The Promise

You might think this kind of love is curse-ed. You might think no love is worth all that much pain. You might think I am better off for having lost it- but if I could I would do it all again…..

 

I am want to call it love making. But it was not.

It was animal. It was instinctual. A ritualistic coupling of passion and pain, anger and ecstasy all in such great measure that even in this moment, with that day so long ago and far away, I know not whether it rendered me dead, or I was reborn.  

But I do know, that from the moment he unsheathed his passion driven dagger and drove it deep into the tender recesses of my aching, needful flesh- yesterday was long forgotten and the promise of tomorrow? Simply did not exist.

There was only now. There was only us.

Until there wasn’t. 

And it is there, that the story of our demise truly begins.

                                                                          *****************************

 

The Promise is a song written and performed by American metal band, In This Moment. It was released on their third album, A Star-Crossed Wasteland. The song is a duet featuring In This Moment vocalist Maria Brink and Otherwise vocalist Adrian Patrick.

I have included videos of both the metal studio version and a live acoustic performance so you may enjoy the song as a ballad if the metalcore version does not arise in you- the memories of unquenchable passion that it does in me.

“This song is about when you are madly in love with somebody, but you know that you’re dangerous for that person and vice versa. They’re dangerous for you even though you crave them. You want it more than anything, even though you know it will end badly.” – Maria Brink- Lead vocalist, In This Moment.

 

The Promise

Its haunting
This hold that you have over me
I grow so weak

I see you
And everything around you fades
And I can’t see

You can never know what it is you do to me

I can’t take what you do to me
I can’t take it

I can’t take what you do to me
I can’t take it

No matter what I say or what I do
I know how this will end
So I turn it away now before we begin

And no matter what you say or what you do
I know how this will end
So I’m turning away now

I’m dangerous for you
I’m dangerous for you

You touch me
And I can barely make a move
And I can’t breathe

You never know what it is you do to me

I can’t take what you do to me
I can’t take it

I can’t take what you do to me
I can’t take it

No matter what I say or what I do
I know how this will end
So I’m turning away now before we begin

And no matter what you say or what you do
I know how this will end
So I’m turning away now

I’m dangerous

The only promise I could make
Is that my promise is a lie
The only promise I could make you
Is that my promise is a lie

No matter what I say or what I do
I know how this will end
So I’m turning away now before we begin

And no matter what you say or what you do
I know how this will end
So I’m turning away now

I’m dangerous for you
I’m dangerous for you
I’m dangerous for you
I’m dangerous for you
I’m dangerous for you
I’m dangerous for you

I’m dangerous, I’m dangerous for you

My promise is I will hurt you
My promise is I will hurt you
My promise is I will hurt you
My promise is I will hurt you

This is my response to Jim Adam’s call for songs containing the words Promise, Vow or Oath on this weeks edition of Song Lyric Sunday.

Symphony of Destruction

Big Jim Hawkings leaned back in his tufted leather desk chair and lit a cigarette. The hinges and springs that secured the seat of the chair to it’s carriage-like base squeaked and groaned as he pushed his sturdy frame hard against the back of the chair, stretching his long legs out straight in front of him- and crossing them at the ankle.

He had done it.

Oh, they liked to think they had done it. But they knew, just like Big Jim knew, they could never have done it without him.

True, they had taken him out of a wheat field in the Northern Plains. They had funded and backed and bribed and funded some more until the face of Big Jim Hawkings was as casually accepted as the man of the people as was a trusted relation.

But it was Big Jim that endeared himself to the people. Sucked them right in- like marrow from a bone.

It was Big Jim with his slow southern drawl, and his well worn Carhartts. It was big Jim with his work hardened hands and his prayer callused knees.

It was Big Jim that had applied the oil to all the appropriate orifices, and Big Jim that had looked on and done nothing when they slammed the double edged sword of their ulterior altruism home- before the people even knew they were being bent over.

But more importantly, Big Jim had been there when the time came to lick the wounds he had greased the way for them to inflict. There to apply the salve of his own smooth tongue- when the people realized how brutally they had been ravaged.

And now it was Big Jim they would listen to. Big Jim they would trust.

So tomorrow when he called upon the people to rain down like fire from the heavens and cleanse the earth of the very corporate scum that had seen fit to create him- he had no doubt the people would follow his direction. No doubt that based solely on his utterances, the people would be willing to lay down their lives.

Oh, they had opened this window to the stars, alright- the night they chose him to be the face of their menace.

Big Jim chuckled to himself as the carriage-like base of his chair cried out, yet again for mercy.

“Now, I’d like to see ’em try an close it.”

 

Symphony of Destruction

You take a mortal man
And put him in control
Watch him become a god
Watch people’s heads a’roll
A’roll, a’ roll

Just like the Pied Piper
Led rats through the streets
We dance like marionettes
Swaying to the symphony
Of destruction

Acting like a robot
Its metal brain corrodes
You try to take its pulse
Before the head explodes
Explodes, explodes

Just like the Pied Piper
Led rats through the streets
We dance like marionettes
Swaying to the symphony

Just like the Pied Piper
Led rats through the streets
We dance like marionettes
Swaying to the symphony
Swaying to the symphony
Of destruction

The earth starts to rumble
World powers fall
A’warring for the heavens
A peaceful man stands tall
Tall, tall

Just like the Pied Piper
Led rats through the streets
We dance like marionettes
Swaying to the symphony

Just like the Pied Piper
Led rats through the streets
We dance like marionettes
Swaying to the symphony
Swaying to the symphony
Of destruction
Writer/s: Dave Mustaine

Symphony of Destruction was written by Megadeth founder and frontman, Dave Mustain. The song is about not only political leaders who act as puppets for the powerful organizations that control them, but also very much about We The People that blindly follow.

 

“Believe nothing, no matter where you read it, or who has said it, not even if I have said it, unless it agrees with your own reason and common sense.”

― paraphrase of words credited to the Buddha 

 

This is my response to Jim Adam’s call for songs containing the words, Give, Get, Take, Receive or Send on this weeks Song Lyric Sunday.

The lead-in fiction was inspired by the three phrasal prompts offered on the OLWG #89. The phrases were:

he leaned back and lit a cigarette
Window to the stars
ulterior altruism

 

 

 

Little Miss Can’t Be Wrong

2:45 AM. 

Chris flung himself on the bed, exhausted. Today had been the longest day of his life. Up at 5 doing laundry and studying for a Humanities exam. At school by 7:30. Exam at 8. At work by 10:30. Work till 6. Home. Eat. Shower. Practice at 8. Gig at 11. 

He had just drifted off to sleep when he heard a commotion on the stairs leading down to his bedroom.

“You can’t flippin’ park there, Chris!” It was Ellie. His Dad’s trophy wife. What the hell was she doing up at three o’clock in the morning? 

Since it was easier to just do what she wanted than involve her in anything that even resembled conversation, Chris threw on a tee shirt and sweats, slipped into his flip flops and made his way toward the garage door. 

Ellie ambushed him as he made his way through the dimly lit kitchen.

“If you thought about someone other than yourself every once in a while things like this wouldn’t happen. And while we’re on that subject, get your shit out of the dryer. It’s been in there all day. There are other people living in this house that may need to use the dryer, none of whom are responsible for doing your dirty laundry. Maybe if you spent a little time doing the things you should be doing around here instead of playing band with those losers you call your friends you could make something out of yourself. You know like get a real life? Quit living in your Dad’s basement expecting other people to pick up your slack? But that’s a lot to ask isn’t it? I mean of someone who’s as hell bent on remaining a guitar playing loser as you are?”

As soon as ‘Little Miss Can’t Be Wrong’ stopped yammering, they both heard it. The unmistakable sound of liquid flowing somewhere- and by the sound of it- somewhere it shouldn’t be flowing. 

Chris flipped on the light switch next to the garage door.

Evidently, Ellie had started a pot of coffee but failed to put the pot on the burner after she filled the reservoir.

“Now look what you made me do!” Ellie exclaimed as she clamored to get the pot under the flow of hot liquid that had already made it’s way across the counter, down the front of the cupboard and was quickly forming a pool on the kitchen floor. 

Chris flipped his long black hair back with a practiced jerk of his head, snickered an, “Ooops!” and slid out the back door.

Oh yeah… That was worth gettin’ up for.

Little Miss Can’t Be Wrong

Been a whole lot easier since the bitch left town
Been a whole lot happier without her face around
Nobody upstairs gonna stomp and shout
Nobody at the back door gonna throw my laundry out
She holds your shotgun while you dote-se-doe
She want one man made of Hercules and Cyrano
Been a whole lot easier since the bitch is gone
Little miss, little miss, little miss can’t be wrong

Little miss, little miss, little miss can’t be wrong
Ain’t no body gonna bow no more when you sound your gong
Little miss, little miss, little miss can’t be wrong
Whatcha go’n do to get into another one of these here
Rock ‘n’ roll songs

Other people’s thoughts they ain’t your hand-me-downs
Would it be so bad to simply turn around
You cook so well, all nice and French
You do your brain surgery too, mama, with a monkey wrench

Little miss, little miss, little miss can’t be wrong
Ain’t no body gonna bow no more when you sound your gong
Little miss, little miss, little miss can’t be wrong
Whatcha go’n do to get into another one of these here
Rock ‘n’ roll songs
(Hell you can’t be wrong, no, no, no, you can’t be wrong)
(Oh you can’t be wrong, you can’t be wrong, you can’t be wrong)

I hope them cigarettes are gonna make you cough
Hope you hear this song and it pissed you off
I take that back, I hope you’re doing fine
And if I had a dollar, I might give you ninety-nine

Little miss, little miss little miss can’t be wrong
Ain’t no body gonna bow no more when you sound your gong
Little miss, little miss little miss can’t be wrong
Whatcha go’n do to get into another one of these here
Rock ‘n’ roll song

Little miss, little miss, little miss, little miss can’t be wrong
Oh you can’t be wrong, no you can’t be wrong, you can’t be wrong
Little miss, little miss, little miss, little miss can’t be wrong, no
Little miss, little miss, little miss, little miss can’t be wrong, oh

 
Little Miss Can’t Be Wrong was released on the Spin Doctors 1991 debut album, Pocket Full Of Kryptonite. While the writing credits of this song go to the collaborative team of Aaron Comess, Christopher Gross, Eric Schenkman, Mark White- in other words, The Spin Doctors as a band, the lyrics were written by Chris Barron (aka Gross) and refer to life with his wicked step-mother. A woman who had the audacity to tell him he “would be a guitar-playing janitor and live in the basement of the high school and ‘play guitar for the rats.'”

How satisfying it must have been for him to have the song he wrote about “the bitch” reach #17 on the US charts in 1992.

This is my response to Jim Adam’s call for songs that contain the words Listen, Hear, Talk, or Speak on this weeks Song Lyric Sunday. I chose ‘hear’. It’s in there. I promise….

U + Ur Hand

I am picking up a story-line where tnkerr left off on the practice write offered with this weeks OLWG prompts. Do yourself a favor and begin by reading tnkerr’s  Am I Here?.

********

We sat on the porch, Casper and I, he telling me the sensational tale of a man who literally pulled himself from the muck by his bootstraps, and I making notes as he spoke, until the twilight of the evening sky became a low lying quilt of blazing gold and violet that wrapped itself around the slowly setting sun gently nestling her into the cradle of the Cerrillos, far off in the distance.

No longer a young man, the evening’s recitation took an early toll on Casper and we parted soon after the sun set, with a promise to meet up again the next day. 

I took a cheap hotel in town, settled onto the swayback mattress provided and delved into the notes I had taken over the course of the evening. It didn’t take long for me to realize that although Casper had set out to tell me the tale of his life, what he had ended up imparting upon me was not really a story of the accomplishments of a lone man at all, but rather the story of one man’s life forged from the dross he had been shackled with at birth, by a most remarkable woman. 

A woman he met one particularly lonely night, on the back-side of a biting put down line in a bar once called the Alamo.  A woman who burned him to the ground, and then sifted through the ashes for the true grit of which Casper Coloradas was made and created out of that salvaged grit and ash, the man he was destined to become.

U + UR Hand
Check it out, goin’ out, on the late night.
Lookin’ tight, feelin’ nice, it’s a cockfight.
I can tell I just know that it’s goin’ down, tonight.
At the door, we don’t wait, coz we know them,
At the bar, six shots, just beginnin’,
That’s when dickhead put his hands on me, but you see-

I’m not here for your entertainment,
You don’t really want to mess with me tonight.
Just stop and take a second-
I was fine before you walked into my life.
Coz you know it’s over, before it began.
Keep your drink, just give me the money,
it’s just u & ur hand tonight.

Midnight, I’m drunk, I don’t give a fuck.
Wanna dance by myself, guess you’re outta luck,
Don’t touch, back up, I’m not the one, uh buh-bye.
Listen up, it’s just not happenin’,
You can say what you want to your boyfriends,
Just let me have my fun tonight, a’ight.

I’m not here for your entertainment,
You don’t really want to mess with me tonight.
Just stop and take a second-
I was fine before you walked into my life.
Coz you know it’s over, before it began.
Keep your drink, just give me the money,
It’s just u & ur hand tonight.

In the corner with your boys, you bet ’em five bucks,
You’d get the girl who just walked in but she thinks you suck.
We didn’t get all dressed up just for you to see-
Quit spilling your drink on me, yeah.

(You know who you are, high five and talkin’ shit,
But you’re goin’ home alone, aren’t ya?)

Cause- I’m not here for your entertainment,
You don’t really want to mess with me tonight.
Just stop and take a second-
I was fine before you walked into my life.
Coz you know it’s over, before it began.
Keep your dream, just give me the money,
It’s just u & ur hand tonight.

I’m not here for your entertainment,
You don’t really want to mess with me tonight.
Just stop and take a second-
I was fine before you walked into my life.
Coz you know it’s over, before it began.
Keep your dream, just give me the money,
It’s just u & ur hand tonight
U + Ur hand is credited as a collaboration between Pink, songwriters Max Martin and Rami (Yacoub) and record producer Luke Gottwald. It was performed by Pink and released on her 2006 album, I’m not Dead.

It gets its title from tried and true the put down line, “I guess it’s just you and your hand tonight.”

 

This is my response to Jim Adam’s call for songs containing the body parts, Ankles/Hands/Feet/Fingers/Toes/Wrists on this week’s Song Lyric Sunday. Although I owe it’s real inspiration to tnkerr.

Clean My Wounds

She liberated Gideon Bibles from cheap motel rooms on cold rainy nights when even the most talented of whores could no longer dance between the raindrops.

The tricks she pulled were deviants, set on exacting payment for the most obvious of her sins. Many of them, in the name of Jesus.

Sometimes they injected her with the fear of god so vigorously, she wore the stigmata of their rapture for all to see. During these times she sold her pilfered bibles. Proclaimed herself, “Washed clean in the blood of the Lord.” 

Until her wounds healed.

Or the next raindrops fell.

Clean My Wounds
Corrosion of Conformity

I see the world through bloodshot eyes
Streets filled with blood from distant lies.
The dogs of war never compromise,
No real time for rearranging.
“Help me Jesus, help me clean my wounds”
He said he cannot heal that kind.
Bleeding soul becomes a bitter mind.
He said it happens every time (Knock it down)
And that’s how the story goes (Knock it down)
In the land of a thousand no’s (Knock it down)
I’m all over you in time my mind is changing.
Knock it down
Black on black gives me a heart attack
And the silence makes it deadly.
Some choose to kill with simple will.
I’ve seen them fall fast and steady.
“Help me Jesus, help me clean my wounds”
He said he cannot heal that kind.
Bleeding soul becomes a bitter mind.
He said it happens every time (Knock it down)
And that’s how the story goes (Knock it down)
In the land of a thousand no’s (Knock it down)
I’m all over you in time my mind is changing.
Twist of fate won’t give me a break
And myself, I’m slow and tired.
I’ve got to rise with these bloodshot eyes
But I keep falling when I’m higher.
“Help me Jesus, help me clean my wounds”
He said he cannot heal that kind.
Bleeding soul becomes a bitter mind.
He said it happens every time (Knock it down)
And that’s how the story goes (Knock it down)
In the land of a thousand no’s (Knock it down)
We are bleeding sins and our sins are always fadin’
Oh fadin’, oh fadin’, oh fadin’
Oh, knock it down, knock it down
Oh, knock it down, knock it down
Oh, knock it down, knock it down
Oh, knock it down

Clean My Wounds was written by COC lead singer/guitarist Pepper Keenan and performed by the band, Corrosion of Conformity. It was released in 1995 on the band’s third album Deliverance.

 

This story told in exactly 100 words was written in response to Jim Adam’s call for songs that contain the words Come/Go/Leave or Stay on this weeks Song Lyric Sunday. It was inspired by the phrasal prompt, selling bibles, offered by tnkerr on this weeks OLWG #142