Did you know you were going to shoot
off the top of a four year old girl's head
And look across her car-seat down into her skull
And see into her throat, and did you know
that her dad would say to you,
"Please sir, can I take her body home?"
Oh wait, you totally did know . . . that that would happen
Cuz you're a jock who was too stupid and too greedy
And too unmotivated to do anything else but still be
The biggest and still do what other people tell you to do.
You did it to still be a winner.
You shot your grenade launcher into people's windows and
Into the doors of people's houses,
but you really wanted to shoot it at someone
just to watch them blow up.
Why should I care if
you die?
The body breaks,
And the body is fine.
I'm open to yours,
And I'm open to mine.
The body aches,
And that ache takes it time,
But you'll get over yours,
And I'll get over mine.
And the sun will shine,
And the moon will rise up.
The body calls.
Yeah, the body, it calls out.
It whispers at first,
But it ends with a shout.
The body burns.
Yeah, the body burns strong
Until mine is with yours.
Then mine will burn on.
My flesh sings out.
It sings, "Come put me out."
The body sways
Like the wind on a swing,
A bridge through a hoop
Or a lake through a ring.
The body stays,
And then the body moves on,
And I'd really rather not dwell on
When yours will be gone.
But within the dark
There is a shine,
One tiny spark.
That's yours and mine.
WHAT IS LIBRARY MUSIC?
Production (also called "sound library") music generally is canned background for visual-media applications. Whether used with an advertising company's presentation or a home-movie screening, production music has the generic qualities presumed suitable for industrial applications. A single theme may be restated in various ways and lengths; timings often are under a minute. Vocals are very rare, and the composers and performers are unrecognizable from anything other than production music.
Production music from the 1960s and early 1970s includes spacey keyboards, funk, bongo bop, and many other desirable instrumental idioms. Library cuts are extremely useful for effects and transitions between styles (as segues between regular records). The anonymity of the composers, tight pop arrangements, and latterday discoveries of these "lost," funky tracks make them very attractive. But when played consecutively—to excess—their ersatz origins reveal themselves. And post-1975 or so, as with most regular music, production music generally becomes unbearable.
Closely associated are vanity-published records, particularly records made by companies offering to arrange, perform, record, and press on vinyl any song one wished to send in. These were unavailable both commercially and to anyone seeking a one-time license to use them. But vanity-published records are another type of published music made just by studio musicians (though amateurs composed the lyrics).
Buying: Production albums are highly desirable because they were never commercially released. But, not every library LP has interesting or desirable music (or sounds). If the description, if any, mentions Moog, space, or something else attractive, chances are it could be good.
dice of ramifications
thrown under duress
expectant rise, rising lies
rising lives
who takes hold?
who makes mould?
who blinds bold?
we doubt mainline
the back-of-tongue
the cliff of flat space…
wandering cards with magic face
grab the breath of sap-shield hair
grasp the shot of fire in air
over seas if i am they
we spill self prostrate on bay
and we separate our eyes
tails in hand, this grail of our band
our healer one time-all all span.