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Songs to Control the Weather by

by Johnny Coull

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1.
The pearl-clad mirage makes her last stand tonight Upon the tireless ocean, she glitters while she grieves The mystery is gone, she thinks, into her fate the lover sinks Until her broken heart’s out on her sleeve Nylons from the drug store, a perfume of the grave A cigarette rolls off her tongue and spirits her away And she says: “Man, I’m gonna be lonely if I can’t, I’m gonna make that blue sky rain It’s gonna rain, I’ll make it rain this year away.” And the trembling vacuum salesman gets his fix on at the open bar While the angels line up to remove their wings Skeletal with vacant looks, they stare him down, that open book, Until his blood flows on to other veins A funeral procession, if ever there was one Though who can tell the live ones from the cats already done And he says: “Man, I’m gonna be holy if I can I’m gonna make that blue sky rain It’s gonna rain, I’ll make it rain out there upon the land” With the darkness, like a savior, on his hands “Until I make that blue sky rain It’s gonna rain, I’ll make it rain…” That lonely masquerader gets all exasperated While the citizens go crazy: that will be their only debt They’re crying here tonight, they’re leaving it behind Until the masquerader’s gonna be loading out At the last parade, the patron saints of loneliness and vodka-lemonade Will hand out remedies for drought Mirage adjusts her halo for one last go at the sailor Connective tissue forms beneath their brows They’ll etch their resolutions on the inside of that coffin “Ain’t ever too late,” one reads, and the other says: “The prophets promised rain…” Until I make that blue sky rain, It’s gonna rain, it’s gonna rain Out there upon the land, with the darkness like a savior on his hands We’re gonna make that blue sky rain It’s gonna rain, let’s make it rain I’ll make it rain
2.
Perpetual motion machines Aimed at night at the grooving queens On the streets of Paris Claimed by the clowns at last Daisy will try her luck tonight Falling fast and burning bright Reborn on silken sheets Baptized in mustard gas Daisy will ride the Firestorm Daisy will ride the storm Daisy will ride the Firestorm Tonight A Cleopatra at eighteen Her palace is the mirror-house Inspects her eyes for lines And other secret signs we cannot know And as she faintly slips on by The con men hide their jaded eyes They’re almost made of dust Dried up on Ring Toss Row Daisy will ride the Firestorm Daisy will ride the storm Daisy will ride the Firestorm And as she tilts and whirls The darkness will go down As Daisy hears the music end A sudden blue-red glow alights Upon the plastic Christ And Styrofoam fallout The cops have seized the one-armed male Nailed him to the Ferris wheel His one stretched finger points Right at her through the crowd Daisy will ride the Firestorm Daisy will ride the storm Daisy will ride the Firestorm And as she tilts and whirls The darkness will go down
3.
The boys all beg And lose their minds in tandem As you cut them with that ancient smile Eyes like teeth They shout what they imagine Madmen armed with torches, up on trial Why don’t you bleed? Little lamb in the fire You are wholly exempt, so immune Why won’t you bleed? Little lamb in the fire You will not relent or give in Sacred and pure In the whiskey miasmas That rise from the lips of the dead Sleepless but calm Your radio antennas Tuned only to the laughter in your head Why won’t you bleed? Little lamb in the fire You are wholly exempt, so immune Why won’t you bleed? Like a lamb in the fire But you’ll not relent or give in Icarus is dead The midnight air is heavy The boys stare off into an aimless sea Why won’t you bleed? Little lamb in the fire You are wholly exempt, so immune Why will you not bleed? Like a lamb in the fire Under this wolf-eaten moon
4.
You wait there by the platform like a shadow For Andrew to put on his charade: The teleprompter, grass, his old bravado, While teenage hearts drop like grenades He walks on down, emotionless, to greet you Bombed out on fortified zinc Carrying a brown bag filled with letters to the brim Cracking your composure with a wink You can’t get enough of Saint Andrew’s fame You cannot hide from his light He’s got patriots and pills, hotel room deals And he will be back one of these nights You can’t get enough of Saint Andrew’s fame Andrew used to be a failure Until they let him in the door All those long hours crawling to you late at night To a bed he does not use anymore Your mama warned you this would happen Confession cannot save the proud For such a pure, untarnished halo Now weather-beaten in the clouds You can’t get enough of Saint Andrew’s fame You sniff at his rags like a dog Though he will not get up in the morning no more He’s just the same He’s just the same He’s just the same He’s just the same As he ever was

about

Johnny Coull's sophomore release, Songs to Control the Weather by, is the product of a live-in-studio performance of four new compositions. Firmly grounded in a vintage piano-rock aesthetic, STCTWB blends poignant storytelling with virtuosic riffs and powerhouse melodies.

The songs form a strange quartet: "Make That Blue Sky Rain" is an upbeat rocker about the ways we keep ourselves sad; "Lamb in the Fire" is a tender country-styled ballad about a girl at a bar, surrounded by wolves; "Daisy Rides the Firestorm" is a surreal pop anthem about a teenager's night at a carnival; "Saint Andrew's Fame" is a 70's-inspired rock number about what it's like to live in somebody else's shadow.

Recorded live at Mixart Studios in Montreal in the winter of 2014, the EP features a roster of talented performers: Al McElcheran on bass, Olivier Boyer-Masutti on lead guitar, and Tim Van de Ven on drums. Several guests join for spots on organ, flute, and backing vocals.

The album artwork was created in a collaboration with Montreal painter Adeline Lamarre.

credits

released May 29, 2015

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Johnny Coull Montréal, Québec

Johnny Coull is an independent singer-songwriter based in Montreal, Canada. His debut album, “City on the Hill”, was released in November 2013.

Firmly entrenched in the vintage rock tradition, Coull tackles intensely personal themes, at once melancholy and incisive, set over punchy melodies, bright choruses, and virtuosic piano licks.
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