DESCRIPTION:
Lyrics and chords:
tune guitar down a semitone. Then verse is D / Em / G / some sort of c sharp sus 4 thing, then c sue 4 (i think, don't have a guitar on me in the cafe where I'm writing this! ha), pre chorus is Fsharp minor/ A / Bm / G / em / a / em / a / d....chorus is: D, some sort of Bminor, A, G x2

You had me down and out, you had me broken like a bottle, who'd lost its message and was filling up with sea - weed.
You had me sinking, headed for the bottom, I'd lost all feeling, I didn't feel like me.
One day I just had enough, I said Today I am waking up, now the morning sun sends me tumbling on my way...

Well it's all we can do, take each day make it better
that's me there next to you, we could stay here forever!

So many ways you let life slip right by you
waste your days, holding a weight which doesn't bring anything
Now I can see it so I'm gonna make this day the final farewell parade
to all those thoughts been in my way, hey-
One day it'll just get too much, holding on to all that stupid stuff, now
the morning sun sends you tumbling on your way...

Story Behind The Song:

I remember going on a big night out in Laguna with the cousin of my british friend Rose. Got pretty drunk at some bar with her, this is 2004, south of LA, and slept on the sofa and then drove back to LA cos I had an important meeting with the guy who was going to produce my album...in fact, no I think we might even have been tracking one of two songs that I was finally going to do with the producer Tom Rothrock. Tom and I had a lot of history - it was his former manager - the late Tony Meilandt who would become my manager and friend and lead me to my life in Los Angeles, and whose body I would find, dead, in his apartment in the spring of 2004 - who had first got me working with Tom.

Tom was the biggest producer I had ever and would ever work with - he had made records with Beck, Elliot Smith, Badly Drawn Boy and had just finished an album by an unknown English ex-posh public schoolboy called James Blunt.

We put the starts of two backing tracks down together with his favoured session players, but something in me didn't like the vibe, felt it was different to how we'd discussed things would be when we recorded (we'd been waiting and preparing for a while) and really wanted to involve this other guy Keefus in the production team. Ah the temerity of youth! Would a Rothrock produced version of Sweetheart been signed up in an instant as a frenzy of Bluntmania swept the world in the wake of his global hit "You're Beautiful"? Was it right that I went with my gut and did a version of it in someone's garden shed in Los Feliz, potentially jettisoning my superstar producer connection forever? Of COURSE it was.....we do what we do and it makes us what we are.

Before the session, as Charlie Paxon set up his drums, high on Caffeine (I hadn't had any for months and at breakfast at the 101 had had a double espresso to make sure I was on song for the session), I strummed out a tune and started singing, it sounded old, it sounded country and it sounded like a song....I recorded it in to my phone and months later the words and the chorus would come too.....a paean to feeling better after feeling down, suddenly waking up the from the misery when you didn't even know you were in it, to find the sun shining down on your face and body, the air brushing past your temples, your favourite hawk circling above you and the mountain's peak temptingly within reach...finally, on, your, way!

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