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Rhymes with Folly Sampler (album)

by Stephen Scholle

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1.
Rhumba Numba 04:28
There's cobra in the grass and she's dancing very fast To keep her skirt up It doesn't do much good cuz she drank more than she should And it's nearly sun up The people all around are shoutin very loud And it's a stampede But she can't get excited cuz last night she confided A heedless ... need So she dances in the moonlight and those who saw the sight Were astounded As the cobra began to lift and his head began to shift She seemed so grounded And she didn't hesitate to wake the mighty snake From his slumber As they began to weave what the witnesses believed To be the rhumba As they began to weave what the witnesses perceived To be the ... rhumba ... Some insights into the writing of this song: I started noodling with a chord progression over a rhumba rhythm. I wrote down what I found, polished it and almost left it at that. But then I threw some lyrics at it. That first line literally was like splashing paint on a canvas. With that danceable engine I followed each image to the next. To put a little color on it: "There's a cobra in the grass and she's dancin very fast to keep her skirt up." Where did that come from? Cobra? Maybe India. She's dancin... Where are we? "...she drank more than she should"... Is this a party? Are we talking traditional India or a music festival? The people start shouting and there's a stampede. I committed to that word. But she's different. She confided to our narrator that she has a... a what? A "heedless need". So we've set up the story for a climax, something she and the snake are going to do together. As the electric viola comes in it gives the song a slightly discordant weave. The snake is bringing something to this ... conversation. tags tags: humorous jazz blues India-party snake-dance rhumba
2.
Now I've been playin guitar for a long long time Picked it up when Dylan was in his prime But I didn't get much better til I learned to shape chord tensions The mangled way my fingers moved I can't even mention Thanks to my new teacher I've been movin right along Can work my way through fancy jazz, not just simple songs But when my teacher asked me why I play the guitar It stopped me... and I realized how I've come this far There's two things happenin when the sound is tight Some of it's in the left hand, some of it's in the right Put em together and you got a pretty awesome brew But before we go there, what does each hand do? The left hand shapes and the left hand shifts The left hand braces and the left hand grips It walks and it runs and it slides and it slips And when I channel Elvis it goes right to my hips The left hand slips and the left hand slides It wiggles and it jiggles and it glosses and it glides You see the left hand shapes the way we listen and rock Be it Woody or Django or BB or Bach Q: Stevie, what about the right hand? What's it do? A: The right hand? You askin about the right hand? Q: Mhmmm You get to... Strike it and strum it finger it and thumb it Drive it and drum it 'n pick it while you hum it Feather it and flick it punctuate and pick it Catch it and kick it syncopate and trick it You can... Touch it and tickle it walk it and wiggle it goose it and giggle it juice it and jiggle it Strum it and stroke it punch it and poke it Chop it and choke it punish and provoke it Catch it and scratch it ratchet up and snatch it Attach it and patch it 'n make it scream like batshit You see the right hand answers what the left hand creates And the left hand fits into the right hand's pace When you put them together on a fine guitar You got yourself a one-person orchestra The left hand moves around the right hand makes the sound The left hand does the walkin the right hand does the talkin The left hand does the melody the right hand does the felony The left hand tries to manage the right hand does the damage
3.
Sittin on your stoop lookin pretty as a peach Can’t say I blame me I’m a fool for your bleach Wastin all my time wishin you were mine And I finally get you home and I learn that it’s a crime Chorus 1 You’re da-ayn-gerous You don’t see what you’re doin You’re da-ayn-gerous You got me really stewin You got me believing in your story kinda fast You’re day – yay –yanger -ous Feelin mighty fine cuz I finally know your mine Workin through the petty stuff that comes from time to time Then I learn that you been cheatin but it hasn’t been on me You haven’t even mentioned us to your family Chorus 2 You’re da-ayn-gerous You don’t know what you’re doin You’re da-ayn-gerous You got me comin and goin You’re sayin yah-de yah-de but it’s just a lot a sass You’re day – yay –yanger -ous Tryin to guess your reasons when there’s stuff you never tell All your petty secrets make me feel like I’m in hell You ‘spect me to read your mind and you trash me when I can’t I ask you what you’re feelin and you just go on a rant Chorus 3 You’re da-ayn-gerous You don’t hear what you’re sayin You’re da-ayn-gerous You got me really prayin Your talkin to your shrink and you're stuck inside your past You’re day – yay –yanger -ous Wastin all my efforts my money down the drain Keepin you in chiffon it’s drivin me insane You want what’s yours you want what’s mine OK I want for you what’s best But you’re spendin all my savings and you’re squanderin the rest Chorus 4 You’re da-ayn-gerous You don’t know what your feelin You’re da-ayn-gerous You got me really reelin You’re workin on your figure and you’re on a liquid fast You’re day – yay –yanger -ous You expect me to believe you when you stay away for days You come home and tell me you were visiting aunt Louise We both know she died last year you're messin with my brain Who in their right mind would suck up all this lousy pain Chorus 5 You’re da-ayn-gerous You must know what you’re doin You’re da-ayn-gerous You’re givin me a screwin We keep this up one of us ‘ll wind up on their ass You’re day – yay –yanger -- You’re day – yay –yanger -- You’re day – yay –yanger .... who you callin ... “us”
4.
When you keep your cow in the barn Don’t forget to milk her in the morn And when you feed your horses hay and oats Don’t forget to also feed the goats I can’t teach you everything I know Don’t waste my time you so-and-so Stop asking questions you’re so slow You’ve just got to learn it on the go When you go back there and cut the hay Don’t waste your time there all day And when you put the stones in the brook Don’t forget you have to help me cook I can’t teach you everything I know Don’t waste my time you so-and-so Stop asking questions you’re so slow You’ve just got to learn it on the go When you cook a meal in the pot Don’t forget to serve it nice and hot And when you sweep the scraps from the floor Don’t forget to throw them out the door I can’t teach you everything I know You’ve just got to learn it on the go Don’t waste these people’s time you crow It’s way past time we get on with the show
5.
Fast Friend Shuffle I was walkin with my sweety on a moonlit summer evening When we came upon a cozy little inn We spied a friend inside there with a girl he used to hide there They were busy with their hands and drinkin gin I never thought I’d see him spendin his per diem On the one he used to sneer at with a grin It just goes to show ya, we never really know ya Til your everlovin ship comes in Now I know my friend’s a rover, he’s never been too slow there He used to leave me high and dry We’d be engaged in conversation about the state of the nation When he’d lose me with his wandering eye I couldn’t help but thinkin he’d be another Lincoln If he only kept his pants on til the night But he always kept me waiting on account of all his dating And he never got to show his other side Now there’s no use berating a friend that you’ve had faith in For being the way he has to be I only wish I’d known the lad before his bleepin gonads Kept him from my company I told my girl Susan about the friend that I kept losin She remarked how glad she was that I am me A thought began to sink in, if you can’t be a Lincoln A Clinton is a possibility, oh yea A Clinton is a possibility
6.
She said- I never been too generous - get used to it She ate the popcorn, she ate the cheese The guacamole and took away my peas She never been too generous - get used to it Asked her for a nickel asked her for a dime Looked at her new Rolex, said "you're outa time" She never been too generous - get used to it Went to the bank, took out a hundred dollar bill Passed a homeless man said, "go take your pills" That's right... get used to it Sister called her, husband lost his job Asked her for a loan, said, "Leave the lazy slob" You got it... get used to it Da-da-da dah-dah, Doo -doo-doo doo doo Dap-da-da-dop-dah Doo-- Took over Daddy's business, sent the jobs overseas Fired all the locals, gave herself a raise Yea - get used to it Then the doctor called, said 'fraid the news is bad You only got another month, his voice was really sad She said, "that's OK Doc, you did the best you could You went the extra mile, that's more than I would" She said- I never was too generous, got used to it I never was too generous, got used to it Got some wrongs to right, a lot before I quit I never was too generous, got used to it She never was too generous, Got used to it She never was too generous - got used to it
7.
You're such a fine fine lady and I love you so much I can't help feeling your soft and fine touch Here's the thing I can't get my head around though You wake me every night with your sharp big toe Your sharp big toe, your sharp big toe I can't seem to get around your sharp big toe It wiggles and it jiggles And it wakes me from the deep Did you ever wonder why it is I can't sleep Oh your sharp big toe Your sharp big toe I ask you to cut it And you actually say no I ask you to cut it and you show me all your nails Pokadotted digits that spell Stevy and Gaile Oh woe is me Woe is me I can't seem to figure How I'll end this misery You won't clip your nails for an S and a G It ain't your big knee and it ain't your elbow You wake me every night with your sharp big toe You nudge me in the mornin You nudge me in the night You spear me like a surgeon And it isn't alright No it isn't alright It isn't alright How'd you like it if I took a big bite I'd chomp you on the left And I'd chomp you on the right You'd never even know cuz it isn't alright So here's the thing I very much want you to know Stop attacking me with your sharp big toe Stop attacking me with your sharp big toe released August 11, 2017 all rights reserved
8.
You can't lean too heavily on a teenage boy You can't lean too heavily on a teenage boy You can't lean too heavily on a teenage boy No sir, no, you can't He gets up in the morning at a quarter to two The sun is shining brightly there's a lot of work to do Take out the garbage, get your homework done Don't forget to walk the dog before you go and have fun Chorus Goes to bed between midnight and a quarter to four Don't know what he's doin behind his closed door Talkin to his friends and he's on his PC Playin World of Warcraft, it's virtual reality Chorus Lacin up his sneakers to play the big game At least that's my fantasy, he claims to pull up lame Seems he'd rather exercise his fingers and his toes Then get his heart pumpin with his basketball bros Chorus My friends tell me brother you're a softy at heart Gotta get the boy movin, gotta be smart Gotta tell it like it is, make him do the right thing But he already knows me and I'll feel like a ding-a-ling Instrumental So my advice to myself is to make a fresh start Give the boy his rope so he can learn to be smart I can't just do it over, there's a price to be paid I know my son real well and I trust he'll find his own way. Chorus
9.
Short short long Short short long Short short long That’s how that rhythm goes That’s how that rhythm goes Short short long Short short long Short short long That’s how that rhythm goes That’s how that rhythm goes Long long ago Long before you're born People heard that crazy sound Be it fast or be it slow Be it fast or be it slow Short short long Short short long Short short long That’s how that rhythm goes That’s how that rhythm goes Short short long Short short long Short short long That’s how that rhythm goes That’s how that rhythm goes Long long ago Long before this song People danced that crazy dance Took it fast or took it slow Took it fast or took it slow Short short long Short short long Short short long That’s how that rhythm goes That’s how that rhythm goes Short short long Short short long Short short long That’s how that rhythm goes That’s how that rhythm goes When your grandpa heard that tune Long before you’re born He took grandma by the hand Swung her fast and swung her slow Swung her fast and swung her slow Swung her fast and ... swung.. her Slow -ow ow-ow
10.

about

A sampling of my work from "Mumbles and Grumbles" and other albums.

credits

released June 16, 2015

Notes and credits:

Rhumba Numba:
Where did this come from?
Voice, guitar, and electric viola - Stephen Scholle; Bass and percussion - Burr Johnson. Self-produced.

What the Right Hand Do (arranged by Burr Johnson):
Thank you Burr.
Vocals - Stephen Scholle, Guitars - Burr and Steve, Bass and percussion - Burr. Co-Produced.

You're Dangerous:
An amalgam of some experience and some non-experience.
Voices and Guitar - Stephen Scholle, Bass and percussion - Burr Johnson. Co-Produced.

Short Short Long:
Thank you again Burr.
Voice and Guitars - Stephen Scholle, Bass, drums and midi-sax - Burr Johnson. Co-Produced.

Get Used to It:
Gotta sneer.
Voice and Guitar - Stephen Scholle; Bass - Fred Gillen Jr. Recorded at Fred's studio. Self-produced.

You Can't Lean Too Heavily on a Teenage Boy:
About my parenting style.
Voice and Guitar - Stephen Scholle, Bass - Fred Gillen Jr. Produced by Fred Gillen Jr.

Slovenian Bark:
Channeled my ancient inner crone.
Voices and Guitars- Stephen Scholle, Bass- Fred Gillen Jr, Clarinets - Peter Davis, Bass Clarinet - David Rothenberg. Self-produced.

Fast Friend Shuffle:
Picturesque village, romantic evening walk. Surprised where it went.
Voice, Guitars and Bass - Stephen Scholle. Self-produced.

Poka-dotted Digits:
Oh those toenails.
Voice and guitar- Stephen Scholle. Produced with Fred Gillen, Jr.

Cherokee (music by Ray Noble, words by Stephen Scholle):
Voice and Guitars - Stephen Scholle; Second comping guitar, Bass and drums - Burr Johnson. Co-produced.


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Stephen Scholle Hartsdale, New York

Picked up guitar in 1967. Began writing songs in 09 after a breakup. TY to Fred Gillen, Burr Johnson, Peter Calo and the Ashokan music community for supporting my passion. I write from the chord voicings and I write from the voice inside. Some songs channel moments. Sometimes words just sound good. I like to let the song speak and I like to work with others on that. If you'd like, get in touch. ... more

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