After the Hole - Lyrics

All I seen is what I thought I would have seen
At the end all I found were other ends

Suddenly I know, you live to know after the hole

On the screech of the city brakes I heard your name
Feel as though we're living in a recurrent dream

Suddenly I know, you live to know after the hole

And the life is after the hole

And the life is after the hole

Strange Part of the Country

After the Hole

Bandcamp

Dog Meat Stew - Lyrics

I just drank three bottles of the best excuse on the planet
Going back to Camberwell to sign on and then shoplift
Lost my dog after I smoked something I knew I shouldn’t have
Days that followed followed me and I was following the days

They saw you, they saw you, they saw you with her
They saw you, they saw you, they saw you with a girl

Neighbours said they thought we were dead, we only slept one hour a night
Working jobs that we both hate to buy some shit we don’t need
Dog meat stew from Mexicans who dig in trash cans for breakfast
Burglar alarms are disconnected when they want insurance

They saw you, they saw you, they saw you with her
They saw you, they saw you, they saw you with a girl

I knew her before the thing, I never knew her after
Don’t like too much noise and I don’t really like the weather
Changed my name to John Coltrane 'cos no one took my phone calls
Best times are always the ones that you just walked away from

They saw you, they saw you, they saw you with her
They saw you, they saw you, they saw you with a girl

Dog Meat Stew

Leaving the Dream

SONG STORY
So being a child of my time, I was going for 70s Rod Stewart / 90s Counting Crows upbeat acoustic number, with a little Lou Reed ‘Waiting for my man’ kitchen sink nostalgia in the lyrics. The narrative in this song was based on a domestic moment that happened to me when I was living in the rue Ferdinand in the Marais in Paris: one night returning home late from a party I noticed in a second floor window across the street a young woman about my age, who was ostensibly having herself a one-girl, one-song party. She was too far away from me to be able to discern any of her features beyond the basic characteristics: I can remember that she was slim, blonde, and wore a ponytail.. all facile clichés I know, but there she was anyway. By her demeanour she looked and danced just like the classic all-American girl in some MTV music video. Whichever band she was listening to, it must have been one of her favourites, because she was hopping around the room, going pretty crazy;  I saw her put on a track, then she swirled and whooped around the apartment like it was Saturday night at the Copa Cabana. Her solo performance sadly only lasted one song - she turned off the lights and left the quickly the room for somewhere else, never to return. It wasn’t a love at first sight moment exactly, just one of those remarkable and rare moments that happen every now and again where the simple joy of humanity can viewed just for a second all its majestic glory, this girl and her unknowable life now condensed perfectly for me into a pop song. So the song wrote itself : like a snap-shot for me suddenly brought into focus, I found myself not fixated with the girl but seduced by the idea of the man who falls in love from afar, the Hopperesque diner’s window through which we see the other.! So I had to give her a fictional name of course, which turned out to be JudyAnne. I can’t recall or the life of me why. Despite the fact that the French singer Charles Bourdon and I sing this song together as a duo, the stand out track for me isn’t his formidable baritone voice but his blistering guitar solo at the end, which I think is one of his finest moments. I have to say, there's a great band playing here on this track!  

#13 SONG LYRICS
She’s reaching for a cigarette, Judy in the opposite window / She’s keeping the lights on, dancing to her favorite song / From over here across the street I can tell that you’re lonely, that you’re lonely like me / Why don’t you come over? don’t be taking too long / You don’t even know me, but I can tell who you are / I feel you here dancing here next to me, but we’re still so far apart / I’ve been watching you Judy Anne, I’ve been watching you dancing in the light / Why don’t you come over? Let’s go dancing tonight / What you doing over there all alone like that? Hallelujah duchess here I am / Make the call now and you can, Judy Anne / I’ve been around the world, I’ve walked on every dirty street corner / I’ve seen the heavens collide, the yellow moon laugh in the sky / Judy we could be there if you’d just make a sign, if you’d just pick up that phone / We could rattle the stars ‘til they fall like a rain on high / You don’t even know me, but I can tell who you are / I feel you here dancing here next to me, but we’re still so far apart/ We could be lovers, not strangers together, / We could be dolphins swimming wild in the sea / I don’t know you’re number, don’t know your name / So I’ll just call you Judy Anne / I’ll make a sign with my number, Judy come over / Make the call now if you can

Music and lyrics by A.George Sinclair. Produced, arranged, all vocals and instruments by A.George Sinclair except : Solo Guitar and vocal Charles Bourdon. Keyboards : Jean-Max Mery. Electric guitar: Kevin Baudouin & Alain Bastard. Drums: Fabien Haimovici.

JudyAnne

Remix d’autiste pour les autistes 
needle svp

Sur La Planche - La Femme (Remix Hardcore)

This is just a simple rock’n’roll song, heavily inspired by 80s Tom Petty, REM and Peter Gabriel. The title came first - even though Buddy Holly notably put the metaphor in the lyrics of his song Everyday, it’s never been a song-title as far as I know. I was partly influenced by McCartney’s Helterskelter, where the one word is repeated on top of a slow-tempo heavy rock riff. Paul’s  iconographic song has been (I think correctly) identified as the song that gave birth to punk rock sound. I’m not trying to re-invent any genres here, just having fun. Stand-out tracks are Paul Solas’ and Stephane Poterlot’s electric guitars, which, as ever work, so well together.

In the air, all around / you can open your eyes but don’t look down / Tickets free so take your place, heading up the start of the human race / From the sky up to the ground, everything’s different upside-down / We got the train getting ready to fly, but it’s too late to wonder why / From the sky up to the ground / everything’s different upside down / we got no time to lose, no time to doubt / we got the whistle man ready to blow / Yeah you know you know you know / You got nothing to keep you, your feet on solid ground / Give me something I can hold on to / You love me then you shoot me down / Like a roller coaster, so saddle up and hold on tight / We got the whistle man ready to blow / You know you know you know, you’re a rollercoaster / Getting high now and then, gravity pulls you back again / Through the twist and through the turn / building your bridge you better watch it burn / No time to lose, no time to doubt /How the whole damn thing works out / yeah you know you know you know / repeat chorus / In the air, all around, you can open your eyes but don’t look down / Tickets free so take your place, heading up the start of the human race / From the sky up to the ground, everything’s different upside-down /We got the whistle man ready to blow / you know you know you know, you’re a rollercoaster

MUSIC AND LYRICS BY A.GEORGE SINCLAIR. PRODUCED, ARRANGED, ALL VOCALS AND INSTRUMENTS BY A.GEORGE SINCLAIR EXCEPT: DRUMS STEPHANE COMMECY. BASS & ELECTRIC GUITAR STEPHANE POTERLOT. ELECTRIC GUITAR PAUL SOLAS

Roller Coaster

There was once a renowned Italian Renaissance sculptor who was asked by a bishop viewing one of his pieces how he had known there was such a beautiful lion contained within that massive, misshapen piece of stone he'd been given ? The artist replied that he simply knocked off everything that didn't look like a lion... I love this metaphor, as I believe it says all you need to know about the learning curve of life. In order to acheive our creative and worldly ambitions we have no choice but to keep relentlessly banging away a little each day (“no, not like that, that’s not a lion…no, that’s not a lion either…) until at some point, by default of the thing you are making being a little closer to representing what it is you were trying to express than it was the day before, you actually might find yourself one day with something of real artistic merit in your hands. I think I have spent my life being so blown away by the art and music of others - all those damn beautiful lions out there - how could I not be tempted to spend a little time whilst on this mortal coil banging a few rocks together myself on the off-chance there might be some plausible lion of my own out there waiting to be revealed ?  I hope you like the songs, and thanks for passing by. A.George Sinclair

Roller Coaster

A.George Sinclair

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