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IN OUR TIME (Ode to the E-Types)
words & music by Richard Horton © Hortones
Turn that dial, it’s on the radio
(You’re dialing way too slow)
Hear our song (it sounds like yesterday)
It somehow slipped away
In our time, we lived on edge of fame
In our time, so sure you’d know our name
In our time
Whenever we would play
At the beach we won the Battle of the Bands
(With our bottle-bleached sun tans)
Played our song, the dancing girls went wild
(Made our manager to smile---)
At the time -- so sure we'd had it made
At the time -- just waiting for the day
In our time
Whenever we would play
Remember when we graced your TV screen
(And Dick Clark made it seem that
we’d grasped the magic golden ring
Just another easy thing)
At the time – so sure that it would last.
At the time – it faded much too fast
In our time
Whenever we would play
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2. |
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DO YOU REMEMBER (What the Music’s For)
words & music by Richard Horton © Hortones
Fifty years and it blows my mind
(A wrinkle here, a gray hair there, you know)
Can it be such a long, long time, dear?
Do you remember (my name)
Remember what the music’s for?
A new guitar and a song so fine
(I see you’ve gained a pound or two, my friend)
Our road to fame was just a matter of time, dear
Do you remember (my name)
Remember what the music’s for?
Parking at midnight to the sounds of the AM radio
You touched the dial, dear, and
changed the song from loud to low
Do you remember?
Remember?
Remember?
Could it be we’re still two of a kind
(That frame of yours still puts on quite a show)
I see you’ve aged like a fine, old wine, dear
Do you remember (my name)
Remember what the music’s for?
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3. |
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ONE THING: Ocean Girl Trilogy, Pt 1
by Richard Horton © Hortones
and James Nicholson © Schwartz Music
Try to grasp just one thing
Try to clasp just one thing like I did when I was young –
did when I was younger, maybe
Try to pray just one prayer
Try to hear if my words go into more than air
Hear my words go into air
CHORUS:
Touch my heart and watch it bleed
All this avoidance of life is killing me
I can’t stand on the sand and turn from the sea, oh no
It’s just one thing
Try to find just one grace
Try to see this time the love that’s written on your face
See the love upon your face
(CHORUS)
Leaps of faith, leaps of belief
Stand on the ocean, stand on the sea
It’s just one thing to reach out, to seize
It’s that one thing – Is it there up your sleeve?
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4. |
She Moves Me
02:16
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SHE MOVES ME
Words & Music by Ed Cobb, Jr. © Embassy Music Corp
originally recorded in 1966 by The E-Types
REFRAIN:
She moves me
She Moves Me
And I’m so glad she decided
to let me be her only man
‘Cause I get so excited
when she lets me do what I can
To make her feel so happy
I want to make her, make her feel all right
(REFRAIN)
She sends me when she licks her lips
and everybody sees her
And I never ever let it slip
I know they want to be her
She makes me feel so happy
She makes me, makes me feel feel all right
(REFRAIN)
She makes me feel so happy
I wanna make her, make her feel all right
(REFRAIN)
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5. |
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ALWAYS: Ocean Girl Trilogy, Pt 2
(Huntington Beach, Labor Day, 1972)
words & music by Richard Horton © Hortones
Sea-wind sings past my door
Telling me there is so much more
to life that I have yet to see
Ocean lady’s eyes stare
Peering deep inside of me
Leading on to infinity
CHORUS:
Her name is Always
Her name is Always
Her name is always on my mind –
On my mind
Wading at the seashore
Dreaming dreams that become reality
of life lived in ocean green
Brown-skinned maiden watches
Patiently waiting for the peace
Suggesting a cinematic scene
(CHORUS)
Misted moments recalled
Moments past were never missed
Eludes the temporary mind
Satin sea-shirt flies by
Alludes to passion’s faded list
Of yesterdays and tomorrow’s future time
(CHORUS)
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6. |
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YOU WERE ALWAYS TROUBLE (for Jeb)
words & music by Richard Horton © Hortones
CHORUS:
You were always trouble then
And you’re still trouble now
But still I’ll play your music
And as long as I don’t lose it
I’ll try to stay sane somehow
Racing through this life full speed ahead at ten thousand miles an hour
Strange as it may be, you want no sympathy from me, just my honor And a coupl’a dollars--
To buy flowers
(CHORUS)
Streaking through my mind full speed ahead,
you leave a thousand unanswered questions
Dropping names like atom bombs, I get no raves,
just honorable mentions
Of your inspections
Of my intentions
(CHORUS)
Even when we were kids, you were always kind of strange
But now that we have grown, I’m still playing your games
Your games ----
(CHORUS)
You bought me
You tried me
Now please don’t advise me
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7. |
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A-GIRL’s REPLY: Ocean Girl Trilogy, Pt 3
words & music by Richard Horton © Hortones
Sun on my back, and the sand ‘neath my feet,
And the stares from the boys fascinate me
Salt on my skin glistens so sweet, and I sashay
And sip another drink
What is it about the salt air and breeze?
What is it with the sea wind and heat?
Tan and so young, long legs so strong
All those gazes and ahhhh’s leave me laughing
What is it about the salt air and breeze?
What is it with the sea wind and heat?
Sun on my back, and the sand ‘neath my feet,
and the stares from the boys fascinate me
Fascinate me
Fascinate me
Fascinate me
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8. |
Haley (for Morgan)
03:12
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HALEY (for Morgan)
words & music by Richard Horton © Hortones
Haley, how’s my little boy
Haley, you’re so full of light and joy
Oh Haley, I’m really in love with you
Haley, you fill my heart with joy
Haley, you know nothing will destroy
My Haley, I’m really in love with you
Coming home from school, you stuff your pockets full of things
Worn watchbands and odd-shaped rocks and sprockets, rusty springs
You’re such a little boy but for those other sparkly things that you enjoy Oh, Haley!
Haley, how’s my little boy
Haley, you’re so full of light and joy
Oh Haley, I’m really in love with you
Crashing from your treehouse high and smashing what you need Flashing with your saber-light, you slash at such a speed
Feeding yourself only when your kitties feed, oh my sweet
Oh, Haley!
Haley, you fill my heart with joy
Haley, you know nothing will destroy
My Haley, I’m really in love with you
You’re more than you seem
Not milk or cream
Your life is teeming!
Oh, Haley!
Haley, how’s my grown-up girl?
Haley, in your swirling world that twirls
My Haley, I’m really in love with you
Oh, Haley!
Coming home in skirts and boots, it’s the you that make you, you
An Amazon with slashing sword, it’s one more thing you do
Spoofing at the world with its concrete points of view, I love you---
Oh, Haley
Haley, how’s my grown-up girl?
Haley, in your swirling world that twirls
Oh Haley, I’m really in love with you
Haley, you fill my heart with joy
Haley, you know nothing will destroy
My Haley, I’m really in love with you
(I’m in love with you)
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9. |
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WAITING FOR THE ISAAC (for Jonathan)
words & music by Richard Horton © Hortones
All of her dreams of sitting at table quite late
A stranger walks in, and he’s helping himself to her plate
And she’s waking herself from her sleep
And she smiles as she keeps track of all of her dreams
As she waits
I sit and I read, but my eyes wander across the page
Dozing, I smile, and smiling, I think of my age
And I’m waking myself from my sleep
And I’m not quite sure of this new secret I keep
As I wait (waiting for the Isaac to come)
When the Isaac comes, we’ll all laugh and sing
Hope and faith are what the Isaac brings
A promise for a land not torn
Every child is Isaac-born
She touches me, and the future moves under my hands
Glancing, we smile as we think of your watery land
And we’ve woken ourselves from our sleep
And we’re laughing as we count down the weeks
As we wait -- (waiting for the Isaac to come)
And you know I think I love you
And you know I think I love you—
We’re waiting (for the Isaac to come)
We’re waiting (for the Isaac to come)
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10. |
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BEFORE THE FIRST SLICE
(Wedding for the Disenchanted)
by Richard Horton © Hortones
and Ray Carmen © Radio Friendly
Bride in white lace awaits arrival of her groom to take his place
Black tails and tie—his guise as he awaits to see a smile on her face
They carry desires in their hearts, they seem inspiring
But now their cravings are past dated
Post-dated
They’re tired
They waltz ‘cross the floor, abhorring what comes next between them
(They) head for the door
Holds on to her hand, a bland peace offering in this lover’s dance
They carry desires in their hearts about acquiring
But now their ambitions seem past dated
Post-dated
They’re tired
This day they’d dreamed of for so long
Not sure just when it went so wrong
Why had their dreams turned out so misarranged
Was it his fault, or she who’d changed?
Start their new lives with knives to cut the ties that bind them,
Husband and wife
Hold out their hands, demand to see what’s in the other’s
Before they strike
They’d carried desires in their hearts about squiring
But now their desires are past dated
Post-dated
They’re tired
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11. |
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MAKE ME OVER (for Eric & Tracy)
by Richard Horton © Hortones
Change me, baby, any kind’a way you want to
Just make me over
It won’t be strange, what do you want me to do
To make me over?
I’ll never be all I can be
Without you pulling my strings
Make me over
Mold me, baby, groom, and shape me your way
Just make me over
I’m sold, babe, I’ll be the strings that you play
Please make me over
You be the sculptor, I’ll be your clay
Do with me what you may
Make me over
I'll never be all I can be
Without you pulling my strings
Make me over
Me, I’m fine, I’ve done my time just to
be made of a kind you can design
Give me a list of all that you need to
Make me over
I’m not a mystery, I’m sure that you’ll see
Just make me over
You won’t need to coax
You won’t need to plead
To bring me up to speed
Make me over
Make me over
(You be the sculptor/I’ll be the clay
Do with me what you may)
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12. |
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BOOK OF LAMENTATIONS (A Swordid Lament)
words & music by Richard Horton © Hortones
Never heard a word, never had a hint that I was up for trial
Heard no harangue, no boomerang exposed your guile
All the while you were changing
as you arranged to lower the boom on me
Bluster and blubber, as you know, just isn’t quite my style
Civil discussion and a calm conversation make it all worthwhile
Imagine my consternation
with your intention not to see me anymore, anymore
You proclaimed as you slammed the door
Do you care how I feel
Do you care if it’s real, do you?
I’d like to know how you feel
I’d like to know what is real, would you?
Is there any reason why I should feel so betrayed?
Through thick and thin I thought our love would last, never be waylaid But your words were all but mislaid
when I stayed and watched you walk away
You’re so enamored with your outsider’s stance
Do you really think it’s real, do you?
Is it such a crime to return my glance
Are you afraid of what is real, are you?
Sitting here amazed as I watch you shine your loner’s badge
Caught up in your own mind, nobody else stands half a chance
Gleaming as you proudly wear it, bear it in mind as you sleep tonight, sleep tonight -- will your badge keep you warm at night?
I’d like to know how you feel
I’d like to know what is real, would you?
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13. |
(He's A) Good Man
03:57
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(HE’S A) GOOD MAN
by Richard Horton © Hortones
and Christopher Zajkowski © Rocket Racket
He’s satisfied nearly all the time
And he’s a good man now, you know
But he’s gone away and never coming home
Still, he’s a good man now, you know
He took the train
He’s never coming back
He blames it on the War
He blames it on the War
It’s been some time since he’s been lost
Yet, he’s a good man now, you know
Through the looking glass, the line’s been crossed
Still, he’s a good man now, you know
Catch a glimpse as you pick up the paper
Headline’s on the floor—there isn’t any war
Lemonade; it’s sunny outside
The Queen’s brigade will seek and go hide
The calumny will take to the side
Windmills turning
Rome is burning
He’s satisfied nearly all the time
And he’s a good man now, you know
Though his pocket watch runs in reverse time
Still, he’s a good man now, you know
He took the train
He’s headed down that track
He blames it on the War
Blames it on the War
He’s satisfied nearly all the time
And he’s a good man now, you know
And he's a good man now, you know
And he's a good man now, you know-----
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Rich Arithmetic Bellingham, Washington
Rich Arithmetic serves up power pop, psych-pop, and folk-meets-surf-and-sand harmonies that "eliminate the gaps between the ‘60s, ‘80s and the 2020's" - Steve Stav, stevestav.com
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