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“So, c’mon, baby…”

So, c’mon, baby
slide on into my car
I can hear our dreams calling
from way out afar
we’ll roll down the innerstate
and catch ’em while they shine
the time is right, baby
and this moment is mine

the moon lights our love
and the sun lights the day
racin’ with the breeze
so, mister, clear outta the way
slippin’ along the blacktop
headin’ for the border tonight
you can be my shotgun lover
and in the dark I’ll hold you tight

there’s a place for us ‘cross the county line
the grass’ll be warm in the yard
until that day and it won’t be long
our home’ll have to be this car
we’re gonna catch our dreams, baby
and until then
it’s you and me, Rosie
until the bitter end

(from “Part Two: Rosie”)

Two against the world. More Springsteen influence.

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Tequilaville

I get dressed up in cotton
and head out into the night
grinning politely at the ladies
who ask me for a light

the night hums hard against the ocean breeze
I drop behind the wheel
chasing my dreams into the darkness
looking for some hearts to steal

you might think I’m a dangerous man
just because I may have a different plan
you might be afraid to reach out and touch
I guess that means you don’t want it so much
take a chance, go where time stands still
and come with me to Tequilaville

I ride up to the ninth floor
of a tower of broken hearts
I push my way past the painted faces
and the lives all torn apart

I take my seat in the corner
with friends I don’t even know
I sip my drink and hope I can last
until it’s time to go

I was hoping to see you there that night
and maybe start something new
despite all the music and all the drinks
it ain’t the same without you

So, Rosie, come and see what’s happened to me
come see how the flame has died
give me something to hold on to
give me a place to hide

you might think I’m a frightened guy
who doesn’t know what to do with his clear, blue sky
by myself I won’t last long
singing this lost and lonesome song
I’ll stay in my room and die until
you come with me to Tequilaville

fill me with your love so sweet
take me from these empty streets
put my heart in your healing hands
and say those things that only you can
lift me up from where I am now
I’d give you all but I don’t know how

Rosie, don’t leave me, don’t walk away
bring back the sun to my rainy day
give me your hand, just give me tonight
take me in your arms and turn out the light
I need you to hold me, I’ve lost the will
let me take you down to Tequilaville
come with me to Tequilaville

(from “Part Two: Rosie”)

The title is obviously borrowed from Jimmy Buffett’s “Margaritaville”. I like these lyrics, though, as they take their time in telling a story. We are a few verses in before it’s revealed that the ‘singer’ is looking for Rosie and has been trying to function without her. Early on we see the futility of the social whirl (“tower of broken hearts”, “lives all torn apart”). The remedy for our hero? Rosie. There’s a lot said here, lots to read.

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“Shake me gently, baby…”

Shake me gently, baby
in the morning sun
there’s a lot more blurry nights
’til my drinkin’ days are done
help me outta bed, sugar
be a sweet shoulder to lean on
take my hand and walk me through
this deadly, pasty dawn

fill my cup with coffee
you better fill ‘er up some more
cos I’m feelin’ like a roadkill
like a worn and wasted whore
put me in the shower
with your naked arms
wake me with your hands
jump-start me with your charms

don’t dry my back, honey
cos then we’ll never get outta here
you’ve done enough already
thanks to you my head is clear
I’ll see you tonight, Rosie
for a night of sweet romance
as our bodies shine in the naked night
the stars outside will dance

(from “Part Two: Rosie”)

Here’s where the more mature girl is expected to put up with – and help restore – the idiot guy as he tries to recover from some debauchery. Foolish man. (Sanctified buzzkill, I know) Actually, this one does indeed deviate in theme from the rest of the ‘Rosie’ poems. In the other works, she assumes a much higher station than the one depicted here. And the others seem less libidinous.

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Part Two: Rosie

Good God, Rosie, things are happenin’ tonight
I’ve had a couple of drinks but I’ll be alright
you’re wearin’ that dress that makes a man think twice
and tonight I’ll be takin’ you to paradise

can’t you see all the things we could do
it’s plain to see the magic we could make
the puzzle of me and the wonder of you
look around tonight, we’ve got a lot at stake

c’mon, baby, dance close to me
Lord knows I’m likin’ what my eyes can see
let’s be the brightest stars in this wicked night
the radio told me I could hold you tight

this old town can make you die inside
let’s not watch our dreams roll away with the tide
let’s grab what we can and do all we can do
cos I’d rather be dead than alive without you

it seems that we were destined to lose
playin’ a game that we couldn’t win
we might be a little battered and bruised
but bein’ glad we’re alive ain’t no sin

the night is young and we’re feelin’ alive
let’s take a midnight run down on I-95
we gotta catch our dreams before they slip away
let’s chase them into tomorrow’s day
with you by my side I know I’ll make it somehow
because what I wanted then is what I want now
so stay with me, be my guiding light
and help me make it through another night

(from “Part Two: Rosie”)

The ‘Rosie’ poems are pure daydream, my imagination given free reign. They were written in high school, in class. I’m pretty sure I failed that course, whatever it was. I don’t remember. These poems are for the Perfect Girl that a lot of young men conjure up. You know, the one that doesn’t exist. I was obviously listening to a lot of Springsteen when I wrote this one. But, really, the ‘Rosie’ poems were heavily influenced by Van Morrison’s “Astral Weeks” album, the song “Sweet Thing” in particular. The way he sang about a woman; like being near her was a heavily spiritual experience. Read on…

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“Like a precious flower…”

Like a precious flower
of the early morning she comes
smelling as sweet as the dew
that touches each blade of grass
with hair as beautiful as sunshine
the first sun of spring

with eyes as simple as rain
as true as the blue sky
her smile beams beauty
she is perfection but I won’t move
across a crowded room is close enough

(from “Part One: A Young Man”)

The last line perfectly ushers us in to part two…

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“With hair like leaves in the wind…”

With hair like leaves in the wind
your green eyes reach for me
when I’m tired and lonely, I feel your lips
on mine and my sadness is gone
you take away all my cares and leave me with
a smile. All I need feel is your hand in my hair
and everything else is gone.
You are my everything, my guide through the woods
without you I’m lost and can’t find my way home.
You are my home, my heart and soul, and it’s for you
I write these words. Maybe I have nothing else, but I have everything. I have you.

(from “Part One: A Young Man”)

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“She’s as pretty as a queen…”

She’s as pretty as a queen in a teen-ager’s dream
you can’t tell when she’s saying what she really means
I could do without, now I’m living in doubt
I need you like the rain when I’m feeling the drought

my heart can’t rest when she’s in her satin dress
one look from her can put me to the test
living half my dreams in my faded jeans
I try to break away from her, coming clean

my friends all say I’m giving it all away
I try to tell myself that it’s not that way
she kisses my lips and my judgement is stripped
the candle grows dim and the hot wax drips

she won’t let me go and deep down I know
I’d never want her to leave though the pain still grows
I can’t see a thing, I’m on the end of a string
I’m walking with a limp from the pain love can bring

(from “Part One: A Young Man”)

I really like the rhyme scheme in this one. Fun to write and fun to read. The first line was inspired by my favourite Gordon Lightfoot song, “Sundown”.

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