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EIGHTY-8
SLOW DANCE
ONE HITTER
PAUL’S BOWL
BLUNT
PEANUT BUTTER
(4:4 / C#major)
(87.5 bpm)
(or half-time 175bpm)
PART 1:
“eighty-8”
[(C# C#sus2) (Adim A A Amaj7) (A6) (F#sus2 F#maj7) (G#)] x 2
(C# C#sus2) (C#) (B Bsus2 Bsus4 Bsus4 B Bsus2) (Adim A Adim) (F#7) (G#sus2 G#)
(C# C#sus2) (Adim A A Adim) (F# F#6) (G#6 G#+ G#sus2 G# C#)
(bass: C# (F) A (F#) F# (Bb) G# (C ) C# B A (F#) F# (Bb) G# (C ) C# (F) A (F#) F# (Bb) G# (C ) C#)
PART 2:
“hardball”
[ [(C#) (C#sus4) (C#)] x 2 (C#sus2) (F#6) (F#) (F#msus2) (F#m) ] x 12
(bass: C# (F) F# (A))
PART 3:
“slow dance”
(1:4 / F#major / 84bpm)
[(F# F# F#6 F#maj7) (F# F# F#6 C#)] x 2
(riff: F# C# D# F F# C# D# F)
(two measures of B)
[(F# F# F#6 F#maj7) (F# F# F#6 C#)] x 2
(bass: F# (Bb D#) C# (F) B (F#))
[(F#) (C#6) (C#) (C#sus2) (C#) (B) (Bdim) (B) (Bsus2)] x 2
(Bdim) (D#m) (B C C#) (D#m Dm C#)
(C# D D#) (F#sus2) (F#)
[(F#) (C#6) (C#) (C#sus2) (C#) (B) (Bdim) (B) (Bsus2)] x 2
(Bdim) (D#m) (B C C#) (D#m Dm C#)
(C#6) (C#) (C#sus4) (F#sus2) (F#)
(bass: F# (Bb) C# B (F# D) D# (Bb) B C C# (F) D# D C# (F) F#)
(bass: F# (Bb) C# B (F# D) D# (Bb) B C C# (F) D# D C# D D# (Bb) F#)
PART 4:
“mcfadden’s”
(Bbmajor)
(Bb) (Bbsus4) (Bb) (Bb7) (Bb7sus4) (Bb7)
(D#7 D#6 D#) (D#m7 D#m6 D#m) (D#m6) (F6 Fsus2 Fsus4 Fsus2) (Bb)
(bass: Bb (D) D# (C Bb F#) F (G A) Bb)
PART 5:
(250bpm)
“more beer please”
[(Bb Bbsus4) (D#7 D#)] x 12
(bass: Bb (D#) D# (Bb))
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“eighty-8”
she’s a lady of the nighttime…
(dark where no light shows)
there must be 88 ways to get to…
(the place this lady goes)
(going…going…going…going…gone…)
and when the day breaks, she wants to stay awake
she wants to spend the day alone…
she’s a lady of the nighttime…
by the time i’m on the inside, she’s outside
(and she’s turned off her phone)
i spot a lady of the nighttime lost inside a song…
(i must be crazy ’cause I had a chance and then i waited far too long)
and then the day breaks and her bodies aches
(she just wants to be left alone…)
she’s a lady of the nighttime…
by the time I’m on the inside, she’s outside
(and she’s turned off her phone)
(and what is taking so long?)
(and now my cover’s been blown…)
(how could I read her so wrong?)
“hardball”
here comes the wind-up
step in and don’t back away
do ya hear what I say?
i’ll keep my eye on it, dad
and I won’t back away
i’ve been programmed to obey…
i’m getting ready
last night you turned me away
i’m feeling lucky today…
(enter drums:)
closer and closer and closer and closer
got them tiptoes touching and the shoulders rubbing
’til it’s harder and harder (it’s harder and harder)
gonna need an army and a suit of armor
though i always say what i mean
mean i mean what i say
yea, i mean what i say
(2-part backing vocals:)
closer and closer and closer and closer…
no, i don’t know nothing but i’m onto something…
and it’s hard when it’s farther…it’s harder when farther…
gonna need bill ard, you’ll need a suit of armor…
(2-part harmony:)
well, i always say what i mean
mean i mean what i say
yea, i mean what i say
(3-part harmony:)
mama, it’s closer and closer and closer and closer…
i can feel it coming, but i can’t do nothing…
‘cept to store more supplies ’cause it’s on the horizon
and turn it upside down, ’cause he don’t fuck around…
believe me, always say what i mean
means i mean what i say
yea, i mean what i say…
“mcfadden’s”
i used to work as a model
(when can i see a pic?)
played slide guitar with a bottle
(when can i hear a lick?)
you know i dropped out of school…
i’m still the smartest one here
so bartender bring me a beer…
i used to bench press 400…
(so where’s your super bowl ring?)
had any woman i wanted
(but that don’t mean a thing…)
well where’s your wife and your children?
why the hell are you here?
bartender, bring him a beer…
well now it’s all clear…
i understand why i’m here…
so bartender bring me a beer…
BARMAID!
BARMAID!
BARMAID!
(i’m gonna need another beer…)
BEER! HEY! (booga wooga wooga)
MORE BEER PLEASE…
(ooo…your song is moving through me…)
SPEED! WEED! SPEED! WEED!
(ooo…and no one else can do me…)
MORE SPEED PLEASE!
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🧫🥼🧪✨DEVELOPMENT✨🧪🥼🏋️♀️
and those showboats running…
(composed from several song sections in spring 2008)
this is a song that was pieced together because my songwriting output was becoming too fast (and i needed a good umbrella to capture all the pieces)
it’s a compilation of 5 song sections:
‘lady of the night’
‘Wind-Up’
‘Closer’
‘McFadden’s’
‘More Beer Please’
Socrates said: “Music Is Sex”
(after I inquired as to how well ‘the ladies’ had been treating him…)
Music as woman / Composer as man / Creative Process as sexual intercourse
Transition from major chord (I root) to major chord (minor VI root) is inherently unsettling to the human ear…
Write in all keys (tonal exploration)
I was only free to develop my music when the sun went down…
(an artist in corporate shackles)
(charged with “failure to connect with the masses”)
(sentence: rescind daylight-hour music privileges)
Alternative options:
Community Service (“teach the children”)
Indentured Servitude (“coffee bean dispenser”)
Jesus Lady Of The Nighttime (dark where no light shows…)
livetype animated lyrics
plain jogajungle white on black background
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(open the following links in ‘new window’)
Ithen use ‘spectacle’ to evenly split screen in half)
(chords / lyrics)
(sonic extensions / lyrical scraps)
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*key*
*time signature*
*tempo*
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*INTRO*
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*SONIC SNAPSHOTS*
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*MANTRAS*
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*FREE-FORM CHANTS*
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*OUTRO*
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💕💝💖💓🖤💙🖤💙🖤💙🖤❤️💚💛🧡❣️💞💔💘❣️🧡💛💚❤️🖤💜🖤💙🖤💙🖤💗💖💝💘
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🔥🔥🔥🔥🔥🔥*we won the war* 🔥🔥🔥🔥🔥🔥