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LUCK

by Wide-Eyed

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1.
Jetstream 05:28
Flowing with a pulse Trailing out behind It's the mainstream That creates the ripples Caused by the rush Running in a daydream It disappears... It disappears... The exhaust forms Concentric circles Will you get out? Beyond the smokescreen What comes into focus Is the thing you are without Nothing in the mirror... Nothing in the mirror... With the Jetset do you try to keep up And wind yourself up in the spin___ Now the Jetstream Fades to thin air You're able To see right in You see nothing appears... You see nothing appears__ .
2.
Thud 06:36
Thud ===== Out in the new world Everything is so big Unaware of danger You cross over the bridge Do you think it's a good idea To stop and look over the edge? If you fall for me, will you land on your feet? Peering down below It doesn't look so far The place I want to be How is it to be there? Only the sweetest spot on Earth As long as I'm in your arms (dear) If I fall for you, do I land on my feet? I could follow you Winding the lonely road We would walk hand in hand Wide-eyed we go alone If we fall, do we have to land at all?
3.
Break 03:27
Break ===== I've known you for only seconds, But I can sense the secrets that you hide I hope you walk on by, But you make a point to tell me your lies Going on without a pause Fatigued by the awful wait Sever the bonds that keep you strong But it's you who carries the weight Empty house to Rest from the hectic pace Shot by looks If only you'd take a break Bones might shatter Muscles could tear But I won't break As if you care Empty shell with the Rocks on the shore Try to stand up And endure some more
4.
Intuit 03:12
Intuit ===== I want you to see inside I want to see if you mind I want you deep inside Then I'll know you're mine Everyone wants to know what it's like To have someone who can crawl up Inside up into your head I want you to look inside I want to show you my mind I want to let you inside So you'll know you're mine Be my twin, Someone that I'll let in Read my mind Read my mind See inside See my mind
5.
Colorbind 05:45
Colorbind ======== Wastin' all the time that ain't so free Stuck on the outside surface of me I wish I could give you Good energy But you're too busy judgin' The skin you see Pick a route other than the same old way Take off the blindfold and greet the day Bound and gagged, or just won't say? You know these thoughts won't go away Illusions distract I feel the impact The first thing you see makes you react, With all the rappin' 'bout Injustice done The same song each day Still goes unsung If colors are to Be forgotten, Better eat it soon Before it's rotten, You're holding the greatest fruit in life, Issues of words beyond black and white Bound and gagged, or just won't say? You know these thoughts won't go away, Pick a route other than the same old way, Take off the blindfold and greet the day How many blanks did you fill? How many moments do you kill? There seems to be a shade that blocks you still and lack of information as to my skills / lack of skills Feel the impact Illusions distract The first thing you see Makes you react Maybe if you only Read my words Would the meaning still be a blur? What wrong things would you infer? You can't drive, but you chauffeur .
6.
Men Of Steel 06:50
Men Of Steel =========== If the telephone rings at 3am You know it's trouble Your stuff is always ready You're out the door in minutes You know someone is threatening To jump off your bridge Men of steel they're called Men of steel they're called Rivet wrestlers Cowboys in the sky... We're the only ones Dumb enough to do it, In fact we're the only ones With enough equipment, Knowledge of the bridge, And courage to go over the rail Men of steel they're called Men of steel they're called Rivet wrestlers Cowboys in the sky... (Raga) If you're an iron worker on the Golden Gate Bridge and the telephone rings at 3am, you know it's trouble. You know someone is threatening to jump off your bridge. Your stuff is always ready; you're out the door in minutes. If you aren't too late, you climb out onto the cold steel and try to talk some lost soul off the beam or wrestle him or her to safety. Many suicide attempts are impulsive; lives can be salvaged. But if you fail, if the person jumps into that bottomless fog, "there's no describing how helpless you feel," says Ken Hopper, a Golden Gate Bridge iron-worker for 17 years. Men of called, they're called. They fix and maintain the world's most amazing tinker-toy. But, what qualifies these rivet-wrestlers to perform the delicate psychological task of suicide prevention? "We're the only ones dumb enough to do it," says Hopper, a bear of a guy with a bushy mustache and a sensitive side. In fact, they're the only ones with enough equipment, knowledge of the bridge, and courage to go over the rail. Suicide rescue duty is voluntarily, but the bridge's iron-workers all take their turns. Sometimes a police psychologist will be at the scene, more often the rescuers are on their own. "Suicide prevention experts have come to give us seminars," Hopper says. "They talk to these people on the phone. We deal with them face to face." Often a would-be jumper is locked in a private mental zone and the trick is to get his or her attention. Some tricks that have worked: "Hey, if you're going to jump, at least give me your mom's phone number so i can call her to tell her."; "That's a nice watch, if you're going to jump, can i have it?" Sometimes all it takes is the voice of a human who cares: "Look, I've been through some hard times myself. I know it's possible to get help." Hopper estimates he's rescued about 30 people, and lost three. The losses haunt him. Hopper once talked down an 18 year old college student. The next morning, while at a press conference to announce a new bridge suicide prevention program, the same teenager walked back onto the bridge and jumped. Another time, Hopper arrived at a rescue just in time to see a man fling his two year old daugher off the bridge, and then jump, himself. "Once in a great while," Hopper says, "one of the guys will get a note from someone they talked down. It's a treasure; it's like gold." Usually there's no follow-up, no closure. Hopper says that's a sore spot; you help save a life, he says, you become involved in that life. A few years ago, it all got to be too much for Hopper. He had his name removed from the rescue call list and underwent therapy. As soon as he felt like he had a handle on things again, he put his name back on the list. "It got to the point, it was more difficult NOT to do it."
7.
World Of Dust's tabla beat pattern, is the structural and rhythmic spine to the song. The basic cycle, is an ascending pattern, each bar containing from 1 to 13 beats (in reverse, for the last 3 cycles of the song, after the "hinge"). And yes, obviously the number 13 had many positive connections to Wide-Eyed as a group, and us individually, so naturally, i focused on that number for this. As mentioned in the "notes", this was the song i was working on, when Tina proposed the idea of the band to me, so 13 was an aspect from the outset (not to mention our band's address of 1339 (39 being 13x3, of course) Apt. 13 (shown on LUCK's back cover) I wanted to capture a consistent feel, yet have the song open up on further examination, including the palindromic nature of each individual cycle, as well as the more obvious symmetry of the song as a whole. In my mind, i visualized the pattern as sort of an audio mandala (though to say that sounds pretentious, it originated from an innocent, genuine place within myself). It began as a personal exercise for my own practice, and recording; i didn't set out to add to Indian music, but if it were considered to be an addition, it is only a small reciprocation from me, for all that i have received from the sublime music of India. -Patrick Each beat #1 should be stressed. As the beats are counted out, all have equal time value, and are in consistent tempo. Tabla pattern in visual symmetry: 1 12 123 12-12 123 12 123-123 12-12 123 12-12-12-12 123-123-123 1 123-123-123 12-12-12-12 123 12-12 123-123 12 123 12-12 123 12 1 Pattern broken down numerically: (1): 1 (2): 12 (3): 123 (4): 12-12 (5): 123-12 (6): 123-123 (7): 12-12-123 (8): 12-12-12-12 (9): 123-123-123 (10): 1-123-123-123 (11): 12-12-12-12-123 (12): 12-12-123-123-12 (13): 123-12-12-123-12-1 .
8.
Invaders Retreat ============== Like a cat With a mouse You think it's yours, But it's not Intruding on the space Invaders retreat Invaders retreat Like a snake With a rock You think it's yours, But it's not Crowding all the space Invaders retreat Invaders retreat Like a boy With a box You think it's yours, but it's not.
9.
(protest song) ============ Look at the clouds In the smoke-filled sky Look at the disbelief In my eyes I set no fire flames consume The hatred of brothers Will burn the room Too many people In too tight a space No one stops to help us Avoid any answer Destroy our living space There's a fire on tonight And it's not the sun Who sets this fire? Smoke consumes No time to retire No man on the moon No one is certain Who owns this place, Does it even matter? Deaf to the answers Survival is a race There's a fire on tonight And it's not the sun.
10.
Coldwater 02:55
Coldwater ======== Sometime in early night Crossing town They approached the light Everything seems all right It turned green, thay didn't have a clue Without looking both ways They started through Everything seems all right The other cars were sitting tight Everybody knows She runs the lights Everything seemed all right...
11.
Deadline 06:02
Deadline ======== I've gotta make my deadline Or I'm dead meat on a line Lost, in search of a sign The hidden piece I cannot find I've got no time for waitin' In this never-ending line (and that's just the beginning) Can't find a helping hand Drownin' in this barren land So much for my plans A millionth time to begin again Everywhere I see my hourglass Runnin' low on sand Either way, it's not right Slowly you'll start to feel You'll fall out of sight Nightmares fill my sleep I need to unwind Then I wake up to find I've wasted so much precious time I'm closer than ever To my deadline I don't have the time For this standin' still line Heart in search for signs The peace inside I cannot find 'Til I'm dead meat on a line But, did I make my deadline?
12.
Blanketed White ============= And what could it be? Falling from the sky Looking down on life Changing the keys Blanketed white Sensuous light A solid rain Cleanse the air And what do you see? Floating in the sky Looking down on life And changing the keys Changing the key Looking down on life Floating in the sky What do you see? Blanketed White Warm starlight Sudden rain Fills the air What do you see? What do you see? Blanketed white A contrast to night See-through rain A lens in the air (A) Mist the sun Burns away Dust blown by the Invisible, invincible Wind .
13.
Toledo 05:12
Toledo ====== Toledo (Nice and slow) Neighbors on porches Crickets making noises Everything's great in Toledo Maumee (mommy) Nothing ever hurts Can't find a speck of dirt Everything's clean in Toledo Ohio (now I know) Smiles for everyone Everyone's in the sun Everything's right in Toledo Something's wrong in Toledo La La, La-La-La La... (kick)

about

LUCK (2001-3)
In choosing the band's name, Wide-Eyed, Tina and Patrick were hoping to connect ideas of psychedelia in non-cliche ways.

The band's debut evolved from demos, into this final presentation as an album. If any specific thought went into the presentation of the album itelsf, it was an attempt at presenting the songs cohesively, despite diversity of sound and styles; to make music that can be artistic, without "art rock" pretensions, funny without being comedy (intentionally, at least), and to "rock" without the many cliches there as well, the band's name being "against type" specifically.

"We share a distaste for describing our music, because to us, any description either sounds horribly pretentious, or just doesn't accurately describe it; the music describes itself, which to me is the opposite of pretension because it's not trying to be anything other than what it is", Patrick explains

"It's not diversity for diversity's sake, but more like just writing without the boundaries that styles create, then diversity just naturally happens when you're just trying to not repeat yourself, song to song, as engineers, producers, performers and songwriters."

LUCK easily had twice as many songs in residency, at one time or another, so the stylistic spread naturally happened over time, as songs were replaced, or refined.

"The songs were initially an ever-changing set, and the demos were originally to give potential band members an idea of what they would be in for, but we became so focused on writing, practicing and recording, we remained a 2 piece, and rotated instruments for the recordings. We were just finding our way, and making it work with what we had."

"Live shows were their own, slightly different thing. Most of our shows were as a 2 piece with Tina playing bass, and me on the drums. If we had a friend playing the drums, then I would play the guitar."

LUCK reflected a newness and youthfulness of the band itself, and the ideas they hoped to convey through their writing and the atypical sound of their debut album.

credits

released September 23, 2003

All instruments: Tina Lambright / Patrick Pyne

Recorded by Patrick and Tina
Mixed and mastered by Patrick
Produced by Tina and Patrick
All songs © & p 2001 - 2003
Tina Lambright / Patrick Pyne
Originally self-released 9/23/2003
Soundpropeller Records

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Wide-Eyed Ypsilanti, Michigan

Formed in the beginning of 2001, Wide-Eyed is Tina Lambright and Patrick Pyne. Despite being a duo, they rotated instruments for recordings to make full, band-oriented songs of varying sounds and styles. Their music can be generally described as experimental pop, or psychedelic rock, but avoiding cliches of any genre. Serious, funny, abstract or direct, despite the dressing, enjoyment is the focus ... more

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