the eagle is a canary

It’s a pretty old town
Where the hearts do well
Without you staring
I left my home in a real bad shape
Won’t you help me
Help me find a maid?

There’s a fire in the ocean
When the oil starts spilling
There’s a fire in the ocean
Wasn’t always willing but
We’ll get along
Quite fine thank you

Day breaks on the fire escape and
I’m falling in love
Day breaks on the fire escape and
I’m falling in love
I’m falling down
Might you be around?
I’m falling down
Might you hear the sound?

Look around you
How’s your smile?
Is it everything you thought it could be
I’m no different
Takes a while
Still I’ll try my best to find out how
I never get tired of the view
I never get tired of you

When day breaks on the fire escape
I’m falling in love
When day breaks on the fire escape
I’m falling in love
I’m falling down
Might you be around?
I’m falling down
Might you hear the sound?

We’ll get along quite fine thank you
We’ll get along quite fine thank you
We’ll get along quite fine thank you

We’re falling down
Might you?
We’re falling down
Might you hear the sound?

Fire Excape

Here in the Pitch

World on a String

Windswept

Derecho

Michelangelo Dying

Heaven Is No Feeling

The Rose

Evening

Mercy

Entry 10-4 (Mood Recipe)

Night

Gin Rummy

Theresa

(re)Turn

Watch the video for 'In the Beginning' here: https://youtu.be/vzmJrmj0azk

Cover Image by Peter James Anderson
Filmed and Edited by Adam James David Anderson
Performed by Julia R. Anderson
Produced by Alexander L'Estrange

In the Beginning (C) 2015.

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In The Beginning

Bending

I walked with you
down the mountain by the roses.
We left our mark where others wept to go
and we laughed at their misfortune.

In your hands I had a child's mind
all supple and ripe for moulding.
And we were bound with ropes white as tinsel.
Now I've got holes where they lay.

And we stripped down our bodies
'til there was nothing left at all
and the strings cut through us all.

You are made of gold, I am tin foil.
We tin foil wrapped in clay.
And on the day when our eyes are good as crow bait
They'll replace yours in the cold night sky

And we cut up our bodies, 
left the rest out to rot
and the strings hang over her cot.

If we could disintegrate even further
We'd be like the dead in the stars
I can just see the dirt through my fingers
We're fading fast.

And our non-souls mingle
by hands not our own
And the strings (mean we're not alone)

They'll all flock together
and see what we made
And they'll sing.

Strings

Imitation may be the sincerest form of flattery for the Wilde at heart, but for the Weyes mind it’s a natural note in the songbook of life. For the first recorded Weyes Blood music since her 2016 breakthrough album Front Row Seat To Earth, Natalie Mering shares A Certain Kind of Everybody, a double a-side 7" of cover songs close to her home but recognizable under any roof with a hearing heart at its hearth.  

Originally recorded on distant shores from where midnight cowboys roamed the same year of 1968, Soft Machine’s “A Certain Kind” was often confused as a Weyes Blood original when Mering introduced the Robert Wyatt penned fusion ballad to her live set. A recording residency at the famed Galeria ze dos Bois (ZDB) multidisciplinary space in Lisbon, Portugal enabled Mering and her touring band to track the soul-searching rendition of the song present on A Certain Kind of Everybody.

A Certain Kind of Everybody is a capsule of Mering’s care for those artists and songs that have helped define the Weyes Blood sound but also a discovery of a different kind — the words and melodies become Mering’s and ours through her intimate interpretation and commitment to seeking culture’s fringes for deeper meaning. 

Weyes Blood’s A Certain Kind of Everybody is available Thursday, September 7 on 7” and digital formats.

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