Cody Weathers

Music so hip you'll need a bigger belt


ROQUE: ROQUE & Roll (studio, 1989)






$10 for CD, available by special order

The Songs

Do You Want It?/Once Around the Block/My Little Ray of Sunshine/Listen/Time, Trouble, and Expense/Missing You/Dreaming of a New Day/Ellen/Overboard/Moonlight/Youth of Tomorrow/Fire and Ice

all songs written and arranged by Cody Weathers (c)(p)1989, Cody Weathers, all rights reserved, except Time, Trouble, and Expense by Walsh/Weathers, all rights reserved.  No stealing the worthless material, OK?

Additional MP3 Singles:

Don't Hate the Players: 

(top to bottom, L-R)


John Fried: bass

Nick Walsh: guitar, vocals

Colby Goff: guitar, vocals

Cody Weathers: lead vocals, drums

Matt Preheim: keyboards, add'l percussion




    Liner Notes


    ROQUE and Roll: Notes on the CD re-release of the album that started it all:

    Close this booklet and look closely at the back cover for a moment. Go on, I’ll wait right here. See where it says “AAD?” You’ve probably seen that notation before on other CDs you’ve bought. Basically, it’s a code describing whether or not the three stages of creating a CD--recording, mixing, and mastering-- were done with either Analog or Digital equipment. Honestly, there should be a different letter for the way Roque and Roll was recorded and mixed besides “A.” Somehow, that process doesn’t really seem to be worthy of being called “Analog.” Maybe “Amateur?”


    “Recording” is the process of committing sounds to tape: Roque was in its infancy in 1988. Newly signed to a fledgling label with no coins in the coffer, they were forced to record in a zero-budget situation. The band, armed with the cheapest imaginable facsimiles of musical instruments, would arrange themselves in a circle around a boom box with a tiny condenser microphone. Together, they would record the instrumental portion of each song onto a cassette tape. Then, Cody would feed the cassette into track 1 of an old 2-track (stereo) consumer open-reel tape deck and sing along with the cassette onto track 2. Thus was every song on this album recorded.


    “Mixing” is the process of adjusting the relative levels and stereo locations of the separate elements created in the recording stage and condensing them onto a stereo platform: Since there were only two elements, and the nature of their recording dictated their placement in the stereo panorama, mixing of this album was really rather straightforward. Cody simply adjusted the level of the vocal track in relation to the background instruments. The album was mixed song by song identically onto two separate cassettes. Original album holders actually have first-generation dubs of “Mix A.”


    “Mastering” is the process of filtering the mixinto its final form: The “mastering” of this album, like so many other Roque/Flip Nasty albums, has been performed in an essentially “non-interventioninst” manner. Basically, “Mix B” was transferred directly to CD and start IDs were sloppily added. There you go, digitally mastered, baby! If you ask me, they shouldn’t even include the third letter in the code --it’s fraudulent!


    This album’s place in history is as yet unclear. To read their website is to somehow believe that this band is destined to become one of the most beloved and influential the world has ever known. So far, their album sales for all thirty-odd releases have probably --optimistically-- combined for something like 1000 units. Something like 35 copies each. I’ve just listened to this album. You are listening now. Why don’t you tell me what I think of it?




    Do You Want It?: Fancy rolls, diamond rings, lots of women, lots of precious young things. Playground children eight years old can't kick the habit of the candy he sold. Dirty money from his crimes, he spells disaster with his criminal mind. Pre-Chorus: When he finds a victim, he gets that lust in his eyes. Gonna sell the substance 'til the day that he dies. He says.... Chorus: Do you want it? Would you lie to get it? Give me your bottom dollar and I'll give it to you. Do you want it? Would you lie to get it? Give me your bottom dollar and I'll see what I can do. See the girl? Ran away. But he's got tricks to make her stay. Sells her body on the street. He gives her crack and then he treats her like meat. She's alone, can't escape. One day it's torture and the next day it's rape. all her dreams down the drain, chasing the dragon flying up in her brain. Pre- Chorus/Chorus. See the blood on the street where the lead and flesh both meet. Nasty boys have nasty toys: assault machines make such a deadly noise. Don't be late when you pay or else he'll blow your f***ing head away. Living on borrowed time, but guns can't save his life this time.


    Once Around the Block: A sleek machine, if you know what I mean. Keep the engine running and the motor clean. Pop the hood and check the oil. Prime up the pistons, set the kettle to boil. Slip inside and rev it up, when the kettle screams, you pour it into the cup. No posted limit, take another spin. Be as free as you like because everyone wins. Pre- CH: Red on top, red down below, follow that car wherever it goes. Red brings you up when you are blue, take her down a stretch just to see what she can do. CH: Take me one more time around the block, one more time pull out the stops. Take me one more time around the block --once around the block. Strong, smooth frame is quite efficient, leather-covered seats are quite sufficient. No antifreeze because it's never cold. It won't lose its zest --it never gets old. Park the car in the garage, fall asleep and complete the mirage. Gotta love that car, both hands on the wheel. Stick-shifting up, always a fair deal. Radar alert, always use protection. Drive with caution, never agression. Pre-CH CH. Prettiest girl I've ever seen. Look at that face --so smooth and clean. There are worse things, if you know what I mean. Gorgeous girl not yet eighteen.

    My Little Ray of Sunshine: Mm, I can feel the sunshine on my face even when it's cloudy outside. Here comes my little ray of sunshine, peeking out from behind the fog. Sunshine, moonlight, one and the same. mm, what's your password? I live to be with my little ray of sunshine --to love her and to be with her every day. And just like every other little ray of sunshine, when the night comes, I know that she won't stay. Oh, little ray of sunshine, are there some moonbeams in there, too? Doesn't matter, little ray of sunshine --I'd circle the world just to be with you. Mm, little ray of sunshine, what shall I do? I'd circle the world just to be with you.


    Listen: Soft spray rolling off the ocean mist, your hair against my cheek. Light brass baubles tumbling off your wrist, when you're not here I'm weak. Red clay turtle watches all the world sipping sunshine from its cup, you're to me all the beautiful girls --I would hate to give you up. Wild eyes looking at a starry night, the moon wrapped in your ring. Flat rocks twisted by the water's might --you make me want to sing. Most pictures say a thousand words, but this one says it all: you and me and the time of our lives, back then we sure stood tall. But now our love has faded, and the picture has as well. I guess we saw it coming, but we kept riding 'til we fell. But seeing you last friday left me thinking to myself that we weren't so bad together --let's take this off the shelf. Chorus: Listen to what your heart is telling you. Let it tell you what to do. But every time I talk to you, my feelings run away. They hide off in a closet, waiting for a rainy day. And only now I'm saying what I'm feeling deep inside. My feelings rest within my heart and it's raining hard outside. Ah, these golden moments lying dormant in the moss. I'll wait here for your answer, and I'll keep my fingers crossed. There's that old red turtle, wary, watching all the world. Seen two million faces --million boys, million girls. All that I can ask of you as you smile at the moon is that we not repeat mistakes so this doesn't end too soon.

    Time, Trouble, and Expense: CH: Seems that all I get from these girls is time, trouble and expense. That's where my money goes when I get it. She's always needing me to go and spend it. CH. Wasting all my time, getting me into trouble, expensive as hell. Darling, all I want's to spend some time with you tonight. Don't want to eat escargot at $20/lb. But when we are together, all we do is fight; I don't want your trouble, don't want to be kicked around. Darling, I know that you like beautiful things: beautiful girls like beautiful pearls, but beautiful pearls cost money. No more time, no more trouble, no more expense, please.


    Missing You: Ooh, I'm missing you already, even though you haven't been away that long. Don't know how I'm going to keep things steady, 'cause without you something's wrong. Your picture still haunts my dreams like a faded photograph --seems it's fading every day. I search my memories for the details of your face --don't want to watch them fade away. I hope I can see you again --see you real soon. I long to hold you in my arms again. I try and try to write myself a happy, lifting tune, but I find that happiness to be pretend. Ooh, I'm missing you already, even though you haven't been away that long. Emotions swirl in a turbulent eddy too sad to be expressed in just a song. I cannot find a key to open any doors. I don't think I'd want to if I could. I think that never in my life have I been so sad before. I am a slow fire's blackened wood. I walk along the beach --salt air fills my lungs, the driftwood clings to the open shore. I feel that someday we'll end what we've begun. I hope that then we'll add on more.

    Dreaming of a New Day: I can look inside your heart, and I find the truth --hope for a new day. You can look inside the sun, and you find your joy -- smile for a new day. Spring, warm grass, a field of dew, and we find our peace --rest for a new day. Fall has come, the trees are red. Circles bind our lives --run for a new day. Winter snow, the air is crisp. I find love for you. We open the doors to a new day. Our tears, they pass with time; only love endures. Please take me with you to a new day. I see the coast ahead, and I lift my voice --shout for a new day. I see her breath, cold mist, the seagulls soar. She is there alone --there, waiting for me and a new day. We kiss, our eyes are closed. I am full of her. Love swallows our pride on a new day. Chorus: Fade into a misty dream with me, fade into the dream mists with me. Fade away to dreaming with me, wide awake and dreaming. Fade into a misty dream with me, fade into the dreamland with me. Fade away to dreaming with me, wide awake and dreaming. I can see the light ahead. Leave your fear behind -- just follow the way to a new day. I dream of you by me with a torch in hand --please show me the way to a new day. Ahead the light grows bright. Almost there at last --look, see the new day. See the new day. Oh, I've found you in my dreams after looking for so long. I'm splitting at the seams --so much love. Too much for a song.


    Ellen: I saw you on Sunday, you sat beneath a tree. I watched you and wondered if you'd noticed me. i walked right over and I sat right down --gradually started pulling a smile from your frown. Chorus: Ellen, I'm telling you my secrets, Ellen. Ellen, I'm swelling in my hope for us. Ellen, I'm offering you my lifetime for free, so Ellen, share your secrets all with me. Pounding my fists against the wall, I promised myself I'd go for it all. You'll never know if I never try, so come with me, now you know I won't lie. Chorus. So dance with me, don't tell me that you're waiting for your boyfriend to come, because I know those tears are falling because he's gone. What I'm proposing can dry your tears, so don't turn away --don't turn away.

    Overboard: There's no doubt in my mind that time without you's just wasted time. Watching game shows and soaps, but they don't help to raise my hopes. CH: I'm just drifting in the ocean; I fell overboard. i just need you, need to hold you, hold you close to me. Without you here, I'm just overboard.

    Moonlight: Almond streaks all through her hair, eyes as brown as oak, cheeks like satin, teeth like pearls, heard wind chimes when she spoke. What's she like in moonlight, when the world turns black and white? The sun will rise and then will fall --nothing will have changed. It's all for one, but not for all: that's the way we play this game. So break in through the windows if you can't pick the locks. Just make sure you don't get caught by any wandering cops. I don't know about you, but I've got better things to do with my life --I'm just wasting time. But everything that I do sets my mind right back to you. Sands across the highway scattered by the wind, it's your way or it's my way, we can't lose and we can't win. Beauty like a waterfall but patience paper thin. Looking out the window, I see you drive away. Now that morning's come and gone I'm sorry you can't stay. you're luscious in the moonlight when the world turns black and white.

    Youth of Tomorrow: In the east, a new day dawning --watch the sun, I catch it yawning. Just for me it's plain to see the fire on the sea. Cold November, watch you shiver. Stand your ground, you must deliver. Turn around to face your fears, even when they're near. Don't you worry if you fall; it's part of what makes you stand tall. I can tell you're on your way to escaping yesterday. Pre-CH: All for one but none for all, corporates walk while homeless crawl. Pass the will unto the meek --they'll forgive you, turn their cheek. CH: Youth of tomorrow, hunger and thirst, expecting the best but handed the worst. Youth of tomorrow, fire and ice, for all their spending, you'll pay the price. On my back, above the clouds, human spirit makes me proud. Time to rise above the crowd --shout your voice and make it loud. Homeless in the doorway of the classy legal firm who's always out to fish for money: all you need are worms. We must stand and not abandon, legacy will not be stranded, must supply what we're demanding --jump ashore, the boats are landing. Pre-CH. CH.

    Fire and Ice: I am burning up with indecision: should I reach for stars or stay down here on Earth? I am so happy now just to chase the moon, believing I could catch it if I ran a little faster. Would I be happier just to plant a seed --to watch it grow or wither in my hands? And then which seed to plant --there are so many? Would they grow in the pale light of the moon? She has kissed me soft, full of frivolity, the moon it keeps on shining, so far away, but never closer. It takes a single instant --one crazy glint of hope-- to turn the tables 'round and end up on the moon. But the seeds that beckon me so deep within the Earth.... So soon the harvest comes, and so the harvest moon. Chorus: Fire and ice, the flames that freeze, the moon sifts down through the ring of trees. A storm drifts in on a gentle breeze. I find, in the end, I can just ask please. I've no control over birds or bees. I look to see the emperor, but I only see his clothes. He can only hide behind them in the face of mighty foes. I meet a fresh new face, she makes me laugh to think. Her visage drifts inside my mind, her silent sighs serve to remind that hearts always seem to break --stupid mistakes we make. Sound asleep beside the lake --on top of that, it's snowing. She smiles to me always when I pass her walking by. I don't know what I'll do about her, but I've got some things to try. Darling, don't be cruel because you know that I am shy. And if you break my heart, then you'll know even big boys cry. But nothing seems to matter in the eyes of mother nature, and if these seeds won't sprout, I'll have to starve until the spring. Chorus. Am I stranded in your wasteland, or have I lost the way? Show me how to get inside your heart --it's cold and dark out here. Is it a key I need? Then it's a key I'll find. Leave some cookies for Santa Claus and something for the reindeer too. Do not forget me when I'm helpless --I need you here. Just give me one more kiss and I'll be on my way.

    Listening Log:

    Our first album, DIY recorded in two (2) fascinating stages.  Stage 1: gather 'round the boom box and play the song all the way through without vocals.  Stage 2: take the instrumental tape upstairs and sing along with it through a mixer onto another tape.  Basically, it's karaoke. 


    Do You Want It: Here we go!  First thing you hear is the gentle "ping!" of the old tape recorder then the clunky pie-plate hi-hat countoff.  Apparently, this is is the clean version of this song.  I remember now making that decision right at the last minute during the vocal overdub, then getting a lot of crap subsequently from O'Meara.  This song's about drug addiction --obviously not my own personal experience, but hey.  I totally just screwed Fried with the extra two beats on the stop-time out of the song.  Also, I suspect, a last-minute decision to switch to cowbell for four full beats.  This was the first "hit" we had that really seemed to connect with anybody.  The live version of this from the same time is probably actually a better recording since it really captures how much fun we had playing it.  That'll be on "If Flip Nasty Falls in the Forest."  Although I pulled other songs that were later re-recorded on Not! from the CD re-release of this album (to cut it down from 90mins to CD length), I kept this one since it was unquestionably our signature song at the time.


    Once Around the Block: This thinly-veiled double-entendre makes me uncomfortable now, but at the time I thought it was clever.  I was kind of an idiot in 1989.  I can't believe I just said, "stick shifting up."  YEAH!  YEAH!  SHIFT THAT STICK!  I really like this outro --it's this song's saving grace.


    My Little Ray of Sunshine:  I'm totally going to re-record this song.  I'd forgotten all about it.  Just a little love song.  The form is kind of weird, but I think it works.  I'm digging this one.  It's interesting to listen to the songs from back before I figured out that Fried could play anything written (despite never practicing and leaving his bass at my house between rehearsals) because even then, playing these extremely simple bass lines, you can hear how solid he is.  He just lays right into the center of each note.


    Listen: I remember unearthing this for a Mercury gig with Fried & Speranza (who wasn't even in the band for this album) in '96 or something and getting surprisingly into it.  This is a decent little tune lacking polish.  A lot of my early songs would be loosely about someone, and use some specific images or thoughts related to that person, but "fill in the gaps" with a certain amount of fiction or cliché, and there's some of that going on here.  It feels wrong, but years later, who can sort it out --the song either works or doesn't, and the truth of its details are a lot less important than they originally seemed.  Again, you can hear how Fried is really the perfect bass player for me, holding the line while I fumble around. 


    Time, Trouble, and Expense:  Nick and I wrote this song and one other ("Afraid of the Dark" --unreleased) in an improvised jam session.  I think that roughness shows in some of the words.  Nick and I definitely struggled to collaborate.  I think he really felt creatively under-represented, so he really held the line on writing blues songs, which I had little interest in.  Our writing styles just didn't mesh.  I liked to really mull over these ideas for weeks, and he liked to jam and see what came out.  This lyric lacks conviction because the premise just wasn't true.  Girls were not wasting my hard-earned cash on luxurious indulgences because a.) I didn't have any hard-earned cash to waste and b.) a typical high school date with me involved cheap, plentiful tacos.  Just call me Cassanody.


    Missing You: This is another decent little tune.  I don't know if it's the kind of thing I'm currently doing, but I can definitely hear an updated version of this song still holding up.  There are some nice little licks in Nick's solo.  Overall, a pretty tight performance for a bunch of layabouts like us.  There's definitely some gap-filling, but also some true feeling to this obvious song of longing for someone far away.


    Dreaming of a New Day: This has definitely got some interesting stuff going on.  A much denser, contrapuntal arrangement of the type I later favored.  This was supposed to be an "

    Abbey Road
    " style medley, with themes from several other songs on the album, but the band was pretty vehemently opposed to that, so only the "Missing You" segment actually made it into the recorded version.  I think one of the best parts of this album is the very raw energy to the performances.  It's a real rock & roll mentality.  Later, we became a lot jazzier and interactive, which I like, but it's also interesting to remember how our approach used to be.  This was a song built around images from a dream (how freakin' fitting!)


    Ellen: Now see, we were totally ahead of our time.  A reworked version of this song could totally be the next Nick Lachey hit.  That might make the real Ellen uncomfortable, to say the least.  Fun as it is, this is basically a lyric inspired by words that rhyme (poorly) with "Ellen."  It is as poignant as a "roses are red, violets are blue" valentine.


    Overboard: This was the first original song that we really rehearsed.  It's a strange arrangement, with every little event written out, including the drum fills.  Lyric disconnected, full of cliché, but marking a poetic twist I still occasionally use where lines weave into each other through a pivot word or phrase belonging to each.


    Moonlight: Similar to Overboard in where it fit into the band's development.  Sounds like I was writing this for Type O Negative.  I can't really see myself ever playing this song again, but I'm not embarassed to listen to it --I think the ideas are decent.  That said, this lyric's all over the place and is not one unified idea --just strips of words pasted into music they sound good with.  That last note says everything you'll ever need to know about Matt Preheim's outlook on life.


    Youth of Tomorrow: This song definitely fits a role on the album, and the chord changes are decent, but wasted on my naïve political outcry.  That always seemed to happen.  I felt this pressure to "grow beyond" love-themed songs about my personal feelings and tackle other subjects, but the results are now typically embarassing to listen to.  I guess this is not the worst example of that, and as the song goes on, I feel OK about it.  Of course, by this point in the album, even I have been brainwashed.


    Fire & Ice: This was our other big crowd pleaser off this album.  Or I should say at the shows associated with this album.  I still love these chord changes, and I felt my blood race when the fill leading into the verse came around.  I would re-re-record this one.  It stands up.  It is really hard to believe that there were people who actually memorized these words and sang along.  This is about deciding to take risks in love rather than stick with what's safe.  Of course, I flip this argument around and criticize that behavior when I'm the "something safe" option with essentially the same metaphor in "I Am The Moon."  These aren't the droids you're looking for.  A turning point in my approach to both music (I totally fell in love with Major/Minor dichotomy from then on) and lyrics (I aspired to have this kind of meaningful, yet cryptic imagist effect, though it was a while before it became par for the course).


    (Missing from the CD version of this album: "Fraud," "Little Miss NYC,"and "Send Me Your Heart."  In retrospect, Send Me Your Heart had no place on the album, and the band almost univerally disliked it.  Megalomania doesn't pay.  It doesn't pay.  In putting together the CD re-issue, I had to cut something, and decided that Fraud's Not! version was a lot better)