Suit Yourself

Comet, Come To Me

Acoustic guitar, drum set, and doubled vocals. A ballad reflecting on loneliness.

Song by AP Mercury
All Rights Reserved
Copyright 20025 Andrew Pendleton

 I remind myself of someone but dont know who

It's hard to identify the ciinh 

Say your name out loud listen for my phone 

Nobody calls mine now at the end of lonesome road


Once upon and from time to time I dream 

You and me and we're caught somewhere between

The bed where I sleep now and the bed in our old home

Waking up is tough at the end of lonesome road. 


Strange apparitions  keep coming into view

Full moon casts a shadow its requesting a tune

I'm not playing for them but they'll never  never know

I'm always playing to you at the end of lonesome road


Once upon and from time to time I dream 

You and me and we're caught somewhere finally coming clean

Reality comes in the morning and i’m still getting stoned

Waking up is tough at the end of lonesome road. 


I'd love to share the feelings I have left

But I can't find nothin in this mess 

When I straighten up this place I'll play a solo show

Sell out to the ghosts at the end of lonesome road




At the End of Lonesome Road .wav

A gothic chamber western told in twelve movements of dread and memory.
Glass harmonica and harpsichord echo like wind in an abandoned chapel.
Classical guitar replaces the heartbeat.
A wordless choir rises like a dust storm.
Sometimes a voice whispers.
Sometimes it only breathes.

Motifs return like footsteps you thought you’d escaped
the Raven’s descent
the Lenore lullaby
the pit
the page
the endless corridor of shadows.

This isn’t a soundtrack to a film.
It is the film itself
after everyone has gone home.

Avaline Ingels
Nevermore

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Meshell has changed. So has her music. It’s more peaceful, freer. Her new album, Weather, cloaks itself in the colours of autumn, full of in-between shades and hues and with a certain mildness to it. The singer has let her feelings carry her along. Meshell has never been scared of sharing her most intimate thoughts in explicit or colourful terms that always come from the heart. As ever, she is true to herself. But Weather’s folk sensibility and pregnant acoustic melodies make this a supremely accessible album.

“For a long time I was at war with everyone else. I dug my heels in, I fought hard. That’s all over now. I have my opinions, but they’re no longer a source of conflict with the rest of the world.” On Weather Meshell’s usually deep vocals slip into a register more like a whisper, sharing secrets about subjects that are straightforward, almost light-hearted. She has pared down her style to something like pop. “I started to write this album on the guitar and you can hear it. The final atmosphere’s gentler.”

And then the singer agreed without fuss to put her fate in the hands of a producer. Joe Henry (Ani DiFranco, Bettye Lavette, Allen Toussaint, etc.) helped her reveal a different side to herself. And Meshell went along with this. “I’ve known him since the Bitter album; Craig Street introduced us. I hadn’t called on someone from outside for several albums. But contrary to what everyone thinks, I love getting other opinions, hearing a different point of view and allowing myself to be led by someone with strong ideas. It’s a dialogue. This kind of experience really motivates me.” One might well have imagined her bent protectively over her compositions, her own personal, contradictory and profound world. But she says that she wants to continue this experience in future projects with other musicians. She mentions Brian Eno and Lee Scratch Perry.

She worked the way she likes to with Joe Henry - just two or three takes to capture the spontaneity and freshness of the moment. She is accompanied by Chris Bruce (guitar), Deantoni Parks (drums), Keefus Ciancia (keyboards), Gabe Noel (cello) and guests Jay Bellerose (drums) and Benji Hughes (backing vocals). Meshell recently did some producing herself – for jazz singer Laïka Fatien and rising star Selah Sue. Despite the pop-folk sound of Weather, jazz remains a major source of inspiration. “I love jazz musicians. They’re free; they have no fear. I’ve done pop and there are lots of barriers, lots of holding back. You have to stick to the conventions. Jazz musicians embrace uncertainty and adventure, even in their private lives. They’re more open and often more skilled, both in the studio and on stage.”

On Weather, Meshell sings of the ups and downs of love, one of her favourite subjects. Her heroines are marked by the void left by the loved one (“Object”) or else, like a game of mirrors, pour out their heart about the hurt they have caused others. She does a cover of Leonard Cohen’s “Chelsea Hotel”, dedicated to Janis Joplin, an extremely sad and somewhat sexist song, as well as “Don’t Take My Kindness for Weakness” by Soul Children, a sixties soul band, whose message she has made her own. Her own lyrics are always concise, precise or allusive, full of images and poetry (“I want to be your answer”). “They’re like mantras, some phrases cast to the wind, images that pop into my mind. Then I add the music.” She also talks about the wider world on a few tracks. ‘Oysters’ is about “the change that everyone talks about but never comes”. Meshell explains that “Consumerism is gaining ground all the time. We all live to get a new car or a new computer, but what’s the point?” So, join the great world party? “Not for me,” she replies in Dirty World. “I live two hours from New York. I ran away from all the dirt. There’s a farm where I live, and healthy food. I love cooking – it’s not all that different from making music. You need ingredients, and the greatest pleasure is when you share it share it with others.”

Comet, Come To Me

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