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1.
common sense 03:14
common sense left it all on the floor nothing matters anymore as sorrows go it’s super slow pinion pines and mother’s milk start your own double bill you ask for this inheritance * * * scorch your sources night is near nothing’s close as it appears you’re permanent you’re in cement wind yourself a figure 8 trained to move, you demonstrate it’s reticence it’s so immense * * * atmospherics, cattle calls spend your pension draw your straws you’re innocent until you’re spent left it all on the floor nothing matters anymore as sorrows go it’s super slow * * *
2.
3.
transient 01:35
4.
cloverleaf 03:12
5.
underwater 02:20
6.
7.
searching 03:50
8.
next world 01:52
9.
no more 03:13
10.
bonnie cove 01:03
11.
12.
your voice 02:35
13.
nocturne 02:36
14.
beloved 02:36
15.
who’s wondering why who’s wondering why cardinal red feeling of dread not a dry eye the eyes remain closed it hurts to suppose but the horses have run and the carriage will come God only knows God only knows now the pulse is gone the curtain is drawn what will appear who’s drawing near where have we run? the parting words have all been heard darkness is set we can’t forget all we have known all we have known
16.
firewall 04:51
17.

about

cloverleaf by john r. williamson and the c’est la vies

Featuring:

brett simons – upright bass
zeus alvarez – drums
john r. williamson – singing, guitar, percussion, harmonica, and uke

Also Featuring:

Istvan Peter B’Racz on piano and keyboard
Sally Dworsky harmony singing
Nadya Ewen on flute
My Name is Milk singing and playing guitar
Tim Weed on violin

A ToneMesa Production Recorded and Produced by Daniel S. McCOY
Mixed By Nathan Van Hala and Daniel S. McCOY
Mastered Paul DuGré

face one 
1 common sense 2 some enchantments 3 transient 4 cloverleaf 5 underwater 
6 complicated interests 7 searching 8 next world 
face two 
9 no more 10 bonnie cove 11 turning to the morning 12 your voice 13 nocturne 
14 beloved 15 all we have known 16 firewall 17 your love is in my heart

FEATURING:
Brett Simons – upright bass
Zeus Alvarez – drums
John R. Williamson – singing, guitar, percussion, harmonica, and uke
with Istvan Peter B’Racz on pianos, Sally Dworsky harmony singing, Nadya Ewen on flute, My Name is Milk singing and playing guitar, and Tim Weed on violin 
This album is dedicated to Ikuko, Mizuki, and Karen. Thank you for your love and support!



CD Lyrics:

cloverleaf lyrics:

common sense

left it all on the floor
nothing matters anymore
as sorrows go
it’s super slow

pinion pines and mother’s milk
start your own double bill
you ask for this
inheritance

* * *

scorch your sources
night is near
nothing’s close as it appears
you’re permanent
you’re in cement

wind yourself a figure 8
trained to move, you demonstrate
it’s reticence
it’s so immense

* * *

atmospherics, cattle calls
spend your pension
draw your straws
you’re innocent
until you’re spent

left it all on the floor
nothing matters anymore
as sorrows go
it’s super slow

* * *

some enchantments

where to begin when you split your skin
saturate ‘til the truth comes in
time will tell how you cast your spell
some enchantments change us all

place yourself in the wickery west
read the arrangement as it falls
we’re brought to earth in a sudden shower
destitute and dreaming

you will go beyond the clouds
dead to resignation
cure yourself of common claims
take to the transformation

where to begin when you split your skin
saturate ‘til the truth comes in
time will tell how you cast your spell
some enchantments change us all

transient

when introduced
the shape is round
conveyor belts
are something else
full speed ahead
for fast returns
fast returns

the curving truth
comes after you
there is a mass
after the fast
convenience calls
for due respect
due respect

you have no heart
you have no soul
you do not need
so much control
sometimes the story
must be told
must be told

how does it feel
to buy direct
convince the world
that you are set
when what you are
is transient
transient

cloverleaf

the cloverleaf is standing still
you’re at the bottom of the hill
the cloverleaf
is standing still
you’re at the bottom of the hill

you don’t know what you should wear
you feel a little less than fair
well you don’t know
what you should wear
you feel a little less than fair

you’re tempted to corroborate
you can connive and find your fate
you’re tempted to corroborate
you can connive and find your fate


underwater

in this immensity
driven by density
i have this feeling
that i never had before

no one could calculate
what we can demonstrate
i’ve grown appealing
like i never had before

If you are underwater
then you might understand
we’re covering the land

complicated interests

i ran into the wrong hotel
with cinders every Sunday morn
complicated interests getting born

you’re brewing an imperative
the more you want, the more you give
it’s just an operation for your eyes

* * *

now the plums have hit our habitat
but we’re still up on Ararat
we’re moving under memory again

i ran into the wrong hotel
with cinders every sunday morn
complicated interests getting born
complicated interests getting born

searching

i ran the highways
i ran the byways
i came with concrete
i made it smooth

we condescended
and we suspended
it was an outrage
the wages turned

***

our growth was stunted
we were confronted
we had our habits
and that was all

sometimes a sighting
betrays a sliding
sometimes we’re searching
but we don’t see

***

next world

i’m there in the next world
and all the laughter is light
portray what you portray
out of sight

between sulphur and sense
we’re all taking requests
we love genuine jumps in the clear

* * *

the flash flooding your thoughts
a page over your day
and you have a lot left to say

i’m there in the next world
and all the laughter is light
portray what you portray
out of sight

no more

doors open to the south
i’m telling you
i never work no more

your head is in the clouds
i’m telling you
i’m on the other shore

no more, no more, no more, no more

so fix it if you can
i’m telling you
the valleys are filled in

you know that it’s a sin
i’m telling you
the water flows no more

no more, no more, no more, no more

***

they’ll put you ‘neath the bus
i’m telling you
if you cross their path

love is in the trust
i’m telling you
don’t saw it all in half

no more, no more, no more, no more

***

we’ve come to understand
i’m telling you
the water’s in my eyes

let’s surface while we can
i’m telling you
the burden will be light

no more, no more, no more, no more

***

bonnie cove (instrumental)

turning to the morning

turning to the morning
turning all the lights on
‘til you start to see

ready for the vigor
ready to approach
each possibility

excellence in action
maybe satisfaction
strengthen what you have

seeing where you can go
working with a candle
see what you can find

***

go and see the florist
go and get a handle
sew the whole thing on

turning all the lights on
turning to the morning
save us all from harm

well you wore the weather
but you’re feeling better
stars are in your eyes

here within the village
this is our contentment
love takes all

***

turning to the morning
turning all the lights on
‘til you start to see

ready for the vigor
ready to approach
each possibility

***

your voice

your voice is still there
your voice is everywhere
your voice, your voice, your voice

the quiet is shocked
the affectations locked
your voice, your voice, your voice

* * *
my heart is not still
because your love is real
your voice, your voice, your voice

it’s course to contain
what we do sustain
your voice, your voice, your voice

nocturne

so the savage is you
and you’re up with the moon
when you started too soon
it’s the cold catching up

you were put in the path
where the river would cross
when you’re not in the mood
you are still in the flood

***

from the top of the hill
where the world takes its shape
the exposure is sharp
when the earth has its aim

you are learning yourself
as you’re teaching your young
the resistance is low
when you hear the alarm

so the savage is you
and you’re up with the moon
when you started too soon
it’s the cold catching up

beloved

taken to tragedy
time and time again
where would I ever be
if you weren’t a friend?

sometimes mechanically
because we made machines
sometimes dramatically
running to the scenes

you bring me water
whenever I need a drink
somehow you help me grow
when i start to shrink

here’s to the settlement
where we are secure
fixed in the firmament
may our love endure

* * *

taken to tragedy
time and time again
where would I ever be
if you weren’t a friend?

all we have known

who’s wondering why

firewall
*
I went down to the firewall
and I let it roar, I let it roar
I went down to the firewall
and I let it roar, I let it roar

nobody ever gonna move me no more

so when the sun starts a-shining
the memory is gonna play
oh, when the sun starts shining
the memory is gonna play

I set my course and the whole world fades away

you cut through the clover
get situated on the bank, on the bank
you cut through the clover
get situated on the bank

when the water moves you offer up some thanks

when the sun hits the water
all you can do is pray
when the sun hits the water
all you can do is pray

what will you do if your worries go away?

you’re tired of fighting
you’re ready for the clouds to roll
you’re tired of fighting
you’re ready for the clouds to roll

you join the investigation after all

your love is in my heart

I never saw a burning bush
I only saw your heart
your private hands
your private words
the blessings you impart
our love is like a fertile field
where generations start
love renews us day to day
your love is in my heart

we’re in an age of evidence
justice must be blind
but your concern is radiant
no truer love I’ll find
our love is like a fertile field
where generations start
love renews us day to day
your love is in my heart

all songs © 2018 john r. williamson, bardbrainsongs, bmi.

credits

released November 1, 2018

license

all rights reserved

tags

about

John R Williamson Los Angeles, California

Named by T Bone Burnett as one who deserves the hall of fame (GQ Magazine, May 2006), Williamson writes with an ornate simplicity and sparseness that Paste Magazine described as an amalgam of Yo La Tengo and Thomas Merton.

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