Special to the VJ by Kathryn Preston
Crabtree and Delmhorst bring a musical storm to Steve's
Steve’s Guitars impresario Steve Standiford, warmly hailed the return of acoustic musicians Melissa Crabtree and Kris Delmhorst to his intimate venue on November 19.
Crabtree, opening for the crowd with local guitar wizard Frank Martin providing accompaniment, did much more than just warm up the room with her thought-provoking, Woody Guthrie style of quietly revolutionary musicianship. She exhibited a wild-woman/tomboy quality that pushes the boundaries of what society considers feminine, a quality that seemingly runs in her family tree. “Anna Lee” breathed life into the spirit of Crabtree’s great aunt, exiled by the family for being a lot like Crabtree herself. Honoring her aunt’s legacy, she sang: “No one could ever whisper your name, but I can feel you winking at me from the picture frame.”
When she’s not touring, Crabtree is a river-runner. “Cat Fishin’” was written on the Delores River in Colorado, and displays what the over-thirties crowd might describe as a Nancy Sinatra, walkin’-boots-attitude toward life.
With the tune “A Message from a Soldier,” Crabtree embodies the mythological role of the “messenger.” She interviews a soldier headed for Iraq: “We started talkin’ ‘bout the Patriot Act. He said ‘I guess they got together to stab us in the back. But I should probably be careful ‘bout what I say cause if the colonel heard, he’d have ‘em take me away.’” Crabtree literally becomes the channel through which the soldier’s spirit can be heard.
There was a whole host of strong feminine spirits sharing the stage with Crabtree. Her vocals and finger-picking invoked the spirit of Janis Joplin in “Me and Bobby McGee” as well as Helen Reddy and “Delta Dawn.” The audience also heard an accomplished balladeer, the likes of Michelle Shocked.
Her reverence for free-flowing rivers is paid homage in “Muddy Waters:” “I have dreams, they’re always changing. My life always needs rearranging. But I feel at ease when I see the flowin’ water of the muddy Colorado.”
With the message that we must all aspire to create and sustain the world we want to be a part of, she is walking her talk, having toured the country in a bio-diesel automobile, and having produced a CD to promote the use of fossil fuel alternatives.
While Crabtree sings of man’s relationship to the Earth, her fellow Sagittarian Delmhorst sings of the relationships between men and women. Like Wuthering Heights set to music, Delmhorst’s lyrics probe the darker moments of relationships: “I’ve been dying this whole evening to just reach out for your hand. I’ve been trying to keep believing that I might understand. I know words fail you, and I know sometimes I do too.”
Even more tempestuous is “Hurricane,” evocative of Stevie Nicks’ “I have always been a storm.” Delmhorst sings: “Blow me down and leave me lying in your wake. Let it rain, let it pour, let it roar away. I’m holdin’ out my tongue for a taste of rain.”
In “Bobby Lee” there’s a sense of suffocating in a relationship, and the imagery is downright biblical: “This cave’s too dark for me…. I was only trying to roll the stone away.”
Emblematic of audience response that night, the man next to me started growling during “Waiting Under the Waves.” He said it was a reaction to the seductive Tori Amos-like way Delmhorst manipulated her breath.
Moving in circles and spinning are common themes for Delmhorst, conjuring images of a cyclone. In “Lullabye” she croons: ‘You have turned in circles all your life so your shadow wouldn’t show.” Likewise, in “Weathervane,” she sings: “I too can move the prairies. I too can move the sea. I’m gonna take that motion, take it right inside of me. No more spin around, spin around, spin around.”
“Little Wings,” a celebration of human moments in a corporate world, was dedicated to Steve Standiford, owner of the musical venue that evening, for sharing his warm and an authentic space for music-making.
Delmhorst left us with these words of wisdom: “No matter what you bought or sold, the only thing you’ll have to hold is the love you’ve loved and the truth you’ve told.”
Amen.
Friday, July 30, 2010
Eddie From Ohio
http://www.valley-journal.com/article/20041111/COMMUNITY/922589012&parentprofile=search
Eddie from Ohio: Great tunes and a musical ‘legacy of hope’
Thursday, November 11, 2004
Eddie from Ohio: Great tunes and a musical ‘legacy of hope’
BY KATHRYN PRESTON
Special to the VJ
Patrons packed the house at Steve's Guitars last Saturday for the highly anticipated Carbondale premiere of Eddie From Ohio.
EFO's lyric-driven folk-rock, quartet harmonies, and urban/tribal rhythms lit up this small town with their world-class style.
Hailing from Virginia, EFO's first tune, “Virginia in My Eyes” evokes that end of a long road-trip feeling when the mountains rise up to greet you and you know you're in the home-stretch. “Walkin' in Jerusalem” is a traditional tune transformed into a bluesy-gospel, full of chutzpah!
Speaking of chutzpah, Julie Murphy-Wells’ lead vocals are quirky yet seductive. Always crystal clear, she belts like a siren on the bluesy “If You Love Me, Leave Me Alone” and growls like a lioness in the whacky ditty “The Bird,” a hilarious lament about road-rage. Her girl-next-door quality comes through on songs like “Baltimore” with its vulnerable honesty, and her tough-girl persona emerges on the darkly comedic “1,000 Sarahs,” winning the “angry-Alanis Morrisette-award.”
Speaking of awards, the band bestowed the “best audience participation” award on Carbondale for its enthusiastic interplay on EFO's version of the Beatle's “Come Together.” One of my personal favorites was the gritty break-up song “Adios, Lorena” which evoked shades of Johnny Cash, featuring Murphy-Wells and Robbie Schaeffer in harmonized song-speak.
Displaying his own professional prowess, Eddie Hartness, the drummer, performed a solo with one hand on the bongos and the other slamming his drum-set with his stick, creating a primal frenzy that rivaled Santana on speed! The only way it could have been better was if he had worn that thong! (Ya had to be there!)
Hartness also commented on the origin of the band's harmonies: “We started out playing stuff like Crosby, Stills, and Nash and the Indigo Girls.” Then, the band's harmonies evolved to a higher degree of complexity under Murphy-Wells' arrangements. She received classical training at Virginia Tech., while the guys went to James Madison University in Harrisonburg, VA. Murphy-Wells related that Hartness is a “natural Irish tenor” while Schaffer is “a classically trained bass.”
The band has a talent for comic satire with tunes like “Stupid American,” and “Loving Couples.” However, they become ultra-poignant with songs like “Einstein” telling us “ the faster you go/ the slower you grow/ until you're nothing at all” — a subtle reminder that while our country conquers other cultures, extinguishes other species, and destroys the very resources that sustain us, we are actually advocating our own demise in doing so.
Couple that with “This is Me” which suggests that pain and violence don't die with those who are killed in war, but actually live and grow in those who survive.
However, EFO lights the way to a brighter day with their closing number “Walk Humbly, Son.” Originally written by Michael Clem for his son, it could easily become the quintessential anthem for a new millennium, sewing the seeds of a new culture based on goodwill and unanimity.
Eddie From Ohio did more than merely entertain us, they left us with a legacy of hope.
(Kathryn Preston is a local resident who has been an actor, a voice-over artist and a freelance writer. She can be reached at kathrynshakti@yahoo.com)
Eddie from Ohio: Great tunes and a musical ‘legacy of hope’
Thursday, November 11, 2004
Eddie from Ohio: Great tunes and a musical ‘legacy of hope’
BY KATHRYN PRESTON
Special to the VJ
Patrons packed the house at Steve's Guitars last Saturday for the highly anticipated Carbondale premiere of Eddie From Ohio.
EFO's lyric-driven folk-rock, quartet harmonies, and urban/tribal rhythms lit up this small town with their world-class style.
Hailing from Virginia, EFO's first tune, “Virginia in My Eyes” evokes that end of a long road-trip feeling when the mountains rise up to greet you and you know you're in the home-stretch. “Walkin' in Jerusalem” is a traditional tune transformed into a bluesy-gospel, full of chutzpah!
Speaking of chutzpah, Julie Murphy-Wells’ lead vocals are quirky yet seductive. Always crystal clear, she belts like a siren on the bluesy “If You Love Me, Leave Me Alone” and growls like a lioness in the whacky ditty “The Bird,” a hilarious lament about road-rage. Her girl-next-door quality comes through on songs like “Baltimore” with its vulnerable honesty, and her tough-girl persona emerges on the darkly comedic “1,000 Sarahs,” winning the “angry-Alanis Morrisette-award.”
Speaking of awards, the band bestowed the “best audience participation” award on Carbondale for its enthusiastic interplay on EFO's version of the Beatle's “Come Together.” One of my personal favorites was the gritty break-up song “Adios, Lorena” which evoked shades of Johnny Cash, featuring Murphy-Wells and Robbie Schaeffer in harmonized song-speak.
Displaying his own professional prowess, Eddie Hartness, the drummer, performed a solo with one hand on the bongos and the other slamming his drum-set with his stick, creating a primal frenzy that rivaled Santana on speed! The only way it could have been better was if he had worn that thong! (Ya had to be there!)
Hartness also commented on the origin of the band's harmonies: “We started out playing stuff like Crosby, Stills, and Nash and the Indigo Girls.” Then, the band's harmonies evolved to a higher degree of complexity under Murphy-Wells' arrangements. She received classical training at Virginia Tech., while the guys went to James Madison University in Harrisonburg, VA. Murphy-Wells related that Hartness is a “natural Irish tenor” while Schaffer is “a classically trained bass.”
The band has a talent for comic satire with tunes like “Stupid American,” and “Loving Couples.” However, they become ultra-poignant with songs like “Einstein” telling us “ the faster you go/ the slower you grow/ until you're nothing at all” — a subtle reminder that while our country conquers other cultures, extinguishes other species, and destroys the very resources that sustain us, we are actually advocating our own demise in doing so.
Couple that with “This is Me” which suggests that pain and violence don't die with those who are killed in war, but actually live and grow in those who survive.
However, EFO lights the way to a brighter day with their closing number “Walk Humbly, Son.” Originally written by Michael Clem for his son, it could easily become the quintessential anthem for a new millennium, sewing the seeds of a new culture based on goodwill and unanimity.
Eddie From Ohio did more than merely entertain us, they left us with a legacy of hope.
(Kathryn Preston is a local resident who has been an actor, a voice-over artist and a freelance writer. She can be reached at kathrynshakti@yahoo.com)
Soul Feel
Thursday, October 28, 2004
SoulFeel; charismatic, enigmatic, and ready
Editor’s note: The Valley Journal this week inaugurates a new feature, music and stage reviews by local writer Kathryn Preston. Preston, who has a stage and music background, can be reached at kathrynshakti@yahoo.com or by calling the VJ at 963-3211, extension 100, and leaving a message. Her reviews will be published periodically in The Valley Journal.
BY KATHRYN PRESTON
Special to the VJ
“Soulful” was the theme at the Black Nugget one recent Friday evening in Carbondale, as SoulFeel took the stage. An evening of freewheelin’ vocals, rhythmic dexterity, and lush harmonies made for a packed dance floor and a rhapsody of soul.
The harmonies of lead singer Brad Foster and Dobro master Brook Mooney are reminiscent of Simon and Garfunkel. Laying those harmonies on top of funk, psychedelic rock, delta blues, and even reggae rhythms, creates a hybrid, the music of SoulFeel seems to willfully defy any notion of niche.
Foster’s lead vocals range from a soft, but powerful Prince-like falsetto to a gravely bass, the likes of Dr. John or Louis Armstrong. Not bad for a 25-year-old white boy from Baton Rouge.
A highlight of the evening was the band’s rendition of Led Zeppelin’s “Whole Lotta Love,” with Foster gripping two microphones, giving a hauntingly Morrison-esque performance. When asked about his musical influences, Foster listed Jim Morrison, “and anyone else who has overwhelming charisma.” During “Relax Your Mind,” it was as if Foster were crooning his love to some imaginary sweetheart or to the music itself. It doesn’t get more charismatic than that.
SoulFeel took the audience on a road-trip, from a country road leading to Foster’s Grandpa’s house in Mississippi to Johnny Cash’s “Folsom Prison,” which refreshingly was not just a copy-cat cover tune - it seriously rocked the house!
Completing the band were Dane Wilson, a Glenwood Springs native, on drums; Kurt Radomski on Mandolin, adding a tinge of Appalachia; and Michael Jude (of Take the Wheel fame) sitting in on bass. Keyboardist Jeff Johnston was absent, as he is in Florida volunteering aid in disaster relief.
As one patron from Denver put it, “These guys are right on the fence!” meaning they are poised for bigger things. And, indeed, they are. The band plans to start touring regionally by the end of January, according to band manager, Erin Rogers. For upcoming tour and scheduling info, check out www.soulfeel.net.
SoulFeel; charismatic, enigmatic, and ready
Editor’s note: The Valley Journal this week inaugurates a new feature, music and stage reviews by local writer Kathryn Preston. Preston, who has a stage and music background, can be reached at kathrynshakti@yahoo.com or by calling the VJ at 963-3211, extension 100, and leaving a message. Her reviews will be published periodically in The Valley Journal.
BY KATHRYN PRESTON
Special to the VJ
“Soulful” was the theme at the Black Nugget one recent Friday evening in Carbondale, as SoulFeel took the stage. An evening of freewheelin’ vocals, rhythmic dexterity, and lush harmonies made for a packed dance floor and a rhapsody of soul.
The harmonies of lead singer Brad Foster and Dobro master Brook Mooney are reminiscent of Simon and Garfunkel. Laying those harmonies on top of funk, psychedelic rock, delta blues, and even reggae rhythms, creates a hybrid, the music of SoulFeel seems to willfully defy any notion of niche.
Foster’s lead vocals range from a soft, but powerful Prince-like falsetto to a gravely bass, the likes of Dr. John or Louis Armstrong. Not bad for a 25-year-old white boy from Baton Rouge.
A highlight of the evening was the band’s rendition of Led Zeppelin’s “Whole Lotta Love,” with Foster gripping two microphones, giving a hauntingly Morrison-esque performance. When asked about his musical influences, Foster listed Jim Morrison, “and anyone else who has overwhelming charisma.” During “Relax Your Mind,” it was as if Foster were crooning his love to some imaginary sweetheart or to the music itself. It doesn’t get more charismatic than that.
SoulFeel took the audience on a road-trip, from a country road leading to Foster’s Grandpa’s house in Mississippi to Johnny Cash’s “Folsom Prison,” which refreshingly was not just a copy-cat cover tune - it seriously rocked the house!
Completing the band were Dane Wilson, a Glenwood Springs native, on drums; Kurt Radomski on Mandolin, adding a tinge of Appalachia; and Michael Jude (of Take the Wheel fame) sitting in on bass. Keyboardist Jeff Johnston was absent, as he is in Florida volunteering aid in disaster relief.
As one patron from Denver put it, “These guys are right on the fence!” meaning they are poised for bigger things. And, indeed, they are. The band plans to start touring regionally by the end of January, according to band manager, Erin Rogers. For upcoming tour and scheduling info, check out www.soulfeel.net.
Acoustic Mayhem
Acoustic Mayhem and the Cohens warm it up at Steve’ Guitars
(In a continuing series of articles by Carbondale, CO writer Kathryn Preston, reviewing happenings in the local music scene, we bring you this account of a recent night at Steve’s Guitars. An unexpected cancellation yielded a night of enjoyment of the warm Appalachian sounds of a couple of local musicians, followed by the rabble-rousing harmonies of Acoustic Mayhem.)
BY KATHRYN PRESTON
Special to the VJ
Expecting to sit in with bluegrass band Sweet Sunny South, Andrea Early Cohen instead sat with her husband, Mathew Cohen as the members of S.S.S. were stranded in Paonia, CO with what Steve Standiford somewhat jokingly referred to as ‘whooping cough.’
Braving sub-zero temperatures, the pair warmed up the room at Steve’s Guitars on Dec. 3 with their soft Appalachian sounds.
The duo took the audience on a tour of instruments, cultures, and mythologies. Fiddling a frenetic instrumental titled, “Ellie’s Tune,” in honor of her cow-dog, Early Cohen was accompanied by her partner on a West African djembe drum. Switching mid-song to a Celtic bodhran (pronounced “bow-rawn”), Cohen musically displayed a few of the translations of the drum’s name: “tray drum,” “thunder,” and “soft, dull sound.”
Cohen then picked up his guitar for a playful homage to a “coffee buzz.” He expressed his gratitude for the stimulant singing, “There’s nothin’ in the world like your daily grind.”
The couple then introduced the audience to the didgeridoo, an Australian aboriginal wind instrument. The painstaking breathing process involved is fascinating to observe. The resulting sound is an extended hypnotic bass monotone. Considered the world’s oldest instrument at 40,000 years old, research reveals a gorgeous mythology associated with the instrument: “As the Gods play, dance, and sing, they create the world.”
Pulling another folk-music surprise from their bag o’ tricks, Early Cohen played her fiddle while her husband played percussion by tapping on her fiddle strings with fiddlesticks. According to scholars, the playing of fiddlesticks was considered “common” by the upper classes in Shakespeare’s time. This disdain can be found in “Henry IV” as The Bard writes, “The devil rides on a fiddlestick.” Linguistically, this explains how the expression evolved to mean that something someone just said was nonsense. However, the consensus at Steve’s Guitars that evening was that another delicacy had been added to the cultural smorgasbord offered that evening.
Another folk tradition, Clogging, a percussive blend of Irish, English, and Scottish step-dancing, was enthusiastically demonstrated by Early Cohen.
Mr. Cohen ended their set with the “dancing goose,” a variation of the limberjack. Cohen held a stick, with a wooden (goose) cut-out attached to it, over a dancing board he sat on. He used subtle pressure from his fingers to push the board down, creating a spring-board under the goose which caused it to “dance.”
An almost eerie synchronicity emerged as Acoustic Mayhem took the stage. They launched into a song about a mythological character called the Hoo-Doo. Elliot Leonard, on guitar and vocals, explained that the Hoo-Doo could be found in the woods or at the side of a road. “ … But they freeze like a deer on the headlights, so don’t slow down, just run that Hoo-Doo down.”
Interestingly, African folk legend says that Hoo-Doos appeared to hunters and planters in the forests to teach them the transformative properties of herbs, minerals, and other life forms. “Hunter’s Moon” incorporated this mythology as Leonard sang, “… and the spirits ride on the night of the hunter’s moon.”
The band — Craig and Lorraine Curry, Elliot Leonard, Lester Rogers, Marc Bruell, and Ken Carpenter — are heavily influenced by the Austin music scene and musicians like John Hyatt, Rodney Crowell, Buddy and Julie Miller, and Emmy Lou Harris. The band’s rabble-rousing harmonies hit their peak in the yodels of “Kansas City Star.”
The band’s covers of John Gorca, Mary Chapin Carpenter, Bruce Utah Phillips, and the Rolling Stones are both passionate and quietly thoughtful. These dual energies can also be heard in the rowdy, “Memphis in the Meantime,” skillfully driven by Curry’s cello, and in “This Old Porch” by Lyle Lovett, a slice of Americana that sounds a bit like Dan Fogleberg with a twang.
Craig Curry treated the audience to an impression of “Elvis,” a tune recorded by Jimmy Buffet under the name of “Freddie and the Fishsticks.” Elliot Leonard's poignant vocals on “Denver Diner” evoked strains of Harry Chapin, while “High Mountain Air,” written and sung by Leonard, recalled the clarity of spirit of John Denver. Marc Bruell’s violin playing displayed a sensuality that seemed to embody a medieval minstrel attempting to woo his mistress.
In the spirit of the giving-season, and in the tradition of indigenous cultures, it’s appropriate to give some thought and thanks to the music and music-makers that touch our hearts. In most folk /acoustic instruments the resonator is made of wood while the actual source of the sound is of animal origin. Once-living beings are now literally a part of the music. Their essences combine to create the songs of the universe.
(In a continuing series of articles by Carbondale, CO writer Kathryn Preston, reviewing happenings in the local music scene, we bring you this account of a recent night at Steve’s Guitars. An unexpected cancellation yielded a night of enjoyment of the warm Appalachian sounds of a couple of local musicians, followed by the rabble-rousing harmonies of Acoustic Mayhem.)
BY KATHRYN PRESTON
Special to the VJ
Expecting to sit in with bluegrass band Sweet Sunny South, Andrea Early Cohen instead sat with her husband, Mathew Cohen as the members of S.S.S. were stranded in Paonia, CO with what Steve Standiford somewhat jokingly referred to as ‘whooping cough.’
Braving sub-zero temperatures, the pair warmed up the room at Steve’s Guitars on Dec. 3 with their soft Appalachian sounds.
The duo took the audience on a tour of instruments, cultures, and mythologies. Fiddling a frenetic instrumental titled, “Ellie’s Tune,” in honor of her cow-dog, Early Cohen was accompanied by her partner on a West African djembe drum. Switching mid-song to a Celtic bodhran (pronounced “bow-rawn”), Cohen musically displayed a few of the translations of the drum’s name: “tray drum,” “thunder,” and “soft, dull sound.”
Cohen then picked up his guitar for a playful homage to a “coffee buzz.” He expressed his gratitude for the stimulant singing, “There’s nothin’ in the world like your daily grind.”
The couple then introduced the audience to the didgeridoo, an Australian aboriginal wind instrument. The painstaking breathing process involved is fascinating to observe. The resulting sound is an extended hypnotic bass monotone. Considered the world’s oldest instrument at 40,000 years old, research reveals a gorgeous mythology associated with the instrument: “As the Gods play, dance, and sing, they create the world.”
Pulling another folk-music surprise from their bag o’ tricks, Early Cohen played her fiddle while her husband played percussion by tapping on her fiddle strings with fiddlesticks. According to scholars, the playing of fiddlesticks was considered “common” by the upper classes in Shakespeare’s time. This disdain can be found in “Henry IV” as The Bard writes, “The devil rides on a fiddlestick.” Linguistically, this explains how the expression evolved to mean that something someone just said was nonsense. However, the consensus at Steve’s Guitars that evening was that another delicacy had been added to the cultural smorgasbord offered that evening.
Another folk tradition, Clogging, a percussive blend of Irish, English, and Scottish step-dancing, was enthusiastically demonstrated by Early Cohen.
Mr. Cohen ended their set with the “dancing goose,” a variation of the limberjack. Cohen held a stick, with a wooden (goose) cut-out attached to it, over a dancing board he sat on. He used subtle pressure from his fingers to push the board down, creating a spring-board under the goose which caused it to “dance.”
An almost eerie synchronicity emerged as Acoustic Mayhem took the stage. They launched into a song about a mythological character called the Hoo-Doo. Elliot Leonard, on guitar and vocals, explained that the Hoo-Doo could be found in the woods or at the side of a road. “ … But they freeze like a deer on the headlights, so don’t slow down, just run that Hoo-Doo down.”
Interestingly, African folk legend says that Hoo-Doos appeared to hunters and planters in the forests to teach them the transformative properties of herbs, minerals, and other life forms. “Hunter’s Moon” incorporated this mythology as Leonard sang, “… and the spirits ride on the night of the hunter’s moon.”
The band — Craig and Lorraine Curry, Elliot Leonard, Lester Rogers, Marc Bruell, and Ken Carpenter — are heavily influenced by the Austin music scene and musicians like John Hyatt, Rodney Crowell, Buddy and Julie Miller, and Emmy Lou Harris. The band’s rabble-rousing harmonies hit their peak in the yodels of “Kansas City Star.”
The band’s covers of John Gorca, Mary Chapin Carpenter, Bruce Utah Phillips, and the Rolling Stones are both passionate and quietly thoughtful. These dual energies can also be heard in the rowdy, “Memphis in the Meantime,” skillfully driven by Curry’s cello, and in “This Old Porch” by Lyle Lovett, a slice of Americana that sounds a bit like Dan Fogleberg with a twang.
Craig Curry treated the audience to an impression of “Elvis,” a tune recorded by Jimmy Buffet under the name of “Freddie and the Fishsticks.” Elliot Leonard's poignant vocals on “Denver Diner” evoked strains of Harry Chapin, while “High Mountain Air,” written and sung by Leonard, recalled the clarity of spirit of John Denver. Marc Bruell’s violin playing displayed a sensuality that seemed to embody a medieval minstrel attempting to woo his mistress.
In the spirit of the giving-season, and in the tradition of indigenous cultures, it’s appropriate to give some thought and thanks to the music and music-makers that touch our hearts. In most folk /acoustic instruments the resonator is made of wood while the actual source of the sound is of animal origin. Once-living beings are now literally a part of the music. Their essences combine to create the songs of the universe.
Thursday, July 29, 2010
Shakti and Shiva
Shakti and Shiva
Lying beside you,
arm draped across your chest,
leg snuggled in your thigh,
I feel the rhythmic heaving and sinking
of your belly,
like waves on an
intimate inland lake
flowing in consistent , concentric circles,
disciplined in design
yet undulating with a soft sensuality
that sweeps aside my lack of faith.
Subtly synchronizing my breath with yours,
my lungs, my loins, my heart, my mind
expand
with the universe.
Within each wave
another rhythm,
a double-time syncopation,
containing seeds of passion
which build slowly
like a tidal wave
bursting open the temple door
setting our spirits free
like dolphins breaking the surface,
or soaring eagles.
In time,
the tide subsides
leaving deep peace
in its wake.
Lying beside you,
arm draped across your chest,
leg snuggled in your thigh,
I feel the rhythmic heaving and sinking
of your belly,
like waves on an
intimate inland lake
flowing in consistent , concentric circles,
disciplined in design
yet undulating with a soft sensuality
that sweeps aside my lack of faith.
Subtly synchronizing my breath with yours,
my lungs, my loins, my heart, my mind
expand
with the universe.
Within each wave
another rhythm,
a double-time syncopation,
containing seeds of passion
which build slowly
like a tidal wave
bursting open the temple door
setting our spirits free
like dolphins breaking the surface,
or soaring eagles.
In time,
the tide subsides
leaving deep peace
in its wake.
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