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You Are The One

Portuguese Beach scale

Last week’s blog entry recounted the origin of “Light Song” and how I came up with the title for my new album of songs Lounge Act In Heaven. Readers seem to be enjoying these song origin stories and I enjoy remembering how these songs came to be, so I thought I’d tell the story of the song ‘You Are The One’ which is Track 11 on Lounge Act In Heaven.

By the way, there is a stirring piano/accordion instrumental entitled ‘Lounge Act In Heaven’ on my CD Lounge Act In Heaven. Track 3.

So… in 1995 I moved from Sacramento to Berkeley and took possession of a large old house on Evelyn Avenue, the diminutive front yard featuring one of the tallest eucalyptus trees in Berkeley. Forty-five and recently divorced, I was excited about starting my life in a new place with clean air and cool summers. I was able to afford the rent on the old house because I signed the rental agreement in 1994, a year or so before rent control ended in Berkeley and rents skyrocketed. This was also at the very beginning of the Dot Com boom that would change Berkeley and the Bay Area forever and force most low-income artists in the Bay Area to move elsewhere. In other words, I snuck in shortly before I couldn’t have possibly snuck in.

I loved living in Berkeley for the first few of the eleven years I eventually lived there. There was no need for me to own a car, delicious ethnic cuisine abounded, and my creative juices were flowing again. I had stopped writing songs for my last several years in Sacramento and I surmise the songs had been mounting up all the while in my heart/brain/spirit because upon arriving in Berkeley many songs burst forth.

‘You Are the One’ was born as a bass line/chord progression played on the guitar. I loved the jazzy feel of the notes and chords, and after a few months of playing the sequence dozens of times every day, I could have lengthy conversations with my friends while playing the progression and never losing the beat. (My friends seemed to enjoy having a guitar soundtrack underpinning our conversations.)

Once the progression was second nature to me, I started singing wordlessly to the music. After some months of singing along using non-word vocal sounds, I had a melody I liked. The first actual words arrived at the end of a verse. “You are the one everybody wants to be with tonight.” I wasn’t sure what the words were referring to, but I liked how they sounded and I liked how they might mean all sorts of things.

One night in September I was sitting in my living room playing the progression and listening to a strong wind off San Francisco Bay blowing the thousands of leaves of the aforementioned gigantic eucalyptus tree in my front yard and I sang, “Listen to the wind as it blows through the trees, listen to her, listen to me.”

Intrigued, I got out pen and paper, wrote the line down—and the rest of the words quickly followed.

A few days later I got a call from an old friend asking me to come to Sacramento to perform in the annual Kerouac reading that would take place in early October. When I lived in Sacramento I participated in this annual homage to Jack Kerouac and his Beat cohorts several times. However, I was no longer interested in those writers, save for Philip Whalen, so I declined the invitation.

The next day that same friend called again and said, “We could really use you on the bill. I’ve kind of already put your name on the fliers and posters and T-shirts and in the press release and… you don’t have to read any Beat stuff if you don’t want to. Just do one of your stories and sing a song.”

Feeling a little nostalgic for my old stomping grounds, I agreed to perform.

When the gala day arrived, I borrowed a car and drove to Sacramento, arriving in the rain at an old warehouse where a hundred or so poets and artists and musicians were gathered to listen to a handful of latter day Beats read Kerouac and do some of their own stuff, too.

We four headliners drew straws and I was up first. I placed the not yet completely memorized lyrics to ‘You Are The One’ on a music stand in front of me and said to the wonderfully attentive audience, “This is a brand new song called ‘You Are The One,’ and for some reason I want to read the lyrics to you before I sing the song.”

Why this got a big laugh I don’t know, but it did, and then I launched into the progression and sang the song. And one verse in, a very good string bass player waiting in the wings started playing a groovy bass accompaniment and a couple gals in the audience joined in with high harmonies on the recurring line ‘You are the one everybody wants to be with tonight,’ and we brought the house down.

During the long intermission, I was approached by several people who said they loved the song, which was nice to hear, but even more interesting was that three of those people, two women and a man, each said they felt I was singing the song especially for them, though I didn’t know any of them. And because I had no solid notion of what the song was about, I was eager to learn what they felt the song was saying to them.

They all said essentially the same thing, which was that the song is a call to overcome our self-doubts and step into our full power so we may bring our gifts to the greater world.

I have subsequently performed ‘You Are The One’ for many audiences, and many people have confided that they felt the song was asking them to overcome their fears and doubts so they might bring their concealed talents to a larger audience.

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In 2008, Marcia and I made our first CD of songs together When Light Is Your Garden on which we recorded a slow ceremonial version of ‘You Are The One’. I love that version, especially Marcia’s cello solos, but I have always wanted to record a faster version with a great vocalist singing with me, and that’s what we did for the Lounge Act In Heaven version, Gwyneth Moreland singing with me and playing accordion. I also play lead guitar on the Lounge Act version, which was a big deal for me because… well, first I had to overcome my self-doubts and step into my power.

You Are the One

Listen to the wind as it blows through the trees.

Listen to her and listen to me.

Listen to your heart, and listen to your brain.

Listen to the sweet song of the rain.

Oh my darling, I know this is hard for you to hear,

But you are the one everybody wants to be with tonight

 

Listen to her and listen to me.

We can see what you can’t see.

We have felt your healing touch.

We have known your healing power.

And we believe this is your golden hour,

That you are the one everybody wants to be with tonight

 

Listen to your heart, listen to your brain.

Can you hear what they are saying?

Can you bear the knowledge that you were born

To bear the torch of hope?

Oh I know there’s a part of you that would rather live in secrecy,

But you are the one everybody wants to be with tonight.

 

Listen to the sweet song of the rain.

Listen to the howl of that old night train.

Listen to your feelings.

Listen to this song of our love for you.

You are the one everybody wants to be with tonight.

 

Listen to the wind as it blows through the trees.

Listen to her and listen to me.

Listen to your heart, and listen to your brain.

Listen to the sweet song of the rain.

Oh my darling, do not be afraid,

You are the one everybody wants to be with tonight

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Light Song

after storm sky


Last week’s blog entry recounted the origin of ‘A Wedding Song’, one of the twelve songs on my new album Lounge Act In Heaven. Having heard from readers that they enjoyed hearing the history of that song, I will now describe how the title Lounge Act In Heaven came to me and also tell the origin story of ‘Light Song’, the last song on the album.

(Aside: I grew up in the era of concept albums, when the order of songs was very important to both recording artists and those listening to their albums. Thus today I still put lots of thought into the order of the songs on my albums, though the streaming downloading web-crawling algorithms care little for that sort of thing.)

In the spring of 2019, I produced my CD of songs Dream of You on which I collaborated for the first time with Gwyneth Moreland, a marvelous singer and accordion player, Mendocino music celebrity, and my neighbor. A raft of new songs were inspired by our collaboration and I invited Gwyneth to come hear the new songs and try some harmonizing, and to see how her accordion playing sounded with my guitar and piano playing.

We began with five guitar songs for which her delightful accordion playing and singing were just what I was looking for. Then we moved to the piano and I played and sang two of the piano tunes. Again, her accordion and singing seemed ideal for those songs. And then I began to play ‘Light Song’, a song I wrote many years ago but had never recorded, though it is one of my all-time favorites.

I began to play the slow ceremonial progression, Gwyneth found a lovely accordion accompaniment, and then something rare and wonderful happened: Marcia emerged from her studio with her cello and joined us—the music of our trio as beautiful as anything I have ever heard.

The next day I wrote to my friend Max and said, “While playing ‘Light Song’ with Gwyneth and Marcia, I felt I was in a lounge act in heaven.”

I wrote the piano music for ‘Light Song’ circa 1994, the year before I moved to Berkeley from Sacramento. My inspiration came from a modern dance concert I attended in a small theatre in Davis. I was so taken by one of the dances that I went back the next night to see that particular dance again.

The name of the dance and the accompanying music elude my memory now, but I remember the dance was marvelously ceremonial, four women entering in stately procession, priestesses, each of them slowly and gracefully finding her place on the stage.

I was under the spell of that dance for the next several weeks and improvised many piano pieces I imagined as accompaniments to ceremonies. Out of those improvisations came the processional ‘Light Song’.

A decade later, while I was living in Berkeley, my mother died and came to me in a dream at the moment of her death. She was young and beautiful as I remembered her from my childhood. As she approached me, she metamorphosed into two translucent discs, each the size of a small butterfly that fluttered to the ground and dissolved into the soil.

In describing the dream to a friend I wrote, “Maybe there is no end, only transformation.”

Over the next few years whenever I played the music for ‘Light Song’ I would improvise lyrics, and the first line to stick was, “Here there are no endings, only tides of change.” But it was not until I moved to Mendocino in 2006 and became a denizen of the redwoods that the rest of the lyrics came to me.

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In 2011 I created an album of ceremonial piano improvisations entitled Ceremonies, my most successful album to date if Internet radio plays are indicators of success, but I did not include “Light Song” on that album. Something kept me from recording ‘Light Song’ until just the right elements arrived to join my voice and piano—Gwyneth’s voice and accordion, and Marcia’s cello.

 Light Song

here there are no endings

only tides of change

here the path goes ever wending

through the forests born of rain

 

there’s a shadow of a raven

gliding over fields of stone

life and light have found each other

we are none of us alone

 

come with me and join the dancing

add your voice to evening’s song

find a place to watch the turning

of the day to night and dawn

 

give yourself to silent wonder

shout your feelings to the sky

bless this chance to share the gift of life

never mind the reasons why

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Light Song

back cover

here there are no endings

only tides of change

here the path goes ever wending

through forests born of rain

 

there’s a shadow of a raven

gliding over fields of stone

life and light have found each other

we are none of us alone

 

come with me and join the dancing

add your voice to evening’s song

find a place to watch the turning

of the day to night and dawn

 

give yourself to silent wonder

shout your feelings to the sky

bless this chance to share the gift of life

never mind the reasons why