Songs For Creeps

by Amy Annelle

/
1.
Miners Lie! 06:00
a now, a now, a now or a never. a now, a now, a now or a never. the lines composed in sleep are the best that come to be. but fade, like a wave they do, in the morning. goodbye. goodbye. on the family monument, your name has been engraved. below the welded iron crosses, oh! the miners lie, waiting for you to die. with your eyes wide open, you're staring at the sky, with your eyes wide. now: where's all the mercury? where's all the cyanide? the poison well's inside you, the poison well's inside.
2.
we started out into "The Great Starting-Out" again black habits to match the halos floating over our heads and speed! enough blessed speed to keep us up for weeks well, alright. and what of this speed? it's what you need, and I need it too. the blackness stays behind if we just keep moving. well, alright. lost you when i lost it, I don't know this way. but a white line runs behind me, so you can come and find me... okay? well alright! we started out into "The Great Starting-Out" and then my favorite blue-eyed savior has come to me again. the late twinings finally tied up into something. well, alright.
3.
when I lay my eye on you it's like a lion meets a lamb it's like when a lion meets a lamb I'm hungry, you're helpless and I don't give a damn. caught you with one paw tore you open with one claw and your blood came out in waves 'til it was drained came and came 'til you were drained and then i took of your sweet flesh until there was nothing left. so reckon with me, sweetie and tell all your little friends I've done it before, and I'll do it again I've done it before and I'll do it again you haven't got a prayer unless you're hungrier than me cause a lion doesn't share.
4.
My Weary Eye 06:37
it's good to stop and rest for a while but then move along, move along I know what's waiting in these amber-colored octaves a distillation of all my best defenses a distillation of all my best defenses i'm worthy as a birdie in the bush with two hands worth less than a cat with no master worthy as a birdie in the bush with two hands two hands you've got a clear shot at my weary eye I know what's waiting in these amber-colored octaves it's what I sink with my battleship it's what's kept in my graveyard a thousand bodies buried and no marker a thousand bodies buried and no marker
5.
Mercy Me 03:18
this is the room that I once lived in gold carpet, fake wood paneling worked from dark, 'til the dawn it crept in stayed there until I'd been forgotten the shop downstairs sells generic cigarettes lighters with tits, and lottery tickets and they got a motor on the beer cooler that keeps me up at night and I've seen the holes burned into these walls by the eyes of the lonely who've long ago given up calling for mercy. oh mercy me. oh, mercy me, oh, mercy. a lady lives next to me she has some family her hair is still blond though her body has softened her daughter's ashamed of her stays half an hour on christmas and her birthday and I share a bathroom with the blond lady halfway between her and me in the hallway and everything shakes when trucks go by on the street it makes my head and my bones ache and I've seen the holes burned into these walls by the eyes of the lonely who've long ago given up calling for mercy. oh mercy me. oh, mercy me, oh, mercy. hey, ho, let yourself go slit me up from gut to throat and call it a victory oh, mercy me. oh, mercy me, oh mercy. now my key's in the door this room's fallen empty through the wall I hear a TV and I'm leaving now while nobody sees me
6.
the leaves upon this chestnut tree are making me so sorry, so sorry 'cause when they turn from green to gold i know the summer love in me is fading is fading September is but a half-month just time enough to sweetly wave goodbye to lives lived by golden hours on lover's isles just time enough to set your course for a cold and dripping distant silver shore stay with me, my faded angel we'll turn the leaves from gold to green this is no time to take your leave the sun can live inside stay
7.
it's all an extension of the natural arc and unless you lay with me, you won't know what I mean you won't know what I mean four, five, six, seven magnitudes of stars gone out now a glorious dawn is descending a glorious dawn is descending do you know what I mean? harrier hawks and prairie falcons take wing upon your waking and your namesake is unrivaled in her half-light it's not half-right * * * will you rise and take a stand with a bible under your right hand? and your namesake is your rival in her half-light * * * you saw the fatal flaw and carry on somehow you saw the fatal flaw and carry on somehow so fall forward the catching a sense of duty now you saw the fatal flaw you saw the fatal flaw you saw
8.
I hate this place every one of us is wasted and there's nary a happy drunk in the house we're a wounded lot with black holes for eyes making believe we're what we're not and I'm in the spotlight I can't do nothing right I wear all my fears here on the outside and we are taking shots in a hospital for wounds that you can't talk about so you see it's time that I say goodbye, goodbye goodbye I'm a-gone get high, look at the big sky watch the bats as they fly through the moonlight it's alright I'm a-gone down to the greenfields tonight here we are taking shots in a hospital for wounds that you can't talk about oh, I say goodbye goodbye goodbye I'm a-gone get high, look at the big sky watch the bats as they fly through the moonlight it's alright I'm a-gone down to the greenfields tonight I'm a-gone sleep in the greenfields tonight I'm a-gone sleep in the greenfields
9.
he was a man such as the earth bears few of he was a man made out of glass and clear I see into him not thin-skinned but with all his nerves laid bare but what's the use in talking when only it fails him? I met him at the bottom of the river we were walking with our cement boots on I wasn't much for talkin' neither was he so we got on beautifully and let each other be cause what's the use in talking, when only it fails him? at night I lift my sheets and sleep and pray tonights a night he comes for me we carry on much sweeter than the daylight ever could be he was a man such as the earth bears few of he was a man made out of glass and clear I see into him not thin-skinned but with all his nerves laid bare but what's the use in talking when only it fails him? yes what's the use in talking when only it betrays him?
10.
Worse & Wise 05:00
he came again came to me with a new face we all thought for sure he was done for but older all the more worse and wise for the wear and where have you been all these years? tell me where have you been all these years? and from him comes a waterfall of true things thunderstorms and torn-off bird wings he knows of my nameless ache and how it grew to rule me and how it all fell on deaf and dumb ears and it'll all fall on deaf and dumb ears he said, "darling you are here for a reason your only hope now is love and if you let it it will fill the cracks and spring the traps that you set in circles 'round you worn out broken heart" this road is so lonesome and slow but you will be set free when you know you've been had by savage masters jealousy and anger don't you see now love is all that's left? love is all that's left

about

all songs © High Plains Sigh Music/BMI

"A starkly beautiful collection of dark avant-folk wanderings that can be eerily quiet and breathtakingly beautiful, Songs For Creeps mirrors the nomadic lifestyle of its maker. Utilizing vintage equipment and instruments, found sounds and her own sweet voice, Annelle crafts wonderfully weird, macabre songs about fading love, murderous intentions, seers and midnight explorations. Tender acoustic passages like 'I¹m A-Gone Down to the Green Fields' play off the dream-like reverie and menace of 'My Weary Eye', while 'The Lion's Share' and 'Blessed Steed' are immersed in rustic dobro guitar stylings...Annelle is as adept at composing elegant country songs as she is at folk melancholy. She¹s a talent to watch."--Peter Linblad, Goldmine

"For those who know Amy Annelle by the vast company she’s kept, “Songs For Creeps”, her sixth overall and fourth as the Places, may come as some surprise. With her standard band compliment stripped away, Annelle explores this oddball set of twisted folk tunes with the assistance of a handful of friends...all of it features Annelle’s intersection of Gillian Welch’s Appalacian authenticity, Janis Ian’s confessional folk and and Tom Waits’ cross-genre bravado...Annelle is a brilliant desert troubadour with a dark and compelling vision."--Brian Baker, Amplifier Magazine

The word "folk" is often tossed about when describing Amy Annelle's music, presumably because the acoustic guitar is such a dominant instrument and because her poetic lyrics don't fit within any sort of easy pop categorization. However, such a label doesn't take into account the surreal atmospheres and haunting textures that loom throughout her music. Annelle's songs encapsulate entire tiny little worlds of sound, conjuring up dim images of broken down places and darkened rooms pregnant with memory and longing. Field recordings, samples, broken snippets of conversation, and radio and television footage add to these images, creating lived-in spaces where the inhabitants have since packed up and moved on, leaving behind spiritual and emotional debris"--Opus

"...an angelic voice and an interest in dark, grainy visions of the American nightmare...Songs For Creeps runs through sprawling songs that nod at Will Oldham, Johnny Cash and Fairport Convention. Annelle captures the ominous, awesome feeling of storms rolling across the plains, with the sun periodically breaking through"--Noel Murray, The Onion/AV Club

"Conventionally this record might be folk, psychadelic, avant-pop--more or less undefinable--but most of all it's got a grip on the sprawling, strange, optimistic, terrifying feel of open-road America"--David Snyder, Indie Folk Forever

credits

released November 1, 2006

recorded and mixed by Brian Beattie at the old Wonder Chamber, Austin Texas except "Such As the Earth" recorded by Jay Pelicci at Tiny Telephone, San Francisco, California
mastered by Billy Stull at Masterpiece in Wimberly, Texas
album art: Eric Mast

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about

Amy Annelle Austin, Texas

A prolific writer and interpreter of songs, Amy Annelle maps out the farther reaches of American music, while conjuring visions of our restless musical past. Over the course of ten albums & thousands of miles logged on the road, Annelle has cultivated a rarified voice and repertoire that "blooms with open-hearted, lustful vulnerability and a harrowing naturalistic solitude”(Crawdaddy). ... more

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