I would wait for you if you were and I was.
Would you wait for me if I wasn’t and you were?
I knew to hesitate would only make it worse.
But my tongue was tied to the rope around my neck.
By the look she gave she was more than hurt.
She would wait for you if you were more around.
Not like a paper-cut but more like a bear.
You never tried, you never reached out to her.
The devastation was a sight to behold.
And now you stand across and ocean.
I couldn’t look away till the brilliance was complete.
It’s all blown up and way out.
Nothing could be farther from.
More about what’s been twisted.
This is how we left it.
I would wait for you if you were and I was I wouldn’t hesitate.
By the look she gave it wasn’t meant to hurt it meant to devastate.
In the end it’s who we are.
In the end it’s what we are.
Holding onto stones for the morning after.
The words we meant to cripple should never have been thought.
Could we hold our breath long enough to forget
All the things we’ve said, the bones the bricks we’ve bled?
Someday, maybe then.
released December 10, 2012
This is How We Left It by echolyn
Recorded and mixed by Brett William Kull.
Mastered by Fred Kevorkian at Avatar Studios New York, NY.
String and Sax arrangement by Christopher Buzby
Brett Kull: Electric and acoustic guitars, slide and tap guitars, backing vocals
Ray Weston: Lead vocal
Christopher Buzby: Piano, Hammond organ, Synth and Glock
Tom Hyatt: Bass
Paul Ramsey: Drums and percussion
Nina Beate (violin 1)
Kaveh Saidi (violin 2)
Lori Saidi (viola)
Rajli Bicolli (cello)
Mark Gallagher (Baritone and Alto Sax) solo by Mark
Written and Recorded at Chateau Fornance and Catapult Sound between March 2011 and October 2011.
Lyrics by Raymond Weston with a few by Brett.
Piano and organ recorded at Abington Friends School May 2011.
Strings recorded at Catapult Sound December 2011.
Mixed at Catapult Sound October 2012.
supported by 43 fans who also own “This is How We Left It - CD quality 44.1kHz/16 bit”
BBT are standard bearers for modern prog, with a sound that evokes the spirit of those legendary 70s bands whilst managing to also be thoroughly contemporary. It's astonishing that over 30 minutes of music of this quality, with such high production values, is being made available for free - and their full albums are also very reasonably priced... Eleventh Earl of Blah