Date: 2007
Label: Gray Mortuary Recordings
Format: CD
Category: Alternative / Pop / Rock
TRACK LISTING (AUDIO HELP)
1. The Gray Mortuary
2. Gwenhwyfar
3. Sunshine
4. The Cottonmouth Crawl
5. Indoctrination
6. Robert Emmet
7. Daddy's Ballad
8. Agendas
9. Trois
10. Pomp and Serpenstance
The Liner Notes. “The Gray Mortuary” is an extended, contemplative piece which evokes my recording studio, for which it is named, among other things.
“Gwenhwyfar” is actually two pieces with the same melody, joined at the pelvis. An homage to my wife Jen, it’s also a somewhat tongue-in-cheek love song with a twist, inspired by every John Wetton song I’ve ever heard.
“Sunshine” is another homage to my lady-love, whose sense of humor is as vast as her tolerance.
“The Cottonmouth Crawl” basically envisions a rugged Deep South version of King Crimson’s “Red” album.
“Indoctrination” can be interpreted in a variety of ways, but is prompted by so many youth who know so much more about world affairs than adults twice their age.
“Robert Emmet” is a pairing of two traditional Celtic tunes which were recast in tribute to my ancestor, Robert Emmet (from whose brother Thomas Ennis Emmet my family is descended) who was an early Irish rebel. The short version is that he attempted to stage a coup against the British occupiers, and everybody didn’t show up. He was hanged AND beheaded for his stand. This piece consists of “She Is Far From the Land” and “Nell Flaherty’s Drake,” both melodies adapted by Lesley Nelson-Burns as songs in honor to Emmet’s legend. A carousel ride to catastrophe.
“Daddy’s Ballad” is not entirely autobiographical, but I thought it made for a nice fictional homage.
“Agendas” is another Wettonesque tirade against what’s-her-name.
“Trois” is an experiment in jazz and sex music, with able assistance from the delightful Galucci sisters.
“Pomp & Serpenstance” was written out of my love for progressive rock & pop, but in remembrance of the bitterness which keeps so many talented people from otherwise productive careers.
While I don’t consider “Ophidian Lullabies” to be my definitive progressive rock collection, I do see it as a statement of the diversity that listening to audacious players imparted to my musical sensibilities over the years. A musical symbol, as it were, of my record collection.
I sincerely hope you give it a listen, and that you find some meaning there.