Interview with Lawrence App: Song Writing & Influences

I started writing tunes when I was pretty young. I think I was eleven when I wrote a couple of songs that were complete enough to actually call them songs.

I was really most prolific when I was a teenager, maybe because I didn't know that much and the editorial part of me wasn't that strong where I was kind of censoring things out before they'd have a chance to bloom. I was still pretty exacting within the realms of what I knew, even as a teenager when I was writing music. The prolific part of it could have been for a couple of reasons, because I didn't have much else to do besides school. Although, I don't know I was pretty busy, so I don't know if that was a good argument, but also I didn't have any other outlet really, my family was really disfunctional and I was really disfunctional and I didn't have ways to express or process or cope with a lot of the things going on in my life. So for me, the way to do that was to put it in songs.

I was looking back. Fortunately I saved some notebooks. There's not many recordings of the songs, so all I have is the words, and maybe some chords, but I don't remember how a lot of the songs go. I think, say from the time I was 15 until I was 18, I probably wrote a couple of hundred songs, quite a few.

When I started traveling and trying to earn my living playing music and gigs, I had to spend more of my musical time getting better at playing. Getting more proficient on guitar and singing because the standards were higher if I really wanted to get paid enough to earn my living from it. And I had to be able to play other people's music well. I didn't really, when I got my first gig playing out, when I was 18, my first really professional full time gig, I didn't know very much music, so I'm really fortunate that they hired me and gave me a chance to learn this stuff. Fortunately a couple of the guys in the band had faith enough in me that they knew I was a smart guy and picked up things fast, and if I put my mind to it I could do it, but my output decreased dramatically from that time. From writing maybe 50 songs a year to writing ten, which is still... now I write even less than that, although I would be happy with ten songs a year now.

I did, I was in a band, the last year or two I was in high school that was an all original music band and we did a couple recording sessions, but they weren't very good. We weren't in a professional studio. It was a guy we knew had a studio in his house, and back in those days, his recording was really pretty crude, especially by today's standards, so that output, a little bit of it survives, but it's really not very good. When I say not good, you can't even really make out some of the instruments and stuff very well. But I went back an re-recorded it, and tried to be as faithful to the original arrangements as I could. So I have some of that available. I called it L. App 71-73. A fairly unimaginative title, but that's what it is. I think there's only 8 songs on it. I have others that I would like to add to it. I would like to record more of it.

Part of the reason that I never really put that CD out commercially was that it seemed like it was too short. It was only like 30 minutes of music, but when I look back on that era, there were albums that were shorter than that.

When I was a teenager and writing a lot, I guess in the back of my mind was a concern that I wanted people to hear the music, but I wasn't so concerned with playing out, and that kind of stuff. In fact, it kind of terrified me, because I hadn't really performed that much in public, but once, say I was in my twenties, and I had been playing a lot, publicly for a while, I guess a concern for me, or part of the inspiration for writing was that I felt, like if I was just writing the music for me, and it was stuff that was going to kind of mold away in my own archives, it just wasn't really, it wasn't enough inspiration for me to keep writing that way anymore, as it was when I was younger.

Having an outlet, or even a prospective outlet made it easier for me to write. So when I was in my twenties and I started doing the Latin music and then the Carribbean music in general, I immersed my self in a number of those styles of reggae and Brazilian music, and calypso to a lesser extent, and salsa too, even earlier than the reggae or Brazilian stuff. I really immersed myself in those musics because I loved it. For whatever reason it really moved me, but as a result of being immersed in it, it started coming out in my own song writing.

Also playing in some bands, kind of commercially, in the sense that we were out in the public getting paid to do what we do, that was my main venue or outlet for writing. A lot of my own songs started taking on that character. That sounds passive... I don't know... it seemed like it was just happening, but on a subconcious level I think I was really trying to, hopefully write a song that sounded like something that Milton Nascimento would have written or something that Bob Marley would have written.

Video: Lawrence App Performing "It's Easy"

Interview with Lawrence App: Musical Studies & Performing

An Interview with Lawrence, Picking up from the October 5th Multi-Instrumentalist Post

I don't know if quantity alone is worth anything. A lot of the gigs have been commercial gigs, but my tally of total number of gigs is somewhere between 7 and 8,000 in my life so far. I still perform quite a bit. I probably perform a couple of hundred times a year, which is a lot, especially compared to a concert musician that may only do fifty shows a year. So I have to be concerned with conserving my energy and my vocal chords and my fingers, all the mechanical parts that go into my playing the instruments, otherwise I am dead in the water; I can't do anything.

I studied music some when I was a kid. In fact my parents insisted that I study piano for a couple of years, when I first wanted to learn to play music; that was the prerequisite to me getting a guitar. So I learned to read music a little bit. I took guitar lessons briefly, I didn't really care for it, so they let me off the hook with that. But I did continue to study voice through highschool, maybe not junior high. I did both choir at my church as well as sang in the choir in high school. It was helpful, so at least I had some familiarity with the dots, with standard musical notation on the staff.

But I totally got away from that. I went on the road when I got out of highschool, playing in some commercial bands, and some of them were cooler, like Latin, Caribbean bands and jazz groups and stuff like that. I had to be able to read chord charts but it wasn't necessary most of the time for me to read standard notation.

I was pretty succesful at least from the stand point of earning a living, but I hit a point, in my late twenties, or around the time when I turned thirty, that I felt like I was stagnating musically. I was still writing music. At that point I had written, oh, several hundred tunes, recorded some of them, but I just, there wasn't anything new coming in. I had learned a lot from some of the.... especially when I was young I tried to work with older musicians, people at least older and more experienced than me and kind of apprentice myself to them, in one way or the other. So I learned quite a bit that way, but I just kind of reached a limit on what I could do studying that way. So that's when I decided to go back to school.

I wasn't even really planning on studying music when I first went to college, but I gravitated towards music and earned a few degrees. I got a bachelors in Jazz Studies from the University of North Florida which was a really great experience, because there were a lot of good musicians there; a lot of good players, some of them even quite a bit younger than me, but really, really really good. Kevin Bales, Marcus Printup, were a couple of guys that went on to become... actually there were quite a few, Doug Wamble is another guy that moved to New York. Quite a few of them have gone on to be pretty successful in the Jazz world.

The faculty was really great too. The learning curve... it just opened up a whole universe of music, that I knew was there, because I'd listened to jazz, and I'd learned what I could through learning by ear and the mentor/protege relationships kind of things that I had but, studying at UNF, gave me, really just that experience of two or three years there gave me enough stuff there to work on really for the rest of my life. Pretty amazing.

I continued on. Did some graduate study at Florida State and got a graduate degree in Ethno musicology. Had a few articles published as a result of the research that I did while I was there. The school of music at Florida State is usually ranked in the top ten in the country I believe. I was fortunate that I didn't have to move too far from my daughter, because the University of North Florida in the Jazz education world, was the same thing, probably in the top five, it's always really highly acclaimed.

It was in relatively close distance to where my daughter lived and meant that I could also work at some of the venues I'd been working at, so I could still have a decent income while I was going to school. I was a single dad, performing three times a week and going to school full-time; so it was kind of a busy time.

One of the sort of ironic or serendipitous things about going to school at Florida State, when I was in the ethnomusicology program there, eventually you have to pick your major area of study and a minor area. Usually they prefer, not just Florida State, but any ethonomusicology school, prefers that it be contrasting geographical areas, just so you have some diversity in your portfolio. I really didn't know, for a while I thought I was going to do some kind of West African music or possibly Indonesian music as my major field of study. South African was also another possibility that came up that I did some research on. Afro-Columbian music from Columbia South America, in fact that was one of the articles I had published, was from research I did on that.

I kind of came full circle back to the Caribbean music that I had performed commercially for many years. I guess it was Michael Bakan, once again, my closest ally amongst the faculty there, said, "Why don't you just do the steel drums? You already know a lot about it, and there's not a whole lot of research out there." So I decided to go about it, but the irony about studying the steel drums and doing my thesis on that was when I was out doing my field work, observing the guys playing steel drums, not to offend anyone, but a lot of the people I saw, I thought, "Well I can do that!"

It had this whole mystique about it, because I had worked with some really excellent steel drummers in my own band, guys that had played with Jaco Pastorius and some really, one of the guys was the Trinidad National Steel Drum Champion back in the sixties. So these guys were at the top of their game. So that was my idea, you had to be that good to play steel drums, but when I got out and had a broader cross section of the musicians, at least in Florida, that were out playing steel drums, that's when I had the idea, "I could probably do that."

When I finished my master's degree at FSU, instead of pursuing further research on the steel drums or doing something else, I got back into performing and decided to start playing steel drums and it's turned out to be a really great thing. I enjoy it and it's also been good from a financial stand point because there's still a lot more room to move in that area. There's not that many guys doing that compared to something like guitar, when there's literally millions of people playing guitar.

[Note: Here's an interesting history of Steel Drums.]

Lawrence App Performing at The Garlic

Lawrence App performs at The Garlic in New Smyrna Beach on Wednesday December 3rd.

THE GARLIC, 556 E. Third Ave., New Smyrna Beach. 386-424-6660. Jazz guitarist/vocalist Lawrence App, 6-10 p.m. Wednesday.

Intro to the Dark into Light CD, 2004

This project by singer/multi-instrumentalist Lawrence App, Dark Into Light, (DIL) was released in December 2004. In an era defined by category fragmentation and hyphenated styles, the disc's nine tunes take stylistic turns somewhere between the realms of acoustic pop, jazz, and world fusion-but in ways pretty unique to Lawrence's background.

Originally from a home of jazz musicians, he spent many years on the road and in clubs playing in show bands and reggae groups before returning to school to earn degrees in jazz studies and ethnomusicology. This first solo effort by Lawrence strikes the balance between street-wise and studious; between the visceral and the ethereal, framed in the shifting musical textures and thoughtful lyrics of Dark Into Light.

The albums centerpiece is Lawrence's vocals (Songwriter Showcase of America's Best Male Vocalist of the Year award in 2004). His low tenor range can morph from funky jazz to a breathy ballad sound from one track to the next. In addition to singing and writing most of the material on DIL, Lawrence plays nearly a dozen different instruments. His main axes are acoustic and electric guitar, but throughout the disc he plays bass, keyboards, steel drums, drumset, congas, and various other hand drums like the djembe, dumbeq, and asiko.

Some fine musicians, many of them long-time associates, added to the musical depth of the project. Eric Mason (of Windjammer) deftly handled the intricate but funky drumming on three tracks (think Manu Cache). One of Jacksonville top session men, Scott Rademacher added some sizzling saxophone work on four cuts. In addition Peter Miles, Dan Walters, and Jonathan May among others contributed some fine playing.

As for the nine tunes on DIL, Lawrence's songwriting and arranging provide numerous twists and unexpected turns. [Song links go to YouTube video performances where available, and otherwise, you can listen to sound tracks on the CD Baby site.]

The album starts off with "Like Sunshine", an uplifting, danceable tune inspired by Gilberto Gil and Papa Wemba, but is immediately followed by the haunting Keith Jarret-ish instrumental "Lake Alice".

The third cut, "Bassline", may be the most radio-friendly tune, reminiscent of some of Sting's or Steely Dan's work.

"Lindsey" is a beautiful acoustic ballad featuring steel drums and written for his daughter.

"Dreaming", another world/pop/jazz tune is next, followed by the almost New-Age "Harmony Rag."

"Long Gone" is a catchy not-pop tune in 5/4 inspired by Milton Nascimento and featuring some Santana-ish guitar work.

The one cover tune is what Lawrence calls his "Daniel Lanois" arrangement of Duke Ellington's "Fleurette Africaine" (from Money Jungle).

The final cut is a Joni Mitchell inspired ode to nocturna called "Middle of the Night" (with apologies to John McLaughlin).

(content same as that on CD Baby DIL intro)

Like Sunshine

I feel the world slipping off my shoulders,
an open road lies out ahead.
I know that the days are getting longer.
The buzzing song of summer fills my head.

It's like every voice I hear is
singing like sunshine.
I feel your warmth shining on my face.
A wordless smile says everything's okay.

When it seems that darkness has filled this place
you 'll know in time it's best to walk away.
I turn my ear to the sky, it's
singing like sunshine.

Like sunshine--hear it in the children's laughter.
Like sunshine--or lose it in the moment after.
Like sunshine--dressed up in red, green, and gold.
Like sunshine--something kind of spiritual like sunshine.

It's like the feeling I once had for my mother
or a friend I haven't seen in years--
a love so deep I can't repeat its name.
The prodigal's face reappears.
All at once I recognize the
singing of sunshine.

Chorus

Sometimes when your memory fades away
and darkness fills my thoughts like a dozen rainy days.
Feels like I'll always be alone but
if I made it this far I'm gonna find my way home.

Hey, sunshine
I haven't seen you in a long time.
Why won't you chase the shadows from my mind.
Though I can't make you stay
I know just for today I'll be
singing like sunshine.

Like sunshine--hear it in the children's laughter
Like sunshine--or lose it in the moment after.
Like sunshine--dressed up in red green and gold.
Like sunshine--looking so beautiful.
Like sunshine--she's so spiritual like sunshine.

LApp: vocals, acoustic guitar, bass, keys
Eric Mason: drums
Scott Rademacher: soprano sax
Jonathan May: cello
Chuck Stites: violin, viola

Bassline

The freezing wind burns his face
as the sidewalk leads him on.
His skin turned hard from years in the city.
And dreaming of some distant place
he drifts off like a song--
forgotten but for a trace of a melody.

His memory lives in the bassline.
The city moves to the bassline.
Stripped down to the core,
no time for dreams of home--

Never hears from friends or family.
It washes over him once more,
a wave of solitude--
dissolves into an urban symphony.

His memory lives in the bassline.
The city moves to the bassline.
His heart and soul's in the bassline.
Stay close to the ground with the bassline.

Maybe some bright and sunny day
His voice will rise above the crowd,
but when the smoke has cleared away
his roots live underground.

His memory lives in the bassline.
The city moves to the bassline.
His heart and soul's in the bassline.
Stay close to the ground with the bassline.

LApp: vocals, acoustic guitar, bass
Eric Mason: drums
Scott Rademacher: solo tenor sax
Ray Guiser: sax section
Pete Waidelich: trumpet

Lindsey

Feels just like the first time that I ever fell in love;
I never will forget the day she came.
Someone so small has caused everything to change.
My friends said things will never be the same.

I found my life illumined in a different shade of light.
Her little voice is like a song to me.
She smiles as if we'd known each other somewhere long ago.
I always knew her name would have to be

Lindsey, like flowing water
Lindsey, she's my daughter
Lindsey, I love her.
Lindsey.

Then before I knew it she had gone out on her own,
I never thought the day would come so fast.
I trust our love is stronger than the turning in the world.
I know I can't keep living in the past.

The more we grow apart I see how much we are the same.
When I look at you I look at me.
I wish that I could hold you close like when you were a child
and still pretend we are a family.

Lindsey, you know I miss her.
Lindsey, I long to kiss her.
Lindsey, know I love her.
Lindsey.

Things I hold so near and the ones I love so dear,
one by one I've had to let 'em go.
But save this time together before life goes moving on
because we're all God's children here below.

And when I see you eye to eye I know we'll meet again
like the rivers flowing to the sea.
If absence makes the heart grow fonder it doesn't stop the pain but
because my love is strong I set you free.

Lindsey, yes I love her.
Lindsey, like no other.
Lindsey, yes I miss her.
Lindsey.

LApp: vocals, acoustic guitar, congas, asiko, dumbeq, steel drums

Dreaming

Every day it's the same old thing:
a struggle just to walk out my front door.
Every day leaves me wondering
what I'm really working so hard for.

If there is a reason
and a time for every season
why is the picture so obscure?

Every time I fail
when I try to pierce the veil.
Illusion is secure.

Everything is it's own reward:
posessions are like props upon a stage.
Everything winds up so absurd:
the show must go on just to earn a wage.

I work my life away
and I still can't seem to pay
the price exacted for some peace of mind.

When my life is through
and the payment's overdue,
gonna leave it all behind.

Everybody that I have known
when I look into their eyes they mirror me.
Everybody winds up all alone
left to reconcile with destiny.

I tried to find salvation
in the church, the state, and nation;
the promised land is just a fantasy.

My days go slipping by
while I stare into the sky--
verge of insanity...

Every day brings a brand new thing:
I draw the blinds, turn off the morning news.
Every day leaves me wondering
if freedom means there's nothing left to lose.

My mind is running wild
like a hyperactive child.
The burden of this freedom is a scream.

Am I really free?
Oh, my thoughts won't let me.
Am I awake or am I dreaming?

Everyday I'm dreaming.
Everyday is just like dreaming.

LApp: vocals, acoustic guitar
Eric Mason: drums
Scott Rademacher: soprano sax
Dan Walters: fretless bass
Jonathan May: cello

Harmony Rag by Phil Fox

Music in the woodlands, songs in the sea
Whispers on the wind rise in strange melody.
Somedays when it's still; somedays when I will--
I hear quiet voices calling to me.
Music in the sleeping earth
Music in her sighs
Music in the sleeping earth
Singing in the skies.

When you're all alone and the long day is through
Take a little time and you'll find that it's true:
Everywhere you go listen and you'll know
There are quiet voices calling to you.
Music in the sleeping earth
Music in her sighs
Music in the sleeping earth
Singing in the skies.

Phil Fox: song and lyrics
LApp: vocals, piano, acoustic guitar, drumset, percussion
Nandu Muley: tabla
Jonathan May: cello
Chuck Stites: violin, viola
Ray Guiser: flute, clarinet
Peetie: electric guitar

Long Gone

It was like a dream: vapor rising from the ground.
Cleared my eyes to see, nobody else around.
Then I saw you: that’s all it took to believe that
holding close was fun for both of us.
When you say you love me I can't help but wonder why.

I'll see you in another place and time.
It's not a lie to say I need you
but you wouldn't have it; love beyond a habit--it's passion's crime.

I leave you but come back yet another time.
It's hard work, the games you play
you draw me near and then push me away.

Expect me to go on.
I reach out but you're long gone.

Comes into my sleep like someone knocking at my door.
I turn and close my eyes, this yearning that I can't ignore.

Hooked on you and I can't turn myself away.
It's not a lie to say I need you
but you woudn't have it; love beyond a habit--it's passion's crime.
I leave you but we'll start another time.

Chorus
Solo

It's hard work, the games we play
you draw me near and then push me away.
It's too much to go on.
You reach out but I'm long gone.

Fading like the day, memories of loving you.
I think I'll get away; can't admit that we are through.
Through with you, I can't believe,
through with you.
Maybe just today I'll be long gone.

LApp: guitars, vocals, fretless bass
Peter Miles: drums

Middle of the Night

It's not you,
something else is on my mind.

Half past two,
the breeze and the moon invite.
I know sleep can wait
I hear the calling of the night.

Out of view,
the windows open watchful eyes of
midnight blue
flickers from the TV screens.

Like a fugitive I'm
shrinking from the headlight beams.

The things I do
my friends and neighbors fear to ask.

It's nothing new;
I dread the tedious working days.

In my secret life
I'm set in my nocturnal ways.

Nothing much to do
but steal through shafts of light and
dance to Luna's tune
beyond the neighbors' sight.

I love the middle of the night.

Fantasy:
I'm ruler of these empty streets.
My reverie:
the sleeping freeway's hissing drone.

You know darkness is the only time
they ever leave me alone.

Nothing much to do
but steal through shafts of light and
dance to Luna's tune
beyond the neighbors' sight.

Sparring with the air
and sprawled out on the lawn.
I don't even care
if I ever see the dawn.

I love the middle of the night.


LApp: guitar, fretless bass, vocals, drums
Ray Guiser: flute
Jonathan May: cello

Lawrence finishes his one-month hike of the Appalachain Trail

Lawrence is very grateful for the opportunity to live out a life-long dream of hiking on the AT. It was a great experience, full of beautiful scenery, physical challenge, and a deep sense of peace and fulfillment. He'll be back to music-making next week, but is already planning a longer hike for '09. Thanks to all the people who followed his hike and offered their support.

Hiking the Appalachian Trail for 1 Month

Lawrence App is hiking the Appalachian Trail for a month, and documenting his trip in a video blog called Hiking the AT with Laree.

With frequent posts, you can hike vicariously through his updates.

Lawrence is half way through now.

The Multi-Instrumentalist

In an interview with Lawrence, he talked about the instruments he plays.

"I'm actually more out of practice with some instruments now than I was at my peak ten years ago. I've tried not to be quite so much of a jack of all trades. The instruments that I have at least some performing proficiency on are. I consider myself to be primarily a vocalist, with guitar as my main instrument, although I play a number of different guitars within that generic category.

Guitars: I play acoustic and electric guitar. I used to play other things like 12 string guitar and slide. I don't really do that so much any more.

Bass: I play fretted and frettless electric bass and have done quite a few gigs professionally on bass.

Steel Drums: Steel drums are really my second ax right now after guitar.


Keyboards: I also play some key boards.

Drumset: I play trap drums, even got out in public and did that professionally for a little while.

Hand percussion: I play a lot of hand percussion, which I've also backed off of because as I've gotten older I've started having more problems with my hands. So I'm not as anxious to beat on things with my hands. I played congas for quite a few years. Did that professionally. And then a lot of ethnic handdrums:

Djembe, Dumbek, Ashiko drums, Timbales, I don't even know how many percussion instruments, quite a few, if you include the smaller ones as well, probably twenty different percussion items. Shekere, A-Go-Go-Bells. There are so many it's hard to think of them all.

Table? I don't play Tabla. I've always wanted to. It's one of those instruments where the learning curve is pretty steep at the beginning, so I've never gotten past that.

I've played a lot of different instruments, even gotten to a level where I was comfortable enough to go out and do it in public, but like I've said, I'm trying to focus more just on singing and guitar, and steel drums, though I do still play some gigs on bass."

Acculturation

Lawrence App and his band, Windjammer, released Acculturation in 2002. Island and world music --an upbeat mix of reggae, latin, and soukous rhythms with inspiring lyrics.

12 songs were recorded, several of Lawrence's own originals, and some powerful covers.

I Am Somebody by L. Agnostus

We came into this world together
We all wish that we could live forever
Never, never judge a book by its cover
If someone hurts you for now reason'just stop and say ..

I am somebody
I am somebody
I am somebody so you better treat me right.

We all dream of having a bright future
Yet every day we find someone to torture
You've got to be the wise student
To become the teacher.
If someone violates my human rights
I'll stop and say…

I am somebody
I am somebody
I am somebody so you better treat me right

I will sing this song
And I will live forever
I will sing this song
And I will never die 'cause
I am somebody.

by L. Agnostus

(Ain’t Gonna Find) No Peace

(Ain’t Gonna Find) No Peace ©E.Mason/L.App

Soul of my ancestors
Out there among the stars.
I'm writing you to let you know
Mankind is still at war.

Leaders running to and fro
In their quest for peace.
The conference table just ain't able
To muzzle the beast

Yeah, we made a lot of progress
But we're still not civilized.
The law of the jungle still holds true:
Only the strong survive.

Ain't gonna find no peace
Out here in outer space. No we
Ain't gonna find no peace
In the arctic wasteland. No we

Ain't gonna find no peace
Because our mind's not right.
Ain't gonna find no peace
Until we see Jah's light.

Soul of my ancestors
My prayer goes out to you:
Send us strength and guidance
'cause we know not what we do.

Millions starving daily
While we rape our native lands.
Mankind ain't gonna feed his brother
With his head stuck in the sand.

Knowledge is increasing but
We still remain damn fools.
Say of our inventions
We're not masters but their tools.

Eveready

I was looking for a little inspiration and there she was
her smile looked like a private invitation to another world
I sit back and watched the crowd's reaction as she starts to move
Now she's starring as the night's attraction: you'll get everything but the girl.

They call her Eveready, to party through the night
And when she dance Rocksteady she feels alright
I could see she had a craving for attention, a lust for more
One by one she won the men's affection, got their girls upset
But you see it's just a game of exhibition, she'd never take them home
Hidden by the motion and distraction there is something that she must forget.

They call her Eveready to energize
And when she dance Rocksteady she'll hypnotize

Every night I reach that same location, I find her there
Heading up the evening's celebration until the dawn
As daylight caresses the horizon she leaves alone

They call her Eveready to energize
And when she dance Rocksteady there's madness in her eyes
She works like Eveready until the break of day
And though she feels rock steady she turns and walks away.

Lawrence App

Performed by:
LApp: vocals, bass, congas, synth
Eric Mason: drums
Pete Winders: guitars
Ray Guiser: sax
Todd Beals: trumpet
Cat Benson: bg vocals

Windjammer Playing "Great Heart"

Windjammer performing "Great Heart" July 2005 in Florida.

Great Heart by Johnny Clegg

The world is full of strange behavior
Every man has to be his own savior
I know I can make it on my own if I try

But I’m searching for a great heart to stand me by
underneath the African sky
a great heart to stand me by.

I’m searching for the spirit of the great heart
To hold and stand me by
I’m searching for the spirit of the great heart
Under African skies

Sometimes I feel that you really know me
Sometimes there’s so much you can show me.

There’s a highway of stars across the heavens
The whispering song of the wind in the grass
There’s a rolling thunder across the savanna
A hope and a dream at the edge of the sky.

Your life is a story like the wind
Your life is a story like the wind

Chorus

Guk a ‘mzimba
Sala ‘ nhliziyo

I’m searching for the spirit of the great heart
To hold and stand me by
I’m searching for the spirit of the great heart
Under African skies

I’m searching for the spirit of the great heart
I can see the fire in your eyes
I’m searching for the spirit of the great heart
That beats my name inside

Sometimes I feel that you really know me
Sometimes there’s so much you can show me.

©Johnny Clegg

Listen on Stumble Audio

Bassline

The freezing wind burns his face
as the sidewalk leads him on.

His skin turned hard from years in the city.
And dreaming of some distant place
he drifts off like a song--
forgotten but for a trace of a melody.

His memory lives in the bassline.
The city moves to the bassline.
Stripped down to the core,
no time for dreams of home--

Never hears from friends or family.
It washes over him once more,
a wave of solitude--
dissolves into an urban symphony.

His memory lives in the bassline.
The city moves to the bassline.
His heart and soul's in the bassline.
Stay close to the ground with the bassline.

Maybe some bright and sunny day
His voice will rise above the crowd,
but when the smoke has cleared away
his roots live underground.

His memory lives in the bassline.
The city moves to the bassline.
His heart and soul's in the bassline.
Stay close to the ground with the bassline.


©Lawrence App

Performing this song:
LApp: vocals, bass, congas, programming
Eric Mason: drums
Pete Winders: guitars
Ray Guiser: sax
Todd Beals: trumpet

Windjammer & Lawrence App, Acculturation Photo Shoot

The musicians in Windjammer standing next to the washed out pillars of an ocean side pier in Florida.

Tell The Truth

You said you wouldn't be too late--needed to take a walk and think things over.
We just can't agree--every time we talk I end up hurt and confused.
You look far away--I can't help thinking of the comfort I might find in another.

Love's not a game--even though sometimes I win, usually I lose.
You try to put the blame on me
when you're the one who worries about being free

Tell the truth--my sweet mama
Tell the truth--are you leaving soon
Tell the truth--you won't say it but I can feel it across the room

Tell the truth--baby, baby
Tell the truth--don't say that its no use
Tell the truth--let's talk things over
pretty mama please tell the truth.

We said we couldn't carry on--needed some space to see who would decide
who'll give in first--blaming each other just looking for an excuse
to go our own ways--even though commitment's not a matter of taking sides

We let fear and pride--put us in a place neither one of us would choose
I beg you, tell it to me straight:
are we going on or is it just too late?

Chorus

You won't tell me was it something that I said
You can't convince me that it's all just in my head
Tell the truth. . .


©Lawrence App

Song performed by:

LApp: vocals, bass, congas, programming
Eric Mason: drums, vocal
Pete Winders: guitars, vocal
Ray Guiser: sax
Pete Waidelich: trumpet
Cat Benson: vocal

It's Easy

It was the first time that I set out on my own,
thought I'd make my mark.
Now I'm wishing I were safely back at home,
I'm groping in the dark.

Time...heals everything.
Time...it's the cure.

It's easy smiling when things have gone my way.
It's easy speaking when there's nothing more to say.
It's easy loving you after love has gone away
otherwise it's hard.

I thought I'd prove I need nobody else,
I found out I was wrong.
No man's an island, no man's made of stone;
I know I'm not that strong.

Time...heals everything.
Time...it's the cure.
Time...softens every rough edge.
Time...it's for sure.

Chorus

It was the last time that I set out on my own
and leave my friends behind.
I've got no use for a heart that's made of stone;
the struggle's in my mind.

Time...


©Lawrence App

Song performed by:
LApp: vocals, bass, acoustic guitar, percussion
Eric Mason: drums
Pete Winders: guitars
Ray Guiser: EWI
Tomás Orta: congas, Brazilian percussion