Showing posts with label Music. Show all posts
Showing posts with label Music. Show all posts

March 27, 2012

Your Name Is On My Lips

Four Years
Click to play

"Your Name Is On My Lips", by Chip Taylor and Carrie Rodriguez, from The New Bye & Bye - The Best of the Train Wreck Years 2002 - 2007

I heard your voice on the telephone today,
it's been a long time since we talked that way,
not so guarded, not so planned, I don't know,
just a natural woman and a man.

Didn't it feel so good, so warm,
you be the shelter from my storm, I don't know.
But it's a good thing, it is a good thing.
And your name is on my lips again,
and your name is on my lips again.
There was a time way back when,
swim the rivers and back again,
just to hold you, just to feel you holding me.

Lightening just passed through the telephone line,
it burns a fire from another time, I don't know.
But it's a good thing, it is a good thing.
And your name is on my lips again,
and your name is on my lips again.

And lightening just passed through the telephone line,
burns a fire from another time, I don't know.
But it's a good thing, it is a good thing.
And your name is on my lips again,
and your name is on my lips again.
And your name is on my lips again,
like a prayer, like a prayer,
your name is on my lips, again.

December 11, 2011

I Hope You Dance

Lee Ann Womack



I hope you never lose your sense of wonder
You get your fill to eat but always keep that hunger
May you never take one single breath for granted
God forbid love ever leave you empty-handed

I hope you still feel small when you stand beside the ocean
Whenever one door closes I hope one more opens
Promise me that you'll give faith a fighting chance
And when you get the choice to sit it out or dance

I hope you dance
I hope you dance

I hope you never fear those mountains in the distance
Never settle for the path of least resistance
Living might mean taking chances but they're worth taking
Lovin' might be a mistake but it's worth making

Don't let some hell-bent heart leave you bitter
When you come close to selling out reconsider
Give the heavens above more than just a passing glance
And when you get the choice to sit it out or dance

I hope you dance
(Time is a wheel in constant motion always)
I hope you dance
(Rolling us along)
I hope you dance
(Tell me who wants to look back on their years and wonder)
I hope you dance
(Where those years have gone)

I hope you still feel small when you stand beside the ocean
Whenever one door closes I hope one more opens
Promise me that you'll give faith a fighting chance
And when you get the choice to sit it out or dance

Dance
I hope you dance
(Dance)
I hope you dance
(Time is a wheel in constant motion always)
I hope you dance
(Rolling us along)
I hope you dance
(Tell me who wants to look back on their years and wonder)
I hope you dance
(Where those years have gone)

Tell me who wants to look back on their years and wonder
(Dance)
Where those years have gone
(Dance)

January 14, 2011

Jeans Girl - Friday Flash Fiction

(Source image: "Jeans Girl" by Reinfried Marass. Photo provided by Rozewolf.)
Becky arrived at the diner as the sun was setting. She went in, and I followed a few minutes later. I took a seat at the counter, giving me a perfect view of her in her booth. She smiled, I smiled, she blushed. She’d been my girl until last fall.

While eating her burger and fries, she repeatedly feed quarters into the old Wurlitzer, calling up soulful C/W tunes. She’d sashay across the floor, doing a little two step dance, sexy as hell, flirty as hell too.

When she finished eating, she waved good bye. I waited three minutes, and followed.


I came up behind her as she peered in wondering why the old beast wouldn't start. I wrapped my arms around her, cupping her breasts. I put my mouth against her ear and whispered in a deep gravel voice:

Wild thing, I think you move me
But I wanna know for sure
Come on, let me hold you tight
Come on, come on wild thing,
you make my heart sing.

I leaned forward against Becky’s back, bending her over the fender and reached around for her belt buckle. “Let’s give this relationship a good tuneup.” I tossed the rotor over the windshield into the front seat.


(Use the supplied photo and write a flash fiction of 153-208 words. incorporating the phrase, "...a good tuneup...")
(Click for details on FFF!)

For my birthday I was given the album, The New Bye & Bye: Four New Songs Plus the Best Of the Train Wreck Years, by Chip Taylor & Carrie Rodriguez. Driving to work I was listening to Wild Thing, which was written by Chip Taylor, and originally recorded in 1965 (a year before The Troggs). This rendition is particularly funky and guttural, and it invaded my thoughts as I was imagining the finishing touches of this story.
The album is a great collaboration and plays a lot like a jam session, very lightly produced. The whole album is a fine example of good ole Texas country music, check it out.

October 3, 2010

"Far Far" - There's This Little Girl Inside


If for some reason it does not play correctly - it can be played at YouTube

Far far, there's this little girl
she was praying for something to happen to her
everyday she writes words and more words
just to spit out the thoughts that keep floating inside
and she's strong when the dreams come cos' they
take her, cover her, they are all over
the reality looks far now, but don't go

How can you stay outside?
there's a beautiful mess inside
how can you stay outside?
there's a beautiful mess inside
oh oh oh oh

Far far, there's this little girl
she was praying for something good to happen to her
from time to time there are colors and shapes
dazzling her eyes, tickling her hands
they invent her a new world with
oil skies and aquarelle rivers
but don't you run away already
please don't go oh oh

How can you stay outside?
there's a beautiful mess inside
how can you stay outside?
there's a beautiful mess inside
Take a deep breath and dive
there's a beautiful mess inside
how can you stay outside?
There's a beautiful mess
beautiful mess inside

Oh beautiful, beautiful

Far far there's this little girl
she was praying for something big to happen to her
every night she hears beautiful strange music
it's everywhere there's nowhere to hide
but if it fades she begs
"oh lord don't take it from me, don't take it" she says

I guess I'll have to give it birth
to give it birth
I guess, I guess I have to give it birth
I guess I have to, have to give it birth
there's a beautiful mess inside and it's everywhere

so shake it yourself now deep inside
deeper than you ever dared
deeper than you ever dared
there's a beautiful mess inside
beautiful mess inside


"Far Far" by Yael Naim

July 28, 2009

Just Let Me Dance You, Give Yourself Over

He gestured to her to get up, and join him out on the dance floor. He offered her his right hand, palm up, open, in front of her and she placed her left hand, fingers, onto his open palm. He tilted his hand slightly so that her fingers were hooked over the edge of his hand. He looked over at her and saw some apprehension in her eyes, he stared into her eyes for a moment, smiled at her, and stepped forward, beginning to pull her along by her accepted hand. She walked forward with him, but about a half step back, almost reluctantly, but also excited by the prospect of something they had talked about off and on, for months. She was finally going to be danced, he was going to dance her.

She had danced with others, sure, many times, but she knew this was not about them dancing with each other, she was going to give herself over to this, she knew he was very clearly going to lead her, take her where he wanted, and she would follow. He had told her there would be no skills problem, he would lead, she would follow, it was not something she needed to know how to do, all she had to do was feel him against her, and follow. She feared she would make false steps, embarrass herself, and him, not show grace. He had told her it would be easy; even so, she was reluctant and apprehensive, but could not wait to be taken by him in this way.

As they reached the edge of the dance floor, he lead her around in front of him while he moved forward taking a partial step, turning to his right, positioned directly in front of her, further away than she had imagined he would be. The open space between their bodies was like an unanswered invitation. Then, he took her left hand and moved it to his side, holding it so that her fingers slipped through his belt loop and her thumb hooked over the waist band of his jeans. Once her hand was in place, he slowly slid his hand up her wrist, thumb on top, pressing down firmly, and fingers lightly tracing over her skin on the underside of her arm; up along her forearm to her elbow, around the bend of her elbow and up the back of her upper arm; and onto her shoulder. But his hand did not stop at her shoulder, it moved across her shoulder and around to the back of her neck, up under her shoulder length hair and rested there, with the heel of his palm on the side of her neck, fingers curled around to the nape of her neck. His thumb pressed gently on her jaw bone, tilting her head up slightly and looking into his eyes.

He held up his left hand, palm up, invitingly; just as he had with his right hand earlier; and looked down at her. She knew to place her other hand in his and he held it loosely, with their elbows bent slightly, his thumb pressed down and secured her fingers in place, holding her hand now. First with his left foot, he stepped forward as his body approached her, pressed up to hers, and then his right foot came forward, and she felt his knee pressing between her thighs. The open space gone, the invitation offered, accepted and taken. At the same time, his hand slipped down off the back of her neck, and pressed wide open between her shoulder blades, encouraging her forward up against him. As their feet moved toward each other, his right knee slipped deeper between her thighs and she felt herself pressed against his leg above his knee.

And then, the music started -

I'm Sittin' on Top of the World - Willie Nelson & Asleep at the Wheel


. . . and he began to sway with the music, taking small tentative steps, infusing the rhythmic movement to both of them. Slightly moving his upper body to and fro, side to side, pressed against hers, back and forth, and moving his leg, moving hers to the same rhythm, controlling the movement of both their bodies, close together, moving, becoming one . . .

You don't have to think, just follow me,
feel the feeling let your body be,
We'll just be moving, so don't worry,
We're dancing in our own little world.

We're just out here, on the dance floor,
step to the right, pause, then once more,
we'll just move slowly, so don't worry,
simply move slowly, follow my lead.

Just let me dance you, and romance you,
you don't have to think, nothing to do,
slow, sultry, swaying, soft persuading,
just let me dance you, give yourself over.