Amazon.co.uk

Three years ago White Town (aka Jyoti Mishra) had an international No. 1 with “Your Woman”. He took the profits from the ensuing hit album Women In Technology, invested in his own studio, and has released this follow-up on his own label. The result is uplifting and wilfully low key, a refreshingly personal look at life, love and pop culture.
Mishra writes with indie sensitivity, but with attention to rhythm–as in the laid-back early Depeche Mode-style electronica of “Duplicate”, or the ska-based “Another Lover”. Listen to the church organ and quirky philosophy of “Every Second Counts”, or the final track “Excerpts From An Essay”, which sounds like Kraftwerk set to a hip-hop beat. They all add up to Peek & Poke being a sparkling second album.

June 27, 2004. posted by Keyvan. Reviews.

The Guardian (Friday May 19, 2000)

“I’ll bet you never thought someone who looks like me could be so choosy,” sings White Town’s disarmingly honest Jyoti Mishra on his second album since the single You Could Never Be My Woman made him briefly famous in 1997. It’s a shame that he’s since reverted to bedroom-studio anonymity, because his spiteful vignettes – you name it, he slates it – add welcome colour to the landscape.

He vents his spleen on the lo-fi Why I Hate Drugs (“I don’t mind you stealing money from my house, but I will not take the lies and disrespect”) and broods over soporific breakbeats on She Left for Paris. It’s characterful stuff….

June 27, 2004. posted by Keyvan. Reviews.

Billboard.com

White Town Resurface With ‘Peek’

White Town, which stormed the international pop scene in 1997 as a quintessential one-hit wonder act with “Your Woman,” is back. The nom de disque of Indian-born, English-based writer-performer Jyoti Mishra, White Town will release “Peek & Poke” in the U.K. on May 22 via Mishra’s Bzangy Groink label, distributed by Recognition/Universal.

It’s Mishra’s first album since “Women In Technology,” the Chrysalis release that housed the global hit. The label is named after the recording studio he owns in the city of Norwich in Norfolk, in England’s east country, where the artist is now based.

The 12-track “Peek & Poke,” White Town’s third, was again written, engineered, and produced almost entirely by Mishra, with additional vocals on “Another Lover” and “In My Head” by Sophie Clarke; the latter track also features acoustic guitar by Bruce Hunnisett.

“Your Woman,” recorded in a portable studio, soared to No. 1 in the U.K. in January 1997 and went on to reach No. 1 in seven other countries. In the U.S., it peaked at No. 23 on the Billboard Hot 100. The song spent 23 weeks on Music & Media’s Eurochart Hot 100 Singles tally

June 27, 2004. posted by Keyvan. Reviews.

TIPSHEET (Issue #351)

Record of the Week
Another Lover by White Town (Bzangy Groink)

Yes, it’s a new track from Your Woman man Jyoti, whose worldwide success The Tip Sheet proudly played a part in by championing him when unsigned, back in 1996.
Actually this isn’t that new a track – it was one of those rejected by EMI when they dropped him after just one album with the label. Fools. Pop doesn’t often get this good, and Jyoti is now happily putting this and an accompanying LP out on his own bizarrely-named label in the UK (marketed and distributed by Voiceprint, home to other awkward mavericks such as Mark E Smith and Rachel Stamp), and through little indie Parasol in the States.
He feels, not without reason, that he needs another major label deal like he needs a hole in the head, but that shouldn’t rule out lots of media support for his potential second worldwide smash.

June 27, 2004. posted by Keyvan. Reviews.

NME

… Lo-fi electronics with deeply human pop sensibilities. The brainchild of Indian-born, Derby-based, bedroom-studio, obsessive Jyoti Mishra; these four-track creations are polished and assured enough to have earned themselves extensive Radio 1 play already. Very weird, very promising.

June 27, 2004. posted by Keyvan. Reviews.

The Economist

Jyoti Mishra and his first single, “Your Woman”, from a record called “Abort, Retry, Fail?”, went straight into the British music charts at number one (only the fourth debut single ever to do so).

Mr Mishra’s story is one of persistence. Even the government can take a smidgen of the credit for his success. Unlike the well-established artists he deposed, he earned his chart hit the hard way after toiling for years in obscurity. Performing under the name of White Town, he launched his hit song without the help of a big record label. “Abort, Retry, Fail?”, named after the error message given by computers, was recorded in his home on second-hand equipment.Chrysalis, his current record company, signed him only after a British radio station had begun playing “Your Woman”.
Now 30, Mr Mishra has barelyworked since leaving school in 1982. A brief stint on the government’s Enterprise Allowance Scheme, a programme to help the unemployed which has since been phased out, helped him to set up his own record label, Satya Records, and to keep recording.
A music addict with an encyclopedic knowledge of musical trends since the 1920s, Mr Mishra does not plan to succumb to the glitter of the pop industry. He is already boycotting BBC TV’s “Top of the Pops”
because, among other things, its minions were unpleasant to a friend of his. “If success means that I have to turn into an insensitive megalomaniac, then I’d rather never be in the charts at all.” Geek idealism.

June 27, 2004. posted by Keyvan. Reviews.

Parasol

Derby, England’s master of the 8-track, Jyoti Misra, is back… armed with 20 amazing new songs. The White Town trademark of brilliantly written, yet simple, unassuming, jangly British-pop is intact. Jyoti writes great songs, not unlike much of the stuff associated with some of his pals on the Sarah Records label out of England.

Parasol has already released three White Town singles… we’re big, big fans. One of the tracks from a Parasol single, Hair like Alain Delon, appears on the classic Spin-Art Records compilation One Last Kiss. Additional White Town singles have been released by Lovely in the U.K. and Elefant in Spain.

Jyoti uses White Town not only as a musical vehicle, but as a means to express and/or discover himself. This is evidenced in the CD’s 14 page booklet where Jyoti takes time to wax philosophic about sex and the other two s’s and to share his lifelong experiences. A surprisingly frank, sometimes odd, read in it’s own right, it gives the listener great insight into the psyche of the man that is White Town… a man who gives and gets the most out of his music

June 27, 2004. posted by Keyvan. Reviews.

Interview by Malcolm Wilson for Rip It Up magazine (2002)

What’s it like where you are, as you write this? Just a bit of scene-setting for the article.

It’s 11pm, I’m sitting tapping on my laptop and watching X-Files…
It’s not the same without David Anchovy… :-(

It took years for White Town to be discovered… What were your aspirations for White Town during those years?

The same as they are now: I’d like to change the world!

Ideally, I’d like to see a world socialist government establish global peace and launch a moon/Mars colonisation program.

But….

Since that’s not gonna happen soon, I try and reach out and connect with people as much as possible. I think the best way I do this is via my music. Music is more emotional than prose, more revolutionary than poetry. I’m not saying I’ve got the answers, just a shitload of questions that I don’t hear other artists asking.

The EMI blip gave me access to a huge amount of people more than before, a dream for anyone making pop music. But now I’m back on indie labels with indie sales I think it’s important than ever to strive for that connection. That’s why I do so much stuff on my Bzangy site: I don’t get interviewed or featured in the mainstream corporate media so I have to do what I can myself.

That’s another reason I’m pleased to do this interview!

How did you get discovered? What happened?

‘Your Woman’ was originally released on US indie Parasol in July ’96. I played it when I was DJing and noitced that everyone loved it and started dancing. With encouragement from my then girlfriend (now wife!), I sent it off to a few radio stations.

Mark Radcliffe of BBC Radio One loved it and started playing it on his night-time show. The song was so popular that it migrated to daytime and then a bidding war started with the majors. By this time, I’d contacted Parasol and asked them if they could run with it but I don’t think they understood how big it was getting/couldn’t afford to press more so I signed to EMI. It was a difficult decision but I knew it was a once-in-a-lifetime chance to get my music out to millions of people.

The rest, as they say, is history. Number one in eight countries, over 350,000 albums sold in North America alone…

All of which I’m proud of – I did that! From a little bedroom recording done on a cassette multitracker!

Most people clamour for fame & fortune. The “Popstars” bullshit subjects them to cueing for hours to sing “Westlife”. Did you ever see yourself as star material?

I hated my brief fame. We had TV vans camped outside my house, reporters hounded me… people i’d know for years started treating me differently. I honestly can’t understand why *anyone* would crave fame…

Plus, a 26 stone Indian geek is hardly prime pin-up material. Don’t get me wrong, I love a lot of bubblegum pop myself and I think there’s a place for pretty boys in bands for teenage girls to lust over. I just think that shouldn’t be the total focus of the music industry.

Anyway, I think I am a fucking star – I’m simply a funny-shaped star :-)

What does it feel like to be launched from obsurity to success so quickly?

The first commercial release I had was in 1983 so it wasn’t that quick…

When ‘Your Woman’ hit, I was 30 so I’d been a gigging, songwriting musician for 14 years… although the actual end part was quick, it took a long time getting there.

Was there a “eureka” moment with “Your Woman”. Did you write the song and think “holy shit….I have a hit here?”

Nope. I thought it was quite poppy but then I think that about most stuff I do. I actually thought it was a bit too art-wank since I was deliberately singing from more than one perspective, none of which were mine.

I remember being pleased cos it hurt to finish the lyrics, they were too close and painful to me. Which I take as a sign that I’ve done my job properly.

Once you’re in that environment, what are the people like? How did your relationships with people change?

A lot of people, especially musicians, befriended me to drop me like a hot rock as soon as I was no longer in the charts/signed. London truly is a cesspit, filled with people fighting to be king of the filth.

Thank god I didn’t move there…

With my close mates nothing changed. And it only strengthened my relationship with my grilfriend cos we went though so much bullshit together.

You don’t strike me as someone who settles for artistic compromise. Did the record Companies ever attempt to compromise your music? What is it like?

It’s like someone cutting up a loved one in front of you, all the time insisting they’ve got your best interests at heart.

They’re very devious nowadays. My contract had a clause in saying I had total control over all artistic aspects. They wanted a cover of naked robot women. I objected. They said *of course* you can have whatever cover you want – you’re the artist. But if you have that cover… well we might not release the single for, ooh, four months…

So, you basically do what they want or they fuck you up the ass. So you do what they want and then they fuck you up the ass anyway…

Your music is devoid of strict genre labels. Did the record companies find it hard to have an unboxable artist?

That’s implying some kind of musical knowledge! At none of the companies I met in the courting process did I meet *anyone* with a grasp of contemporary music. A&R people hadn’t even heard of Magnetic Fields for god’s sake and they already had albums out on Setanta.

Here’s a good example: a well-known major is now proudly selling surround/5.1 encoded audio discs. Hi Fi News revealed that they’re making these recordings by playing the old stereo masters through some nice speakers at Abbey Road and then recording the result with four mics! This is how dishonest record companies are, they really have nothing but contempt for the public.

What prompted the end of the EMI deal? How did you feel when it was all over?

I was signed in December ’96. By February ’97 I was sick of them. I’d just got a Playstation and a copy of Die Hard Trilogy (with the gun). I used to pretend the airport was EMI HQ, go inside and shoot the crap out of everyone…

I now believe that major labels can only work with people who care more about fame and money than the quality of the art they produce. They consistently hobble artists’ in the name of selling more units then are surprised when the fans don’t buy the lukewarm music this produces. So they then drop the artist.

Tell me a bit about the environment “Your Woman” as other earlier work was recorded in?

It was basically a 9′ square spare bedroom.

What equipment did you use for “Your Woman” and the “Women In Technology” album?

This is all detailed in the FAQ on the official White Town site.

You used some of the “Your Woman” money to build your own studio. Do you still promote a “warts and all” approach to your recording? Why?

I didn’t build one, for the last three years I owned an ex-commercial facility. I recently sold it cos I had to move back closer to my parents.

As for the warts and all: yep! I don’t believe that recordings should sound radically better than the artist, I think that’s dishonest. For example, I’m not a great singer but if I spent enough time tweaking my vocals, I could sound like one. But I don’t, what you hear is pretty much what I sing. On some songs you’re hearing the vocal as I improvised it (as in ‘Function Of The Orgasm’) so you may hear me stumble.

How have your opinions of the music industry changed from before “Your Woman” to after “Your Woman?”

I was always suspicious of majors but that was based on prejudice, I had no solid experience to back that up with. Now, having dealt with both Universal and EMI, I can say that I directly know that two major corporations are run by idiots who have no knowledge of music and little understanding even of basic bourgeois economics.

It’s the total contempt majors have for their artists that I find amazing. I had a report that some of my music was being used to advertise cigarettes in South America so I contacted MCA/Universal to get it stopped. They didn’t even bother to email me back, that’s how little they care. We, the artists, make the stuff they sell and they’re like ticks on our backs, sucking the life out of us.

You offer some pretty scathing views of A&R people on your website. What, if anything, prompted these views?

Real experiences with real A&R people. Most of the stuff isn’t made up, just slightly exaggerated. Really, the average musician has no idea how craven and devious A&Rs are.

What are some of the best things about being your own creative boss?

I do just what I want. If I want a fourteen minute track on my album, no-one’s gonna try and cut it to 3.30. If I want to write about subjects that are difficult, no-one’s gonna censor them.

It’s basic freedom of speech.

You must have other songs you feel proudly about. What are some of your favourites and why?

I like ‘Why I Hate Drugs’ off ‘Peek & Poke’ cos it sums up why I’m straight edge and how dull I find drug culture and the majority of people who immerse themselves in it. What I most hate is endless rock’n’roll anecdotes about ODs…. who gives a flying fuck!?

I like ‘Bewitched’ off the first album because it’s one of the happiest songs I’ve ever written and, as any writer will tell you, happy songs are a million times more difficult to write than sad songs.

I like ‘Undressed’ off ‘WIT’ because I managed to get my attitudes to sex and death pinned down very well there. The essential pointlessness of life, coupled to the fact that the only meaning there is is the one we construct. And therefore that sometimes, an afternoon spent in bed with someone can be the most important thing in the universe.

You’ve been to mega-stardom and back. Are you ever tempted to join the big game and just sell-out?

I will never sign to a major record label again. If, by some mega fluke, a record of mine looked like it might break big, I’d try and do it via an indie or somehow license it. I’m not having my music owned by those corporate cocksuckers again.

BTW, this isn’t to say I hate all major label music and bands. Everyone has to find their own way, it’s just that I don’t want to go that way myself. If a band likes being on a major and feels happy there, good luck to them.

Your songs contain real emotion ( a rare a beautiful thing)…Yet, the world is laden with Britneys, Christinas, Six & Hear’Say…What, in your opinion is going on?

There’s a place for constructed, machined pop. Hell, one of my favourite bands is the Monkees and, as they originally started, you couldn’t get more constructed than that (cept maybe the Archies!).

BUT…

The majors have given up on teenagers. They believe that teens are no longer into music, preferring PS2s/trainers. Therefore they target pre-teens and use their pester power to extract their parents’ money.

I’m not saying little kids have bad taste, they don’t. In fact, they’ve got the same melodic tastes I have: simple, snappy pop is what rules. But what pre-teens haven’t got is any real understanding or experience of adult emotion.

They sing along to love songs that feature lyrics that must be meaningless to them. And people write songs with lyrics deliberately shorn of adult emotion, adult ambiguity to fit this market. Pop becomes only about candy-coloured pre-teen pop.

All I’m saying is that this shouldn’t be all that pop music is, all that is allowed. Pop can do so much more!

There should be a place and the space for all pop.

You also talk a lot about schmindie…What’s going on in the “alternative” world?

Not much… the only place I can see any true punk/DIY ethic is in the post-hardcore scene and skapunk scenes. I’m not a huge fan of the music but at least the scenes still believe in cooperation and independence. “Indie” nowadays was been castrated, reduced to being a marketing term that means ‘major label white guitar band who feign misery and are aimed at students.’ The Americans are more honest about it and just call it college rock.

You are politically and socially intelligent and opinionated. What was it like to have the media and fans hanging on your words?

Hmmm… I don’t think they were. The best press stuff I did was with French pop journalists, people who knew about Francois Truffaut, Wilhelm Reich, Noam Chomsky and Marxism. Most of the other press stuff was ‘what’s your favourite colour?’ :-)

Tell me a bit about Bzangy Groink, what it comprises of, the level of distribution and how the Indie companies have helped you…

Bzangy Groink is my own label, distributed through Voiceprint. So far there’s only one release, my last album, but I’m soon releasing two singles by new young bands that are brilliant. The first band is Plans And Apologies and they’re kind of folk-emo, very catchy melodies coupled with very loud bits.

Rusk are melodic post-hardcore and their singer has one of the best voices I’ve ever heard. He’s destined for stardom, I’m sure.

What is White Town doing now? It’s your self promotion moment!!!

I’m currenly working on songs for my fourth album… it’s a bit hectic cos I’m in a rental house so the studio situation isn’t ideal, plus I’m trying to get Bzangy Groink up and running again so that takes up a lot of my time. Too much stuff to do… too little time!

What are White Town’s goals for 2002-2003?

I’d like to release a new album. I’d also like to find a female backing vocalist but so far I’ve had no luck at all :-(

How do we get hold of your music in li’l old NZ?

It should be in normal shops. Failing that, I’m sure one of the Amazon webshops will have it, if you try the different countries.

If you could recommend one White Town album to take people beyond “Your Woman” what would it be and why?

That’d be ‘Peek & Poke’ cos it’s the latest one and I believe it’s more poppy and consistent than ‘Women In Technology.’ I had fun making it and I think you can tell with one minute tracks like ‘Bunny Boiler.’

What would you recommend for anybody making music in the bedroom about how to get exposure? How can they make it big and keep it together?

GET OUT OF THAT BEDROOM! Join up with others and create a strong local scene. If you can’t gig, DJ and if you can’t DJ, do a fanzine or put on gigs for other bands.

The most important thing is perseverance. I didn’t have a hit because I’m thin or beautiful or had major-label backing, I had a hit cos I never went away, no matter how many walls of apathy I came up against.

And finally….You worked for years, you made it big, the madness ended and here you are….What is it like from where you are now?

Calm. I like being 35, I like having a bit of money to spend on music and useless gadgets. The net is providing new ways to communicate and cooperate that just didn’t exist in the 80s.

There’s so much excellent new music around that I can’t afford to buy it all and I haven’t the time to review as much as I’d like. I can’t remember a better time to be a musician or to listen to music!

June 27, 2004. posted by Keyvan. Interviews.

MTV Interview (Enrico interviewing Jyoti)

Why didn’t you want to keep your name, and go for another name?

Well because the band’s just me, but I choose to work with other people as well.

So it must be really weird that before “Your Woman” came out nobody new about the song or about you, and all of a sudden it’s at the top of the charts and a big success

It’s only taken me 15 years. I’ve been releasing stuff for years. White Town’s been out since 1989, the success has been quite quick and quite recent.

Did you aim for this kind of success?

No, what I’ve always wanted to do is make pop music that I like and I love and I think is trying to be something different. I want to make something that excites me, like when you hear a great pop single you get excited by it, it grabs you. Like the first time I heard Fire Starter. I want to make that kind of music. I don’t know if I’m doing it, but I want to do that as much as possible.

Do you feel excited about this huge success. Like when you go to parties, celebrations, or something like that?

There’s none of that, I don’t do that stuff, I stay up in Derby.

Do you feel like a proper pop star?

I don’t think so, no, because I think being a proper pop star is being a proper prat. So I don’t want to do any of that. That stuff doesn’t interest me.

So is it weird when people stop you?

I’ve just been to Germany recently and the weirdest thing is that I had to sign autographs for the first time and somebody says, can I have your autograph and you’re like why? Because you’re just you.

Do you feel like they would probably call you one in a wander or something like that?

They might do, but I’ve been doing this for a long time already, and the point is, commercial success is nice, but it’s not what I’m doing it for, it’s because I’m sick of a lot of pop music, I want to try and do something different, and as long as I’m doing something I like and respect, then fair enough, and then again the way things are going with the album and the single internationally I don’t think there is any prospect of that anyway. Maybe that sounds overconfident, but it’s just doing so well.

Is “Your Woman” a typical song of White Town, does it represent your sound completely?

That’s the difficult thing. I don’t want to be painted in a creative corner, I want to be able to do anything I want. So on the next album if I want to do a hip-hop country western, then I’ll do it. I don’t see the point of staying in one thing. Music is just music, why label it, why box it, you should be able to do anything you want.

Your album “Women In Technology” all done where?

In my small bedroom, 9 foot by 9 foot.

So you didn’t want to go for studios or anything?

Oh no, I don’t like studios, it’s better at home because you can keep more control of it. People would say, why are you compromising by recording it at home? It’s not a compromise, you compromise when you’re in a studio, it’s like, there goes another £1000 there goes another £1000, so you can’t do what you want.

So you must be good at mixing all that stuff and producing it

I hope so.

Anyway, plans for the future? When’s the album coming out?

The album is out in most areas now. The next singles out in Britain on May the 5th.

Which one is it going to be?

Undressed. I’m off again to America very soon and Europe in a bit.

How do you feel about touring?

I want to do some live work, but it’s a question of when I do, I don’t want to be like fakey stuff, I want to do it all live, and have a funky organic feel to it.

Thank you very much and good luck to you.

June 27, 2004. posted by Keyvan. Interviews.

Women In Technology Lyrics

1. Undressed (4.17)

Let me help you get undressed
I’m no better than the rest
And I know you can see through
All I’ve said today
But for an hour maybe two
It will just be me and you
We can find a place where no-one
Ever wants to go
I can make it if you stay
I can’t take it if you go

I’ve had too many one night stands
I’ve had too many broken plans
Now when I need someone I find
Myself alone
And I know it’s the same for you
You’ve told me all that you’ve been
through, We can put the past behind
All we’ll share today
I can make it if you stay
I can’t take it if you go

Let me help you get undressed
I’m no better that the rest
And I know you can see through
All I’ve said today
But for an hour maybe two
Let’s pretend I’m the man for you
It will almost seem like nothing
Ever, ever changed
I can make it if you stay
I can’t take it if you go
I can make it if you stay
I can’t take it if you go

2. Thursday at the Blue Note (2.48)

Well I don’t think that I know you
I’ve never seen you here
Before all though I could be wrong
And though this music doesn’t move me
Thrill or even soothe me
I think I might dance to just this one song

Is that your brother dancing with you?
He’s giving me some funny looks
I though you said you were on your own
Look, I know I’m no oil painting
But my face doesn’t need re-arranging
And I’m quite attached to all my bones.

This isn’t the way things were meant to be
Now he’s waiting outside with his mates for
me. “Thursday at the Blue Note”.

3. A Week Next June (4.17)

You’re crying, cos I’ve spilt your paints
again, But in a few short years,
You’ll understand true life pain
When those baby eyes of yours,
Have turned the brightest blue,
And boys fall into them
You just won’t know what to do.

And I can see you trying.
To make him understand,
And I can see him ask why
He can’t be your man.

Now winter’s around us.
And your kisses keep me warm again,
but when the spring brings the flowers,
Will they wash away with the rain?
And when the land is wrapped in white,
We’re as happy as kids could be.
I’ll let you win every snowball fight,
If you’ll only stay with me.

And I can see you trying.
To make him understand,
And I can see him ask why
He can’t be your man.

I see you’re leaving,
Has March really come so soon?
I don’t want to pressure you.
But can we make a date a week next June?
And I never understand.
Why you run away
Because I know he’s waiting for you,
Every sunny, cloudless day.

And I can see you trying.
To make him understand,
And I can see him ask why
He can’t be your man.

And I can see me trying.
To make you understand,
And I can see me ask why
I can’t be your man.

4. Your Woman (4.18)

Just tell me what you’ve got to say to me,
I’ve been waiting for so long to hear the truth,
It comes as no surprise at all you see,
So cut the crap and tell me that we’re through.

Now I know your heart, I know your mind,
You don’t even know you’re being unkind,
So much for all your highbrow Marxist ways,
Just use me up and then you walk away,
Boy you can’t play me that way.

Well I guess what you say is true,
I could never be the right kind of girl for you,
I could never be your woman.

When I saw my best friend yesterday,
She said she never liked you from the start,
Well me, I wish that I could claim the same,
But you always knew you held my heart.
And you’re such a charming handsome man,
Now I think I finally understand,
Is it in your genes?, I don’t know,
But I’ll soon find out, that’s for sure,
Why did you play me this way?

Well I guess what you say is true,
I could never be the right kind of girl for you,
I could never be your woman.

Well I guess what they say is true,
I could never spend my life with a man like you,
I could never be your woman.

5. White Town (2.21)

I can’t understand
After everything that we planned,
How you could turn around to me and
whisper goodbye. Well I’ve been dropped before
But not so high off the floor
And I just can’t seem to pick myself up
again. If it’s something that I said
That made you feel this way,
Then I take back every word from the first
hello, But most likely I know.
Your parents said baby no
And the boy you told your friends about
just had to go. Well it’s a white town
with green trees. And nothing in love is free
So if it’s not worth fighting for It’s worth nothing at all.

6. The Shape of Love (5.20)

Here’s the best I can do
So far away from you
As the ocean holds the sky
So I try to hold your eyes

And I know the world is turning
I know it’s yesterday for you
But the shape we’re giving love
Could never be untrue

Choose the way you want to be
That doesn’t mean him or me
Love is so much more that flesh
How to hurt and how to kiss

And I know the world is turning
I know it’s yesterday for you
But the shape we’re giving love
Could never be untrue

I wish I’d known you when
I could have made a change
I would have been a friend
I would have given you anything

As you touch near your heart
Are we really far apart?
Yes I know distance kills
But it can’t fight love’s will

And I know the world is turning
I know it’s yesterday for you
But the shape we’re giving love
Could never be untrue

And we know the world is turning
We know that yesterday is due.
But this shape we’re giving love
Can never be untrue.
This shape can never be untrue.

7. Wanted (4.23)

(by Ann Person)

You didn’t notice I existed that night
I jumped & I waved
Even shouted your name that night

But it’s all the same
You’ll never see me again
All I wanted
You see my face
But it’s all the same
You’ll never see me again
All I wanted

You’re so pretty
You turn me inside out
And I only say this
Because I know I’m not

But it’s all the same
You’ll never see me again
All I wanted
You see my face
But it’s all the same
You’ll never see me again
All I wanted

And now I’m standing
And you’ve left me with what?
And now you thank me
for what you’ve got

But it’s all the same
you’ll never see me again
All I wanted
You see my face
But it’s all the same
You’ll never see me again
All I wanted

8. The Function Of The Orgasm (2.24)

It’s half past eight, and I’m waiting
In a beautiful place
Anticipating everything we’ll do
And all we’ll say.
Till your father sees you again

Now I don’t know just what you’re doing
Is it me or him
That you’re screwing?
But I don’t care and you don’t care
When you’re here

Now the storm is here
I see you running
Your face full of tears.
So red and burning
And I can’t work out
How you spend
Another day with him

Just say the word
You know I’ll do it
I’m waiting for you
Just let me do it
And we can run away to another place.
Less full of fear.

9. Going Nowhere Somehow (5.21)

Take a look at where you’re going
Do you know where you come from?
Seems like you’ve spent your life just
searching, In the length of just one song

But you know you’re going nowhere
Like so many of your age
This has gone on far too long now
To be dismissed as another phase

Well you can turn the clock back
Pretend that you’re still young and
unaware. But everyone that you lack
weighs upon your mind, When she’s not there

I don’t want to break your heart,
I don’t want to let you down
It’s just that I always thought
Life would be more than just
Going nowhere somehow.

Now your friends are disappearing
They’re getting scarcer day by day
You’ve only got yourself to blame for
that, You always wanted things that way
Cos it’s easier being lonely
Than being let down again and again
When you’re standing on edge of
things, It means you never have to pretend.

Well you can turn the clock back
Pretend that you’re still young and
unaware. But everyone that you lack
weighs upon your mind,
When she’s not there

I don’t want to break your heart
I don’t want to let you down
It’s just that I always thought
Life would be more than just
Going nowhere somehow.

11. Death of My Desire (4.53)

Here my child
Rest your head on me.
Cos I’m the safest man you’ll ever meet.
I’ll tell you a story
I won’t expect you to believe
About a boy who lost his reason to deceive

It’s the death of my desire

While I grew up I hid behind a smile.
I was never allowed to be an average child.
And now the years have forced
me to be a man. I find I can’t go
Along with this meaningless sham.

It’s the death of my desire.

I want to find a new way
But I can’t make it on my own,
I want a partner in crime
So I don’t feel so alone.

So come to bed,
I won’t disturb your sleep.
Cos I’ve a secret I’m determined not to keep
I see you understand my point of view,
You’re safe because there’s nothing I
need from you.

It’s the death of my desire.

12. Once I Flew (4.24)

Once I flew
And it made my fingertips sing
I was more like a God than a King
Now I can’t believe that was true

Once I flew
Though you don’t believe me I know
You look where I’m standing now
You can’t believe I left the ground.

Look up to the bright blue sky
Can’t you feel life passing by
If you could wouldn’t you
Try to soar over everything?
All the pain this world can bring
Once I flew now I’ve lost my wings
Now I’m down here with you
Now I’m down here with you

Once I flew
And the angels were my friends
They would grant me every whim
Now I can’t believe that was true
Once I flew
Though it’s easy to forget
I don’t seem to have managed yet.

And I don’t think I ever will

Look up to the bright blue sky
Can’t you feel the life passing by?
If you could wouldn’t you
Try to soar over everything?
All the pain this world can bring
Once I flew now I’ve lost my wings
Now I’m down here with you
Now I’m down here with you.

<Astronauts>

And in my dreams I am happy again
You’re in my arms and we’re flying
again, Flying away.

June 26, 2004. posted by Keyvan. News.

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