Just, Just So To The Point

The Song

Taken from a group of songs written about movie directors. Written for John Huston, the wives of John Huston and, errr, me! I don’t know how I ended up in there recalling people that have been to the point: people to this day, I still admire despite the pain they’ve caused me. Why should it cause pain? A fudged consciousness to blame, maybe? I guess it makes me think of my desire for an ordered, balanced and productive life. It’s hard not to quote Dylan at this point:
“I tried my best not to hurt anyone and to steer clear of a life of crime.”
I’ve been hurt but I’ve also caused hurt. Can you learn from both of them? Is the first lesson that they are the same thing?

The Players

John Clark bass acoustic guitar percussion
Stevie keys elec sitar vocals
Bob Kildea percussion
Ysla Robertson violin
Gillian Risi violin

The Writers

Stevie Jackson / Roy Moller

The Words

Here comes the wayward Son and he’s going to find direction at last
“Hey kids kick it all around cause I’m going to read my paper before I look through the lens”
Like Hemmingway would always say
“ Hey, you know, you know that the Man makes the work”
Your naysayers don’t get your groovin’ as your reaching for your elephant gun

He was just, just, just, just, just so to the point it’s scary
Just so, say it isn’t “Uh Ho”
Just so to the point it’s scary
TO THE POINT, it’s scary

Girl One, she loved you true and you were lost in her smile till along came number Two
Sense a rift, you didn’t write it in the script
Then came number Three and she’s lapping up your Cocktail Blues
Showed the door to number Four
Cute little number, you were looking for a higher score
Met a Crocodile, happy for a little while
Now she’s getting snappy and she’s making allegations

Just, just, just, just so to the point it’s scary
She dropped the bomb with her usual aplomb (sing her a long song)
She was just so to the point it’s scary
TO THE POINT it’s scary

Listen John you could my Saviour, making with my Flavia
Scenes from Scandinavia
Winds blow, she come from the Seven Seas
Uh oh, Vikings in the Hebrides
Press keys, spell check, press send, “We still friends?”
No reply, guts spilled, she’s strong willed, it’s not a thrill to love her

A broken heart, I headed for a foreign land
A New York Tempeh sandwhich so take me to Angelica’s (300 East 12th Street)
Houston we don’t have a problem, Tom Hanks, no thanks
To the promise of a better world (Goodbye Apollo 13)
Cute girl said “Come to Philadelphia”
I took the Gamble then she took the Huff
Mancunian Polish Sex Priestess, pulled down her dress said
“Enough is enough”

She was just, she was just, just, just, just so to the point it’s scary
She dropped the bomb with her usual aplomb
She was just so to the point it scared me
TO THE POINT it scared me

Hey John, I’m kissing out of tune, won’t you tell me your prescription, tell me what I’m missing
“Hey Boy, you gotta hear what I say, you gotta fill your ears with marrow from a cow killed in the hay”
May Horse, she’s a mean little apple
Hatful, capful, 3 bushel bagfuls
Hold my hand let’s pray to the saints
She said
“Get yourself a backbone, you ain’t no invertebrate”

Pure of Heart

The Song

Actions, directions, corners taken, history and present colliding. There is no youth, middle age, death when you look at it coldly and, obviously, subjectively. There is only the Now.

I was rehearsing with Belle and Sebastian and we got into a discussion about keys and whether or not they had distinctive attributes. I thought of this song, it’s in F. I don’t play piano very well but on that instrument F feels like a proper key or at least in my perception, this feels like a proper song, whatever that means.

I had the words written out and was hitting the keys randomly in the company of Roy Moller to see if anything would come. Suddenly we got the idea of pretending to be Elton and the tune came in a flash. I guess something has to become unhinged in your brain to sing lines like “Lovers, friends, let friends be lovers” but there you go, means a lot to me too. I guess you got to approach something like this with a smile. Roy described the piece as “a tasty album cut.” I knew what he meant and we can only live in hope.

The Players

Katrina Mitchell drums
Bill Wells bass
Bob Kildea guitars vocals percussion
Stevie piano organ pedal steel vocals
John Clark elec piano

The Writers

Stevie Jackson / Roy Moller

The Words

Sitting with my lunchbox, plain bread “Mother’s Pride”
Brown crust on the outside
I couldn’t take my eyes off her
She was playing and I was staying
PURE OF HEART

From boy to man, the awkward stance, the guitar chords and also-rans
The brown suede for the 60’s look
The out of timeness, fashion blindness
All the same I remained
PURE OF HEART

Dreaming of Fame and all its glory
The main thing I longed for was Love
The main thing I longed for was Love

The scent of togetherness, the lavender upon her dress
The girl in the garret stepping into time
Lovers, friends let friends be lovers
Now I know, I’ll need no other, I am
PURE OF HEART

Explorations there to find, Ego-tripping on my mind
Too late for the garret, to the garret I said Goodbye
Lavender girl just shook her head and smiled and said
“Where’s the Pure of Heart?”

Flatter all the lovers you call friends
Who knows who is true and who pretends

Back to the starting post, back to what means the most
Take a look at all that I have learned
Need a friend to be my lover
And I know there’ll be other
I’ll be Pure of Heart
Come on take my hand and make me
PURE OF HEART