LYRICS + CREDITS

for The Spark

Recorded, mixed, and mastered by Mike Ofca at Innovation Studios in Steubenville, Ohio. Produced by Mike Ofca and Kevin Heider.

Album artwork by Kristin Breslin (photography) and Kevin Heider (photography/design). Digital booklet designed by Kevin Heider.

All songs written by Kevin Heider (SESAC).

© Copyright 2013 by Kevin Heider


PART I: THE SPARK


1. St. Brigid’s Fire

Kevin Heider: vocals, acoustic guitar, mandolin, tambourine
Kathleen McCann: tin whistle
Mike Ofca: bass guitar
Tim Hepburn: drums
Mob Vocals: Chris Simmons, Matthew Gossett, Patrick McNamara, and Kevin Heider

Lyrics: It’s the 1st of February, and we all have gathered here to drink up for King and conscience from this glorious lake of beer. And drink we will straight on ‘til morning. Drink we will all through the night. And if the sun should cease to give it, this lake of beer will be our light.  They say the first shall be the last, so, Sister Brigid, fill my glass! I’ll be the first to drink and the last to die, oh, but I’ll have glory at my side. I refuse that it should come to pass that when I look back on my life I’ll see an empty home and an empty heart and a boy who never found his wife. And if a thief should sneak up on me and take from me my cup, my share, I’ll say, “There’s plenty more where that came from. Come with me, I’ll take you there”  They say the first shall be the last, so, Sister Brigid, fill my glass! I’ll be the first to drink and the last to die, oh, but I’ll have glory at my side. They say the first shall be the last, so, Sister Brigid, fill my glass! I’ll be the first to drink and the last to die, oh, but I’ll have glory at my side. Oh, when the saints go marching in, oh, when the saints go marching in, they will behold a lake of beer and they all will dive right in.


2. All I Want (Love Come Alive)

Kevin Heider: vocals, acoustic guitars 1 & 2, piano
Mike Ofca: electric guitars 1 & 2, organ, keys
Dan Bozek: bass guitar
Tim Hepburn: drums

Lyrics: Firefights are raging in the dead of night. The conversation is in black and white. The Son is shining, but our eyes are shut so tight. We’re goin’ down, down, whether we go left or right. I don’t want to run and I don’t want to hide. I just want to seek and I want to find. All I want, yeah, all I want tonight is for love to come alive. O Love, come alive tonight. It’s an old familiar cry, “Oh the humanity!” When each newborn bullet flies it breeds more insanity. Where sin and death abound, they say, grace abounds. And what once was lost and gone can be found. I don’t want to run and I don’t want to hide. I just want to seek and I want to hide. All I want, yeah, all I want tonight is for love to come alive. O Love, come alive tonight. O Love, come alive, come alive tonight. O Love, come alive, come alive tonight. O Love, come alive, come alive tonight. O Love, come alive, come alive tonight, yeah.


3. Enola’s Wake

Kevin Heider: vocals, acoustic guitars 1 & 2, mandolin, banjo, electric guitar
Chris Simmons: trumpet
Mike Ofca: bass guitar
Tim Hepburn: drums
Mob Vocals: Chris Simmons, Matthew Gossett, Patrick McNamara, Eric Minor, and Kevin Heider

Lyrics: Her passing was quick and quite a surprise to everyone under the sun. As the devil’s a catchy tune in disguise, the virtue of progress was won. Enola’s wake left everyone dead. It’s only a matter of time. I never believed a word that she said. I knew that we wouldn’t be fine. And yet, here I have been called on to speak, to give such a woman a toast. The words of my heart bear the truth that I seek, and I long to speak them the most.  So sleep, Enola. Sleep and don’t ever wake up. I’m sad to have known ya and the death that your life was made of. She was a strong bird and, oh, could she fly steady and swift and true. When she married that Fat Man, I turned a blind eye. I shuddered when she said “I do.” The light that she brought us was no light at all, and I say that in full confidence. Are we to reap what her Little Boy sowed when he stole our innocence? Her family will live on long after her passing. They’ll grow bigger and stronger than she. So pull out your rosaries and lift up your glasses and pray hard and sing out with me. Sing “sleep, Enola. Sleep and don’t ever wake up. I’m sad to have known ya and the death that your life was made of.” Oh, sleep, Enola. Sleep and don’t ever wake up. I’m sad to have known ya and the death that your life was made of. Her passing was rough as she screamed in her bed, and I prayed that our souls would be fine. ‘Cause Enola’s wake left everyone dead. It’s only a matter of time.


4. I Don’t Want Your Love

Kevin Heider: vocals, acoustic guitar, tambourine
Mike Ofca: electric guitar, bass guitar
Tim Hepburn : drums

Lyrics: Hush, little darling, don’t you say a word. I’m gonna buy you a mockingbird. And if that mockingbird don’t sing, I’m gonna buy you a diamond ring. And if that diamond ring don’t, don’t satisfy ya, I’ll say good-bye. If that ring don’t satisfy ya, and if I have to say goodbye, then, well, I don’t want your love. No, I don’t want your love. I’ll be your Jack, if you be my Jill. Baby, for you I’ll climb any hill. Forget that pail of water. If you be my girl, darling, for you I will fetch the world. And if the whole wide world ain’t big enough for you, then I’ll say good-bye. If you want more than I can carry, you and me, babe, we ain’t never gettin’ married, and I don’t want your love. No, I don’t want your love. No, I don’t want your love. (Tell ‘em how it is, Mikey.)  You can call me Sampson, if you want to. I’ll fight any army just for you. But if you want me to be your man, there’s something you’ve got to understand. Questions shouldn’t lead to lies, and I don’t wanna have to say good-bye. If you tell me that you really care, then you turn around and try to cut my hair, well, I don’t want your love. No, I don’t want your love. No, I don’t want your love. No, I don’t want your love. No, I don’t want your love. Oh, I don’t want your lovin’. No, I don’t want your lovin’. Oh, I don’t want your lovin’. No, I don’t want your love.


5. The Puppeteer

Kevin Heider: keys, acoustic guitar, cahon, talking drum
Mike Ofca: bass guitar, tambourine
Matthew Gossett: trumpet
Chris Simmons: trombone
Mob Vocals: Chris Simmons, Matthew Gossett, Patrick McNamara, and Kevin Heider

Lyrics: La da da…Hey….etc.


6. Can’t Have My Money

Kevin Heider: vocals, acoustic guitar, nylon-string guitar, tambourine
Mike Ofca: electric guitars
Dan Bozek: bass guitar
Tim Hepburn: drums
Mob Vocals: Chris Simmons, Matthew Gossett, Patrick McNamara, and Kevin Heider

Lyrics: Wait a minute, baby, don’t be so forward. If I want to call, I’ll call you. And don’t go spittin’ digits. If I want your number, I know how to ask. It’s not that you ain’t pretty, oh, but in your eyes all I see are dollar signs. And you got a reputation. They say you wanna change me into someone I don’t wanna be. If I could ask you just one thing, who died and made you king? No, you can’t have my money, if you won’t say you love me, ‘cause to you it’s all the same. Oh, oh, you want my lovin’, but you won’t get nothin’. I refuse to play your game. They tell me you’re the Sue who likes to run around then chew them up and spit them out. They tell me you’re the one, the one who decides who lives and who dies. They tell me that it’s you, you make and you break. They give and you take. Well, if all you want is more control, you can keep your world. I’ll keep my soul. No, you can’t have my money, if you won’t say you love me, ’cause to you it’s all the same. Oh, oh, you want my lovin’, but you won’t get nothin’. I refuse to play your game. If I have learned just one thing, pride always comes before the fall. Your love is a big machine, yeah, and it’s gonna kill us all. No, you can’t have my money, if you won’t say you love me, ’cause to you it’s all the same. Oh, oh, you want my lovin’, but you won’t get nothin’. I refuse to play your game.


7. These Fallen Castle Walls

Kevin Heider: vocals, keys, acoustic guitars 1 & 2, cahon, tambourine
Mike Ofca: electric guitar
Dan Bozek: bass guitar
Tim Hepburn: drums

Lyrics: Looking out over your kingdom as far as your eyes could see, did you think that you would live forever? Did you think you’d always be a king? Your life, your love, and everything, did you ever think you’d lose it all? ‘Cause I’m standing on top of your kingdom, on these decrepit castle walls. Oh… Was your kingdom as big in reality as it was inside your head? You wanted a mighty empire, but you got crumbling walls instead. You didn’t count on your mortality as a hurdle that would make you fall, and now I’m standing on top of your throne and all I see are ruined castle walls. Oh… I’m standing in your brokedown palace, on these fallen walls I see. I’m standing on the hope of your future, and it’s a past long gone for me.


8. The New World

Kevin Heider: vocals, acoustic guitars 1, 2, and 3, electric guitar, djembe, cahon, tambourine, African shaker
Mike Ofca: nylon-string guitar, electric guitars, bass guitar

Lyrics: Was it rage or relief or garish grief, callous and coarse in kind? An eye for an eye for an eye, I suppose, and soon we’ll all be blind. You give a man a gun. You tell him who to kill. You teach him how to turn and shoot. But someday, man, he’s gonna cut the strings and turn that gun on you. And then you’re gonna say, “He was mad all along!” and add him to your list of names, and fight fire with fire with fire with fire as the world goes up in flames, while the kings and their squires stand in their squares soaked in black gold and blood. Like lambs leading lions into the fray, they’ve all gotten lost in the flood. And I say, Lord, take me down, down to the water. I say, Lord, take me down, down to the water. It’s easy to admire progress when you’re on the side that lives, but when innocence dies with every drone that flies, well, no one really wins. But you need someone to blame, so you pick a name, and the truth is up to you. Their pulses rise while your numbers fall, so any name will do. And this wild wind that you’re blowin’ will blow right back again, and then before you know it, you’ve lost 5,000 men, while the kings and their squires stand in their squares like a pack of puppeteers. You’re the best decision they’ve made in 20 years. And I say, Lord, take me down, down to the water. I say, Lord, take me down, down to the water. I say, Lord, take me down, down to the water. I say, Lord, take me down, down to the water. When I was a child, I thought like a child. I believed you when you spoke. It was a dark and stormy moment, that morning when I woke to find the blood on the money had turned the gold red, and when it all disappears the system is dead. But it’s just fool’s folly, this freedom charade. I refuse to be the fool dancing in your parade, while the king’s and their squires stand in their squares soaked in black gold and blood. Like lambs leading lions into the fray, they’ve all gotten lost in the flood. And they’re taking everybody with them in the words that they spew 24 hours a day, 7 days, and nothing new. If I’m going down, I’m going down, going down a free man. I will not be a slave in your false promises land. And I say, Lord, take me down, down to the water. I say, Lord, take me down, down to the water. I say, Lord, take me down, down to the water. I say, Lord, take me down, down to the water.


9. The Dark Side

Kevin Heider: vocals, piano, acoustic guitars 1 & 2
Mike Ofca: electric guitar
Chris Simmons: flute
Pierce Duffy: heartbeat (in the womb, at 36 weeks)

Lyrics: “Baby, will you go with me,” he said, “to a brand new city across the sea, to the middle of the desert where men with names control reality? We’ll eat until we’ve had our fill, and then, babe, we’ll eat more still. So, go and get your bags all packed. Be careful what you photograph, my dear.” So they left and went far away. Now they don’t know what to say. She’s living in a busted car. He’s dying in a dungeon all alone. Oh, tell me, what it’s like on the dark side where nothing is ever what it seems. Oh, tell me, how’s life on the dark side? Oh, tell me, Love, are you alive at all?  “Don’t you worry, darling,” he said, “I’ll be back when my work’s done.” He sold his land and said good-bye to his daughter and his son.  And so he sought his fortune where the rich men with names dwell. He left his wife for heaven and ended up in hell. Now the lords, the gods of nothing, have him dying on the land, enslaved to the Emirates, the pirates of the sand. Oh, tell me, what it’s like on the dark side where nothing is ever what it seems. Oh, tell me, how’s life on the dark side? Oh, tell me, Love, are you alive at all?  And if you ask the beauty queen, the girl of only 17, “What’s really going on here?” she’ll put her face down in her magazine. The rich young man takes unholy pride, while the old man justifies their lives and how they made them. “Don’t you judge us!” he cries. And all those who’ve spoken out, who refuse to fetch the bone, the devil took their tickets out. Now they’re prisoners in their homes. The ex-pats from the western world rarely seem to show remorse for how they treat the servant class. Those girls aren’t even whores. Credit is a cancer here. It lets the rich men with names steal. Every smile has a secret. Oh, nothing here is real. We’re all sons of Abraham, but we’re nothing at all like him. He dug holes to honor God. We dig holes to hide the bodies.  So eat until you’ve had your fill. Look at the ground, see what you’ve spilled. Throw a cloth and hide the scraps. Be careful what you photograph ‘round here. Oh, tell me, what it’s like on the dark side where nothing is ever what it seems. Oh, tell me, how’s life on the dark side? Oh, tell me, Love, are you alive at all? Oh, do you like what you’ve seen on the dark side? Oh, can you see anything at all? Oh, God, please shine Your light on the dark side ’cause we can’t see anything at all.


10. The Spark

Chris Madden: vocals
Pierce Duffy: heartbeat (in the womb, at 36 weeks)

Lyrics: Something that was true in the ancient world, and it’s still true in our modern world, is that every great civilization has been built on the backs of slaves. And what amazes me about this oft-ignored reality is that despite man’s tendency towards evil, towards his “self,” I can still see his capacity for and I still have hope in his ability to do good. And this reminds me of something that my mother always said when I was growing up. She always said: “Don’t let the glimmer of gold shine brighter than the spark in your soul.” That’s something that’s always stuck with me.


11. The Great Flood

Kevin Heider: vocals, acoustic guitars, electric guitar
Mike Ofca: electric guitar, bass guitar, synth pad
Alanna-Marie Boudreau: vocals

Pierce Duffy: heartbeat (in the womb, at 36 weeks)

Lyrics: O how great was the flood that washed over me. Like a kiss between two lovers were your hands upon my feet. O how great was the flood that passed my lips unsung. Like a newborn babe’s first taste of life, it danced on my tongue. O how great was the flood that fell from your side like a knife into a mother’s chest when her only child dies. O how great was the flood that swelled in this sea. When the water rose, it took my breath, but You gave it back to me. When the water rose, it took my breath, but You gave it back to me. O how great was the flood that was poured out on my head, giving love to what love had brought forth and life to what was dead.


PART II: THE WAITING


12. Lonely In St. Louis

Kevin Heider: vocals, acoustic guitar, piano, tambourine
Mike Ofca: electric guitar, bass guitar, organ
Tim Hepburn: drums

Lyrics: Another night, another flight, and in the morning I’m gone from all of this. I suppose, I’m going home, though I don’t know that I know where home is. I’ve felt this way for quite sometime for reasons I’m not sure I can explain. But it’s lonely in St. Louis, babe, and I can’t wait to board that aeroplane. I went into an antique shop and all the books reminded me of you. Then I waited for you by the river, but your breeze, I guess it never blew. Well, tonight I’m here in this hotel. Tomorrow I’ll be back in Baltimore. It’s getting lonely in St. Louis, and I just don’t want to be here anymore. Yeah, I’m lonely in St. Louis, and I can’t wait to be back at your front door. Oh, and I will be there soon. Tonight I’ll sleep beneath this arch, oh, and I will dream. Yes, I will dream and any dream will do. Then in the morning I will leave this city far behind, and once again I’ll find my way to you. ‘Cause I went away for a whole year. Now I’m counting down the days, so when I see your face, I will say…I will tell you that “I missed you, babe,” and then you’ll say it back, and everything we lack will fall away. It will all fall away. I will tell you that “I missed you, babe,” and then you’ll say it back, and everything we lack will fall away. Maybe that’s just wishful thinking. Or maybe I’m confused. Or maybe I’m just lonely here in old St. Louis.


13. Baltimore

Kevin Heider: vocals, acoustic guitars, mandolin, harmonica, cahon, djembe, brushes, tambourine
Mike Ofca: electric guitars, bass guitar
Kristin Breslin: background vocals

Lyrics: There’s a new life breathing downstairs. It’s another beautiful night in late July. I can see the moon and the stars are all out tonight. I can see the airplanes flying high. It’s just me and these smoked-out cigarettes. I’m staring at a high-wire crucifix. And I’m praying, yeah, I’m praying for some guidance on a rooftop in Baltimore. I feel like an old life suffocating in the night air, looking down over these lights and wondering where mine went. When I was a child I swore that I’d always let it shine. Maybe up here God will help me find it again. It’s just me and these smoked-out cigarettes. I’m staring at a high-wire crucifix. And I’m praying, yeah, I’m praying for some guidance on a rooftop in Baltimore, on a rooftop in Baltimore. I feel like an old soul stuck in its dark night. Until the day finally breaks, I won’t give up. And lately I’ve been thinking, oh, I’ve been thinking it’s high time that I get up, go out, and start looking for love. It’s just me and these smoked-out cigarettes. I’m staring at a high-wire crucifix. And I’m praying, yeah, I’m praying for some guidance on a rooftop in Baltimore, on a rooftop in Baltimore, on a rooftop in Baltimore, on a rooftop in Baltimore.


14. Maureen (Has Anybody Seen Her?)

Kevin Heider: vocals, mandolin, acoustic guitars, brushes, tambourine
Mike Ofca: background vocals
Dan Bozek: bass guitar(s)

Lyrics: It’s 6 a.m. in Montreal. I’ve been walking all night long trying to figure out, oh, what’s going on. I was talking to a girl who said that she would meet me early in the morning, but she never did show up. I guess that’s what I get, what I deserve for not calling her back six years ago. I guess we’re even. Now I’m standing in this old hotel alone, and I’m looking for a face that I might know, so I don’t have to eat alone. Maureen. Has anybody seen Maureen? Has anybody seen her? Maureen. Well, me and all my friends, we’ve been here before, in a place quite similar that left us wanting more. And Pat, he said, “I love her, man!” So it’s Montreal or bust. Then I’m gonna take a trip in a broken down old bus. And I might lose everything, and if I do, I suppose I had it coming for not running after Maureen. Has anybody seen Maureen? Has anybody seen her? Maureen. Ma-ma-ma-na-ma-ma-ma-Maureen. Ma-ma-na-ma-ma-ma-Maureen. Has anybody seen her? Has anybody seen her? Ma-ma-na-ma-ma-ma-Maureen. Ma-ma-na-ma-ma-ma-Maureen. Ma-ma-na-ma-ma-ma-Maureen. Has anybody seen her? I once said I don’t wanna have to say good-bye until I get the chance to say hello. Well, that was long before I ever knew her name. Now I do, but unfortunately, nothing else has changed. And I might just have to take a trip to New York City, where a friend of Wayne’s told me that the, the girls are pretty. But they’re not like Maureen. Has anybody seen Maureen? Has anybody seen her? Maureen. Oh, Maureen. Has anybody seen Maureen? Has anybody seen her? Maureen. Oh, Maureen.


15. How I Feel Sometimes (The Roadside/Travelin’ Blues)

Kevin Heider: vocals, acoustic guitar, tambourine
Mike Ofca: acoustic guitar
Dan Bozek: bass guitar
Tim Hepburn: drums

Lyrics: Hey, Depression, I see you lurking, and I don’t like you none. I’m gonna keep my eye on you, Mr. Serpent. Come take a good look at the bottom of my boot. I cleaned it just for you. Decompression, please, come infect me. I have learned my lesson. One man can only take so much of this wandering, of Ms. Low Income’s tender touch, of the faces, and all the names one head can’t hold, and the places. I must be wicked ‘cause I can’t seem to get no rest. This old crow can’t find a nest. Hey there, Darkness, quit filling up my lonely drives with your thoughtless and your deceptive crooked lines. I must walk straight and tall, believing in an end, in a light that’s beautiful, but oh so hard to see when I’m stuck in a tunnel filled with me. Hey, Deflation, come hit my head like a brick made of iron, an arbitrary simile. The road has changed me, made me just like the walking dead. I keep talking, but there’s nothing left inside my head that’s of value, that hasn’t been utterly misconstrued. There ain’t no substance, nothing adequately processed that’s worth sharing, and yet I’m sharing it with you. So if you’ve any semblance of wisdom in your soul, no doubt, you’ll find you can disregard my mind.  Hey, Defenses, why are you on the verge of war with our senses? This lack of sleep is clouding up my mind, and so I’d like to pose a question to all those who might yield to Descartes: If I can’t think, am I not?


16. Barcelona

Kevin Heider: vocals, acoustic guitars, electric guitar, tambourine
Mike Ofca: electric guitars
Dan Bozek: bass guitar
Tim Hepburn: drums

Lyrics: 42 hours riding on buses and trains. Two of them were for sleeping, the other 40 for going insane. I was trying hard, trying to make my way to meet some friends of mine on the sunny side of Spain. Oh, but my plans were falling apart, and my wallet wasn’t getting me far. And I was sleeping on the ground just south of London town, wondering, “what would my mother say, if she could see me now?” Oh, Barcelona, how could I not have grown up? I made so many mistakes, but I still found you and you found me too. Oh, Barcelona, you were my Sharona, a love waiting to be gotten, but for some reason playing hard-to-get. Oh, Barcelona. I have heard it said, “If you seek, then you will find,” but what they never tell you is sometimes it takes some time. Oh, and I missed my aeroplane, and the trains kept running away. And I was lost and couldn’t get found in some dirty old Spanish town, wondering, “what would my mother say, if she could see me now?” Oh, Barcelona, how could I not have grown up? I made so many mistakes, but I still found you and you found me too. Oh, Barcelona, you were my Sharona, a love waiting to be gotten, but for some reason playing hard-to-get. Oh, Barcelona. Oh, Barcelona, how could I have known that everything would go the way it’s gone? I feel like I haven’t slept in a year. And Pat is dancing like a girl, and Michael’s rolling on the floor, and I don’t know what’s going on around here. And yet I’ve never been so in love with a place before. And I’ve never had so much fun getting lost as in Barcelona. How could I not have grown up? I made so many mistakes, but I found you and you found me too. Oh, Barcelona, you were my Sharona, a love waiting to be gotten, but for some reason playing hard-to-get. Oh, Barcelona. Oh, Barcelona. Oh, Barcelona. Oh, I was looking for love in Barcelona. I was looking for life in Barcelona. I was looking for a bed in Barcelona. I was looking for my friends in Barcelona. I was looking for the Spirit in Barcelona. I was looking for adventure in Barcelona. I was looking for the ocean in Barcelona. I was looking for the right train in Barcelona. I was looking for cathedrals in Barcelona. I was looking for myself in Barcelona.


17. Girl from Frederick

Kevin Heider: vocals, acoustic guitar, mandolin, cahon, djembe, brushes, tambourine
Chris Simmons: French horn
Matthew Gossett: trumpet
Mike Ofca: bass guitar
Mob Vocals: Chris Simmons, Matthew Gossett, Patrick McNamara, Chris Madden, Bernadette Madden, Kristin Breslin, and Kevin Heider

Lyrics: I fell in love with a girl from Frederick, and for almost two years she ran from me. When I finally turned to walk in a new direction, she said, “Maybe we can try and see.” Election Day came and we drove through the countryside. Then we went to church to pray. It was the 2nd of November, clearly I remember. Oh Maryland, you were beautiful that day. I drove while she sat with her feet up on the dashboard, staring out the window at the trees. She turned on the Avett Brothers, and I remember thinking, “I should write a song that sounds like these.” And to think that it was only in September we had our hundredth conversation about the sordid complications we faced. She said we weren’t meant to be. I swore she’d be the death of me, and I think she would have been if not for grace. ‘Cause I fell in love with a girl from Frederick, and for almost two years she ran from me. When I finally turned to walk in a new direction, she said, “Maybe we can try and see.” Maybe we can try and see. Well, I don’t want to try to and see. I just want to be part of you and me. After such a long time I’d finally been given the chance to be the one to hold her hand. But I couldn’t seem to shake the road. My feet needed to shuffle, and I knew right then I couldn’t be her man. So I packed up my guitar and I got into my car, and I drove to Boston for the first time. I wanted to be wild. I wanted to be innocent. I wanted to chase these dreams of mine. But I’d fallen in love with a girl from Frederick, and for almost two years she ran from me. When I finally turned to walk in a new direction, she said, “Maybe we can try and see.” Maybe we can try and see. Well, I don’t want to try to and see. I just want to be part of you and me. I don’t want to try and see. I just want to be part of you and me. I don’t want to try and see. I just want to be part of you and me. I don’t want to try and see. I just want to be part of you and me. I don’t want to try and see. I just want to be part of you and me. I don’t want to try and see. I just want to be part of you and me.


18. All Manner of Things

Kevin Heider: vocals, acoustic guitars, bells
Mike Ofca: ticking clock
Chris Simmons: flute

Lyrics: I’ve been patient. I’d like to think that I’ve been kind. I wish that I could say that we were always on your mind. For so long I thought I knew what you wanted. But love is hard to grow, and it’s harder to forget. And you just wanted to remember what it was you grew with him. Sometimes it doesn’t matter how well you play your part. ‘Cause if you’re only playing, you can’t give of your heart. And I was never sure if it was me or if it was him. But I grew restless when you were scared to try again. And as you sat there time was passing. The seasons changed and so did I. Sometimes love is complicated.


19. Living the Dream

Kevin Heider: vocals, acoustic guitar, banjo
Matthew Gossett: trumpets
Mike Ofca: tambourine

Lyrics: It’s 7:30 on a Friday evening. He drove nine hours to the show. He clips the mic and picks up his guitar. “Check 1, 2, all systems go…” He plays his music and tells his stories. He sells some records and meets some fans. Their admiration is encouraging, but there’s something no one understands. It’s after midnight on a Friday. He’s got 12 more hours to go. He loads the car and makes his way from Connecticut to Ohio. His friends all tell him that he’s lucky. He’s got freedom, or so it seems. But sleeping in a car outside of a gas station in the rain is a funny way to live your dreams. It’s two o’clock now in the morning. He’s been in his car since yesterday. And in the quiet he starts thinking about the one that got away. Well, she was young, and she was pretty. He made her laugh. She made him smile. But for some reason or another the timing wasn’t right. If they’re still meant to be, it’ll be a while. And he remembers talking to her for hours and hours on the phone. And these memories keep him company while he’s off chasing dreams alone. It’s 4 a.m. now on a Saturday. He’s driving as the whole world sleeps. There’s no one awake for him to call. He is living the dream. Or so they say.


20. A Thousand Apologies

Kevin Heider: piano

(instrumental)


21. The Waiting

Kevin Heider: vocals, guitar, mandolin

Lyrics: I’ve done right. Oh but, darling, I have done wrong. I have loved and I have lost. I’ve let go and I’ve held on. I have emptied myself of jealousy and all the rest. But when it comes to being a man, have I done my best? You may have heard some things about me, and maybe some of them are true. Oh, but please, believe me when I say, my love, that I’ve been waiting for you. I don’t know where you’ve been or what you’ve been through. Maybe you’ve been hurt. Maybe you don’t believe that love can be true. Well, I believe that grace does more than simply cover up our scars. And I believe that you and me, we’re a work of art. You may have heard some things about me. I can’t imagine they’re all good. Oh, but please, believe me when I say, my love, that I’ve been waiting for you. I read about you in the paper, and you felt so far away. Oh, but please, believe me when I say, my love, that I’ve been waiting for you.


22. 27

Kevin Heider: vocals, acoustic guitar, piano, bells
Mike Ofca: strings

Lyrics: January came and then it went. February the same, but with a quicker end. Oh, by March I was bound safely home, and in April I found a love of my own. But then somewhere in May, my love ran away. She ran right into June and heard a more pleasing tune. In July I fought with money and strife. Then in August I bought a chance at new life. Sweet September was kind when push came to shove, and October helped me find a truth I once loved. And that fire that burned in November is one I will always remember. It carried on into December and remains in my heart, now an ember.


© Copyright 2013 by Kevin Heider | SESAC