28. You Like Me More When I’m Gone


Just the facts, Mam…

Anthony Da Costa and I wrote this song together tonight.  We made a plan to meet and made it happen.  He came to my house.  We drove to Pleasantville, New York.  We had dinner with his beautiful Italian mother.  We ate pasta, shrimp and fluffy chocolate cake.  We wrote this song.  There is cello and guitar in it.  It is about a boy trucker and a girl cheater.

Da Costa's got a show!

We recorded it live with his condenser mic and his pro tools in his parents’ living room.  We did it about 5 or 6 times and took the last take.  Anthony had the framework for this song before we met.  It is a sad un-ballad country song.  We worked really hard on these lyrics together and formed the story behind it.  We finished at about 12:30 am.  I drove Anthony home to his dorm (he goes to Columbia University) and helped him carry several arm loads of laundry, his guitar and his recording equipment up to his door.  I love Anthony, and we had the best time writing this song.  Really.  The best time.  I hope you enjoy it, too.

Anthony’s speciality is love songs.  Anthony’s love songs are heartbreaking.  We are going to do another collaboration and do a sweet and lovely love song.  I hope it will make us cry doing it!  I really like how he seems to have no fear communicating through music.  I wish I was more free like this.  (He was one of the masterminds behind You Don’t Know What You’re Doing To Me.)  Anthony is a prolific and wonderful singer, guitarist and songwriter.  He has such an ease at the instrument.  I have recorded cello for him in the past and will be doing so (I’ve been told!) on Anthony’s next album.  I’m very excited, and I’m so honored to continue to work with him.

(Anthony- how was that?)

You Like Me More When I’m Gone

Well, I love you pretty baby, more than I should
Been thinking bout the way you don’t treat me so good
You talk about the way you care
But it seems to only happen when I’m not there
You call me up and say you’ve been true
But who knows if you’ve been doing what you oughtn’t to
It’s so hard for me to let on that you like me more when I’m gone
It seems I’m always on the road, yeah I roam from town to town
This old eighteen wheeler is glory bound
I’ve been traveling along, doing my time
With girls in every bar, but you are always on my mind
So I get a little drunk in a motel room
Peanut butter sandwich and some pay-per-view (This is my favorite line)
All the while, you’re at home singing songs
Cause you like me more when I’m gone
I think you’ve changed
Well that’s not right
You’re acting strange
But you’re my guy
Just tell me plain
Oh, let’s not fight
Is there something going on?
Well, at least not tonight!
They say that distance makes the heart grow strong
But baby I believe we’ve been apart for too long
Because the minute I walk right in through the door
I say “I’m Home, pretty baby,” and you say, “What for?”
Ad then this fear is creepin’ in with a smile so wide
Always comes right when I’m leaving, You look so satisfied.
Call  crazy  call me stupid, call me wrong
But I think you like me more when I’m gone

27. This Is Rest (Cello Improvisation No. 1)

TOTALLY SHAMELESS SHOW PLUG: Thursday, February 4 @ Knitting Factory w/ KELLI RUDICK, 8 PM, $10 (Playing some songs from the 365. yay!)


Boom, boom, boom… shoo, shoo, shoo (I’m singing you a song.  It is 10:31 pm, and I still haven’t written a song.)

Amazing and fascinating elements which have occurred that I wanted to tell you about:

1. Collaborations have a whole new meaning for me.  For a moment there, I thought feelings of success with collaborations was only a sign that the songs I’ve been doing alone have been mediocre.  In talking about it with a friend yesterday, I see how selfish this thought was, and I realize the saying that “No Man is an Island” is totally true.  I so look forward to working with others, connecting with them, and creating something unexpected.  Because two, three or four minds are working together, the end result is bound to have a totally new kind of energy you just can’t get alone.

Also, it’s incredible to me the kind of memories I’m creating (listening to Emilyn and Anthony banter back and forth about lyrics the night we created You Don’t Know What You’re Doing, dinner with Franz and Marie listening to Ukrainian music, breakfast with Pam and Guy in Portsmouth, eating peanut butter and banana sandwiches at Hog Farm with with Lady Lamb the Beekeeper in Maine, a live performance for dear friends of our song A Thousand Thousands with Sam before PatB  left tour… the list goes on…)

2.  Yesterday was a rough day for me, but it was important and defining in that I realized how my thinking is being changed.  When I first started this project, the first thing Emilyn said to me was, “This is going to change your brain.”  Just as exercising makes muscles stronger, you know it’s working because it’s accompanied by some pain.  I think that’s what’s happening.  I can be okay with that as long as it doesn’t last.  Another point my dear friend made which I am clinging to:  Almost every artist releases a 12-15 song LP.  What we never think about is that those people had to go through numerous bad versions and poorly written songs to find those gems that make it to the final cut.  He said, “You happen to be showing us all the warts as you go instead of just the final product.”

3. I’ve realized the things about myself that have annoyed me all my life have been some of the strongest assets in this project as I’ve continued along these past few weeks.  I am, by nature or nurture, a procrastinator.  I spent so much of my education, in every field: academia and music practice, procrastinating.  I would find myself cramming the day before every test or totally faking the weekly advanced placement practice essay.  I’m not at all saying that preparing  earlier wouldn’t have resulted in a better product, no.  But I am saying that kind of adrenaline and stress can affect output.  This whole project is basically 365 of those “assignment is due tomorrow!” days in a row for me, and whether you like the product or not, they’re being created.  Reminding myself of that simplicity is important on the days that are harder.

I’ve had a lot of support, but also a lot of realistic responses like, “This is a lot to expect from yourself.  I wouldn’t think less of you if you quit.” or “It’s like one day deciding you’re going to lose weight, and just cut your calories one day to 100 a day… ”  I agree, but I’ve had so many kind people showing me they believe in what I’m doing, and that keeps me going, makes it easier, no matter how stupid I might feel on a given day.

So, basically, in closing: Thank you.  Thank you to those who have written to me in support and love and to those who have expressed a very calm, realistic perspective of support.  Thank you to those silent listeners who keep coming back.  And thank you to those collaborators with whom I’m gleaning so much from.  Experiences with you are invaluable, and I am so grateful.  I know I’m only just short of a month in, but I just wanted you to know.





This Is Rest (Cello Improvisation No. 1)

This is dedicated to those who cannot sleep tonight (mostly likely my dad and me, too, I guess, as it is now 2:07 am).

About this track: DAMN THE HISS ON THIS MIC ! Lame!!!  Anyway…Thanks to Guy Capecelatro III for suggesting a song today!

(Side note: The working title for this in garageband was “Joan Jett is My Mom”.) Because it was 12:30 am when I recorded this, I had to use a practice mute (My mute dampens the sound of my cello so I can practice early or late without pissing off people in the building- most of the time; this is why it sounds a bit fuzzy all over.  I used my rubber one only because I couldn’t find my metal mute.  The metal one is awesome.  It produces such a cool sound that I’ve always wanted to record.)  Cello pizz recorded first.  Improvisation.  Took first take.  Tried about 4 improvised arco tracks.  Taking the latter, though I cut it up a bit to over lap with parts added later.  Tried a tiny bit of improvisation with the voice.  Some of it is still there, though faint.  Added another layer of arco cello for color and texture at the bottom and as a response in some cases to the upper voice.

I used to do similar kinds of pieces as exercises all the time living in Salt Lake City.  I would improvise a line, recording it,  finish it, then immediately go back and improvise another line using the take I had just done as a marker, helping me to respond instantly to something that had just passed.  It was a good exercise, a freeing one at that.  This posting is kind of the same idea, though a little more stylized due to editing and mixing, obviously.

(My dog Lacey shook her head and her collar jingled towards the end.  She is laying on the floor next to my chair.)

Composition time: 30 minutes (not including mixing)

Feeling a lot better than yesterday.  All is well tonight.

Talk to you soon.

I love my Mom and Dad (No picture is safe!)

26. Poison; You Are (What You Are Is What I Am).


(I accidentally typed day twenty-sex. Twice.)

Nearly one month gone.  Nearly.

Dura Mater

This is the Iron that makes you Audience.


It is the New Math.


Here is its Venue.

Painting you a picture, you may hear what it feels like.

Poison; You Are (What You Are Is What I Am).

Instrumentation: violin, omnichord, composed midi-instruments, voice sample (s.)

Composition Time: Approx. 4-5 hours.  Headphones are recommended.

(Hoping you are well, as I am happy you have come back to visit.)

25. Caps, Sweaters and Scarves (Synapse)


A STUDY ON THE WESLEY HOOK and THE INDIE POP SONG.  We’ve written you an indie pop song.  Yay!

Wes Verhoeve: Yes, his hair is actually that awesome in real life, too.

First of all: I’m feeling very overwhelmed by the generosity of the artists who have thus far participated in this project with me.  So many hours are being spent writing and recording these songs: every single musician I have worked with has been so generous, giving, and enthusiastic.  I’m so honored, and, frankly, feel very undeserving.  Very undeserving.  Thank you so much.

*This is a revised article. The original posting is still here, but, as you’ll read, I started falling asleep.  This morning at 6:30, I am making additions with a new, rested capacity for thinking in complete sentences.

Just a little bit about hooks today.  I’m not really good at them and, frankly, have avoided them because I always had it in my mind that it was a sell-out gesture (not true! Hooks can help drive a song’s direction and aid in people remembering it for all time!), but my dear friend and Pearl and the Beard manager is great at identifying a hook.  (A great example is contained in the song Lost in Singapore [accordion by Franz Nicolay!] from PatB’s album, God Bless Your Weary Soul, Amanda Richarson. The music box plays a melody that Wes’ came up with!)  So, I asked him to write a song with me.  (As a side: Nadia Ali, my ultra gorgeous, incredible singer friend, is FAMOUS for creating hooks.  We spent a good chunk of time once going through her iPod identifying hooks as a help for me.  I never realized Radiohead hooked so much in their music.  It was a weird realization for me.)

I’ve just had a really lovely evening with Wes Verhoeve of Family Records‘ fame, PatB’s friendly family record label.  Wesley V., the Dutchman, and Family Records, has taken Pearl and the Beard under their wing, fostering us and our music.  We love him.  I thought it only made sense to ask him if he would write a song with me for the 365.

Hook: A means of attracting interest or attention; an enticement.

The Construction: I met Wes at his office at Engine Room Audio down by Battery Park at about 3:30.  (Though we were in an office that had a $1,000,000 recording studio, we were across the hall using my crappy little stereo mic and garageband: it was awesome! I much prefer this to a studio at the moment.)  We worked until about 10:00 pm.  We began writing at about 4:00.  Wes had in mind a specific topic for this song, and we used a lot of images from Wes’ experiences in a relationship from a while back which were very endearing and lovely.  This song was really challenging for me lyrically.  Wes brought with him an interesting guitar riff he’d had on him for a while which we began molding into the start of our song.  Again, I was challenged by the style of speech the song was requiring, as my writing is much more cryptic usually, so this required a lot of my brain power to come up with something a little more Ben Gibbard than EHP.  So, I did my best.  A lot of inspiration actually came a Death Cab for Cutie song.  I like Death Cab for Cutie, but I’m only a casual listener, and I’m not totally familiar with the specifics of their music.  I did my best to keep up, drawing from things in my past that I thought paralleled.

Early on, we decided that we’d split things up: he would write and sing in his perspective, and I would write and sing in the girl’s perspective.  I found a good the chorus, and he shaped hooks and found initial melodies and together, we finessed it as a whole, finding our own voice within a conversation between two people who once were lovers, now meeting as friends.  (I’m really proud of those chorus lyrics, actually.  I literally asked myself, “What would Ben Gibbard say right at this moment?”  I’m not sure that’s exactly what he would say, but that’s what I would say thinking of myself as B.G.)  These kinds of songs based on someone else’s actual event can be difficult I’m finding.  In order to choose language and make smart word choices that I enjoy hearing and reading, I have to dig around in my own actual event, too, or use empathy.  I used a lot of empathy here: How would it feel if this happened to me?  If I were this woman, what would I say?  How would I think? It’s a fascinating study in the human mind and healing actually.  Also, I found my own intensely personal experiences turning up inspiration like dry wells, but the experiences I haven’t really weighted as being that significant are helping me out the most in this circumstance.  This isn’t always the case but certainly was here.

Recording: Initially we wanted to track the song (do everything separately), so we initially recorded the guitar first, then laid down Wes’ vocals.  (I’m am learning I need to organize my time better for this project when it comes to recording.  I haven’t been very realistic.  It needs to take less time or we’re both just too tired at the end of it all.) I realized after finishing all the recording that it was 10:00 and there was no way I was going to be able to make it home, over-dub my vocals, a cello part, maybe something else, mix everything and write about the song before tomorrow.   So, solution No. 2 was to just record it live, which is what you’re hearing here.  I would have loved to have recorded cello on this or redo my vocals because they’re very quiet and hard to understand, but it will have to wait.  When I got home, I had Jon listen to the basic mix I did on the one live track.  Not getting home until 11:30, I was already discouraged and frustrated and felt I didn’t have enough time, he said, “It sounds great and lo-fi.  Ben Gibbard did the same thing in his basement on a 4 track recorder.”  Maybe it’s a good sign?

I must tell you, it is taking me quite a bit of personal persuasion to not stay up half the night rerecording this or that or trying different instrumentation.  (I, personally, am shuddering at my performance in this song.  But, whatever.)  It needs major cleaning up: I messed up on the end when we performed it live.  Wes was supposed to sing that by himself, so we overdubbed his last vocal, but as I tried to put it in, it sounded just slapped in there no matter what tricks I tried and now it sticks out like a sore thumb.  I will revisit this song, but in the meantime I did my best with what I have to give today.  Today will have to be one of those songs that needs to be an uber-demo song, so I apologize if the experience listening to this song isn’t as nice as it could be.

I don’t think I have been to bed before 3 am in the past week and a half, and my body wakes me up at 6 am.  Literally.  Even then I can’t get back to sleep, so I’ve just been staying up all day until the next night when it’s 3 am again. (I’m falling asleep at the computer!)  I need sleep or I won’t make it through tomorrow, so I’m offering this song to you as a very low-fi version of a pop song.  So I’m off to bed then:


So, tonight I’m ending it here, with a kiss goodnight to you and see you tomorrow!



Caps, Sweaters and Scarves

Verse 1
I’ve got new caps and sweaters and a scarf you’ve never seen
We put up a fight we had to let go
I drove the last ten miles alone, alone
Saw your face in the front of my mind
Over time, over time
Verse 2
My town has flooded I can see you from my roof
The water’s making it so I have to let go
You put me up though we were strangers then
Could I be in the front of your mind now
You will find there’s a lot to learn
Form a synapse to remind you, remind you
Place a call so you might hear me, can you hear me?
Verse 3
I put a note behind the frame that’s on your wall
When I come over I’ll show you where it is
Closet’s full, photo for every memory
To the back, I’ll climb deep inside
Over time, over time
Form a synapse to remind you, remind you
Place a call so you might hear me, can you hear me?
Verse 4
You had to carry yourself three thousand miles from home
To find it didn’t change you at all
Your voice has changed, I can recall with ease
Moments when you first spoke my name
You will find there’s a lot to learn
Form a synapse to remind you, remind you
Place a call so you might hear me, can you hear me?
I can hear you.

24. “That’s A Big Butt For a White Girl” (repost)

Yep. Prince sues people I guess.  I got a little paranoid and deleted this original posting (sorry Cynthia), but Joc wanted it back on.  I’m reposting this entry as just the song (although I know there really is no difference if the post is here or not… )

What’s dumb is that I’m never going to sell this one so I’m not sure why someone would care… but I’m thoughtful about it, I guess.  Anyway, Kiss is a great song and has been done by tons of people, so I’m not incredibly worried about being sued only because I’m so disgustingly under the radar that I’m not sure it matters at all…

Yay.  Suing.  Yay legal system. – Yours, EHP

23. Z for Zacharia


Franz Nicolay

Well, here it is: the moment you’ve been waiting for…a banjo song!

Meet Franz Nicolay.  He can do everything: piano, accordion, banjo, guitar, saw, produces, writes books, I mean…the list goes on.  Franz has played with a whole bunch of people, too.  (He even has a page on Wikipedia.)  He’s played with me, too!   He is the mastermind behind the accordion on my EP, The Crux and The Bluestocking and Pearl and the Beard’s record, God Bless Your Weary Soul, Amanda Richardson.  (both available on iTunes)  Needless to say, I love Franz.  His music-making mind is magical…(alliteration no.2)

I met Franz at his house today at 11:15 (parking problems), and after some tea, a biscuit, some buckwheat, and awesome Ukrainian music, I was out the door at 5:30.  What a fantastic way to spend my day: writing and recording with Franz Nicolay.

The first question of the day was, “Do you have something you’ve been working on?”  This past Christmas I went home and played around all my dad’s instruments.  He has a baritone uke that I had written a one little stanza on, but without the uke, I didn’t really want to finish it, so it’s just been a fragment up until today.  The lyrics were, sung in the style of a straight waltz: You are mine tonight/Despite the world and all its ills tonight/You’re mine tonight. I’m not sure what my original intention was with these lyrics and melody, and I knew they would just sit around untouched otherwise.  Franz then pulled out his banjo and played a progression he had been playing with since he started playing banjo that didn’t have a home either. So, we put these two homeless ideas together.

I told Franz I had a hard time writing love songs because the line between good and total cheesy is frustrating for me, so I normally try to avoid writing them (at least sitting down to write them intentionally).  However, after some tossing around of ideas, I had this total random idea, “What about a plague?,” to which Franz replied, “…a Love Song From a Plague to its Victim!”  We broke it up into sections to help organize it: Yesterday, Tomorrow and Today.  My favorite moment of our collaboration was when we got to the verses after the first chorus, Franz asked, “Well, should we go biblical?”  I love it.  The reference to Z for Zacharia is a nod to the book of the same name.

Franz is a real genius at a style of writing to which I’m not gifted naturally, which is really cool for me.  I like how he phrases lines and, more importantly for me, he can write very well very clearly and linear, but still fantastic and symbolic.  I think Franz really made this song come to life (i.e. he came up with the line Like a salesman giving of myself but taking much more. I would never have thought to use the image of a salesman, but it’s so clear and such a strong image.) not only with lyrics, but with his voice as well.  I liked so much how he phrased the verses, I really wanted him to sing them all and have me on choruses.  The effect is chilling, I think.

If I was going to tell you how I really felt as I approached Franz’ house to meet with him, it would be somewhat like describing me attending a meeting to write with my jazz improv teacher from college, whom I completely revere; I’m just saying I arrived intimidated and a little nervous.  When I scheduled a day to write with him, I thought- Brain, be sharp!  Don’t come across as a total moron! But when we got working, I found such ease with him, and he had great ideas for the direction of this song.  I found the longer I actively engaged myself in working and focused on learning from him and his style of lyric writing, any insecurity was pushed away.  It was such a fulfilling experience.

I really like this song, and not only was Franz an awesome collaborator, he was also a fantastic producer.  There are several different instruments you can hear on this track: banjo, baritone uke, wooden xylophone, glock, and two tracks of mandolin.  (Love the mandolin on this recording.)  I played the bassy cello part and the baritone uke.  I must tell you, I’m pretty handicapped when it comes to hearing instrumental additions to songs if I’m not already very familiar with it.   (Hearing different instruments and voices to add to a song is a skill I’m trying to acquire, too), so to have Franz take the initiative on thinking about instrumentation was a real relief.  And he was really good at it.

I think the best part of collaborating is feeling like the other person really likes what has come out, too… At the moment, this is a demo, but there was talk of recording this song in a studio one day, which would be really great.  The other really fantastic thing about collaboration is how fruitful ideas are, how they come out so unexpectedly sometimes.  Each tiny idea or thought by one person can be taken a totally new direction by the other.  It’s so unexpected and a really nice time as well.  Franz!  Thank you!

Z for Zacharia

instrumentation: banjo, cello, mandolin, xylophone, glock, uke and Franz Nicolay

You are mine tonight
Despite the world and all its ills tonight
You’re mine tonight.
I touched her skin
Hot oil burned
She breathed me in
Stroked her face
Rearranged her hair
Put every strand in place
Yesterday it was your sister
Tomorrow, your mother
Tonight, you’re mine
Tonight you’re mine/You are mine tonight
Despite the world and all its ills tonight
I go door to door
Like a salesman giving of myself but taking much more
I bless the first-born and the next
Take them wholly and give them rest
I’ll pass by, I’ll find you Z for Zacharia
I’ll pluck out your eyes
You are mine tonight
Despite the world and all its ills tonight
You’re mine tonight.
Tonight you’re mine.

22. Vorarephilia


Do you remember Sam McCormally of Ugly Purple Sweater?  From Song 10: A Thousand Thousands?  Since collaborating on that song on tour, Sam and I have become good faraway friends and far away music friends (yay!).  When I was in Portsmouth visiting with Guy Capecelatro, he mentioned to me several different kinds of collaborations he had done with friends.  One such collaboration incorporated the handing over of lyrics from a previously written song to someone else with which to make a new song.  One week ago, I approached Sam McCormally (the assumed formerly O’Gormally – alliteration!) and asked if he wouldn’t mind, instead of using an already written song, writing new lyrics for me, and I would put music to them.  Neither one of us had ever done anything like this before.  Why Sam?  I love his writing style (it’s a plus that it’s also different than mine: he reads books.) and intuition, and he’s as smart as they come, so I knew he would really challenge me.

Today, I received an email:

Here’s a song! Do whatever you want with it! Use it for a song! Laugh at it! Print it out and use it as bathroom tissue!

But more seriously–any rearranging of things, or adding to things, or repeating things is perfectly fine by me. And you can do it with zero consultation; so if you decide to double the chorus and add a verse about a pie eating contest, then God bless you.
A brief word on the meter: the verses are triambic, so the syllable pattern is unstressed-unstressed-stressed. In each pair of lines, the first is 4 feet and the second 3 feet.. The chorus (the “do you want to eat me?” part) has no particular meter.


I can tell by the look on your face that my face
has belied what I mean. Yes, it’s hard:
every twitch, every twinge, every flicker of lid
makes a tongue of its own you must learn
just as sound underwater is faster, arrives
all at once and from nowhere at all
I would speak from inside of your head, I would speak
from inside from inside of your head
(do you want to eat me?
do you want to swallow me whole?)
on the shore, sand in orifices way before
I could speak fell in love with the sea
so I swam, and she kept me afloat with her salt
and I took home a bucket of her
when I drank, stung the cuts in my mouth, made me sick
and left her alone in the sun
after weeks, the only thing that was left was her salt
just the remnants I couldn’t keep down
I would speak from inside of your head, I would speak
from inside from inside of your head
(do you want to eat me?
do you want to swallow me whole?)

I sat with them all day, reading them, singing them.  At one point, after working on several melodies moving from instrument to instrument waiting for some kind of inspiration, I wrote Sam an email saying:
The best way of describing this experience is this:

I have a huge ring of keys: skeleton keys, square-cut keys, round keys, stupid keys, red keys… they are heavy and jingling. I am standing at a door that says, “Sam’s Lyrics. Please Enter.”  There are keys that obviously don’t fit: a key to a Hummer is not fitting in this door, and I don’t have to try it to know that.  However there are some keys that are going in, but they don’t turn the lock.

This is my free-form analogy to how I feel.

That is all.


Cello Opening: Going to my cello, I began experimenting with tunings once again.  I ended up with three strings all on D# and let the C down to an A#.  I started playing around with motifs which ended up creating the “prelude” improvisation at the beginning.  I have played some really awesome microtonal music in grad school from the middle east: so fascinating and very difficult to play.  I tried to incorporate a tiny decoration of microtones in this opening, but they are so hard to play accurately, I wouldn’t be surprised if, in reality, they weren’t in there after all.  Afterwards, finding the melody only became easier when I called up Sam and he sung the rhythm he had been intending.  It was important for him to not give me any melodic material: I’m easily affected musical ideas.

Recording: Wanting Sam to put his incredible voice on this song was a priority for me, so I recorded my vocals and cello simultaneously, but purposely leaving vocal spaces for Sam to use at his discretion.  He added vocals to my chorus, and I love it.  Sam sent me his original version of this song, which I refused to listen to until I had sent him mine.  I was such a wuss about it, too… I was sick nervous to send him my version, wondering what he’d think.  I’m unhappy with the performance on my part, but I have to say, doing this song really had me thinking in ways I don’t normally (at one point I thought, “How would Ugly Purple Sweater handle this?”).    Given that Sam wrote very long lines lyrically, it was challenging to find something I really liked that was easy for me to sing, which this is not.  With a little practice and familiarity, I could get these vocals where I want them…and play it live.  (Sam? Trip to NYC, yo!)

The title is one Sam sent with the vocals.  Dad, just go with this definition: Vorarephilia is derived from the Latin vorare (to ‘swallow’ or ‘devour’) and Ancient Greek φιλία (philia, ‘love’).

I am posting Sam’s version and my version of this song.  (These versions are so different from one another.  The coolest thing about today was hearing two very different songs.  I loved doing it, even though I’m sitting here being gross critical of my version, but hey, EHP, let’s stop that.  Sam’s version is unbelievably wonderful…unsurprisingly.)

Vorarephilia (Sam’s Version)

Vorarephilia (Emily’s Original Version)

(P.S. The entire construction and all of Sam’s parts, was done over email this evening.  Sam, you are the best.)

January 27: Remixed version with a bit added, without intro (just in case you were fast forwarding past the intro like I was).  I like this one better, but I’ll keep up the original.  I’m sentimental.

Vorearephilia (Emily’s Remixed Version – No Intro)