Lincoln Center Live
by David Berkeley
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Digital Album
Streaming + DownloadPurchasable with gift card
1. |
Fire in my Head
04:08
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FIRE IN MY HEAD
Well you went to the desert,
went to the valley.
You went looking for something,
find who you could be.
Yeah when you went away everything changed.
Now I’m out here in the fields praying for rain.
So I went up to the rooftop.
I went down through the alley.
I went looking for something,
or someone to save me.
Yeah once I looked I couldn’t look away.
Now I’m out here in the streets praying for rain.
There’s a fire burning in my head. There’s a fire in my head.
Oh, there’s no rain tonight.
No rain in sight tonight.
There’s no rain tonight.
There’s no rain
There’s no rain
So I open the window,
hoping the breeze blows.
Birds going crazy.
I’m wondering how they know.
And I’m tearing out the pages once again.
I’m out under the sky praying for rain.
Cause there’s a fire burning in my head. There’s a fire in my head.
There’s a fire burning in my head. There’s a fire in my head.
There’s a fire in my head.
There’s a fire in my head.
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2. |
Willis Ave Bridge
03:48
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WILLIS AVE BRIDGE
She's driving home Sunday morning,
with the heat turned up the windows rolled down to the edge.
And yesterday snowed for the first time.
Now no one's on the Willis Avenue Bridge.
Used to be a hard merge. Used to be a hard merge.
She's thinking back on New York City,
the first boy she kissed,
the first boy that she crossed.
Now everbody's in their 20s.
Look who got married, look who's lost.
Used to be a heart break, used to be a heartbreak.
And the fall of 100 things: the hint of an opening
Days like this, it's hard to pull over.
Hard to hold all of the memories in your mind.
She tries to readjust the rearview,
so no one has to ever fall far behind.
Used to be much harder, she used to be much harder.
And the fall of 100 things: the hint of an opening.
And the fall of 100 things: the hint of an opening.
With all the glass in New York City,
it should be harder to hide,
not so hard to find your way back home.
They can take back all their pity,
it's not a one-way ride nowhere to hold on,
no going home, no way to slow down...
Yesterday, snowed for the first time.
Now no one's on the Willis Avenue Bridge
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3. |
High Heels
04:49
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HIGH HEELS
A couple on a bridge, a stone bridge in some European town.
And after all the years, in corduroy, in silence, in between the water
and the moon.
I see we all fall down.
A knock at the front door, a crack in the wall, the stain on the floor
boards: it's nothing at all.
It's nothing at all
After all the years, after all the yearning, and the years, what is
left to say? What is left to say?
Isn't it a hard life?
Turn your cheek toward me a minute more.
Lay your hand inside mine a minute more.
Suddenly you say, oh baby
Don't let go, though these are the hard times, though this is the
fight. Nobody's wrong if nobody's right.
And after all the years, just looking at your shadow holding mine.
It's holding onto mine, still holding onto mine.
Isn't that a holy sign? Like maybe we're fine. Isn't that a free ride
out of here?
I think that that's a sign. Yeah, I think that's a sign
That though we all fall down, the knock at the front door, the crack
in the wall, the stain on the floorboards: It's nothing at all. It's
nothing.
Oh my my. Let's mop up the floorboards. Let's repaint the walls, and
put on your new dress, high heels and all.
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4. |
Homesick
04:23
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HOMESICK
Homesick is hard when you don’t know
Just where it is that you call home.
I don’t know how this roof’s going to hold.
It’s oh so cold.
It’s been snowing too hard I fear.
Yes, I know that it’s pretty here,
And the air is clear.
But the years aren’t passing fast enough this way.
Maybe you can save me now.
I’m not sure how.
I’m calling out for that
I’m crying out for that.
Homesick is hard when you don’t know
Just where it is that you call home.
There’s a place that the old man knows,
Where the moon sits low,
Where he sits and thinks things through.
I have asked him if to think of you.
It may come true.
Been hoping that he might wish you here today.
Or maybe he can lead me home,
And not alone.
I’m calling out for that.
I’m calling out for that.
Homesick is hard when you don’t know
Just where it is that you call home.
So hold me close and don’t let go,
Cause through it all, I love you so.
Holy riders from days gone by,
Come back through time.
Come find me, come quickly, come hear the words I say.
May the world be kind to you.
And Jackson, too.
That’s all I’m asking for.
That’s all that I’m crying for.
That's all I'm praying for.
Homesick is hard.
Homesick is hard.
Homesick is hard.
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5. |
Marie
04:50
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MARIE
A wounded town, where the winds won’t blow,
The rain won’t fall, but the clouds won’t go.
There’s a fallen man hears a minor tune.
There’s an empty bed in an empty room.
With the shudders closed and the fire low,
The rains won’t fall, but the stars won’t glow.
There’s a lonely girl, and her dress is torn.
A baby knows when her mother mourns.
Oh Marie, it’s not like me to fall apart.
Oh Marie, it’s not like me.
A wounded town and the hill below,
Rains won’t fall, but the winds won’t blow.
Cause when a village turns into walls and woes.
And a father’s hands can’t patch the holes.
Oh Marie, it’s not like me to fall apart.
Oh Marie, it’s not like me.
The old church roof caved in long ago.
But its bell still rings, so sad and slow.
Cause when a body burns into smoke and soul,
And a father’s hands can’t patch these holes.
No a father’s hands can’t patch these holes.
Oh Marie, it’s not like me to fall apart.
Oh Marie, it’s not like me.
Oh Marie, it’s not like me to fall apart.
Oh Marie, it’s not like me.
Oh Marie, it’s not like me.
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6. |
Parachute
03:44
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PARACHUTE
Driving back to Massachusetts in your father’s car,
Top down, we saw all the stars.
I’ve been waiting for the fall to get back where you are,
Top down and talk about it all.
Top down. Top down.
Your heart is like a parachute.
It only opens when you fall.
Driving back to Massachusetts in your daddy’s car,
Broke down, yeah we broke down.
Lying back against the windshield, cars were blowing by.
And you cried, wrapped up in my arms.
You cried. You cried.
Your heart is like a parachute.
It only opens when you fall.
Your heart is like a parachute.
It opens when you’re falling down.
But look at me, I’m falling now.
Come let me pull you open.
And oh, you and I, autumn sky, trying to see so far.
Oh autumn sky, you and I, trying to see too far.
Ba ba ba ba ba ba ba...
Driving back to Massachusetts.
I believe this is who we are.
I believe. Oh, I believe.
Yeah, your heart is like a parachute.
It keeps us both from falling down.
Your heart is like a parachute.
It keeps us both from falling now.
Ba ba ba ba ba ba ba ba…
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7. |
Song for the Road
06:34
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SONG FOR THE ROAD
Well, the river’s too full,
but the land is too dry.
When the floodwaters came
there was nowhere to hide
So I sing for the land,
for our fields washed away.
They flooded the grave
where my grandfather lay
It’s a song for the road.
Yeah I know it gets rough.
Don’t ever give in.
Don’t ever give up.
I sing for the child
who was watching the sky
when the twister roared in,
made the whole city fly.
Took the roof from the church.
Tore the roots from the ground.
Yeah when the twister roared off,
she had leveled our town.
So sing a song for the road.
Cause I know it gets rough.
Don’t ever give in.
Don’t ever give up.
Come on back from the ledge.
Come on in from the rain.
Here’s some things that won’t hurt.
Here’s some things that won’t change.
Like the afternoon light
when the clouds break apart.
Like the way that I feel
‘bout the good in your heart.
They can flatten a house.
They can flood all we see.
They can’t take the soul
from my family and me.
Sing a song for the road.
I know it gets rough.
Don’t ever give in.
Don’t ever give up.
Don’t ever give in.
Don’t ever give up.
Don’t ever give in.
Don’t ever give up.
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about
PROCEEDS TO BENEFIT THE ROBIN HOOD FOUNDATION.
SUGGESTED DONATION $10.00
www.robinhood.org
-----------------------------
As any artist will tell you...
New York’s Lincoln Center is a prestigious place to play, one that also demands the best an artist can bring. Like any world-class venue, its stage inspires the kind of incandescent performance that may only happen once in a lifetime, providing that artist with the rare opportunity to achieve the apex of his or her career.
It’s appropriate then that David Berkeley was given the rarified honor of performing at Lincoln Center’s David Rubenstein Atrium as 2012 came to a close. Those familiar with any of Berkeley’s six albums to date -- or for that matter, his remarkable memoir about his year spent in Corsica, 140 Goats and a Guitar -- already know about his exceptional skills as a singer and songwriter. After all, Berkeley is the kind of artist who has no trouble making a connection even on first encounter. Indeed, his songs ring with an emotional clarity and inner purpose that’s both resilient and resolute. There’s no phoney sentiment affixed to his work; it’s clear instead that Berkeley not only breathes the emotions he imparts, but has no qualms about expressing them either. They’re raw, real and emphatic, and they’re affecting in the most precise sort of way.
Nevertheless, it’s one thing to exorcise that ability in the impersonal expanse of a recording studio, where they need only be shared with a producer, engineer and a sound booth. It’s quite another to transmit them to an audience that’s a scant few feet away, and watching and listening intently to every little nuance. Happily, Berkeley rose to the challenge and delivered a performance that was not only worthy of the venue, but, more importantly, one of the crowning moments of his trajectory thus far. Blending the innate poignancy of his music with the self-effacing humor that illuminates his between-song commentary, Berkeley managed to touch and tickle his audience all at the same time.
Given the elevated stakes and this special setting, Berkeley also opted to recruit his guitarist Bill Titus to accompany him for this concert. Titus’ facile fretwork engulfed the music with an atmospheric sheen that not only enhanced the inherent emotions that fill such songs as “Fire In My Head,” “Marie” and “Homesick,” but also added a new dimension and power to selections that are already known to be so affecting, specifically, “Parachute” and “High Heels and All.”
It’s notable too that this concert was performed shortly after the double tragedies of Super Storm Sandy and the unspeakable horror that played out in Newtown, Connecticut. Those circumstances cast the concert in a unique, unmistakable aura, instilling Berkeley’s insightful lyrics and poignant melodies with newfound resolve, resilience and optimism.
Fortunately, several of the songs performed that night can now be shared with those who weren’t able to be there, thanks to the efforts of musician and producer Gar Ragland. The director and co-founder of NewSong Music, an organisation that nurtures and develops performers and songwriters of all skill sets and levels of accomplishment, Ragland immediately recognised Berkeley’s immense ability and selected him to take part in the NewSong Emerging Artist Series which Ragland also curates. In noting the worth of the material, Ragland chose to release this live recording on the NewSong Recordings label in order to forever capture the special ambiance reflected throughout that magical night.
(As he has in the past, Berkeley plans to donate a portion of the EP sales to the Robinhood Foundation, a not for profit organisation that focuses on finding, funding and creating programs and schools for families in New York City’s poorest neighborhoods. Over its 25 year history, Robin Hood has distributed more than $1.25 billion to hundreds of New York City-based soup kitchens, homeless shelters, schools, job training programs, and other vital services for New York's neediest citizens.)
So listen. Enjoy. Experience an artist at the peak of his prowess, giving a performance that does himself, his audience and these special environs justice. These are rare moments indeed.
-- Lee Zimmerman, December, 2013
SUGGESTED DONATION $10.00
www.robinhood.org
-----------------------------
As any artist will tell you...
New York’s Lincoln Center is a prestigious place to play, one that also demands the best an artist can bring. Like any world-class venue, its stage inspires the kind of incandescent performance that may only happen once in a lifetime, providing that artist with the rare opportunity to achieve the apex of his or her career.
It’s appropriate then that David Berkeley was given the rarified honor of performing at Lincoln Center’s David Rubenstein Atrium as 2012 came to a close. Those familiar with any of Berkeley’s six albums to date -- or for that matter, his remarkable memoir about his year spent in Corsica, 140 Goats and a Guitar -- already know about his exceptional skills as a singer and songwriter. After all, Berkeley is the kind of artist who has no trouble making a connection even on first encounter. Indeed, his songs ring with an emotional clarity and inner purpose that’s both resilient and resolute. There’s no phoney sentiment affixed to his work; it’s clear instead that Berkeley not only breathes the emotions he imparts, but has no qualms about expressing them either. They’re raw, real and emphatic, and they’re affecting in the most precise sort of way.
Nevertheless, it’s one thing to exorcise that ability in the impersonal expanse of a recording studio, where they need only be shared with a producer, engineer and a sound booth. It’s quite another to transmit them to an audience that’s a scant few feet away, and watching and listening intently to every little nuance. Happily, Berkeley rose to the challenge and delivered a performance that was not only worthy of the venue, but, more importantly, one of the crowning moments of his trajectory thus far. Blending the innate poignancy of his music with the self-effacing humor that illuminates his between-song commentary, Berkeley managed to touch and tickle his audience all at the same time.
Given the elevated stakes and this special setting, Berkeley also opted to recruit his guitarist Bill Titus to accompany him for this concert. Titus’ facile fretwork engulfed the music with an atmospheric sheen that not only enhanced the inherent emotions that fill such songs as “Fire In My Head,” “Marie” and “Homesick,” but also added a new dimension and power to selections that are already known to be so affecting, specifically, “Parachute” and “High Heels and All.”
It’s notable too that this concert was performed shortly after the double tragedies of Super Storm Sandy and the unspeakable horror that played out in Newtown, Connecticut. Those circumstances cast the concert in a unique, unmistakable aura, instilling Berkeley’s insightful lyrics and poignant melodies with newfound resolve, resilience and optimism.
Fortunately, several of the songs performed that night can now be shared with those who weren’t able to be there, thanks to the efforts of musician and producer Gar Ragland. The director and co-founder of NewSong Music, an organisation that nurtures and develops performers and songwriters of all skill sets and levels of accomplishment, Ragland immediately recognised Berkeley’s immense ability and selected him to take part in the NewSong Emerging Artist Series which Ragland also curates. In noting the worth of the material, Ragland chose to release this live recording on the NewSong Recordings label in order to forever capture the special ambiance reflected throughout that magical night.
(As he has in the past, Berkeley plans to donate a portion of the EP sales to the Robinhood Foundation, a not for profit organisation that focuses on finding, funding and creating programs and schools for families in New York City’s poorest neighborhoods. Over its 25 year history, Robin Hood has distributed more than $1.25 billion to hundreds of New York City-based soup kitchens, homeless shelters, schools, job training programs, and other vital services for New York's neediest citizens.)
So listen. Enjoy. Experience an artist at the peak of his prowess, giving a performance that does himself, his audience and these special environs justice. These are rare moments indeed.
-- Lee Zimmerman, December, 2013
credits
released December 20, 2013
Produced and Mixed by Gar Ragland
Engineered by Andrew Jaworski
David Berkeley – Vocals and Acoustic
Bill Titus – Electric
Recorded live on December 27, 2012 at the
David Rubenstein Atrium, Lincoln Center for the Performing Arts
New York, New York
Executive producer – Gar Ragland
Photos – Darial Sneed
Liner notes – Lee Zimmerman
All words and music by David Berkeley
Straw Man Publishing, ASCAP
www.davidberkeley.com
facebook.com/davidberkeleymusic
twitter.com/davidberkeley
To receive push notifications from David:
broadcast.app.net/27307/david-berkeley/
For booking and inquiries:
Amanda Case of AIC Entertainment
aic@aicentertainment.com
Publicity: Ever Kipp of Tiny Human
ever@tinyhuman.com
www.newsong-music.com
www.newsongrecordings.com
Produced and Mixed by Gar Ragland
Engineered by Andrew Jaworski
David Berkeley – Vocals and Acoustic
Bill Titus – Electric
Recorded live on December 27, 2012 at the
David Rubenstein Atrium, Lincoln Center for the Performing Arts
New York, New York
Executive producer – Gar Ragland
Photos – Darial Sneed
Liner notes – Lee Zimmerman
All words and music by David Berkeley
Straw Man Publishing, ASCAP
www.davidberkeley.com
facebook.com/davidberkeleymusic
twitter.com/davidberkeley
To receive push notifications from David:
broadcast.app.net/27307/david-berkeley/
For booking and inquiries:
Amanda Case of AIC Entertainment
aic@aicentertainment.com
Publicity: Ever Kipp of Tiny Human
ever@tinyhuman.com
www.newsong-music.com
www.newsongrecordings.com
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NewSong Recordings Asheville, North Carolina
A small label located in Asheville, NC and based out of Citizen Vinyl.
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