good day dark side
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Straight-ahead rock song inspired by a girl who used to come by and
add excitement to my life. Every time she would come to see me, it
be a Good Day! Guitars, bass, drums, and vocals.
Pseudo-rap style ode to “progress”—the kind that makes you wonder if
it’s really worth it. Ah, the future ain’t what it used to be. Drums,
synthesizer, vocals in stile rappresentativo.
Borrowing (not stealing) from Reggae, this song reflects on the many
frustrations of attempting to Say the Right Thing to a Sensitive Girl,
who seems to hear the worst. (Note: This song is intended as humor. I
not actually believe that women are vampire bats.) P.S., it was
a Good Day when she was with me.
A song that draws musical inspiration from tracks such as the Beatles’
“I'm Only Sleeping.” It takes acoustic guitars, harmonium
sounds, and echoed vocals into a painfully honest self-examination in
time. The guitar break features simultaneous forwards and backwards
On the Freeway
Staight-up rock and roll powered by the adrenaline rush of hitting
the accelerator—and the distortion—pedal. No-nonsense guitars, bass,
vocals. Naturally, it has a “driving” rhythm. What more could you ask
Traveling in Time
Retro-futuristic echo-plated 60s-style pop-a-rama with twangy guitars,
boomp-a-boomp bass, percolating percussion, way-cool combo organ (one
my fave Juno-60 patches) and harmonious vocals all reminding us that
future is, in fact, ALREADY HERE—like reading this on your computer.
A simple and pure number with acoustic guitars, gentle bass, and vocals
coming from a long way away through the reverberation. Somehow, words
seemed necessary here. Some dissonances show up, creating provocative
they are, however, intentional.
Pounding synthesizers rule, with an accompaniment of guitar, bass &
drums, in a tale about discovering something inside yourself that you
you had not found there.
A lighter look at basically the same phenomenon, with deceptively
music played by an assortment of guitars in an assortment of keys.
This dark-hued song draws inspiration from “Home”-era Procol
Harum, with classically-oriented piano, cathedral organ, electric
and bass, and stately vocals, in the tragic key of c minor.
Somehow this song has an English air to it. It continues in the same
tragic key and feel, but has a softer sound based on piano, bass, a
section (synthetic, I must admit, but not too shabby), and vocals. A
choir fades the song out on an unresolved note.
It’s hard to say who or what I was thinking of when I wrote this.
its piano, bass, drums, and electric guitars provide a tango
to an insistent vocal. (I do promise never to use such a harshly
lead guitar tone ever again. Perhaps you could program your CD player
or iPod to
Dreams About You
Acoustic guitars, a pretty melody in harmonized vocals, bass, and
triangle provide a gentle relief from the foregoing darkness. Suddenly,
I’m dreaming all night long... (most likely caused by a Good Day).
Too Far Again
As in, “you've gone...” My poetic license allows me to be
about whether this song is about the same subject as tracks 1, 3 and
(Tracks 10 and 12 were written long before I met her, so don’t get any
ideas.) A sixties Indian tambura drone helps out the
guitars, droning lead guitar, drum kit with cowbell beat, bass, organ,
and vocals. This song turned out simply marvelously, and hence I placed
it last. (Maybe I ought to check on my poetic license and make sure it