I don’t know and I don’t much care. Whatever it takes to get me there I’ll do, to be with you. Oh, a murder or two to be with you. And whenever my feelings fade you know just the right words to say. When we make love I’m on my knees again eager to please again. You whisper, “Never was I taken quite so deeply, darkly and blue.” Oh, whatever it takes I’ll do.
Love crept in on kitten feet. I saw you dancing in my sleep and I knew I’d die for you. Oh, start a war or two to be with you. For love is a neon dance; it makes everything shine at once. But love brings pain. As I go round again I’m singing Love In Vain. Then you say, “Never was I taken quite so deeply, darkly and blue.” Oh, whatever it takes I’ll do.
Joe and Julie, a handsome pair. When she laughs he walks on air. She sighs, he’s by her side. Oh, he’s quite a guy; there are reasons why. For some doubts from the past remain. She got home from the party late and misspoke his name. Sometimes he worries so. Sometimes he can’t let go. Then she says, “Never was I taken quite so deeply, darkly and blue.” Oh, whatever she wants he’ll do. Oh, whatever it takes he’ll do. Oh, whatever it takes I’ll do.
Notes on: Whatever it takes (2010)
This was the first song I produced on Pro-Tools. It took me three months of every non-working and non-sleeping moment to get it into something like the shape it’s in now, and I have re-visited it several times since. I almost gave up, thinking that if production was going to be so cumbersome then maybe I’d be better off finding another interest, but I persisted and gradually got quicker. Nowadays it takes me about a week from start to finish to produce a song, but that’s not working on it constantly. I’ve found that my ears need breaks. When I composed it the structure surprised me because I don’t usually like songs that don’t have a clear direction all the way through, but something about this made me persist. The melody really starts to develop at “When we make love…” but that probably wouldn’t have worked as well as it does without the meanderings of the previous seven lines. I’ve really only written a couple of other songs like this; that is, going round and round and then finally developing into something so that when you look back you realise that the whole thing was set up by those earlier meanderings.
I really enjoyed inserting the line “A murder or two…” I think I was reading William Doherty’s writing about commitment (in his book A Strong Marriage), or for some reason that was on my mind, and he said something like the level of commitment needed to make a marriage work could be summed up by saying “I’ll do whatever it takes to make this marriage work.” I wondered “Murder?” Is that the kind of commitment that is required to make a marriage succeed? Hmm. I’ve never fully rejected the notion.
Two other lines I enjoyed were “Love walked in on kitten feet” and “Love is a neon dance, it makes everything shine at once.” I got them from my notebook and I really haven’t a clue where they originated; perhaps a friend’s turn of phrase or something I read, or maybe something I dreamed up.