Safe
can we stop pretending
this is real
can we stop believing
love is all you need
plenty of us here
to see this through
but if I don’t say
what you won’t say
if you can’t say
what I won’t say
if you won’t come to bed
Baby come to bed
how will we
how will we be
Safe
under cover of these storms
these storms
underneath these storms
be safe
safe underneath these storms
it was one of those days
you don’t stop between
the front door and the bar
is this where we are
is this where we come to
how many years
how many nights
to take someone’s word
you never heard of
over mine
how could you
and how will we be
how could you
and how will we be
Safe under cover of these storms
these storms
underneath these storms
be safe
safe underneath these storms
storms
storms
what is real
what is real
is what is real in these nights
Or in that morning you said to me
“Fences make good lovers”
fences make
good lovers
Good Lovers
music and lyrics by Josh Lindsey
produced by Josh Lindsey and Charlotte Martin
vocals produced by Charlotte Martin
Josh Lindsey:
main vocals and additional vocals
piano, electric pianos, synths
bass and strings
timpani, drum programming
After the Space Age
baby don’t get like this —
all in your head
what is it tonight
hunger war or
other giants you can’t slay
a rusted Silver Seed
or our moral decay
“do you think —”
yes I think you
think too much
“do you know
they know
thoughts I haven’t thought”
baby nothing’s free
but the thoughts you think
so why are you still
trusting them
after the Space Age
nothing’s changed
after the Space Age
should have known I was through
when I saw
David about to sling the stone
and their rush to
paint this kid philosopher king into pinstripe bespoke armor
what part of yes
don’t you understand
“baby if this is the end again —
Berlin” I said
“I would rather
spend it all with you”
and I meant every word
I meant every word
after the Space Age
should have known
After the Space Age
why can’t we get past ourselves
and why can’t we get
out of our own way
and why can’t you
get it through your head
I’d trade
I’d trade
I’d trade it all for you
wake up baby
the sun’s rising
over Roosevelt Island
think you got another one in you
I think you do
I think you got another one in you
and you have the Controls
so where do we go
after the Space Age
fight or fly (you gotta)
fight or fly (you gotta)
fight or fly
after the Space Age
it’s time
we should be
Levitating
it’s time
we should be
Levitating
it’s time
we should be
Levitating
music and lyrics by Josh Lindsey
produced by Josh Lindsey and Charlotte Martin
vocals produced by Charlotte Martin
Josh Lindsey:
main vocals and additional vocals
piano, electric piano, synths
harp, bass, cello
drum programming
Charlotte Martin:
drum programming, bass, space pads
additional vocals
Hydroplane
oh
“don’t slow down, don’t try to steer — I’m right behind you when you fall”
I show up soaking wet making a mess on your doorstep
“where have you been?” “you wouldn’t believe me if I told you”
feels like I hydroplaned most of the way here
most of the way here
the way here
I hydroplaned
“didn’t you read the map I drew for you?”
“no, I had to make my own and then I lost it”
feels like I hydroplaned most of the way here
most of the way here
the way I hydroplaned I hydroplaned
if I grow tall will I see you messes flaws and all
oh don’t slow down, don’t try to steer
if I grow tall will I see you brilliance flaws and all
what then what then what then
I hydroplaned I hydroplaned
(better than going nowhere)
I hydroplaned most of the way here
I hydroplaned (better than going nowhere)
I hydroplaned most of the way
here
music and lyrics by Josh Lindsey
produced by Josh Lindsey and Charlotte Martin
Josh Lindsey:
main vocals and additional vocals piano, electric piano, celesta, organ
viola, bass
timpani, percussion programming
Sleight of Hand
embarrassed millionaires
spiritual warfare
a classic Sleight of Hand
manifest destiny
it would be so nice
if you politely know your place without being told
feels like I know less and less
standing on your promises
alone
scrambled split afraid, race for
the only two sacraments we know a rush to war,
a rush to a lynching
rush to war, a rush to a lynching
“Sisters, brothers, are you prepared for the greatest show of your life?”
We all know our parts now —
“Reverend, will you lead us?”
To think I once wondered
how and why
a nation turns on a dime
naked drunken father
his Cradle-plundering
keep your back turned to it
as unto the Lord
it would be so nice
if you politely know your place without being told
feels like I know less and less standing on your promises
alone
scrambled split afraid, race for
the only two sacraments we know rush to war, a rush to a lynching
rush to war, a rush to a lynching
“Sisters, brothers, are you prepared for the greatest show of your life?”
We all know our parts now —
“Reverend, will you lead us?”
To think I once wondered
how and why
a nation turns on a dime
it’s not as hard as you think
but you won’t know until you try
he says “who are you gonna believe — me or your lying eyes?”
don’t start making sense
Where have I seen this before? “Oh no,
you must have imagined it” Where have I seen this before
“Oh no,
you must have imagined it”
Sisters, brothers
are you prepared?
music and lyrics by Josh Lindsey
produced by Josh Lindsey and Charlotte Martin
Josh Lindsey:
main vocals and additional vocals piano, electric piano, organ, clav, synths
drum programming
Charlotte Martin:
bass, organ
drum programming, beats
Split Myself/Condition
so you surprise drop
your follow-up hit
or miss
“Frankly, I miss you, kid”
it has a nice ring to it
I need a beat
“Where are you with this?”
I need a beat
I know you
hate
it
when
I hesitate
but
I had one job
I had one job —
if I could
if I could
split myself
atom from atom
things you do
and do not want in a boy
do and do not want in a boy
I know who you are
I know it in my bones
I know who you are
I know it in my bones
“Need your answer.”
don’t sing a tune like I didn’t — “Need your answer.”
— study every smooth
and jagged place on you
I had one job
I had one job
if I could
if I could Split
Myself atom from atom things you do
and do not want in a boy
do and do not want in a boy
How long have you been
holding onto that
behind your briny chest where I would sleep all night where I would sleep
all night
thinking
I had one job
I had one job
if I could split myself
atom from atom things you do
and do not want in a boy
do and do not want in a boy
Did you just drop in
to see what Condition
my resolve was in
and did you see to
yours
cause I’ve heard it all before
I’ve heard it all
and why did you just drop in
and why did you
just
drop in
just when I’d found
the cure for my condition
I’d found
the cure
I’d found the cure
music and lyrics by Josh Lindsey
produced by Josh Lindsey and Charlotte Martin
vocals produced by Charlotte Martin
Josh Lindsey:
main vocals and additional vocals
piano, electric pianos, synths horns, bass
additional drum programming
Charlotte Martin:
drum programming, beats
DSM
“I always wondered what became of you” you said
in a black dress
in a half-earnest half-embrace with that Bless Your Heart tone we know so well,
me and all the dead
poets marked out
of your society
but you “don’t know” how I “could just walk away” you don’t know how I could “just walk away”
you scream
“what is wrong with you?”
so I looked it up in the DSM but it wasn’t there
truth I needed you to know smacked you in the jaw and
and your god and mine
scattered across the floor
like broken teeth
I hit the door, leaving you victim of
another bar fight with my anxiety
but you “don’t know” how I “could just walk away” you don’t know how I could “just walk away”
you scream “what is wrong with you?” so I looked it up in the DSM but it wasn’t there
it’s like your brain chained all the fire exits and now you’re suffocating in this club
you didn’t even wanna come to
and you’d do anything
to do anything
anything at all
it’s like your brain
chained all the fire exits
and now you’re
suffocating
in this club
you didn’t even wanna come to
you “don’t know” how I
“could just walk away”
you don’t know how I could
“just walk away”
you scream “what is wrong
with you?”
so I looked it up in the DSM
I looked it up in the DSM
“what is wrong with you”
so I looked it up in the DSM
but it wasn’t wasn’t wasn’t there
It’s funny
the deals you’ll make with yourself
Lies you’ll tell to stay alive
lies you’ll tell
Lies you’ll tell
and tell
and
Lies you’ll tell to stay alive
music and lyrics by Josh Lindsey
produced by Josh Lindsey and Charlotte Martin
vocals produced by Charlotte Martin
Josh Lindsey:
main vocals and additional vocals
piano, mellotron, synths
bassoon, strings, bass
drum programming
Charlotte Martin:
additional piano
additional vocals
T Shirt
“Sundays are always tricky”
Joe said and he took another drag “too much time and space for me and my thoughts to rattle around”
and just as I inhaled his sigh launched second-hand smoke across the sidewalk
“Stop. I know you think you’re about to say something profound
but if you can fix it with a T shirt I must be even dumber than I thought”
look on the bright side, your luck can turn around anytime, it’s all in your head, just pick yourself up “Why didn’t I think of that” Why didn’t I think of that
when Joe came back to life after that, he had to paint a brave face for his boss, his kids, his woman, and me
“you know, it wasn’t that bad — I never really meant to go”
layered on top of his pain, the job of rewriting history
just so we could look at him and not see
but if you can fix it with a T Shirt
I must be even dumber than I thought
look on the bright side, your luck can turn around anytime, it’s all in your head, just pick yourself up
“Why didn’t I think of that” Why didn’t I think of that
“do you remember,” Joe said “those kids we used to be — what did we know?” “Only everything”
“do you remember,” Joe said “those kids we used to be — Running around with all our good good friends, all those Zombies from all the best families”
Zombies from all the best families
Zombies from all
all
all —
— I know you think
I know you think you’re helping
but if you can fix it with a T shirt, I must be even dumber than I thought
look on the bright side, your luck can turn around anytime
it’s all in your head — just pick yourself up
Why didn’t I
Why didn’t I
“Why didn’t I think of that”
music and lyrics by Josh Lindsey
produced by Josh Lindsey and Charlotte Martin
vocals produced by Charlotte Martin
Josh Lindsey:
piano, organ, synths
bass
drum programming
Charlotte Martin:
drum programming
beats
Brian Rivers:
put an exhale on it
Mr. Holland
Made You a Boat
water
water everywhere
so why am I so dry
and how long can I
juggle
two truths and a lie
so you try
try to speak to my heart
but it’s a long distance call
you know I never could
fake it worth a damn
so what good would it do
if I made you a boat
if I made you a boat
if I made you a boat out of stone
I know I failed you and failed you
I carry it with me I
I carry it with me I
I carry it in my heart and I think
if we could take
one step forward
one step back
if we could dance
dance to feel the rhythm that failed us
if we could live
some of those weeks again
but what good would it do
if I made you a boat
if I made you a boat
if I made you a boat out of stone
we slept out
on top of the house and told
every secret that popped
into our heads
but none this big
none this big
I would kinda like to
wake up in your house again
wake
up in your house
wake
up in your house again
but what good would it do
if I made you a boat
if I tried to speak to your heart
if I made you a boat
if I tried to speak to your heart
if I
Made You a Boat
out of
out of
out of
out of stone
out
out of stone
music and lyrics by Josh Lindsey
produced by Josh Lindsey and Charlotte Martin
vocals produced by Charlotte Martin
Josh Lindsey:
main vocals and additional vocals
pianos, synths
bass
drum programming
Charlotte Martin:
additional vocals and sampled vocal loops
put another coda on it
Brian Rivers:
loop direction
put a coda on it
Thanks for the Coffee
you snooze as I sip my coffee
the days are getting longer
just like you said
“why don’t you come down here
and just watch the canal
til you figure it out
you’ve been missing in inaction
you’ve been missing in inaction
but the seasons still changed
the bills still came due
while you’ve been missing in inaction
are you
rethinking
rebuilding
in this little town
“She’s
living in The Quarters
looking just like a Black
living in The Quarters
talking just like a Black”
“There’s only good reason for that,
Lord knows”
things to be glad you don’t understand
you’ve been missing in inaction
you’ve been missing in inaction
but the seasons still changed
the bills still came due
the seasons still changed
the bills still came due
while you’ve been missing in inaction
are you
rethinking rebuilding
in this little town
in this little town
“you’re looking better in this heat”
you said a mouthful, brother
“sometimes you feel be at home
but not really be at home”
and when you wake up
and when you wake up
and when you wake up
I’ll say
Thanks —
Thanks —
Thanks for the coffee
you’re looking better in this heat
you said a mouthful, brother
sometimes you can be at home
but not really
sometimes you can feel at home
but not really feel
sometimes you can be at home
but not really be at home
music and lyrics by Josh Lindsey
produced by Josh Lindsey and Charlotte Martin
Josh Lindsey:
main vocals and additional vocals
piano, organ, synths, strings programming
What's Keeping You Up Out of the Ground
when I was a kid, I went to church about eight times a week, and I was always listening and the Dear Lord never really spoke to me, but I remember he’d said “if you take my kids from me, you’ll wish I had only tied the biggest stone I ever made around your neck and thrown you into the deepest sea I ever made” now what about that?
Anyway, as I said, I was always listening. And my Sunday School teacher confessed her daughter had a friend who was gay, which wasn’t the best Christian witness, but she had to love Meredith for her sense of Charity
And before you think this is all about me, let me tell you about my friend Ebony — in the prayer circle I heard them say the reason the Dear Lord took her so early was her mom and dad never got married
Friends, we should stop and think what we are undoing. Friends, it’s okay if you need a break before powerlifting this six thousand year old burden off of me and off of you if you are still listening
They had me so convinced the sin was in my blood They had me so convinced the sin was my blood Finally I broke free now don’t try to tell me there is sin in how I love
Friends, I know it’s tough There will be days You gotta remember What’s keeping you up out of the ground What’s keeping you up What’s Keeping You up out of the Ground
And when you’re having trouble filling in the blanks Muddle fucking through, kid It is always worth it
You gotta stick around to see this through You gotta stick around to give back to you You gotta stick around for days you wouldn’t trade Days you’ll feel proud of where you’ve been Days you’ll feel proud of every lesson Days you can sit in the sun just breathing Remembering when They had me so convinced the sin was in my blood They had me so convinced the sin was in my blood
now I see sin is something they made up to keep you on your knees sin is something they made up to keep you on your knees
I’ll say it for the back:
sin is something they made up to keep you on your knees
Finally I broke free now don’t try to tell me there is sin in who I am or how I love
Yeah, when I was a kid I went to church about eight times a week and I was always listening and the Dear Lord never really spoke to me but I remember he’d said “if you take my kids from me you’ll wish I had only tied the biggest stone I ever made around your neck and thrown you into the deepest sea I ever made” NOW. What about that?
music and lyrics by Josh Lindsey
produced by Josh Lindsey and Charlotte Martin
Josh Lindsey:
main vocals and additional vocals piano, organ, clav, celesta, synths
viola, strings, guitar
drum programming
Friends in St. Louis
Everybody gets urges, child
I keep a pencil by the pillow
and if my dreams are worth writing down,
I wake myself up
you don’t know where the mind goes
you don’t know where the mind goes
I was thinking about that day at the public pool
Golden Boys rollicking Alleluia Alleluia
Yes, I know the law
but what good is the law
when you step outside the law
It feels like this life is falling in on me
if I have to start all over, I got some friends in St. Louis
I got some Friends in St. Louis
Bones and fragments, some days I look at him
‘You don’t know how bad a bad day can be’
These nightmares aren’t worth writing down
I wish I could wake myself up
you don’t know where the mind goes
you don’t know where the mind goes
I bet they’d like to see me Face Down
brother sun, no sister moon
no Alleluia, no Alleluias
Before we are saints we are flesh and blood
we are nerve and sinew and lust and forgiveness
at least that’s what I’m hoping for
It feels like this life is falling in on me
if I have to start all over
I got some friends in St. Louis
I got some friends
I got some friends in St. Louis
music and lyrics by Josh Lindsey
produced by Josh Lindsey and Charlotte Martin
vocals produced by Charlotte Martin
Josh Lindsey:
main vocals and additional vocals
piano, organ, synths
bass, marimba, guitar
drum programming
Charlotte Martin:
additional vocals
Fucked
flying high with you
nice work if I can get it
Troubles of the world
melt away with one taste
wouldn’t it be just my luck
to be
so fucked up on you
so fucked up on you
never been so out of my mind
never been so out of my mind
even going out of my way
not to catch you
catch you in a lie
breakfast in bed with you
but it’s the taste of a
Sweet Danish
on your mind
you got me losing time
why should I think I’m
the only one who’s
so fucked up on you
so fucked up on you
never been so out of my mind
never been so out of my mind
even going out of my way
not to catch you
catch you in a lie
stoned still, struck dumb
when I saw that boy’s blue eyes
I saw
where you’d been spending
your Bulletproof Weeks
while I was
I was
so fucked up on you
so fucked up on you
never been so out of my mind
never been so out of my mind
even going out of my way
not to catch you
catch you in a lie
just then you give me
just enough
just when I was off of you
or you bring me
a fucking souvenir
from your trip with him
this is
I am
so Fucked up on you
so fucked up on you
never been so out of my mind
never been so out of my mind
even going out of my way
not to catch you
catch you in a lie
nice work
nice work
Nice Work
and then I woke up this morning
I found myself not thinking of you
and then I
woke up
this morning I found myself not thinking of you
and then
I woke up
this morning
I found
myself
not thinking
of you
music and lyrics by Josh Lindsey
produced by Josh Lindsey and Charlotte Martin
vocals produced by Charlotte Martin
Josh Lindsey:
main vocals and additional vocals
piano, organ, pads, synths
strings, guitar
drum programming
Best Thing
if you like your secrets, don’t date a writer
peace and quiet don’t love a fighter
I needed fire, I chose you
called me — your ex had finally moved out
to see if I might like to live now
my dream of waking up with you
I am a nervous wreck
I’m wracking my brain for
new ways of wrapping
you around me, me around you
hanging myself from your every word
hanging myself from your every word
last night you pointed out Orion
stars telling me I should quit trying
trying to make a black sky blue
when I’ve lost track of all my tears
when I look back on
all these years of Almost
I’ll still think
you are the best thing that never happened
you are the best thing that never happened
you are the best thing that never happened to me
your new head game for two or more players
you say I’ve gotta stop believing I’m
less than half of every love song
must be fifty ways to land a lover
I know in every port
you have a harbor
I mean my God have you seen you
hanging myself from your every word
hanging myself from your every word
when I’ve lost track of all my tears
when I look back on all these years of Almost
I’ll still think
you are the best thing that never happened
you are the best thing that never happened
you are the best thing that never happened
we came so close, we came so close
we came so close
you are the best thing that never happened
you are the best thing that never happened
you are the best thing that never happened
if you like your secrets, don’t date a writer
peace and quiet don’t love a fighter
I needed fire, I needed fire
you are the best thing that never happened
you are the best thing that never happened
you are the best thing that never happened to me
music and lyrics by Josh Lindsey and Charlotte Martin
produced by Josh Lindsey and Charlotte Martin
Mistakes
D — it’s me
I think we really gone and done it
this time
Wish you were here
manifest
outside of my imagination
but some nights we can almost
resurrect you
over a couple of bottles of Beaujolais
and talk about
mistakes we make out of arrogance
or absent confidence
“Bullseye, babe.
Don’t ask if you are brave —
you got this far,
didn’t you?”
“Whether you live to work
or work to live,
I don’t think I can do it”
“Well. Get out your pen, dear.
You know I love you,
but your life is a tragic comedy.
And if you write it down,
it could be a best-seller —
if they’re still buying —
look out for
Mistakes we make out of arrogance
or absent confidence.”
“Bullseye, babe.”
“Don’t ask if you are brave —
you got this far,
didn’t you?”
“And what if we have to abandon the land?
Will they ever forgive us?”
“You know you’re cute, dear, but I am literally a Ph.D. in what happens when your land abandons you; and if there’s one thing I have learned, it’s gonna happen someday.
So look out for
mistakes we make out of arrogance
or absent confidence.”
Bullseye Babe,
don’t ask if you are brave.
“You got this far, didn’t you?”
D, before I let you go,
I was thinking I should tell you
I was counting I was
I was counting I was
I was counting on growing old with you
I was counting I was
I was counting I was
I was counting on growing old with you
I was counting I was
I was counting I was
I was counting on growing old with you
music and lyrics by Josh Lindsey
produced by Josh Lindsey and Charlotte Martin
vocals produced by Charlotte Martin
Josh Lindsey:
main vocals and additional vocals
mellotron, electric pianos, synths
flute, cello, viola, guitar, marimba
bass programming
Charlotte Martin:
additional vocals and sampled vocals
Brian Rivers:
turn around, the stop sign is behind you
Revelation.
you always run
just when it gets good
and you
you got me sitting
thinking dark thoughts in dark cafés
“write it down” she says “to the angel”
“if you are nervous, shaking like a leaf — Tea will calm you”
The Three Stigmas this facade seems as good a place as any
to sit and wait for Revelation.
and walking home tonight
I casually observed as the winter turned the rain to snow
I don’t know where you go
but when you’re on the run
I am in truth
no use to man nor beast
Did you really think the rain on your flesh could replace my touch
the truth
the body willing, the mind bruised
you got me and I got me running to Mallory Square
and if you find me there hiding from the snow
I’ll tell you all you need to know
Revelation
never shows up when you’re ready
I waited to long for lightning to strike
like I didn’t know I’m too much
or we realize the fear it’s not enough
you always run just when it gets good
and you
you looked at me tonight like I ruined it all for you
and walking home tonight
I casually observed as the Spring turned the snow to rain again
music and lyrics by Josh Lindsey
produced by Josh Lindsey and Charlotte Martin
Josh Lindsey:
main vocal and additional vocals
piano
Garbage truck: additional sound design
Coyote dog: additional vocals