1. |
That's Why We're Here
03:24
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That's Why We're Here
by Adam Belsky, all rights reserved 2018
G A |
D G D A
Sometimes you go after it. Sometimes you don't.
F#m G D A
Sometimes its a question if you will or you won't.
D G D A
Sometimes its confusing. Sometimes its clear.
F#m G A D | |
Some things need fixing and that's why we're here.
Bm G D A
No one said its easy, but it isn't really hard,
F# G A | |
And there's no moving forward keeping up your guard.
D G D A
Some things unfamiliar can ratchet up the fear.
F#m G A D | G A |
That can be a problem so that's why we're here.
D | G | D | A | F#m | G | D | A |
D G D A
Sometimes its confusing. Sometimes its clear.
F#m G A D | |
Some things need fixing. That's why we're here.
Bm G D A
Its a very simple bargain runs the sands of time,
F# G A | |
I'll be scratching your back when you ain't scratching mine.
D G D A
Write it in a message, or whisper in your ear
F#m G A D | G A |
Somewhere lies the answer, and that's why we're here.
D G D A
Sometimes its confusing. Sometimes its clear.
F#m G A D | G | D
But some things need fixing and that's why we're here.
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2. |
Nothing
03:28
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Nothing
by Adam Belsky, all rights reserved 2018
C | D | Em7 | C | Am | D | Am | D |
G D Em7
Reaching for my wallet. Reaching for my car keys.
C
Everything is there.
G Bm C D
Look around my telephone and everything is there.
C D Em7 C
Lace up my track shoes. Tie a double bow.
Am D Am D
Then I don't know. Something tells me I don't know.
G D Em7 C
Looking in the mirror. Something missing. Something there.
G D G | D |
Then there's nothing. It all goes to nothing.
G D Em7
Paging through my datebook. Looking at the numbers
C
Everybody's there.
G Bm C D
Check my invitations and everybody's there.
C D Em7 C
Wear my best tuxedo with the ruffles and the bows,
Am D Am D
Then I don't know. Something tells me I don't know.
G D Em7 C
Open up the paper. Something missing. Something there.
G D G | |
Then there's nothing. It all goes to nothing.
C D Em7 C
I been a little restless and its hard to fall asleep.
Am D Am D
You wouldn't know the difference by the company I keep.
G D Em7 C
Feeling for a heartbeat. Something missing. Something there.
G D G | C |
Then there's nothing. It all goes to nothing.
G | D | G |
It all goes to nothing.
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3. |
Rolling Over
03:10
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Rolling Over
by Adam Belsky, all rights reserved 2018
A | |
Em7
I'm getting closer to the edges where I'm bound,
G D
To the edge is where I'm headed. The edge is where I turn around.
A Em7
I'm edging closer to the painted yellow line,
G D
And I'm waiting for an answer, for a length of woven rescue line.
CHORUS
E D
Rolling over, rolling over in my mind,
E D
Over and over, rolling over in my mind.
A | Em7 | G | D |
A Em7
I am hoping for the valley in my sights
G D
As I tally up my chances. Can I rally through a lonely night?
A Em7
I left the highway for a narrow mountain pass.
G D
Was a harrowing decision. Now I'm powerless with weightlessness.
[CHORUS]
A | Em7 | G | D |
Bm F#m
Its a wonder there would be a road at all
Bm D E
Where the sun can't find the reaches of the frozen mountain wall.
A Em7
I'm getting closer to the edges where I'm bound,
G D
To the edge is where I'm headed. The edge is where I turn around.
[CHORUS]
A Em7 G
Rolling over in my mind, over and over,
D A | | G | D | A | |
Rolling over in my mind. Rolling over in mind.
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4. |
That Style
03:12
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That Style
by Adam Belsky, all rights reserved 2018
A | D | A | D | A | D | E | E7
| A D A D
Beginning to notice. Taken a while. Keeping your number on my dial.
A D
Look at your picture. I like the expression.
E | E7
I like that style.
| A D A D
Won't take forever. Taken a while. Put you on notice. Turn up the dial.
A D
Learn a new language, whole different fashion.
E | |
I like that style.
D A D A
Starts at the ankles. Then its up to your knees,
D A E | '
And there goes my heart like a kite in the breeze.
CHORUS
| A D A D
A little turn in your shoulders. The shape of your smile.
A D E | E7
I'm beginning to notice, I like that style.
A | D | A | D | A | D | E | E7
| A D A D
Only the lonely go walking a mile. Put that description in a circular file.
A D
Look at your picture. I like the expression.
E | E7
I like that style.
| A D A D
Won't take forever. Taken a while. Put you on notice. Turn up the dial.
A D
Take a vacation, new destination.
E | |
I like that style.
D A D A
The cut of your blue jeans, the length of your hair.
D A E | '
Keeps my attention. Beginning to stare.
[CHORUS]
F#m D F#m D
Don't turn away now when I ask you to dance.
E E7 E | '
Its taken me so long. Won't you give it a chance.
[CHORUS and FADE]
A | D | A | D | A | D | E | '
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5. |
A Letter By Your Name
03:25
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A Letter By Your Name
by Adam Belsky, all rights reserved 2018
Dm | G | C | |
Am G F C
A perfect set of shoulders to a steady pair of hands.
Am G F G
With every expectation to take it where it lands.
F G Am F
Though the days are shorter, there is comfort in the night.
G
Without hesitation, not any trepidation.
C F
To brave the morning light.
Dm G Am
And its a crazy notion to see the first who breaks,
F Dm
If that's what it takes. See what you can take
G C | |
To see what you can take.
Am G F C
Someone pass the water. It goes longer than you think.
Am G F G
And it makes a difference when the body needs a drink.
F G Am F
Another double session and the sun about to climb.
G
No one feels the hunger. No one hears the heartbeat
C F
That's running double time.
Dm G Am
And its a crazy notion to see the first who breaks,
F Dm
If that's what it takes. See what you can take
G C | |
To see what you can take.
F G Am F
And its a silly consolation, a letter by your name.
G
Maybe see your picture printed on a paper.
C F
Your fifteen minutes careful of the blame.
Dm G Am
And its a crazy notion to see the first who breaks,
F Dm
If that's what it takes. See what you can take
G C | | Dm G | C
To see what you can take. To see what you can take.
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6. |
As A Better Man
03:14
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As A Better Man
by Adam Belsky, all rights reserved 2018
A | C#m | B | |
E B A E
When I return dear there is so much I will do.
B A B
When I get me back there, I'll start it off with you.
C#m F# A
Back into your graces, to the tenderness
B
I've grown accustomed to,
E B A E
And all things remembered, starting off with you.
E | B | A | E | |
B A E
When I went away dear, I left a younger man.
B A B
And I've learned some things here I could never understand.
C#m F# A B
The loneliest contrition written out by hand
E B A E
I send you my darling, as a better man.
E | B | A | E |
F#m A E B
Here beneath the wire, behind prison walls I call your name.
A C#m B | |
Hoping for your answer in a letter, it can all be the same.
E B A E
When I return there I will do the best I can.
B A E
My promise to you dear, as a better man.
E | B | A | E |
B A E
My promise to you dear, as a better man.
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7. |
Big Ol' Bowling Pin
03:09
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Big Ol' Bowling Pin
by Adam Belsky, all rights reserved 2018
E | | G | A | D | | | |
I wear a necktie 'round my collar painted scarlet red,
G D
I'm ample through the middle, double wide.
I weeble and I wobble and I have a tiny head.
E A | |
Ten of us a standing side by side.
CHORUS
D
And it really doesn't suit me much that either side can win.
G E
Only thing I notice is the trouble I am in.
D E
No one feels the anguish or the heartache
A D | | | |
Of a big ol' bowling pin.
Its fit and its appropriate I'm standing here the king,
G D
Ruler of the alley I been crowned.
I watch them in their silly shirts adjusting everything,
E A | |
Taking turns at trying to knock me down.
[CHORUS]
G D
Its not that I'm afraid to take a lick,
F#7 G
But it seems that I'm the only one they pick.
D
Every other bowling pin around
E A | |
Rolling on the floor could bring me down.
[CHORUS]
E G
No one feels the anguish or the heartache
A D | | | |
Of a big ol' bowling pin.
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8. |
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As The Walls Are Closing In
by Adam Belsky, all rights reserved 2018
F | Am | Bb | C | F | |
Am
Its not easy to say I'm sorry,
Bb C
But the walls are closing in.
F Am
Can you forgive me before you leave me,
Bb C
As the walls are closing in.
Am Dm
I won't ask that you stand with me
Bb C
As the walls are closing in.
Am Dm
I can't hold you to your promises
Bb C
As the walls are closing in.
CHORUS
F C Bb C
One more time, can I see you one more time.
F C Bb C
One more time, can I see you one more time,
Bb C Bb C
And promise you forever. So this can be forever
F
As the walls are closing in.
| Am | Bb | C | F | |
Am
I have forgotten what was certain,
Bb C
Now the walls are closing in.
F Am
I wasn't lying. I was trying.
Bb C
But the walls are closing in.
Am Dm
I hope you understand me,
Bb C
Though the walls are closing in.
Am Dm
I hope you will remember me
Bb C
Before the walls were closing in.
[CHORUS]
| Am | Bb | C | F | Am | Bb | C | F
As the walls are closing in.
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9. |
Sleeping Overtime
03:48
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Sleeping Overtime
by Adam Belsky, all rights reserved 2018
A | ' B | E | | | '
A B E | | | ' B | A
A little longer, I can go a little longer.
B E | | | ' B | A
A little harder, its only harder in my mind.
B C#m B A
A little deeper, I feel that pain creeping down my shoulder
B | | | '
Keeping my attention, working overtime.
A E A E | | | B A | E
If you find me and I'm sleeping, wake me up by morning.
A B | | | '
By the morning I'll be fine.
A E A E A | '
If I'm dreaming let me sleep a little longer.
E B A E | | | '
I been working. Now I'm sleeping overtime.
A B E | | | '
A little sweeter, it always tastes a little sweeter.
B A B E | | | '
That's tequila from the bottle. Forget about the lime.
B A B C#m
My Margarita, she's here inside me. I feel that pain
B A
Creeping down my shoulder
B | | | '
Keeping my attention, working overtime.
A E A E | | | B A | E
If you find me and I'm sleeping, wake me up by morning.
A B | | | '
By the morning I'll be fine.
A E A E A | '
If I'm dreaming let me sleep a little longer.
E B A E | | | |
I been working. Now I'm sleeping overtime.
F# | | A B | | | '
I may hear the church bells chyme.
A E A E | | A | '
If I'm dreaming let me sleep a little longer.
E B A E | | | |
Cuz I been working. Now I'm sleeping overtime.
A B A E | | A | | E
Working, so now I'm sleeping overtime.
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10. |
Not For Change
03:27
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Not For Change
by Adam Belsky, all rights reserved 2018
G | | | |
D C G | | | |
From a distant planet comes the man, the mighty man of steel.
D C D | | | |
To a population twisted up and bended to his will.
C G
Then a blinding burst of light.
Am D | |
Then a streak across the night.
CHORUS
G D C
Change. I'm really not for change. Maybe happens this time.
G D C
I'm really not for change. But I'm thinking it over.
G D C Am
Getting ready for some change. Been thinking about it this time.
D Am D
And I'm ready for some change. This time I'm ready for the change.
G | D | C |
But I'm really not for change.
G | | | |
I'm really not for change.
D C G | | | |
On a factory floor, in a corn field in the shadow of a flag.
D C D | | | |
From a bumper sticker slogan to a grocery check-out rag.
C G
From distant foreign land
Am D | |
With a fist on either hand.
[CHORUS]
Bm C Am D | | | |
Another message on the screen. This isn't anything I've seen.
G D C
Change. I'm really not for change. Maybe happens this time.
G D C
I'm really not for change. But I'm thinking it over.
G D C Am
Getting ready for some change. Been thinking about it this time.
D Am D
And I'm ready for some change. This time I'm ready for the change.
[FADE]
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KMBA Austin, Texas
KMBA is the truth. Born on a Heatwave, with a Meanstreak, baby. Light that burning flame, roll big mama home, its Every day, KMBA.
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