New song alert: "Ignition," by Matt Stillwell. I cannot get over the way he sings the end of the first line of the chorus, "to the side of the highway..." He kills it. And now, I must turn it on - excuse me for a moment, please.
Okay, back. The song is playing now.
Now, since I've already posted rather recently (ha, ha), I'll just progress to the song referenced in the title. Apparently, the phrase means something fairly different from what I originally thought it did when I wrote the song, but I didn't know it at the time. It was only when I showed someone the bridge, and she said, "Oh, I like how you went many different ways with that expression," that I figured it out. Oh, well. I'm sure you'll understand once you get through it once (because I don't expect you to read these things more than just the one time).
The date my notebook gives me about this song is 12 August 2011. I distinctly remember having written this song some time before that on my iPod (with the Notes function), and then forgetting about it, rediscovering it in the fall sometime with a pleasant semi-shock.
Also, I should mention that I don't know a "Dan." I made him up.
Holding Out For You
my good friend Dan has all but told me he loves me
he pretends he doesn't, but I've guessed the truth
the thing is, he's not the only one hiding how he feels
'cause what you're not seeing is, I only have eyes for you
CHORUS:
he and I could be building something, I might be making a huge mistake
I'm giving up a lot for you without even knowing if you feel the same way
but I've somehow got to believe, it's my heart I'm listening to
so instead of holding onto him, I'm holding out for you
this is the wrong way to go about falling in love
but no one ever had a cookie cutter for the rest of your life
so I guess I'm either waiting for him to give up
or for you to eventually realise
CHORUS:
he and I could be building something, I might be making a huge mistake
I'm giving up a lot for you without even knowing if you feel the same way
but I've somehow got to believe, it's my heart I'm listening to
so instead of holding onto him, I'm holding out for you
BRIDGE:
holding out hope that you'll break up with her
holding out hope that you love me, too
holding out hope that I won't forever
be holding out hope for you
CHORUS:
he and I could be building something, I might be making a huge mistake
I'm giving up a lot for you, without even knowing if you feel the same way
but I'm somehow got to believe, it's my heart I'm listening to
so instead of holding onto him, I'm holding out for you
I could be holding onto him, but, baby, I'm holding out for you
yes, I'm holding out for you
I don't care what anyone says, but the line about no one having a "cookie cutter for the rest of your life" is one of my absolute favourites which I have ever written. It actually inspired my new twitter handle, when I wanted to change it in an effort to erase myself - I went from "countrymusik19" to a version of the aforementioned line.
Much love, and thank you for the musik,
Just Another Ordinary Girl
You can get addicted to a certain kind of sadness, like resignation to the end - always the end.
p.s. Since the day Pat Burns died, I've had issues with insomnia - that's not to say I think the two things are related, but it's just strange that they happened to coincide. Today, it's worse than it has been; 2:45 AM and I'm not in the mood to sleep. It may have something to do with the fact that I'm meeting this guy tomorrow (today, really) for lunch, and I hate him but every part of me wants, desperately, to see him again. If you've been keeping up with me on this blog, you'll know who it is. And you'll know that it's been years, but perhaps you'll also know that, after loving someone so passionately for a period of time and having your entire self broken under that weight (and under the crushing remembrance of saying, "I...like you...a lot," and hearing the response, "I have that effect on a lot of people"), it's hard to let go of the interior turmoil caused by a simple text message or a casually brushed-upon memory. A friend of mine warned me to guard my heart, but it's my mind I'm worried about.
p.p.s. Tomorrow (read: today) is also NHL free agency. Which brings about nerves of its own. Thankfully, I'm covered on that end, too. Hopefully, my naivete about human nature will not be shattered tomorrow (today), and can live fully on to disappoint me some other day.
01 July 2012
29 June 2012
Invincible
This marks the beginning of a shift towards the less-defiant, more-loving songs. It's still more towards the former than the latter, but there is a pronounced romantic edge to it.
Side note: I used to have a friend (one of only three or four who actually knew me in real life who knew about this blog) who would sometimes refresh the homepage of this blog obsessively, to discern whether or not I'd put up a new post. I only thought of him now because if he were still doing that, he would probably be mightily pleased today, what with all of these new posts today.
Someone threw rubber bands at me yesterday. It was a new experience. Today, we talked about the word "whimsical," comparing and contrasting it with "capricious." I work, temporarily, in an insurance brokerage.
There is a long, convoluted story behind this song. And I feel like I have to share it, because the song is extremely wordy and probably not very coherent/sensical/good (the rhyme scheme is also wonky to the max). But at the same time, I really don't want to. So, I'll try to universalise it: this song speaks to that moment in a relationship - or in life - when you realise that things are not as easy as you expected and/or wanted them to be. It's, like, when something unexpectedly awful happens that shatters your belief in the ride-off-into-the-sunset-easy-as-pie-happily-ever-after, what do you do? And I think it addresses that in a painful (to me) but profound and ultimately optimistic way. Like, why give up, when there's so much beauty left to discover? I don't know. I don't know if it makes sense. It focuses more on the not giving up part, than on the beauty, but it's still there. At the same time, I want you to make your own interpretation, and not be swayed by mine (so perhaps I should have put this paragraph at the end?).
Oh, and I dated this entry in my song composition notebook. 17 August 2011.
Which means I wrote it just as things were happening, so I apologise if it seems hyperbolic or something. There's a lot of physical, as well as emotional, pain hidden between the lines. Because, for some reason, my body is wired so that when I'm in emotional or psychological pain, I'm in actual extreme physical pain. Like, when my heart is breaking, it feels like my arms are, too. Or grief actually brings me to my knees, because my muscles and my stomach ache. I really hope this is a unique feature.
Invincible
of the two of us, you've always been the strong one, and I've been known to fall apart
there's never been a reason for us to reverse the roles
because it's always seemed to work
but suddenly the world caved in between us, and seeing you broken breaks my heart
now the laughter is gone, and we're both getting prematurely old
we weren't ready for this hurt
CHORUS:
I used to think we were invincible, but that was before life got in the way
now I can't fall asleep, and you're getting quieter every day
and I've realised that we're just two small people, no one really special
but this can't be the end, and as soon as the wound's no longer fresh
I'll help us get back on track, 'cause we've got each other's backs
so here's to us, growing up too fast
and learning that nothing invincible can ever last
it's hard to believe that you could ever look this sad, and I can be this helpless
I wish I knew what to say when it all goes wrong, but I don't
this has never happened before
I suppose we thought it wouldn't, but could it be we were ever so careless?
if we were expecting the bad luck to pass us by, it won't
this won't be easy anymore
CHORUS:
I used to think we were invincible, but that was before life got in the way
now I don't know what to do, and you're getting quieter every day
and I've realised we're just two small people, no one really special
but this isn't the end, and as soon as the wound's no longer fresh,
I'll help us get back on track, 'cause we've got each other's backs
so here's to us, growing up too fast
and learning that nothing invincible can ever last
BRIDGE:
and it's scary to think we can't protect ourselves from what we never thought would come
everything was simpler when we thought we were the golden ones
but it's time for us to wake up, baby, our faith has been shaken
since more than anything else, our peace of mind was taken
CHORUS:
I used to think we were invincible, but that was before life got in the way
now I don't know what to do, and you've got more worry lines on your face
and I've realised we're just two small people, no one really special
but this isn't the end, and as soon as the wound's no longer fresh,
I'll help us get back on track, 'cause we've got each other's backs
so here's to us, growing up too fast
and learning that nothing invincible can ever last
'cause we're just two small people, no one really special
but I'm still with you, and now that the wound's no longer fresh,
I'll help us get back on track, 'cause I'll always have your back
look at us, baby, picking up the pieces and growing up fast
while learning that nothing invincible can ever last
of the two of us, you've always been the strong one,
and I've been known to fall apart...
So maybe it's not the greatest song in the world. But maybe, it wasn't meant to be a good song, but a therapeutic one. The bottom line is, it needed to be written, and I post 99% of my songs on here, so that's why it also needed to be posted.
Much love, and thank you for the musik,
Just Another Ordinary Girl
It's been easy, easy for you to believe me when I say, "I love you." But what would you do when my house was empty?
Side note: I used to have a friend (one of only three or four who actually knew me in real life who knew about this blog) who would sometimes refresh the homepage of this blog obsessively, to discern whether or not I'd put up a new post. I only thought of him now because if he were still doing that, he would probably be mightily pleased today, what with all of these new posts today.
Someone threw rubber bands at me yesterday. It was a new experience. Today, we talked about the word "whimsical," comparing and contrasting it with "capricious." I work, temporarily, in an insurance brokerage.
There is a long, convoluted story behind this song. And I feel like I have to share it, because the song is extremely wordy and probably not very coherent/sensical/good (the rhyme scheme is also wonky to the max). But at the same time, I really don't want to. So, I'll try to universalise it: this song speaks to that moment in a relationship - or in life - when you realise that things are not as easy as you expected and/or wanted them to be. It's, like, when something unexpectedly awful happens that shatters your belief in the ride-off-into-the-sunset-easy-as-pie-happily-ever-after, what do you do? And I think it addresses that in a painful (to me) but profound and ultimately optimistic way. Like, why give up, when there's so much beauty left to discover? I don't know. I don't know if it makes sense. It focuses more on the not giving up part, than on the beauty, but it's still there. At the same time, I want you to make your own interpretation, and not be swayed by mine (so perhaps I should have put this paragraph at the end?).
Oh, and I dated this entry in my song composition notebook. 17 August 2011.
Which means I wrote it just as things were happening, so I apologise if it seems hyperbolic or something. There's a lot of physical, as well as emotional, pain hidden between the lines. Because, for some reason, my body is wired so that when I'm in emotional or psychological pain, I'm in actual extreme physical pain. Like, when my heart is breaking, it feels like my arms are, too. Or grief actually brings me to my knees, because my muscles and my stomach ache. I really hope this is a unique feature.
Invincible
of the two of us, you've always been the strong one, and I've been known to fall apart
there's never been a reason for us to reverse the roles
because it's always seemed to work
but suddenly the world caved in between us, and seeing you broken breaks my heart
now the laughter is gone, and we're both getting prematurely old
we weren't ready for this hurt
CHORUS:
I used to think we were invincible, but that was before life got in the way
now I can't fall asleep, and you're getting quieter every day
and I've realised that we're just two small people, no one really special
but this can't be the end, and as soon as the wound's no longer fresh
I'll help us get back on track, 'cause we've got each other's backs
so here's to us, growing up too fast
and learning that nothing invincible can ever last
it's hard to believe that you could ever look this sad, and I can be this helpless
I wish I knew what to say when it all goes wrong, but I don't
this has never happened before
I suppose we thought it wouldn't, but could it be we were ever so careless?
if we were expecting the bad luck to pass us by, it won't
this won't be easy anymore
CHORUS:
I used to think we were invincible, but that was before life got in the way
now I don't know what to do, and you're getting quieter every day
and I've realised we're just two small people, no one really special
but this isn't the end, and as soon as the wound's no longer fresh,
I'll help us get back on track, 'cause we've got each other's backs
so here's to us, growing up too fast
and learning that nothing invincible can ever last
BRIDGE:
and it's scary to think we can't protect ourselves from what we never thought would come
everything was simpler when we thought we were the golden ones
but it's time for us to wake up, baby, our faith has been shaken
since more than anything else, our peace of mind was taken
CHORUS:
I used to think we were invincible, but that was before life got in the way
now I don't know what to do, and you've got more worry lines on your face
and I've realised we're just two small people, no one really special
but this isn't the end, and as soon as the wound's no longer fresh,
I'll help us get back on track, 'cause we've got each other's backs
so here's to us, growing up too fast
and learning that nothing invincible can ever last
'cause we're just two small people, no one really special
but I'm still with you, and now that the wound's no longer fresh,
I'll help us get back on track, 'cause I'll always have your back
look at us, baby, picking up the pieces and growing up fast
while learning that nothing invincible can ever last
of the two of us, you've always been the strong one,
and I've been known to fall apart...
So maybe it's not the greatest song in the world. But maybe, it wasn't meant to be a good song, but a therapeutic one. The bottom line is, it needed to be written, and I post 99% of my songs on here, so that's why it also needed to be posted.
Much love, and thank you for the musik,
Just Another Ordinary Girl
It's been easy, easy for you to believe me when I say, "I love you." But what would you do when my house was empty?
I Dare You
In catching up with these posts and songs, I am trying my darndest to write them in chronological order. By that I mean, in the order in which I wrote them. There's a distinct trend, and changes in those trends (and soon enough, you'll get to that influx of love songs I promised last February...), so I'm attempting to stay true to it.
I forgot to mention, in my last post, that the country version of Kelly Clarkson's "Mr. Know It All" really impressed me to the point of purchasing it, and getting the album Stronger, which included the pop version (which, necessarily, is not a popular thing to say to people whom one is trying to impress, but so be it). Also a Jason Aldean song ("Fly Over States" - I love the way his voice slips into a flat note at the end of the first line of the first and second verses, that's pretty much why I bought it), and two Luke Bryan (ugh) songs, "Drunk on You," which has the most inane lyrics ever, and "I Don't Want This Night to End," both songs I rather dislike but can NEVER get out of my head. So, if you can't beat 'em, join 'em, I suppose. Non-country purchases include "Free Fallin'" by Tom Petty and the Heartbreakers, and "Heart of the Matter," by Don Henley.
The result of all of this new music (in addition to the Eurovision 2012* albums, SO GOOD for the majority, as usual) was that my iPod was so overloaded that I had to delete some other stuff - videos, podcasts - so that there could be enough room. I may need to purchase a new one, if I continue to devour music in this way. Probably a 60 GB one. I now have 4142 songs, each listened to at least twelve times (long story, but it has to do with the fact that I have a strange compulsion, and that it's the year 2012).
So, apparently I was going through a bit of an angry stage last spring. Which I am now, looking back, rather vividly remembering. There is a very logical and good explanation; I was never the angsty-and-pissed-off-for-no-reason type. But don't ask. I dare you.
Speaking of:
I Dare You
I bet you think I'll always believe you
and I'll do the things you say I should
but you're wrong, I'll find my own truth
far away from where you stood
CHORUS:
I dare you, I dare you
to kick this girl when she's down
I dare you, I dare you
to think you can push her around
'cause I'm not weak, and I'm not stupid
and you won't get too far
so I dare you, I dare you
I dare you, I dare you
to lay a claim on my heart
now, I'm pretty sure you won't recognise me
when my defiance fine'ly starts to come out
'cause you've done nothing but criticise me
and I'm done with shutting my mouth
CHORUS:
so I dare you, I dare you
to kick this girl when she's down
I dare you, I dare you
to think you can push her around
'cause I'm not weak, and I'm not stupid
and you won't get too far
so I dare you, I dare you
I dare you, I dare you
to lay a claim on my heart
(bridge/transition to hip-hop-y kind of rhythm):
what goes around comes around
(I dare you, I dare you)
I'll find you twenty years from now
(to kick this girl when she's down)
still the same, you haven't changed
(to think you can push her around)
retribution, no escape
('cause I'm not weak)
can't do much, you've lost your touch
(and I'm not stupid)
and I've had far more than enough
(and you won't get too far)
so I dare you, I dare you
(so I dare you, I dare you)
(fade...)
I've kind of always envisioned this song as just drums and vocals. But it would have to be a really strong vocalist, like Jennifer Nettles,or Kelly Clarkson, or Martina McBride. Also, it would be cool to have a male background vocalist, offsetting the "I dare you"s in the chorus, and then in the rhythmic part. I always saw Chris Thorsteinson, of Doc Walker, as that background vocalist. Not that I've thought about it or anything...
Much love, and thank you for the musik, as always,
Just Another Ordinary Girl
Everybody has a dark side, do you love me? Can you love mine?
p.s. Did anyone else catch that amazing tennis match during Wimbledon yesterday? Rafa Nadal vs. Lukas Rosol? It was tremendous, with Rosol actually beating the world #2 in five sets. I felt bad for Rafa, who clearly looked upset, but SO happy for a fellow countryman in Rosol. Plus, he is so cute (unusually so, for a Czech man), my type epitomised. Kind of like a Czech Andy Schleck. ...Why am I blushing?...
*Favourites include "Unbreakable" (Switzerland); "Beatutiful Song" (Latvia); "Never Forget" (Iceland); "Waterline" (Ireland); "Euphoria," the winner (Sweden); "This is the Night" (Malta); "Standing Still" (Germany); "We Are the Heroes" (Belarus); "Quedate Conmigo" (Spain); "Aphrodisiac" (Greece); and "Zaleilah" (Romania).
I forgot to mention, in my last post, that the country version of Kelly Clarkson's "Mr. Know It All" really impressed me to the point of purchasing it, and getting the album Stronger, which included the pop version (which, necessarily, is not a popular thing to say to people whom one is trying to impress, but so be it). Also a Jason Aldean song ("Fly Over States" - I love the way his voice slips into a flat note at the end of the first line of the first and second verses, that's pretty much why I bought it), and two Luke Bryan (ugh) songs, "Drunk on You," which has the most inane lyrics ever, and "I Don't Want This Night to End," both songs I rather dislike but can NEVER get out of my head. So, if you can't beat 'em, join 'em, I suppose. Non-country purchases include "Free Fallin'" by Tom Petty and the Heartbreakers, and "Heart of the Matter," by Don Henley.
The result of all of this new music (in addition to the Eurovision 2012* albums, SO GOOD for the majority, as usual) was that my iPod was so overloaded that I had to delete some other stuff - videos, podcasts - so that there could be enough room. I may need to purchase a new one, if I continue to devour music in this way. Probably a 60 GB one. I now have 4142 songs, each listened to at least twelve times (long story, but it has to do with the fact that I have a strange compulsion, and that it's the year 2012).
So, apparently I was going through a bit of an angry stage last spring. Which I am now, looking back, rather vividly remembering. There is a very logical and good explanation; I was never the angsty-and-pissed-off-for-no-reason type. But don't ask. I dare you.
Speaking of:
I Dare You
I bet you think I'll always believe you
and I'll do the things you say I should
but you're wrong, I'll find my own truth
far away from where you stood
CHORUS:
I dare you, I dare you
to kick this girl when she's down
I dare you, I dare you
to think you can push her around
'cause I'm not weak, and I'm not stupid
and you won't get too far
so I dare you, I dare you
I dare you, I dare you
to lay a claim on my heart
now, I'm pretty sure you won't recognise me
when my defiance fine'ly starts to come out
'cause you've done nothing but criticise me
and I'm done with shutting my mouth
CHORUS:
so I dare you, I dare you
to kick this girl when she's down
I dare you, I dare you
to think you can push her around
'cause I'm not weak, and I'm not stupid
and you won't get too far
so I dare you, I dare you
I dare you, I dare you
to lay a claim on my heart
(bridge/transition to hip-hop-y kind of rhythm):
what goes around comes around
(I dare you, I dare you)
I'll find you twenty years from now
(to kick this girl when she's down)
still the same, you haven't changed
(to think you can push her around)
retribution, no escape
('cause I'm not weak)
can't do much, you've lost your touch
(and I'm not stupid)
and I've had far more than enough
(and you won't get too far)
so I dare you, I dare you
(so I dare you, I dare you)
(fade...)
I've kind of always envisioned this song as just drums and vocals. But it would have to be a really strong vocalist, like Jennifer Nettles,
Much love, and thank you for the musik, as always,
Just Another Ordinary Girl
Everybody has a dark side, do you love me? Can you love mine?
p.s. Did anyone else catch that amazing tennis match during Wimbledon yesterday? Rafa Nadal vs. Lukas Rosol? It was tremendous, with Rosol actually beating the world #2 in five sets. I felt bad for Rafa, who clearly looked upset, but SO happy for a fellow countryman in Rosol. Plus, he is so cute (unusually so, for a Czech man), my type epitomised. Kind of like a Czech Andy Schleck. ...Why am I blushing?...
*Favourites include "Unbreakable" (Switzerland); "Beatutiful Song" (Latvia); "Never Forget" (Iceland); "Waterline" (Ireland); "Euphoria," the winner (Sweden); "This is the Night" (Malta); "Standing Still" (Germany); "We Are the Heroes" (Belarus); "Quedate Conmigo" (Spain); "Aphrodisiac" (Greece); and "Zaleilah" (Romania).
This Isn't Wrong
Does it bode well, do you think, that the horoscope for my star sign today read, "Resist the urge to share your inner thoughts with others today. They [the thoughts, apparently] are not as interesting as you think [they are]," on the day I return to this blog? Not that I believe in such things, to be sure, but I was staring blankly (as I do) at the news screen on the train this morning and the horoscopes showed up. What's funny is that that is exactly what I think anyway. Thanks, train monitor screen. You're helpful.
Anyway, I can't believe it's been a year. Over a year, really. Damn. Ironically, I would say that 2011 and 2012 have been my most prolific years, in terms of songwriting - which only means, dear reader, that I have much to relate, and much to post. As a result, I have decided to curtail this blog back to its original purpose, which was to post song lyrics. Of my own creation, that is. The reviews of the CMAs/ACMs/CMT Music Fest were fun, definitely, but they took up a lot of time (with typing, and finding original words), and were the primary reason I took a break; time-consuming work plus lazy does not add up to productive.
But, I will still quickly go over some new music. Because I really want to call your attention to a few CDs I recently (read: in the past month) added to my collection. The first, and this is a big one, is the Pistol Annies debut, Hell on Heels. I know I'm a little (very) late to the Pistol Annies party, but it's never too late to join a bandwagon, and I'm so there. Holy cow, these girls are good - not just singing-wise, but lyrically as well. Highlights include, "Lemon Drop" and "Beige." And "Bad Example." The band rocks - literally. But also figuratively. Next up is a trio I've mentioned before, The Band Perry. I had all of the singles which were released ("Hip to My Heart," which is yuck; "If I Die Young," which shines like nothing else; "You Lie," which is pretty awesome; and "All Your Life," which is fairly boring), but when they sang "Postcard From Paris" at the ACMs in April, I finally gave in and got the self-titled album, because there is no way it was going to disappoint. And disappoint it absolutely did NOT. I'm interested in these things, so I read a few dozen reviews about the album, and was surprised to come across one which said that the singles were its highlights. I respectfully disagree, because wonderful as I think (most of) the singles are, the tracks which follow really steal the show. "Miss You Being Gone," "Double Heart," "Independence," and "Lasso" in particular. I listen to this album and I just know it's the future of country music - and I like it. Very much.
I also finally just got the new Dierks Bentley album, Home. Let me just say, I cannot believe I didn't find him exciting. It's such graceful, amazing, energetic, and loving music - THIS is country music, people. Sit up and take notice. I'm not at all surprised that he is best friends with Brad Paisley, because their music fits together with such complementary and enhancing power. (Although, that line in "Breathe You In" about wanting to be so close, "you can wear my skin like a new set of clothes" kind of creeps me out, not gonna lie). Of course, the title track is a highlight, but also "The Woods," "When You Gonna Come Around," Heart of a Lonely Girl" (except, really, what the hell is going on?), and "Thinking of You" (with his little daughter, Evie, at the end) are additional standouts on an album that has so many it might just be worth listening to continually in its entirety. That's what I'm doing right now.
Two less stellar albums I put on my iPod recently are Thompson Square, the self-titled debut of the husband-and-wife duo, and Barefoot Blue Jean Night, by Jake Owen. I know that TS is this new huge sensation, beating (!!) Sugarland (!!) at the ACMs for Duo of the Year (!!!), but frankly, I just don't get it. Aside from "Glass," and "Let's Fight," I'm just not particularly impressed. Maybe something about Keifer puts me off - I don't know. The Jake Owen has some gorgeous songs ("Barefoot Blue Jean Night," for example, is transcendent; and "Setting the World on Fire" is nice), but the rest of it is fairly unremarkable. "Alone With You," as the second single, was a good choice (aside from the fact that "don't slip your hand under my shirt and tell me it's okay" sounds to me, as a woman, very...uncomfortably, SVU-like). I think it's the fact that his voice is not...doesn't have a special quality about it which would make it stand out. He doesn't have a Dierks dry twang, or a Brad silkiness, or a Keith Urban profundity, or an Alan Jackson affability, or even a Blake Shelton awkwardness to his voice, and I think it prevents the creation of a signature singing style. But what do I know?
Lastly, I've two "new" Keith Urban albums, and a Hunter Hayes. I say "new," with quotation marks, because one was his debut, Keith Urban, in 1999 (and the album cover looks every bit of it, hilarious stuff), and the other Love, Pain & the Whole Crazy Thing from 2006. The missing Oxford comma really gets my goat. Maybe they don't use them in Australia? I prefer his post-Nicole stuff, so the latter was the first of that, and it's amazing. With the first album, it's obvious that he was trying to appeal to the public/appease his label, and his electric guitar skills are downplayed (except in the instrumental "Rollercoaster," where they are finally given free rein and explode magnificently), which is a shame. "Your Everything" is a highlight, and "Don't Shut Me Out" is nice, too. But otherwise, knowing what was to come later in his career, it's kind of boring. The other album has some amazing gems, though. "Stupid Boy" very nearly made me cry, because of its raw veracity. It hit home in so many ways, and gave me chills. Then, "Once in a Lifetime," "I Told You So," "I Can't Stop Loving You," and "Won't Let You Down," in rapid succession, only continue the beautiful experience. He really loves her. I love that.
The Hunter Hayes is probably the last album I'll talk about. Who has heard of Hunter Hayes? Anyone? No? Let me tell you why. Because, at every event where he's been nominated, or featured prominently, people vote for another young male newcomer, Scotty McCreery. Bet you've heard of him. I wish people paid more attention to HH, because listen: he writes or co-writes all of his stuff, sings both lead and background vocals, AND plays EVERY instrument. Not even kidding, every single one. Piano, guitar, drums, yes. Those are the easy ones. Then, sitar, mandolin, and a whole bunch of others of which I hadn't even heard. The album is called, predictably and understandably, Hunter Hayes, and his passion for the art really shines through. "Wanted" was my favourite, until I heard "Cry With You." Those two are lovely. "Storm Warning," the first cut off the album, is another highlight, and "All You Ever" is good, too. I'm just blown away by his talent (can't you tell?) and by the fact this guy and I are pretty much the same age. I comfort myself with the fact that I am a few months (four) older.
Also good is Kellie Pickler's 100 Proof (WAY better than her sophomore album). Best songs: all of them. Truly.
Anyway, now that you've all probably scrolled down past that, here's this post's song. If I remember, I wrote it last May. Second week of May 2011? How is it, that I've put the date on some songs, and on others, nothing? Strange. Maybe it took me a while. It doesn't really have a story, it just is what it is. (And it's not really true, I've only ever been kissed by one man ("man"), so right off the bat you know it's not a personal story.)
This Isn't Wrong
this is the worst thing I have ever done
kissed someone else when I'm dating someone
but he's not here, so I can breathe
I never thought this could happen this easily
please stay with me, you can sleep here tonight
just don't say a word, we've got no need to fight
this isn't me, but what the hell
I won't tell if you won't tell
CHORUS:
tonight you and I are fighting fire with fire
gonna do something to lie about to the liar
this is the way I can set myself free
let's get him back for what he's doing to me
we both know this won't last long
but for right now, it feels like this isn't wrong
I've never betrayed someone like this
but I say to myself it's just a kiss
and besides, he's the one who cheated first
so what he don't know won't ever hurt
please stay with me, you can sleep here tonight
just don't say a word, we've got no need to fight
this isn't me, but what the hell
I won't tell if you won't tell
CHORUS:
tonight you and I are fighting fire with fire
gonna do something to lie about to the liar
this is the way I can set myself free
let's get him back for what he's doing to me
we both know this won't last long
but for right now, it feels like this isn't wrong
I have no qualms about cheating on a cheater
if a guy wants to keep a girl, he shouldn't deceive her
I will always be the one to colour inside the lines
but I see this as me taking back what's mine
(p)
tonight you and I are fighting fire with fire
gonna do something to lie about to the liar
this is the way I can set myself free...
(crescendo)
please stay with me, you can sleep here tonight
just don't say a word, we've got no reason to fight
this isn't me, but what the hell
I won't tell if you won't tell
CHORUS:
tonight you and I are fighting fire with fire
gonna do something to lie about to the liar
this is the way I can set myself free
let's get him back for what he's doing to me
we both know that this won't last long
but for right now, it's clear this isn't wrong
we both know what we're doing won't last long
but right now, I've got a feeling this isn't wrong
this is the worst thing I've ever done,
kissed someone else while I'm dating someone...
For some reason, I'm reminded of that scene in Friends when Phoebe is pregnant and craving meat, and Joey pulls out steaks from freezer and says, "You know how you don't want to cheat on someone unless it's with someone really hot?" Hmm.
Thanks for reading, and much love,
Just Another Ordinary Girl
I bet a honkytonk Angel could tell me how this whole thing works, where's Tammy Wynette when you need her?
Anyway, I can't believe it's been a year. Over a year, really. Damn. Ironically, I would say that 2011 and 2012 have been my most prolific years, in terms of songwriting - which only means, dear reader, that I have much to relate, and much to post. As a result, I have decided to curtail this blog back to its original purpose, which was to post song lyrics. Of my own creation, that is. The reviews of the CMAs/ACMs/CMT Music Fest were fun, definitely, but they took up a lot of time (with typing, and finding original words), and were the primary reason I took a break; time-consuming work plus lazy does not add up to productive.
But, I will still quickly go over some new music. Because I really want to call your attention to a few CDs I recently (read: in the past month) added to my collection. The first, and this is a big one, is the Pistol Annies debut, Hell on Heels. I know I'm a little (very) late to the Pistol Annies party, but it's never too late to join a bandwagon, and I'm so there. Holy cow, these girls are good - not just singing-wise, but lyrically as well. Highlights include, "Lemon Drop" and "Beige." And "Bad Example." The band rocks - literally. But also figuratively. Next up is a trio I've mentioned before, The Band Perry. I had all of the singles which were released ("Hip to My Heart," which is yuck; "If I Die Young," which shines like nothing else; "You Lie," which is pretty awesome; and "All Your Life," which is fairly boring), but when they sang "Postcard From Paris" at the ACMs in April, I finally gave in and got the self-titled album, because there is no way it was going to disappoint. And disappoint it absolutely did NOT. I'm interested in these things, so I read a few dozen reviews about the album, and was surprised to come across one which said that the singles were its highlights. I respectfully disagree, because wonderful as I think (most of) the singles are, the tracks which follow really steal the show. "Miss You Being Gone," "Double Heart," "Independence," and "Lasso" in particular. I listen to this album and I just know it's the future of country music - and I like it. Very much.
I also finally just got the new Dierks Bentley album, Home. Let me just say, I cannot believe I didn't find him exciting. It's such graceful, amazing, energetic, and loving music - THIS is country music, people. Sit up and take notice. I'm not at all surprised that he is best friends with Brad Paisley, because their music fits together with such complementary and enhancing power. (Although, that line in "Breathe You In" about wanting to be so close, "you can wear my skin like a new set of clothes" kind of creeps me out, not gonna lie). Of course, the title track is a highlight, but also "The Woods," "When You Gonna Come Around," Heart of a Lonely Girl" (except, really, what the hell is going on?), and "Thinking of You" (with his little daughter, Evie, at the end) are additional standouts on an album that has so many it might just be worth listening to continually in its entirety. That's what I'm doing right now.
Two less stellar albums I put on my iPod recently are Thompson Square, the self-titled debut of the husband-and-wife duo, and Barefoot Blue Jean Night, by Jake Owen. I know that TS is this new huge sensation, beating (!!) Sugarland (!!) at the ACMs for Duo of the Year (!!!), but frankly, I just don't get it. Aside from "Glass," and "Let's Fight," I'm just not particularly impressed. Maybe something about Keifer puts me off - I don't know. The Jake Owen has some gorgeous songs ("Barefoot Blue Jean Night," for example, is transcendent; and "Setting the World on Fire" is nice), but the rest of it is fairly unremarkable. "Alone With You," as the second single, was a good choice (aside from the fact that "don't slip your hand under my shirt and tell me it's okay" sounds to me, as a woman, very...uncomfortably, SVU-like). I think it's the fact that his voice is not...doesn't have a special quality about it which would make it stand out. He doesn't have a Dierks dry twang, or a Brad silkiness, or a Keith Urban profundity, or an Alan Jackson affability, or even a Blake Shelton awkwardness to his voice, and I think it prevents the creation of a signature singing style. But what do I know?
Lastly, I've two "new" Keith Urban albums, and a Hunter Hayes. I say "new," with quotation marks, because one was his debut, Keith Urban, in 1999 (and the album cover looks every bit of it, hilarious stuff), and the other Love, Pain & the Whole Crazy Thing from 2006. The missing Oxford comma really gets my goat. Maybe they don't use them in Australia? I prefer his post-Nicole stuff, so the latter was the first of that, and it's amazing. With the first album, it's obvious that he was trying to appeal to the public/appease his label, and his electric guitar skills are downplayed (except in the instrumental "Rollercoaster," where they are finally given free rein and explode magnificently), which is a shame. "Your Everything" is a highlight, and "Don't Shut Me Out" is nice, too. But otherwise, knowing what was to come later in his career, it's kind of boring. The other album has some amazing gems, though. "Stupid Boy" very nearly made me cry, because of its raw veracity. It hit home in so many ways, and gave me chills. Then, "Once in a Lifetime," "I Told You So," "I Can't Stop Loving You," and "Won't Let You Down," in rapid succession, only continue the beautiful experience. He really loves her. I love that.
The Hunter Hayes is probably the last album I'll talk about. Who has heard of Hunter Hayes? Anyone? No? Let me tell you why. Because, at every event where he's been nominated, or featured prominently, people vote for another young male newcomer, Scotty McCreery. Bet you've heard of him. I wish people paid more attention to HH, because listen: he writes or co-writes all of his stuff, sings both lead and background vocals, AND plays EVERY instrument. Not even kidding, every single one. Piano, guitar, drums, yes. Those are the easy ones. Then, sitar, mandolin, and a whole bunch of others of which I hadn't even heard. The album is called, predictably and understandably, Hunter Hayes, and his passion for the art really shines through. "Wanted" was my favourite, until I heard "Cry With You." Those two are lovely. "Storm Warning," the first cut off the album, is another highlight, and "All You Ever" is good, too. I'm just blown away by his talent (can't you tell?) and by the fact this guy and I are pretty much the same age. I comfort myself with the fact that I am a few months (four) older.
Also good is Kellie Pickler's 100 Proof (WAY better than her sophomore album). Best songs: all of them. Truly.
Anyway, now that you've all probably scrolled down past that, here's this post's song. If I remember, I wrote it last May. Second week of May 2011? How is it, that I've put the date on some songs, and on others, nothing? Strange. Maybe it took me a while. It doesn't really have a story, it just is what it is. (And it's not really true, I've only ever been kissed by one man ("man"), so right off the bat you know it's not a personal story.)
This Isn't Wrong
this is the worst thing I have ever done
kissed someone else when I'm dating someone
but he's not here, so I can breathe
I never thought this could happen this easily
please stay with me, you can sleep here tonight
just don't say a word, we've got no need to fight
this isn't me, but what the hell
I won't tell if you won't tell
CHORUS:
tonight you and I are fighting fire with fire
gonna do something to lie about to the liar
this is the way I can set myself free
let's get him back for what he's doing to me
we both know this won't last long
but for right now, it feels like this isn't wrong
I've never betrayed someone like this
but I say to myself it's just a kiss
and besides, he's the one who cheated first
so what he don't know won't ever hurt
please stay with me, you can sleep here tonight
just don't say a word, we've got no need to fight
this isn't me, but what the hell
I won't tell if you won't tell
CHORUS:
tonight you and I are fighting fire with fire
gonna do something to lie about to the liar
this is the way I can set myself free
let's get him back for what he's doing to me
we both know this won't last long
but for right now, it feels like this isn't wrong
I have no qualms about cheating on a cheater
if a guy wants to keep a girl, he shouldn't deceive her
I will always be the one to colour inside the lines
but I see this as me taking back what's mine
(p)
tonight you and I are fighting fire with fire
gonna do something to lie about to the liar
this is the way I can set myself free...
(crescendo)
please stay with me, you can sleep here tonight
just don't say a word, we've got no reason to fight
this isn't me, but what the hell
I won't tell if you won't tell
CHORUS:
tonight you and I are fighting fire with fire
gonna do something to lie about to the liar
this is the way I can set myself free
let's get him back for what he's doing to me
we both know that this won't last long
but for right now, it's clear this isn't wrong
we both know what we're doing won't last long
but right now, I've got a feeling this isn't wrong
this is the worst thing I've ever done,
kissed someone else while I'm dating someone...
For some reason, I'm reminded of that scene in Friends when Phoebe is pregnant and craving meat, and Joey pulls out steaks from freezer and says, "You know how you don't want to cheat on someone unless it's with someone really hot?" Hmm.
Thanks for reading, and much love,
Just Another Ordinary Girl
I bet a honkytonk Angel could tell me how this whole thing works, where's Tammy Wynette when you need her?
13 June 2011
Short End of the Stick
I apologise for the long hiatus. I've been away for a while, but I'm back now with this song. And with the ACMs recap.
I'll start with the latter. As usual, the show took place in Las Vegas, so that was exciting, although unlike normally (or unlike my memory, because it may happen yearly...), the show was split between two arenas, so the performances switched from one to the other. It was hosted by Reba McEntire (as usual), and Blake Shelton, and their dynamic was hilarious. I particularly enjoyed their opening monologue, in which they swore they would not tease any "easy target" celebrities, such as Miley Cyrus and Charlie Sheen. [FINISH ACMs RECAP]
Now, onto this song.
I honestly thought that I had already posted it, way earlier. Especially since I finished it in November, around the same time as I wrote "This Song's For You." But I guess I never got around to it, until now.
Hurray.
A few things happened that same week that Pat Burns died, and none of it really turned out my way. Between losing, and the Devils' lack of luster, and too much work, and not enough sleep, I was feeling really beat and run-down. So, as I was sitting in my sociology class bored out of my mind and worried that the thing which I most dreaded would indeed come to pass (it did, that Friday), I set pen to paper and out flowed this song. It has a melody (similar, a bit, to Carrie Underwood's "Undo It," though with its own flair), and it illustrates my changing moods and my passing from anger to sorrow to bitterness to despair to self-pity and right on back to anger again.
Short End of The Stick
(failure)
(unwanted)
(outcast)
(loser)
It's just politics, nothing personal, or so they say
and I'm getting good at being chosen last
I was told it wouldn't be this way
but now that hope is fading fast
PRE-CHORUS:
this isn't fair, I'm screaming out loud
I wanna get there, don't stop me now
CHORUS:
I'm so sick of the short end of the stick
and this bitter taste in my mouth
for once I wanna know what it feels like to win
but I guess that'll never work out
I'm torn between hating myself and hating you
but there's no reason for me to have to choose
forgive me if I'm not happy, but I have dreams, too
and I'd like to think I'd get them based on merit
the system is flawed, babe, ain't that the truth
but I don't deserve treatment like this
PRE-CHORUS:
this isn't fair, I'm screaming out loud
I wanna get there, don't stop me now
CHORUS:
I'm so sick of the short end of the stick
and this bitter taste in my mouth
for once I wanna know what it feels like to win
but I guess that'll never work out
I'm torn between hating myself and hating you
but there's no reason for me to have to choose
BRIDGE:
now I'm thoroughly bruised, with not much to lose anymore
because I didn't have much to begin with
I've never felt good enough, always filled with doubts I can't get rid of
and they're getting louder by the minute, oh
CHORUS:
I'm so sick of the short end of the stick
and this bitter taste in my mouth
for once I wanna know what it feels like to win
but I guess that'll never work out
I'm torn between hating myself and hating you
but there's no reason for me to have to choose
no, I don't see why I have to choose...the short end of the stick
and this bitter taste in my mouth
for once I wanna know what it feels like to win
but I guess that'll never work out...
it's just politics, nothing personal, or so they say
and I'm getting good at being chosen last
I was told it wouldn't be this way,
but now that hope is fading fast...
I have two confessions to make. One is that, as I was typing this, I changed the chorus around; I deleted the two last lines that I had written in my notebook, and changed them with the sentence that you see there. It makes infinitely more sense, and is not out of place in the least. Will I tell you what the original was? No. The second confession is much less a confession as it is merely a statement. I have a personal Twitter account, and the week I wrote this song (also the same week that Harry Potter and the Deathly Hallows, Part 1 came out and I went to the midnight premiere), that Friday, I tweeted this: "Well, it hasn't exactly been the best week for me, but it could have been far worse. I'm still alive..." The thing I was referring to in the "could have been far worse" portion was that which came to pass that same day. Unfortunate.
Much love, and thank you for the musik!
Just Another Ordinary Girl
So we've been outnumbered, raided, and now cornered / it's hard to fight when the fight ain't fair.
I'll start with the latter. As usual, the show took place in Las Vegas, so that was exciting, although unlike normally (or unlike my memory, because it may happen yearly...), the show was split between two arenas, so the performances switched from one to the other. It was hosted by Reba McEntire (as usual), and Blake Shelton, and their dynamic was hilarious. I particularly enjoyed their opening monologue, in which they swore they would not tease any "easy target" celebrities, such as Miley Cyrus and Charlie Sheen. [FINISH ACMs RECAP]
Now, onto this song.
I honestly thought that I had already posted it, way earlier. Especially since I finished it in November, around the same time as I wrote "This Song's For You." But I guess I never got around to it, until now.
Hurray.
A few things happened that same week that Pat Burns died, and none of it really turned out my way. Between losing, and the Devils' lack of luster, and too much work, and not enough sleep, I was feeling really beat and run-down. So, as I was sitting in my sociology class bored out of my mind and worried that the thing which I most dreaded would indeed come to pass (it did, that Friday), I set pen to paper and out flowed this song. It has a melody (similar, a bit, to Carrie Underwood's "Undo It," though with its own flair), and it illustrates my changing moods and my passing from anger to sorrow to bitterness to despair to self-pity and right on back to anger again.
Short End of The Stick
(failure)
(unwanted)
(outcast)
(loser)
It's just politics, nothing personal, or so they say
and I'm getting good at being chosen last
I was told it wouldn't be this way
but now that hope is fading fast
PRE-CHORUS:
this isn't fair, I'm screaming out loud
I wanna get there, don't stop me now
CHORUS:
I'm so sick of the short end of the stick
and this bitter taste in my mouth
for once I wanna know what it feels like to win
but I guess that'll never work out
I'm torn between hating myself and hating you
but there's no reason for me to have to choose
forgive me if I'm not happy, but I have dreams, too
and I'd like to think I'd get them based on merit
the system is flawed, babe, ain't that the truth
but I don't deserve treatment like this
PRE-CHORUS:
this isn't fair, I'm screaming out loud
I wanna get there, don't stop me now
CHORUS:
I'm so sick of the short end of the stick
and this bitter taste in my mouth
for once I wanna know what it feels like to win
but I guess that'll never work out
I'm torn between hating myself and hating you
but there's no reason for me to have to choose
BRIDGE:
now I'm thoroughly bruised, with not much to lose anymore
because I didn't have much to begin with
I've never felt good enough, always filled with doubts I can't get rid of
and they're getting louder by the minute, oh
CHORUS:
I'm so sick of the short end of the stick
and this bitter taste in my mouth
for once I wanna know what it feels like to win
but I guess that'll never work out
I'm torn between hating myself and hating you
but there's no reason for me to have to choose
no, I don't see why I have to choose...the short end of the stick
and this bitter taste in my mouth
for once I wanna know what it feels like to win
but I guess that'll never work out...
it's just politics, nothing personal, or so they say
and I'm getting good at being chosen last
I was told it wouldn't be this way,
but now that hope is fading fast...
I have two confessions to make. One is that, as I was typing this, I changed the chorus around; I deleted the two last lines that I had written in my notebook, and changed them with the sentence that you see there. It makes infinitely more sense, and is not out of place in the least. Will I tell you what the original was? No. The second confession is much less a confession as it is merely a statement. I have a personal Twitter account, and the week I wrote this song (also the same week that Harry Potter and the Deathly Hallows, Part 1 came out and I went to the midnight premiere), that Friday, I tweeted this: "Well, it hasn't exactly been the best week for me, but it could have been far worse. I'm still alive..." The thing I was referring to in the "could have been far worse" portion was that which came to pass that same day. Unfortunate.
Much love, and thank you for the musik!
Just Another Ordinary Girl
So we've been outnumbered, raided, and now cornered / it's hard to fight when the fight ain't fair.
15 May 2011
"This Is Country Music," from Brad Paisley
A while back, during the CMA recap post, I mentioned Brad Paisley's new single, "This is Country Music" (I hyperlinked it to a music video, so just roll over and click to watch it). For a week in November, it was available to his fans for free on his website, along with the following message, which I believe has a such purity of sentiment and honesty of voice that I wanted to post here. Enjoy.
As I stood on the stage at the CMAs last week clutching a glass trophy and fighting back tears, it occurred to me why I am so proud to do this for a living. See, country music is unique. It is brace. It is not afraid to deal head on with subjects like disease, death, religion, drinking family, or anything else that qualifies as life. It isn’t above its fans. It is about them. It is the soundtrack to my life, and probably yours. As its recording artists, we are given the dog-tags from family members of fans who die in battle for our country. We are there in song at the most impactful moments of our fans’ lives. We are loved unconditionally, and we are given loyalty beyond what we deserve. This is country music.
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