Os dejo por aquí parte de la entrevista que decía Juanchu: http://hipstersunited.wordpress.com/2012/06/13/corgan-calls-iha-one-of-the-worst-human-beings-ive-ever-met/
No os perdáis el titular XDD
EDIT: Weno, como es cortito lo pego aquí:
Billy Corgan: Success held that band together longer than it should have been held together. It was dysfunctional. There were a lot of years there where I regretted the way it all went down, and now I think it was meant to die when it died how it died. We stole from the Promethean fire to fuel whatever our weird psychic death trip was and then we paid for it. Or got too close to the sun and crashed. It was just meant to be that way. And you can draw parallels from that with Jimmy’s situation [when he left the band in 2009] because maybe that was just a continuance of something that hadn’t been resolved back then.
NME/Emily Mackay: He said in his statement on leaving that he “couldn’t just cash the cheque”…
Corgan: See now, here is a perfect opportunity to bury Jimmy as a fucking liar. But I won’t. That’s a lie. That statement’s just a flat-out lie.
NME: Was it that you wanted to take the band in a commercial direction, and he didn’t?
Corgan: Ha ha! No, it’s the exact opposite. I wish I could explain it, but I don’t trust the world to understand the complexity of it. I think it’s telling that the first thing Jimmy did when he left the band was make a statement about money because that had a lot to do with it. But if you look at what I’ve done since he left, where have I made money?
Later:
NME: Do you still feel any rancour towards the other band members about the way it ended?
Corgan: Uhhh… I’m OK with Jimmy. We don’t have a relationship at the moment, but I mean, I have no ill will. I want to see him do well. James Iha I think is just a piece of shit. I think he’s one of the worst human beings I’ve ever met in my life. And D’Arcy, she’s sort of, in her own way, sort of an innocent.
NME: Those photos that were released when she was arrested for missing a court date last year suggested she wasn’t really in a good place.
Corgan: Yeah, it’s terrible. But she’s not a bad person. And I don’t hold any ill will towards her, even though I’ve had to deal with fucking lawsuits and stuff like that. If there’s any culprit in this it’s Iha. But, y’know, he was there at the right time of my life, we did do good things together, I think he is a good musician when he gives a fuck, which most of the time he doesn’t. And that’s about it.
Mmm, a día de hoy me parece genial que les mee en la boca, si quiere; me bajé de ese tren en el Hail to the Thief xD
Pues en el proceso te has perdido una absoluta maravilla que se llama In Rainbows. :_D
Edit.- Aquí os dejo en texto lo que comenta Billy de cada tema, para que tengamos la referencia y se pueda citar:
1.“It was one of those riffs that we had laying around for a while. Actually, I think it went back to when I started working with Mike Byrne in 2009. The original riff was called ‘Nero Riff-O.’ So it sat around for a long time, and I was finally able to turn it into a song.
“It's a little bit of what I used to do, even in terms of process. The way I wrote when I first got into rock was, I’d write these crazy riffs and time signatures, and then I’d sit there and think, OK, what the hell am I going to sing over this? It was a way of working backwards.
“With a song like this, I know we were using a combination of a Marshall Super Tremolo amp with four rhythm guitars, and the other guitars went through a Reeves Custom Jimmy head, which is the re-creation of Jimmy Page’s Led Zeppelin I amp. It’s incredible.”
2.“It’s similar to Quasar in that we had the opening riff and didn’t know what to do with it. It sat for a while, but everybody felt strongly about it. It had a, dare I say, ‘modern-feeling’ to it, but still in the style of guitar that I like to play.
“Ultimately, I just sat down and wrote the song on the piano. Sometimes, when you’ve got a riffy song, it helps to just play the chords with no rhythm, and then you hear the ‘song’ in it. It’s those very Paul McCartney/Wings-type chords – Broadway-type chords.
“What I’m most proud of from a songwriting standpoint is how it goes from D major to A minor. It goes from a very ‘majorly’ feel into something sorrowful, almost a Spanish feel. I don’t know how the heck I did that, but it’s one of my favorite things in the song, how you can keep the key but change the emotion.”
3.“It’s funny: I was talking to Bjorn [Thorsrud], the co-producer, after I had my favorite part of the song – it was all arranged – and I asked him, ‘What did you think of that? I really like it.’ He just said, ‘Ah, it’s a bit of a downer, isn’t it?’
“I have all of these vintage keyboards that we just crank out when I need something, so I don’t really know what’s on here. It’s some super, highly obscure ‘70s keyboard.
“The arrangement is kind of like classic MTV, circa 1994. You start with the acoustic and then the band kicks in grunge. I was kind of laughing about it at the time.”
4.“This is interesting because it was written as a straight acoustic song. I had it all mapped out – words, everything – on acoustic, and then I got into the studio and it was like, ‘This is a really good song – now what?’
“Actually, now that I think about it, before I even had the song, I had the ascending figure. So for a couple months, I would play the demo of that figure and say, ‘OK, I’ve got to write a song around it.’ I broke it down to the chords, no rhythm, and then wrote the song melodically around that and reverse-engineered it back into the riffs.
“This song, in particular, really shows what the band is bringing to the table. There’s a certain vibe and ambience that’s very much them. There’s a lot of parts to it. We’re rehearsing it right now for the tour, and we’re like, ‘What the fuck is going on?’ [laughs]
“The arpeggios are actually a Moog 55 keyboard. That’s the thing about the old Moogs – they’re very musical. If you listen to the Moog 55 on Abbey Road, it almost sounds like classical music.”
5.“Originally, it was written as a ballad. We actually played it live as a ballad, and it went over great. People loved the song. When they found out we were recording it, they wrote on my Twitter, ‘Don’t fuck it up!’
“But we just felt there wasn’t as much potential in it as a ballad. It had what we call a ‘shoegazer’ vibe, like the band Ride or something.
“Again, this is a song where the uniqueness of the band’s contributions stand out. Jeff plays some really cool, floaty, almost Echo & The Bunnymen-type lines. Nicole is super-active melodically, playing a nice counterpoint to the vocal. And Mike is a fantastic groove drummer.
“There’s a few nods to Yes in the song. [laughs] Anytime you can give a nod to Yes, that’s good enough for me. What a great band! I’m a huge fan. I think they’ve done incredible work.
“My guitar solo is triple-tracked. On stuff like Pinwheels, there’s lead guitar work by Jeff and he’s double-tracked. To me, if you’re going to double or triple-track a guitar, it’s got to be the same person, unless you’re Judas Priest or Iron Maiden. There’s a certain sound they get because they’ve played together, so their doubling works, even if it’s not a perfect double. But there’s an effect you get if it’s the same person – it gets really loud in the track.”
6.“We tried it as an acoustic song, but it sounded like a nice but unremarkable kind of K-Rock ballad. So we started throwing stuff at the wall to find some energy.
“I really liked the track, but I think at one point it was very keyboard-heavy, and it was only going so far in my mind, so I went to Nicole and said, ‘You’ve really got to pull a rabbit out of the hat. You’ve got to make something happen.’ She sat down, and in two hours' time she wrote the bass part. That, to me, was the turning point.
“In terms of unexplored territory for me as a writer, someone like Nicole can bring this different melodicism and approach where you can play something simple, and you don’t have to rely on strings or guitars to get it past. You’ve got another voiced instrument. If you played her lines on a piano, they’d be very beautiful, but there’s something about a stringed instrument – an expressiveness.
“That’s why it’s such a good band record, because it’s not just me creating the majority of the picture. It’s a wider set of influences, a wider palette.”
7.“I think I got in this mood, maybe it was from reading the Keith Richards book, but I wanted to play in the open G tuning, which is a country kind of tuning. I wrote the core of the song, and then we messed around with the basic parts for a long time.
“Everybody agreed that it was a really good song, but no one liked its direction. That’s another thing I compliment my bandmates on. They had no problem in saying, ‘Love the song, but we need a better version.’ That’s music to my ears. I’m all for that. I need that kind of feedback.
“We jerked around for a long time. At one point, I think I was playing a B3, and it had an early Led Zeppelin vibe like Thank You. But it just wasn’t getting the job done; we didn’t feel strongly about it. It wasn’t until we produced it, almost like a prog track, that it started to take on a life of its own.
“That’s all Jeff’s guitar stuff at the end. What I love about Jeff as a musician is, he’s always learning, he’s always pushing himself. Technically, he’s far superior to me, but where I’ve been able to help him is, not to just say, ‘Study this guy,’ but to explain to him why I think a particular guitarist would help him. And he came back and said, ‘I’m really understanding why you asked me to listen to this guy.’
“Every guitar player struggles with this. ‘Oh, I can play super-fast’ – and I’m as guilty as anybody. But then we all sing along to the Brian May solo. There’s something about melodicism that Jeff is starting to tap into in his own playing, and it’s been a huge contribution. He plays completely different from me, but that’s what I want. He’s really coming into his own. He’s finding his voice.”
8.“For the longest time, we just had the opening figure and some other parts. The way that it’s broken into three sections wasn’t the original intention. It was meant to be a long song, but we were like, ‘This is going nowhere.’ So the arrangement that is there came together the day we recorded it. I just winged it. We felt strongly about it, and that was it.
“If you take those changes, Section Two and Section Three, and played them over the opening beat, they would feel kind of unremarkable. It was something about placing them in a different context a la Yes, with a little nod at the end to Vangelis [laughs], and it just seemed to work. We didn’t sit around and intellectualize it. There it is – it works.
“What’s really interesting is, when we went to play the song live – you think, OK, it’s this one thing that’s on the record – it became a total show piece.
“The soloing... I think that’s a Strat. I know I hooked up two phaser pedals back-to-back, and they were exploding on each other. As long as I kept playing, it worked, but if I stopped it made this horrible death noise.”
9.“Pretty much from beginning, this was one of those ones where you have a good riff, and you say, ‘I’m going to write a song around it.’ The original demo, which was very stiff and choppy [sings] – ‘Da-da-da-da-dum’ – with a drum machine or something, but you actually say, ‘I really like that feeling.’ So then it becomes ‘Can we convert that to the band?’ Right away, the band said it was a really great song.
“A lot of times when you have that kind of riff, you don’t want to get too tricky. It creates a hypnotic effect. You don’t want to change keys too much, so I leaned back on some of those artists who used space well. In old Pumpkins ideology, if you started with that riff, the song would get bigger and louder. In this ideology, it actually gets smaller, and that’s how you get the dynamic back up.”
10. “We were recording drums for something else, and there was a problem with the snare drum. I had 10 minutes where I was just standing there with a guitar around my neck, so I started playing a riff. Mike just went, ‘Oh, man, I love that riff!’ I was like, ‘Really?’ So to be a show-off, I quickly arranged it into a song. Mike was all for it, and within a week we were recording it.
“A few people have asked me what it’s like having a 20-something in the band. Does it have an influence? In this case, I would say absolutely, because it’s a song I might not have done without Mike's encouragement.
“That being said, once you go into that riffy, exploding tower, then it’s all into the bag of tricks to make it work, because without that it sounds pretty basic. You know, we’re laughing while we learn these songs because we’ve got so many fucking overdubs! [laughs] And everything’s harmonized. It’s not enough to just have the one, you’ve gotta have four.”
11.“Honestly, this is another song that happened when we were sitting around in the studio, waiting for something to get fixed. I started playing the riff, and we were all thinking, Oh, that’s good. I went home and wrote the melody and some of the lyrical content.
“The next day, I played it for Nicole on acoustic guitar, and she almost started crying. She said, ‘God, that’s so beautiful.’ And I was like, ‘OK – that works for me!’ [laughs] Heartache never gets old.
“Within a few days we were tracking it. Somewhere along the way, I bought one of those old guitar synths – I think it’s the first Roland one. It’s the one where you don’t need the special pickup; you just plug straight in. It tracks semi-poorly, but that’s part of the sound.
“Also, I’m using this Boss pedal where it’s kind of like a whammy bar. So that’s me going ‘errr-weeeer-weeeeer’ with the pedal. It’s one of my favorite sounds on the record. The whole band loves shoegazer music, particularly from the late ‘80s and early ‘90s, the UK stuff. Ride, Slow Dive, Swervedriver – we’ve toured with some of those bands. So it’s trying to find a combination of an underneath club feel and shoegazer on top.”
12.“Of all the songs, I really debated not putting this on the record because it’s so the old Smashing Pumpkins mentality. But I just love the song. I love it! And in a weird way, being conscious about the journey of the album, there’s something kind of nice about going through that long journey and having it resolve – in a way, with the last rock song on the album – with this Siamese Dream-ish feel.
“That being said, there’s other stuff in there that doesn’t sound like any Pumpkins stuff. But that first feel, that ‘neeeeeeehhh!’ – all that – I went back and forth on it. I have to say, I really like it. It’s one of those guilty pleasures. I definitely see myself crankin’ it up in the car.
“The solo… I remember we were mapping the guitars out, and I decided to just leave all this space for some reason. People would say, ‘What’s that for?’ and I’d be like, ‘Oh, I’m going to put the solo in there.’ It’s pretty unusual, the drop. You hear it on Queen records because of the nature in the way they worked, but it’s pretty unusual in most modern music to hear no rhythm guitar at all. But I love it because you can really hear the texture of the sound and take the journey of the crazy bends.”
13.“It dates back to the original Teargarden sessions, a demo I did with [The Electric Prunes’] Mark Tulin. I think Mike was around, too – he had just started. Originally, it was just like a country song – very twangy, like early ‘70s Byrds.
“After Mark died in the early part of last year, I found myself going back through the tapes of all the stuff we did, kind of mining for forgotten riffs and also taking this weird walk down memory lane of how he’d impacted my life. I came across the song, and I thought, ‘I’ve just got to do something.’ I specifically remember Mark, when I came up with the idea for the song, he was like, ‘I love these chords! It’s so cool, the way you put the chords together.’ He would always say, ‘How do you come up with this shit?’ [laughs]
“I’m a real fan of when chord revolutions don’t resolve. Cherub Rock’s like that, too. You never feel that sense of ‘dahhhh!’ until the end of the song. It creates an anticipatory effect.
“To write an entire song around one chord sequence, essentially – there’s one minor bridge in there – nine-tenths of the song is that same sequence over and over again. It’s kind of got a hymn aspect to it. I really like it in that sense because it reminds me of Mark and how he’s affected my journey. It’s a kind of a sad ending to the record – I didn’t intend that, but it’s just the way it worked out.
“We just played it in rehearsal the other day for the first time, and it was one of those things where you hold your breath. We’re going to do the whole album live in sequence, and you think, OK, is this thing going to work? Is this really going to close? And the first time... it worked. It felt good.”
Hola, Me presento por aqui y os dejo las letras, que no sé si las habeís colocado, si es así borrad el mensaje.
Quasar
God right on!
Krishna right on!
Mark right on!
Yod He Vau He Om
Let’s ride on!
Right on!
Let’s ride on!
Fated One hold me down
Know my blur and my keep
Do I know you?
What keeps us free if you believe?
Please allow me to say hello to you
Yes I understand
Yes I know thy will
Yes I am that man
Yes, I
Yes, I
Lover, lover, catch me slow
You can serve me notice
You can have my sight
Lover, lover stay with me all night
Yod He Vau He Om
Brothers, Sisters roam!
Sunlight ride on!
Yod He Vau He Om
Let’s ride on!
Right on!
Ride on!
Yes I understand
Yes I know thy will
Yes I am one man
Yes I Yes I understand
Yes I know thy will
Yes I am one man
Yes, I
Yes, I
Yod He Va Hey Om
Yod He Va Hey Om
Yod He Va Hey Om Om…
Panopticon
Rise! Love is here
Oh don’t make me wonder
Life’s never clear where choice
is a gift To use and abuse
To build on proof
Oh don’t make me suffer
Birds find the wind and wing
Rest in the shells I’ve designed
Run through the fields I’ve denied
And stroll upon the years I’m alive
There’s a sun that shines in
There’s a world that stares out at me
And all I refuse to please
Breathe! Love is air
Oh don’t make me suffer
To dash debonair where chaste is the wish
To bust with pain
A heart goes blank
Oh don’t make me wonder
To ask on behalf of you
Of you, where are you?
Where are you in you?
There’s a sun that shines in
There’s a world that stares out at me
And all I refuse to please
There’s a sun that shines in
There’s a world that stares out at me
And all I refuse
And all I’d ever use in me
There’s a sun that shines in me
There’s a sun that shines
There’s a sun that shines in me
The Celestials
On the day that you were born
They built an empire off a scream
I can’t explain
Endlessly they’ll set you free
Give you reason to believe
This empty place
I may seem unafraid
And I may seem unashamed
But I will be special k
Never let the summer catch you down
Never let your thoughts run free
Even when their numbers draw you out
Everything I want is free
‘Til the end
‘Til the end
‘Til the end
I’m gonna love you 101 percent
I’m gonna love you ‘til this ends
Take a chance if you should go
Face upon your happy home
The scanners wait
Selfishly they might concede
You were always on your own
You can’t escape
I may seem unafraid
And I may seem unashamed
But I will be special k
Never let the summer catch you down
Never let your thoughts run free
Even when their numbers draw you out
Everything I want is free
You’re not me and never ever will you be
I’m gonna find you and never run against
I’m gonna find you
‘til the end ‘Til the end ‘Til the end
Never let the summer catch you down
Never let your thoughts run free
Even while their numbers call you out
Everything I want is free
Free you’re free with me
youŕe free with me
Violet Rays
Faithless ones
Holding up your arms
From rivers
I have crossed
In magic
No heart's lost
And I'll leave with anyone
This night
And I'll kiss anyone
Tonight
Am I the only one you see?
Raised from the path of revery
Spells fall from
Where those catching sailed
In eternal eternities
Define purpose
Catching fate
And I'll leave with anyone
This night
And I'll kiss anyone tonight
Am I the only one you see
Seeds from the wrath of revery
Am I the only one you see
Doesn't matter
What loves the actor
For what you are after
Is me
Babe, don't leave me
Please believe me
'cause I'm so easy tonight
Am I the only one you see
Raised from the path of revery
Am I the only one you se
My Love is Winter
Lonely draw
Sides grow dimmer
Spellbound all
I waste the hour
My love is winter
My love is lost
Silent fog
Let’s pass and wither
From the cold that saws me flat
My love is winter
My love is lost
There is love enough for the both of us
There is more than prayers made
to be with you
my love is lost
My love is winter
My love is lost
My love is winter
There is love enough for the both of us
there are more than prayers of you
Sacred hold in my mirror
Were you told there is no rest?
My love is winter
My love is lost
There is love enough for the both of us
There is love enough
There is love
There is love enough for the both of us
There is love enough
There is love
There is love, love, love…
One Diamond, One Heart
I'm not here to hold your hand
I'm just here to understand
If youre feeling low i can help
I'm always on your side
Forever near your light
I'm always on your side
However you must fight
Within your darkest night
I'm always on your side
Lovers as lonely as lanterns lost
Show me faiths real cost
I'm always on your side
Forever near your light
I'm always on your side
Wherever you must fight
Within your darkest night
I'm always on your side
They wont rush you from me
cause here ill always be
I'm always on your side
Forever near your light
I'm not here to hold you down
I'm just here to love you when
Your stars align and you let me
And your heart win
I'm always on your side
Forever near your light
I'm always on your side
Lover teach me sweet command
Show me where i land
I'm always on your side
I'm always on your side
Forever near your light
I'm always on your side
However you must fight
Within your darkest night
I'm always on your side
With evidence of trust
And eminence of love
I'm always on your side
Capitulate and fade
Resurrect and break
I'm always on your side
Forever in your light
I'm always on your side
Lover light the way
Pinwheels
Mother moon
Mistress of the sun, say
I got you, I got you
Sister soul
Lovers of the tune, sing!
I got you, I got you, I got you
Floating away I think I’ll stay as refused
Floating away I think I’ll stay blue-black
Floating away I think I’ll change next to you
Finding a way to make the loss seem new
Cause you don’t deserve me
But I deserve you
Mother moon
Mistress of the sun, say
I got you, I got you
Sister soul
Lovers of the tune, sing!
I got you
I got you
Mother moon
Mistress of the sun, say
I got you, I got you, oh I’ve got you
I got you, I’ve got you mother moon
Floating away I think I’ll stay as refused
Finding a way to make the loss seem new
Floating away I think I’ll change next to you
Finding a way to make the loss seem new
Cause you don’t deserve me
But I deserve you Flies for the may queen
But life for the prince If nobody wins
Then what gets lost?
If I’ve got you
Oceania
No one can love you
‘Cause no one
can free you
Lovers can’t touch you
‘Cause lovers might reach you, yeah
I’m so alone, so alone
But better than a wretched world
Better than a broken pearl
I’m so alone, so alone
But better than I ever was B
etter than a just laid cause
Night may keep you sworn
May bring you storms
From chest to stern
The journey’s blessed The warnings circumspect
With dreams I’ve had
With dreams I’ve had
And still she’s gone
And still she’s gone
Night will fill your rest
Negate your best
With dreams I’ve had
With dreams I’ve had
Oh would I follow you
How could I have ever doubted you?
Sweet baby, nurture me
Sweet lady, if you please
Try the way on me
Try the way on me
Try the way on me
Try the way...
Skirt the cliffs of your illusion
Find the faith on me
My mistake as the last remaining soldier
Was to take the place of you
Love the way
Love the way and learn
Try the way
Cast off your indecision
Face to face we breathe
Try the way
Cast off your indecision
Face to face we breathe
Pale Horse
If I was to listen
I’d turn back
Give up on my reasons
Forgive up the past
You think I’d swallow that?
Bearing weight in ceilings
Just to stop and ask of Thora Zine
Thora Zine, Thora Zine, Thora Zine
They give you this
They take away that
Thora Zine
There’ll be no others
There’ll be no long lost friends
Empty on the insides
Empty of a last pretense
To stand by on feeling of the end
So many lives
A runaway life
So many lies
When they locked you up they shut me out
Gave me the key so I could show you round
Yet we were not allowed
Omens of the daydream
But caught as you’re bound in Thora Zine
Thora Zine, Thora Zine, Thora Zine
They give you this
They take away that
Thora Zine
There’ll be no rallies
There’ll be no long lost friends
Caught on a spotlight
running out of present tense
To fix by a feeling of an end
So many lives
A runaway life
Please come back
Please come back
Please come back Pale Horse
The Chimera
Fairy tales and time in whales
Substitutes for sin
It takes some life to find the light within
Whistle past the lane lover
Whistle past the lane
Cause love’s forever strange
Nestle on the moon, sunshine
Nestle on the moon
Should you hear that faint murmur
Of what love might do
Seven stars that shine
In my mind, oh my mind
I’ll take you with me where
I climb In my mind, oh my mind
And if I’m wrong I’m right
I’m never gonna lose you
If I’m wrong I’m right
Take me to your life
Summertime’s the only child
Summertime’s the only child this night
You want to brace the golden fool
Let’s make this right
Nightengales and nursery crimes
Twins that spark the charts
It takes some trust to find a trust apart
Whistle past the lane lover
Whistle past the lane
Cause love’s forever strange
Nestle on the sun, starlight
Nestle on the sun
Should you hear the faint murmur
Of what love has done
Seven stars that weep
In my sleep, oh in my sleep
I’ll take you with me where
I keep In my sleep, oh in my sleep
And if I’m wrong I’m right
I’m never gonna lose you
If I’m wrong I’m right
Take me to your life
All you need is you, lover
All you need is you
All you need is you, lover
So please need me too
What you need is love, stranger
What you need is love
When your love needs it’s danger
Please let me through when I’ve got you
Glissandra
Fallen lovers and useless friends
Must you glare?
As life uncovers our unions pulled threadbare
Pleasure taps it’s vein
I’ve been hungry and I’ve been full
And I’ve been sated some more
I used to know what for
I used to know
All hours look the same
I used to know
What a wish was for
Magic plumes my soul
Pyramids for sale
Full moons on the rail
Pipers play for dawn
Hypnotized, unwind these lines around my head
What’s left for me to leave for you unsaid?
You can’t fill with dread
I’ve been hungry and
I’ve been full
Molten at the spoke
I used to know what for
I used to know what for
La-la-la-la-la…
A pluck on spiders strings
Gutters form the stars
Children cry out proud
As embers blast my heart
Broken where I’d stop I used to know
What a wish was for
I used to know
What a wish was for
Stolen like a lark
Flicks on tender wrists
Abuse the modern mind
Crush on what you’ll find
La-la-la-la-la…
Inkless
The stars are out tonight
And what you need of me you’ve got inside you
Just take me home, take me home don’t fight
But drive me home the wrong way
No loss spared
For losing you ain’t right
You haunt where
Spritis take their time
It’s time I can’t seem to fight
The stars are out for us
And what you feel for me rides beside you
Just take me home, take me home
Don’t fuss
But drive me home the right way
We’ll uncover there’s no other faith but us
A faith in love unseen
Trace the face of love unseen
Don’t shadow up what we mean
Uncover what we’re meant to be
And come unlace your light
The stars are out tonight
The stars are out tonight
The stars are out
The stars are out tonight
The stars are out
The stars are out tonight
The stars are out
The stars are out tonigh
Wildflower
Wasted along the way
I’m wasted along the way
I’m wasted along the way to reach you
Wasted along the way
I’m wasted along the way
I’m wasted along the way to reach you
Infernal ides I trim the wick so fine
To carry forth your light
Comfort me
What will leave will leave
Comfort me to stem the tide
Wasted along the way
I’m wasted along the way
I’m wasted along the way to reach you
Wildflower in the wilderness outside
Take your chance with love and laughter
And every word
I write, yeah
From that body will never learn
When it’s far too gone
I’d move on
Wasted along the way
Wasted along the way
I’m wasted along the way to reach you
Wasted along the way
Wasted along the way
I’m wasted along the way to reach you
Ooh wildflower, wildflower
Ooh wildflower, wildflower
Ooh wildflower, wildflower
Ooh wildflower, wildflower
Wildflower