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Standard Ideal

by Peter Loveday

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1.
Castles in the sand Ladies and gentlemen, through the fiery ring we leap. Words that fall from our lips and the silences we keep. Then you say you love me, and in this I do believe. As the waves slide in across the beach, to bring us to our knees. The shapes that we conceive and the tools we have at hand, the architecture of our hopes, making castles in the sand. The courage that we muster, the chips that we toss down, the roulette wheel spinning as you slip off your gown. If it's all we manage, more than we ever planned, sitting on a beach making castles in the sand. If it's all that matters of this we understand, together and divided making castles in the sand. The irony, the aching, the daylight and the dreams, promises of permanence, the stitching of our seams. To grasp the air about us, cup this time in our hands, carving out the rooms we keep in these castles in the sand. We tried to wear uniforms, tried to live in cells. Lived right next to churches within reach of their bells. We found the uniforms suited, the prisoners just like us. No excuses left to lean on or institutions left to trust. And to the outer reaches, walking hand in hand, resting by the water's edge making castles in the sand. Not the winning nor the losing can define just where we stand, sitting on a beach making castles in the sand.
2.
Along the line As the trucks roll by I step out of the way. I’m in no hurry and there aren’t that many anyway. Across the bridge and here is my tale, where the waters part I filled my pail. So put your ear close to my heart, the echo's there from when our companies part. Now just footsteps along the road, a little dust rising, back bent against the load. Walking along, along the line. As I’ve always said, it’s not a race. Sometimes it suits me better at a snail’s pace. The road unfolds like ink from my pen. Kissed you back on the highway, don’t know when I'll see you again. Snail shells and snakeskin, the flowers of summer all bobbing in the wind. Fields are ploughed and the sun is high, clouds drift away in the blink of an eye. Walking along, along the line. Now the sun is high and the fields are ploughed and the crickets are a singing. Over that hill yet another town, another church bell that’s not ringing. I’m not sticking around, the solution I found is to keep on moving. No need to belong, to be right or wrong, to be winning or losing.
3.
My guiding light Why say another word, why write another line. Why take another breath, why ask another time. Why wait another age, why toss another coin. Why turn another page, why walk another mile. Boilers cold and the ship adrift, down in the hold the cargo shifts. Why fear the creatures of the deep, why fear the rocks, why fear the reef. Be my guiding light. Why hold another hope, why man the winches or stow the ropes. No stars shining up above, how do you get there without love. The ship is drifting all through the night, is there no end to it, no respite. Look to the depths, look up above, let you be, let you be my love.
4.
The things we do Maybe I'm right, maybe I'm wrong, to think you can fix it for a song. We make music, a taste for art, we piece it together, then pull it apart. Maybe right, maybe wrong, lay it down, and sing along. It's kind of abstract if you like, like string and paper to make a kite. A little ingenuity to make a new thing, gloves on and into the ring. The wake washing on the shore, the more we saw, the more we wanted more. And we're doing it, those crazy things. We play in and out of time. We shout and we do mime. It's hugely popular in foreign parts. We toss our heads, we cross our hearts. Maybe right, maybe wrong, lay it down and pick up the song. With each day it just gets sillier, the rivers drier, the roads hillier. You got some cross to drag along. Lay it down and pick up the song. The wake washing on the shore, the more I saw, the more I wanted more.
5.
Even in the end In the summer time, drinking days like wine, poured without measure, the pleasure always mine. Then one day it catches up and calls you to attention. There's more to this than I could ever mention. Left the car beside the road, got our diaries and our clothes. Didn't matter if we won or lost, we didn't even know. Headed off across the fields on our next great adventure, coz it all works out even in the end. Will you please love me, like you used to do. It's a little late for counting heads. Some have fallen by the wayside, some are dead. So do you hang your head or shake your fist up at the sky, or lose yourself in silence wondering why. We've hit, we've missed, we've been false and true. I've been kicking myself, been missing you. Haven't you heard that it's all heaven sent, and who gives a damn if we get there in the end. Will you please love me like you used to do. We were barefoot, swimming naked in the sea. Waves washed away our footprints, time ate at our dreams. We did not give a damn about what lay ahead, coz it all works out even in the end. Now of course, we've shed some leaves and put on pounds, bending over backwards just to see which way is down. I've been at the moon and stars, and asking all round town, if it all works out even in the end. Will you please love me like you used to do.
6.
As blue as can be The ocean is blue, as blue as can be. I could sure do with that view right now. Coz I’m down here on bended knees with a monkey, a toad and a cawing crow. I looked out there and I looked in here and I tossed all night looking in my bed. I picked my way through famine, flood and fire. Finally found my voice but lost my head. As blue, as blue as can be. Did you read the note, did I tell you that when you walked out the house fell down. Now isn’t that the straw that broke the last camel’s back. Couldn’t see him for dust as he left town. Oh the ocean is blue, as blue as can be. Couldn’t I curl up and lie in that blue right now. I can hear the waves like they’re coming through a shell, or coming over the dunes where we lay down.
7.
Ciudad Juárez Ciudad Juárez, don't bring me down further than I have fallen on this evil ground. Ciudad Juárez, we have quite a name. To end of the earth and it's all just a game. The luck of the draw baby, just try to complain. Seen so many bodies, no need to use names. You can hide behind curtains, hide behind doors. It's business as usual and the choice is not yours. Hey, hey, hey, down, down, down. Everybody is nervous, everybody resigned. Do I kill or die here. Am I found or do I find. As the vultures circle, the roulette wheel spins. More often than not it ends just as it begins. This earth we're feeding, with our blood and bone, and the lives of men and women never coming home. No time to work or study, what would be the use. Who created this world with beauty feeding abuse. If the world is my oyster, poisoned from the start, it makes no world of difference to my broken heart. If the world is my apple, rotten to the core, still, there are those who feed off it and still they want more.
8.
Let myself go Stood and watched my figure recede. Should have said something but had no real need. They all suspected self-abuse, said that I'd outlived my own use. So much for grandiose plans, can't keep you warm, you can't hold them in your hand. Watched them all scatter on the breeze and disappear with surprising ease. Where it leads who am I to say, to put it down as art or decay. Without a doubt I did it my way. I let myself go and thought that you would follow. I let myself go, over the hill and through the hollow. Lost my shoes and split my heel. I already know how that all feels. Hung onto the surface for as long as I could, with the flotsam and the jetsam and the driftwood. I waited, my dear, but you did not come. Obviously I was not the only one. A more sensible type probably would have run. I let myself go, fell into little pieces. I let myself go, started mixing with unknown species. I let myself go and thought that you would follow. I let myself go, over the hill and through the hollow.
9.
What's the matter Rain on the windscreen twists everything askew. No time to spare, what's the matter with you. The highways and byways all littered with the spoils, the moon in the junkyard, what's the matter with these boys. They hang out in the shooting gallery and play the Laughing Clowns, park up at a lookout far from the madding crowd. The lights in the valley, pretty as pearls. As a matter of fact, what's the matter with this world. Lying in a field of wheat, standing in the rain. Sifting through the sands of time, trying to take aim. Living in a house of straw or sleeping in a park. Basking in the sunshine or hiding in the dark. Sometimes it's a famine, other times a flood. Does it have to end in tears, have to end in blood. All the king's horses and men were never seen again. All for what, Jesus wept, what's the matter with them? I hear the train coming. It won’t be long. Kiss me on the lips again and hum that pretty song. Leave all excess baggage and throw away the key. They could blow us all to kingdom come. What's the matter with me.
10.
What are you waiting for Moon waiting in a pretty dress. Stars waiting smoking cigarettes. Sea comes in but cannot sleep. Wrecks rise up from the deep. Stick my paddle in the stream. Set that moon a shimmering. Room is lined with make believe. Gates unlock, horses flee. What are you waiting for. Night falls all around. In the room and out of town. You lying next to me. You the shore and me the sea. What are we waiting for. Bus is leaving, hotel is booked. Water babbling in the brook. Candle burning, children dressed. What's left to last not always the best. What are they waiting for?

about

This album was recorded live on the 27th of June 2009 in Barcelona.

credits

released December 12, 2009

Songs by Peter Loveday
Arrangements by Sarah Davison, Andy Gemmell, Naomi Wedman and Peter Loveday
Peter Loveday: vocals, guitar
Sarah Davison: vocals, percussion, flute
Andy Gemmell: vocals, guitar, pedal steel
Naomi Wedman: vocals, violin
Julian Jahanpour: piano
Andrew Henley: bass

Design by Georgina Rosquelles
Illustrations and photo by Piet Luethi
Mixed and mastered by Andrew Henley

I would like to thank all of the above for their inspiration and enthusiasm, and for making this recording possible.

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Peter Loveday Barcelona

Peter Loveday was born and grew up in Toowoomba, Australia. He was active in a number of bands in the early Brisbane post- punk scene, such as The Supports and Birds of Tin, followed by Tiny Town, based in London in the '80s. He continues to record and perform in his hometown, Barcelona. ... more

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