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| Love Songs With Taste & Insight |
| band: Harvell, Cyndi |
| Album: The Night Turned To Song |
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(The cover art shown here is similar to the pre-release evaluation copy, and will be different when the package is finalized.)
"I'm gonna put a curse on you and all your kids will be born completely naked."
~ Jimi Hendrix
"I do think it's possible to go through life and never fall in love, or find someone who loves you."
~ Steven Morrissey
Cyndi Harvell knows what she's after. This collection of love songs has enough craft and insight to stretch to the outskirts of folk, and enough taste in the performance to reel in pop and rock fans who appreciate a good song. Since it must be impossible to go through life without knowing and losing love, I am happy to hear that these songs describe the specific clouds and whirlpools along love's landscape enough to fit my own experience. Just knowing these moments can be so clearly described strips naked my own confusion on the subject enough to accept that I wasn't alone going through all that. Sure, these feelings were Cyndi Harvell's and not mine, but they are close enough. Guess I wasn't alone after all, and that realization makes me a little more comfortable being human.
Case in point, the first song on this album has the distance to say Some Words About Moving On by the numbers. It's not a list, of course, but something deeper despite numbers one through five playing a part in the description. I don't know anything more confusing than the process of moving on, and it's broken many a man. So, hearing it mapped out with sufficient distance to tell it as it is can save some time, help with the repairs, or alleviate some pain. If you don't happen to be going through that muck while you listen, it brings a smile of recognition. I'd like to play that song at the Hamilton bar, where I've heard a few painful stories that sound fresh after years of separation. Might do some good.
What first struck me about this album was the simplicity and taste in the performance of these songs. I'm a big fan of slide guitar, but John Howland's Weissenborn slide guitar is played with the kind of mastery that is worthy of such a fine instrument. That thing has a tone no amount of fiddling with knobs can duplicate. I think John Howland's ability on the acoustic slide guitar warrants the creation of such a fine instrument. With Cyndi on acoustic and Mike Stevens playing all things percussive with inventive simplicity (drum kit, djembe, triangles, shakers, et cetera, et cetera), this folk band gives the song what it longs for.
Cyndi's voice and songwriting style exceed the boundaries established by Edie Brickell in her infectious one hit "What I Am." There's a collaboration of folk and country in the mix that makes the Harvell sound personal and welcoming. A sense of distance and whimsy about Cyndi's vocal style sells the songs without unnecessary cathartic drama. Reading through Ms. Harvell's lyrics, my mind wanders to W.B. Yeats fine rhythmic phrase, "Words alone are certain good." This is folk sung in it's own style, luring the listener into the lyric with a welcoming sound. These love songs see things from both sides without cheapening the mystery. Some of these songs define moments I didn't have a name for. Now I have a song to sing those memories into their proper places. I understand a little now what confused me before this album. This album gives me courage to let love take its course without feeling alone. To write about this music, I have to listen on a seemingly infinitely repeat. These songs kept me sporting that wry smile and nodding in recognition. The review is done, and I'm in a mood to hear it again. That's a fine album.
THE SONGS:
1. SOME WORDS ON MOVING ON (Harvell / Howland) takes the numerical approach to the subject of breaking up. Every breakup feels like it's unique, but first time you talk to another broken friend it seems like nothing that matters is much different. This song has enough distance to see it all clearly. What makes it powerful is something buried in the lyrics. "Raise your hand up if you should fall behind." See, all your friends will tell you, "You got to move on." That's when the sympathy starts to end and those who care will wave you on. This song has a little of the sound I like from Eddie Brickell's "What I Am." That's a hard quality to describe, and harder to find.
2. HOROSCOPE (Harvell) at first sounds like Jackson Browne's "These Days," with a different intention and unrelated lyrics. Always loved that song even when I thought Tom Rush wrote it. And that's a great feeling established with just a couple of chords and a finger pick technique in common, before the song goes off on its own. There's whimsy in the lyric, a sparkle of fantasy, and the wish for a partner would learn to feel and play. There's guy on TV this week says if you don't get to play, you think different. Some bad hard bitter folks didn't play enough. I like this song for it's prescription to believe in Horoscopes for a minute, if there's hope and heart in it. "If you listen up, you might hear your heartbeat." Knowing stuff isn't enough. "Tonight, my friend, the downside will be the up / Tonight, just when you think you got the whole world figured out." All those folks who know how things work seem to miss the point at least half the time. And they are hard to love, if you ask me.
3. SONG (Harvell) is the title cut in its way. There's an astonishing couple of lines that give the album it's name. "But somewhere the night turned to song / The melody sounded all wrong." The likely story would be harmony in the singing. Not so here. This is a moment along the slippery slope of a downturn. "Elation, you don't need to know all the words / Salvation, take you miles and miles from all this hurt." I guess these atypical gems along the rocky road have a sparkle stinging and sweet in contrast to where things are headed. The hero here is song and how it brings our voices together between the awkward silences. This Song is a waltz in the dark.
4. THE LIGHT (Harvell / Howland) would be welcome in the murky communication of the subject partner. Like he's pointing out the hard way for some reason, with a simpler faster route kept secret in his heart. "We're running up a mountain / We're sweating from the heat / We'd rather go around it / But you've blocked off all the streets." Light is the opposite of both heavy and dark. "I need a map and directions the big red X / where all your secrets are." I don't know, but this strikes a chord with me, how people leave clues when it would be simpler just to say it out. Sure, you can agree as a couple of the way things are to keep out of the thicket of thorny half-true explanations, but "I know, I know that time / won't take your side." That slide takes umbrage to the course of this steep conversation. I'm thinking this guy has control issues. Just one man's opinion. Song sounds light, but isn't. Accusations might be part of the bargain in this deal. "There's diamonds in your pockets / and silver up your sleeves / Your fingertips are pointed / straight ahead at me."
5. LIFE THAT I WOULD MISS (Harvell / Howland) strikes close to a lyric recitative talk sung kind of expositive thing. A single chord strummed with a thumb fast as a ticking clock establishes a monotony in the present day, while setting up a flight of fantasy in the chorus. No, this isn't the life. This guy in the ticky tocky part is like the man who makes you wish for an angel from Montgomery, coming home from work with nothing to say. "I wanted kids and a dog / Vacations in Rome and Prague / And London and Paris and Venice and Greece / Australia with someone." This is not my beautiful life, you might say. What is wrong with this guy? "Maybe just maybe I'll get out of this / and build me a life that I would miss." The fine point about this song of loss is more poignant since that "you" here hasn't really gone away. Just gone and present, if you take my meaning. What is the problem here? "I wanna be a little bit less like me." Know the feeling. One woman's Australia and Prague is another's "cowboy from some old rodeo" Harvell wrote this song in Prine time.
6. POSTCARD (Harvell) is the song of promises not worth the postcard they are printed on. "I write my number, don't think you'll call me / Just being pleasant, I'm not that naive / Never thought I couldn't fill a postcard." The end is in the beginning sometimes, and yet we go on. The word "nice" in this song feels appropriately hollow. Desire for something more screams from this song by omission. Even this false start had promise: "Somewhere, someday / this feeling will hit you like a wave / from miles away / just the aftershock of this earthquake." Don't know why these phone numbers don't get called. These aftershocks feel like regret to me. Pick up a phone, Cecil!
7. SLOW WAY (Harvell / Howland) opens with an attenuated feeling expressed in an angular finger picked figure. It's a composed song, with progression and transformation in the different rhythmic devices. Some times in life have that fits and starts feel. The chorus is all country, simple and sweet. "I don't wanna go by someone on the road side / driving on highway / Going eighty-five, I'll never see their eyes / I'd rather go the slow way / I'd rather go the slow way." The slide here has the tone of George Harrison's version of "If Not For You," though I think that was "Slow Hand" Eric Clapton on the guitar that day. When the road is hard to follow, you may as well take the scenic route. Now, apply that to our day-to-day relationships and I think you got this song. There's a hint at the Good Samaritan here worth heeding. As Charles Wright once said, "I found I could either lead a responsible life on earth or I could have a home in heaven." If you don't believe that, I have a "holy elevator" I could sell you.
8. ANYWHERE BUT HERE (Harvell) is that song maybe on the brink of a decision that would change everything. Odd how "just friends" in any context has a sting to it. "Say what you're feeling / Tell me, are we just friends / or is there something underneath?" This brink of a decision on his part puts the singer on the horns of a dilemma. I like how the first few lines are left to Cyndi and her guitar simple in a singer songwriter moment. The chorus defines this indecisive moment as an uncomfortable place in the landscape of human need. "And I wanna go back and I wanna stay home / Wanna be anywhere but here / And I wish I could ignore all these things that I fear / Wanna be anywhere but here." The feel of this part of the song is a bit of a road trip. Sure thing, you are only free at the moment of choice, but Cyndi points out clearly here if you wait long enough to feel that something more to the friendship, you may not have a decision left to make. Road trip! She's just about ready to to anywhere but here. Timing is everything. Long enough, and it's just not worth the wait. This flip flop friend hinting at love may just be enjoying the moment way too much. Wherever you go from here, it will at least be disambiguous. This isn't anywhere at all, come to think of it. "It's just so hard / I come so far, then fall apart / It's just too hard...." You can't be two places at once or you won't be anyplace at all.
9. PHOTOGRAPHS (Harvell, Howland & Stevens) takes me back to Proust. Now, I'm not kidding about that. There's this thing about voluntary and involuntary memory. If you want to know what it was really like sometime you remember, think of the smells and tastes, the details, and something takes you back like a photograph. Nothing at all like you remember it, mind you. This moment in time is only felt this way once. Memory does a different thing. By the time you make sense of a moment, it's no more real than some moral to the story. This song is sweet and light, but it points at something fine and strong. There are times we want to make part of us. Cyndi makes this a fine sweet romp of a song, but there's something deep in this thing. How we can't recall anything really, and memory is a poor substitute. "I'm waiting for the reason and the moment to agree / Waiting for photographs to find me, find me / find me, find me / find me, find me." I'd drag Michele Foucault into this thing, but I think he's misused enough and I only half understand him at best. Once again, there's some of the charm of Edie Brickell in the nice-and-easy about this song that speaks to something simpler and stronger. Try the Madeleine cookie, it tastes like childhood.
10. FOCUS (Harvell) is a page from the love's Field Manual on the rules of engagement. "I hear the sound / The shots are fired / Last one around / loses for life." Oh yeah, this is well understood. Anton Chechov once said, "They sit and have dinner and their fates are sealed." Maybe this song is about a loaded dinner conversation about to go off. "I'll never know what's wrong / You're always telling me what's wrong / Why do I have to be so strong? / Why do I have to be so strong?" There are some little sounds tossed in like Eno that sound like radiolocation or some sort of appropriate battlefield sonar in the mix at the beginning. This is a relationship worthy of a pith helmet. "If I can't win it, what am I good for? / What am I good for?" Is it worth fight for? Just know all these issues could be settled with a walk out that door. "Better keep your eyes wide / looking on the bright side." Yeah right! Keep positive, or else! Who hasn't been there? Show of hands. "I'm out of breath / I'm out of steam / I'm all out of answers / Somebody help me." I don't think this is what we signed up for. Focus! (And always know where to find the exit.)
11. STRONGEST MAN ALIVE (Harvell / Howland) brings out the brushes and the Happy Traum finger pick moving toward J.J. Cale for a bluesy romp for the sideshow performing man about town. Something like a walking bass line kicks this song into something like a set piece performed for humor in minstrelsy. Dan Hicks and his Hot Licks could give this song a worthy cover. The verdict: "The carnival, a sinking city / plays upon my sense of pity / plays me like there is just one more chance / I've kicked around enough cans and can'ts / to wear out all the sweet romance involved." Hotcha! Kicking cans and can'ts is clear enough, if you've been there. Sometimes getting your way just has that inflexible Carnival flavor. Hope this guy was worth the laugh. "Aim for 'strongest man alive.'" Go home with a kewpie doll. They are collectible!
12. ANCHOR (Harvell) is the song of drowning, not waving. "And I know I should just wave / the victim for them to save / But this anchor still holds me down / and that's a comfort somehow." This song feels connected in the singing. "I'm riding on the waves now / still tied to this anchor / Someone off in the distance / was yelling "somebody save her." Now maybe we get attached where no one would advise us. We could tap out and wave for help. But no! Maybe it's possible to swim with the anchor. I have a hunch what this metaphor is contemplating, and it's a messy business. But still and all there are times to jettison the ballast and move on. "But this anchor still holds me down / and that's a comfort somehow." Cold comfort.
13. ONE RAINY WISH (J. HENDRIX) is a bonus cut of the Hendrix classic. This choice of an extra tells me something about Cyndi Harvell as a musician. Hendrix was a genius of course, and this song does something very unusual. You can waltz to the beginning, but you have to do some other dance to the chorus. That waltz time and march time in the same song. Never noticed that in the Hendrix version. This cover shows a different facet of a cool song. That's a bonus.
14. STRETCH OUT AND WAIT (SMITHS) is another waltz this time from the Smiths. I love dark waltzes, and most of them in pop are dark enough. I've waltzed to "Oh, what a lucky man he was" with EL&P and shocked the dance floor waltzing to Hendrix' "Manic Depression." This rendition has a country feel and finds it's mark on this Morrissey creation. The Tennessee Waltz is another fine dark ballad. Just love that time signature. There's some slip sliding guitar bordering on Hawaiian coyly in the background that makes this a sweet country song louder than bombs, if you listen carefully.
Cyndi Harvell - (vocals, acoustic guitar)
Mike Stevens - (drum kit, djembe, triangles, shakers, and all things rhythmic)
John Howland - (weissenborn, lead guitar, harmony vocals)
THE LYRICS
1. SOME WORDS ON MOVING ON
(c) Harvell / Howland
Some words on moving on
You say goodbye and then you start with one
You start with one
You choose a place, and then you walk or run
Two, here's what you do
You turn away from what you're used to
Blinders on your eyes
It's straight ahead towards that big prize
Complication always invades your mind
Revelations come when you need a sign
Raise a hand up if you should fall behind, behind, behind
Tonight, tonight
Shadows in the moonlight
take me for a ride
and pull me right up to the line
say, "Come on over dear"
It's easier to stay right here
And so, you've come to be
at number three, not pulling teeth no more
just like you swore
at number four you'd be out
Realizations grab you and squeeze too hard
Punctuation sends you back to the start
Nine of ten times you'll be left with a scar, a scar, a scar
Tonight, tonight
Shadows in the moonlight
take me for a ride
and pull me right up to the line
say, "Come on over dear"
It's easier to stay...
About where you lose count
you'll be so close, but yet so far from moving on
Tonight, tonight
Shadows in the moonlight
take me for a ride
and pull me right up to the line
say, "Come on over dear"
It's easier to stay...
And that's why at number five
the tape rewinds and then you start with one
And then you start with one
2. HOROSCOPE
(c) Harvell
I read my horoscope today
Looks like some good is gonna come my way
Capricorn, you will meet a scorpio
who will share the secrets that he knows
If you listen up, he will tell you, he will tell you
If you listen up, you might hear your heartbeat
Tonight, my friend, the downside will become the up
Tonight, just when you think you got the whole world figured out
I read my horoscope again
Today's a good day to pretend
So I imagine I'm on an aero-plane
And I'm six years old with my sugarcane
And as for growing up, it never happened, it never happened
And as for growing up, you know we don't have to
Tonight, my friend, the downside will become the up
Tonight, just when you think you got the whole world figured out
And you can say that these horoscopes are just to entertain
And they might be, but couldn't you just smile and humor me?
If you listen up, I will tell you, I will tell you
If you listen up, you might hear your heartbeat
Tonight, my friend, the downside will become the up
Tonight, just when you think you got the whole world figured out
I read my horoscope today
Looks like some good is gonna come my way
3. SONG
(c) Harvell
You finished the last half of all my thoughts
Everyone smiled, everyone laughed a lot
Nobody tells you how heavy things can be
Nobody helps you with things they can't see
But somewhere the night turned to song
The melody sounded all wrong
But we found a heaven inside of these voices
singing along
Elation, you don't need to know all the words
Salvation, take you miles and miles from all this hurt
We drove home in silence so thick it hurt me to breathe
Remembering just how clear the silence once seemed
But somewhere this drive turned to song
Something we knew all along
came out in a chorus, between both our voices
singing along
Elation, you don't need to know all the words
Salvation, take you miles and miles from all this hurt
So weak, so weak that I fall down, I fall down
So sweet, so sweet to get up
Sometimes our lives turn to song
Sometimes the melody's wrong
But we found a heaven inside of these voices
singing along
Elation, you don't need to know all the words
Salvation, take you miles and miles from all this hurt
4. THE LIGHT
(c) Harvell / Howland
There's diamonds in your pockets
and silver up your sleeves
Your fingertips are pointed
straight ahead at me
And I can't read between your lines
You make it so hard to move along this far
I need a map and directions the big red X
where all your secrets are
Sleep all day, awake all night
Alone and undercover the dirty laundry dries
Sleep all day, awake all night
while I'm dreaming in my bed until the light
We're running up a mountain
We're sweating from the heat
We'd rather go around it
But you've blocked off all the streets
I can't read between your lines
You make it so hard to move along this far
I need a map and directions the big red X
where all your secrets are
Sleep all day, awake all night
Alone and undercover the dirty laundry dries
Sleep all day, awake all night
while I'm dreaming in my bed until the light
I don't, I don't know why
I can't, I can't read your mind
I know, I know that time
won't take your side
Sleep all day, awake all night
Alone and undercover, the dirty laundry dries
Sleep all day, awake all night
while I'm dreaming in my bed until the light
5. LIFE THAT I WOULD MISS
(c) Harvell / Howland
He walks through the door goes straight to the bed
to take off his shoes and lay down his head
So many hours of sitting alone
so many hours of answering phones
And he thinks I want more
Why is life such a chore
I wanna be an actor in a movie
or the chief of police
or a doctor who will cure disease
I wanna be a little bit less like me
like me
My car and my walls and my hair are gray
My dinner is cold and old by days
My neighbor comes home at half past two
And I'm sitting alone and watching the news
When did I get this cold, how did I forget
I wanted a wife, I wanted a life
I wanted kids and a dog
Vacations in Rome and Prague
And London and Paris and Venice and Greece
Australia with someone
I might lose my mind today
I might lose myself if I don't change
I might disappear into my boredom
Maybe it would do some good
to loosen some strings and let go of some things
that I held onto when I lost you
Maybe I'll throw all those phones away
I don't care what they say
Maybe the park instead of the bed
and when I get home I'll paint the walls red
Maybe just maybe I'll get out of this
and build me a life that I would miss
6. POSTCARD
(c) Harvell
I feel the ocean, I see the palm trees
In California always a warm breeze
Everything I fit onto a postcard
I write my number, don't think you'll call me
Just being pleasant, I'm not that naive
Never thought I couldn't fill a postcard
Somewhere, somewhere
I wrote all I thought I'd say
and it filled the page
Somewhere, someday
this feeling will hit you like a wave
from miles away
just the aftershock of this earthquake
I pick the phone up, pretend I'm dialing
pretend you're talking, pretend I'm smiling
I should really say it on a postcard
People are nice here, think I will like it
I found a job here, I even bike in
Doesn't matter if you get the postcard
Somewhere, somewhere
I wrote all I thought I'd say
and it filled the page
Somewhere, someday
this feeling will hit you like a wave
from miles away
just the aftershock of this earthquake
I let go of this three by five
confession of my perfect life
I am hoping you will like
this picture of the city at night
Somewhere, somewhere
I wrote all I thought I'd say
and it filled the page
Somewhere, someday
this feeling will hit you like a wave
from miles away
just the aftershock of this earthquake
7. SLOW WAY
(c) Harvell / Howland
Look around and everybody's running
trying to grab just a little bit more
Looking right in the face of each other
and gently close the door
Look around and all we see are strangers
Looking down we give our children swords
Fighting battles with our next door neighbors
Which side are you fighting for?
I don't wanna go by someone on the road side
driving on highway
Going eighty-five, I'll never see their eyes
I'd rather go the slow way
I'd rather go the slow way
Look around, you're calling for a savior
to help you down and to help you get up
But all you want is a holy elevator
What are we made of?
I don't wanna go by someone on the road side
driving on highway
Going eighty-five, I'll never see their eyes
I'd rather go the slow way
I'd rather go the slow way
We try to follow
We try to find it
We try to look past our mistakes and hide them
I don't wanna go by someone on the road side
driving on highway
Going eighty-five, I'll never see their eyes
I'd rather go the slow way
I'd rather go the slow way
8. ANYWHERE BUT HERE
(c) Harvell
Say what you're feeling
Tell me, are we just friends
or is there something underneath?
Always it seems that I'm hiding
the look in my eyes and the way that I smile
when you walk in the door
I'm watching these days go by me
So afraid that you don't see what I see
Can't speak and I can't seem to be myself
And I wanna go back and I wanna stay home
Wanna be anywhere but here
And I wish I could ignore all these things that I fear
Wanna be anywhere but here
I wake up in the morning
put my feet on the floor and
pull my head from the cushion of the clouds
Make up your unmade mind
A fire is hard to find
when it hasn't been lit
I'm watching these days go by me
So afraid that you don't see what I see
Can't speak and I can't seem to be myself
And I wanna go back and I wanna stay home
Wanna be anywhere but here
And I wish I could ignore all these things that I fear
Wanna be anywhere but here
It's just so hard
I come so far, then fall apart
It's just too hard....
to say what you're feeling
when you don't know the meaning or how things will change
when you open your mouth
I'm watching these days go by me
So afraid that you don't see what I see
Can't speak and I can't seem to be myself
And I wanna go back and I wanna stay home
Wanna be anywhere but here
And I wish I could ignore all these things that I fear
Wanna be anywhere but here
9. PHOTOGRAPHS
(c) Harvell, Howland & Stevens
Bluebirds flying by my window
Bluest I've ever seen
And I need to remember everything, everything
And lately, I think in circles, I think maybe
there's something I'm bound to miss
I don't want to miss anything
I don't want to miss anything, anything
Can I take your picture?
Can I take your picture?
I'm waiting for the reason and the moment to agree
Waiting for photographs to find me
The edges of this earth draw me in
and keep track of the moments that I spend in it
and follow me into my dreams
not in color or in black-n-white, it seems
I take a picture
I take a picture
I'm waiting for the reason and the moment to agree
Waiting for photographs to find me
The corner of my eyes, my eyes
and what's inside
and in my line of sight
Don't pass me by...
I take a picture
I take a picture
I'm waiting for the reason and the moment to agree
Waiting for photographs to find me, find me
find me, find me
find me, find me
10. FOCUS
(c) Harvell
I hear the sound
The shots are fired
Last one around
loses for life
Don't lose your focus
Don't lose your footing
Keep your head up
Got to prove it
If you can't win it, what are you good for?
What are you good for?
I'll never know what's wrong
You're always telling me what's wrong
Why do I have to be so strong?
Why do I have to be so strong?
Aren't we on the same side
Better watch your step
I'd better keep it on my feet
Better keep your eyes wide
looking on the bright side
Get up, get up, get up, get up
I'm slowing down
My feet are tired
No one around
No one in sight
I'm out of breath
I'm out of steam
I'm all out of answers
Somebody help me
If I can't win it, what am I good for?
What am I good for?
I'll never know what's wrong
You're always telling me what's wrong
Why do I have to be so strong?
Why do I have to be so strong?
Aren't we on the same side
Better watch your step
I'd better keep it on my feet
Better keep your eyes wide
looking on the bright side
Get up, get up, get up, get up
Don't lose your focus...
Don't lose your footing...
Keep your eyes wide...
Get up, get up, get up, get up...
Aren't we on the same side
Better watch your step
I'd better keep it on my feet
Better keep your eyes wide
looking on the bright side
Get up, get up, get up, get up
11. STRONGEST MAN ALIVE
(c) Harvell / Howland
Clear out the parking lot
Roll out the vinyl tent
We turn the screws and tighten the bolts
to pay our rent
You keep the children happy
with tickets from our stand
We've got a hundred games
if you care to take a chance
Step right up and show us what you've got
You don't stand in line when you're already bought
Raise the hammer high
Aim for "strongest man alive"
The heavy smell of sugar
hypnotic neon lights
Plenty of other options
if you're afraid of heights
We gladly take your dollar
and give you the cheapest thrill
spin you in circles upside down
til you've had your fill
Step right up and show us what you've got
You don't stand in line when you're already bought
Raise the hammer high
Aim for "strongest man alive"
The carnival, a sinking city
plays upon my sense of pity
plays me like there is just one more chance
I've kicked around enough cans and can'ts
to wear out all the sweet romance involved
Step right up and show us what you've got
You don't stand in line when you're already bought
Raise the hammer high
Aim for "strongest man alive"
Aim for "strongest man alive"
Aim for "strongest man alive"
12. ANCHOR
(c) Harvell
I'm drifting on the water
I'm looking at the gray sky
I'm feeling mighty heavy
I'm reaching for the shoreline
I'm riding on the waves now
still tied to this anchor
Someone off in the distance
was yelling "somebody save her"
And I know I should just wave
the victim for them to save
But this anchor still holds me down
and that's a comfort somehow
I'm watching the horizon
red sun about to fall down
Breeze travels on the ocean
I'm feeling mighty cold now
I'm hoping for a blanket
arms around my shoulder
I'm a little bit wiser
I'm a little bit older
And I know I should wave
the victim for them to save
But this anchor still holds me down
and that's a comfort somehow
Somehow...
Somehow it feels I'm out of harm's way now...
I'm riding on the waves now
still tied to this anchor
Someone off in the distance
was yelling "somebody save her"
And I know I should wave
the victim for them to save
But this anchor still holds me down
this worry still comes around
And I know I should wave
the victim for them to save
But this anchor still holds me down
and that's a comfort somehow
BONUS SONGS:
13. ONE RAINY WISH (J. HENDRIX)
(Jimi Hendrix)
14. STRETCH OUT AND WAIT (SMITHS)
(Smiths)
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