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You're Home Now

by Richard Berman

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1.
Quoddy Point 04:11
1. It’s dawn here at Quoddy Point From my lighthouse keeper’s chair Through this window I can see the rocks Two figures sitting there Young lovers, that would be my guess Perhaps they spent the night Out here on Quoddy Point To be the first to see the light Chorus: The first sliver cracks the morning open And there’s all the promise of the day Two long shadows form behind them While two young lovers look the other way 2. I bought my Sarah to this place When both of us were young She turned and kissed me on those rocks In the first light rays of the sun I had a picture of that morn She’s wrapped up in my coat I finally had to take it down There comes a time you just let go Chorus 3. I don’t know why I kept this job When she left me here alone But loneliness befriended me And this remains my home It’s true the day begins right here But just as true the night So good luck to you young lovers So says the keeper of the light Chorus
2.
1. The book is on my lap/ I am in my rocking chair I am reading you a story/ as I’ve done so many years You’re sketching as you listen/ at times I glance your way My daughter now in college, come home for this brief stay Chorus: Tonight I wish that time was like this rocker Moving back and forth, not moving on I know that every story has an ending I miss you even now, before you’ve gone 3. Your harp is in the next room/ I can glimpse it as I rock So many times it’s filled the house/ with Pachelbel and Bach That seldom happens now/ it mostly stands alone The harp makes gorgeous music/ but only when you’re home Chorus 4. Tomorrow, early morning/ you will go out for your run I’ll have the batter ready/ for our pancakes when you’re done We may linger at the kitchen table/ for whatever time remains Then I’ll drive you to the station/ and watch you board the train Chorus: I may wish that time was like this rocker But I know that, like the train, it’s moving on And maybe moving on is how it should be Doesn’t mean that I won’t miss you when you’re gone
3.
I am a Bagdad merchant with a strange tale to relate Today I sent my trusted servant to buy supplies in the market place He soon came back, trembling, his face as white as ash He gripped my hand in his hands speaking as he held that grasp Master, just now in the market/ I was jostled from behind I turned, Death stood before me/ arms raised, eyes fixed on mine Before Death’s arms could reach me I fled back in the crowd I need your help, dear Master, lend me your horse right now I’ll ride north from the city, reach Samarra by tonight Death will not find me up there, no time to lose, I must take flight I helped my servant mount up, he dug his spurs and off he rode I walked down to the market/ Spotted Death in his dark robe Tell me why you’ve done this, threatened my servant as you did Why’d you raise your arms up as though he’d no more time to live? Death regarded me a moment, when he spoke his voice was calm “It’s true I raised my arms up, but with no intent to harm It’s surprise that caused that gesture, such an unexpected sight For my appointment with your servant is In Samarra for tonight”
4.
1. Cold night in Ann Arbor, slow night in my cab I’m idling here on Main Street, cup of coffee warms my hands Nixon’s in the White House, dreams are hard to hold I’m waiting for the dispatcher to tell me where to go Chorus: Looking through my windshield There aren’t many folks out there on the street The bars are still open, some guy’s gonna need Me to drive, it’s just a matter of time 2. I’m thinking ‘bout a poster, white dove on a guitar neck “Three Days of Peace and Music” that’s how the poster read It’s been two years since Woodstock, I did not feel the pull I wish the chance would come again, I think it never will Chorus: Giving rides to strangers I like driving cab, but I loved hitching rides The stories I heard as the country rolled by Now folks don’t stop as much, there’s a lot more mistrust 3. Hannah’s a good woman who doesn’t know her worth We got to spend some time today before I came to work We’re friends again, that’s where we should have stayed I’m a bad risk as a lover, I’m the one who pulls away Instrumental 4. The night they held the lottery for the draft a year ago James and I sat listening beside a radio I was spared hard choices, that wasn’t true for James He’s now up in Canada, his life forever changed Chorus: Cab 29, do you read me? That’s the dispatcher’s voice breaking into my thoughts So many times I find myself lost In the past, ‘til he’s called me back There aren’t many folks out there on the street The bars are now closing and some guy needs Me to drive, was just a matter of time
5.
1. Together we climbed the steps to the home where I was raised The old Wisconsin farmhouse I’d hardly seen the past decade Five years I’d stayed away, ‘til Mama nearly died from flu After that I came back at times, but only now did I bring Sue 2. My parents’ faith is strong, the Bible’s word is truth There’s a path we all must follow, I’d learned that in my youth I got married to a good man, sixteen years I strove to love Then Sue entered my life, and I found what loving was 3. The phone calls from my folks were battles for my soul Their sick and sinful daughter must come back to the fold I held on to a dream, someday we’d reconcile But I never was alone, Sue was with me all the while 4. Through the years our love was steady, I think my folks were moved Perhaps the changing times influenced them too Shifts were taking place, they spoke of Sue by name She nursed me through pneumonia, Dad called and offered thanks 5. Now we’re standing at my folk’s door ten years after we’d first met I hadn’t asked if Sue could come, I’d announced it as a fact Hope may spring eternal, but hope misleads at times I rang the bell and waited, Sue slipped her hand in mine 6. The farmhouse door was opened, Mama met me with a hug Then turned and did the same to Sue as Dad smiled on us It took three whispered words to lay the painful past to rest Holding Sue in both her arms, “You’re home now” Mama said
6.
County Clare 03:42
Chorus: Katie O’Connor you have my heart Know it will always be here A year may well pass but I will come back To you and County Clare 1. This lock of raven hair Will cross the Irish Sea When I’m loading boats in Liverpool I’ll still have you with me What I earn I’ll save Help hold the family’s land I’ll speak with your father when I return Then ask you for your hand Chorus 2. I know there are others Who have lain upon this hill Above the Shannon river This field all to themselves I gaze into your eyes Your head rests on my arm Can it be those others Have felt a love this strong? Chorus Katie O’Connor when I’m alone I’ll have more than this lock of your hair I’ll just close my eyes, you’ll be by my side Back here in County Clare
7.
1. My mother is religious, she just doesn’t believe in God Faith in the unproven proved to be too hard What she believes in‘s not hard to tell Love thy neighbor as thyself 2. There are teachings in this world that see my mother damned She hasn’t sought salvation, gripped the good Lord’s hand What she’s embraced in countless deeds Are friends and family and those in need Chorus: Are our beliefs the words we say Are they the choices we make each day The care bestowed on those we know And those we don’t My mother may stumble, as do we all But there’s her kindness to break her fall She seeks no praise, to be engaged Is what‘s worthwhile 3. There are folks who have the answers, sure they know the Truth Who walk some straight and narrow they feel the world should choose My mother’s slow to give advice About how others should lead their lives 4. To her there is no heaven, to her there is no hell To her what really matters is right here where we dwell If there’s a life once we depart It’s what lives on in others’ hearts Chorus My mother is religious
8.
1. I watched her tail lights disappear in the night Like embers fading to ash I climbed back up the steps to this house she had left Wondering why so little lasts Chorus: The moon’s shining in through my window But Annie’s not here in its light Parting as friends is a good way to end But ending is not what I’d like 2. I have my guitar, I’m in my chair I reach out and turn off the light Familiar old tunes in this half-empty room Help me make it through the night Chorus 3. I loved our love, seemed easy and endless For Annie, turns out it was not Her love was the rose that gently unfolds And unfolds ‘til each petal has dropped 4. A quiet dark street is the view from this seat As I finger-pick “Deep River Blues” Two headlights approach, I give in to hope But it’s just one more car passing through Chorus
9.
Marianna 03:57
1. From the window of a plane The world below may seem unchanged Rows of houses, lawns and trees, streams of traffic The worries and the woes Of those who dwell below Cannot be seen from the plane as it passes Chorus: It’s hard times on the land Marianna, take my hand There are so few things it seems we can be sure of In a world that’s gone astray Who can safely say That what we have is sure to last 2. From the two sides of our bed So little’s being said It’s tense to be this close and far apart The future has you scared A feeling I don’t share Words of comfort are no comfort in the dark Chorus: It’s hard times on the land Marianna, take my hand To have and to hold was our vow Vows are merely words What we have is of real worth Love we’ve shared for all these years 3. I’ve looked up at the sky At planes as they’ve flown by And wondered where the folks up there were heading I’ve had my share of flights And the ones that I most liked Were the ones that flew me home where you were waiting Chorus: It’s hard times on the land Marianna, take my hand Touch can say so much without a word It can say, “Don’t be afraid, Though we may have lost our way This too shall pass, love will last” Far below a distant plane This world may well have changed I don’t want us to do the same, Marianna
10.
1. I have met the Devil Didn’t know it at the time By the railing on a steamboat With his dog and gracious smile He produced a deck of cards And when we’d finished play He had my money in his suitcase And that boat had sailed away Chorus: Steamboat on the river You can see that black smoke rising in the sky Folks along the river side Wave “Hello/Good-bye” 2. I trudged up from the river “Miss Hattie’s Tavern” read this sign Nothing to lose but my bad luck I took a chance and stepped inside Miss Hattie saw me enter She came and took my hand You look like you’ve seen the Devil You can talk, I’ll understand Chorus 3. I now work in Hattie’s tavern At night we go upstairs It’s new to me, this living With somebody who cares Sometimes we’ll put on music In the parlor after work And do a little dancing Holding on to what has worth 4. The Devil’s been down to Vicksburg And he’s been to Tennessee I want to thank the Devil For coming to see me It’s true he took my money But what I got’s a steal Sweet Hattie with her heart of gold I got the better deal Chorus: Steamboat whistle blows She rounds a bend to wend her way to New Orleans Carrying off some dreamer’s dreams Paddle wheel turning round and round Whistle’s just a fading sound
11.
The Gambler 03:39
1. In my life the first person to desert me Was my father I’ve never seen Momma once told me he wore a vest No tin star pinned to his chest Momma took up with a gambling man Left me and Luke on Grandma’s hands I held out hope for about a year She didn’t come back, I shed no tears 2. I was swimming in the quarry, Luke jumped from the top It’d been done many times, but he hit a rock I couldn’t keep from crying when they filled his grave Spent the night in the barn, then slipped away I’d heard ‘bout a river with towns along side I walked to that river, it took three days’ time Got a job running errands for child’s pay Empty shed by the river, that’s where I stayed 3. I fell in with a man on a fine river boat Wore a black vest, a well-cut waistcoat He taught me cards and so much else I learned that luck could be given some help Then came the morning I woke up to find He’d left the boat and me far behind The coins and bills that I’d amassed Where they had gone no need to ask Bridge: The river is safer than here on dry land I wear my hat low but it’s hard to blend in My dog by my side, I study the street There’s folks with long memories it’s best not to meet 4. I don’t think I’ve had a child I’ve never had a wife My dog is named Jack, all I need in life Befriend a dog he won’t bite your hand That’s the difference, they say, ‘tween a dog and a man I move through this life with my cards and my dog Sometimes I wonder what I’m living for But then there’s a question I come round to ask If I was gone who’d be here for Jack?
12.
1. There is a picture in this tavern Of a woman I don’t know My mother had me, then she left me For the place we all must go My father raised me, his sweet Hattie In this tavern, by his side The world we shared was safe and loving Safe and loving, but not real wide Chorus: Plate glass window, tall gold letters “Miss Hattie’s Tavern” The words announce I’ve stood countless hours by this window On the inside, looking out 2. I lost my father to influenza And found my thoughts begin to stray I’d serve the meals, pour the drinks And be thinking of sailing away There were suitors, I had no interest They talked mostly ‘bout themselves I’d go to bed above the tavern With no dreams of someone else Chorus I had a dim view of the future Then James showed me the light I remember watching from this window As he walked into my life He asked me questions, he is a listener Unaware of his sweet charms Now when we’re dancing above the tavern The world I want is no wider than his arms Chorus Plate glass window, tall gold letters “Miss Hattie’s Tavern” The words announce Now I don’t spend much time by this window On the inside, looking out
13.
I was seated safe in jail, on an old Monopoly board Engaged in conversation with my dearest friend, the dog “Scotty” I’d inquired, “is there something on your mind? Since the change they made in tokens you seem preoccupied Are you upset about the iron, the way they tossed her from the box That for all her years of service she didn’t even get a watch? Or that we had no say in who would take her place That they went and took a vote somewhere out in cyberspace” ”But here’s my best guess, Scotty, as to what’s disturbing you It’s the token that’s been chosen, she’s not the one you’d choose Your peaceful former life has been shattered by this fact Now you’re stuck with living in close quarters with a cat Scotty’s smile was rueful “Top Hat, you’ve missed the mark Logic has no place in matters of the heart The fact is that Miss Kitty and I are much in love The problem with our quarters is that they’re not close enough I was drawn to Miss Kitty from her first Monopoly game From our talk out on the Boardwalk, turns out she felt the same This isn’t puppy love, my paws are on the ground Kitty’s funny, kind and wise, and makes such fetching purring sounds So here is our conundrum, where to find some private space We’ve been to all the hotels, from Baltic to Park Place The sorry truth is this, we’ve had to face the fact No one has a room if it’s for a dog and cat I was glad that Scotty’d spoken, I could offer him good news “Scotty, the Short Line sleeping cars are greatly underused The brakeman is a friend of mine, he once wore me to a wake I’m sure he’d have no problem finding you and Kitty space” Some days later on a stoop out on St. Charles Avenue I was checking out the windows on a train as it passed through I filled up to the brim with pleasure at this sight Two familiar furry paws waving to me from inside

about

You’re Home Now

In 1999 two women held hands while walking through a Walmart in Alamogordo, NM, eliciting strong feelings in a female cashier. I knew the two women, saw the cashier’s facial responses, and wrote a song, “People Holding Hands”, about what I had seen and the thoughts it raised for me. In the fall of 2012 I received a letter from Verla, one of the two women, telling me about how she and Sue, whom she’d married, were doing, and describing what had happened between her and her fundamentalist parents over the years since that morning in Walmart. It was a story of painful rejection, persevering hope, and, ultimately, of acceptance and love. Verla asked me to write a song about the path to reconciliation and suggested the title, “You’re Home Now”. You’re home now- three words of welcome and acceptance, voiced to Sue, signifying the end of a long journey from pariah to new family member- a remarkable journey, not only for Sue and Verla, but for Verla’s parents who had to battle beliefs they had been committed to all their lives in order to utter those words and mean them.

I am incredibly fortunate to have Jamie Anderson sing this song. Jamie’s name was suggested by Verla and Sue. They knew her, loved her and her music. Unbeknownst to them, Jamie and I had met in the late nineties at a festival in Telluride, CO, and had immediately hit it off as friends.

A few notes about a few of the other songs: “Quoddy Point” is a co-write with my friend, Buddy Mondlock. Quoddy Point is the easternmost point on the continental U.S. and became something of an attraction back on New Year’s day, 2000, as the first place in the country to see the dawn of the new millennium. “An Appointment in Samara” is a retelling of a one- paragraph story by W. Somerset Maugham. I reversed Maugham’s decision to make Death female and went back to the tradition of having a male in that role. The seed for “Marianna” was planted in the fall of 2008, at the height of the financial meltdown in the country, when I flew out of Las Vegas in route home from LA. Looking down, I saw housing developments set into the sides of the mountains outside the city and realized that if I had flown over those houses in the spring, they would have appeared the same from the air. But so much had likely changed inside many of those houses since then, changes that could not be seen from the air. ”The Token of Scotty’s Affection” is the result of my ruminations about Hasbro’s decision to jettison one of the then-current Monopoly tokens and replace it with a new one. The choice of which token had to go and what would be added (from three options) was left to a vote on the internet.

I cannot say enough about Max Cohen’s many contributions in creating this CD. Max gave so much of himself as producer, arranger, accompanist, sound engineer- all done with enormous talent and great care. I am deeply indebted to him for those things and for his steady support and friendship through the months of our work together on this project.

Richard Berman
Amherst, MA
October, 2014

credits

released November 7, 2014

Who’s Who on the Songs:

1. Quoddy Point:
Vocals - Richard, Priscilla Herdman
Guitar - Max Cohen
Cello - Marcie Brown
Fiddle - Donna Hebert
Five string fretless bass - Mike Lindauer
Percussion - Joe Fitzpatrick

2. A Father and a Daughter:
Vocals - Richard
Guitars - Max
Keyboards - Mark Feller

3. Appointment in Samara:
Vocals - Richard
Fiddle - Chris Devine
Guitars - Max
Percussion - Joe Fitzpatrick
Dumbek - Rusty Annis

4. Slow Night in My Cab:
Vocals - Richard, Max
Guitar - Max
Accordion - Chris Haynes
Cello - Marcie
Fiddle - Donna
Fretless five string bass - Mike

5. You’re Home Now:
Vocals - Jamie Anderson
Piano - Chris H.

6. County Clare:
Vocals - Richard
Guitars - Max
Fiddle - Chris D.

7. My Mother Is Religious:
Vocals - Richard, Max, Kate O’Connor, Rico Spence
Fiddle - Chris D.
Percussion - Joe
Hammond organ- Darby Wolf

8. Parting as Friends:
Vocals - Richard, Max
Guitar - Max
Percussion - Joe
Accordion - Chris H.
Piano - Chris H.
Keyboards - Mark

9. Marianna:
Vocals - Richard
Piano - Chris H.

10. The Devil and Miss Hattie - (James’ Song):
Vocals - Richard, Max
Guitar - Max
Banjo - Dan Levitt
Fretless bass - Mike
Bass - Max
Percussion - Joe

11. The Gambler:
Vocals - Richard
Guitar - Richard
Dobro - Jim Henry
Upright bass - Stuart Kenny

12. Miss Hattie:
Vocals - Richard, Max
Guitar - Richard
Fiddle - Chris D.
Upright bass - Stuart

13. The Token of Scotty’s Affection:
Vocals - Richard
Electric guitar - Doug MacMillan

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Produced by Max Cohen, who also served as primary recording engineer. Final mixes by Rusty Annis and Max Cohen at Shoestring Studios in Belchertown, MA. Mastering by Mark Alan Miller, Sonelab Mastering, Easthampton, MA. Chris Haynes' piano and accordion parts were recorded by Mark Thayer (Signature Sounds, Pomfret, CT). Mike Lindauer's fretless bass was recorded by Rich Prezioso in Cary IL. Marcie Brown's cello was recorded by Dave Bell (Bellboy Studio, Richmond, CA).

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All songs written by Richard (Western Mass Music, BMI, (c) 2009, 2011, 2012, 2013, 2014) except "Quoddy Point" (c) 2012, which was co-written with Buddy Mondlock (Richard Berman, Western Mass Music, BMI / Buddy Mondlock, Fire of Change Music, ASCAP) Photography and Design by Carol Reck

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