Both Ways

Both Ways” by Lue Lyron

When you wake up, don’t you know
any shame is all your own
when you say that it’s over

you only say that sober

(chorus) You wanna have it both ways girl/ Ooo-oo-ooo…

(How can you have it ) both ways girl?
you need to cry on a shoulder
You hit me like a run away boulder
Out of place in a jam

with a face….do you know who I am?

Get your story together
Get your head clear
Do you want me gone?
Do you want me near? Resolve is a friend
you may never find will I always be yours
and you never be mine? Yeah

You wanna have it both ways girl/ Ooo (do the building, planer version of riff here)
(How can you have it) both ways girl x2

Do we cross the bridge or jump?
Do we cross the bridge or jump?
When the haunted hour calls, you want us together
Or are you really going solo? (8bar solo)

Infinity and I bear such a heavy load, breaking my body, inside
Pushing that weight, pushing that weight to the other side

All I ever did wrong by you
I’m sorry but the number in your phone
Would you really call him over
you’re like a heartbreak motor!

Ooo, this bullshit sickness calls a truce
and makes you mine, but on the loose like a runaway

You wanna have it both ways girl (ooo, both ways girl)
How can you have it both ways girl
Both ways girl
you need to cry on a shoulder, Hit me
Like a runaway….like a runaway—boulder!
Out of place, in a jam…with a face, don’t you know who I am? NO!

Get your story together
Get your head clear
Do you want me gone?
Do you want me near? (use half-tone steps)
Resolve is a friend, you may never find
will I always be yours…and you never be mine?

Hit me like a run…like a run
Hit me like a runaway (boom, boom) boulder!
Hit me like a run…like a runaway
like a runaway ….Both WAys Girl.

Lyron, 7/4/15 My kind of independence celebration, grin emoticon

4:32 run time

I was helping out some friends I know, and I just listened along the way.  Little did I realize my reward for the day’s tasks wasn’t going to be money—I didn’t ask—rather, as a nexus of the people involved, it became this friendly blender of lyrics.  “Easy Lover” by Phillip Bailey and Phil Collins came up one day a while back, and the intervals and progression in my song resemble, but in different keys, and without trying to cop Phil Collins’ drums.  I actually am interested in a minimalist percussion approach designed to spotlight the drummer’s deftness, like expressive solo fills, and providing a pulsing bass presence.

As I saw Angela Dawn lighting up with excitement, I realized it had a touch of Candlebox or Def Leppard that appealed to her, along with her interest in the lyrics.  She really is someone who likes to dance and rock out!

That was the make or break point, where I really didn’t know what she’d say.  That’s exciting to me, to not know what the person who knows me best is going to think of a song.  It’s a different sort of excitement than grinning self-assuredly with the certainty “she’s going to love this one.”  Sometimes, it’s just not done as a song until she’s engaged with it, either.

For me?  It’s kind of my Phil Collins trip, this time out, lyrically.  Deep in my pop roots.  Along with the thematic understanding/ confrontation with the Truth theme, “Both Ways” is a legacy obsession with incorporating R&B into his solo work in its first eight years.

So yeah, at the end of the day, a Motown style arrangement would be just as true to the content as any other, which sets well with me, as these are all examples of artists who achieved some degree of success, especially in burying their work inside my musical identity.

Can someone get me Mayer Hawthorne or Rafael Saadiq on the line?  I have a great song for somebody…

Montgomery Bell State Park, Dickson, TN
Montgomery Bell State Park, Dickson, TN

I modeled the parameters pretty easily around the guys for whom I’ve been playing bass, in agreement with Brandon Scott Barnes of Templar’s Reckoning. I do hear it working best with a true chorus of vocals at the chorus, as the lead and backing vocals or duet give it a feel that reminds me a bit of Guns and Roses and Dinosaur Jr,, though I can’t point to a particular recording,just imagining what these guys, in this instance, can do vocally.  Curtis Mayfield was the truest influence here, and a soul song, it is.

D minor is a more earthly place to establish a key in which to sing, if you are not blessed with the angelic talents of the Earth,Wind and Fire singer, and in tune with a modern rock sound its own.  The guitarist can go absolutely nuts across this generally repetitive frame!  The bridge (guess where) goes down to an Aminor-G-F progression, an experiment with breaking the song’s insistent groove into a personal moment.  The lyrics there were particularly inspired by vocalist Johnathon Creamer, who I had in mind to give this song’s lead a shot.   I assure you, the Marc Kane heard it all the way through for the first time a couple of days after I wrote it, and promised she would love “to steal it for herself!”  So I am sure a version will be out before the year’s done…Lord willin’ and the creek don’t rise, as Hank Williams used to say closing out Grand Ole Opry on the radio.

Battle of the Forest of Teutoburg

Papa Jojanovich
Papa Jojanovich

“Ballad of the Battle of the Forest of Teutoburg”


The first leaves have fallen in the forest of Teutoburg
The last heat of summer pours over my face
I hoped at harvest to marry but invaders march steadily
Gather ye women and men, for there’s no time to waste

Roads poor for chariot’s wheel
Varus outnumbers us two times or three

They’ve come to take control of Germania
Legions, Cheruschis and calvary

Camp followers interspersed
Strung out in formation, they should’ve sent scouts first
The woods give us cover, our blood gives us courage
Near Kalikrease Hill, we’ll give them our worst

The storm breaks and heavy rains
isolate legionnaires so we can fight!
Struggling out to the open roads
Breaking their camp to flee in the night


Fear and the spear of three legions marching to make Mediovuim
or Halstern to the southwest, wooded hills to the South
Ditches and walls dug and built by our hands
Bound by a bog, they fell into the mouth

and the jaws crashed hungrily
over the trapped Roman forces
attacking our infantry, they only then hear
the sound of more men on their horses

Blocked from the road and repulsed in the fight,
the proud Romans ducked arrows stinging through trees
Til his own sword took their commander
Varus undone by his own cruelty

Maybe our children will face them
That battered lion now must sleep at the Rhine
For now, let us feast and be merry
With our blood and our sinews, we’ve drawn the line.

The first leaves have fallen in the forest of Teutoburg
Marry with me , and that bloodied oak tree
will be made floor and walls, and I’ll care for you there
in the woods where we fought to be free.

.in the woods where we fought to be free. Cecil Disharoon, June 28, 2015
inspired by and contributed to by my nephew David Clark.

Here, an actual historic battle, tribesmen routing three Roman Legions on September 6, 6 A.D., demanded its own modern day ballad.

My partner the Marc Kane, David, his best friend Candace, and his Paw Paw, Ron, were all present and awake when this idea came to me.  I left them in Ronald’s eager company in the living room and began converting my research on the spot into the first two stanzas of this song.  I strummed the guitar and ran through it, then went to the living room.  After I played for them, David came into my room to talk about details vivid to him in this historic battle.  I think the odds overcome, the strategies, and the turn of events influenced by the human heart ( such as when the Romans were divided from within, “Varus, undone by his own cruelty).  His enthusiasm from an earlier talk inspired this song.


Musical influences

My father-in-law’s love of Harry Chapin when we met (he got to play a song with him in the Air Force) probably planted the seed for this sort of story teller song writing.  I listened to some old Genesis over the past year, and even across songs broken up here and there (for shame, I know, they’re an album band), you get Romantic titles and images of a more fantastic transformation of similar themes.  So it’s Romanticized–ironic, no?—yet grounded entirely in the real forest and events, staying close to a participant’s voice, a genuine bard.  I modeled the melody a bit on Gabriel’s voice in places as I wrote it.