Gerard O'Riley

Sort of like one of those promises to never drink again when you're drunk, that you won't keep, and never had any intention of keeping. Just the self-bargaining that happens when you're in a certain type of mood. I've been in this type of mood before - sick of love songs. Sick of telling the stories of my heartbreaks, because there's nothing good that comes of it. Just more fodder for writing, which leads to dredging up pain that won't go away if it keeps getting brought up.

We'd all be lucky enough to feel this way about someone else at least once in our lives. This is about a man who feels his woman is his everything, saved him from himself. It's meant to have a right powerful chorus, so there's nothing very melodic about this song, although it is a love song. It's the country version of an '80s rock power ballad, which follows more of a Cornell-like formula of a softer verse and stronger chorus. If you can't make it make sense from reading it, stretch the words out in the chorus. "It's un-mis-takableeeeee, a heart that's un-shake-ableeeee" - it'll fall into place.

For people who've traveled all over, loved and lost, won and lost, etc, they can tell you some amazing stories, though that's not even half of what they've been through. I felt like I wanted to express this in a song, so here are some of the travels - but only about the half of it all. The chorus is progressive in vocalization, midway through and picking up for the end.

This is meant to be a fun song. I was trying to live a bit vicariously through those olden days of Elvis maybe, and figured I'd write one fun and upbeat. I think lyrically it's decent, though, while the chorus is mainly just built on a phrase. The idea is that the "Gonna send it to you" is a separate vocal after suggesting what's being sent, so it doesn't break the flow of the song. Plus, it sounds better with the slight overlap.

This one started with the chorus, which is built on melodic alliteration. So it might be a bit tougher to grasp through just reading it. Though I think it stands up very well as a complete song. I tried to write verses that weren't just derivative nonsense leading into a stronger chorus; I think it holds equal weight throughout for what it is. Just note that "every" is phonetically "Ev-ree," and I think you can piece it together.