We made love, we had fun. With a kiss you were gone. Now I wake at night, I’ve been sleeping on my own. It’s a shame to sleep alone.
It’s the rain, it’s the dark. It’s my brain, it’s my heart. It’s the reaching out for someone who’s not there. To a place that’s cold and bare.
In my dreams we are a-floating. You enfold me in your arms. No more tears or wild emoting on our river to the stars.
Let the storm kiss the seas. Let the wind strip the trees. I can face the thunder and lightning with your love for it lifts us high above.
Notes on: Night fright (2012)
This was just a guitar riff and verse that I hadn’t fully developed when a friend suggested the chorus structure so I finished it. Might not have done so had he not been so supportive. This was the first song that I produced with me actually playing the guitar; previously I’d used samples. My Pro-Tools instructor approved, so I subsequently went on to take a lot more of his advice, buying Kontakt and Vocalign and other products. You need the high-tech stuff to produce rock and electronic, but I don’t do very much of that.
The organ part was inspired by Chris Montez’ Let’s Dance, and I have another, closer tribute to the great man coming up a bit down the track (but please don’t sue me Chris). That song meant as much to me as He’s A Rebel or To Know Him Is To Love Him or Oh Donna, or Runaway, or The Wanderer, or Heartbreak Hotel, or Duke of Earl or any of those great early classics. I find that much of my inspiration comes from the 1950s and pre-Beatle 60s, rather than from later material. There was an innocence then, that, okay, can’t last forever, but which was purer than what came later, just as Elizabethan music, for example, the songs of John Dowland, has qualities that even the best songs of Schubert, Faure and Duparc lack (that was the only time that anyone could credibly write “pity, pity, pity” as in Miserere My Maker by Anonymous). It’s a different musical language, more nascent, vulnerable, and unworldly, and perhaps closer to the heart.