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© Paul Elledge
“It dates back to the original Teargarden sessions, a demo I did with [The Electric Prunes’] Mark Tulin. I think Mike was around, too – he had just started. Originally, it was just like a country song – very twangy, like early ‘70s Byrds.
“After Mark died in the early part of last year, I found myself going back through the tapes of all the stuff we did, kind of mining for forgotten riffs and also taking this weird walk down memory lane of how he’d impacted my life. I came across the song, and I thought, ‘I’ve just got to do something.’ I specifically remember Mark, when I came up with the idea for the song, he was like, ‘I love these chords! It’s so cool, the way you put the chords together.’ He would always say, ‘How do you come up with this shit?’ [laughs]
“I’m a real fan of when chord revolutions don’t resolve. Cherub Rock’s like that, too. You never feel that sense of ‘dahhhh!’ until the end of the song. It creates an anticipatory effect.
“To write an entire song around one chord sequence, essentially – there’s one minor bridge in there – nine-tenths of the song is that same sequence over and over again. It’s kind of got a hymn aspect to it. I really like it in that sense because it reminds me of Mark and how he’s affected my journey. It’s a kind of a sad ending to the record – I didn’t intend that, but it’s just the way it worked out.
“We just played it in rehearsal the other day for the first time, and it was one of those things where you hold your breath. We’re going to do the whole album live in sequence, and you think, OK, is this thing going to work? Is this really going to close? And the first time... it worked. It felt good.”