Cody Weathers

Flip Nasty: Clapping Sold Separately (Live, 2000)

	BUY IT:    $5 for complete album mp3 download, including album cover, lyrics, and listening log notes.   $10 for CD through custom order.
The Songs Afraid of Love/ Dead Man's Blues/ Best of Days/ Open Up/ Cruel/ Nothing But A Song/ Wardrobe/ October Air/ Spider Man/ Patience/ If You Had My Eyes/ Anyone But Me/ Sonja's Son/ When   all songs written and arranged by Cody Weathers (c)(p)1991-2000, Cody Weathers, all rights reserved. No stealing the worthless material, OK?	Additional MP3 Singles: all Clapping Sold Separately tracks available for $.80 each on SNOCAP
Don't Hate the Players:  (L-R) Cody Weathers: lead vocals, acoustic rhythm guitar John Speranza: electric guitar John Fried: bass   with Derek Sanchez: percussion	MP-FREES:

Is there anything that says "indulgent" and "immature" quite so well as a live album? Flip Nasty says "love us, love us, we are so important" with this album, featuring 14 live acoustic tracks and the stellar but entirely-wasted play of guest percussionist Derek Sanchez. Scatting and other adolescent antics abound. 

Recorded live at La Dolce Vida (Cody & Derek 9/11/99) and The Rising Phoenix (Fried, Speranza, Cody, & Derek 7/17/99) in Denver, CO.

Selected accolades:

"Flip Nasty exceeded my expectations. I expected to be merely bored --as it turned out, I was almost instantly mesmerized into a very fit slumber."

"This band is neither flip nor nasty. No wait, they're both."

"Do you think if I leave the rest of my sandwich, the band will eat it --or at least bus my table?"

"I'm still waiting for the part of the show where Ricky Martin lives La Vida Loca at La Dolce Vita, like I was promised in the press kit!"

"Isn't Cody dating Sophie Marceau? Does she ever show up and slink or dance to help out? She's hot! She ought to leave him. No, I'm sure they're dating, it was on the internet...."

"I'm just waiting to take my dollar back."

"Kill me."
 

Lyrics:

Clapping Sold Separately : Lyrics in Tiny Print! (some of which are not for the very young or the very stern. Reprinted by permission of me), all words by Cody Weathers, Copyright 1999, all rights reserved. That includes little words like "the" as well, so start tallying up the royalties.....

Afraid of Love: I won't speak, and I won't call. I'll never make a move at all. I love her, but I'm paralyzed and small. I've got bad instincts, and my first plan is my worst plan, and I'll drive away the woman who might one day understand. She said, "No, go back. Don't you come back this way." The lantern's lit, her fire is bright, but even if she's warm tonight, the monkey in my tongue will hold it tight. I've got no timing, and I can't confess I love her, and my coldness serves to shove her to the arms of angry men. I was choking on the promise, I'm afraid of love. I'm afraid of loving you.

Dead Man's Blues: I've got the waking man's fever, the dead man's blues, I'm bundled in a blanket with only you to think of, and I know you think it too. I've got the wisdom of children that guides my head, I think about logic, but blush instead to turn you from your titan and his bed. CH:But I will retain your heart when it's over. You and your rattletrap cargo are overdue, you're hunting through the islands for something new to chew on, and you know I taste it too. You say the thunder doesn't scare you when you're alone, you only wanted weakness to draw someone beside you. Now this weakness is your own. CH. Something quite disturbing when you turn yourself upon your past. Still, I am invited, though there is no promise this will last. I've got the waking man's fever, the dead man's blues, I'm tripping on my coffin in these new shoes, do you hear that? Because the titan hears it too.

Best of Days: How long did I know her with her kindness and its lubricant mistakes? How long did I gaze into those startled eyes before I knew my heart would break? Now it's four in the morning, I've just seen a ghost, I know something has died. Singing songs to keep my boogies back, I don't listen to a thing but the fundamental ring of "I love you, love you, Cody" CH: She's only really busy, I'm only just another minute away, I'm lying, she don't love me --just a pleasant disinterest on the best of days. Someone smack my head, I'm only getting channel 83. How long have desire and its partner, passion, had their way with me? Now it's four in the morning, I've just seen a ghost --it stomped and said my name. Singing songs.... How long before those roses how sweet bitter up? How cushioned can that hammer be? Now it's four in the morning, where's my angel when these ghosts are walking by? Singing....

Open Up: The future sits, and her ears are open. Liquor sipless, tableside. Her eyes are fixed, she's got long-stemmed fingers, scarless hands.... copper pride. CH: She doesn't suspect a thing, but she's going to be Mrs. Me. Knock, knock, knock, knock --open up, I've come to get your heart. Did you ever have such a precious moment when you knew for certain something good? They fizzle out like an old sensation --the scent of rain or familiar wood. CH. I look at her and know my way --the endless days I'll contemplate. Maybe I could buy some guts today. I can't believe that an ounce of kindness --one funny story-- is all it takes to bring her close like a cloud of morning or star with eyes of long embrace.

Cruel: When it comes, best run fast, wild legs might still outlast you. I'm ashamed there's no control: silver moon makes animal. CH: Cruel, now there's blood in your eye, and you're trying not to cry, but you think that you want to. I'm so sorry. I recall number one. High school, I was having fun when in the sky, like a song, guides my growling teeth along. CH. It can control the sea, so why not me --there's blood in me. Yes, it's true I hunted you. What else was I supposed to do? Silver thorns break my heart. Slow and deep, I fall apart.

Nothing But A Song: Goodbye, Renee. Though you haven't heard your name, rest assured it was you. Another day seemed so easy to obtain, now I don't know what I knew. But it seems like you're just one more time I toed too much and crossed the line. Now it strikes me you and I were nothing but a song, I hope you get along. Double-dared, but the profit's not to share. Cathybear, now it's you. Never fair that my friends can paint who cares while I don't know what you'll do. CH: But I hope you're not just one more time I toe too much and finally cross the line. If it's true that you and I are nothing but a song, I hope you'll sing along. Patience, seize me --struggle me some sense. Rapture, tease me --mock me for a prince. I loved your life, but I said it to your face, now I wait day-to-day.

Wardrobe: Seven days of residence in the swell of lioness. Beauty listless, teapots kill, flannel makes me love her still. Seven nights of loneliness, seven dreams, a secret kiss. Bedboard rafts, her sheets the sails, longing floats the blood of whales. CH: Open your eyes you were sleeping, don't be surprised, you were dreaming. Into the wardrobe we'll break through. Into the wardrobe I'll take you. Seven roads of emptiness to the gates of happiness. Spin the wheel, pull the oar, winter makes me want her more. CH. Though I can never fly, teach me to dream. Seven weeks of saltiness, missing sugar from her lips. Stand the muscle, seek the bones, love is dreams of "welcome home." CH. You had your dreams, now you hold them in your hands, never let them go.

October Air: When you were young, oh so young, you had your dreams but now you've got to live your life however you can make it work, and I can't wash away your problems with a single potion. And I can't take you where you've never been before. CH: Let it go like the autumn leaves as they fall to Earth in October air. In the spring, you will grow new leaves that will feed you 'til the cold October air. Stabbed in the back, but you still persist. Do you even know what the conquest is when you have wasted all your options on frivolities? If I can't make you see the light, guess you'll have to say goodnight because life doesn't give a damn if you don't give a damn about yourself. CH. When life deals the cards, you can't always hold the aces. Sympathy made me weak to a hundred falsehood faces. I'll never let the day come when I let jealousy tear me apart because nothing ruins friendships more than jealous, broken hearts. CH. Sometimes you must let go to hold on to your sanity. Sometimes you have to take a brand new direction. You've got to give up what destroys you and start again. I cannot help you when you're bringing me down.

Spider Man: Well, it's true that I crowded you, but are you really all as touchy as that? So when a suitor sits on your tuffet, you take your curds and you run like that? You keep saying that I'm not just right, but is this Goldilocks I'm talking to? So you just hop from bed to bed without a thought for the bears? I'll bet you make them buy you porridge, too. CH: She looks good in violet, hair all like the rain, but I don't think I could pay her to spit on me right now. Chalk one more muffet to the Spider Man. Through the curtain named the telephone, I said the shadows of what I meant to say, but with the curtain drawn and all the shadows gone, I saw the light drive your eyes away. CH. So take this olive branch and forgive my temper, if you can. Once again, I threw away everything.

Patience: Keys and grabbed and rode away --matches in the door. Flown and fled this flat astray --mop your love a floor. Handed me a monkey's mouth, shouted "kiss!" and skittered south. Grapes and condoms tucked away --fill your heart a drawer. CH: Patience, love, and angles true --different sort of blue. Time will weep your bad love gone and I will be with you. Drove and dragged and met a fish. Stopped to burn a tree. Pissed on ice cream, made a wish, rented love from me. Gave me shivers, jokes and moods --f***ed your voice a time or two. Decorated and dismissed --rotten love is free.

If You Had My Eyes: You contemplate, you make your plan. With your blindfold on, can you see my hand? You've done your time, you've heard the news. Will you ever see how I look at you? Lovely as the sun is bright, but distant as a star. CH: If you had my eyes, you'd never look away. You'd see the star that fell and took your name. You set the date, you watch the clock. You could start again if the bets are off. You miss the mark, you look behind. You believe in the voice, and I know you've been blind. Smarter than the moon is high, but lonely as the sea. CH. Don't you know my heart. Splendid as the winter's cold, but secret as a key.

Anyone But Me: I love you, I repel you, and I'm going to die without you. I don't want to face the morning, I just want to sleep a while. CH: Well, I thought you loved me, baby --you still hate me. You'll love anyone but me. I'm foolish and perverted, and I blame how it was worded. But I know it's not cerebral --I'm not good enough, I know. CH. It's me, my name is sorrow. I'll be sadder still tomorrow. I'm just cupid's wasted arrow, but the sharks are looking sharp. CH. I love you, I repel you, and I'm drowsy here without you. I'll just dream about the lilies, I just want to sleep a while.

Sonja's Son: Once upon your belly, I sought to set my heart to touch and turn, tease and burn --your toy to take apart. But flames can fade, and candles made of paper don't burn long. It's not that big a deal to be that wrong. CH: Kiss me twice goodbye, I'm here for Sonja's son. His little hand in mine while mama's out tonight. I remember Sonja when she was young, ripe, and fine. I remember Sonja when she was mine. Pushed into a corner, clutching my receipt. Another night in Sonja's fight to find some kind of heat. But flames that last and lanterns cast in gold are hard to steal. Still, Sonja doesn't want my little deal. CH. How many more candles will you light before you strike a match in your own sight. "Pack me up an apple. Daddy, when will you live with us like people on TV?" Flames can rise from sparks that fly from friction between hearts, and sometimes, Sonja, fires are good to start.

When: Yes, I would f*** you for days in a windowless, steamy room, reveling in the salmon and brine of you, ordering pizza and Chinese food until the bank man came and cut my hand off, covering you with chocolate, licking the sweat from your thighs, burying my sadness in your lollipop eyes. Fall into my fat arms, take me out and shoot me by the car. It's who you are. CH: When will you be my girl, when will you belong to me. Yes, I hunger for your lanky frame and the sexy thrust-slouch of your deep smooth hips all over me like a blanket of paws. If you don't see me soon, don't you think you will explode? Sneaky me, I knit you a mask, and I ask you to dance and dance and dance. Sexy you, you left the love ray on, and I'm falling in as I write my song. Fall into my fat arms, pull me back, and kill me with a look. You wrote the book. CH. I'm in panic; you were just seen laughing. I'll be fine if I can just stop bleeding. Yes, I would weasel my way to the bed that ties you down. Shanghai me, soft and enslaved by a love that never drowns, swabbing the decks for your sharking crew --all you redhead pirates, buccaneers, you. Saving you from danger on the burning ship, tasting love's cool language on your popsicle lips.

Listening Log:

Our best live album, all of this material was pulled from just two gigs, one with myself and percussionist Derek Sanchez at La Dolce Vita, and the other with Derek, Speranza, Fried, and myself at The Rising Phoenix.  I prefer this album over other live discs because the performances are from my peak as a live player.

Afraid of Love: I opened the Dolce gig with this, while waiting for Derek to arrive.  For most of this gig, there were only a few people floating in and out, in addition to Doug, the very gracious owner who was alwasy very good to us.

Dead Man's Blues: This version was the blueprint for the Least Significant Failures re-recording.  This was recorded at the Rising Phoenix.  That was one scary little coffee shop, located in what Fried called "the strip mall of the damned," in North Denver.  The parking lot looked like meteorite central with craters dating back to the Pioneer days.  The place was a bizarre Goth hangout with all this D&D/Magic stuff adorning the walls.  Very Harry Potter.  I love Speranza's little "shimmer fills."

Best of Days: This is still basically how I play this song live.  Recorded at Dolce.  We played at Dolce Vita under a couple of different ownerships, but it was Doug who really made the quiet neighborhood cafe in Old Town Arvada a real haven for local acoustic musicians.  At the beginning of the song, I'm telling Derek that we're going to delay playing Deutschland Nookie (which would've been for our own amusement to mark time and play something different) since somebody just walked in.

Open Up: This arrangement was a spontaneous departure from the piano-based original version on Archaeology, and is now the standard way I play it.  Somewhere in here, I finally learned to joke around on stage.

Cruel: Another spontaneous departure from the standard feel of the song that has now become standard.

Nothing But A Song: Elongated intro.  This guy came on in to Dolce for a Best of Days, got really into it, sat down for the explanation of this song, dropped some money in the jar and took a CD, then walked out (that's Derek saying, "Thanks.  You, too.")  So we were back alone again and just stretched this thing waaaaaay out.  We were really on that night, but unfortunately, practically no one was there to hear it.

Wardrobe: I've always loved playing this song.  This is from Dolce, when a few more people showed up at the end, but still weren't very involved.  It was a toss-up between this and the Phoenix version to make it on the album.

October Air: These kind of lengthy discussions during the intro (Speranza & I debate how he should re-interpret his typical guitar part to the new tempo) were a luxury afforded us by the forgiving apathy of our audiences.  Thank you for your support.

Spider Man: "Do you have any latex?"  I like this version --it's typical of the kind of exploration I enjoyed during the stripped-down solo gigs.

Patience: Derek says in reference to the Dolce screen door slamming in the wind, "You know, the constant door-slamming gives the illusion of lots of people coming and going out of this place...."  "Probably mostly going."  I was really feeling the anguish of this song that night.  Even though it's a stream-of-consciousness lyric with only a peripheral literal meaning, it still has an emotional memory for how I felt at the time it was written.

If You Had My Eyes: I loved Speranza's idea to play the string segments between the tuning pegs and 0th fret so much I stole it for the recorded version.

Anyone But Me: This was from Phoenix, on a solo set with only Derek, covering newer material that the Johns didn't know as well.  I liked this "Leaky Joe" song enough to appropriate it for most gigs.

Sonja's Son:  Another "Leaky Joe" song I frequently played.

When: Also from the solo set at Phoenix.  I love playing this song live.  It's very flexible for feel & tempo, while being a rich chord bed for scatting.