1. Dancing shoes 　　Narrative: 　　A white-knuckled grip on our intention to achieve material goals can strangle life’s joy. 　　The verses were inspired by writings of the Dali Lama and John Lennon. Although we had the music for this song for months, Bradley and I remained unsatisfied and we began and then set aside one lyric set after another. Then, one sun-filled afternoon at New West Records, we tapped an undiscovered spring of common wisdom and the right lyrics finally poured forth. Smile. Love. Dance. It wasn’t as hard as we imagined, after all! 　　 　　Bradley Kohn, Guitar 　　Jeff Radaich, Guitar 　　Michael Papillo, Bass 　　Michael Jerome, Drums 　　Recorded November, 2013 at Fonogenic Studios, Van Nuys, CA 　　Joshua Stuebe & Samon Rajabnik, Engineers 　　 　　Johnny Powell, saxophone 　　Stan Bock, Trombone 　　Mars Ponte, Saxophone 　　Brad Kohn & Peter Evans, horn arrangement 　　Recorded November, 2013 at Supernatural Sound, Portland, OR 　　David Pollock, Engineer 　　 　　Peter Evans, Vocals 　　Chris Harrison , background vocals 　　Katherine Hoye, background vocals 　　Jessica Freedman, background vocals 　　Ben McLain, background vocals 　　Rachel Bearer, background vocals 　　Chris Harrison & Peter Evans, vocal arrangement 　　Recorded January, 2014 at New West Records, Burbank, CA 　　Bradley Kohn, Engineer 　　 　　Mixed by Bradley Kohn and Alfred Goodrich at Silvertone Studios, Ardmore, PA 　　 　　Lyrics by Bradley Kohn & Peter Evans January, 2014 　　 　　As a young boy my mum would tell me 　　That in life, happiness is the key 　　So when at school they asked me 　　When I grew up what did I want to be? 　　I wrote “happy” on the paper 　　They told me that I wasn’t right 　　I had misunderstood their question 　　I told them they’d misunderstood life 　　 　　Put on your dancing shoes 　　(Dance like no one’s watching you) 　　Where are your dancing shoes? 　　(Dance like no one’s watching you) 　　 　　We sacrifice health to make money 　　We spend money regaining our health 　　A cancerous message is broadcast 　　Happiness = Wealth 　　I left behind this logic 　　Unconcerned with boom or bust 　　I’m tuned to a different station 　　When the music starts playing you must… 　　 　　So anxious about the future 　　So guilty about the past 　　Afraid of getting nowhere 　　While life passes by so fast 　　All that you have is this moment 　　It’s all that there’s ever been 　　Everything else is beyond your control 　　So enjoy the moment you’re in 　　 　　Put on your dancing shoes! 　　(Dance like no one’s watching you) 　　Where are your dancing shoes? 　　Go on and dance like no one is watching 　　 　　 　　Other assets: 　　Official Video (Derek Muller) –August 31, 2015 release on YouTube 　　30- second video/teaser on evanssongs website 　　Behind-the-scenes video on YouTube 　　 　　2. Something’s Up 　　The theme of the cheating lover is a well-traveled road for songwriters, but this blues with bollocks sojourn contains the “A” list of danger signs. 　　The insecurities of a soon-to-be-dumped guy elicits a steady stream of “oh yeah” moments. You’ll say “been there, done that” as he runs through every red signal moment of his lover’s behavior. Bradley and Peter crowd-sourced the lyrics using a post on Facebook. The responses to their post confirmed, clarified and enhanced their original list of bad relationship omens. By the end (spoiler alert!), our duped guy, portrayed in Peter’s vocal, is able to turn the tables on his deceiver. 　　 　　Bradley Kohn, Guitar 　　Jeff Radaich, Guitar 　　Michael Papillo, Bass 　　Michael Moore, Drums 　　Recorded Nov 11, 2013 at Fonogenic Studios, Van Nuys, CA 　　Joshua Stuebe & Samon Rajabnik, Engineers 　　 　　Johnny Powell, saxophone 　　Stan Bock, Trombone 　　Mars Ponte, Saxophone 　　Nov 13, 2013 at Supernatural Sound, Portland, OR, David Pollock, Engineer 　　 　　Peter Evans, Vocals 　　Michael Moore, Percussion 　　January 2014 at New West Records, Burbank, CA - Bradley Kohn Engineer 　　 　　Lyrics by Peter Evans & Brad Kohn October, 2013 　　 　　I’ve been going round in circles 　　Pulling on a thread of doubt 　　And now I’m almost naked 　　Sleepless and strung out 　　 　　I tell myself its better 　　To let suspicion run on by 　　It’s hard to know for sure 　　When she won’t look me in the eye 　　But the rest of her’s alluring 　　And I’m afraid of her reply 　　If I should come right out accusing 　　Will she tell another lie? 　　 　　She’s being non-committal 　　But girls’ night ends at dawn 　　She’s out 4 times a week 　　At least twice a month she’s on 　　If I ask is there a problem 　　She denies it with a grin 　　But cuts off her conversations 　　Every time that I walk in 　　 　　It sucks to say I’m certain 　　She’s had someone else in the sack 　　When I told her we need to talk 　　It was four days till she came back 　　That’s when you know that something’s up 　　 　　She’s wearing different clothing 　　At work and on the town 　　Her kiss has grown peculiar 　　In a way I can’t pin down 　　We had dreams for our vacation 　　But they never came around 　　And at times her conversation 　　Has a puzzling foreign sound 　　 　　I think I heard her make a slip 　　Last week when she got pissed 　　There’s only one conclusion 　　I can draw from all of this 　　She showers when she comes home 　　She’s on edge and can’t relax 　　My woman has been cheating 　　And covering her tracks 　　 　　I didn’t want to see it coming 　　Or be the victim of deceit 　　I haven’t lost, no, I’ve recovered 　　It’s just a setback, not defeat 　　‘Cause now I know that something’s up 　　 　　It pains me to admit it 　　But our love has been disgraced 　　Next time she comes home lagging 　　She’ll find the locks replaced 　　She’ll know I know that something’s up 　　 　　 　　3. Lie, Cheat and Steal 　　Who will wear the Pinocchio nose first in a relationship built on power and deceit? 　　The title for the song was written when Barry Bonds and Lance Armstrong were in the news. Is deception and dishonesty the only path to success anymore? When Bradley and Peter put their heads together, they agreed that a love relationship could provide megawatts of dramatic energy for a song bearing this title. Who will come out on top? Will she find out his secrets before he gains an exit strategy? This is a very dangerous game! 　　 　　Bradley Kohn, Resonator Electric Guitar, Vocals 　　Jeff Radaich, Guitar 　　Michael Papillo, Bass 　　Michael Moore, Drums 　　Recorded Nov 10, 2013 at Fonogenic Studios, Van Nuys, CA 　　Joshua Stuebe & Samon Rajabnik, Engineers 　　 　　Johnny Powell, saxophone 　　Stan Bock, Trombone 　　Mars Ponte, Saxophone 　　Nov 13, 2013 at Supernatural Sound, Portland, OR, David Pollock, Engineer 　　 　　Vocals recorded at New West Records, Burbank, CA, January 2014 　　 　　He was short on talent long on schmooze 　　She was easy on the eye and hard to refuse 　　A material girl who hated to lose 　　And money grabbing was her favorite pursuit 　　 　　She was all he needed to be led astray 　　A heady interest with the promise of play 　　But little did he realize the perils at bay 　　To be deeply invested and she walk away 　　 　　Lie, cheat and steal 　　Eat or be eaten, a poisonous deal 　　Lie, cheat and steal 　　They’re rolling high stakes, all in for the win, no appeal 　　 　　She would ask him for favors and play on his doubt 　　She expected the best and would not be without 　　Whether shopping at Christie's or just hanging out 　　How long could he stand in before she found out? 　　 　　A matter of months and he started to slip 　　A telling inflection, a tightening grip 　　He was big on the talk but too small on the tip 　　Who was he fooling that he was legit? 　　 　　Lie, cheat and steal 　　Eat or be eaten, a poisonous deal 　　Lie, cheat and steal 　　They’re rolling high stakes, all in for the win, no appeal 　　 　　Lie, cheat and steal 　　Lie, cheat and steal 　　Lie, cheat and steal 　　If you’re swimming with sharks don’t end up a meal 　　 　　4. Why I Had to Give Up Martinis 　　A drinker with a singing problem locates blame at the bottom of his martini glass. 　　Peter Evans staggers through his vocal performance while a horn-filled high-energy party whirls around him. Perhaps he’s too drunk to care, but he has crashed his car, fallen out of love, and can’t even trust his psychiatrist any more. His preferred solution to these woes is to have another drink while reciting the vodka dictionary. Fortunately, the song ends before the hangover begins. 　　 　　Bradley Kohn, Guitar + Programming 　　Jeff Radaich, Guitar 　　Michael Papillo, Bass 　　Michael Jerome Moore, Drums + Percussion 　　Recorded Nov 10, 2013 at Fonogenic Studios, Van Nuys, CA 　　Joshua Stuebe & Samon Rajabnik, Engineers 　　 　　Johnny Powell, saxophone 　　Stan Bock, Trombone 　　Mars Ponte, Saxophone 　　Nov 14, 2013 at Supernatural Sound, Portland, OR, David Pollock, Engineer 　　 　　Peter Evans, Lead Vocal, Vocal Arrangement 　　Chris Harrison , background vocals & vocal arrangement 　　Katherine Hoye, background vocals 　　Jessica Freedman, background vocals 　　Ben McLain, background vocals, vocal percussion 　　Rachel Bearer, background vocals 　　January 2014 at New West Records, Burbank, CA - Bradley Kohn Engineer 　　 　　Lyrics by Peter Evans & Brad Kohn, October, 2013 　　One. Then there’r two, maybe three vodka martinis 　　Go on, only two, ok three vodka martinis (one, two, three, floor) 　　 　　Daily, I’ve been savoring the taste 　　I’m down to one less bottle in the case 　　It turned my wife into a b**ch 　　And drove my car (beep, bop) into a ditch 　　But I still think that one more drink would put things in their place 　　(one, two, three, floor) 　　Same as before only more liquor gets poured. Cheers! 　　 　　Daily, I’ve been savoring the taste 　　I’m down to one less bottle in the case 　　I lost my grip on perfect pitch (wobbly Oohs) 　　It turned my shrink (beep, bop) into a snitch 　　But I still think that one more drink would put things in their place 　　 　　Mix it with Stoly and I’ll sip it slowly 　　I’m flying high when drinking Skyy 　　Pickle me neat with wheat and rye 　　I’ll scoff Smirnoff till my a** falls off 　　Hanger one is a ton of fun 　　But it’s a helluva hoot to drink Absolut 　　Grab the Grey Goose and turn me loose 　　 　　Daily, I’ve been savoring the taste 　　I’m down to just one bottle in the case 　　Dunk that olive, I’ll slobber and stab it 　　Call me a drinker with a singing habit 　　I keep on thinking that all my drinking will put things in their place 　　 　　I love the olive 　　I love the olive 　　I love to mix it dry 　　Mix it dry 　　(REPEAT 2x) 　　 　　5. The Edges 　　Magnetic attraction and pure satisfaction are preserved forever in a “selfie” for two. 　　Do you have a picture of yourself when you remember smiling on the inside while you were smiling on the outside? Have you ever felt a magnetic energy between you and your lover? The warm amber tones of Leah Zeger’s sultry voice overlays an easy Bossa Nova beat to paint a portrait of comfort and satisfaction in a love relationship. It all begins with two smiles for the camera from a couple who are drawn together at the edges. 　　 　　Jeff Radaich, Guitar 　　Michael Papillo, Bass 　　Michael Moore, Drums 　　Recorded Nov x, 2013 at Fonogenic Studios, Van Nuys, CA 　　Joshua Stuebe & Samon Rajabnik, Engineers 　　 　　Leah Zeger, Vocals 　　Michael Moore, Percussion 　　January 2014 at New West Records, Burbank, CA - Bradley Kohn Engineer 　　 　　I take a picture 　　You’re in the frame 　　You start to smile 　　I point and aim 　　You know I like 　　The smile I see 　　I lean toward you 　　When you look at me 　　 　　Woah – Woah 　　 　　I trace the edges of your sweet face 　　Look at the picture, you’re in the picture 　　I want this love of ours to last a while 　　You and me and that smile 　　 　　You want an Eden 　　I'll plant the trees 　　It's only you 　　I want to please 　　Let’s watch the sunset 　　I'll show you where 　　Two silhouettes in 　　Yellow-purple glare 　　 　　I feel the edges of your sweet face 　　Look at the picture, you’re in the picture 　　I trace the edges of your sweet face 　　You stir my passion & my feelings start to race 　　 　　Look at the edges inside this frame 　　My point of reference will never be the same 　　Look at the spaces between our faces 　　It’s just perfection. You delight me, baby! 　　 　　 　　6. Pre-Fab 　　David Byrne meets Django Reinhardt. 　　Our bodies are vessels that carry our souls. Our homes are vessels that hold our possessions. Pre-Fab takes this parallel to an extreme. Getting to know someone means looking in the windows, raising the roof, smelling what’s cooking for dinner, and not merely making a judgement from the curb. A very simple song on the surface develops a wonderful complexity of character, descended from two distinctive parents. 　　 　　Jeff Radaich, Guitar 　　Alex Al, Bass 　　Michael Moore, Drums 　　Recorded March, 2015 at Ocean Way Studios, Los Angeles, CA 　　 　　Words and music by Peter Evans & Bradley Kohn, 2014 　　 　　I bought a pre-fab house 　　And I made it my own 　　I’ve got this pre-fab house 　　Hung up my television 　　Hooked up my telephone 　　Cooked up a steak with the champignons 　　Now my house smells like it should 　　Stunk up my space with the champignons 　　I cooked it good 　　 　　Outside these boxes all look the same 　　On the street, they’re just a number 　　Inside the walls (it’s all different) 　　Behind the blinds (they’re not the same) 　　Raise the roof (it’s all different) 　　Open the windows (they’re not the same) 　　Inside, inside, inside. 　　 　　7. Ziplining Tunisia 　　Follow the gypsy caravan from an ancient ud played in desert of the Arabian Peninsula to a modern Selmer guitar in cafes of Paris to timeless horns across the Mediterranean Sea. David Byrne meets Django Reinhardt. 　　Bradley extended an invitation to Hani Nasser (oud) and Richard Hardy (flute, horns) to join us for a jam session at the Gibson Showroom in Beverly Hills. The collaboration was recorded, enabling Bradley to edit a 20-minute ramble into a much shorter composition, which was then improvised and overdubbed at Fonogenic Studios in Van Nuys. 　　 　　Bradley Kohn, Piano 　　Jeff Radaich, Guitar 　　Michael Papillo, Bass 　　Christopher Wabich, Percussion 　　Hani Nasser – Oud and djembe 　　Richard Hardy – Saxophone and Bass Clarinet 　　Recorded Nov x, 2013 at Fonogenic Studios, Van Nuys, CA 　　Joshua Stuebe & Samon Rajabnik, Engineers 　　 　　8. Cruel Geometry 　　Sometimes our lovers exceed our wildest dreams and sometimes it is the other way around. Sadly, this ballad involves the latter. 　　Her love life is adequate, but it is no match for her imagination. Leah Zeger sings with intimate pain about the emptiness of her reality. Sharing her situation with her friends brings sympathy, but no solution. Her only escape is in the passionate energy she receives through her dreams at night. 　　 　　Leah Zeger, Vocals and Violin 　　Jeff Radaich, Guitar 　　Bradley Kohn, Wurlitzer organ 　　Michael Papillo, Bass 　　Michael Moore, Drums 　　Recorded Nov 10, 2013 at Fonogenic Studios, Van Nuys, CA 　　Joshua Stuebe & Samon Rajabnik, Engineers 　　 　　Johnny Powell, saxophones 　　Stan Bock, Trombone, euphonium 　　Mars Ponte, Saxophone 　　Nov 13, 2013 at Supernatural Sound, Portland, OR - David Pollock, Engineer 　　 　　Alfred Goodrich, cello 　　Recorded at Silvertone Studios, Ardmore, PA 　　 　　Lyrics by Brad Kohn and Peter Evans, October, 2013 　　Bedroom kiss in the morning 　　Makes me yearn for more 　　You tell me that you love me 　　But you’re walking out the door 　　 　　The sunlight hits the mirror 　　Though the shapes are undefined 　　I blink at the reflections 　　Visions fading in my mind 　　 　　When you sleep tonight I’ll dream 　　In shades of grey that rescue me 　　From this cruel geometry 　　Relief 　　So sad 　　So sweet 　　 　　I tell my friends about it 　　It comes as no surprise 　　It’s not hard for girls to add this up 　　When they’ve been measuring their guys 　　 　　It’s not that I’m impatient 　　It’s not that you’re unkind 　　In my fantasies you’re edgy 　　Will you ever read my mind? 　　 　　When you sleep tonight I’ll dream 　　In shades of grey that rescue me 　　From this cruel geometry 　　Relief 　　So sad 　　So sweet