Missing You
Hey there, how’re you doing?
I’m doing all right, I guess
I see you’re doing something different with your hair
You smile; you say I’m looking good
You smile like you’re a friend
Somehow I can’t stay mad at you
All the same, why do I miss you?
I’m missing you
Sometimes you don’t want to know
Sometimes that’s the way to go
Don’t think that you’ll be immune to the blows when they come
Stand up for your heroes
They may be a little tarnished
That doesn’t make them zeros
Time for a little hero varnish
And I’m missing you
First we’ll go and get some coffee
Then we’ll do a little window shopping
Paint the town red with snooker balls
Call one friend, then call them all
Playing poker with Boreales
Pictionary with brown cows
Put another log on the fire
But the wet wood dampens the desire
I’m busy discarding my crutches
I know it doesn’t sound like much, but
I’ve got to get better somehow before I buckle
And I quit smoking, and I quit drinking
But I quit quitting smoking, and I quit quitting drinking, too
Can’t quit missing you
- 30 -
7 comments:
Scott,
This is pure Scott Murray. It does
remind me of a similar, though darker theme of old Dan Hill--what ever happened to him? I certainly loved Sometimes When We Touch.
Yeah, the honesty's too much.
Somewhere in James Joyce: You poor poet, you.
Ivan
You play guitar at all, there should be music to that, good call Ivan...
Yeah.thanks Daz. Scott does play.
I just tried out the Dan Hill and it's in D natural to an Em6 or somewhere before going back to the D tonic. But most of Hills' stuff is in 4-4 time, while Scott appears to be in 3-4, i.e., waltz time without the schamaltziness.
From the little bit of tablature Scott sent me, I think he likes the key of G.
But then I talk a better game than I actually play. I haven't picked up the quitar for six months, no callouses. Rusty.
You're too kind, gentlemen. And Ivan is eerily astute. This one is in G major, and mostly 3/4 time (although it jumps into a bouncy 4/4 for that third stanza.) Except that I can't even understand Joyce, let alone learn from him! Okay, that's not entirely true. I could understand Dubliners; but Ulysses? Every few years I pull it out and give it another try, only to be miserably humbled once again.
Joyce. Yeah.
Back in university days, girls would brag that they actually knew a guy who read Ulysses all the way
through. I can't recall anybody
who actually finished the book. Not even some of my English profs.
Hate to be a philistine, but sometimes it seems (an old Montreal
expression) b.s. makes the grass grown green.
Silence, exile and cunning?
Maybe no one cared to read his stuff after Portrait of the Artist.Silence Exile and Cunning because a failure?
I must say I loved Joyce before he went bananas. Soft spot for Dubliners. The snow falls upon the living and the dead,yeah, weird love.
Ivan
But then I talk a better game than I actually play.
Don't we all, I've played for about 20 years and I still suck....lol
Dazzlindino:
Still out there?
Just thought I'd add a bit on guitar technique.
I don't know when you started to play, sounds to me like Van Halen days.
Myeself, I stared in the Fifties, the three-chord wonder stuff and that was my downfall. I couldn't tell an accidental chord from an accident. Everly Brothers kind of hipped me on to the use of a quick F accidental, then quick hit on a G and back to the tonic, D.
Twenty years ago, I heard Bon Jovi's Dead or Alive, written by Richie Sambora (friggin' genius) and haven't been the same since.
I tried playing the thing in A minor, tried it out in a nightclub. No applause. Wrong chord, wrong minor, not even one to shack up with. Had to go back to work, invested $35 (thirty five dollars?) in Bon Jovi's sheet music book, the entire stiff-covered book, and finally got it.
Next time I set out to play professionally, the chord progression worked and I was researched and drunk enough to bring the house down.
Here is how it went.
It's all the same
D C D
Only the names are changed
C G G
And ev'ry day
D C D
We're just wastin' away
D F D
CODA
I'm a cowboy
F (two fingers only)..quick to G
On a steel horse I ride
F D
I'm wanted, wanted
F G C C
Dead or alive
G F D
The trick seems to be in very rapid chord changes, unfamiliar to
three-chord wonders like myself; had to learn.
If you play bas or harmonica you can instantly deduce what goes on in Sambora's kind of music, D can be just the same as a G, depending on your purpose...So while Dead or Alive is in the natural key of D tonic, it goes all over the place,
G sometimes acting like a D and the other way around.
Clear as mud?
You sharp guy. I think you'll get it if you don't already play this way.
Chording away some time.
Ivan
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