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1.
Ocean 02:10
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WELL) THERE'S NO PEOPLE AT THE END OF THE OCEAN JUST BROKEN BOTTLES THAT FILL UP WITH SAND AND ALL THE TEETH I FIND I CARRY IN MY HAND SHE CARRiED STORIES WITH THE BEST INTENSIONS AN HOW THEY MELTED UNDERNEATH THE GROUND WE BREATH THE DUST UNTIL OUR HEADS WERE SPINNING ROUND WELL EVERY VISION WAS AN ACCIDENT AN ALL THE BEAUTY TURNS TO UGLINESS WE WATCH THE BLUE JAYS AS THEY STEAL ANOTHER NEST | CANT PRETEND THAT SHE WAS EVER GROUNDED EVEN WHEN THE MOMENTS CARRIED ON SLOW SHE KEPT THE SECRETS OF THE THINGS I’ll NEVER KNOW (REFRAIN ) WE HAD A CHILD WITH A MILLION VOICES THE ONLY THING WE EVER HEARD WAS LEAVE THE SHOCKWAVE HIT ME AND IT TOOK OUT BOTH MY KNEES

about

OCEAN

In late 2001 I was living in Pittsburgh, PA and decided I wanted to go spend some time with my friend Andrew in Louisville, KY to learn more about songwriting. I was a neophyte when it came to songwriting and Andrew had many years of experience having played guitar since he could remember. In fact it was my Art School friend Mark whom I met Andrew and Neal through and who taught me the basics of guitar and always had kind words for my generic fumbling and long winded nonsensical jams.

At the time I was playing in alternate tunings a lot and recording instrumentals on my computer which could best be described as shoegazing drone with hushed vocals. This would change when I got to Louisville
.
Andrew worked the night shift and we quickly fell into a routine of writing before and after his shift. During his shift I would write on my own and we would go over it upon his return. I stayed in Louisville for about 1&1/2 months total and at the end we had 20 songs and what we thought seemed like an album. Before leaving we took 2 nights to record duel Acoustic basic tracks simultaneously, separating the guitars as much as we could using various good and shitty mics we had. Knowing Neal would be laying down drums for the songs we kept ourselves in time using old basic Casio beats.

Many of the songs were joint efforts between Andrew both musically and lyrically. Ocean was a bit different in the sense that instead of the standard tuning that we had been writing in I decided one night to go back to a favorite alternate tuning I had made and play around. Over 2 nights while Andrew worked I messed around with Ocean's music and lyrics making demos as I went. Once I felt comfortable with what I had I showed it to Andrew and we worked on the arrangement.

When it came time to record the basic guitar tracks it took us a few passes because of the finger picking and probably other things being consumed as well. I recorded the vocals the next night and left the next day. Neal laid down the wonderfully complimentary drums after my leaving. Andrew took care of the Bass and ending electric solo. All of the production and mixing was done by Andrew and Neal so we can thank them for the way Ocean sounds.

Months later, much to my surprise, I received a small package from Louisville. Inside was a CD of the completed album. Andrew and Neal had been working on it for months while my lazy ass did nothing. They had titled it "Oh, the humanity" and named the band "Warber and the Murders". I was thrilled by both and immediately listened to it twice pausing in between to call them gushing with awe and heaping praise and my love and appreciation. We only show the album or select songs to certain people we find special in our lives. This is the first time any song from it has been released.

It is appropriate that Ocean be the first song out there since it is the prettiest song on the album and the one that the people who have heard tend to gravitate to.
Hope you enjoy.
Love, Kevin

credits

released February 3, 2023

OCEAN

WRITTEN BY KEVIN WILLIAM MOLLOY
ARRANGED BY KW.M & ANDREW MCHAEL SHORTER

AS PLAYED BY:
KEVIN WILLIAM MOLLOY:
ACOUSTIC GUITAR, VOCALS

ANDREW MiCHAEL SHORTER:
LEAD ACOUSTIE GUITAR, ELECTRIC GUITAR, BASS

NEAL WAYNE ARGABRIGHT:
MUR DRUMS, PERCUSSION

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