Songs are always about something. I enjoy telling the stories of how they come.
Clock At the Top of The Town is confused, but knows it.
When we were tracking the Man With No Country record, once called Song, I would walk most mornings down 9th Avenue in midtown Manhattan to 47th st where the studio was. Morning walking outside came with scare. I only wanted to get to the studio, put the headphones on, and start the howling. I love making music in New York City, and I grew up on heroes that live somewhere in the city's history, but I can't stand Manhattan as it is now. It makes me neurotic and subject to feeling object. I don't seem to be alone in that. 
I find myself short tempered and passively ill-willed if Im in the city for a few days. Its frightening. 
So one morning I decided I needed to write, its helpful when I have any interest in what is going on within. I wrote a song in the third person about my backflipped, doubt sick, desperate, somber character aching through the city. 
There is a desperate monotony to the towering clock on one of the old buildings in midtown I dont know the name of. I would see it every night walking home. I was recording alone, I didn't have a band. Solitude in mass. Nights in the head wondering if I was alright, and if the record was going to be any good.
I would pass a corner some afternoons where there was a row of Korean restaurants, some very good ones. There were a few men preaching something half-heartedly gathered, and the word "truth" was used frequently. Maybe they know it. At the time I was ripe for illusory salvation.
So I would walk wide -eyed but blind to everything I had to be blind to to allow my heart to survive. I found that sad. It kept me from making love. But I got this song out of it.

RECORDED in Duo with Anton Fier and the rest came later, directed by Anton. Billy Martin's percussion parts I love.
VIDEO shot with Billy and Matt Mclain outside the city. There is a cameo by Alejandro Ciari.


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