Joann Hamick Quintana | Not Enough Sundays

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Not Enough Sundays

by Joann Hamick Quintana

Driving folk-rock, sly and slinky jazz, blues, and indie folk. Original songs inspired by one strong woman's experiences that resonate with us all -- love, tragedy, treachery, trying to make one's way in the world. Guitar work by Jeff Fielder -- fabulous
Genre: Folk: Folk-Rock
Release Date: 

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  Song Share Time Download
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1. Not Enough Sundays (feat. Jeff Fielder, Kevin Voigt & David B. Malony)
5:42 $0.99
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2. Taking the Money (feat. Jeff Fielder, Kevin Voigt & David B. Malony)
4:11 $0.99
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3. Hey Katie, Have You Got a Brother? (feat. Jeff Fielder, Kevin Voigt & Mickey Grimm)
3:18 $0.99
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4. Oh Ray (feat. Jeff Fielder, Kevin Voigt & Mickey Grimm)
3:59 $0.99
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5. Meat on Your Bones (feat. Jeff Fielder, Kevin Voigt & David B. Malony)
3:27 $0.99
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6. Slow Horse (feat. Josh Collins, Kevin Voigt & Mickey Grimm)
3:18 $0.99
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7. My Tess (feat. Jeff Fielder, Kevin Voigt, David B. Malony & Jana Szabo)
4:36 $0.99
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8. Blue's the Color of Love (feat. Jeff Fielder, Kevin Voigt, Mickey Grimm & David B. Malony)
4:24 $0.99
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9. Why Don't You Tell Her? (feat. Josh Collins, Kevin Voigt & Mickey Grimm)
2:23 $0.99
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10. Warrior (feat. Jeff Fielder, Kevin Voigt & Mickey Grimm)
2:31 $0.99
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11. After the Hurricane: The Only Thing I Own (feat. Jeff Fielder, Kevin Voigt & Mickey Grimm)
4:46 $0.99
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12. Named for a Flower (feat. Jeff Fielder, Kevin Voigt, Mickey Grimm & David B. Malony)
4:41 $0.99
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13. Blown to Kingdom Come (feat. Jeff Fielder, Kevin Voigt, Mickey Grimm, Russell Clepper, Gina Marie Mammano & Jana Szabo)
5:26 $0.99
Downloads are available as MP3-320 files.

ABOUT THIS ALBUM


Album Notes
About the album: An eclectic, singer-songwriter album of driving folk-rock, sly and slinky jazz, acoustic blues and indie folk. These thirteen original songs are borne of one determined woman’s singular experiences, but they speak of events and encounters that resonate with everyone: The absurdities of modern love and relationships, a simple love song, a catchy Afro-beat number, “Oh Ray,” that’s all about a #MeToo moment – this is music that rocks your body and moves your soul.
--Spring 2019

Joann Hamick Quintana, Lead Vocals/Rhythm Guitar
Jeff Fielder, Electric Guitar, Slide Guitar, Dobro, Organ
Josh Collins, Electric Guitar
Kevin Voigt, Electric Bass
David B. Malony, Drums
Mickey Grimm, Drums
Russell Clepper, Harmony Vocals
Gina Marie Mammano, Harmony Vocals
Jana Szabo, Harmony Vocals
Music and lyrics by: Joann Hamick Quintana
Blue Ewe Studio, Langley, WA
All Rights Reserved © Copyright 2019

Tracks:
Not Enough Sundays
Taking the Money
Hey Katie, Have You Got A Brother?
Oh Ray
Meat On Your Bones
Slow Horse
My Tess
Blue’s the Color of Love
Why Don’t You Tell Her?
Warrior
After the Hurricane: The Only Thing I Own
Named for a Flower
Blown to Kingdom Come

Musicians
Joann Quintana (Songwriter, Lead Vocals, Rhythm Guitar)
Joann Hamick Quintana is a Whidbey Island, WA-based singer, songwriter, writer, musician and band leader. Before she became a full-time musician, she was a business executive, small business owner, and public affairs consultant in California and Washington, working throughout the western U.S. and Canada. She grew up with music then left it behind to pursue a career. She returned to music later in life, writing her first song at the age of 56. Not Enough Sundays is her second studio album of all-original music.

Jeff Fielder (Electric Guitar, Slide Guitar, Dobro, Organ)
Guest artist Jeff Fielder is a North American guitarist and producer based in Seattle, WA who has established himself as a go-to session and touring guitarist, band leader, arranger and record producer. He currently works with a diverse group of local, national and international artists including Mark Lanegan, Amy Ray of the Indigo Girls, Duff McKegan of Guns n Roses, and Seattle’s Sera Cahoone.

Josh Collins (Electric Guitar)
Josh Collins is a California-based multi-instrumentalist, composer and producer. Following his first record (Sperdak), Downbeat Magazine named his group “Best community college jazz group in the Nation.” 24-year-old Collins has made appearances with Charlie Shoemake (Bebop), Jade Jackson (Americana), Jeff Hamilton (Jazz), and many others in the U.S and internationally. His current project is Southern California-based soul band, Próxima Parada.

Kevin Voigt (Electric Bass)
Kevin Voigt is a Whidbey Island-based journalist and bass player. Before moving to the island, Kevin spent 20 years in Hong Kong and Japan, where he played with Afrobeat, Ska, heavy metal and Irish folk groups, and a Pink Floyd covers band.

Mickey Grimm (Drums, Percussion)
Mickey Grimm is a studio and concert-touring musician who has performed and recorded with many of the world's top music artists and innovators. He recently moved from Nashville, TN to Whidbey Island, WA where he and his family are enjoying the island’s artistic scene.

David B. Malony (Drums, Percussion, Recording Sound Engineer and Producer)
David B. Malony moved from near Philadelphia to Whidbey Island in 1991. He founded Blue Ewe Studio in 1997. He has pursued his passion as a musician, performing with numerous Northwest bands, including Cee Cee James, Timothy Hull and Western Heroes, and as an award-winning producer and sound engineer. His recording work has twice earned Washington Blues Society Regional Album of the Year, as well as Inland Blues Society Album of the Year.

The Stories Behind My Songs

Not Enough Sundays—The incident that sparked this song occurred in my hometown in Illinois. I lived on the “wrong” side of town. In high school one summer, I was a “groupie,” hanging out with a local rock band. I met a guy at one of the gigs who’d just graduated from our high school. He lived on the rich north side of town. We dated that summer. Toward the end of the summer, he told me he was engaged to his high school sweetheart who was working out of town for the summer. I later put it together that he was “slumming” with me. He could date me without any of his north-end friends seeing him and it getting back to his fiancée. I was pretty rebellious and edgy in those days and I think he got a thrill feeling that he was doing something naughty before he resumed his privileged life.

Taking the Money—The origins of this song partly stem from an argument with my husband where I felt hurt. We’ve been together for long time and I started thinking about all the hurts you experience in any relationship. I’d read somewhere about people putting money in jars for a variety of things (like swearing?). So I started thinking about how much money I’d have if I’d thrown some in every time I felt hurt in our marriage. I’d be rich! This song is about taking the money, running away and not leaving quietly!

Hey Katie, Have You Got A Brother?—I wrote this song when my niece was living and working in New York City. Her years of education and great academic accomplishment had left little time for dating and relationships. She wanted to get married and she threw herself into finding the right person with the same tenacity and fearlessness she’s done with most things in her life. The song is about her predicament and search.

Oh Ray—Inspired by a #MeToo moment – sadly, one of many. Early in my career in California, my mentor was supposedly recommending and promoting me for a higher level job I wanted very much. He (Ray) told me he’d handle things and I shouldn’t worry. A female colleague pulled me aside and told me not to trust him – that if I wanted the job, take things into my own hands. Without telling Ray, I followed her advice and got the job. I learned later he was double-crossing me, promoting a “yes man” of his for the job. Grrrr. I know my career trajectory would have been very different if my female colleague hadn’t helped me. The reference to “blamed it on my hair and what I wore” is from an experience I had working at a Seattle firm where the two male partners told me I dressed too much like a Californian. I left, started my own firm and took a major client with me.

Meat On Your Bones—I’m a foodie. I Iike to understand how food can keep me healthy and feeling good. That means I often experiment with different ingredients and ways of eating. My older sister who I love is not afraid to speak her mind. One Thanksgiving I was in the midst of one of my food experiments and my sister threw up her hands and yelled at me – something about the “prissy,” pained, look on my face when I talked about a certain food that was being served at her table! She told me to stop it because I was reminding her of a person we both know who probably has an eating disorder and is always denying herself certain foods. This person tries to control her out-of-control life by controlling her food. This fun song is about how food can tell you about a person. I tell people the song is not about food – it’s about “living life large.”

Slow Horse—Song lines often come to me when I’m driving. I was late for a meeting, stuck behind two slowsters and I kept repeating to myself, “you’re moving too slow, making me late.” I decided to write a song with this idea. At the same time, a niece of mine was quitting her job. The two concepts came together. I had a lot of fun writing this song.

My Tess—I have a younger sister who suffers from mental illness. Everyone in the family has tried to help her, to no avail. Everything in the song is true. I wrote the song because I needed to. Maybe someone with the same predicament will find some comfort in this song.

Blue’s the Color of Love—Well, this is pretty much a blues song. It’s a tale of a woman looking for love in all the wrong places, “chasing a dream, dressed in blue,” “soldier-boy-blue, now he’s gone.” The song communicates a kind of “rinse-and-repeat” inevitability. She keeps chasing the same dream, over and over.

Why Don’t You Tell Her—This was the first jazz song I wrote. It has snippets of various life experiences rolled into it. It’s fundamentally about a guy who can’t make up his mind, choosing between two women. He feels caught in the middle, but the predicament is of his own making.

Warrior—You may look at me and think, she’s no warrior! Well, there are many kinds of warriors. I grew up in an immigrant family on my mother’s side. My grandmother stayed in the US, while the remainder of her family returned to Belgium – and suffered through two world wars where their country was invaded. I grew up with tales of my great-aunt Marguerite’s bravery during World War II, when she was in the Resistance. I spent time with her on two occasions. I have been in her café in Belgium. I have been in the courtyard where her husband was assasinated by Nazis and she was beaten and left for dead. When I was growing up, and still to this day, I think the most important aspiration is to be brave and have courage.

After the Hurricane: The Only Thing I Own—I wrote this song after Hurricane Katrina. But it was inspired by an elderly man I knew in a small town outside Seattle. He grew up in a mill town – a company town where everything was owned by the company that owned the lumber mill. When mill towns were exposed and became an embarrassment, the company tore down everything – the company school, the company hospital, the company store. My friend missed his town and had a hole in his heart because all his memories of growing up had been obliterated. I thought of my friend George when reading stories of Katrina victims.

Named For A Flower—This was the first song I wrote. It came to me when I was standing at the stove making Brazilian Black Bean Soup. I had been thinking about a song by Iris Dement and about how cool it would be to have a “flower name” like Iris. I thought about an article I’d read describing how one’s name affects one’s personality and fate. The song is a tale of a woman with a hard-scrabble life on a ranch she has inherited, and a man she fancies who she believes would notice her if she was named after a flower. In my mind, her ranch is in the Snake River Valley.

Blown to Kingdom Come—This song is about my dead brother, Sam. He died in a tragic accident before his daughter had even graduated from high school. My mother also lost her brother to a terrible accident. I could not write anything about Sam’s death for years. Then I was reading a book set in the American Midwest and the author was so graphic in the way she described the sights and sounds and smells of the Midwest. I was taken back to my childhood. I remembered a young boy who drowned in the river near our house. That death provided my way in. Somehow writing about the boy’s death became my way to write about my brother. This is a song about the fragility of life and how sudden death can be.

Bio: Joann Hamick Quintana

Midwest roots
Joann Hamick Quintana, daughter of a music-loving railroad engineer, grew up in a small Illinois town. She liked an eclectic assortment of music, ranging from Hank Williams and Peggy Lee, to Bob Dylan, Otis Redding and Jefferson Airplane. She sang duets with her sister in a makeshift room off the kitchen that included a piano, ironing board, freezer, cat litter box, and washer/dryer. It was a working class upbringing in what later became a dying industrial town.
In her teens, she sang folk songs and took up guitar, thanks to a loaned instrument from her eighth-grade biology teacher, who encouraged Joann to participate in a school talent show.

Leaving home
For many years, Joann left music behind to focus on her education and earning a living. She dedicated herself to writing, learning, travel and surrounding herself with beauty and art – all things that seemed in short supply where she grew up. And she moved west to California, then Seattle.

Back to music
Decades passed and Joann realized she needed music back in her life. After giving up on a clinically depressed guitar teacher and a voice teacher who taught grunge singers to growl, Joann found gifted Seattle guitar teacher Rob Hampton. Joann wrote her first song at the age of 56.
She wrote more songs, joined bands, then had her own band. In 2015 she recorded her first studio album of all-original music. “Sometimes A Sinner,” produced by roots music guru Michael Thomas Connolly, recorded at Empty Sea Studios in Seatle.
Joann spent much of her life writing for other people. In songwriting, she writes for herself, pulling from a present and past, rich with off-beat characters, irony and imagination, love, tragedy and treachery. Her songs always pull from her personal experiences, but they speak about predicaments and situations that most everyone feels or has experienced themselves.
More recently, Joann moved to Whidbey Island north of Seattle, filled with world-class musicians, writers and artists, and she began intensive study with voice coach Jana Szabo. In her second album of original songs, “Not Enough Sundays,” her early musical influences are on display, from the twinkling Americana humor of Hank Williams, to the sultry jazz of Peggy Lee, the poetry of Bob Dylan, the beats and grooves of Otis Redding, and the soaring rock-and-roll of Jefferson Airplane.

Gratitude from Joann for:

Jeff Fielder:
Amazing. How did I end up with sought-after Seattle guitarist Jeff Fielder on this album? Jeff plays lead and slide guitar and even organ on one song. He’s a great guitarist and a wonderful human being. Thank you Andre Feriante for introducing us.

Josh Collins
I’m twice lucky to have prodigy guitarist Josh Collins on two jazz songs on the album. There were a few golden months when Josh lived on the island and played in my band, before he hightailed it back to California.

Kevin Voigt
Kevin Voigt’s creative bass lines give many of my songs their distinctiveness. I love collaborating with Kevin when writing a new song, and there’s no one quite like him to perform with! I’m happy he’s my friend and band mate.

Mickey Grimm
Mickey is a former Nashville drummer who goes to the ends of the earth to find the right sound, including one tune on the album where he plays empty CD covers.

David B. Malony
That muscular, solid, well-honed percussion you hear on the title track and several others (e.g. Taking the Money) is David Malony. Besides being a hugely gifted drummer, David also owns Blue Ewe Studio and is a tireless, talented sound engineer, producer, and friend.

Joe Q
My biggest supporter and fan is my husband Joe Quintana. He has schlepped amps and speakers, and listened to hair-brained monster lyrics before I was able to turn them into fairy princess songs. He’s terribly opinionated, but also truthful to a fault. He’s in my corner – and he’s a man you want in your corner.

The “Voices”
Many thanks to the lovely voices of Russell Clepper, Gina Marie Mammano and Jana Szabo on “Blown to Kingdom Come.” And much, much gratitude to Jana Szabo for her tireless efforts to help me become a better vocalist. Like everyone who pursues music, I’m a work-in-progress.

Song Lyrics (all copyright, BMI)
“Not Enough Sundays” ©

Song Lyrics

Not Enough Sundays
Verse 1
You’re some kind of cat so sleek
Prowling for tender new meat
You love the hunt you’re bored with the catch
I walked out first now you want me back
Verse 2
You’re city-slick I got country ways
I’m working nights you’re playing days
You’re smooth jazz I’m off-key
I’m dirty nails you’re perfect white teeth
Chorus
I’m praying in church Lord, I’ve been a fool
Keep me from this love so cruel
But there’s not enough Sundays, not enough Sundays
Not enough Sundays
To get me over you
Verse 3
You’re such a rebel, but not for long
They’re thunderstruck with me on your arm
Radical chic is your latest fad
In the end you’ll be like your dad
Chorus, Instrumental
Last Verse
I love the little boy not ruined by money
Now I can’t find him inside of you
I’m more than a girl who dreamed of wings but never flew
Last Chrous
‘Cause I’m flying I’m flying
I’m flying away from you
But there’s not enough Sundays not enough Sundays
Not enough Sundays
To get me over you

Taking the Money
Verse 1
My daddy said honey babe
Don’t let a man use your love
Stash some cash for a rainy day
So you can take the money and run
Verse 2
I put money in a jar every time you hurt me
Now that jar weighs half-a-ton
I bought a ticket for an airplane
I’m taking the money and running
Chorus
I’m taking the money and running
I’ve had it with your part-time loving
I gave it my all you gave it nothing
I’m taking, I’m taking the money and running
Verse 3
I want one love and it’s you
Why won’t you settle down?
I’m dying to say “I do” but those other women
Keep coming ‘round
Bridge
I’m a hard-headed lady
You know my daddy’s got a gun
Bullets might fly better hit the floor I’m headed for the door
I’m taking the money and running
Instrumental
Verse 4
Best not mess with a daddy’s girl
Treat us bad and you’re done
Your girlfriends can have what’s left of you
I’m taking the money and running
Chorus

“Hey Katie, Have You Got A Brother
Hey Katie, have you got a brother?
I only ask ‘cause you seem so terribly nice
You are the one who might have a brother
From a family of four with a good dad and mother
Hey Katie, have you got a brother?
I woke up today, said where are they
The men who will stay till a girl’s dying day
Hey Katie, have you got a brother?
Do they want more lipstick or less? How to dress for success?
Skirts with flowers or suits with power?
Hey Katie, have you got a brother?
I got a BSB, a Ph.D. I’m Phi Beta Kappa and SJD
Hey Katie, have you got a brother?
I woke up to find the men left behind can’t make up their mind
Papers, lectures, grades and degrees
I need a man late to romance, just like me
Hey Katie, have you got a brother?
Is he smart and funny? With a voice like honey
Tell him no need to work, cause I’ll make the money
Hey Katie, have you got a brother? Tell me Katie, help me Katie…

Oh Ray
Verse 1
I never met a man who could lie like you
You got your houseboys all over this town
You say woman I’ll get the job for you
But all you do is cut girls’ dreams in two
Verse 2
You say I’ll get you in the door
Then you push your little man up ahead
You say I don’t know why you weren’t the one
Blamed it on my hair and what I wore
Chorus
Oh Ray, why’d you double-cross me?
Oh Ray, why make a fool out of me?
No woman ever makes the grade
Your yes-men they get pushed ahead
Oh Ray, why’d you double-cross me?
Bridge:
Some girls follow you like sheep
I got you made your talk is cheap
You kill poor girls’ dreams
We need a charity for all the women, all the women, all the women
Who fall for your schemes
Chorus

Meat On Your Bones
Verse 1
I got a big love, busting out at the seams
He’s a big, big love, sweet as berries and cream
He’s roasty and toasty not a bone in that man is mean
Verse 2
Had me a thin man he took me for a ride
Ate food from boxes had to count every bite
If you are what you eat that man’s empty inside
Chorus
Pour that cream in your coffee tell the man pie a-la-mode
Mashed potatoes and gravy have a big ice cream cone
‘Cause honey I want you with some meat on your bones
He’s six-foot-four wide as a door a heart the size of Texas oh give me some more of that meat on your bones, meat on your bones
Honey I want you with some meat on your bones
Bridge
You’re my fat cat meooowwwww
You’re my bad bear, growwwwlllllll
You’re my big dog, let me hear you howl, howl howl
Chorus

Slow Horse
Moving too slow
Making me late
You’re moving too slow
Making me late
Verse 1
Used to move like the speed of light
Race horse in a coat and tie
Honey I want a slower pace
Quit your job goodbye rat-race
Chorus
Moving too slow
Making me late
You’re moving too slow
Making me late
Late to work, late to church
Can’t even make a night out with the girls
Moving too slow
Making me late
Verse 2
Look at you not an ounce of fat
Carry around a yoga mat
It’s woo-woo this ya-ya that
You eat like a bird, you’re slinky! Loose like a cat
Bridge
Don’t mind your meditation
Can’t take this contemplation, hesitation, delibera-a-a-tion…
Chorus

My Tess
Verse 1
I found you a home but you live in your car
Tess, you’re breaking my heart
I found you pills to mend your mind
They stay in the bottle, you think you’re fine
Chorus:
I want to love you, I want to love you like when you were a child
I want to love you, I want to love you like when you were a child
But I can’t be your keeper
No matter what they say in the Bible
Bridge
I don’t live by rules you say to me
But the way you live, can’t call that free
You’re free like a bird who you can’t fly
They heal your body
Not your mind
Verse 2
I make you a bed soft and warm for the night
You steal my money you’re gone by daylight
I brush your hair, I hear you cry
The song on the radio says don’t ask why
Chorus

Blue’s the Color of Love
Verse 1
Blues me up, blues me down
Red my lips, I’m going downtown
Silver wheels pick me up
Red shoes on, have me some fun
His black shoes shine, we paint the dawn
Soldier boy blue, now he’s gone
Chorus
Chasing a dream dressed in blue
Reds and pink the color of fools
It’s losing and leaving and wanting and grieving
I’m telling you blue’s the color of love
Verse 2
Big house, white blueberry pie
Baby girl pink, sugar-brown eyes
Caged bird flies, brown door slams
Tarnished pride, here we go again
Chorus
Outro
Blues me up, blues me down, red my lips, I’m going downtown

Why Don’t You Tell Her
What’s eatin’ you babe?
You got a chip on your shoulder
I know you’d feel better
If you only told her
Chorus
What’s eatin’ you babe?
Tell me, what’s the rub?
Why don’t you tell her we’re in love?
Verse 1
Five dreamy years
No ring to show
You wanna’ see who loves you the most
You’re gonna’ end up losing us both
Chorus
Verse 2
Take a look at me
I’m no second fiddle
One on the right, one on the left
And you’re caught in the middle
Chorus

Warrior
I can’t explain the beginning
When I knew just what I’d be
I knew I’d be a warrior
When I reached my mother’s knee
Barbie just didn’t cut it
I dreamed of Joan of Arc
With grit and Girl Scout’s honor
I said I will make my mark
Chorus
I’m a warrior, fighting to be free
I swim against the tide so I won’t get washed to sea
I’ll love cherish and honor
But obey? That’s not me
Bridge
If you won’t say what needs to be said
Don’t sit next to me
If you won’t stand for what you believe
Don’t sit next to me
If you talk-the-talk but you never walk-the-walk
Please don’t, don’t sit next to me
Chorus

After the Hurricane: The Only Thing I Own
Verse 1
That damned storm washed away
Any love in me
No photo no China plate or book
Nothing left of the life lived by me
I ran from that sinful city
Dead dreams, hope turned to rust
Too proud for your pity
Too empty for your love
Chorus
How can you love a woman with a hole in her heart?
How can you find my soul when I have no home?
I didn’t come to Houston for another start
Now that crooked smile of yours is the only thing I own
Verse 2
Some nights I dream the black water
Is taking me away from you
I came here with nothing that mattered
I said I’ll never again have anything to lose
So solid, so true, my old life
Till fate let me know we’re all on thin ice
Chorus

Named For a Flower
Chorus
If I was an Iris a Lily or a Rose
I’d have pastel dresses and polish on my toes
I’d have you in my power
If I was named for a flower
Verse 1
The sun came up this morning I knew I’d had enough
Livin’ like a soldier pretending to be tough
I’ve got dirty work boots a sunburned face
I’d trade them for some glitter and a little grace
Verse 2
I lay here wondering about this life that chose me
I’ve got open spaces they don’t make me free
I roam this hard ground like my dad used to do
Watchin’ the river at sunset and thinking about you
Verse 3
I’d have all your love if my hair was shiny yellow
I’d feel your touch with skin soft as a petal
But livin’ this way I can’t glisten or shine
Who will I be if I leave this life behind?
Chorus
If I was an Iris a Lily or a Rose
I’d have pastel dresses and polish on my toes
I’d have you in my power
If I was named for a flower

Blown to Kingdom Come
Verse 1
I feel the night they pulled you from the river
I stood on its banks, I fell to the ground
Was there a sign? Was there a warning?
Your life was gone, this seething river the only sound
Chorus
A storm’s on the way, a storm’s on the way
Will this be the day? Will this be the day lord?
Will this be the day we’re blown to Kingdom Come?
Verse 2
Water’s rising high above the levy
I need, I need these raging storms
There’s scars and bones of the tribes that roamed these fields
This free-flowing river and all the souls it’s torn
Chorus
Bridge
I stay for whip-or-wills singing in the hollow
I stay for thunder rolling across the plains
I stay because your soul is in this river
I need your memory, it’s my ball-and-chain
Chorus


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