Since “discovering” how to write songs at age 33, I have compiled about 31 or 32 of them over about 24 years. The first 10 were recorded as “This Elite Band” in 1996, the second 10 as “Songs for The Modern Age” in 2002, and now a third 10 as an album called “Images”. The first record took 3 weeks, the second 3 years. For this third one, we have done just a handful of sessions, and there are versions of the songs on the site here, but they are primarily part of the Rock Opera (er, Rock Collection) called “The Modern Age”, and I haven’t decided how or when to finish a separate project of an album of these songs. This section is about the songs themselves, and where they came from musically and lyrically. I presume the album will get finished somehow, someday..
There is no song on “Images” called “Images”, with the name simply pointing to the nature of the songs denoting images, of people, of course. I had been writing songs to try to finish compiling about 22 tunes that would constitute a rock opera, what I call a “snapshot” of this modern age we are living. There had not been such a plan until this past 4 or 5 years, when the idea for such a gargantuan musical project dawned on me. Until then there was no intention to specifically write a bunch of songs about people in this era of the human condition, but given my job description, I guess it happened naturally.
An album of songs is by itself quite a project. As opposed to “singles” that might stick in your head, an album is a collection that denotes a feel, a mood, and a time in history that it was laid down. Thus, “Images”. Let’s hope none of these images is you.
I had this guitar that a friend of mine loaned me, a little Gibson sunburst, and he said that he’d lived in KC for several years and that Bob Weir and some Dead members had frequented the house. Bobby had played the guitar there and really liked it and took it and played it in concert once. And so when I’d told my friend that I was trying to be good enough on a guitar to be able to play around campfires, etc. and needed one, he lent this one to me. We used it in the basement parties for years, and it had a real sweet sound to it. Then somebody ripped it off out of the back of my truck. It was many years before I told the guy who’d lent me it that it was lifted. Whomever it was, I figure they brought terrible karma to their self, for sure.
So I’d bought one to replace it. I went in to a store in Covington, and hanging on the wall was a 1950s-era small acoustic called the Gibson Jubilee, and I bought it for $1000, not really knowing if it was any good or not. The first night I had it I literally said to the guitar, “Do you have any songs in you?” I started plucking a little rhythm in G, and in no time “So Far Gone” was born. It only possesses chords I can play on a guitar, G, C, D, E minor. (Actually there are several more chords I can play on a guitar).
It is a song without a “middle 6”, or refrain. Just a number of observations, and then a turnaround as if to allow the song-doer to pause after such exploration. I have played it on piano almost exclusively. I would say this is probably my favorite. So when we went in and recorded it in the fall of 2015, it turned out so good and really, it’s done and will probably be the first thing you hear on “Images”. And the life put into it by Tony, Buzz’s boy who is now our drummer, has reassured me we can record music even now that Buzz is gone.
Lyrically it explores a favorite theme of mine: people who are fools and have no idea. And now they’re “so far gone” they ain’t and won’t ever get it. See it as a “Modern Age” theme?
(1)A poor man knows he gets to have his way
He don’t really have a lot to say
And it ain’t like he knows what he’s been missin’
He didn’t even hear he wasn’t listenin’
‘Cause he’s so far gone by now
(2) Need to ask you what you meant by that
Did you really think it went like that?
And wasn’t it you who never asked why?
Were you afraid that you would just cry
Because you’re so far gone by now
(B1) Never really mattered where the road had led
Nobody remembered what was really said
How they gonna hurt you with the fights you lose
When there’s always one more trick for you to use
(3) Just another day come callin’
And once again the sky hasn’t fallen
You looked up and couldn’t believe your eyes
The only thing the night had told you was lies
‘Cause you’re so far gone by now
(B2) When you lost your way and you hadn’t a clue
The end of something came and then you knew
Every other game you get to pick and choose
But now there’s just a little too much for you to lose
(4) Lookin’ back it never seemed so bad
In the end it never seemed so sad
But did you ever get to where you were goin’?
Did you ever figure out what you were doin’?
And you’re so far gone by now.
This song was an attempt to write as simple of a “rock” song as you could. I’ve been a little self-conscious about too many lyrics in my songs (not really) but thought it would be a good exercise to keep things simple lyrically and musically. The song is in G (major) and the trick is the rapid jump from the tonic to the (subdominant) C, which ended up in the refrain. The rest just came from that riff or jump, followed by several “mixed” chords. Musically and lyrically, these all came together in, like, one sitting, and that is always a good sign for songwriting. I mean, they’re all different, but when they fall together fast, those songs are often popular and sound familiar.
The lyrics ended up chasing another favorite theme for me, which is people who are bailing out on something, like a job in this case, because the grass elsewhere must surely be greener, which it rarely is. He soon finds that the world is cruel and that he would be wise to find his way back “home”, wherever and whatever that is. Musically it has a bunch of “kicks’ in it, a challenge for any band. It is as solid and simple of a song as I can write. The shouting proclamations after the refrains seemed necessary, and I’ve even done the song without them, because they’re difficult. I’m hoping they can stay with some embellishments, like harmonies. Guess we’ll see. Again, many of these songs are demo level, as needed for the oera they are in, The Modern Age
Looks like I stayed around here too long
Nobody I’ll be missin’ when I’m gone
The sun was setting on the hill last night
Knew the time was getting’ close to right
But when I jumped back on the road, the feeling wasn’t quite the same
Just another pair of feet put back on the street
By the flash of a picture frame
(Ref) Well, even thought it’s just a mile away
It didn’t mean you’d make it there today
Turning back minutes passing time away
Looking for some new words to say
Ain’t no direction home
A long road that you walk alone
Like everyone that you’ve ever known
(2) You know, I might’ve missed a highway sign
But nobody wants to hear that same old line
But in a minute it was time to go
Already knew everything there was to know
But when I came to, I was standing at the foot of another day
When a door flew open I was standing there hopin’
That somebody could show me the way
(Ref) But, even though it’s just a mile away
It didn’t mean you’d make it there today
Turning back minutes passing time away
Looking for some new words to say
Ain’t no direction home
A long road that you walk alone
Like everyone that you’ve ever known
Several years ago I was having trouble with a note on my Baldwin piano at my house, the C# in the treble clef. My piano tuner noted a missing pin in the action, and sent me about 4 small pins to replace it, and said one of them would fit it, which it did. See, you can loosen a few screws and slide out all the action on a grand piano as one unit, and there are several adjustments you can do, because banging on the instrument naturally knocks them out a little, and the hammer won’t strike the strings right, and it’s fun and easy to work on them. I replaced the pin and it was such a relief to have that note back after several years of it being soft and off.
So from then on I couldn’t keep my right ring finger off the thing, and two songs came from it, including this one. In the key of D major, the C# is the major seventh, a note from the jazz universe and I’ve always been curious about it in songs. It is an interesting counter to the “power” chords, a softer gentler note. So, once the note was fixed, I kept banging around using it, and the tunes wanted to be in D, a key I had not yet written a song in. The beat was established, and the riff on the piano was fun, so it quickly became a song.
Originally the tune had an additional middle part that was dropped, and what ended up was a song about a dude in the Modern Age trying to play its game, and of course he looks like a fool just the same as anyone attempting to navigate through this era in this way. Have the fun, sure, but at what peril? See it as a Modern Age theme. In the studio I played it once with the bass player Bruce at the end of a session, and it accomplished what it needs to and I’m wanting to leave it that way, real simple like that. And done in one pass. When I’ve tried to play it with a drummer I have found they struggle with it, so I’ve just left it the way it is, at least for now.
(1) With the night still runnin’ from the break of day
And a street light shimmerin’ the same old way
It’s the odd man out in the cold all night
With a line in doubt and a time too tight
(2) There’s a hand in the pocket ‘round a roll of green
And a flippin’ old top said it can’t be seen
From a crow’s nest beacon, it was hidin’ and seekin’
And a sail don’t know when a wind might blow.
(B) Kept on thinkin’ it was out of time
Like a wrong new poem and a tired old rhyme
But your ears keep ringin’ from a fat chick singin’
When the lights go out
On the twist and shout.
Can’t scream it any louder than that
Day trippin’ to the blue and black
It’s the same old story so don’t you worry
Just a post card note from the sad and sorry
(3) Night time echoes from the break of day
Where an all new piper found a note to play
And they’re linin’ ‘em up for the trip up town
Where the wheel go spin another time around
Consider it a modern day nursery rhyme. But really, it was that note on the piano, that’s all. Again, these are supposed to show you how songs are born, or discovered, or uncovered, or yanked from the ether, all part of the mission statement for the site. It usually starts with you and an instrument. A “feel”, or identifier is generated. From there it’s the same for all songs, journeys from the tonic, and back again.
A once-through version of this song exists and it is not a part of The Opera. It is, however, a song that fits “Images”. Again, the C# note. In this song it serves as the major seventh more than in “Another Time Around”, where it is more just part of the scale and the riff that starts the song. You’ll note the Dah, dah de dah de dah dah dah. Simple rhythm. Throw in a few G’s and A’s, a simple refrain, and simple bridge. Presto.
I haven’t thought that much of the tune because it’s so simple, but it’s a real song, all its own, and has imagery. You can’t throw away songs, just because they’re simple.
Lyrically, it seemed to want to be a kind and decent song, and the words “new romance” wouldn’t go away, and I just couldn’t find a way around it being a song about that. I’ve even tried to sing the song without that hook and can’t do it.
Anyway, I’ve always been struck by how hard it must be to be a girl and entertain thoughts of romance with a new person, or a stranger who might be Mr. Right, or perhaps a real smooth lunatic or even a serial killer. Girls have a big disadvantage in this way, and any reluctance is understandable. And this is not an unrequited love type of song. It’s more, Hey Babe, I can really make fun for you. May I have this dance?
Finding time it was just you and me
Happened on a kind reality
A way to feel it all we had to see.
Riding out again to climb the hill
‘Round about the way it’s better still
Ain’t hard to want to catch the thrill…
(Ref) Of a new romance
Some times you gotta take the chance
No one but you gonna make ya
But are you sure you wanna have this dance
No tellin’ where it’ll take ya
(2) Was a time when you’d know what to do
You were known to catch an eye or two
The inside of you was all you knew
No thinkin’ it’s the same old song
Could it be you never listened long
Look so hard to try and find something wrong
(Break) Can I see you in the full moon light
Babe you know it’s gonna be alright
All you gotta do is hold on tight
(3)(Instrumental half verse)
Reaching out across the great divide
Never knowin’ how hard you tried
To see where you could run and hide…
(ref) From a new romance
Some times you gotta take the chance
No one but you gonna make ya
But are you sure you wanna have this dance
No tellin’ where it’ll take ya.
I could not remember the beginning of the second verse and called home to see if Andrew could find the song, usually on a piece of printer paper. He couldn’t, so I made up what you see there about the “used to catch an eye or two” line. You know, there are so many romances that might have been great ones, but one or both didn’t make it happen. It’s a scary thing, a new romance. How hard would it be to bail without hurting someone, or other bad outcome scenarios? But there sure can be big fun, and sometimes you just gotta take a chance. Or sit at home alone.
In the key of F major, for piano players, there is an entirely different set of fingerings to hit the traditional notes and chords in a scale, and the songs are just different or something. So for fun and relief, a song should be written in “the flats” every so often, and that’s what happened here. I love this song, and it’s been probably 10 years since I wrote it. It’s super simple, slow, and somber, and thus makes a point.
So I came up with this concept of a girl working at Waffle House or someplace like it, maybe night shift, but steady work, and she’s a rock of an employee. But she is happy to achieve only this high, where the responsibility is not very much. For so many of these folks of “lower socioeconomic status”, life is a struggle. Bills are hard to pay. The father of her young children is a dog and an underachiever. The people she works with are of similar ilk, and eventually frustration is the rule. And at some point, it dawns on her that she’s been party to a bunch of “lost causes”. Sad. And she’ll be right back, after her smoke break.
We recorded this on that night mentioned before, and it’s like the song’s already done. Fun to play and sing. See it as a Modern Age theme?
For a handful of happiness to turn me around
Through too many years of working too hard
Believing in luck, building bridges too far
(Ref 1) Seen my share of lost causes I know
Went to work in the dark, with nothing to show
Puttin’ up a good fight
When all that’s shinin’ is the light of the night
Been around so many times, nobody they blame
Breaking backs, and dreams when they can
And reminding the winners just where they stand
(Ref 2) They’ve seen their share of lost causes I know
All dressed up, and no place they go
To carry on their plight
When all that’s shinin’ is the light of the night
The tracks in the path, couldn’t see what they mean
Surrounded by fools I thought surely would be
A help of some kind, oh, but alas, they were just like me
(Ref 3) Just sharing lost causes I know
Throwing seeds where nothing would grow
And knowing something ain’t right
When all that’s shined on me, was the light of the night
The song was originally called “The Light of the Night’, denoting the experience of the night shift employee, going to work under the shine of a street light. More images.
How about a song in A major? Again, for a piano player, it’s different from other keys, in this case a walk-down from A to G# minor, and F# minor, to E, then D, and how about a turnaround through B to get back to E, and then from there naturally back to the tonic, A. Then a pre-chorus slides in where there’s a little bit of a key change, and these are all music movements in a million rock songs. A minor, G, F, E, all majors. Then after a little hesitation on E, back to the tonic of A major and a real simple refrain. There’s a kick in the middle of the refrain, and that’s that. It’s a music composition that just sort of happened, again by just banging on the piano.
The refrain in songs like this has to be big, and that’s always such a challenge because the singer has to be big, not cute or nuanced. Big notes, like in rock songs. Lyrically, this tune says much of what people need to do and don’t, which is to move on from the trappings of the past and live in the moment. For many, the past is a terrible blot that many don’t ever get over. But the songs wants to say, or ask, could you possibly see that things sort of had to be this way? And “Had to Be This Way” was the song’s original name. And obviously, a Modern Age theme. With imagery.
(1) Up and down, and all around
Simple dreams so much abound
On their way to the lost and found
And maybe lost again
For so fast they run, and so far they’ve come
In the shadow of the morning sun
They’ll get an answer when it’s said and done
On the other side of now and then
But there are times when it’s all a big lie
And the world brings a tear to your eye
But then Monday, turns to Tuesday
Just like any day that goes on by
(Ref) Say goodbye to yesterday
Comes a time when there’s nothing left to say
Just the lines of some old song
Couldn’t see it, or believe it, had to be this way
(2) All the time, the words that rhymed
Had a meaning you had hoped to find
And the moment didn’t seem to mind
If it was true alright
You’d let me know, if letting go
Made it easier to say it ain’t so
When everything you didn’t need to know
Would get you through the night
No looking back, no hanging on
No more being where you don’t belong
No more waking in the middle of the night
No more being wrong instead of right
(Ref)
Musically at the time this song was written I was banging in C major, which is all white notes on a piano. There was a super simple movement, but the key for the song was to go to the bridge without finding the tonic first. Pretty simple. But I think it took a year to work out how the tune goes, because I kept hearing something in there that I guess didn’t want to be there. This continued well into the lyric writing of it, and it about wore me out. I thought maybe, just maybe, it wasn’t a song at all. Torture.
Then one morning I had just finished a night shift, and your mind gets into a beautiful completely ragged out feeling, and I was in one of those in January several years ago. It was super cold in our area, and all my thermometers were saying like minus 17. I had the house to myself, and as I sat in the kitchen looking out at the big chill, I got out a pen and paper and gave it a go. It started with, “In the cold and the darkness of night”, and I’m telling you from there I just wrote the whole thing, or at least the gist of it, in several minutes. And after all that time trying to figure out the song construction, wow, it was such a relief. There’s nothing cooler than that, and you can’t make it happen, just gotta plug along and see, if on any given day, that window of creation pops open.
I had wanted to do a song with the line “all I see” in it, and determined maybe this was it. It has that line in there, but it was a song about people who get in their own way, and at least in my job, and the people I see, this is a theme that is so common, and hence a Modern Age theme with imagery. I was embarrassed by it and honestly thought I’d never play it for anyone. And while the lyrics were mostly there, the phrasing took forever. I’ll say this, I can finally do it without a cheat sheet. I remember telling Sadie, the wife of one of our guitar players, that, “I think I’ve just written a song called ‘Vanity and Heartache’, is that too weird or what?” The band recorded it in like one session, and it has become a favorite of mine.
Sure that everything is gonna be alright
Searching moments through and through
Holding out as once before
In another try at asking why, go through an open door
But then a valley gives way to a rise
As hidden hollows take their turns
At throwing out the lies
Secret messages again to speak their piece
To no avail the stranger fights, emotion to release
(Ref) Vanity and heartache all I see
Taking on the shades of hard reality
Looking for the truth to finally set you free
A paradise we gain a bit
From rays of lost sunshine
Asking for not much more
Than we really need
A fertile place to plant, the gift of sow and seed
Some happy, some sad, do the best they may
For them tomorrow waits for yet another day
Never knowing for sure what it all could really mean
To trip and fall so far back in the machine
(Ref)
(Then instrumental half verse)
(3) Some they weep before the rights and wrongs of now
Explaining to themselves it all makes sense somehow
And so it goes like no one knows
How paupers could be king
If only they could find a way
To let their soul to sing
But.. (ref)
When I first came up with the idea of compiling these songs as an opera I kept thinking that these are all songs, not “conversation put to music” like I think of as an opera with characters in it. So I thought I’d write a number of such movements and call them “connectors”. I managed but one, “connector A” I called it. It opens the opera, with “the kid” singing this as if to say, “Wow, this Modern Age is a little scary”. I’m not sure why I haven’t written other “connectors”, except that maybe I just can’t and won’t or don’t need to.
As a connector, it’s not like a song so much as a musical reflection, and hangs on the end of the second phrase of the verse, and in the recording of it (exactly one) there is a discrepancy in this pattern, but I like the feel so much we’re keeping it. We might just put the studio version on the record, because you know the rules, to never over-produce. That “innocence lost” theme is a fun one, and that’s the theme here. And it’s so simple musically, like a “connector” should be.
Wasn’t just a simple walkin’ in the park
Next thing I knew it I was lost and in the dark
Don’t know how I got so blind
Guess I was looking for another way
Some other kind of game to play
And I had it in my mind
That life was so unkind
Then a voice whispered in my ear
I had no business being there
And I didn’t need to see no more
Funny how it has to work some time
Like a poem where the words don’t rhyme
And you can’t be sure, what you went there for
(Break) Sometimes with your eyes wide open it’s just too much t take
Hope that I don’t make some kind of big mistake
On a road that passes by this way
They come and go as if to say, “It’s not up to me”.
No surprises who’ll be on your side
For the hardest thing you ever tried to do or be
Or go as far as you can see.
People write songs all the time, but they just don’t realize it. That’s what happened here. A friend of mine was telling us what a disaster his childhood was, and the scars of course are permanent. He’d talked about “getting away from everything”, and you know how that works. But people end up not hearing what I call “the sounds of the world”, because they’re too deafened by the bullshit echoing off the inside of their cranium. And running from things, well, it’s great song stuff. I recall at the time this really simple tune in G, that I could play on the guitar. So that means no B minors, no F# minors, just stuff I can play on the guitar.
This song is not on the opera. I ran through it on the piano one night at the end of a session, and that might be just the only version of it. It is a song that skeptically points out the futility of such running, when what is needed is to listen to… the sounds of the world. Not the sounds coming from within. And I truly know this is hard if not impossible to do for some people. And hence, more of the same has happened today, on this long-gone getaway.
So I see you walk the long road all alone
Headed on down to where you’d never known
Were you lookin’ to go to where somebody knew
What it was you were so sure was true
But when you stopped in the shade of a warm summer day
Could you hear at all what the world would say?
(Ref) What was it made you had to be leavin’
Never seein’, and never believin’
Well more of the same has happened today
On your long gone getaway
Times were hard, bad things plain in sight
It made you cry at your pillow all night
Nowhere to go in such a life of livin’
When it’s not you who needs to be forgiven
For the lies of the ones who never knew
There’s no love at all in these things you do
(Ref)
When you can lay your head back to sleep
No more bad dreams, no more secrets to keep
And light a candle or two along the way
A map and a treasure has waited day by day
Just as long as you hear the sounds of the world
Are they new to you, or had you really heard/
(Ref)
A few things. The “never seeing and never believing” line is in “Say Goodbye to yesterday” and I couldn’t get it out of there. But they’re different completely, with the other one being that you couldn’t believe things “had to be this way”, as opposed to the meaning in this song of giving up on the Good Lord when times are bad. Very different. That’s the ‘long road all alone” into line one.
Perhaps the most difficult song I have ever manufactured is this one. And I still don’t think it’s right. There is a rif that starts the song, and I was stuck on what to do after that, for literally a few years. The rif was in D, and then I thought I’d try to be cute and leave the key, and even leave it again for the refrain. I had the beat and feel. But these other changes never seemed to work. Whenever I would try to throw in lyrics, they sounded dour and wrong.
I am haunted that you can try to make a song do what you want it to do, but what if it’s not what the song wants to do? Can you drag yourself down from that tree? It’s hard. You want to be creative and do new things. And when they don’t work you question your abilities. But I like to say there are no “throw-away” songs. So finally I dropped this idea of multiple key changes. When I did that it all went pretty fast.
The concept of “moving on” is a modern age theme, given the short and getting shorter attention span of today’s humans. If you’re being fun and keeping it real, people will stick, but they’re moving on when it’s not happening, and I don’t blame them.
Looking up to see the word all passin’ by
Maybe been missin’ out but baby don’t you cry
It’s complicated I know but don’t ask me why
Got to get where you belong
Just hope it doesn’t take too long
But how can everybody else be wrong
‘Bout another little trip to try
Light of day shinin’ through the blind again
Same old thing going through your mind again
It’s time to look for something to find again
And it’s a great big world out there
But you can find it if you dare
If it’s just me then I don’t care
But it looks like it’s time again
(Ref) Who slips down the right path anyway
Let the chips just fall out where they may
It’s come and gone, and it’s time for me
To be movin’on
(2) You know the best things in life you get for free
Close your eyes just hard enough to see
The game is on you got to play to win you see
Don’t you know I was only here a while
You know hangin’ ‘round’s not my style
But you could maybe go an extra mile
To get where you wanna be
A lucky penny never lost its shine
Another train always coning down the line
Get it right, there might not be a next time
Don’t wait on a twist of fate
What happens when it comes too late
Take it all in for Heaven’s sake
‘Cause it ain’t like the sun won’t shine
(Ref)
This next song is the latest addition to the opera, a song called “A Good Ship Aweigh”. Like Vanity and Heartache, this song was like, where did that come from? I had tried to write a song in 3-4 time, or “in 3”, on several occasions, none of them successful. Then one night, I tried again, turning to the flats to do it, this time B flat (major). Again, for piano players this is a comfortable place, so I started on the B flat with the left hand, the bass notes, just doing an octave in 3 beat. It seemed promising. But from there it got hard.
After a time, I decided on the arrangement of the few simple chords it had in it, and this song like Vanity and Heartache goes quickly to the refrain, starting on “the 4”, or the subdominant. I wonder if anyone will notice. When it became lyric time I opted for a metaphorical nautical theme, like you’re on a boat somewhere, and not sure where it’s headed.
My grandfather, an Italian, managed just such a journey here circa 1915 or so. The story goes that he and his mother agreed to walk to a certain street corner, on the way to the boat, and that they would embrace and walk away and not look back. They had to go several blocks past where they’d agreed upon, but eventually, they did embrace, he jumped on a boat, and they never saw each other again. (Actually I heard recently from a relative that he did make it back to see her but non one is sure if or when.) He ended up in New York somewhere, where the local Italians looked after him (age 16 or so), and he ended up in Cincinnati where he worked as a translator and elevator operator. He was shot up in WWI and clanged around with a metal brace on his lower leg. We later found he was awarded the Silver Star for his efforts in that war, which we never knew until he was near death for Lou Gehrig’s disease in his 70s.
I remember, when Ronnie Reagan was elected, there were some coat tails and momentum that a newscaster referred to as “The Good Ship Reagan”, and that stuck in my head. A good ship? Says who? And “aweigh”, like in the song “Anchors Aweigh”, is where you have loaded the anchor and are heading out, which they call “weighing” anchor.
Loaded up, The Good Ship Aweigh beckons, are you coming with us or not? Would I have jumped on that boat? Would you? Which way is Greece? But in this case, like so many of these songs, see the metaphor. The Modern Age is full of such enticements.
Off in the land of faraway places
Where the sun and the skies gets lost on the way
With the hope of tomorrow the look of our faces
We know in our hearts we can get there some way
So here we stand looking out at the water
As we wait for the boat that comes in with the tide
Then it’s off to wherever for little that matters
As much as the others who never have tried
(Ref) Oh the lines of the past disappearin’
With the clang of the bell that we’re hearin’
No time to borrow today from tomorrow
Alright and OK, for the good ship aweigh
Gone from the sands of a land long forgotten
To the new and the wonder of never before
Oh, they’ll welcome us there as if once begotten
Coming home once again from the waves to the shore
Now it’s the sun that’s slowly been risin’
The sails they catch at whatever goes by
To the new and uncertain on past the horizon
Adventures aplenty that never run dry
(Ref) Oh the lines of the past disappearin’
With the clang of the bell that we’re hearin’
No time ya borrow today from tomorrow
Alright and OK, for the good ship aweigh
(Outro) And we’ll see what it is that we’ll see
On a good ship aweigh
For you and for me
So there you go. Perhaps it will end up an album, but remember, these were songs mostly intended to be in the opera or “Rock Collection”, and to finish them as an album would be quite a project and take a long time. Guess we’ll see.