The Night

| Information | Discography | Lyrics |

Recorded at : Hi-N-Dry, Cambridge, MA. / Super Sonic, Cambridge, MA. / Magic Shop, New York City, NY.
Released : Feburary 1, 2000
Label : Rykodisc
Manufacturer and Marketer : Dreamworks #0044-50056-2
Producers : Mark Sandman and Morphine

Mark Sandman - lead vocal, 2-string slide bass, bass guitar, piano, organ, acoustic guitar, trombone, tri-tar
Dana Colley - baritone sax, tenor sax, bass sax, double sax, backup vocal, horse-hair piano
Billy Conway - drums, percussion, back-up vocals

Jerome Deupree - drums on all tracks except 9
Jane Scarpantoni - cello on tracks 1, 7, 11
Mike Rivard - upright and bowed bass on tracks 7, 11
Joseph Kessler - viola on tracks 7, 11
Brahim Fribgane - oud and frame drum on track 7
Billy Beard - hand drum on track 7
John Medeski - organ on tracks 4, 8
Margaret Garrett and Tara McManus - back-up vocals on track 5
Linda Viens and Carolyn Kaylor - back-up vocals on tracks 2, 4
Ramona Clifton - back-up vocals on track 4


Discography

Compact Disc - 0044-50056-2 - February 1, 2000 - USA
The Night, So Many Ways, Souvenir, Top Floor Bottom Buzzer, Like A Mirror, A Good Woman Is Hard To Find, Rope On Fire, I'm Yours You're Mine, The Way We Met, Slow Numbers, Take Me With You
Cassette - ????-?????-? - February 1, 2000 - USA
The Night, So Many Ways, Souvenir, Top Floor Bottom Buzzer, Like A Mirror, A Good Woman Is Hard To Find, Rope On Fire, I'm Yours You're Mine, The Way We Met, Slow Numbers, Take Me With You

Lyrics

1) The Night
Time: 4:48
Sandman

You're the night, Lilah. A little girl lost in the woods.
You're a folk tale, the unexplainable

You're a bedtime story. The one that keeps the curtains closed.
I hope you're waiting for me cause I can make it on my own.
I can make it on my own.

It's too dark to see the landmarks. I don't want your good luck charms.
I hope you're waiting for me across your carpet of stars.
You're the night, Lilah. You're everything that we can't see.
Lilah, you're the possibility.

You're the bedtime story. The one that keeps the curtains closed.
And I hope you're waiting for me cause I can make it on my own.
I can make it on my own.

Unknown the unlit world of old. You're the sounds I never heard before.
Off the map where the wild things grow. Another world outside my door.
Here I stand I'm all alone. Drive me down the pitch black road.
Lilah you're my only home and I can't make it on my own.

You're a bedtime story. The one that keeps the curtains closed.
And I hope you're waiting for me cause I can make it on my own.
I can make it on my own.

You're the paint can falling off the wall at the door that slams at the end of the hall where the kid rings sounds of basketball. The battle of the earth of the angels. The shifting snow drifts so realistic, so realistic - call you carpet of stars. See there is something in the yard. It's awful dark. With the painted strings, the cross, the good luck charm, the prayer, the extra layer. The group ???...


2) So Many Ways
Time: 4:00
Sandman

Is this the way that you like it?
Is this what you had in mind when you called above to the angels for the six hundred and sixty sixth time?
Hey, what about this? What about this. Shake it.

What do you want and how do you like it? How many times is this the right socket?
What do I wear and what do I say? Please tell me again how we get there.
Please tell me again how we get there.

So many ways to get a lift. So many ways to get your head unzipped.

Too late for anymore questions. The preamble is done. The overture's ended.
The drawbridge is up. Cat's out of the bag and looking for a sofa to scratch.
Looking for a sofa to scratch.

This the way that you like it.
This what you had in mind when you called above to the angels for the six hundred and sixty sixth time.
Hey, what about this? What about this. What about this. Shake it.

So many ways to get a lift. So many ways to get your head unzipped.
So many ways to get a lift. So many ways to get your head unzipped.
So many ways to get a lift. So many ways to get your head unzipped.

(Mark talking backwards for a second)


3) Souvenir
Time: 4:40
Sandman

I remember meeting you, we were super low. Surrounded by the sounds of saxophones.
And I remember being this close, but never alone. You gave me a little something to take home.
I dropped it on the floor. I dropped it on the floor. Dropped it on the floor. I dropped it

If I can only remember the name that's enough for me because names hold the key. Names hold key.
If I can only remember the name that's enough for me because names hold the key. Names hold key.
Souvenir of nothing.

Brought home a souvenir of nothing. It fits into a pocket.
A souvenir a souvenir of nowhere. Somewhere I've never been before.
I dropped it on the floor. I dropped it on the floor. Dropped it on the floor. I dropped it

If I can only remember the name that's enough for me because names hold the key. Names hold key.
If I can only remember the name that's enough for me because names hold the key. Names hold key.
A souvenir of nothing. A souvenir of nothing.

I remember meeting you, we were super low. Surrounded by the sounds of saxophones.


4) Top Floor Bottom Buzzer
Time: 5:43
Sandman

First we'll pick Priscilla up. And then we'll stop for Jane.
And Mary Ellen needs a ride. We're going by her place.

We're going to a party. Our friends will all be there.
I got the directions. It's across the river somewhere.

We rang the top floor, bottom buzzer.
Top floor, bottom buzzer. Top floor, bottom buzzer.
The middle won't work. Ring the one under.

Priscilla's in the kitchen she's mixing drinks.
She's mixing one for me I think.
And one for Mary Ellen and one for Jane.
Priscilla, she knows how to use a shaker.
She doesn't get up as early as a baker. Uh huh.

There's a muchacha, teaching me to mambo.
There's my buddy Pete eyeing a bowl of combos.
Ramona and a man do a tango dip. Cheek to cheek, hip to hip, come on.

The window's open it's the heart of the summer.
More people coming looking for the number.
Mary Ellen sees them she has a little stutter. She yells...

T-top floor, b-bottom buzzer. Top floor, bottom buzzer.
Top floor, bottom buzzer. Top floor, bottom buzzer.
The middle won't work. Ring the one under. Come on. Woo.

It was later it was after two.
We found a bottle of good chartreuse.
The lights were green and gold. We played Latin soul.
By the time Priscilla put the Al Green on the bottle was gone.

On the top floor, bottom buzzer.
Top floor, bottom buzzer. Top floor, bottom buzzer.
The middle won't work. Ring the one under. Come on. Woo.

Top floor, bottom buzzer. Top floor, bottom buzzer.
Top floor, bottom buzzer. The middle won't work. Ring the one under. Come on. Woo.


5) Like A Mirror
Time: 5:25
Sandman

Like a mirror I'm nothing. I'm nothing. I'm nothing till you look at me.
I'm like a mirror. I'm like a mirror. I'm nothing till you look at me.
I'm like a mirror. I'm like a mirror. I'm nothing till you look at me.
I'm like a mirror. I'm like a mirror. I'm nothing till you look at me.
Martha Lee.
Leave your world, come to me. I'm closer to you than I seem.
Wish upon this melody and come to me Martha Lee.

Leave your world and join me soon. Leave your world behind.
You can take the Saturn Line. In no time, no time.

I know a ship that's leaving soon. Oh, in fact this afternoon.
So don't forget your parachute. I'll be there to catch you.

And you my future constellation. Climb up here in the sky with me.
Leave your world and come to me. I'm closer to you than I seem.

Oh, wish upon this melody and come to me. Come to me.
Leave your world and join me soon. Martha Lee. Martha Lee.

I know a ship that's leaving soon. In fact this very afternoon.
So don't forget your parachute and I'll be there to catch you.

I'm like a mirror. I'm like a mirror. I'm nothing till you look at me.
I'm like a mirror. I'm like a mirror. I'm nothing till you look at me.


6) A Good Woman Is Hard To Find
Time: 4:13
Sandman

She painted a bull's eye on my mind.
No matter how I moved her aim was never high.
I guess that was what I needed at the time.

A good woman is hard to find. A good woman is hard to find.
A good woman is hard to find. A good woman is hard to find.

She was heavy, on the back beat. See played me just like a tambourine.
Well, she took me to church, prayed till it hurt.

A good woman is hard to find. A good woman is hard to find.
I'll live to love another one more time. A good woman is hard to find.

She was a helluva woman, from a helluva town.
She took me all the way, it was a long way down.
She makes me wonder, wonder, all day long.
Can a good woman, ever be found? Can a good woman, never be found?

She was beauty and adventure. She seemed so glad to be alive.
I want to be happy, but not all the time.

A good woman is hard to find. A good woman is hard to find.
I'll live to love another one more time. A good woman is hard to find.

She wrapped me up. Saved me for later.
Left me no way to penetrate her. Guess that was what I needed at the time.

A good woman is hard to find. A good woman is hard to find.
I'll live to love another one more time. A good woman is hard to find.


7) Rope On Fire
Time: 5:36
Sandman

Hand over hand up the lifeline, luckily the knots stay tight.
Silhouettes of the two of us climbing, climbing up a rope on fire.
Climbing up a rope on fire.

Trapped in a room in a fortress, running outta air to breathe.
Only seconds to go and we'll break free, I didn't think that we would reach.

Only the two of us can disconnect the bomb.
And save ourselves before the oxygen is gone.
I'll call for backup, you start to scream.
It's not the first time we've been in this dream.

She ripped the wings right off my back.
She whispered deep, keep it on the track.
She said you're no angel, no angel anymore.

All the wheels are coming loose. Close-up shot of a burning fuse.
The sky is filled with question marks. Will the chains come apart?
These few seconds that I've left to go. Flames and chaos down below.
And the earth opens wide. Got to climb a rope on fire.

Look at the clock. Look at the clock.
Make it to the car but the car won't start.
Me try to move the car but there's no more time.
We'll have to climb a rope on fire.

Hand over hand up the lifeline, luckily the knots stay tight.
Silhouettes of the two of us climbing, climbing up a rope on fire.
Climbing up a rope on fire. Climbing up a rope on fire.

Only the two of us can disconnect the bomb.
Then save ourselves before the oxygen is gone.
I'll call for backup. You start to scream.
It's not the first time we've been in this dream.


8) I'm Yours You're Mine
Time: 3:45
Sandman

On my fingertips. On the tip of my tongue.
I register your every touch. I hear your smell.
I hear your smile. Fast as light. Two hundred miles.

And all across that line. Stretched between your bed and mine.
All alone just for tonight. I'm yours and you're mine.

I got birds that shiver in a forest so thick. I got hands full of magic tricks.
And I'll part those branches with my hands.
Clear the land mines from your path.

And all across that line. Stretched between your bed and mine.
All alone just for tonight. I'm yours and you're mine.

And all across that line. Stretched between your bed and mine.
All alone just for tonight. I'm yours and you're mine.

On my fingertips on the tip of my tongue. I register your every touch.
I'll row the boat across the lake. We got smoke, we got perfume in our wake.

And all across that line. Stretched between your bed and mine.
All alone just for tonight. I'm yours and you're mine.


9) The Way We Met
Time: 2:59
Sandman

No there's nothing too romantic about the way we met.
That's not to say it doesn't make a certain sense.
Maybe it's just the kind of people that we are.
That's not to say whether it's right or wrong.
It's not right or wrong. It's not right or wrong.

There's no cute story that we tell together.
Laughing and finishing each other's sentences so charmingly.
Truth is it was all an accident.
Just like it is for everybody else.
But then again it was all and accident.
Just like the way it is for everybody else.

Later we had toast, took turns sitting on the windowsill.
Like two fields of wheat, sent signals cross the kitchen sharp and sweet.

There's no cute story about the way we met.
We just woke up one day in bed.

Shouted out for alarm clocks. Where's the remote control?
Put the blankets and the chairs against the windows and doors.
And stayed close together, trying to stay warm, oh.

Now there's nothing too romantic about the way we met.
That's not to say it doesn't make a certain sense.
Maybe it's just the kind of people that we are.
It's gone to far to be right or wrong. Now, now, now, now.


10) Slow Numbers
Time: 3:58
Sandman

Lazy boys and shy Dianes. One at a time, single file.
They counted the low numbers as they walked by.
I count a high number. A low number. Among the slow numbers.

The number four means nothing to me but the number four means death to Chinese.
Number seven is lucky in Japan. Here we don't give a damn.

But on the elevator, no thirteenth floor.
On the elevator, no thirteenth floor.
Thirteenth going up. Going up... Going up...

Relaxing as I wait in line. Some of the numbers lose their smiles.
Specially the numbers one through nine.
Because they're only seating parties of ten or higher.
For the dancing the question mark sticker and the mermaid kickers.

The number four means nothing to me but the number four means death to Chinese.
Number seven's lucky in Japan. Here we don't give a damn.

But on the elevator, no thirteenth floor.
On the elevator, no thirteenth floor.
Going up... Going up... Going up...


11) Take Me With You
Time: 4:53
Sandman

You want to begin again. Pretend you're innocent.
If you believe, you can convince yourself. I'm sure you can convince yourself.

This town never gave you much back. Just rumors and a whispering attack.
This town is not your friend. Never mind the loose ends.

Take me with you when you go now. Don't leave me alone.
I can't live without you. Take me with you, take me with you when you go.

And I don't care about the things I leave at home.
Cause things can't really keep you company when you're alone now.

You want to burn your bridges? I'll help you start the fire.
You want to disappear? I got the manual right here.
You say you want my help? I can't help myself.
You want my help? I can't help myself.

Take me with you when you go now. (take me with you take me with you)
Don't leave me alone. (don't leave me alone)
I can't live without you. Take me with you, take me with you when you go.

Take me with you when you go now. (take me with you take me with you)
Don't leave me alone. (don't leave me alone)
I can't live without you. Take me with you, take me with you when you go. Ahh.
(take me with you take me with you)

You want to begin again. Pretend you're innocent.
If you believe. You can convince yourself, I'm sure.
You can convince yourself.

Take me with you when you go now. (take me with you take me with you)
Don't leave me alone. (don't leave me alone)
I can't live without you. Take me with you, take me with you when you go. Ahh.
Take me with you when you go now.


All material copyrighted to Morphine belongs to Morphine.