Blow It All Down
(c) J. Murdock McInnes Vasey

[intro]

[instrumental]

I feel alone when I’m with you  
There is nothing more to say  
Nothing here, not for us two
What we had has gone away

You hurt me one last time  
You took away all that was mine  
Like a storm that’s here to stay  
Won't wait for light of day

I have to roll across the land  
and blow down all that I see  
When I’m done, nothing will stand  
Not a trace of you and me

[chorus]
I must howl, lost in the wind  
hide my tears in the rain 
I have lost all that was kind  
and what is left is made of pain

Not a trace of you and me

[instrumental]

I must howl, lost in the wind  
hide my tears in the rain 
I have lost all that was kind  
and what is left is made of pain

[instrumental]

I feel alone when I’m with you  
There is nothing more to say  
Nothing here, not for us two
What we had has gone away

You hurt me one last time  
You took away all that was mine  
Like a storm that’s here to stay  
Won't wait for light of day

I have to roll across the land  
and blow down all that I see  
When I’m done, nothing will stand  
Not a trace of you and me

Not a trace of you and me

[chorus]
I must howl, lost in the wind  
hide my tears in the rain 
I have lost all that was kind  
and what is left is made of pain

[instrumental]

[chorus]
I must howl, lost in the wind  
hide my tears in the rain 
I have lost all that was kind  
and what is left is made of pain

[outro]


Blow It All Down

“Summer Dreams” drifts through the haze of a first love that burned bright and vanished with the season. It’s a bittersweet journey down a sun-bleached memory lane—barefoot nights, backseat laughter, and the illusion that forever could fit inside a seventeen-year-old heart. As years pass and the road loops back, what remains is not regret, but the quiet warmth of something once wild and real. The song captures that moment between youth and growing up—where love feels endless, even when it isn’t.

„Summer Dreams“ erzählt von einer ersten Liebe, die so intensiv war wie der Sommer selbst – und genauso vergänglich. Eine Reise zurück in eine Zeit aus staubigen Landstraßen, heimlichen Küssen und dem Gefühl, dass „für immer“ tatsächlich existieren könnte. Jahre später bleibt von all dem kein Schmerz, sondern ein leises Lächeln über das, was einmal war: jung, frei und voller Gefühl. Ein Song über das Aufblühen und Verblassen der Jugend – und die Erinnerungen, die für immer bleiben.

Summer Dreams

We met behind the school gym fence
You laughed, said rules don’t make much sense
Your hair was sunburnt gold and mean
I wrote your name where mine had been

Friday lights, the air was thick
You kissed me once, your hands were shaking
Like love was something still in the making
Time stood still in that small town scene
The night was ours, or so it seemed

And I was barefoot, wild, and seventeen
Thinking love was built on summer dreams
You said forever, then you looked away
Guess forever only meant that day

We snuck out past the county line
Your brother’s car, a borrowed crime
The radio played something slow
You said, “Let’s see how far this goes”

Every laugh was half a dare
Every heartbeat filled the air
We were sparks and we were gasoline
Running blind through everything

I was barefoot, wild, and seventeen
Thinking love was built on summer dreams
You said forever, then you changed the plan
Guess you were just a boy, trying to be a man

Years later, I drive that road again
See the cornfields and remember when
Your jacket’s gone, but the ghost still leans
On the hood beneath the August beams

Yeah, I was barefoot, wild, and seventeen
Thought forever meant the world to me
But seasons turn and I finally see
This love was never meant to be
Barefoot, wild, and seventeen
Still a piece of him inside of me


Summer Dreams

Barefoot, Wild and Seventeen captures the golden haze of youth — those endless summer nights where love felt eternal and every heartbeat burned with possibility. It’s a reflection on first love, freedom, and the bittersweet passage of time. Years later, the same roads and fields still whisper memories of who we once were — barefoot, fearless, and seventeen — before growing up changed everything. The song drifts like a soft breeze through nostalgia, warm and tender, reminding us that some moments never truly fade.

Barefoot, Wild and Seventeen fängt den goldenen Schimmer der Jugend ein – jene endlosen Sommernächte, in denen die Liebe ewig schien und jedes Herzklopfen voller Möglichkeiten war. Es ist eine Rückschau auf die erste Liebe, auf Freiheit und die bittersüße Vergänglichkeit der Zeit. Jahre später flüstern dieselben Straßen und Felder noch immer Erinnerungen an das, was wir einmal waren – barfuß, furchtlos und siebzehn – bevor das Erwachsenwerden alles veränderte. Der Song schwebt wie eine sanfte Brise durch die Nostalgie, warm und zärtlich, und erinnert daran, dass manche Momente nie ganz vergehen.

Barefoot Wild and Seventeen

We met behind the school gym fence
You laughed, said rules don’t make much sense
Your hair was sunburnt gold and mean
I wrote your name where mine had been

Friday lights, the air was thick
You kissed me once, your hands were shaking
Like love was something still in the making
Time stood still in that small town scene
The night was ours, or so it seemed

And I was barefoot, wild, and seventeen
Thinking love was built on summer dreams
You said forever, then you looked away
Guess forever only meant that day

We snuck out past the county line
Your brother’s car, a borrowed crime
The radio played something slow
You said, “Let’s see how far this goes”

Every laugh was half a dare
Every heartbeat filled the air
We were sparks and we were gasoline
Running blind through everything

I was barefoot, wild, and seventeen
Thinking love was built on summer dreams
You said forever, then you changed the plan
Guess you were just a boy, trying to be a man

Years later, I drive that road again
See the cornfields and remember when
Your jacket’s gone, but the ghost still leans
On the hood beneath the August beams

Yeah, I was barefoot, wild, and seventeen
Thought forever meant the world to me
But seasons turn and I finally see
This love was never meant to be
Barefoot, wild, and seventeen
Still a piece of him inside of me


Barefoot Wild and Seventeen

Deal, No Deal
(c) J. Murdock McInnes Vasey

[outro]

[instrumental]

Today I made a deal
With the man who killed my daughter
I had no choice but sign
My baby needed water

Standing by him a buffoon
Stupid smile talking nonsense
He was claiming all the credit
But could not finish a sentence

[bridge]

Both of them convicted criminals
Both of them leaders of nations
Two men without a conscience
Both of them bent on vengeance

One had ordered genocide
He took the lives of a whole tribe
He claims to be the victim
He says his people suffered
In his words this is the reason
To all humanity it's treason

The other one is hard to understand
This is a man without a purpose
Without a single good intention
With no interest in redemption
A man who hurts because he can
Any reason good enough

[instrumental]

They want us to surrender
Give up every defense
They say they will protect us
Put their hate in the past tense

They say they want a deal
That it's time for all to heal
Behind their eyes we see the lie
They want us all to die

[instrumental]

How can we trust these men
How we ever can forget
We will sign their deal today
But like them, we too will lie

They need to make amends
They need to pay for what they've done
They need to send us better men
Not these reptiles in disguise

We cannot deal with these men
Some of natures great mistakes
In their veins is only sewage
Their minds are filled with hate

[instrumental]

They need to make amends
They need to pay for what they've done
They need to send us better men
Not these reptiles in disguise

We cannot deal with these men
Some of natures great mistakes
In their veins is only sewage
Their minds are filled with hate


[outro]

Deal, No Deal

I Don't Know You
(c) J. Murdock McInnes Vasey

[intro]

[instrumental]

all we hear
all we see
all there is
and will be
It is all here
for you and me
but soon gone
and sooner forgotten
those born well
those misbegotten
those who yearn
but never learn
look ahead
nothing astern

[instrumental]

the waves will soothe
their gentle sway
all a ruse
something they say
it was here
but now gone
did not belong
not yesterday

[instrumental]

what we saw
before the dawn
it is all gone
not going on
the time comes
we must fade
our future now
in retrograde
not as expected
debts now collected
and pleas rejected
cares neglected
love is lost
letters pinned
the final post
for those who sinned

[instrumental]

did we not all
no not one 
name one
OOOhhh! you forgot
well I did too
I don't know you

I don't know you

I don't know you

[instrumental]

[outro]



I Don't Know You (AS)

“Midnight at Exit 9” unfolds like a scene from a rainy highway night — two souls crossing paths in the soft glow of a gas station light. It’s about quiet connection and unspoken stories, about the kind of moment that feels both fleeting and eternal. As coffee steams and diesel lights paint gold across the glass, there’s a tender recognition of love’s uncertainty — half in the dark, half in the light. The song captures that in-between space where nostalgia meets the open road, where something as small as a shared smile can feel like home.

„Midnight at Exit 9“ spielt wie eine Szene auf einer nächtlichen Landstraße im Regen – zwei Menschen begegnen sich im sanften Licht einer Tankstelle. Es geht um stille Nähe und unausgesprochene Geschichten, um jene flüchtigen Augenblicke, die sich trotzdem ewig anfühlen. Während der Kaffee dampft und die Diesellichter golden über die Scheiben ziehen, entsteht eine leise Erkenntnis: Liebe bleibt oft halb im Dunkeln, halb im Licht. Der Song fängt dieses Dazwischen ein – wo Nostalgie auf Fernweh trifft und ein Lächeln reicht, um sich zu Hause zu fühlen.

Midnight at Exit 9

Rain talks softly to the glass
And the highway hums like a sleeping brass
She’s reading some romance, half through the end
Says, “The hero’s dumb, reminds me of men”

Her jukebox heart’s got a broken chord
But she hums along when she’s getting bored
Tells me she once drove clear to the coast
“Just to see if the moon looked bigger up close”

And the diesel lights are painting gold
On stories neither one’s retold
She grins — “You’re back”
“I knew you’d come”
I say, “For gas”
She laughs — “For someone”

She pours me coffee, slow and thin
It tastes like night with sugar in
We talk of storms that never came
Of luck and loss that sound the same

Somewhere between the pumps and pay
The world outside just fades away
And in that hum of cheap fluorescence
I swear I felt her quiet presence

The diesel lights are painting gold
On stories neither one’s retold
I say, “For gas“
She smiles — “For fun”
And every mile just comes undone

There’s a sign out front that flickers low
Like it’s not sure it wants to glow
Maybe love’s the same tonight
Half in the dark, half in the light


Midnight at Exit 9

“One Two” is a rebellious midnight confession dressed in rock’n’roll swagger. It’s the story of someone who doesn’t quite fit the mold — wild, free, maybe a little reckless, but alive with rhythm and soul. Between smoky highways, jukebox nights, and coffee-stained mornings, she finds herself again and again, refusing to trade chaos for calm. With a wink to the past and both feet in the now, this song celebrates the kind of freedom that only comes from dancing through the mess — and loving every minute of it.

„One Two“ ist ein rebellisches Mitternachtsgeständnis im Stil des Rock’n’Roll. Es erzählt von jemandem, der nicht ins Schema passt – wild, frei, vielleicht etwas leichtsinnig, aber voller Rhythmus und Seele. Zwischen verrauchten Highways, Jukebox-Nächten und Kaffeehausmorgenszenen findet sie sich immer wieder neu, weigert sich, Chaos gegen Ruhe einzutauschen. Mit einem Augenzwinkern in die Vergangenheit und beiden Füßen in der Gegenwart feiert der Song jene Freiheit, die nur entsteht, wenn man durch das Chaos tanzt – und jeden Moment davon liebt.

One Two

One, two
Dont‘t say I didn’t warn you

Woke up in a borrowed car
Half a tank and a hotel scar
My jacket smells like smoke and gin
Guess that’s where the night’s been

Tried callin’ my better side
He hung up — said “nice try”
Well maybe I’m not built for calm
Maybe I’m built for alarm

You say I’m reckless
I say I’m free
Who’s drivin’ who?
We’ll see

I might be trouble, but I sleep just fine
Got a head full of rhythm and a crooked line
You can roll your eyes, I won’t complain
Rock and roll’s still runnin’ through my brain

Coffee black, same diner crew
They nod — they’ve seen my kind or two
A waitress hums some old refrain
I tip too much, then miss my train

They say, grow up, get straight
Find a plan and seal your fate
But every time I almost do
That jukebox plays
And I’m brand new

I might be trouble, but I don’t care
Got the night wind tanglin’ up my hair
You can call it chaos, I call it soul
Baby, that’s still rock and roll

So yeah, you may be right
And that’s the reason I came tonight


One Two

That Other Guy
(c) J. Murdock McInnes Vasey

[intro]

[instrumental]

I smile when I see you
But never let it show
I hold my smile inside
So that only I will know

I saw you at the movies
You were with another guy
I smiled when I saw you
I saw him and then I cried

[bridge]

I cry when I see you
But I never let it show
I hold my tears inside
So that only I will know

I saw you walking alone
I started walking by your side
The thrill down to my bones
Like a never ending ride

[instrumental]

I smile when I see you
But never let it show
I hold my smile inside
So that only I will know

We got married in the spring
That was seven years ago
Well, I haven't done a thing
And you're sure to let me know

I hide when I see you
I know what's coming next
What is it I ain't done
I did a little thing, 
but what about the other one

[instrumental]

I cry when I see you
But I never let it show
I hold my tears inside
So that only I will know

Somedays I smile
Somedays I cry
To this day 
I don't know why

Where is that other guy

[instrumental]

[outro]

That Other Guy

I write the lyrics; Mr. Alfonso Suno composes the music.  Working with the lovely Ms. Ai Ongaku, they create the arrangements.  Ms. Ongaku and her crowd are responsible for the performances.  My part in creating these tracks is very small. Nonetheless, I am to blame.  Mea culpa, mea culpa, mea maxima culpa.

Blow It All Down

I and Ai

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