Speedboats For Breakfast CD
Track by Track:
The oldest song recorded for the album shows James Reyne at play with his skills as a songwriter and wordsmith.
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Track by Track:
The oldest song recorded for the album shows James Reyne at play with his skills as a songwriter and wordsmith. "I wanted to create a song out of playing the same four chords going round and round, building and growing all the time, with things coming in and dropping out. The listener knows there's transition but there's no real point where the change is obvious" The lyric plays with an idea that alludes to Franz Kafka's novel "Metamorphosis", a story of persecution and bewilderment.
"It's also having fun lyrically mostly. I mean, how many insect metaphors have you got?"
This song was written with Reggie Bowman.
It takes its lead from very local scenarios. The girlfriend, the car, the getaway down the coast, the rich old man who'd kill you as soon as look at you. Daddy's little girl ain't Daddy's little girl no more. And anyway, what's Daddy doing with all those gold chains? And what's with the SLACKS?!
In the middle of recording the album, James and Scott Kingman wrote the score to the movie 'Postcard Bandit'. It offered a chance to really explore the capabilities of modern, "backyard" recording. "The technological climate of today allows even rank amateurs like me to explore the use of orchestral arrangement. It gives one the confidence to use all the sections of an orchestra.
Lyrically, it stems from a conversation I had years ago with an old friend, Rick Grossman, in a bar in Sydney, about the relative merits of a pop music peer, who'd just returned from America and was laying it on just a little too richly. Lovely fella though. Came back down to earth and was an absolute delight".
The Rainbow's Dead End
"A song about Sydney - well, Bondi as it's become, more specifically. After watching some dreadful movie with James Woods and Melanie Griffith and, I think, Juliette Lewis playing star-crossed junkie misfits shootin' up the banks, making the escape 'cross-country, dressed all the while in gorgeous heroin chic! Looking just like everybody hanging out on the corner at Ravesi's in Bondi"
It's a song that shows us where James has come as a singer. "I actually think that I've become OK, which I don't think I was for a long time."
Thank God For The Pusherman
At the beginning of the record James and co-producer Scott Kingman thought of working as a band project, and this is a song that perhaps typifies that approach - a song built around a quiver of great rock and roll riffs and a grab-bag of lyrics James had had lying around for ages.
The song title only appears in the lyrics once. James had come into the city from out of town where he lives, to see an actress friend in a Melbourne Theatre Company production.
"I always half-seriously feel like a bit of a hick whenever I go into the city.
I'm just a country bumpkin, putting on his town shoes to head off to the Big Smoke