think her quite insane, it seems her love was greater than her pain
Rachel Corrie, where was her mind, she had a motive I don’t understand I’ve searched her short life trying to find a reason why I should not change my stand now she lies there in the dust I wonder just who failed her trust and though it’s true I knew her not, I’m wounded by a deep and feral thought
for all my claims to a higher road I do not have that which she holds
Album: Eyes of the Overworld
Involves some layering of rhythms using piano, bass, several guitars and, need I say it, percussion
Lyrics: this is my curse: revenge is a cord that binds me along this path waits my adversary
fate comes in many flavours, passions and pain the curse won’t be lifted until vengeance is gained
at journey’s end, only my foe shall mourn me when blood stains his sword, then I shall be free
Album: The Eyes of the Overworld
A dark and exotic love ballad.
Lyrics: a dark-eyed lass, forlorn enchantress, dwells on the Cape of Sad Remembrance, waits at night on a lonely beach, for that which comes in from the sea
her lover’s gone and he won’t return while the sea still stirs and the sun still burns the flowers that once seemed so sweet are dust beneath her feet
dance, children dance dance, to the rhythm of the sea dance, children dance dance, while you are young and free
a long lost lad on a lonely beach does not move and does not speak he cannot turn his sightless eyes away from the empty skies
his time is done, he won’t return while the sea still stirs and the sun still burns he whispers soft his lover’s name and does not speak again
dance, children dance dance, to the rhythm of the sea dance, children dance dance, while you are young and free
the flower girls of far Kauchique dance a dance of such sultry heat and sing such songs as might give birth to a broken heart on an empty earth
This piece was written specifically for use at “jam sessions” which are (or once were) common in the Yarra Valley. The structure is simple and most musicians grasp at once what is happening.
Lyrics: on a secret morn in the hours before dawn he slips to the dock with a silent song then sets off to sail through the dawn's first light she waits alone in the shadows of the pines with all of the patience a young heart can find watching the waves for that sail to come in sight
some would think they are made for each other for they are closer than sister and brother but nothing will happen if it's not in love's plan still, he might speak no english, she, no Japanese yet they see each other and both believe there can be no doubt - they'll understand, they sing the
the song, the song of love the song, the song of love they sing the song, the song of love the song, the song of love
you can sit him on her left, sit her on his right put them together in the pale moonlight but that don't mean anything is going to start yet he might live in New York and she in Hong Kong and if in his arms is where she belongs then nothing in heaven or earth will keep them apart, that's the
A ballad based on a poorly remembered story from my childhood.
Lyrics: I was born in the granite mountains on a bed of glacial scree where the cougar stalks its prey and the eagle screams there the ice-cold crystal river begins its journey to the sea through great dark brooding forests of mortal dreams
she lay in the arms of a lover, too weak to raise a tear in a cabin touched by the breath of a winter frost a child stood in the doorway caught ‘tween hope and fear but the blood and the stillness speak of future lost
so where have you gone my darling, is it a place of light and warmth? have you gone to laugh and play with your baby daughter? I cannot hear your laughter through the noise of this silent storm but you haunt the misty paths by the frozen water
behold a mighty river embraced by ice and snow caught in the bitter grip of the arctic night am I like that frozen river do I have too far to go will I ever bask again in summer light
so where have you gone my darling, is it a place of light and warmth? have you gone to laugh and play with your baby daughter? I cannot hear your laughter through the noise of this silent storm but you haunt the misty paths by the frozen water