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Dolph Chaney

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  • Foyer
  • News
  • Bio
  • Album Streams & Info
    • This Is Dolph Chaney
    • Rebuilding Permit
    • Shenanigans
    • Loudness 2 11
    • Glass Break Dementia
    • Hippo Hollandaise
    • Gumshoe Koala
    • Climbing Mountain Time
    • Very Just Fine: Amplitude 3
    • Very Just Fine: Volume One
    • New Bird Rise
    • Infinity Dogs
    • Misc
    • Singles
    • This Was Dolph Chaney
  • MERCH
  • Contact
  • Press
  • DOLPHSPINS
  • Shows

This Is Dolph Chaney

Released February 20, 2021.

See also THIS WAS DOLPH CHANEY, the companion album of 1991-2008 demo versions.

This Is Dolph Chaney

This Is Dolph Chaney

Dolph Chaney

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Big Stir Records is proud to present the continuing adventures of Chicagoland's DOLPH CHANEY with the February 20 release of THIS IS DOLPH CHANEY, the all-new followup to last year's watershed REBUILDING PERMIT. Featuring 13 tracks produced by NICK BERTLING, the album is available for pre-order on CD and digital formats at
Big Stir Records is proud to present the continuing adventures of Chicagoland's DOLPH CHANEY with the February 20 release of THIS IS DOLPH CHANEY, the all-new followup to last year's watershed REBUILDING PERMIT. Featuring 13 tracks produced by NICK BERTLING, the album is available for pre-order on CD and digital formats at www.bigstirrecords.com/store and everywhere now. As intimated by the title, it's at once a career summation, an introduction, and an artistic leap forward for Chaney, hot on the heels of the many honors and breakthroughs of 2020 which culminated in his coronation as WOODY RADIO's Artist Of The Year.

Dolph made unprecedented new friends and fans with his first label release in 2020, but the singer-guitarist has been writing and recording for decades, dating back to his teens in the late ‘80s. Throughout that career, Dolph worked in isolation with lo-fi gear and playing every instrument, aiming to capture his songs quickly and intuitively, then move to the next. It's an approach that reached its peak in terms of both artistry and audience reach on REBUILDING PERMIT, an album that changed everything for Chaney... and just happened to materialize in April 0f last year, when the nascent COVID-19 pandemic changed everything for everyone.

It came as no surprise to those who have known him as long as we have that Dolph proved to be that rare artist suited to thrive and grow in adversity. As that singular moment of cultural uncertainty began to mutate into one sociopolitical nightmare after another, Chaney too evolved, and his response was nothing short of inspirational. With his album earning admirers, airplay, and strong reviews worldwide, Dolph took an invitation from online radio station Woody Radio to perform regular live webcasts and ran with it. The shows brought Dolph more than just new listeners and a much-needed opportunity to interact. “I had the chance to push myself, to try things with my guitar and voice I hadn’t thought I could pull off,” he says. “I was blessed to have all of that keeping me engaged and sharp at such a bewildering time.”

The impetus to keep the shows fresh saw Chaney delving into his own deep back catalog as he caught the ears of other leading lights on the global pop rock scene. Enter NICK BERTLING, also a veteran of homemade music-making, celebrated for his creative work as bertling noise laboratories and helming much-loved records from GRETCHEN'S WHEEL among others. Dolph reached out to simply to express admiration for Nick's work on the just-released Futureman Records XTC tribute. By July 4, after trading tracks, shared admiration and feedback, Nick proposed working together. Things moved quickly, and mere months later, THIS IS DOLPH CHANEY is the dazzling and thoroughly engrossing result, equal parts deeply considered craft and inspired immediacy.

The title reflects the game plan that organically drove the collaboration: an album featuring new arrangements of what had been solo lo-fi songs from Chaney's back catalog that begged for something more. Bertling introduces a clear, direct approach to the sound and the definitive new beginning it represents. It's the first time Chaney has handed over the producer's reins, and a true collaboration, with Bertling sifting through a 50-song pool of candidates to workshop with Dolph. On the final record, songs written between 1991 and 2008, sourced from the Dolph's albums RIPPLES, INFINITY DOGS, HUMBUG GLORY, CLIMBING MOUNTAIN TIME, and GUMSHOE KOALA, all receive empathetic reworkings – some drastic, some subtle, all emblematic of the “next level” production mastery that Bertling brings to the table, with the needs of the tunes front and center.

THIS IS DOLPH CHANEY features key vocal contributions from Kevin & Scott Robertson (The Vapour Trails) on the late-Mersey swing of "Pleasant Under Glass", and Lindsay Murray (of Gretchen's Wheel, who also handles the art design) on the irresistibly rocking first single "Now I Am A Man". But at its core it's Dolph and Nick, who found their perspectives and skills to complement each other astonishingly well. It's a natural next step from REBUILDING PERMIT, where bringing sympathetic partners into the fold multiplied the effectiveness of the results.

The album is, in a word, expansive. Pandemic-era recording being what it is, Bertling and Chaney go home and go big at the same time, and the sound they conjure leaves the bedroom behind for a greater wide open. And it's all different kinds of huge, encompassing Cars-worthy pop (“Cuddle Party”), Bob Mould-tinged rock (“Scales”), and the inexorably building and harrowing arena massiveness of “Meaningless”. There are the evocative Lanois-like soundscapes bookending the record – the opening “Status Unknown” and gently insistent closer “Graveyard Shift” -- and the lushly propulsive college rock heights of “Worship Song” with its sly and striking refrain “Jesus, I'm a dumbass, please forgive me” (and the even more arresting response to the plea). At the forefront, always, is Chaney's voice, bringing newfound control and urgency to the swooping melodies he's crafted over the decades. Everything old is very much new again on TIDC.

“As often as not, the new arrangements on the record were initiated by Nick, and frequently they were complete (pleasant!) surprises to me,” Dolph reveals. Witness the transformation of “Under The Overpass” from a winsomely strummy acoustic number written in 1991 into a lush, seductive groove suggesting Seal or Sade, albeit still sung with Dolph’s signature vulnerability. Conversely, Dolph gives Nick credit for stoking the dormant rock energy in “I Wanted You” and “My Good Twin,” two previously mopey 2008 standouts that benefit greatly from the aural caffeination that makes their hooks simply pop.

The broadening of the production pallet and the tightening of the performances only bring everything that was visceral, heartbreaking, and wonderfully playful about DOLPH CHANEY into clearer focus. Building on a tremendous first year with Big Stir Records, with regular FM and online airplay as well as glowing press responses, he's ready to show rock listeners everywhere what all THIS IS about. On February 20, find out why THIS IS DOLPH CHANEY, and find a new favorite song.
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Released February 20, 2021.

(Big Stir Records)

TRACK LISTING

 

1. Status Unknown (4:03)

2. I Wanted You (3:44)

3. Beat It (2:34)

4. Cuddle Party (4:11)

5. Now I Am A Man (3:16)

6. Meaningless (6:52)

7. Pleasant Under Glass (3:26)

8. Sideless World (3:31)

9. My Good Twin (2:15)

10. Scales (4:23)

11. Under The Overpass (4:55)

12. Worship Song (4:53)

13. Graveyard Shift (3:56)

 

 

Words and music ©2021 Dolph Chaney (BMI). All rights reserved.

Written 1991-2008.

 

Dolph Chaney: Vocals, guitars, bass.

Nick Bertling: Drums, guitars, bass, keyboards, percussion, backing vocals.

Lindsay Murray: Backing vocals (track 5).

Kevin Robertson & Scott Robertson: Backing vocals (track 7).

 

Produced and mixed by Nick Bertling at bertling noise laboratories.

 

Recorded July 15 - October 31, 2020, engineered by the participants.

Except vocals / guitars on track 8 - recorded fall 1993, engineered by Mike Switzer.

 

Mastered by Ronni Santmyer at Big Bang Audio.

 

Photography by Kerry Hill.

Graphic design and layout by Lindsay Murray.

 

© 2021 Dolph Chaney.

℗ 2021 Big Stir Records.

 

 

THANK YOU

 

To Nick Bertling, for bringing these songs his vision and the ability to execute it. Thank you for playing like a beast/wizard, seeing and hearing what I couldn’t, and making it all mad fun!

To Lindsay Murray, for her gift of sound AND vision.

To Kevin & Scott Robertson, for abundant Aberdeen ahhs and oohs.

To Ronni Santmyer, for making our audio painting photorealistic.

To Big Stir Records -- Rex Broome, Christina Bulbenko, Irene Peña, Doug McGuire, Ridley Broome, Champniss of London, and all my amazing labelmates.

To my other collaborators and guests over the past 3 years on this album and prior -- Milk Arnold, Jim LeFager, Clayton Melocik, Ryan O’Malley, Michael Simmons, Steven Eric WIlson, and Mike Young.

 

To supporters in word, in broadcast, and in subsidization:

Webcasts: Woody Remote; Folk You with Larry O. Dean; Social Distancing Variety Hour with Adam Holquist; The Power Pop Shoppe with DJ Gil

Internet Radio: Gidget Bates / Boris Boden / Mike Lidskin / Adam Waltemire / Rick Warhall / Mike DeAngelis (woodyradio.com); Jim Prell (themusicauthority.transistor.fm), John Armstrong (madwaspradio.com); Conrad Callan (mixlr.com/conradio); Fran Fried (cygnusradio.com); Mitch & Mark (neighborhoodweeklyradio.com); Beth Dobson (indieloungeradio.com); Alice Peters-Burns (novumfm.de); Pacopepe Gil (plasticoelastico.es); Wayne Lundqvist Ford (icecreammanpowerpop1967.podomatic.com); Scott Hudson (LIVE LEDGE - scotthudson.blogspot.com); Ronnie Carnwath (cobwebsandstrange.weebly.com); Kathy Barham (Music Truffler - mixcloud.com/radioclwyd); Curt Vance (power-pop-overdose.simplecast.com); Chris Hyde (soundofspitfire.co.uk); Radio Kaos Caribou (radiokc.fm)

FM Radio: Mike Bennett / Nicole Oppenheim / Tyler Green, CHIRP (Chicago, IL); DJ Gil, WNUR-FM (Chicago, IL); Robert Kreutzer, KUCR-FM (Riverside, CA); Barry Lee, KKFI-FM (Kansas City, MO); Chip Saam, 89.3 WHFR-FM (Dearborn, MI); Carl Cafarelli & Dana Bonn, WSPJ-FM (Syracuse, NY); Art Jipson, WUDR-FM (Dayton, OH); Patrick Keenan, KOPN-FM (Columbia, MO); Ken Yates, COAST-FM 963 (Gosford, NSW, Australia); Steve Kirkland, CKCU-FM (Ottawa, ON, CA) 

Press: Don W. Seven (babysue); Kevin Burke (The Big Takeover); Don Valentine (I Don’t Hear A Single); dw. Dunphy (MusicTAP); Ian Canty (Louder Than War UK); Bertrand Tappaz (Abus Dangereux / Voix de Garage Grenoble FR); Tim Hinely (Dagger ‘Zine); Andrew Young (Terrascope UK); John Borack (Goldmine); Dave Franklin (Dancing About Architecture UK); Patrick Donders (Sweet Sweet Music NL); Julie Fowler (Colours Through The Air); Beverly Paterson (Pop-A-Looza); Andrea Weiss (All Around Records); Dennis Pilon (Pop Rock Record); Aaron Kupferburg (Powerpopaholic)

 

To Kerry Hill, who stole my soul for the album photography to complete her collection, as she stole my heart 15 years ago.

 

And thanks to you for listening. Your hair is perfect.

 

LYRICS:

Status Unknown

 

what do I say

when I don’t know what I’m asking for and

where do I go when I do

where can I stay

if there really is no 13th floor and

what do I know about you

 

because your cover isn’t all that’s blown

status unknown

 

was it my fault

if the earthquake didn’t register and

where do I sit and not blend

please pass the salt

but please do not pass the edgy slur and

who gives a shit in the end

 

because this bird isn’t all that’s flown

status unknown

 

I deny it categorically

I avoid it matadorically

but this bull won’t leave me alone

status unknown

 

who filled the tank

and why does it smell so sickly sweet and

which of you finished the wine

who robbed the bank

of the river under ebbing feet and

can I begin saving time

 

because these stars are not all that shone

status unknown

 

Written September 29, 2003.

© 2003, 2021 Dolph Chaney (BMI). All rights reserved.

 

Dolph Chaney: Lead vocal, acoustic guitars, e-bow, ambient chime guitar.

Nick Bertling: Drums, lead guitar, bass, keyboards, percussion, backing vocals.

 

 

I Wanted You

 

I wanted you to steal my heart

but you put it on layaway

I wanted an installment plan

but you got me to pay and pay

I wanted you to hold me close

but you'd smile and then stay away

And somehow still I wanted you

 

You wanted my affection

I wanted you

You laughed at my erection

I wanted you

You regalized rejection

I wanted you

I can't believe I wanted you

 

I wanted you to show your smile

but you'd much rather bare your fangs

I wanted to take you to dinner

-- you left me with hunger pangs

I wanted you to see my face

but you covered it up with bangs

And somehow still I wanted you

 

You wanted my convenience

I wanted you

You wanted my obedience

I wanted you

You exploited my lenience

I wanted you

I can't believe I wanted you

 

As for me,

I wanted to be

somebody you'd believe in

But it's clear

that, blinded by fear,

I chose not to hear

the signals I was receivin'

 

I wanted you to tell me why

but you just said 'that's it, that's all'

I wanted just another try,

but you foresaw an overhaul

I wanted you, but you said I

was just too soft to play hardball

with you -- yet still I wanted you.

 

You wanted my compliance

I wanted you

You wanted no defiance

I wanted you

You wanted an appliance

I wanted you

I can't believe I wanted you

 

I've been weighed

I've been measured

I've been found wanting you

 

Written August 2, 2006.

© 2006, 2021 Dolph Chaney (BMI). All rights reserved.

 

 

Dolph Chaney: Lead vocal.

Nick Bertling: Drums, guitars, bass, keyboards, percussion, backing vocals.

Beat It

 

I don't feel as far away from you

as you say you feel from me,

and I wonder why the distances between

have no equality.

If a train leaves your side at 100 mph,

how fast do I have to run to meet it?

And if it turns and chases me down,

can I beat it?

 

I want to be starting something fresh,

but somebody's watching me

like a super-freak-show on the dance floor, I

spin me 'round like a CD.

I'm the train, c'mon and ride it 100 mph

The 2 of hearts was winning, but you cheated

and you dropped a bomb on me and let it whip

when you said "beat it."

 

Written January 29, 2008.

© 2008, 2021 Dolph Chaney (BMI). All rights reserved.

 

Dolph Chaney: Lead vocal, guitars.

Nick Bertling: Drums, guitars, bass, keyboards, percussion, backing vocals.

Cuddle Party

 

I come home late, the lights are low

and my spirits are low too

A giggle-hitch - I hit the switch,

and there in PJs I find you…

and everyone else we know!

 

And you say

“I just wanna hold you… and your friend

‘cause it hurts so much and I just need to pretend

I just wanna hold you and your friend

‘cause it's been so long and I don't wanna reach the end”

 

I settle down and cuddle up

tension steams out of my mind

we're rubbing socks - this feeling rocks!

Peace with you is what I find,

like everyone else we know

 

And I say

“I just wanna hold you… and your friend

‘cause it hurts so much and I just need to pretend

I just wanna hold you and your friend

‘cause it's been so long and I don't wanna reach the end”

 

But it’s just a dream, I know

The distance will only grow

The mask is what keeps me whole

The loneliness breaks my soul

 

But I say

“I just wanna hold you… and your friend

‘cause it hurts so much and I just need to pretend

I just wanna hold you and your friend

‘cause it's been so long and I don't wanna reach the end”

“I just wanna hold you… and your friend

‘cause it hurts so much and I just need to pretend

I just wanna hold you and your friend

‘cause it's been so long and I don't wanna reach the end”

 

Written October 21, 2004 and October 24, 2020.

© 2004, 2021 Dolph Chaney (BMI). All rights reserved.

 

Dolph Chaney: Lead vocal, guitars.

Nick Bertling: Drums, guitars, bass, keyboards, percussion, backing vocals.

Now I Am A Man

 

When Jesus was my age,

they nailed Him up in rage,

but I bet they'd just let me slide.

I started out lofty

but wound up a softie --

I'd melt away if crucified.

Lengthening in the tooth,

Brushed off angry youth:

 

Now I am a man

I just had my first prostate exam

and it brought a tear to my eye

Now I am a man

If they said I got with the program,

I'd probably grunt in reply

Now I am a man

But am I man enough for you?

 

It's a long way from punk rock

to piles of doppelbock

but I guess I'm earning my keep.

I even like football --

I follow the playcall,

no laughing or falling asleep.

Age numbers past my prime,

rib me one more time:

 

Now I am a man

I just plucked a grey hair from my ear

and it brought a tear to my eye

Now I am a man

Not a king like Ali in Zaire, 

more grilled up like Foreman, I fry.

Now I am a man

But am I man enough for you?

 

'Cause you're a full-on woman with a soul aflame

But the longer I run I only get more lame

Can I dare to dream our love will stay the same?

You help me believe I can

And now I am a man.

 

Now I am a man

I just got me a vasectomy

And it brought a tear to my eye

Now I am a man

Say goodbye to one aspect of me

But hello to life going by

Now I am a man --

you say I'm man enough for you. 

 

Written February 10, 2007, and September 1, 2008.

© 2007, 2008, 2021 Dolph Chaney (BMI). All rights reserved.

 

Dolph Chaney: Lead vocal, guitar.

Lindsay Murray: Backing vocals.

Nick Bertling: Drums, lead guitar, bass, keyboards, percussion, backing vocals.

Meaningless

 

It’s a race without a course

It’s a will without a force

Like the dew before the dawn

Can’t we just keep hanging on and on and on?

 

Let me hide inside my shell

Leave me to my private cell

Let me shrink to nothingness

I just want to be meaningless

 

Strip me down from flesh to bone

Tear away til it’s all undone

Rid me of this artifice

Leave me only the truth in all of this

 

Let me hide inside my shell

Leave me to my private cell

Let me shrink to nothingness

I just want to be meaningless

 

Trembling here, my soul will wait

Free of all the fear and the hate

Longing only for a touch

I’ve kept this all inside too much

 

Let me hide inside my shell

Leave me to my private cell

Let me shrink to nothingness

I just want to be meaningless

 

Written July 1992.

© 1992, 2021 Dolph Chaney (BMI). All rights reserved.

 

Dolph Chaney: Lead vocal, acoustic guitars, lead guitar.

Nick Bertling: Drums, guitars, bass, keyboards, percussion.

 

Pleasant Under Glass

 

This view is getting too familiar

I’m in this dome and I won’t be getting out until your

Insatiable fork is my divisor

Am I your meal, or am I just another appetizer?

 

Every night I wait

With all my ever-present schemes of hate

The fruitless hours pass

Oh, life is never pleasant under glass

 

You’re trying to lock in all the passion

But you don’t know about the dreams of happiness you’re smashin’

Your greed’s derailing my desires

You’re blowing out the candles and you’re blowing out my tires

 

Every night I wait

And, like a clever peasant, contemplate

The fruitless hours pass

Oh, life is never pleasant under glass

 

You take my breath away

But I feel like death today

Let me make one request:

Please let me get some rest

 

You’re looking at me like I’m misguided

But what’s the use of love if give-and-take is all one-sided?

It’s not that I don’t want your attention;

I just need a little breathing room to ease the tension

 

You understand me now

And you were getting tired anyhow

So into sleep we pass

Oh, life’s become more pleasant under glass

 

Written September 1993.

© 1993, 2020 Dolph Chaney (BMI). All rights reserved.

 

Dolph Chaney: Lead vocal, acoustic and electric guitars, bass.

Kevin Robertson & Scott Robertson: Backing vocals.

Nick Bertling: Drums, keyboards, percussion.Sideless World

 

My mind is diving

I break the surface

Never arriving

...Focus on the purpose

Tension bows before its maker

And flows away in shame

 

Nerves returning to their homes

Feel my skin fill up

With gently rolling waves of quiet

I see a sideless world

 

I keep descending

But now through earth

Layers unending

...focus on rebirth

Hopelessness yields itself to reason

And takes a holiday

 

Nerves returning to their homes

Send the past away

As ripples in the soil unfold me

I see a sideless world

 

Written May 6, 1993. 

© 1993, 2021 Dolph Chaney (BMI). All rights reserved.

 

Dolph Chaney: Lead vocal, acoustic and electric guitars.

Nick Bertling: Keyboards.

My Good Twin

 

He’s shaven clean; I have to wear the goatee

I like “Behind Blue Eyes” but he likes “I’m Free”

And whatever he does, they blame it on me

 

What’s so good about my good twin?

What’s so good about my good twin?

What’s so good about my good twin?

And what’s so bad about me?

 

While I sit back and dream of traffic and plague,

he goes gladhanding from Hanoi to the Hague –

how can the world believe that I’m the bad egg?

 

What’s so good about my good twin?

What’s so good about my good twin?

What’s so good about my good twin?

And what’s so bad about me?

 

He sends thank-you cards, chocolate hearts and roses

And he thinks nobody can see through his poses

I’m adamant even as snakes do slink, though

is he able to cane me? I don’t think so.

 

As I plot chaos from my dark hangar

He sips his lager in lavish languor

I wanna destroy my doppelganger

(but so does he!)

 

What’s so good about my good twin?

What’s so good about my good twin?

What’s so good about my good twin?

And what’s so bad about...

What’s so bad about

me?

 

Written November 1st, 2007.

© 2007, 2021 Dolph Chaney (BMI). All rights reserved.

 

Dolph Chaney: Lead vocal, lead guitar.

Nick Bertling: Drums, guitars, bass, keyboards, percussion, backing vocals.

 

Scales

 

I’m diving down the street from you

I hit the water and forget what I should do

I swallow chlorine as I say

“I wish these water wings could help me fly away”

 

Help me see the things I ought to be

Balance the scales on my eyes

Help my mind to quit reminding me

The pool can’t wash away these lies

 

I’m caked with mud pies, and I scream

Until my throat gives out and I forget to dream

I’m disconnected from this line

I can’t remember, but at least I know it’s mine

 

Help me see the things I ought to be

Balance the scales on my eyes

Help my mind to quit reminding me

The pool can’t wash away these lies

 

Now I remember what you said

Now if I just could keep it in my head -

Now I’ve already let it slip

Now I take off my shirt and grab the whip...

 

I’ve dug about half of this hole

And when it’s finished, I’ll relinquish all control

My shovel is the ace of spades -- 

It once was black & white, now into grey it fades

 

Help me see the things I ought to be

Balance the scales on my eyes

Help my mind to quit reminding me

The pool can’t wash away these lies

 

I need to wash away these lies

I need to wash away these lies

How can I wash away these lies?

 

Written March 1995.

© 1995, 2021 Dolph Chaney (BMI). All rights reserved.

 

Dolph Chaney: Lead and backing vocals, lead guitar.

Nick Bertling: Drums, guitars, bass, keyboards, percussion, backing vocals.

Under The Overpass

 

Across the map I turn a chapter in my heart

The page, so brown, leaves me dumbfounded at the start

A time of peace and grand release may never come

I know, but then I need someone

 

But it’s all too late, untie the hands of fate, my love

The pavement’s broken glass under the overpass, my love

 

A futile show of faith, I know, but that’s OK

I must believe that I can give and receive myself back anyway

The breeze so bold it cuts with cold through flesh & bone

And all I see is you & me when I’m alone

 

But it’s all too late, untie the hands of fate, my love

The pavement’s broken glass under the overpass, my love

 

The river runs, and still the sun will rise & set - 

A soothing thought - and I am not forsaken yet

Too many times I draw the lines that hinder me

But now and then I smile within our memory

 

Is it still too late? Untie the hands of fate, my love,

We could be free at last under the over….

 

We could be free at last, my love

 

Written September 1991.

© 1991, 2021 Dolph Chaney (BMI). All rights reserved.

 

Dolph Chaney: Lead vocal, bass.

Nick Bertling: Drums, guitars, keyboards, percussion, backing vocals.

Worship Song

 

I'm not a good Christian, that's what my friends say

I could only sing of your love 'til maybe Wednesday

 

And I don't know,

And I don't know

Why I don't know

What I still don't know,

But I know

That I know

No way without you

 

Jesus, I'm a dumbass -- please forgive me

Jesus, I'm a dumbass -- I'm so wrong

Jesus, I'm a dumbass -- can you love me?

Jesus, I'm a dumbass -- hear my song

 

Child, I'm getting bored with all the same-old

Your self-hatred makes your heart and brain cold

 

You don't know

and you don't know

why you don't know

what you still don't know

But I know

that I know

a heart that's true...

 

Dumbass, I am Jesus -- I forgive you

Dumbass, I am Jesus -- hear me soon

Dumbass, I am Jesus -- of course I love you

Dumbass, I am Jesus -- change your tune

 

Written September 11, 2007.

© 2007, 2021 Dolph Chaney (BMI). All rights reserved.

 

Dolph Chaney: Lead vocal, acoustic and electric guitars.

Nick Bertling: Drums, lead guitar, keyboards, percussion, backing vocals.

Graveyard Shift

 

In our second-floor apartment, we

hear footsteps as we stumble into bed.

I can hear the graveyard shift above our head.

 

As I sleeplessly walk to the bar,

machines scream up through grates on this dark street.

I can hear the graveyard shift beneath my feet.

 

In a cemetery late at night,

I sit and wonder who or what I’ll meet.

I can feel the graveyard shift beneath my feet.

 

Written July 18-23, 2006.

© 2006, 2021 Dolph Chaney (BMI). All rights reserved.

 

Dolph Chaney: Lead vocal, guitar.

Nick Bertling: Drums, lead guitar, bass, keyboards, percussion.

 

ORDER AT BIG STIR RECORDS

REVIEWS


Excerpt from
review by Ian Canty (Louder Than War):

"Dolph Chaney made his first forays into music way back in 1987, but it is only in the last few years that he has been making the kind of headway his talent warrants. After his recent (and excellent) Rebuilding Permit album from last year, his first for the Big Stir label, he’s back now with a new LP simply entitled This Is Dolph Chaney. Changes are afoot though, whereas in the past Dolph did pretty much everything on his own, on this latest collection he collaborates with Nick Bertling of Bertling Noise Laboratories, who produced the set in addition to playing various instruments too....the sleeve brings to mind a greatest hits album, with the song titles going down the right hand side as we face it. This is actually not so far from the truth, as the selections featured find Dolph sourcing 13 songs from his back pages. These numbers were written at various times during the last 30 years with the oldest effort being Under The Overpass, which was originally conceived way back in 1991. Fortunately enough and adding to this “best of” feeling, you can pick virtually any track on the record and come up trumps with something would sound great coming out of the radio, hi fi, jukebox, anywhere really.

...

It doesn’t offer easy answers, but does reveals the joy and knowledge that learning hard lessons can bring... these tunes successfully latched themselves in my subconscious and like the great collection it is, I suspect more plays will yield further delights. This Is Dolph Chaney works both as a concise and neat introduction to his work and as an enigmatic, thoroughly enjoyable album of depth, real emotion and sharp insight."

Full review at https://louderthanwar.com/dolph-chaney-this-is-dolph-chaney-album-review/

 

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