Ric Taylor -- Official Site


	Lyrics
	To see lyrics, commentary, and recording notes for my music, please select a title from the list below: 911 BADBEEL THE BALLAD OF DINGUS JONES BLOSSOMING BURN ELAINE FAREWELL COMPADRE GEORGE BUSH HELPLESS ....HOPELESS.... DREAM ICE CREAM CHANGES (RETURN TO FOREVER) I SEE JESUS LIKE A JEWEL CAPTURES LIGHT MOTHER OF ALL POISONS OLD MAN'S SONG ONE KISS PREACHER, PREACHER RARE'S THE SULTAN HAS ONLY ONE RUBY JOHNSON SAME'S TRUE SHOW AND TELL TRUER WORDS WATERFALL WELCOME TO L.A. VICTORY 911 -- You Missed America (October 2001) musicians: Ric Taylor: guitar, vocals Dos Tres: bass guitar Mick Dersom: drum machine, keyboards Recorded 2001-02 at M. productions Well, this is a fairly self-explanatory song. Being a musician and going to bed around 3 AM, I don't generally "do mornings", so my sister called to let me know to turn on the television. I just remember this overwhelming sense of how foolish this was on the part of whomever had initiated it. The idea that this mass murder of innocents was a "Religious act" is just stunning to me, but when I wrote the song, I was as much worried about the "All-American sense of Retribution" as I was about letting the attackers know that this incident had no chance whatsoever of harming us in the long run, hence the lines in the second verse. I finished it about mid-October and went to a club to try it out at the open mike. There were six people before me; five singers and one comedian. EVERY SONG and the main thrust of the comedy act was about 9/11. Great, I thought, at least the subject hasn't been beaten to death already. But I got a great reaction and the host of the club, Bruce Teitell, was genuinely affected by the song, and has become a great fan and ardent supporter of both me and my career; we have since formed a great "Music Bud" relationship. I TRIED TO KEEP MY DREAMS BUT MUCH TO MY DISMAY THE PHONE KEPT JINGLE-JANGLING "TURN ON THE TUBE" SHE SAID "AND WATCH OUR DARKEST DAY" THE TORTURED STEEL WAS DANGLING BUT THIS CAN'T BE HAPPENING HERE? IN GOOD OLD U.S.A.? THE COLORFUL TOWN THAT WE LOVE WAS CARPETED IN GREY CHORUS: BUT STRANGE AS IT MAY SEEM, THROUGHOUT THOSE DESPERATE HOURS I NEVER STOOD CONFUSED, OR DOUBTED IN OUR POWERS AND THERE'S YOUR BIG MISTAKE, YOU MIGHT HAVE HIT THE TOWERS BUT YOU MISSED AMERICA WAS THIS YOUR HOLY WAY? TO SNEAK IN OUR BACK YARD SO COWARDLY AND GRACELESS I HOPE WE NEVER COME TO HATE SOMEONE SO HARD WE'D TURN A WHOLE GOOD PEOPLE FACELESS THERE'S SO MANY INNOCENT LIVES COLLECTED IN THAT CLOUD WELL, NO TRULY RELIGIOUS MAN COULD LOOK AND SAY HE'S PROUD CHORUS: BRIDGE: BUT YOU MISSED AMERICA I DRIVE TO WORK EACH DAY; I SEE THE FLAGS UNFURLED AND I THINK ABOUT THIS NATION IF YOU WANT TO ESCAPE FROM SOMEWHERE IN THIS WORLD WE ARE A CONSTANT INVITATION WE TOLERATE SO MANY THINGS, IT'S COMMON TO OUR CORE AND THAT'S WHY THESE IMMIGRANT SOULS AIN'T KNOCKIN ON YOUR DOOR CHORUS: I THINK THE WORLD AGREES WE SAW THEM BRING THEIR FLOWERS AND STRANGE AS IT MAY SEEM THROUGHOUT THOSE DESPERATE HOURS WE NEVER STOOD CONFUSED, BUT GATHERED IN OUR POWERS THERE'S YOUR BIG MISTAKE, YOU MIGHT HAVE HIT THE TOWERS BUT YOU MISSED AMERICA BUT YOU MISSED AMERICA BADBEEL (1995?) Musicians: Ric Taylor guitar, bass, lead vocals Deanna Pino: harmonies Alfred Johnson: keyboards recorded 2004-08 at: Lyndon Dickerson sound OtherHand studios Jimmy Borja studios M. productions my living room Alfred Johnsons living room This is my impression of what would happen if Brian Wilson of the Beach boys, the three men (Milton Drake, Al Hoffman and Jerry Livingston) who wrote "Mares Eat Oats" (MairzyDoates and Dozeydoates), and Bootsy Collins of Parliament Funkadelic, had gotten together and written a song about cars. The idea was to make it fast and incomprehensible the first few times that it is heard. I was gonna put the words here, but it seems that once I started playing it out everyone who likes this song was, and is still, having fun trying to figure it out. So you know what?? Listen hard and good luck, and whoever you sends me a correct set of lyrics first, gets The World's Best Chocolate Chip Cookie!! THE BALLAD OF DINGUS JONES (1971) This is actually an adaptation of "Oh Susannah". You can substitute the words : "well, I come from Alabama my banjo on my knee I'm bound for Louisiana my true love for to see, my true love for to see." For the words in the first verse. I was just fooling around with that melody while driving from Los Angeles to San Francisco, and when I got this variation (around Bakersfield, about an hour out of L.A.) I had to hum the song for the next four hours because I didn't have any way of recording it. By the time I reached San Francisco I pretty well had the whole song written. The lyrics are heavily influenced by the Elton John album "Tumbleweed Connection". It's a Western motif concept album and this song has an old West story as a result. The lead guitarist on that album was named Caleb Quayle and I made him the villain, having to change it slightly to Caleb Quayes (Kwize) in order to accommodate the rhyme. I was also thoroughly sick of it and couldn't approach it again for quite awhile. I bought a portable tape player the next day! I like the way that the last three lines in each chorus rhyme with all of the other choruses. NOW LISTEN IF YOU LET ME I'LL TELL YOU ALL OF HOW THE "LONG ARM'S" OUT TO GET ME FOR THINGS THEY DON'T ALLOW THERE'S THINGS THEY DON'T ALLOW I'LL TELL YOU ALL A STORY AND WHEN THE TALE IS TOLD I KNOW YOU'LL GIVE ME GLORY I'D SOONER HAVE YOUR GOLD I'D RATHER HAVE YOUR GOLD Chorus: I'LL TELL YOU ONE FOR THE SAILOR THE MARITIME TO DEEP IN HIS BONES AND ONE ABOUT THE PLIGHT OF POOR DINGUS JONES YOU SEE, I HAVE BEEN A ROVER LONG HAS BEEN MY QUEST SO KINDLY LISTEN THE WHILE I SIT AND REST NOW ONE JUMP UP FROM TUCSON THE TOWN OF ROEBUCK LIES THE LOCAL RUFFIAN LOOSE ON THIS TOWN WAS CALEB QUAYES THAT CROOKED CALEB QUAYES NOW CALEB IF YOU CROSSED HIM YOU GOT A HICKORY CLOUT SO NO ONE DARED TO JOSH HIM WHEN HE BEGAN TO SHOUT AND PASS THE WINE ABOUT HE SAID "THAT DINGUS JONES, HE'S CRAZY HE'S CALLED ME TWICE A FOOL HIS TONGUE IS GETTING LAZY HIS MIND IS GETTING CRUEL HIS MIND IS GETTING CRUEL Chorus: SO POUR ME FOR ONE THE SAILOR TO DROWN HIS SORROWS FAR FROM THE SHORE POOR OLD DINGUS HE DON'T KNOW WHAT'S IN-STORE YOU SEE, I'VE BEEN TALKING OVER DINGUS AND HIS JEST AND THOUGH HE'S STRANGE HE'S STILL MUST FACE MY TEST" THAT NIGHT IT RAINED TARNATION WHEN MORNING CAME AROUND A KIND OF HESITATION HAD SETTLED ON THE TOWN HAD SETTLED ALL-AROUND NOW PREACHER COLE HE JUST PLEASES WITH HIS TWO SERMONS SAID TODAY HE SAYS THEY'LL GO TO JESUS BUT WHAT'S THE USE TO PRAY BOTH WON'T BE GOING THAT WAY Chorus: NOW MAYBE ONE, FOR THE SAILOR HE DIED FOR LOSS OF OCEAN BREEZE POOR OLD DINGUS HE WON'T CARE IN THE LEAST NOT THE LEAST YOU SEE HE'S STILL WALKING OVER CALEB'S PLACE OF REST ' CAUSE HE'S CRAZY DON'T MEAN HE AIN'T BLESSED I SAID ‘ CAUSE I'M CRAZY DON'T MEAN I AIN'T BLESSED BLOSSOMING (2007) Ric Taylor: guitar, bass, vocal Alfred Johnson: keyboards Kahlil Sabbagh: percussion Gary Popenoe: harmonica The song: well, you know, I set out to write a political samba and, hey, you know, not bad for the first try, I guess! The recording: recorded at: NoHo audio Alpha Johnson's living room my living room Kahlil Sabbagh's living room quite probably somebody else's living room as well... I just love Alfred's part on the song; he just went all crazy across the chord structure in both the introduction and the lead... I listen to the introduction just over and over and giggle... TO THOSE WHO DRAW WITH DETAIL FINE YOUR BEAUTY'S SO EXCITING YOUR LOVELINESS FLOATS FAR BEYOND ASTONISHING BUT WE WHO DEAL WITH LIGHT NOT LINE FIND EQUALLY EXCITING THAT RADIANCE FROM THE SHIMMER OF YOUR BLOSSOMING MOST WHO EMBRACE THAT GORGEOUS FACE SEE NO NEED TO CONTINUE BUT THEY MISS EVERY SUPPLE GRACE EMERGING DEEP WITHIN YOU THE LEADER OF YOUR CAUSE RESIGNED WITH EVERYBODY WATCHING YET IN YOUR SAD BUT HOPEFUL STANCE I SAW SOMETHING IT SEEMS TO ME THE STATE OF MIND BRAZILIANS CALL "SAUDADE" LIES COILED WITHIN THE SHIMMER OF YOUR BLOSSOMING WHILE OTHERS RAN AROUND ALARMED YOU GATHERED YOUR BRAVADO THEN FACED THE TROUBLE OPEN ARMED LIKE CHRIST ON CORCOVADO ALL OF A SUDDEN THERE'S AN UPROAR FROM THE CROWD IT BECOMES SCATTER-SCARRED AND LOUD IT'S ALL A MESS BECAUSE THEY DON'T KNOW WHAT TO DO BUT NOT YOU YOU STOOD THERE TALL AND TRUE RESTRAINED, PROFANED, YOUR GOLDEN MANE BLOODSTAINED YOU WOULD NOT SOFTEN WERE I 100TH AS HUMANE I'D TELL YOU LOUD AND OFTEN THAT THE UNIVERSE GOES ON SO LONG IT DOESN'T HAVE A MIDDLE NO EDGES MAKE IT SUCH A CRUELLY AWESOME THING BUT I THINK NEXT TO YOUR SOUL'S SONG THE UNIVERSE IS LITTLE AND QUAKES BEFORE THE SHIMMER OF YOUR BLOSSOMING I FEEL SO LUCKY TO BE PART OF YOUR MAGNIFICENT GLIDE TOWARDS A LUSH AND BOOMING LIFE BURN (2004-2006) Ric Taylor: guitars, vocal The song: I wrote this as a fingerpicking exercise for a music bud of mine, Alana Sowman, and it turns out that both melody parts are played over the same chordal pattern. The recording: recorded at NoHo audio we ended up taking two tracks of two different takes of the guitar and separating them completely onto the left and right channels so it sounds like a 12 string. THE ROUNDED ROCKS WERE AMAZING I SCRAPED AND SCRAMBLED THROUGH AND THEN EMERGED TO A MIDNIGHT DUNE AND YOU WE WATCHED AS MORNING MADE FUN OF THE EVENING AND ITS CREW IT SCARED THEM OFF IN A MUSCULAR BLAZE OF BLUE AND IN THOSE FEW RARE MOMENTS THAT WERE THANKFULLY DULLER YOU TALKED ABOUT YOUR CHILDHOOD WHERE "PANK" WAS A COLOR HOW THEM SOUTHERN BELLES WITH THEIR REBEL YELLS TOOK AND PUT YOU THROUGH THEIR VARIOUS-LEVELED HELLS YOU SAID "THE ONE THING THAT I CARRY FROM THEN TO NOW IS THAT IT'S NEVER TOO EARLY TO LEARN THAT ANYONE WHO WANTS CLOSE TO THE LIGHT MUST BE WILLING TO BURN" I TOOK YOU HOME TO YOUR DADDY AND STOOD THERE IN THE HALL THAT STUNNING MULTI-MANSION MORE WINDOW THAN WALL HE HAD THE SAME BULLY SWAGGER HE'D USED BEFORE THE FALL AS IF AT ANY MOMENT, WELL, GOD MIGHT CALL WE JUMPED ABOARD HIS JUMBO JET TO THE HOLLYWOOD SET WHERE I MET THAT BRUNETTE IN HER 'VETTE THAT YOU BET I'D REGRET I SAID "IF YOU WANT A RAINBOW, GIRL IT'S GOTTA GET WET" BUT YOU HELPED ME FORGET WHEN HER PUTDOWN WAS STERN YOU SAID "CELEBRITIES WORRY WHAT THE PUBLIC MIGHT SAY, BUT THE ARTIST SEEKS THE CAPTURE AND NOT THE DISPLAY AND ANYONE WHO WANTS CLOSE TO THE LIGHT MUST BE WILLING TO BURN" WHIRLY-SURLY WORLD SPINS ROUND AND ROUND MAKES YOU HAVE TO SCREAM WITHOUT A SOUND IT'S NEVER FUN WHEN THEY CATCH UP AS ALL GOOD DEMONS DO I GUESS I WASN'T THE ONLY THING CHASING YOU THEY KEPT INCREASING YOUR DISTANCE FROM COMMON POINTS OF VIEW YOUR ANGER RAISING A WALL AS YOU WITHDREW SO WAS IT YOUR CONTENTION THAT I LEFT TOO SOON OR THAT DUMB MOTHERFUCKER THAT CALLED YOU "COON" JUST WHAT SOUR NOTE FINALLY BROKE YOUR TUNE AND DROVE YOU BACK TO THAT MIDNIGHT DUNE WHERE IN WHAT MUST HAVE BEEN A VICIOUS FLOOD OF BLUE BLUE MOONLIGHT AND RED RED BLOOD ALL YOUR WHAT- MIGHT-BE WAS SUDDENLY RETIRED WHIRLY-SURLY WORLD SPINS ROUND AND ROUND…… I KNOW IT'S HARD NOT TO COME WHEN PARANOIA CALLS BUT OUR ARGUMENTS THEY WEREN'T REALLY BRAWLS AND THOSE ROUNDED ROCKS THEY WEREN'T CANNONBALLS AND IF YOU ASK ME WHERE THIS FALLS, THIS FALLS ON YOU ‘CAUSE YOU WATCHED AS IT GREW AND IT GREW AND IT GREW AND IT GREW….. THIS FALLS…………. WHIRLY-SURLY WORLD SPINS ROUND AND ROUND MAKES YOU HAVE TO SCREAM WITHOUT A SOUND I'M SITTING HERE IN THE SILENCE WHERE DEATH PERFORMED ITS COUP AND TRYING TO FIND AN EMOTION TO PURSUE YOUR DADDY LIT UP THE SERVICE WITH HIS DRAMA QUEEN DEBUT BUT NOW IT'S ONLY THIS CHURCH AND JUST WE TWO YOU TAUGHT ME SO MUCH MORE THAN I'D HAVE LEARNED AT SCHOOLS LIKE IF YOU WANNA PLAY FAIR YOU GOTTA BREAK SOME RULES AND ANY GRAND ADVENTURE ISN'T WORTH THE JEWELS IF YOU AIN'T GOT THE TOOLS TO RETURN I CAN'T SAY IF I'M AN ARTIST IN ANY WAY BUT I'M GOING TO SEEK THE CAPTURE AND NOT THE DISPLAY AND I'M GOING TO GET CLOSE TO THE LIGHT ‘CAUSE I'M WILLING TO BURN ‘CAUSE YOU TAUGHT ME TO BURN AND I'M READY ELAINE copyright by Jim Park, Dennis Garret, Ric Taylor This is one of the very few songs that I have ever co-written, and it was the most organic of those. I had a friend, Jim Park (who always claimed that he was going to name his first child Yosemite National), who was a much better guitar player than me, and he had the first 4 chords of the song as a 4 measure rhythm which was much faster than this song and not, to be honest, particularly interesting to me except in that it was challenging to try to play it. I showed this section to Dennis Garrett who was also a much better player than me and when I came back a week or so later and he had slowed it down, doubled it, and then added the next 4 chords to create the real core of the piece; the entire verse. That section is just SEAMLESS, and one of the best progressions for jamming that I've ever seen. Most jam songs have a section to improvise upon that is 2 or 4 chords and 2 or 4 measures long. But this is 8 chords across 16 measures, and yet it is still amazingly easy to jam proficiently to this. At this point I became very interested and wrote the bridge and the melody and the words. The bridge is interesting in that you come out of it and back into the THIRD chord of the verse instead of the first. As to the lyrics: A LOT of assonance here, folks, but in my defense, the rhyme scheme is all over the place. While a normal song might be 8-8-8-8- or 8-4-8-4-in the verse, this one is 7-7-2-5-3-5-1-4-8-2-5-2-5-1-3 and so on... I think this has a chance of becoming a standard if it ever gets out to the masses. I can see jazz groups playing this forever. FACE THE TRUTH GIRL YOU'VE BEEN KNOWN TO BELIEVE IN THINGS YOU'RE NEVER SHOWN BUT ME UNLESS I CAN SEE THEN I SAY "WELL, GET IT AWAY" ELAINE PLEASE DON'T COMPLAIN LATELY WHENEVER I HEAR YOUR NAME MY DREAMS WELL, STRANGE AS IT SEEMS SEEM TRUE IT'S ALL ‘CAUSE OF YOU ELAINE ELAINE JUST THE SAME GIRL YOU KNOW IT'S GOING TO WORK OUT RIGHT WITH NOTHING BETWEEN US ESPECIALLY THOSE NIGHTS ELAINE I'LL SAY IT AGAIN I DO I DO LOVE YOU ELAINE ELAINE ELAINE JUST THE SAME GIRL YOU KNOW IT'S GOING TO WORK OUT RIGHT WITH NOTHING BETWEEN US ESPECIALLY THOSE NIGHTS ELAINE I'LL SAY IT AGAIN I DO I DO LOVE YOU ELAINE FAREWELL COMPADRE The song: this was written for my best friend in grammar school, Dale McMillan come who didn't have the happiest of childhoods, and came back from two tours in Vietnam, how can I put it, slightly rearranged mentally. I don't know why he went there; and all I could think of when I heard of his passing (and I know that it doesn't make a lot of sense), was that he really liked to hunt. The recording: a live take, from Kulaks Woodshed. MY MOM SENT THE NEWS MY WAY THE PAPER SAID YOU'D RUN OUT OF LUCK AND IT GAVE THE TIME OF DAY THAT THEY SCRAPED YOU OFF THAT SEMI TRUCK AND THERE WAS SURPRISE AT HOW YOUR LIFE CAME TO A HALT BUT I ALWAYS KNEW YOUR DEATH WOULD BE YOUR FAULT CHORUS: SO, FAREWELL COMPADRE, I DON'T KNOW ABOUT HEAVEN BUT YOU'VE LEFT YOUR HELL FAREWELL COMPADRE FAREWELL WELL I GUESS YOU DIDN'T CHOOSE TO REMAIN LIKE A WASP BETWEEN THE CURTAIN AND WINDOWPANE SO FAREWELL COMPADRE FAREWELL NOW WHEN YOU RETURNED FROM 'NAM AND WE STARTED DEALING THINGS TO SMOKE I HAD FEARS OF UNCLE SAM AND LOOKED FOR THE FEDS AFTER EVERY TOKE BUT ‘CAUSE YOU HAD SEEN THE HORRID THINGS THAT WARS ALLOW BOTH FEAR AND ELATION SEEMED TO SLIDE BY YOU SOMEHOW CHORUS: SO, FAREWELL COMPADRE, I DON'T KNOW ABOUT HEAVEN BUT YOU'VE LEFT YOUR HELL FAREWELL COMPADRE FAREWELL WELL I GUESS YOU DIDN'T CHOOSE TO REMAIN LIKE A WASP BETWEEN THE CURTAIN AND WINDOWPANE SO FAREWELL COMPADRE FAREWELL BRIDGE: OOH, THE THINGS THAT YOU DID IT'S TRUE, YOU KNOW THEY WOULDN'T STAY HID SO FAREWELL COMPADRE I CAN UNDERSTAND YOUR LEAVING I FLEW TO YOUR FUNERAL AND YOUR TOMBSTONE READ "BETTER DEAD" WHEN I LEFT THE MOON TURNED FULL BUT I COULDN'T SEE THE ROAD AHEAD AND THROUGH BITTER TEARS I CURSED THE WAR THAT BROKE YOUR HEART BUT I KNOW YOU WERE ASHAMED THAT YOU DID YOUR PART CHORUS: SO, FAREWELL COMPADRE, I DON'T KNOW ABOUT HEAVEN BUT YOU'VE LEFT YOUR HELL FAREWELL COMPADRE FAREWELL AND I'M GLAD YOU DIDN'T CHOOSE TO REMAIN LIKE A WASP BETWEEN THE CURTAIN AND WINDOWPANE SO FAREWELL COMPADRE FAREWELL GEORGE BUSH The song: I was talking to my friend Dennis Garrett, and he said something to the effect that since I live so close to the border I ought to be able to get my hands on a George Bush piñata for the two of us to wreak a little havoc on, and what can I say, that was all I needed. The recording: recorded at NoHo audio. Actually, David Stone's house at this point; he had given up the studio and we had forgotten to put the vocals down, so into the bathroom I went at the last minute, and we finished it up. I'VE SCREAMED AND SCHEMED AND FOUGHT AND THOUGHT A LOT ABOUT HOW THIS VAST ARMADA OF CONGRESS-FOLK AND ADMINISTRATA HAVE SCRAMBLED UP MY WORLD TODAY THEN IT DAWNED ON ME THAT MAYBE I OUGHTA HEAD DOWN SOUTH GO ACROSS THE BAWDUH (BORDER) ORDER ME UP A GEORGE BUSH PINATA NOW EVERYTHING IS A-OK WELL YOU STRING IT UP, THEN SWING IT, BEAT IT WHACK WHACK WHACK YOU CAN DO IT ANY TIME HE TALKS SOME SMACK ABOUT IRAQ DID YOU EVER THINK THAT WE'D BE FIXIN' TO BUY A T-SHIRT SAYIN' "BRING BACK NIXON" BUT THEM BOYS SOUTH OF THE MASON-DIXON THEY STILL LOVE HIM SO THEY SURE DO LOVE YOU SO, MISTER PRESEEDINT IN MY MIND EVERY MEXICAN OUGHTA BUY THEMSELVES A GEORGE BUSH PINATA SO WHEN BORRACHO OR CONSADA OF ALL THESE GAMES POLITICIANS PLAY WHILE ON THE ONE HAND SOME APPLAUD A MAN WHO THINKS HE'S BEEN ELECTED GOD A- NOTHER GROUP HANGS THEIR PINATAS ALL IN A ROW THEN SWINGS AWAY ‘CAUSE THERE'S STILL FREE SPEECH IN THE USA SO THERE AIN'T NOTHING GEORGIE CAN DO OR SAY WHACK WHACK WHACK ! HELPLESS ....HOPELESS.... DREAM (1990) musicians: Ric Taylor guitar, vocal, synth bass, drum machine Mick Dersom: keyboards recorded 1990 at M. productions This was inspired by the great book "The Road to Wigan Pier" by George Orwell, in which he went out and lived with miners in 1930s England and chronicled their lives. Many believe that this effort ended up eventually killing him by giving him numerous and various lung ailments. There is a paragraph or so, in particular, that inspired the first verse; the author is riding a train through the endless slums of London or some northern England industrial city, and whilst waiting for another train to pass, looks into the backyard of a tenement house and sees a young woman come out with that "look" on her face. My God, if you ever have a bad day/week/month, just read this book and shut up!! Man, them was tough times, let me tell you. The first verse just led to the others. I often play this to get geared up for a performance, it's pretty "BSA" = Baseball Stadium Anthemic; you can end up shouting at the top of your lungs before it's over. SHE'S FINISHING UP HER 12 HOUR TOLL WHICH IS MAKING HER PREMATURELY GRAY HER MAN'S DUE BACK FROM CHOPPING COAL WHERE HE CRAWLS TO AND FROM HIS WORK EACH DAY WHAT THE COMPANY GIVES THEIR LANDLORD TAKES EVERY MONTH THEY'RE DEEPER AND MORE BEHIND THE LONGER SHE LIVES THE MORE SHE ACHES FOR A BUDGET THAT ISN'T SO DAMN CONFINED THEN SHE TURNS TO THE FAITH SHE TREASURES, BUT IT DON'T GIVE HER LIFE MUCH HEED SO THEIR ONE SMALL ACT OF PLEASURE JUST BRINGS ONE MORE MOUTH TO FEED CHORUS: DON'T THINK FOR A MOMENT SHE'S UNAWARE JUST LOOK IN HER EYES.... SHE KNOWS.... IT IS HOPELESS DEEP IN HER SOUL... SHE SEES.... SHE IS HELPLESS STILL SHE DREAMS HIS BODY IT USED TO BE FIRM AND GOOD, NOW IT' S ANCIENT AND RIDDLED WITH FOUL DISEASE THE SAME COULD BE SAID FOR HIS NEIGHBORHOOD, WHERE YOU NO LONGER WANDER WHEREVER YOU PLEASE THE FRIENDS THAT HE ONCE HELD CLOSE AND DEAR HAVE FADED LIKE LYRICS TO SOME OLD SONG THE YOUTH OF THE WORLD DOESN'T CARE TO HEAR ALL THE SECRETS THAT KEPT HIM ALIVE THIS LONG AND HIS SHOES DON'T FIT, HIS TEETH DON'T FIT, HE'S MORE THAN PAID HIS DUES SO HIS ANGER'S NOW MORE OFTEN LIT BY A SHORTER, BRIGHTER FUSE CHORUS: DON'T THINK FOR A MOMENT HE'S UNAWARE JUST LOOK IN HIS EYES.... HE KNOWS.... IT IS HOPELESS DEEP IN HIS SOUL... HE SEES.... HE IS HELPLESS STILL HE DREAMS NOW MOST OF MY NATURALLY WAVY HAIR IS SORT OF NATURALLY WAVING GOODBYE AND DRUGGING IT UP WHEN THE CHICKS ACT SQUARE AIN'T MY IDEA OF A GOOD HIGH BUT THE MEANEST DAMN THING GOD EVER LET LIVE WON'T KEEP ME FROM THESE SONGS OF PASSION FUCK HOLLYWOOD AND ADVICE THEY GIVE: THEY DON'T MAKE MUSIC, THEY SELL FASHION JUST LOOK AT ONE HOUR OF YOUTUBE NOW WHERE THE "DO-ED UP" BANDS STRUT BY THE DOZENS IF THEY'RE GOD'S GIFT, IF THEY'RE SO UNIQUE, BABY, HOW COME THEY ALL LOOK LIKE COUSINS? CHORUS: I AM AWARE JUST LOOK IN MY EYES....... HOPELESS DEEP IN MY SOUL.......HELPLESS STILL I DREAM STILL I DREAM STILL I DREAM I STILL DREAM! ICE CREAM CHANGES (RETURN TO FOREVER) (2008) Ric Taylor: guitar, vocal The song: this was inspired by a friend of mine, Bruce Teitell, a really fast popular song and did it very slowly. I took the same chord progression and wrote this song. The recording: Recorded at NoHo audio with the guitar tuned to D. THE SKY'S A THICK BLACKENED BRUISE FILLED WITH LIGHTNING, BUT THIS AIN'T THE STORM YOU CONSIDER SO FRIGHTENING, AND THE DESTINATION IS DAWN WHERE ALL THIS DARKNESS IS GONE ‘CAUSE STORMS HAVE INVADED EVERYDAY MATTERS; THAT WILD DISTANT PLACE ON HER FACE WHEN SHE FLATTERS THERE'S THIS KNIFE IN HER PATIENCE JUST A TASTE IN HER EYES AND YOU CAN HEAR A SIGH WITHIN HER SOUL EACH TIME THE LADY LIES AND MAYBE EVERY CUT THAT MADE THIS CONCERT COME UNTUNED WON'T HEAL BECAUSE IT'S YOU WHO CAUSED THE WOUND CHORUS: AND LOVE IS SUCH A STRANGE ENDEAVOR IT ENDS UP AS A JOURNEY DOWN THIS LONG ROAD TO NEVER WHEN THOSE INVOLVED HAVE GONE TOO CLEVER TO RETURN TO FOREVER AGAIN WAS IT EMOTIONS YOU REINED IN TOO SLIGHTLY COLORED DIVISIONS RESOLVED BLACK-OR-WHITELY ‘TIL ALL DESTINATIONS ARE GONE BUT YOU KEEP TUMBLING ON AND AIN'T IT FUNNY HOW LIFE REARRANGES BY SLIDING AND COLLIDING THROUGH THESE ICE CREAM CHANGES WHAT SEEMS SWEET IN THE SHORT RUN TURNS COLD IN THE LONG AND ALL THE NEIGHBOR'S ENVY COUNTS FOR NOTHING IF THE PRIZE WAS WRONG SO WHY DENY THE ANSWER TO THAT QUESTION NEVER ASKED YOU DIDN'T SO MUCH CHANGE AS COME UNMASKED CHORUS: AND LOVE IS SUCH A STRANGE ENDEAVOR IT ENDS UP AS A JOURNEY DOWN THIS LONG ROAD TO NEVER WHEN THOSE INVOLVED HAVE GONE TOO CLEVER TO RETURN TO FOREVER AGAIN INSTRUMENTAL SOMEWHERE THERE SHOULD BE THIS LEVER YOU'D PULL AND ALL THESE WICKED WEBS OF DEFENSE WOULD SEVER AND ALL OF US WHO'VE GONE TOO CLEVER COULD RETURN TO FOREVER AGAIN I SEE JESUS Ric Taylor: guitar, vocals Dos Tres: bass Alfred Johnson: keyboards Lorie Doswell: backing vocals J.J. DeLeon: drum machine The song: This was written as a satirical critique of televangelists and then it just sort of kept going until it ran amok at the end! The recording: recorded at: NoHo audio Alfred Johnson's living room my living room I SEE JESUS IN A THREE ROOM SHACK DON'T SEE HIM DRIVIN' NO CADILLAC NO CHAUFFER UP FRONT AND JESUS WAY IN THE BACK JUST HUMPIN' AN EXECUTIVE HEART ATTACK NO, I DON'T SEE JESUS AS SOME CORPORATE PARROT SEEKING OUT SOME MIDDLE MANAGEMENT CORPORATE CARROT ‘CAUSE JESUS KNOWS THE TRUTH AND HE JUST MIGHT BLARE IT THAT YOUR LIFE IS MADE MORE WONDERFUL THE MORE THAT YOU SHARE IT THAT'S HOW I SEE JESUS Chorus: OH, JESUS LOVES ME THIS I KNOW FOR THE BIBLE TELLS ME SO HE WILL WASH ME WHITE AS SNOW DIRTY LITTLE JOB FOR JESUS NOW I DON'T LOOK FOR TROUBLE SO I DON'T WANNA MANGLE THIS BUT ROUND AN ROUND IT COMES SO I JUST WANNA DANGLE THIS THOUGHT THAT MAYBE JESUS WATCHES THEM TELEVANGELISTS AND PUTS THEM PRETTY HIGH UP ON HIS "PERSONAL STRANGLE LIST" ‘CAUSE BOYS, THAT'S THE ACTION OF A TRULY ARROGANT MAN, TO STRUT AROUND BRAGGIN' THAT YOU'RE JESUS' FRONT MAN THAT'S ONE RELIGIOUS THEORY MADE ME LAUGH ‘TIL I SLOBBERED, SON THAT GOD APPEARS BUT WANTS TO TALK FIRST TO PAT ROBERT—(SON) SUNLIGHT TO SUNSET NOW WHAT YOU GIVE IS WHAT YOU GET THERE AIN'T NO BETTER WAY OF QUOTIN' JESUS BEEN INVENTED YET AND THIS TRUTH WILL APPLY TO ANY RELIGION TRAITOR WHEN JESUS AND SAINT PETE SHOW THEM THE DOWN ESCALATOR ‘CAUSE YOU GOTTA THINK JESUS HANGS WITH BHUDDA, MOHAMMED SIPPIN WINE AROUND THE CAMPFIRE ALL COZILY PAJAMA'ED CONVERSATION WOULD GET THICK BUT NEVER OVERDRAMA'ED THERE'D BE NOTHIN BUT RESPECT IN THAT TRI-RELIGI-O-RAMA THAT'S HOW I SEE JESUS Chorus: YOU KNOW I LOOK IN YOUR EYE AND I SEE JUST WHAT YOU'RE THINKIN' I GOT THIS MUSICIAN'S LIFE WITH WILD WOMEN WILD DRINKIN BUT LET ME TAKE THIS TIME TO MAKE THE DECLARATION FORMAL THAT NONE OF US HERE HAS GOT THE GUTS TO BE NORMAL SO I THINK JESUS LOVES YOU MOST OF ALL LOVES HOW YOU STAGGER BACK UP AFTER FALL AFTER FALL HE'D JUMP RIGHT INTO YOUR TRIALS (LIFE) EMBRACE YOUR SUBURBAN SPRAWL AND IF HE EVER DOES COMES BACK DESPITE THE HOLY PROTOCOL HE'D WANT A REGULAR LIFE - THAT FIRST TIME GOT SORTA TWISTY HE'D SETTLE DOWN WITH A WIFE - SOMEWHERE…..CORPUS CHRISTI!! THERE'D BE SOME PERSONAL STRIFE; HIS DADDY'D PROB'LY INSIST HE SPOUT SOME NEW-LIGIOUS JIVE- BUT ONCE HE'D PROVED HE EXISTS HE COULD MAYBE RETIRE, RAISE UP A RESTAURANT IN RIO CALL IT THE "DEW DROP INN" WITH THE "DEW" SPELLED D-O- COOK UP SOME NEW CUISINE COMBINING CANTON AND CREOLE AND THE RICH WOULD HAVE TO PAY BUT THE HOMELESS GET IN FREE OH THAT'S HOW I SEE THAT'S HOW I SEE THAT'S HOW I SEE…………………… JESUS LOVES US THIS I KNOW LIKE A JEWEL CAPTURES LIGHT Ric Taylor: vocals, classic guitar The song: what can I say? This song goes out to flight attendants everywhere; it was a very special evening. I always loved the fragility of the song, but I never practiced it and therefore never played out and therefore never got it locked up as a piece. The recording: recorded at NoHo audio. Some nasty chords on this one, but we recorded this whole album on the theory that I would take three runs at something and then cut-and-paste as best we could. AMAZING HOW THE MOONLIGHT FLOWS OUT THROUGH THE SCARS IN YOUR EYES DEEP REFLECTIVE, POWER GREEN AND WISE AND WHEN WE WANDERED THROUGH THAT DOORWAY TOWARDS YOUR BED FULL OF SIGHS YOUR OBJECTIVE WAS SUCH A SWEET SURPRISE CHORUS: WE LOVED LIKE SLOW LIGHTNING WE FELL THROUGH THE NIGHT THE JOURNEY WAS FRIGHTENING LIKE SOME SWIRLING,STORM-BLOWN KITE AND HOW COULD YOU SIEZE ME WITH SO LITTLE FIGHT YOU CAUGHT ME AS EASY AS A JEWEL CAPTURES LIGHT WE TRADED NUMBERS IN THE AIRPORT IT WAS SO HARD TO WRITE ALL THE YEARNING THE FINAL HOLDING TIGHT I WISH THAT PASSIONS WITH THIS POWER WOULD STAY SWEPT OUT OF SIGHT NO RETURNING I WATCHED YOUR FAREWELL FLIGHT CHORUS: WE LOVED LIKE SLOW LIGHTNING WE FELL THROUGH THE NIGHT THE JOURNEY WAS FRIGHTENING LIKE SOME SWIRLING,STORM-BLOWN KITE AND HOW COULD YOU SIEZE ME WITH SO LITTLE FIGHT YOU CAUGHT ME AS EASY AS A JEWEL CAPTURES LIGHT MOTHER OF ALL POISONS (early 1970s) Recorded: 2004 at Linden Dickerson sound Musician: Ric Taylor: guitar, vocal This song is so old, that when I wrote it, the word "gay" meant happy. And it meant happy in a particular way: "I'm happy, I don't care who knows I'm happy, I don't care if it upsets the world that I'm happy, because I'm too busy just being happy.". Which is, of course, why homosexuals adopted the word in the first place. So when I write in this song about a dying man who is "fearless and gay", everyone now assumes that he's dying of AIDS. But this song was written BEFORE AIDS; in the time of free love, where love was truly free, remember? No thought of "have sex and die" like everyone has to think about today. So, although I hasten to stress that I maintain no homophobic tendencies at all, I do have to confess to bearing a slight grudge against that particular sexual orientation for purloining my word ( HEE HEE!!!). I'd have to admit that this is one of my favorite songs; it's based on fact, and though it seems difficult it is really fairly easy to play (the guitar part was put down on the first take), and pretty much always gets the crowd's attention. I MET A PRETTY FACE, IT COULD LAUNCH A THOUSAND SHIPS AND IT PLEASED ME WILLOW AND WILD AND FOREIGN AND MYSTERY AND TOO SOON I HAD TO LEAVE, BUT SHE KISSED ME ON THE LIPS AND SHE SQUEEZED ME TOLD ME WHEN I RETURNED I SHOULD CALL HER AND SEE CHORUS: I THINK THAT LOVE IS THE MOTHER OF ALL POISONS I'LL TELL YOU THE TRUTH IT'S PEOPLE WHAT SCAR YOUR SOUL WHY DO I STAY IN THE MIDDLE OF THIS NOISE 'N' RUN GREAT RISK OF LOSING MY SELF CONTROL THE DAYS WERE NO LONGER DARK, THE DEMONS HAD LEFT THE DELTA BUT IT GRIEVED ME TO BE MILES AWAY FROM PROMISES UNFULFILLED BUT THEN I RETURNED TO FIND MY HOPES BOMB-SCATTERED HELTER SKELTER SHE'D DECEIVED ME WITH NOTHING BUT FALSE AFFECTION FOR FAIR WEATHER THRILLS CHORUS: I THINK THAT LOVE IS THE MOTHER OF ALL POISONS I'LL TELL YA THE TRUTH IT'S PEOPLE WHAT SCAR YOUR SOUL WHY DO I STAY IN THE MIDDLE OF THIS NOISE 'N' RUN GREAT RISK OF LOSING MY SELF CONTROL BRIDGE; WELL, I HOPE SO, BUT I DOUBT THAT SHE WILL REALIZE HER BLUNDER 'TIL SOME YOUNGER SWEETER THING COMES UP AND STEALS AWAY HER THUNDER 'CAUSE THE GOOD LOOKS THAT SHE'S COUNTED ON AND USED WILL CRUMBLE UNDER AND LEAVE HER NOTHING AT ALL I KNOW A MAN OF INNER PEACE, I LOVE HIM LIKE A FATHER CAUSE HE REACHES ME WHERE ALL OF MY FEARS AND FAILURES HAVE LOCKED ME AWAY AND NOW THAT HE LIES NEAR DEATH THERE'S TONS OF FUSS AND BOTHER STILL HE TEACHES ME 'CAUSE EVEN THOUGH HE IS AILING HE'S FEARLESS AND GAY SO WILLINGLY I GO AND I BATHE I CLEAN I FEED HIM I'M THE BEARER OF NEWS FROM THE WORLD HE'S BRUTALLY BIDDING GOODBYE WELL I'VE PUT THE BARREL IN MY MOUTH, SO I WISH THAT I COULD LEAD HIM THROUGH THE TERROR BUT ANY ATTEMPT IS FUTILE; WE KNOW HE MUST DIE CHORUS: I THINK THAT LOVE IS THE MOTHER OF ALL POISONS I'LL TELL YA THE TRUTH IT'S PEOPLE WHAT SCAR YOUR SOUL WHY DO I STAY IN THE MIDDLE OF THIS NOISE 'N' RUN GREAT RISK OF LOSING MY SELF CONTROL OLD MAN'S SONG Ric Taylor: guitar, vocals The song: This is a song that was written very early on in my career, probably around 1969, when I was in the first (and best) band that I was ever in. There were two close friends, Dave Stock and Dennis Garrett, who had gone to high school together, and me. We were living together in a mountain cabin and hadn't come to grips with either each other or the possibilities of what we might produce as a unit. Dave was a man of deep convictions, quite possibly the only person I ever met who truly deserved a "conscientious objector" rating in regards to the Vietnam war, although I knew many who sought that status. Dennis and I were two "hearts on our sleeves" goofballs, but Dave was more the shy, silent type. He loved this song, however, and we seemed to come together around its simplicity, and I think we then began to consider, as one, the possibilities of this adventure. The recording: Recorded at NoHo audio SOMETIMES I'M LONELY A CONSTANT CRINGING BLUE SOMETIMES I STRUGGLE, LIKE THE CAPTAIN WHO LOST HIS CREW SOMETIMES LIFE ITS BEAUTY GOES PLACES I CAN'T VIEW AND I SEE NOWHERE TO TAKE IT BUT TO YOU YES I SEE NOWHERE TO TAKE IT BUT YOU SOMETIMES THERE'S QUESTIONS NOW THEY'RE KILLING THEM IN THE STREET SOMETIMES I FEEL IT THE EVIL IS COMPLETE THOUGH MY HEART IS HELMETED FEAR HAS FILTERED THROUGH AND I SEE NOWHERE TO TAKE IT BUT TO YOU YES I SEE NOWHERE TO TAKE IT BUT TO YOU SOMEONE IS NEAR ME IS IT YOUR SON OR MINE? HE SEEKS AND CURES ME WITH AN ANCIENT AND HONORED SIGN FAITH IT GAVE HIM MORTAL EYES FAITH IT SAW HIM THROUGH NOW HE SEES NOWHERE TO TAKE ME BUT YOU LORD HE SEES NOWHERE TO TAKE ME BUT TO YOU ONE KISS (Ruby Lips) (2002-2004) Ric Taylor: guitar, bass, vocals Alex Del Zoppo: keyboards Curtis Byrd: drums The song: this was written in a seven minute drunken stupor and is basically all the fault of Elizabeth McDougall who owned the club in Simi Valley called Harmony Sweet at the time. She had always been a big fan, to the point of actually paying me money whenever I played there, so I stopped in one night after playing a gig somewhere else and getting the usual payment for Los Angeles which is, guess how much: 1. Nothing 2. zero 3. a sum between 1 and -1 4. nada 5. zilch and the answer is: 6. All of the above So Elizabeth proceeded to ply me with liquor until it could've cared less about anything unhappy, fed me some coffee and sent me on my way. I got home and my classical guitar was laying on the bed and in the process of picking it up to put it away I sat down and it couldn't have been more than 5-7 minutes until I had the first verse and chorus. Then, YEARS AND YEARS OF MEMORY TRAINING popped into play and (thank you Jesus) I staggered over and put it on my recorder, which was a very good thing. Next morning I woke up and had this vague memory of having written something nice the evening before. I played it back, then went into the bathroom and in the time it took me to urinate I had written the second verse. Quick and easy; would that all songs would work that well and come that easily! The recording: recorded at Travis Dickerson Studios Linden Dickerson Studios my living room I just love Alex's part on this; so sparse and yet so full, like Jobim. VERSE: I BEAMED AND BOUNCED AROUND THE RADIO TONIGHT IT SEEMS MOST YOUNG SONGS WANT TO START A FIGHT THE ANCIENT MELODIES CAME CLOSE BUT COULDN'T QUITE SPEAK TO THE JOYS I FIND WHEN DANCING IN YOUR LIGHT CHORUS: I'VE COME TO LOOK AT LOVE AS SUCH A WONDROUS WEAVE OF THINGS WE KNOW ARE TRUE BUT REFUSE TO BELIEVE I HOPE YOU KNOW….I'LL TRY…..I WANT TO MAKE IT CLEAR IT'S AT MY FINGERTIPS THAT NOTHING MATTERS MORE THAN ONE KISS FROM YOUR RUBY LIPS VERSE: I WATCH THE FLOCKS OF BLACKBIRDS SWOOP IN FRIGHTENED FLIGHT THEIR RED WINGS SWIRLING IN AND OUT OF SIGHT WHY DO THEY NEVER CRASH THOSE BODIES PACKED SO TIGHT SOMEHOW I UNDERSTAND WHEN DANCING IN YOUR LIGHT CHORUS: I'VE COME TO LOOK AT LOVE AS SUCH A WONDROUS WEAVE OF THINGS WE KNOW ARE TRUE BUT REFUSE TO BELIEVE I HOPE YOU KNOW….I'LL TRY…..I WANT TO MAKE IT CLEAR IT'S AT MY FINGERTIPS THAT NOTHING MATTERS MORE THAN ONE KISS FROM YOUR RUBY LIPS INSTRUMENTAL: CHORUS: YOU'VE MADE ME LOOK AT LIFE AS SUCH A WONDROUS WEAVE OF THINGS WE KNOW ARE TRUE BUT REFUSE TO BELIEVE I HOPE YOU KNOW….I'LL TRY…..I WANT TO MAKE IT CLEAR IT'S AT MY FINGERTIPS THAT NOTHING MATTERS MORE THAN ONE KISS FROM YOUR RUBY LIPS PREACHER, PREACHER (XMAS 2006 or 2007) Ric Taylor: one guitar, vocals The song: it was Christmas; it was raining, I was driving up to Northern California to see my friend Dennis. Coming down off the Grapevine, in preparation for the long straight drive up the Interstate 5, I put on a song by Steve Werner; "48 Miles with the Headlights on the High Beam". Required listening for the socially semi-psychotic. I kept playing it over and over until I pulled off of the 5 about 3 1/2 hours later! I then got to Dennis's house and he had to go somewhere else for that evening but he'd left me a note to look in the bedroom. On the bed was a brand-new left-handed Johnson acoustic guitar. It was in no way a particularly good guitar, in point of fact Dennis in all likelihood gave it to me so he could call me later and say "hey, Ric, you been playing with your Johnson lately?". It was in fact, let's be honest, a nasty guitar. But it was the first left-handed guitar I had ever gotten, and it was a gift! As I sat down and played it, after seven hours of driving through the rain and three hours straight listening to "48 hours", this song just pretty much popped out. It definitely hits a nerve; a few friends of mine will not allow it to be played in their house. Recording: recorded at NoHo sound in North Hollywood. I had the guitar tuned down a whole step to D and forgot to tune it back up, so this entire cut on the CD is too low for my rather limited vocals. But you get the gist, don't you? BWAHAHA!!!!!! PREACHER, PREACHER WHERE THE HELL HAVE YOU BEEN? I'VE BEEN SITTING HERE STRUGGLING FOR HOURS WITH MY ORIGINAL SIN PERHAPS IF YOU'D DONE BETTER I WOULDN'T OF COME TO CALL IT FRIEND JESUS, JESUS, WHY YOU WAITING SO LONG? YOU MUST'VE REACHED THE CONCLUSION THAT MANKIND COULDN'T GET IT MORE WRONG I ALWAYS THOUGHT YOUR RETRIBUTION WAS SWIFT YOUR VENGEANCE FIERY AND STRONG THERE'S THIS MURDER, SHE WAS BARELY 14 BUT SHE USED HER LOOKS LIKE A CLUB SHE HAD A METHOD INDESCRIBABLY MEAN I'M JUST SAYING THERE ARE NUMEROUS FOLKS WERE GLAD IT DIDN'T END CLEAN YES I DID IT AND HERE THE TRUTH I WILL TELL IT WAS SO PURE THE TERROR HAD TASTE; HER FEAR ITS OWN SPECIAL SMELL I MUST'VE STAYED THERE FOR OVER AN HOUR STANDING RIGHT WHERE SHE FELL PREACHER, PREACHER, TELL ME WHAT SHOULD I DO? I THINK IT'S POSSIBLE MY STATE OF MIND IT AIN'T YOUR LOGICAL VIEW WHAT'S THAT YOU SAY? I SHOULD TURN MYSELF IN? WELL, PREACHER, NO THANK YOU PREACHER, PREACHER, WAS THAT YOUR DAUGHTER OUTSIDE? SHE'S SO YOUNG, SWEET, INNOCENT, PURE I'M SURE SHE'S A SOURCE OF CONSIDERABLE PRIDE I HOPE YOU DON'T MIND, BUT WHILE I WAS WAITING I TOOK HER FOR A RIDE A SHORT RIDE, SHORT FIERCE RIDE PREACHER, PREACHER , I COULD NOT BE DENIED I KNOW YOU WANT TO JUST GRAB ME RIGHT BY THE HORNS I'LL BET YOU AIN'T THINKING MUCH ABOUT YOUR MAIN MAN AND HIS CROWN OF THORNS BUT PREACHER YOU MUST SEEK TO FORGIVE, THAT'S WHAT YOUR GOOD BOOK WARNS YES I DID IT, I LEFT HER DOWN IN YOUR WELL AND SINCE I CONFESSED IN YOUR SACRED BOOTH, NOW WHO YOU GOING TO TELL? I GUESS WE BOTH GRASPED OUR SEPARATE VISION OF A PERSONAL HELL A PERSONAL HELL OH, THE TASTE, THE SMELL PREACHER, PREACHER, I MUST BID YOU FAREWELL PREACHER PREACHER WHERE THE HELL HAVE YOU BEEN? I'VE BEEN SEARCHING SIX YEARS LET'S THANK GOD THAT I FOUND YOU AGAIN I SEE YOUR JOB AND YOUR WIFE ARE BOTH NEW AND I GUESS CONGRATULATIONS ARE DUE I CAN'T TELL YOU HOW GLAD I AM SHE'S TALKED YOU INTO HAVING CHILDREN CHILDREN SWEET CHILDREN PREACHER, PREACHER, HERE WE GO AGAIN. RARE'S THE SULTAN HAS ONLY ONE (1980s) Ric Taylor: guitar, vocal The song: I have no idea about the writing of this song; I was probably just messing around in D minor tuning. The harmonic at the end is really weird, I have no idea how or why it turned out that way. The recording: Recorded at NoHo audio. SHE DINES OFF OF GOLD SHE DRINKS FROM A CHALICE SHE RULES THE PALACE SHE JUST BARELY SPEAKS AND IT'S DONE ‘CAUSE RARE'S THE SULTAN HAS ONLY ONE SHE CHECKS IN HER MIRRORS THERE IS METHOD IN MAGIC ONE SLIP COULD BE TRAGIC HER LOOKS MUST BE SECOND TO NONE ‘CAUSE RARE'S THE SULTAN HAS ONLY ONE LATE AT NIGHT TO THE SOUND OF A WHITE BIRD'S CALLING SHE MUST CALM ALL HIS FEARS OF THE EMPIRE'S FALLING INSTRUMENTAL LATE AT NIGHT TO THE SOUND OF A WHITE BIRD'S CALLING SHE MUST CALM ALL HIS FEARS OF THE EMPIRE'S FALLING HE SPEAKS FROM HIS HEART HE NEEDS MORE THAN BEAUTY SHE HAS BUT ONE DUTY SHE KNOWS SHE MUST BEAR HIM A SON ‘CAUSE RARE'S THE SULTAN HAS ONLY ONE SHE KNOWS SHE MUST BEAR HIM A SON ‘CAUSE RARE'S THE SULTAN HAS ONLY ONE RUBY JOHNSON (middle 1990's) Recorded: 2004 at Lynden Dickerson sound Musicians: Ric Taylor: six string guitar, vocals Craig Lincoln: 12 string guitar In the middle '90s I was teaching Whitewater canoeing all over the country and every summer I would go back around the Washington D.C.-Baltimore area and teach for six to eight weeks. For a portion of that time I used to teach at the Washington Canoe Club, in Georgetown, right next to the Francis Scott Key Bridge on the Potomac River. It was just the greatest gig; every morning I would get up and eat breakfast on the Potomac. Every so often the president would fly by; things were all right in the world. Then I would get up and walk across the Francis Scott Key bridge into Virginia and then take the subway back under the Potomac and to the D. C. mall, which isn't really a mall in the general sense of the word at all. It's about a mile-long rectangle of grass; at one end is Congress, and at the other end is the Washington Monument, and down either side there stretches a line of museums: the Smithsonian, the National Museum of History, the National Museum of Aerospace, the National Gallery, etc., etc.. I met Ruby Johnson there sitting on a bench in front of the Smithsonian. I immediately assumed she was homeless, but over the years I used to always go back and visit her, and though we almost never talked about personal issues, I was able to glean the fact that she had moved to Washington from the Midwest during World War II and had worked as a secretary at the Pentagon for that period of time. Every time I would get overwhelmed by too much art, or history, or technology at one of the numerous museums ("when I'd get weak with wonder"), I would take a break and go over and gab with Ruby. As she got older, and the summers got hotter, she's moved down to a bench near the Museum of Science and Technology where there's a tree which offers some shade. I haven't been back to see her in a while, but she'll probably be there whenever the weather is good enough, so if you happen to be visiting the D. C. mall, keep your eye out and give her a well wish and a buck or two. Or even better, a minute or two of your time, which is the most precious thing to the single elderly. DON'T YOU MISS THE FINE OLD THINGS FROM YESTERDAY? KEROSENE LAMPS, QUILTS, A ROLLTOP DESK, THE MODEL A THEY DON'T LEAVE BECAUSE THEY DON'T DESERVE TO STAY THEY JUST FINELY FADE AWAY IN OUR CAPITOL WE GOT THE D.C. MALL ART AND NATURAL HISTORY, AEROSPACE, ARE FREE FOR ALL ANYWHERE YOU LOOK MUSEUMS PROUDLY CALL "COME INSIDE AND SEE OUR BEST" THEY'RE CALLED "CURATORS" BECAUSE THEY'VE FOUND THE CURE HOW TO KEEP THESE WORKS OF ART AND REASON PURE "FREE FOR ALL" IS JUST THEIR WAY OF MAKING SURE THESE WON'T FINELY FADE AWAY BRIDGE: PEOPLE GAZE AND SIGH, THEY MOVE IN ALL DIRECTIONS THERE'S SO MUCH FOR THEM TO SEE THIS IS NOT A PLACE OF PAIN AND MISERY THIS IS HUMANS AT THEIR BEST THE SMITHSONIAN, IT'S GOT AN OUTSIDE BENCH WHEN I SAW HER THERE IT GAVE MY HEART A WRENCH SHE TOOK GREAT PAINS TO AVOID THE HOMELESS STENCH SHE'D "BEEN RAISED RIGHT, THANK YOU SIR" RUBY JOHNSON HAS A BOX IN ARLINGTON TIPPY-TOE SHE PROB'LY STANDS A BOOMING FIVE FOOT ONE OVERCOAT FULL BUTTONED IN THE MIDDAY SUN "THINGS SEEM COLDER NOW, YOU KNOW." SHE WAS TIMID, BUT I COAXED HER FROM HER SHELL SHE WAS TENDER, KIND, AND HUMOROUS AS WELL "NOW I WAS TAUGHT ALL CATHOLICS, DEMOCRATS GO STRAIGHT TO HELL" LARGE AND TOOTHLESS WAS HER GRIN BRIDGE: THIRTEEN DAYS I CAME, WHEN I'D GROW WEAK WITH WONDER SHE'D BE WAITING THERE FOR ME SHE WOULD NEVER ASK FOR MORE THAN COMPANY CONVERSATIONS FEED THE SOUL "RUBY JOHNSON, DON'T YOU FIND IT KINDA STRANGE.. YOU GREW UP SO WILD AND FREE ON TEXAS RANGE. NOW YOU TRY TO SCRAPE UP NERVE TO ASK FOR CHANGE…." SHE DON'T SEE IT QUITE THAT WAY "I'VE BEEN BLESSED WITH LIFE SINCE 1925 GOD DON'T GRANT NO GUARANTEES YOU‘LL STAY ALIVE TOUGHER FOLKS THAN ME AIN'T MANAGED TO SURVIVE I'VE BEEN LUCKY, THANK YOU SIR" WHEN I LEFT I SAID "I HOPE WE'LL MEET AGAIN" SHE JUST SMILED AND BUTTONED UP AGAINST THE WIND "NOW, PAY ATTENTION" SHE SAID "TO EACH PRECIOUS FRIEND, LIFE IT GOES ON BUZZING BY." BRIDGE: PEOPLE GAZE AND SIGH, THEY MOVE IN ALL DIRECTIONS THERE'S SO MUCH FOR THEM TO SEE THIS IS NOT A PLACE OF PAIN AND MISERY THIS IS HUMANS AT THEIR BEST IN OUR CAPITOL WE GOT THE D.C. MALL MAKES YOU THINK OF MANKIND'S ACCOMPLISHMENTS; SO GRAND, SO TALL ME, I THINK OF RUBY JOHNSON SITTING FRAIL AND SMALL THEN SHE FINELY FADES AWAY THEN SHE FINELY FADES SAME'S TRUE The song: I had this melody and all of the lyrics except for the bridge forever. I remember in 1978, I was accepted into an ASCAP Songwriting class and became acquainted with Arthur Hamilton, the writer of "Cry Me a River". An actual "standard", how cool is that? We kept in contact after the class and we were at dinner one night and he played some of his other songs that Peggy Lee etc. had recorded, really great melodies and lyrics. I had this song in my quiver but it wasn't finished and I was so disappointed that I couldn't play it for him. 25-30 years later, I got around finishing it. I just got so sick of having this really nice melody and not having the damned thing DONE! This is not a song for my voice, but at this point, I wrote it, so I have to sing it! The recording: recorded live at Kulaks Woodshed LADY LATELY YOU SEEM SO STATELY ALL YER HUMOUR SWEPT OUT THE DOOR THAT'S ALL WRONG DON'T BE STRONG THE SORROW SHOULD SEEP PRESS AGAINST ME LIGHTLY AND CRY YOURSELF TO SLEEP A PLAIN VIEW CAN CLEAR YOUR WORLD OF BLUE THE SAME'S TRUE WHEN MY HEART TURNS TO YOU IT CLEARS MY WORLD OF BLUE SWOLLEN GOLDEN GENTLY ENFOLDIN' MY LOVE REEKS OF POWER AND PAIN IT'S FRIGHTENING YOUR BLOOD RINGS THE TERROR RUNS DEEP STILL I COME HERE NIGHTLY AND TAKE THAT LOVERS' LEAP A GAME FEW CAN WHIP AN ENTIRE CREW THE SAME'S TRUE WHEN MY HEART TURNS TO YOU I'D WHIP AN ENTIRE CREW BRIDGE: SINCE THE SUICIDE ALL THE TRICKS I'VE TRIED YOU OVERRULE HIGH TONED, AND GREY-BONED, AND CRUEL DON'T YOU SENSE THIS SHIFT FROM THE DANCE TO THE DUEL? WHY WON'T YOU SAY SO, YOU FOOL? LOOK THERE SEE WHERE THAT MOTH FLIES TOWARDS THAT FLARE DESIRES MAKE FIRE'S DANGERS IGNORED IT JUST TRIED ‘TIL IT DIED BUT NO NEED TO WEEP I THINK IT WENT BRIGHTLY INTO THAT DEATHLY KEEP THE FLAMES DREW THAT MOTH UNTIL 'TWAS THROUGH THE SAME'S TRUE WHEN MY HEART TURNS TO YOU THE FLAMES DREW THAT MOTH UNTIL 'TWAS THROUGH THE SAME'S TRUE WHEN MY HEART TURNS TO YOU SHOW AND TELL (1978) Ric Taylor: classic guitar, bass, vocal Alfred Johnson: keyboard Jeff Kossak: percussion The song: one of my favorites; I was in the master class with Arthur Hamilton and Annette Tucker. I took the second four chord section of "Elaine" and off I went, another quick and easy one. The recording: recorded at: OtherHand Studio Alfred Johnson's living room my living room YOU CAN DANCE ON THE WAVES AND THEN DO SOME SIGHTSEEIN' YOU CAN WALK THROUGH THE STREETS WITHOUT SHOE IT'S DELIGHTFUL DE-MARVY COULDN'T YOU JOIN ME HERE IN THE BLUE CARIBBEAN ‘CAUSE THE EVENINGS I SPEND WITHOUT YOU THEY'RE A NIGHT FULL OF STARVING CHORUS: SO CHECK INTO MY HOTEL AND WE'LL STROLL BESIDE A WELL DONE SEA SO ITS WARMTH CAN SET YOU FREE THEN UNDER A BRIGHT MOON SWELL YOU CAN PLAY SHOW AND TELL WITH ME BRING ALONG ALL YOUR PAINTS YOU CAN SKETCH TWO OR THREE OF THE NATIVES AND THEIR SCENERY IT'S DELIGHTFUL DE-MARVY AND IF YOU TAKE MY KNIFE AND SAY ETCH "YOU PLUS ME" ON THE SIDE OF SOME COCONUT TREE WELL I MIGHT DO THE CARVING CHORUS: SO CHECK INTO MY HOTEL AND WE'LL STROLL BESIDE A WELL DONE SEA SO ITS WARMTH CAN SET YOU FREE THEN UNDER A BRIGHT MOON SWELL YOU CAN PLAY SHOW AND TELL WITH ME BRIDGE: OH, BRING A TON OF SUNTAN LOTIONS AND A SIXPACK OF EMOTIONS TOO WE'LL USE BOTH BEFORE WE'RE THROUGH INSTRUMENTAL CHORUS: SO CHECK INTO MY HOTEL WE'LL RIDE ON A BRIGHT MOON SWELL YOUR DREAMS CAN BE LIFE AS WELL COME ON BABY WHAT THE HELL COME ON AND PLAY SHO-OH-OH-OOO-OH AND TELL WITH ME TRUER WORDS (2007) Ric Taylor: guitar vocal The song: I just came up with a play on words for the hook and then end writing it figured out that my friend Lisa Turner could play it much better than I could and so I pretty much leave this alone and let her have at it. The recording: recorded at NoHo audio LOVE IT LIFTS YOU INTO LIGHT IT'S A BURNING CONSTELLATION THROUGH A UNIVERSE OF LIES AND IT PUSHED ME PAST MY FRIGHT SO I MADE ITS DECLARATION AS YOU GAZED INTO MY EYES THEN YOU TOOK THAT SACRED MOMENT SHARED IT WITH YOUR FRIENDS AND LAUGHED SO HARD Y'ALL BARELY KEPT FROM CHOKIN' ALL I KNOW IS TRUER WORDS WERE NEVER BROKEN WON'T SOMEBODY TELL ME PLEASE HOW THE HISTORY OF BEAUTY COULD BE GATHERED IN ONE SMILE AND YOU TOSSED IT WITH SUCH EASE THAT IT SEEMED MY SIMPLE DUTY TO SURRENDER TO ITS STYLE NOW YOU SAY THAT PARTY'S OVER AND THOUGH YOU DANCED THE DANCE I SURELY MUST HAVE KNOWN THAT YOU WERE JOKIN' ALL I KNOW IS TRUER WORDS WERE NEVER BROKEN BRIDGE: OH HOW SAD JUMPING ON MY JOURNEY JUST TO STEAL A RIDE ‘CAUSE FROM THE START WHEN YOU TORE THIS HEART APART IF YOU'D LOOKED YOU WOULD'VE FOUND YOURSELF INSIDE SO I'M UP AGAINST THE ROPES I DON'T NEED NO CONSOLATION I CAN GET THERE ON MY OWN STILL THERE'S PART OF ME THAT HOPES AT THE VERY NEXT TEMPTATION I'LL BITE THE BAIT DOWN TO THE BONE WILL I EVER END UP WIELDING AN ADVENTURED HEART THAT SEEKS WITH ALL ITS SOUL TO STAY AWOKEN ALL I KNOW IS TRUER WORDS WERE NEVER SPOKEN ALL I KNOW IS TRUER WORDS WERE NEVER BROKEN WATERFALL (2006) The song: just my thoughts about taking an open canoe over a 20 foot waterfall without being able to scout it The recording: recorded at NoHo audio IT'S JUST THREE BENDS AWAY THEY SAY YOU'LL HEAR IT'S CLARION CALL THEN FASTER THAN A FALCON STALL YOU'LL COME ACROSS THE WATERFALL STILL I SLIDE MY GLASS CANOE INTO THE RIVER'S PITCH AND DODGING ROCKS I TRY TO HITCH A GLIDE INTO THE MOUNTAIN'S NICHE OH, THE WILDNESS IN HALF-KNOWN UNKNOWN ANTICIPATION SPINS SUCH AN AMAZING TONE AND AT THE WATER'S GHOSTLY RISE YOU WONDER WAS IT TRULY WISE TO MOUNT THIS FRAGILE EGG AND TAKE IT DANCING WITH THE STONE AND PAST THE EDGE THE VIEW CONSISTS OF JUST A DOZEN DIFFERENT MISTS AND UNDERNEATH THEM NATURE'S FISTS NATURE'S FISTS ARE WAITING WELCOME TO L.A. (2002) Recorded 2004-08 at: Linden Dickerson sound, my living room, Alfred Johnson's living room, OtherHand sound Musicians: Ric Taylor: guitars, bass guitar, vocals Alfred Johnson: keyboards Dos Tres: B3 clone It's funny, this is one of my most popular songs, and I can't remember anything about the actual process of writing it. I was probably just screwing around in that particular tuning (DADFAD) and came up with chords, then wrote the melody, then wrote the words. That's the usual process. The song is, of course, aimed at the entertainment industry in Los Angeles and not the entire city. This town gets a lot of disrespect as a result of harboring the entertainment industry, but the town itself is really a pretty cool place to live. I told a paddling bud of mine, who is extremely classically oriented, that I would put something classical into the piece and so I wrote the entire lengthy intro to incorporate the slight section of "Carmine" at the end of it…. VERSE 1: DON'T BE SO HESITANT WE'RE GLAD THAT YOU'VE ARRIVED IS IT SO WRONG TO SEEK DEVOTION? THESE DREAMS THAT DROVE YOU HERE IF I MAY BE SINCERE THEY RISE ABOVE THE WORST OF US SO LET ME BE THE FIRST OF US TO SAY: CHORUS 1: HEY THERE, HI THERE, HO THERE, WELCOME TO L.A. I'LL BE GLAD TO SHOW YOU WHICH IS WHICH BUT FIRST LET'S STEP OUTSIDE AND FEEL THAT SUNNY DAY ‘CAUSE THAT AIN'T NEVER EVER GONNA SWITCH YOU KNOW, WE'VE GOT THIS RIVER, IT FLOWS DOWN TO THE BAY AND LIKE OUR LIFE IT FLOOOOOWS WITHOUT A HITCH YOU SAY YOU'VE GOT THIS HUSTLE'S GONNA PAVE YOUR WAY I'M CONVINCED IT'S GOING TO MAKE YOU RICH SO IF YOU TRULY CAME TO PLAY WELCOME TO L.A. VERSE 2: HELLO AGAIN, I SENSE SOME SADNESS IN YOUR SMILE AS IF TRANSCENDENCE MET TRANSGRESSION BUT NO ONE'S BLAMING YOU THAT'S WHAT THIS TOWN WILL DO IT DESTITUTES THE BEST OF US COME DOWN HERE WITH THE REST OF US AND PRAY CHORUS 2: HEY THERE, HI THERE, HO THERE, WELCOME TO L.A. I CAN SEE THAT YOU BELIEVED THE PITCH BUT WHEN YOU STEP OUTSIDE YOU SMOKE A PACK A DAY FROM SNIFFING SMOG THAT MAKES YOUR EYEBALLS TWITCH YOU HEARD WE'VE GOT THIS RIVER FLOWING DOWN TO THE BAY ‘CEPT IT AIN'T NOTHING BUT A CONCRETE DITCH AND YOU BROUGHT THAT HUSTLE'S ‘SPOSED TO PAVE YOUR WAY WELL SO DID EVERY OTHER SON OF A BITCH IT SEEMS YOU'VE GONE A BIT ASTRAY WELCOME TO L.A. VERSE 3: DON'T PLEAD THAT TIRED DEFENSE YOU KNOW THE REASON WHY YOU'VE WATCHED YOUR RIDE ROLL RIGHT PAST REDEMPTION YOUR COUNTLESS CRIMES INCLUDE THAT FKING ATTITUDE YOU THOUGHT YOU WERE A GUEST OF US BUT NOW YOU'VE JOINED THAT NEST OF US TO STAY AN ACTOR IN THIS BARGAIN MATINEE CHORUS 3: HEY THERE, HI THERE, HO THERE, WELCOME TO L.A. I'M SURPRISED YOU DON'T ENJOY YOUR NICHE ‘CAUSE WHEN YOU STEP OUTSIDE THERE'S SOMEONE TO BETRAY SOME OTHER NEW ARRIVAL YOU CAN BEWITCH YOU SOLD YOUR SOUL DOWN THAT RIVER TO KEEP REAL LIFE AT BAY WHATEVER DIDN'T STROKE YOUR MYTH YOU'D DITCH AND NOW YOU SPEND THAT HUSTLE MORE AND MORE EVERY DAY ON HOW TO BUILD A BETTER "BAIT AND SWITCH" STILL, YOU'RE SUCH A SPECIAL PART OF THIS DECAY, YES YOU ARE AND SINCE YOU AIN'T NEVER EVER GOING TO BREAK AWAY WELCOME TO HELL.A. VICTORY (2003)** Recorded 2004-08 at Linden Dickerson sound and my living room Musicians: Ric Taylor: guitars, vocals Alex Del Zoppo: keyboards Dos Tres: bass guitar Curtis Byrd: drums This song was just to celebrate the small victories in life. You know, you help a woman load some heavy groceries into a car, then drive to a fast food place the next day and she's behind the counter and gives you a double helping of chow. Every verse actually happened to me. I didn't particularly want to be so wordy, but that's the way the melody came out. WE'RE ON THE RIVER RUNNING RAPIDS THROUGH THE SPLASH AND CHURNING WHEN THIS NEW CUTIE PADDLES UP SUDDENLY SHE WAS COOL AND CALM AND SO CONTINENTAL AND HER (MOVES or BOOBS) WERE TRANCENDENTAL SHE WAS SOMETHING TO SEE SO IN THE EVENING WHEN WE GATHERED SHE HAD QUITE THE CROWD OF YOUNG GORILLAS TOOTING THEIR BRAVADO LONG AND LOUD SHE SAID " 'EXCUSE ME BOYS, BUT THIS IS "NOISE" AND NOT THE GAME FOR ME" THEN SHE STROLLED ROUND THE CAMPFIRE, GAVE THEIR EGOS A SLAP SHE SPENT THE WHOLE DAMNED EVENING PERCHED RIGHT IN MY LAP CHORUS: I WAS A GUITAR, SCREAM-ROCKIN' I WAS A GUN, COCKIN' I FELT LIKE MOSES WALKIN' RIGHT THROUGH THE SEA IT WAS A ONE-SIDED, TWO TON, THREE WAY, FORGONE FIVE STAR GENERAL VICTORY FOR ME NOW MY APARTMENT'S IN THE SOUTHERN CENTRAL SEEDY SECTION THE ONLY WHITE BOYS ARE THE LANDLORD AND ME HE'S EMBRACED THE TASTE OF "RACIST-AS-RELIGION" YEH, HIS HEAD BOBS LIKE A PIGEON WHEN HE'S CAUSED MISERY SO WHEN THE UNWED MOTHER UNDERNEATH ME'S HEATING BLEW HE SAID "WHO'D CARE ABOUT THE FREEZING OF TWO SPICS LIKE YOU." WELL I GRABBED HIS GAZE; SAID "THAT'S THE PHRASE THAT MAKES ME TAKE THIS STAND I'LL CALL THE LAW ‘LESS YOU FIX IT YOU CONTEMPTIBLE FREAK" SHE HAD A BRAND NEW HEATER BY THE END OF THE WEEK CHORUS: I WAS A GUITAR, SCREAM-ROCKIN' I WAS A GUN, COCKIN' I FELT LIKE MOSES WALKIN' RIGHT THROUGH THE SEA IT WAS A ONE-SIDED, TWO TON, THREE WAY, FORGONE FIVE STAR GENERAL VICTORY FOR ME WE'RE ON THE RIVER RUNNING RAPIDS THROUGH THE SPLASH AND CHURNING RELAXING ON THE SHORE WHEN WHAT SHOULD APPEAR WITH A SCREAM UPSTREAM COME TWO BEGINNING RAFTERS WHEN THEY'D FLIPPED THEIR SQUEALS AND LAUGHTERS TURNED TO GURGLES OF FEAR AND WITH THE WATERFALL APPROACHING THEY WERE QUITE SURPRISED THEY STARTED CLINGING TO EACH OTHER KINDA PARALYZED WELL I GRABBED MY ROPE WITH THE HIPPITY-HOPE THAT I'D TOSS IT STRAIGHT AND TRUE I DROPPED THE END RIGHT BETWEEN ‘EM WITH AN 80 FOOT THROW IT WAS A LAST CHANCE RESCUE FROM THE DANGERS BELOW CHORUS: I WAS A GUITAR, SCREAM-ROCKIN' I WAS A GUN, COCKIN' I FELT LIKE MOSES WALKIN' RIGHT THROUGH THE SEA IT WAS A ONE-SIDED, TWO TON, THREE WAY, FORGONE FIVE STAR GENERAL VICTORY FOR ME IT WAS A CAMPAIGN, STRAIGHT-TALKING IT WAS A YACHT DOCKING IT WASN'T SELF-MOCKING IT HAD THE CROWDS GAWKING PRISON GATE-LOCKING VAMPIRE STREET STALKING PRIEST DEFROCKING PITCHER BALKING MOTHER-FFFFFFFFFF.....LOCKING CHORUS: I WAS A GUITAR, SCREAM-ROCKIN' I WAS A GUN, COCKIN' I FELT LIKE MOSES WALKIN' RIGHT THROUGH THE SEA IT WAS A ONE-SIDED, TWO TON, THREE WAY, FORGONE FIVE STAR GENERAL VICTORY FOR.... VICTORY FOR.... VICTORY FOR ME!!