Writing A Song From Scratch: Part Two

So we return to writing a song from scratch!

And before we get any further, apologies for the terrible wind noise on the video. I was seduced by the architecture and the grandeur of the opening to the Suez Canal, and forgot to take into consideration the influence that a fresh sea breeze would have on our plucky little mobile phone mic. 

In the first installment we began writing a song based on a randomly selected chord progression: III > III > II > VI in 3/4 time. In the last video, I experimented with a variety of approaches to this, trying out some different tempos and keys. The last of these was in DADGAD tuning, and as I’ve been writing in the this tuning a lot recently, I opted to continue the experiment. Or perhaps it would be more truthful to say I couldn’t be bothered to retune my guitar . . .

The songwriting process for the next stage could take a number of different routes;

  1. Using the chord progression we have, we could begin exploring some melody ideas for the vocal part. The obvious way to do that would be to write some lyrics to fit the chords. An alternative would be singing a melody using nonsense sounds, allowing the writer to find a strong melody before forcing it to conform to a set of lyrics.
  2. As a fingerstyle guitarist, a different track could be to start developing the arrangement, moving it beyond a bland chug through the chord changes to something for intricate and interesting.
  3. While there are many songs which bravely stay on a single chord progression, my own predilection (especially with a song which is mainly going to be played solo) is to expand the palette, and write some different progressions for other parts of the song; verse, chorus, bridge etc.

In my opinion, there’s no right or wrong direction here – though the route you choose at the beginning influences the finished product. However, I would encourage caution regarding option 2. In my own experience, I’ve noticed that songs which have no part to be sung often die premature deaths. On many occasions I’ve put a lot of time into developing complex fingerstyle arrangements only to grow bored and forget about them. When there’s something to sing, even if it’s only to the simplest chord progression, the song feels much more like it’s coming to life, motivating you to keep working on it.

For this post I choose the third option, to go ‘widescreen’ and expand the chord sequence to what might be the progression for the entire song. The initial randomly selected chord sequence is composed entirely of minor chords. This causes it to feel claustrophobic, suggesting it would make a good sequence for the verse of the song, simply because in the chorus we can offer something which opens the shutters and shines light into the stuffy place we’ve made. The easiest way to do this is to return to the I chord (in this key Bb).

When creating new sections to songs, the obvious change is to the notes played. However, I heard some interesting advice recently, related from Brian Eno to Nick Mulvey. Eno suggested playing the expected chords, but at unexpected lengths. We can apply this idea to the chorus – begin the chorus on I, stay there long enough to invoke a change in the listeners mood, then continue the progression by running through the same chord sequence as verse but for different measures. We dash through the III and II chords with half a bar each, then linger longer on the VI.

For the sake of further variety, let us throw in a bridge as well. The chorus has expanded upon the world painted by the verse, so a countermove in the bridge could be to do the opposite – an extremely simple two chord sequence; two bars each. A movement like this constrains less when it comes to composing melodies above the chords – here I can take my vocal in many different directions, whereas during the chorus the more complex progression leads me down a much more defined path.

Throughout most of the song, I’ve been taking advantage of the ambiguity of the DADGAD tuning to refuse to commit to major or minor, especially on the VI chord, which should be a G minor. In the bridge I emphasized the flat third of the chord, bringing the VI back in to the minor fold with more conviction.

I should also point out that my references to particular chords here is misleading. I’m thinking in guitar terms in relation to the shapes I’m making, but of course the guitalele is five steps higher in pitch. So in reality, we’re in the key of D#, playing a Cminor chord, in the tuning of GDGFDG, which doesn’t quite trip off the tongue in the same way as DADGAD. 

Of course, it remains to be seen whether these chord progressions will support melodies worth getting excited about. This will be the next step, and might force us to backtrack, and make further alterations to the underlying music. Writing a song is rarely a linear exercise. However, in the next part of the series, we’ll hope to make a forward step and begin adding some lyrics – or at the very least some melody – to the song.

Port-Said-Guitalele

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Writing A Song From Scratch: Part Two

Five Legged Holy Cow

I haven’t quite held true to my September promise of a blog post a week, but I’m happy enough with the renewed vigour I’ve been throwing towards my music. Five Legged Holy Cow is a new composition I’ve been tinkering with since June, since (as the lyrics suggest) I spent a month travelling in India. It was supposed to be a quickly written song, with a video I was hoping to make in India itself, but songs don’t obey your wishes, and while the bulk of the song came together on the subcontinent, a little more time was needed for it to find its final shape.

This is an odd song, and you’d be forgiven if it was a little lost on you. Permit me to explain. The song’s inspiration comes from a strange sight I saw in India. A gaily coloured, gaudily-decorated, auto-rickshaw (or tuk-tuk, as they’re called in many places around the world), crammed full with a family, and squeezed between, a calf. I asked my driver what the story was, and he explained: the calf had six legs, and was considered especially blessed with powers of healing to anyone who lays their hands upon this literal ‘holy cow’. The lucky family to whom this aberration had been delivered would have given up their farm and embraced a nomadic existence, knowing they could make better money touring their lucky calf around the local communities and charging people a small fee to touch their magic beast.

As we overtook the rickshaw, I could see no evidence of the calf’s extra limbs, but the story was too good to shed doubt upon it. Before the tuk-tuk had even disappeared in the rear-view mirror, I was writing the song.

Now a six-legged holy cow just seems plain impossible, so the first liberty taken by my song was to reduce the appendages to five. Five just sings better than six, and odd numbers hold more magic than even ones. My song also needed a protagonist, and considering the animal’s curative properties, this character would clearly be someone seeking out some healing. Another easy choice was to explore England’s dark history with India. So soon I had the idea of a deserter of Her Majesty’s Service, disabled in the course of keeping the Crown’s iron grip on its colonies, now disillusioned and willing to embrace any cure for his injuries, however outlandish.

This story was heavily influenced by the Sherlock Holmes tale “The Adventure of the Crooked Man”, in which Holmes is pitted against one Henry Wood, also a soldier, and one whose experience in the Indian Mutiny left him much the worse for wear. I always love to pepper my lyrics with some unlikely words and phrases, and in the case of Five-Legged Holy Cow I was seeking vocabulary that evoked the era in which the song was set, so I snatched several choice turns of phrase from Sir Arthur Conan Doyle and dropped them into my song. These included “claiming the King’s shilling”, “a roaring lad” as well as a “bag of tigers”. Another lyrical influence was from George Harrison, whose music I always associate with India and whose album All Things Must Pass is a particular favourite. If you know that album, see if you can catch another stolen line.

Five-Legged Holy Cow is one of several songs composed recently in DADGAD tuning, which is often associated with ‘Eastern-sounding’ music. Think Led Zeppelin’s Kashmir, or Davey Graham’s magnificent Blue Raga. I kept my guitalele in DADGAD throughout my Indian sojourn, and there were plenty of long train journeys during which to noodle around and find fresh sounds. A Bill Withers acoustic funk groove turned out to be a surprisingly successful match for the open tuning. I spent a long-time sitting with that groove, knowing I liked it but feeling the song could be expanded somehow. I hit upon the idea of adding a bridge in 5/4 time; a musical challenge for me as I rarely compose outside of 4/4 and a chance to change up the vibe midway through the tune. Somehow though, this section morphed into 6/8 without me really noticing, and so it remained.

By the time I finally got the song together fully, India was far behind and I found myself back inapis-bull-saqqara Egypt. I couldn’t find a holy cow to record with, but I did get to co-star with two delightfully calm and affectionate water buffaloes in Al Sorat farm in Saqqara. This, incidentally, is not far from the Serapeum of Saqqara, where the Pharaohs mummified and entombed their own holy cows; the Apis Bulls, which were conceived by the touch of rays beaming down directly from Heaven, and marked with ankh upon the forehead, the shape of a vulture’s wing upon the back, a crescent moon on the flank, a scarab mark upon the tongue, and bearing the sun between the horns. A tale probably worth writing an entirely new song for . . .

But in the meantime, here are the lyrics for this one:

Five Legged Holy Cow

Verse 1

From Africa to India, the Queen’s shilling I did claim

‘Til the misfiring of a musket, left me broke and maimed

Isn’t it a pity, ain’t it a Goddamned crying shame

That roaring lad

What hopes he had

Now like a bag of tigers tamed

Chorus

I’m open, my shield cast down

Luminous, what can you reveal

Liberate this soul from the spinning wheel

The heart within this hollow could be healed

Refrain

So hold your horses, Holy smoke

I bow my head to this cosmic joke

And if a Five-Legged Holy Cow

Could make me whole again somehow

Verse 2

Let the scholars talk of quackery and dismiss these conjuring tricks

For I live in the land of miracles, where the cripples heal the sick

Every point of the compass, every unlikely, outside chance

Drag broken feet

Through sand and sleet

To where the dead get up to dance

Bridge

So raise up your lantern and limp through the dark

To where a many-faced goddess has laid down her mark

Some say it’s a blessing, some say it’s a curse

The man in ascendance, while the beast just gets worse

The man in ascendance, while the beast just gets worse

Refrain

So hold your horses, Holy smoke

I bow my head to this cosmic joke

And if a Five-Legged Holy Cow

Could make me whole again somehow

Chorus

I’m open, my shield cast down

Luminous, what can you reveal

Liberate this soul from the spinning wheel

The heart within this hollow could be healed

Refrain

So hold your horses, Holy smoke

I bow my head to this cosmic joke

And if a Five-Legged Holy Cow

Could make me whole again somehow

 

Video

A Tale of Two EPs

Cairo_Kinshasa_Music
Cairo and Kinshasa – their skylines overlain, two great cities with mighty rivers surging through, and surging with the music which will inspire my work. 

A month ago I mentioned a musical reset, and the importance of goal setting. My big musical goal for the next year is to try and write, record and produce two new EPs of original songs. This is the start of the journey, and here I want to set out my vision of the form these two works will take. At this point, they are quite unsullied by the inevitable compromises, upsets and detours that lie ahead. By blogging their development from an intangible dream to a finished piece of art I hope to motivate myself to push on with their creation, shed some light on the creative process, and record their evolution.

What follows is a brief outline of my vision for each EP. They share some qualities:

  • Both already have working titles. Giving a title to something that doesn’t yet exist is a powerful act. It tries to will it into being.
  • Both will have overarching themes, in one case lyrical, the other musical.
  • I envisage both EPs as being about six tracks in length. Today’s mode of music delivery makes the labels of EP/LP irrelevant in technical terms, but I find them useful in packaging a musical idea. Six songs to me feels like a good goal – enough content to properly explore a theme, while not being as intimidating as saying to oneself “I’m going to record an album”.

Manmade Canyons EP

This recording will be, for want of a better term, the more professional sounding of the pair. I intend to record it in a studio, with a small cadre of professional musicians, and basically try and create the best work possible on a limited budget. The central theme of the album will be exploring how beings of wild places, be they human or animal, survive in the unnatural confines of the city … and particularly a city as overwhelming as Cairo. Musically I hope to touch upon some features of Egyptian music. Some characteristics might be:

  • I already have a lot of songs written or half-written for this, such as;
    • When The City Is Home
    • Bold Little Weasel
    • A Tree of Heathens
    • Pass Without Trace
    • Possibly Five Legged Holy Cow
  • Make a trio of my guitar/guitalele, plus bass and Arabic percussion the core of the album. If things are going well, perhaps add some other Egyptian instruments, such as oud.
  • Try and find some good gear, or a good studio, to record in, without breaking the bank.

Confide in Me EP

This is the lo-fi record. For far too long I’ve been resolving I would start learning the craft of getting my songs down on tape. With this project I want to finally start taking steps in that direction. With that in mind it will necessarily be a simpler, shoddier affair, as I learn on the job. What I’m hoping though is for a finished product good enough to have some wonky charm. Its characteristics might be;

  • Recorded at home using simple equipment – free recording software (probably either Audacity or Garageband), a Zoom H5, though I might get one higher end mic for recording vocals later in the process. I’ll probably still seek a wiser hand for tweak and mix what I’ve got after the fact.
  • Writing the songs as part of the recording process (on the whole). By doing this simultaneously, I hope something different will emerge than would if I followed my usual method of completing a song before committing it to tape. For example, I intend to create some rhythm tracks first, and see how these influence the lyrics and guitar parts layered on top of them.
  • Kitchen-sink percussion – I abhor the drum machine, but I’m no drummer myself. I’m going to try and create my own densely-woven rhythm parts by crudely playing all kind of mundane objects and layering the results.
  • One of the questions I haven’t answered yet concerns the arrangement of the songs. Do I want to the write fingerstyle compositions, which would also exist happily as stand alone pieces? This is more challenging, and will probably take more time to compose and master. Or do I instead consider this a two-guitar record? The benefit of this is a lot more freedom regarding what’s happening on the strings, and a chance to dive into lead playing, which hasn’t really been part of my guitar journey in the past.
  • The musical inspiration will be the early guitar music of the Congo, the acoustic precursors of modern soukous, the music played by artists such as Bosco Mwenda and Losta Abelo.

On this blog I’ll be jumping between the two projects, aiming for at least a post on each every month, documenting each important chapter in this tale of two EPs.

A Tale of Two EPs

Writing A Song From Scratch: Part One

 

There are countless video blogs on Youtube discussing guitar playing and songwriting. I’m no authority on who leads the pack, but Sean Daniel’s blog is pretty sweet – informative, fun and with plenty of great music to enjoy. Five months ago, Sean embarked on a project to write a song from scratch, using as its starting point randomly selected chords and a randomly selected time signature. A little bit of chance adds some spice to songwriting – the old case that limiting one’s options stimulates rather than oppresses the creative process, so consequently I decided to rip off Sean’s idea.

I sat down with Chris, my (musically ignorant) partner-in-crime, who had the crucial role of drawing chord numbers from the bag. The chords were replaced each time, so it was theoretically possible to draw the same chord four times. What we actually got was the following chord progression:

III-III-II-VI

Which in the key of C is: Em-Em-Dm-Am

As we can see, that’s wall to wall minor, the ‘sad-sounding’ chords. Although in the video I suggested this might make for a miserable song, I note that when minor chords are hanging out together, they don’t actually sound so melancholy. The sadness seems more evident when they are paired with a major chord.

I subsequently developed the basic chord progression in a couple of different directions – transposing the key to F and the time signature to 6/8 (whose relationship to 3/4 is not as strong as the two times table might imply, but for a bit of variation what the heck), and also transposing the key to Bb but also changing the tuning to DADGAD, resulting in chords which are less firmly affiliated to major or minor. These key changes no doubt have other implications (for example, perhaps the chord progressions should be considered in the minor key, rather than the major . . .), but I’m ashamed to say my music theory knowledge is quite ragged around the edges, and also fairly tattered in the centre. If you wish to educate me, please take the floor . . .

The next step is to expand on this chord progression, adding some more building blocks until we have the foundation of a song. While Sean Daniel’s project followed the process from inception right up until a fully produced song, with drums, guitar solos, backing vocals, all the bells and whistles, I don’t have the wherewithal in terms of resources or finances to pull something like that off. So this journey will be more humble – three or four parts developing this starting point into a proper song, with a beginning, a middle, an end, and a few bits in between.

Watch this space over the next couple of weeks and witness the plan come together . . .

 

Video

Musical Reset

It’s been twenty months in the gargantuan* bosom of the Mother of the World. I’m far better at dreaming of making music than actually creating it; when I first arrived here I made a naïve post about all I’d achieve in Cairo. Few of those musical ambitions have been realised, but buried beneath the frenetic pace of the city, or work, or simply the insistent dust that weighs down anything or anyone who holds still for a moment. It hasn’t been time wasted, but as the wheel turns towards professional and academic achievements, other matters of import, be they music or love, find themselves on the wrong side of those revolutions.

Luckily, the wheel keeps turning and renewing, and I find myself now at a point of new beginnings; new job, new flat, new routine, a chance to find a better sense of balance. It probably won’t be easy, but I’m hoping to give some things neglected a chance to sing.

Dawn in Zamalek

One of those important things is a renewed sense of purpose in music-making. I want to try and find two hours a day to play, compose and practise. I’ve been thinking a lot about routines lately, and trying to get a better rein of an often treacherous mind. I couldn’t quite say I’m a morning person, but if I can force my eyes awake I love the promise and peace of the dawn, and do good work at this time. Wouldn’t it be nice to wake up early, and get two hours of playing music under one’s belt before all the other noise of day has started?

So, turning over a new leaf – but to what end? It’s likely I’ll be in Cairo for at least another year, and I’d like to direct my free time during this period towards writing and recording two new EPs. One of these I hope to make a semi-professional effort (as far as my budget will extend); using a recording studio and with luck a couple of local musicians to provide a taste of Egypt. The other will be a low-fi experiment; to see what I can come up with recording at home with simple equipment.

But first, allow me to subvert and undermine these plans! Before I throw myself into this new project, I want to do a bit of songwriting just for fun. I’ve got a few seeds and semi-complete ideas I’d like to play around with, one or two of which I hope to transform into songs fairly quickly. Let’s see what transpires . . .

 

*Hey, Cairo’s a big city!

Musical Reset

Bold Little Weasel

 

Bold Little Weasel is the second song finished from my 1 month, 4 songs project started at the end of last year. As is evident, although the bulk of the writing took place during that month, it has taken a long time to polish the songs sufficiently to reach a point when they could be properly presented. In the case of Bold Little Weasel, the main challenge was mastering the ambitious fingerpicking parts I’d written for myself. It took a lot of practice to reach a point where I could play the introductory passage and the mid-song ‘solo’ at the speed the song required.

A song from the streets

This recording was made in the streets of Fatimid Cairo, the medieval quarter of the city. As will be revealed, it’s very much an urban song, and I wanted the setting of the session to reflect this. Almost all the time, this part of Cairo is seething with people, which would have made making a recording quite a challenge. On an early Friday morning during Ramadan we succeeded in finding a peaceful corner, though during filming we had to negotiate round plenty of passers-by (it’s incredible how much noise a sandal slapping on stone can make), loud street-cleaners, spluttering Vespas and even a hip-hop crew doing a little filming for their own tune.

There are some truly impressive examples of medieval architecture in this area, but we were looking for a back-alley to film in, the kind of place a weasel might scurry down (and in fact, one did scurry down this very street, though sadly too fast to get on film). We also needed a place where would be left in peace to work – it wasn’t too surprising when as we finishing a policeman appeared to make sure we weren’t up to anything fishy and inform us that filming with a tripod required a special permit. Luckily by then we had what we needed in the can.

The Egyptian weasel

The hero of our song is the Egyptian weasel. Like the fox in the UK, the Egyptian weasel is one of those rare wild mammals that has successfully adapted to thrive in an urban environment. Growing up in rural England, my experience of seeing weasels was limited. Though not uncommon, they are shy, small and sneaky. Even if you were lucky, you might only get a few fleeting views every year. So imagine my surprise to discover that in Cairo weasels are confident and (as the song says) bold members of the city ecosystem; an animal easily found and often sighted in broad daylight. Indeed, many locals mistake them for rats*.

egyptian-weasel-aswan
Photo Credit: Dick Hoek 2014 – Aswan, Egypt

But to me, they remain wild creatures, and exotic reminders that I live in a strange land. One morning on my walk to work an Egyptian weasel dashed out of the shadows, froze on noticing my presence, eyeballed me, then obviously deciding I was no threat to him, bounded on to snatch a piece of dropped chicken from outside the shawerma shop, then leapt into the wheel arch of a parked car to devour his prize. I shook my head at these antics, smiled, and thought ‘bold little weasel’ . . . then realised instantly there was a song title there.

Doing it ever more DIY . . .

There are a few changes to the way I’ve produced this video. The first is to sound. This was the first video recording in which I used my Zoom H5 Recorder, which has been waiting for a proper outing for several months. I’m quite ignorant in the science of making audio come across well, so results were mixed. The Zoom picked up more sound than the in-built mics on our cameras, but a lot of this was incidental stuff – footsteps, wind, sparrows twittering. I wasn’t sure if the guitalele and voice sounded significantly better on the Zoom than they did on camera. There is clearly more I need to learn about setting up the Zoom to capture a performance effectively.

Most of my videos have been made by my long-suffering wife, but in this case I recruited two friends, Neda and William, to do the filming for me, using three different cameras. In the past, I’ve just done a few takes and made a video around the single best one, but in the case of Bold Little Weasel the finished article is a mix of two main audio takes and multiple video takes. I stitched the audio together crudely on Audacity (some of the joins are audible). The corresponding video takes were then also joined up on Imovie, and I browsed through all the other footage Neda and William had taken, feeding in clips from other takes which appeared to fit more or less with the underlying recording. The finished article has its clumsy moments, but it’s the first time I’ve done this all on my own, without relying on my wife’s more accomplished editing hand to put things together.

One of the most pleasing things was realising how in time all the different takes were with each other. I’ve learnt from studio time the imperative of following the metronome, and I was happy to discover that even when chopping up my various attempts, the variation in tempo was only very slight.

Blog posts related to the writing of Bold Little Weasel during the 1 month, 4 songs project can be found here:

Day 11: Have I Got Anything?

Day 19: Technology Weasel!

Day 23: Nile Projects

Day 29: Filling In The Gaps

These are the full lyrics

Bold Little Weasel

Verse 1

Bold little weasel, agile and sleek,

Flourishing in these hard times

Gleam growing in his eye, no longer meek

As our fickle fortunes decline

If you imitate his way, you’d leap and tumble, skip and veer

Shadowing his steps to be bold, and brave, and without fear

This bold little weasel

Verse 2

The cripple on the corner has staked his spot

Doubled on his third hand crutch

Of your wicked ways and sneaky whiles

He’s seen and heard so much

Just a pair of pirates, nothing more than a couple of crooks

Though of course this creature is more acrobatic in thought and foot

This bold little weasel

Bridge Part 1

The alley cats have seven lives or nine

While yours hangs on, a slender line

And nothing happens by accident, in your fragile world

Yet I feel the connection between us

As our fates unfurl

Bridge Part 2

Good fortune runs at my side, a familiar all day long

The thought of you, that fleeting view, the architect of luck

And it’s an exercise of fantasy, to imagine that scoundrel dancing for me

Backflips and somersaults and Egyptian dervish spins

Verse 3

At the furthest arc of our activities

We stop just to regard

This bouncing ball of duplicity

As he slips beneath our guard

Swashbuckling his way in and out of the halls of men

Watch the shadows closely, then come and tell me when

You see this bold little weasel

This bold little weasel

Bold little weasel

 

*It’s actually very rare to see a rat on the streets of Cairo – probably due to the hard work of the weasels and huge population of feral cats.

Video

Angel Coins

Also recorded during my recent few days in Abu Simbel was Angel Coins, a song I’ve been carrying around with me for about a year. Unfortunately, there are a few sound problems with the recording below. Hopefully the singing of the birds, golden desert and azure sky make up somewhat for the failings of audio.

When you’re writing your own songs, it can be very hard to be objective and recognise the quality of what you’re producing. Sometimes it’s the simplest ideas, which often barely register with the person playing them, that prove the most successful songs. I remember this point being made by Let’s Wait Until The Sun Comes Out, one of the most popular songs I wrote with my old band the Lazy Lizards. I remember it suddenly becoming a thing at a jamming session between our drummer and I one evening. We’d spent a couple of hours working on a song which we never finished, the details of which I don’t remember beyond it being heavy in subject and sound. Having made not a lot of progress, I started playing a bit of simple three chord township jive, Amjid joined in on cajon, and suddenly we had a hit on our hands.*

A similar story can be found behind the creation of Angel Coins. I spent Christmas 2015 at the house of a friend in the beautiful village of Tunis, near the Fayoum. This is the Egyptian countryside, another world entire from the hustle and bustle of Cairo. The weather was good, and most of the stay was spent doing little more than absorbing the mild winter sun in the orchard garden of our host’s home.

I had my guitalele to hand. I wasn’t trying to write something, but letting my fingers travel where they would while enjoying the tranquility. At some point during the morning my fingers found the two chord pattern that forms the main body of Angel Coins’ verses. I hadn’t recognised I had anything of import until my friend Reem mentioned that it sounded nice. This prompted me to play more attention. Mucking around a little longer brought me the descending bass line, and coming around to the realisation that I had something worth keeping I made a quick recording.

I kept fiddling around with the song whilst I stayed in Tunis, and began to conclude that whatever song it was going to be it should reflect its place of birth. In my previous post, I touched upon the challenges of finding a comfortable setting for songs that fall between the cracks of different cultures, and in Angel Coins I attempted another strategy. I tried to transpose some of the themes of romantic English folk songs to a desert landscape. Traditional song from my own culture is full star-crossed lovers finding their desires blocked by the constraints of social, familial and financial convention, and it’s very easy to find parallels in contemporary Egyptian culture. Conservative attitudes towards boy-girl relationships prevail here, and falling in love is a complex business. Once I recognised these mutual echoes, the narrative of the song unspooled naturally.

There is one element I still find a little inelegant. The object of the song’s affection lives with her uncle for unexplained reasons. Is she an orphan? Perhaps, but it’s got more to do with being forced in that direction because ‘niece’ rhymes with ‘caprice’. Sometimes being pushed into a rhyme like this suggests a new and pleasing direction for a song, but I have to admit in this case my solution was clumsy.

Probably the last thing to mention is the angel coin itself. What exactly are angel coins? According to a scholarly friend, an angel coin is actually the fossilised body of a tiny protozoa – a nummulite. This makes a sense; the Sahara was once a shallow sea, and in fact in Wadi el Hitan, the bones of prehistoric whales can be found amongst the dunes. Iangel-coins-rayann the deep desert there are arid fields of these angel coins. I’m no paleontologist, and some cursory investigation online finds no mention of angel coins, leading me to suspect that this name is actually a colloquial Arabic one. Whatever, the truth, it made a good song title!

The song mentions several other treasures of the desert; flint knives and pottery sherds. Egypt’s rightly famous for its early Pharaonic civilization, but the Nile Valley has played host to mankind for far longer than this, and on the shores of Lake Qairun the evidence of Stone Age settlements is liberally scattered across the ground. Are these ancient curios sufficient to win over a heart? The song leaves this for the listener to decide.

Ultimately, I’m really happy with the finished article. Thanks Reem for pointing out what I had; otherwise Angel Coins would have remained a brief little musical doodle played in an Egyptian garden – played and then forgotten.

These are the lyrics:

ANGEL COINS

Verse 1

Well, I came out of the desert

With my heart as barren as the moon

From a horizon indistinct

And with my faltering faith extinct

Marching to misfortune

Chorus

Yes I came out of the desert

With nothing much to trade

Just flint knives and angels’ coins

Verse 2

With my pockets rattling heavy

With the pearlescent coins of djinns

Out beyond the barren hills

The bones of ancient beings spill

Parched seas and bare ruins

Chorus

Yes I came out of the desert

With nothing much to trade

Just flint knives and angels’ coins

Pottery sherds and angels’ coins

Bridge

Well I’m not a man of means

Yet I’m still hunting my very own dreams

And the wind still works the dunes

To form your face

I’m waiting for your alms

With these desert-creased, broken palms

And once in a thousand years the rains will come

So I’m standing at your gate

Left here by the laughing fates

With jackals wondering when I will succumb

Verse 3

Your uncle’s a man of circumspect

With no mood for caprice

And with no pennies to my name

I know he will not entertain

My petition for his niece

Chorus

Yes I came out of the desert

With nothing much to trade

Just flint knives and angels’ coins

Pottery sherds and angels’ coins

Just a sky full of stars and angel’s coins

Just a heart full of love and angels’

Angels’

Angels’ coins


*Well, not a hit, but by any stretch our most popular song.

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