STEVE GELLER, MUSICIAN
Some of my Songs, part I
From Place Very Central (2016)
For additional details, see New 2016 Album page.
I Got a Fever [4:08]
“I Got a Fever,” written in 2012, is a politically-tinged send-up of American culture, featuring references to Elvis, the Monkees, Peggy Lee and Christopher Walken, all amid the narrative of a country in decline. I was trying to sound a bit like Bruce Springsteen and the E Street Band in the way I sang the voices during the chorus.
Lyrics are embedded within this video, and also appear, along with the rest of the album's lyrics, on the New 2016 Album page.
Candle Light [5:08]
“Candle Light” was an idea in my mind as early as 1989, when I wrote what would eventually morph into the “out-chorus” of this recording (starting at about 4:19). The verses were written in 1997, though some of the words and the entire chord structure was revamped in 2010, until finally being tweaked again into this current 2013 version. The music is rather rhapsodic in feel, beginning in a sort-of new wave Depeche Mode feel, then quickly becoming Billy Joel-esque as the piano and bass enter, then moving toward a Phil Spectre Wall of Sound feel. In the second verse, the build-up sounds a bit like Neil Diamond and a bit like Meat Loaf, and the climax in the bridge channels a hint of Sly and the Family Stone (at least to my ears).
Thanks and credit to the "Fountain Music" iTunes audio visualizer for its help in creating this video.
Lyrics are embedded within this video, and also appear, along with the rest of the album's lyrics, on the New 2016 Album page.
Purple Doors [4:46]
“Purple Doors” was the final song written for Place Very Central. Inspired by a Facebook post from a friend (about the notable number of purple doors in Needham, Massachusetts), the song playfully and poetically suggests many possible reasons for this phenomenon. There is a touch of Elvis Costello in both the lyrics and melody, and the harmony vocals at the ends of the verses suggest a bit of Eric Clapton.
Lyrics are embedded within this video, and also appear, along with the rest of the album's lyrics, on the New 2016 Album page.
From A Rose of Angles and Lines (2012)
The Etymology of Shirt [3:55]
Written in 2010, the idea for this song was taken from a botched joke in a conversation when I was in college (a conversation apparently no one else still remembers having had but me). The lyrics are a send-up of Dr. Seuss verse.
Lyrics
The etymology of the word “shirt”:
Does it come from Latin, does it come from Latin?
The etymology of the word “shirt”: Is there a pattern, is there a pattern?
Chorus: Ooh-wee, ooh-wee, ooh-wee, etymology.
Ooh-wee, ooh-wee, ooh-wee, etymology.
The etymology of the word “shirt”: Is it Hispanic? Is it Germanic?
The etymology of the word “shirt”: No need to panic--it may say on the fabric CHORUS
I tried to call Calvin Klein, but he has an unlisted number,
And I think it begins with a 9, but I’m open to believing it begins with another
The etymology of the word “shirt”: Is it from Hebrew? If only we knew.
The etymology of the word “shirt”: Is it Croatian--the derivation? CHORUS
I try to get this buttoned down, but it keeps getting under my collar
But if I keep on digging around, the possibilities, they can only get smaller
The etymology of the word “shirt”: Is it Celtic Irish? How very stylish
But whatever it may be, it’s still a shirt. So wear it proudly, and sing it loudly. CHORUS
Zero [4:55]
"Zero" was written and recorded in a brief period while underneath the shadow of my work on Cursive Letters (also on A Rose of Angles and Lines), a song I found too emotional to continue recording without frequent doubt and struggle. "Zero," by contrast, was pure fun, and I felt significantly lower pressure while working on it. It therefore turned out to be a very therapeutic procrastination, as well as what I consider to be my first truly successful original dance pop song.
Lyrics
This ain’t a night for the hesitant. This ain’t a club for the timid.
Just ease your mind and luck will find the intrepid.
This ain’t no voice to be reticent. This ain’t no space to be limited.
Just move your feet and dance to the beat uninhibited.
What have you got to do that’s more important to you at this time?
What have you got to lose, it’s more important to try than decline.
Chorus: It’s 1:10 in the morning. One Perfect 10 on the dance floor
One last chance for a miracle before ten ticks down to zero.
This ain’t a road for dead-enders. No, this ain’t the path that we’re on.
Take the wheel and steer until that fear is gone.
This ain’t a game for pretenders. Yeah, you can dispense with the nicety.
You may not gain traction, but you must take action decisively.
Where have you got to go that’s more exciting than here, under the glow?
What have you got to lose, it’s so exciting to be in the show. CHORUS
Oh, there’s 10 and there’s 9, 8 7 6 5,
There’s 4 and there’s 3, and then 2 1, too early tonight.
Let’s cherish this time. Another margarita, and don’t skimp on the lime.
Why would you come so far to sit at the bar and not strive for the final mile?
What have you got to lose, it can only end in a frown or a smile. CHORUS
Oh, there’s 10 and there’s 9, 8 7 6 5, then 4 and then 3, and then 2 1, too early tonight.
But it’s never too late, long as you don’t wait for the clock to chime.
Oh, oh, oh, Zero, oh, oh. Go and meet her, go and meet her, go and meet her.
It’s 1:10 in the morning. That Perfect 10 cannot be found
Maybe we’ll just have another round before the temperature drops to zero.
Yeah, maybe we’ll just have one last round, as round as the number zero.
I'm the Honey Badger, Baby [7:24]
The section with the animals was an afterthought as I was trying to follow the second chorus with a contrasting bridge. At the time, I had no plans to turn the song from 4 minutes into over 7 (the second longest non-medley a cappella song I have ever heard), but once the idea of the animals came to me, the section began to write itself, and the verses kept spinning forth gleefully until I had incorporated 14 Honey Badger vs. Animal showdowns into the bridge, an appropriate parallel to the amount of such match-ups on YouTube. I had tremendous fun, not only with the animal rhymes but also with the “bird rhymes” (inferred, absurd, herd, etc.), though filling out the arrangement behind such a long song became tedious, and recording the song seemed like an unending ordeal. The result is what I immodestly consider to be the greatest song about the Honey Badger ever recorded.
Lyrics
People ask me, “Boy, are you a tough guy?” But they hardly ever ask me twice.
And you may just wanna step away, son, and that ain’t a threat, it’s just advice
'Cause after a certain number of the battles that you wage
You kinda get a reputation, and the next guy don’t engage.
But there’s always one exception, who just has to take his shots
And he’s welcome to, but when I get through, he might have some second thoughts
(You may wanna step away, son) Second thoughts.
Well, he might be done, but I’m not.
So don’t you even think about it. And if you do, then best prepare.
I’m a honey badger, baby, I really don’t give a care.
I don’t fight for fame and glory, I don’t do it for the money.
But that lady at your table, she could use a new flavor of honey.
Oh, like a honey badger, baby!
You may see me scrap with a pack of jackals. Might get stung by a throng of bees.
But at least they’re clear in their intentions, and you might learn a thing from these 'Cause I’m callin’ you a coward. You been telling me your lies
And if I can spot a snake in the grass, then he’s bad at his disguise.
But snakes don’t really phase me, even if they get a bite.
You may see me lyin’, look like I’m dying, but ya know that I’m gonna be alright
(Hey, hey, gotta step away son) Alright.
Cause this ain’t no pillow fight.
So don’t you even think about it. And if you do, you best beware.
I’m a honey badger, baby, I really don’t give a care.
You might spin a decent story ‘bout the harm that you have done me.
But the lady on your shoulder, well she might just favor the honey.
Of the honey badger, baby!
Now you know I am the baddest thing in this whole wide land.
But let’s stack me up against the other animals. Let’s see where we stand.
A bird may be the word, just like that old funny song.
But has he ever heard about the Honey Badger?
A horse may have the force for chargin’ fast and strong
But he will still be deterred by the Honey Badger.
An antelope can play rope-a-dope with those antlers wide
But he would still need a herd against the Honey Badger.
A jaguar may drag you around by your hide
But that kitty will purr next to the Honey Badger.
A shark may leave a mark when it gets its teeth dug in
But this has never occurred against the Honey Badger.
A porcupine may be inclined to prick you like a pin
But this would be absurd against the Honey Badger.
A spider traps a fly into his web in the sky
But it is he who’d be lured in by the Honey Badger.
A scorpion is a champion you cannot deny
But his belt would be transferred to the Honey Badger.
Oh, ain’t it strange that it sounds like we’ve come to the end of our animal rhymes,
but no way.
An elephant can be competent to stomp on his prey
But this would not be incurred against the Honey Badger.
I’d take a pile of crocodiles most any day.
But they would still come in third against two Honey Badgers.
A jellyfish can make you wish you’d stayed on the sand
But the water’s preferred against the Honey Badger.
A simian can be fluent in talking with his hands
But his speech’d be slurred by the Honey Badger.
A dangerous hippopotamus could win any brawl
But this should not be inferred against the Honey Badger.
A grizzly has a tendency to maim and to maul
But he’s somewhat demure compared to the Honey Badger.
So if you know you’ve got to throw your hat in the ring
You can rest assured that I’m comin’ in after.
I’ll take you down, I’ll wear the crown of the fearless king.
Only I am referred to as the...
Savor the honey of the honey badger, baby!
There’s nothin’ braver than me, honey. And I don’t care.
Harwich Junior Theatre [3:48]
This song was written to celebrate the 60th anniversary of this theatre in 2011, and it was performed at a gala among many of the friends I had made there as a child. I wrote it with the primary goal of catchiness, and added the chorus tag (“At the Harwich Junior Theatre, come on, let’s go”) to facilitate this goal. Several lines in the song directly reference the theatre (which is located in West Harwich, Massachusetts), including the street address, the motto (“A place for kids to stage their dreams”) and the tradition of the mascot Jester telling young audience members to “wiggle back in their seats.”
Lyrics
Should we paint it orange? Maybe yellow would be brighter.
Or perhaps we’ll add some glitter that will glisten in the lights.
The pirate ship is looming, but the captain, he’s a fighter.
Though he may just need assistance from the pluckiest little sailor in white.
"Avast, ye Jack Tar Matey, your boat has docked at the HJT."
So come on, come on, let’s go to a show. Let’s head to Division and Willow
To a place where kids can stage their dreams
Fairy Tales that come alive. Many smiles as you arrive
As bright as summer moonbeams.
At the Harwich Junior Theatre, come on let’s go. To the Harwich Junior Theatre.
The princess in the castle, after seven years of slumber,
Wakes to find the door is open, but she can’t escape the queen.
Nor the fire-breathing dragon, nor the henchmen without number.
But they don’t know of Prince Charming and his plan to steal the climactic scene
“I’m here to save you, my lady. And carry you off to the HJT.”
So come on, come on, let’s go to a show. Let’s head to Division and Willow
To a place where kids can stage their dreams
Fairy Tales that come alive. Many smiles as you arrive,
It’s just as fun as it seems.
At the Harwich Junior Theatre, come on let’s go. To the Harwich Junior Theatre.
"Wiggle, wiggle back in your seat," the Jester told me.
We’re in for a treat of an evening where we can imagine the view is limitless too, And seeing is believing, so we sing...
Come on, come on, let’s go to a show. Let’s head to Division and Willow
To a place where kids can stage their dreams
Fairy Tales that come alive. Many smiles as you arrive
From young to old and between.
At the Harwich Junior Theatre, come on let’s go.
To the Harwich Junior Theatre, come on let's go.
Slow Dancing with Amy [3:58]
My favorite thing about this track is the trio of low backup vocals in the bridges, something I always enjoyed from groups like the Jordanaires. The flute bridge, which I have now listened to often enough for it to sound smooth and effortless, was originally the result of over an hour of trial-and-error chord progressions. The rest of the song (chord-wise and melodically) is a re-imagining of Van Morrison's Into the Mystic. There was an actual Amy, who I had a mostly-online relationship with for 6 months.
Small Texas Town [4:38]
I use what I call a rolling bridge in this song: a bridge that extends and encompasses a part of the form where a verse or chorus might typically go. I regard both the bridge’s lyrics and chords as among the best things I have written. The inspiration for the sound of the song was Paul Simon.
Lyrics
So she calls me & she tells me there’s a lady with a voice like qivuit wool.
Every note is like a polygraph betraying passions deep and powerful.
And when I get there, I should be prepared to feel the glare of a bright new superstar Though she only sings at the Open Mics at the local bar.
I tell my baby ‘bout the system, only the lucky and connected rise to fame
For every one who sells a million, there’s a million that deserve it just the same
And she tells me, if it’s worthy, then the word will surely spread from crowd to crowd. And she says “music is electric, it will never be confined to a small Texas town.”
So when this lady sings, she tells me everyone’ll soon be singing
“La di dee da di dee da di dee da di dee da di dee da di dee da.”
It’s a stirring conversation that I’ve had with many others through the years.
Does the best we have to offer correspond to what the public usually hears?
It’s so rare the combination of both critical and popular success
But they like what they like, I guess.
And I tell her ‘bout the system, only the lucky and connected make the stores For every one who sells a million, there’s a million as deserving but obscure.
And she tells me “It’s a guarantee that the energy will always spread around.” And she says “music is electric, it will never be confined to a small Texas town.”
So when I play, she tells me every radio’ll be playing
“La di dee da di dee da di dee da di dee da di dee da di dee da.”
Is it optimistic to think that everyone with talent
Can eventually expect their big break?
Is it fatalistic to think that everyone who hasn’t
Climbed already may never have what it takes?
Tally the statistics. You’d think with thousands of examples,
This prediction would not be so in dispute.
But this talented lady might be perfect maybe
As a test for this theory at some Institute.
Because we’re somewhere next to nowhere
And the Austinites don’t even look around as they pass by on their commute.
Their lives are so hectic, but music is electric. But music is electric.
It’s the system they designed, but it will never be confined.