Outlaw The Dead
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Outlaw the Dead
"The theatrical vocal delivery conveys powerful imagery that strikes the imagination."
— Boulimique de Musique
— Boulimique de Musique
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Lyrics
They post an eviction notice On the cemetery gates Uproot tombstones like they’re weeds And start unearth’n graves They pack up the old tenants And drag their remnants south They’re build’n a new strip mall And kick’n the caskets out They’ve gone ’n outlawed the dead They’ve gone ’n outlawed the dead Those corpses can’t afford here and they’ve Outlawed the dead Out - law the dead Out - law the dead Smash their monuments into paving slabs And the departed don’t dissent You’ll find it’s easier with strangers If you’re looking to repent It’s a city full of transplants, Transients, and tents All those good intentions I’ll tell you where they went They’ve gone ’n outlawed the dead They’ve gone ’n outlawed the dead You can’t just lie there now they’ve Outlawed the dead Out - law the dead Out - law the dead I’m a shadow lingering In a moonless breeze Cursed to whither Like a fruitless tree I’m invisible now Can’t you see? Can’t you see? Can’t you see? Can’t you see? She claims she’s busy work’n So she can pay her rent Yet someone takes those photos And is spare’n no expense She dresses to draw your eyes Then writes you off with contempt She’s desperate for attention Yet it’s attention she resents You gotta outlaw the dead You gotta outlaw the dead There times when you have one choice And it’s to outlaw the dead Outlaw the dead Outlaw the dead Outlaw the dead and We are the dead |
Credits
E.G. Phillips — vocals Grace Renaud — backing vocals Christopher Fortier — guitars, electric bass Kevin Seal — rhodes piano, b3 organ Chris McGrew — percussion Released November 2nd, 2023 Recorded at Wally's HydeOut, Hyde Street Studio C in San Francisco Recorded by Gary Hobish Mixed by Chris McGrew and Jaimeson Durr Mastered by Gary Hobish, A. Hammer Mastering Produced by Chris McGrew Artwork by Mario M. Noche Written by E.G. Phillips Notes One thing you may notice about San Francisco is the distinct lack of graveyards in the city limits. This is because in the early part of the 20th century most of the cemeteries in the city were removed and the denizens thereof moved south to the city Colma — or as one article put it, the city fathers "outlawed the dead" which I thought was an irresistible song title. This song attempts to capture the absurdity, the cruelty, and the necessity that phrase evokes. 
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Boil the Ocean
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"Phillips takes a seemingly mundane expression and transforms it into a thought-provoking narrative...The sense of isolation and impending doom is palpable"
— Skylight Webzine
— Skylight Webzine
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Lyrics:
Another day trudges by in these horse latitudes A single gust of wind and I'd feel blessed The rain refused to fall and my thirst cannot be quenched By the embarrassment of riches stretched east to west Boil the ocean Boi-oil the ocean Show the sea no mercy And boil… boil the ocean The currents out here can sweep you away Especially if you tend to drift I have kept afloat but I am sinking now Now there’s one option left Boil the ocean Boi-oil the ocean Show the sea no mercy And boil… boil the ocean Oh my dear, do you know how much water I’ve taken on? I jettisoned my rudder, shipworms infest my hull I can barely perform The simplest of tasks Things you take for granted aren’t even in my forecast I rip a pile of planks from the deck stem to stern This ship’s become be candle down to its wick Pages from my captain’s log now kindling for a bonfire While the Earth roasts slowly on its spit …and we Boil the ocean Boi-oil the ocean Show the sea no mercy And boil… boil the ocean |
Credits:
E.G. Phillips — vocals Christopher Fortier — guitars Kevin Seal — piano, B3 organ Paul Eastburn — upright bass Chris McGrew — percussion Released Octiber 4th, 2023 Recorded at Wally's HydeOut, Hyde Street Studio C in San Francisco Recorded by Gary Hobish Mixed by Chris McGrew and Jaimeson Durr Mastered by Gary Hobish, A. Hammer Mastering Produced by Chris McGrew Artwork by Mario M. Noche Written by E.G. Phillips Notes This song has gone through so many rewrites and rejiggerings over the years, it's a bit of a ship of Theseus — which is entirely appropriate given the nature of the song. It's inspiration comes from those corporate phrases you hear ad naseum if you've ever been part of that word — you know, "eat our own dogfood", "circle back", "take it offline", "open the kimono" etc., This song takes one such phrase and takes it to its logical and horrifying conclusion, depicting the circumstances under which one would in fact feel the need to actually boil the ocean. The recording features Paul Eastburn on bass who also played on my album "Alien from an Alternate Earth" — here his bowing on the upright provides some undulating texture, like a dark undercurrent — an undertow that could pull you down below the surface. |
A Bridge Too Far (MacArthur Station)
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A Bridge Too Far (MacArthur Station)
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"Renaud’s vocals effortlessly draw the listener into the intricate world Phillips has constructed, making them an integral part of the overall aesthetic."
-- ThoughtsWordsActions
"...effortlessly blending the sophistication of jazz and bossa nova with the raw emotion of blues and the timelessness of classic rock....mirrors the ebb and flow of emotions one might experience while waiting in a quiet station during the night"
-- Skylight Webzine
"The emotionally-charged female vocals breathe a softly melancholy mood into this spellbinding track."
— Boulimique de Musique
-- ThoughtsWordsActions
"...effortlessly blending the sophistication of jazz and bossa nova with the raw emotion of blues and the timelessness of classic rock....mirrors the ebb and flow of emotions one might experience while waiting in a quiet station during the night"
-- Skylight Webzine
"The emotionally-charged female vocals breathe a softly melancholy mood into this spellbinding track."
— Boulimique de Musique
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Lyrics
I’m across the Bay, like I’ve been before Stuck at MacArthur Station at this ridiculous hour It’s a frigid little purgatory surrounded by the highway Waiting on this open air platform after missing a connecting train Once again the one connection on which I’m forced to rely Is the one I can’t rely on at all Well, as you know, I always thought we tried To go A Bridge Too Far My days glide by as I knock about In markets unripe and rotten and a garden of my doubts Yes, I know my trajectory is not one that will sustain I may not be right in the head but I don’t need you in my brain Your solutions are no better than only getting by Don't plug holes, just refill the reservoir Well, as you know, I always thought we tried To go A Bridge Too Far A mad man rants, my signal’s failed The whole damn world’s determined to go off the rails There’s no shelter to be had from the constant traffic stream If we took part in a Turing test I couldn’t tell you from the machine We could talk in a language that’s plain and forthright But that would require us both to disarm Well, as you know, I always thought we tried To go A Bridge Too Far Well, as you know, I always thought we tried To go A Bridge Too Far Well, as you know, I always thought we tried To go A Bridge Too Far |
Credits
Grace Renaud — vocals Christopher Fortier — guitars, electric bass Kevin Seal — keys Chris McGrew — percussion Released August 9th, 2023 Recorded at Wally's HydeOut, Hyde Street Studio C in San Francisco Recorded by Gary Hobish Mixed by Chris McGrew and Jaimeson Durr Mastered by Gary Hobish, A. Hammer Mastering Produced by Chris McGrew Artwork by Mario M. Noche Written by E.G. Phillips Notes The East Bay train station in which this song is set is one where I've been stuck many times — at night when you are alone in the dark, it can be a time for quiet reflection, or in this case a tumultuous inner dialogue, one rooted in conflict, as implied by the allusions to the WWII movie the refrain quotes. On this song, the vocals are handled by Grace Renaud, a vocal coach and minister of music. She is currently the music director at St. Paulus Lutheran Church as well as pianist and cantor at Grace Cathedral. Ms. Renaud has also served as the interim music director of the Queer Chorus of San Francisco and directed Soul Shine, a jazz combo accompanied by a choir of 25+ volunteers and professionals. |
It Ain't Good to Be in Love with You
It Ain't Good to Be in Love with You
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"a fabulous heartfelt confessional"
— Amplify Music Magazine "plunges us into a luxurious, complex sonic landscape that feels both delicately complex and vibrant" — Thoughts Words Action "Phillips concocts a fusion of lyrically potent ballads, spiced with his idiosyncratic blend of humor and silver-screen-worthy visuals" — 1st3 Magazine "disarmingly and eloquently, that bitter-sweet reflection on relationships that aren’t going the way you hoped, the reality of love laid bare" — Dave Franklin, The Big Takeover |
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Lyrics
The suffocating sky Won’t yield no light The hazy hue hides All sun and shine It’s been an all day eclipse With hints of apocalypse It’s the last words I heard from your lips It Ain’t Good To Be In Love With You It Ain’t Good To Be In Love With You I was standing up on stage With so many thanks to say When I came to your name I saw you walk away Was it a slip of my tongue? Was your praise better unsung? Something about your departure Really stung It Ain’t Good To Be In Love With You It Ain’t Good To Be In Love With You I tried to apologize In case you thought it a slight But it didn’t quite feel right When you smiled and said good night A mistake taken as disrespect? Or case of my benign neglect? Maybe you didn’t know You had that kind of effect It Ain’t Good To Be In Love With You It Ain’t Good To Be In Love With You |
Credits
E.G. Phillips — vocals Ethan Levitt — tenor sax Christopher Fortier — guitar, electric bass Kevin Seal — keys Chris McGrew — percussion Released July 14, 2023 Recorded at Wally's HydeOut, Hyde Street Studio C in San Francisco Recorded by Gary Hobish Mixed by Chris McGrew and Jaimeson Durr Mastered by Gary Hobish, A. Hammer Mastering Produced by Chris McGrew Artwork by Mario M. Noche Written by E.G. Phillips Notes Although it leads with a slyly and subversively distorted guitar, with its soulful B3 organ, lushly stacked horns, and a powerful tenor sax solo that really “digs in,” this track feels like a throwback to the big band era. The inspiration for this track was the orange apocalyptic veil San Francisco found itself under a few years back, something the East Coast recently experienced as well. (I had nothing to do with that — it was in no way a promotional gimmick for this track and I was no near Canada when those fires started) The weirdness of that experience was what got this song started and as I was writing the first verse the phrase 'the last words that I heard from your lips' was just one of those things that seems to come out of nowhere, but immediately feels right and tells you were the song needs to go, with an implicit question that needs to be answered before it's over. |
(I Can Pay You In) Bottles of Wine
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Lyrics
You ought not to trade on your looks To which Cleo curtly replies Ya sell stock when its overvalued Or did I not hear that part right? She’s got herself quite the portfolio Yeah, she’s well diversified She calls what she’s doing day trading Though her transactions tend to happen at night I can pay you in bottles of wine Would that make me worth your time? Cause that’s how the mark-et values mine These days These days These days Yeah I saw all of those empties Scattered across her bedroom floor Still I took Jill in though I knew better It was not something I should have ignored There are remnants of her in this apartment Chest in the closet, a blanket that’s stained And the poison she would try to hide from me Is now the only currency with which I’m paid I can pay you in bottles of wine Would that make me worth your time? Cause that’s how the mark-et values mine These days These days These days Oh my larder is filling up I never developed a taste for the stuff Do you wanna barter? Do want an exchange? Do you think anything could be arranged? I’m making my way through Hayes Valley Gig bag strapped to my back Crumpled bills stuffed in my pocket The rest of what I got’s in my sack There’s a line down the block for ice cream Diners clog sidewalks sipping Merlot A shirtless man shuffles by shouting How he’s gonna slit all of their throats I can pay you in bottles of wine Would that make me worth your time? Cause that’s how the mark-et values mine These days These days These days |
Credits
E.G. Phillips — vocals Daniel Cesares — baritone sax Christopher Fortier — guitars, electric bass Kevin Seal — piano, b3 organ Chris McGrew — percussion Released November 2nd, 2023 Recorded at Wally's HydeOut, Hyde Street Studio C in San Francisco Recorded by Gary Hobish Mixed by Chris McGrew and Jaimeson Durr Mastered by Gary Hobish, A. Hammer Mastering Produced by Chris McGrew Artwork by Mario M. Noche Written by E.G. Phillips Notes Prior to the pandemic I had a regular gig at a boutique hotel called the Carlton in San Francisco. They had an evening wine service and musicians could come and play for an audience that would gather without any effort on the part of the performer. Alas, it was an unpaid gig, with bottles of wine being the only compensation -- which is a bit unsatisfying as far as compensation goes for someone who doesn't drink. |
I am the One Who Ghosts
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I am the One Who Ghosts
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"...one cannot help but slip into some kind of regal period jazz fantasyland ..."
— The Spill Magazine
"Vilaseca’s sultry vocals add depth and emotion to the song, drawing the listener into the intricate narrative."
-- Skylight Webzine
"...a sweltering serenade of provocative ambience"
— The Ringmaster Review
"Drifting tones shimmer like reflections on moving water"
— Sound Read Six
— The Spill Magazine
"Vilaseca’s sultry vocals add depth and emotion to the song, drawing the listener into the intricate narrative."
-- Skylight Webzine
"...a sweltering serenade of provocative ambience"
— The Ringmaster Review
"Drifting tones shimmer like reflections on moving water"
— Sound Read Six
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Lyrics
Wish I’d made my escape With the coming of the plague It was the perfect opportunity For me to exit this stage And quietly slip away — for I am the one who ghosts A magician in a puff of smoke The soldier who abandons his post I am the one who ghosts They’d been dating when he was still trying To break into the local scene Then he disappears 'til she spots him On the cover of a magazine Oh, I know his routine — for I am the one who ghosts That fog that burns off on the coast The substance of our sworn oaths I am the one who ghosts As a child I was told I had a high threshold for pain Emotions — they’ve always been a different thing I get drawn into negative space Can’t have a voice or a face Stuck on rope bridge Spanning a pitiless gorge On one side the earth lies Bitter and scorched For the rest I’ve brought my torch — for I am the one who ghosts That word the gets lost in your throat That last little bit of hope I am the one who ghosts I am the one who ghosts A magician in a puff of smoke The soldier who abandons his post I am the one who ghosts |
Credits
Mar Vilaseca — vocals Christopher Fortier — guitar, electric bass Kevin Seal — piano, B3 organ Chris McGrew — percussion Released Sept 6, 2023 Recorded at Wally's HydeOut, Hyde Street Studio C in San Francisco Recorded by Gary Hobish Mixed by Chris McGrew and Jaimeson Durr Mastered by Gary Hobish, A. Hammer Mastering Produced by Chris McGrew Artwork by Mario M. Noche Written by E.G. Phillips Notes When I started writing this one, I had in mind Walter White's infamous declaration "I am the one who knocks" from Breaking Bad. I thought this was an interesting, assertive approach from which to talk about the pattern of behavior we've come to describe as "ghosting." It seems like something people are more likely to accuse others of doing or be flippant about when they do it themselves. Along the way the song became more confessional, and, as is my want, cynical. The atmospheric instrumentation is the result of that alchemy that develops between veteran musicians who have performed together many times and have created many records together as found with Kevin Seal, Chris McGrew, and Christopher Fortier --who have been playing together in various bands since the mid 90s, including progressive punk band Griddle and psych rock outfit Seal Party. Fortier in particular is a tour-de-force here, providing some spectral David Glimor-esque riffs while Seal offers up a concise but bluesy and soulful piano solo. The vocals are by Barcelona native Mar Vilaseca, who's smokey voice producer Chris McGrew heard when she was performing at the Black Cat jazz club in San Francisco. He thought she would be a good match for this track which he felt needed some "sang'n" to complement its sparse sonic landscape. |