LADY OF DREAMS (LIFE MODEL)
It is dark then it is light
One for day and one for night
By the power of the shadowland all is measured
All must stand
You must believe in sleep’s dreaming
Otherwise you have no meaning
In sunlight never seen

She meets with a dream and what is that
Something that is seen and given back
Morning kills the love of every night
Now we are standing in a different light
She calls to a picture that isn’t there
No matter how much she stands and stares

Next she came in on a ketamine high
Snaked through the day and I wondered why
Took a look at who cooked the books
Then gave everyone the dirtiest looks
Admit to yourself she’s lost the plot
What she don’t have now won’t get got

You look in their eyes and there’s madness there
You can’t lock them up and you can’t give them air
She ignored the visions and they went away
From the night that is, but not the day
A maze of maize in a field of corn
You can walk in circles and get reborn

Lazy lace of a chemtrailed sky
Chemical air that’s made by spies
Open a window and what do you see
What do you breathe, well, what is free
I saw her walk down the darkened road
I waited there but she never did show

Thought her shadow crossed the looking glass
But it was just the cars going past
Then Snowy White went and kept me awake
I like the risks I know he takes
Being right may not mean you’re good
Life is a risk I thought she understood

Words by Peter Greatorex.
Copyright ℗ 2010 D & G Music / Explicit Music.

Lady of Dreams (Life Model)

Lyrics by ‘Speedy’ Pete Greatorex.
Music by George Davies / ‘Speedy’ Pete Greatorex.

Copyright ℗ 2010 D & G Music / Explicit Music.

This arrangement by Dark Company.

Vocals and rhythm guitar recorded at Wud Records Studio One, Exeter, 2015.
Everything else recorded at Wud Records Studio One, Europe, 2020.
Engineered, mixed and produced at Wud Records Studio One, Central Europe, 2024.

Copyright © 2024 Wud Records.

Performers:
‘Speedy’ Pete Greatorex – lead vocal
Zakk Black – guitars, vocal
Josh Reynes – synths, piano
Maxx Damage – bass
Sven Stiglund – drums

Fun Facts:
* The lyrics for this song were written 8th April 2010.
* Pete never sang a proper studio version and his vocals were lifted from the very rough demo and cleaned up a bit.
* Well, quite a lot actually. 🙂
* On this version George sings verses 4 and 5 as Pete didn’t ever sing them.
* Pete had to turn over the sheet of paper that the lyrics were printed on and forgot, either deliberately or not.
* Synths are from the fabulous people at DSK music – www.dskmusic.com/
* These include Thor, Zeth, Akoustic Keyz, Electrik Keyz and TechSynth Pro, the latter of which was used for the synth solo.
* The synth solo section comes from a piece of guitar that George composed in about 1986 which never found a home until Spring 2020.
* “By the way, this is the new bit.”
* The section is repeated between verses 4 and 5,
* This section has a very odd bar of 7/8 to end the section, the secret is in the low notes of the rhythm guitar’s E chord.
* Pete didn’t like his talkover at the start but we felt it needed to be included as it sets the scene.
* The very dirty rhythm guitar (Nicodemus) is the original which George played as Pete sang the demo vocal.
* This part was kept and chopped up to make this arrangement.
* The energy, feel and power were hard to replicate when we tried to do so.
* Much of the bass is the original too, from the demo version. similarly chopped.
* Although we’ll never know, we tend to feel that this song is about Rowena, Pete’s fourth wife and Dark Company’s tenor saxophone and flute player in 1991 and 1992.
* We believe the second sung verse refers to a curious incident when most of the Silent Running and Dark Company personnel were assembled in Silent Running Studios and Rowena stamped up and down angrily yelling at everyone to do better.
* Pete, in his embarrasment at his wife’s behaviour, ran back to his house and ran back with a big bag of mint humbugs, and gave one to everyone present as his way of saying “I’m so sorry about what you’ve just had to endure.”
* Because it was thought that this song decribed the whole of the second half of a relationship over the course of several years, we felt it needed to be a longer song with longer instrumental intervals representing different passages of time passing and the different phases of the story and the relationship.