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Mix #9: Came Round
This is the other candidate for the finale of the album due to its long and relatively intense bridge section.

The verses go back to 1999 when I was in my final year in Austin, TX, we'd wrapped up most of the recording on the Mark Lint and the Fake album, I had yet to start on my Sinking and the Aftermath project, and I was investigating a possible duo vocal group with one of the friends whom I had more or less moved down from Ann Arbor with, who now goes by the name Edison Carter. So I wrote several song fragments with purposefully disposable lyrics as starters for us to try to write songs together. So lines like "you came round, I saw your shoes" where not meant to stick around.

That collaboration didn't happen, but I always liked this song, and so in 2010 I completed the song, adding an extended bridge that was nostalgic both in its subject matter and that it was motivated by the thought "didn't I use to record these passionate screeds back in 1993 when I was a nutcase?" So just as the original song really wasn't an original expression, but a piece of fiction, this bridge is also largely a fiction; I was not in 2010 pining about lost love or anything like that. Here's the solo recording I made at the time, featuring a lot of scenery chewing.

I revived the song for the current live project, given that it was acoustic and featured Iris, a great harmony vocalist. I got to thinking, since I was writing fiction anyway, modeled in certain respects on the way I used to bleat at women through song in my early 20s, how the woman might respond, so this new version features Iris taking the lead in the choruses (which were just instrumental before) doing some imaginary scolding back at singing-me for being so weird and unreasonable.

When we introduced this as a live song, it was just going to be me and Iris, with the rest of the band maybe just coming in for the end of the song, but as we played it more, it became more Byrdsy throughout, with Ken's bass providing a nice rounding element for my guitar, and Rei's piano and Jim's hand percussion providing some nice texture. And the "duo" vocals expanded to 3- and 4- part harmonies for the verses, and Iris and I put in some extra layers to the bridge to make it worth being that long (I like when it turns into a country song toward the end). Jake's polishing helped make the whole thing particularly effective.