– Cosmic Dwellings interviews “GOLD1E“ writer, Tony G. Marshall about the idea behind the concept album of lyrical prose dedicated to his main character’s timeline of short stories –
Cosmic Dwellings: What inspired you to create an additional project for the “GOLD1E” serial?
Tony G. Marshall: I suppose the idea stems from having created the lyrics to songs for ‘Jim Maclaine’s ‘Dea Sancta et Gloria” rock opera during the time I was writing the script for the radio play of “That’ll be the Stardust!“. ‘Dea Sancta’ is as a tie-in to that radio project. Therefore, ‘Goldie Johnson’ is given the same music-related treatment for her ‘GOLD1E’ stories.
CD: Apart from ‘Goldie’, do the lyrics of the potential songs share a common thread throughout their narrative?
TGM: The lyrics depict the elements of each associated ‘Goldie’ story. For example, “Whirlpool To Reality” is the ‘song’ which represents the first story in the series, “A Purple Reign” and the lyrical concepts illustrate the darker aspects of that story as seen through Goldie’s eyes in the moment. Therefore, I would say that every ‘song’ being written is a standalone representation for each story but their ‘common thread’ is the main character.
CD: Why have you decided to give the songs a different title to the actual story they each represent?
TGM: Individual artistic representation. Therefore, each song title is allowed to creatively flow into its own ‘pool’ of destination even though they represent an individual story in the serial. There’s a closer analysis of the first song after this interview (at the end of this article below).
TGM: The title is all to do with having a connection with somebody or someplace, or a place having a calling upon you which has a very magnetic force of attraction, whether it’s for either the right or wrong reasons. I wrote the verses to this song with obviously the locations of the story in mind, but also there’s these fabulous historical musical landscapes that illuminate the concepts within the song.
CD: Have your songs/lyrics ever been inspired by other well-known songs?
TGM: That can happen from time to time. It happened with a couple of songs from ‘Jim Maclaine’s ‘Dea Sancta”. But, it’s mainly the inspiration behind the melody of another song, not the lyrics. No doubt it may happen again with the ‘Goldie’ project. In that sense it’s good to embark on another angle of ‘attack’ in your creative process.
CD: Will each song share a particular musical genre or is it your intention to vary the mix of material?
TGM: At this point I suppose the rock genre is a primary focus with ‘Goldie’ being an avid rock music fan, and let’s not forget she does some singing throughout the timeline of stories too, but I would like to think that there’s the potential ideas to write ballad-type songs and soul or r’n’b songs throughout the creation of this concept album.
CD: The latest idea that you’ve come up with for this concept album is to include specially-written voice-over segments at the beginning and end of each song – what has inspired this idea?
TGM: I wanted to further cement the ‘concept’ factor of the project. The idea is unique to its concept. For example, “A Purple Reign” – the first story – has a color theme running through the start of it, so the voice parts reiterate those parts of the story which focus on this aspect. The text of these segments also provide the links in-between each song.
CD: As you’re not a musician as such, how do you decide if you’re creating a rock song or a ballad-type composition throughout the process?
TGM: I suppose it’s all to do with the themes of each individual story which prompts my intuition toward that decision. Sometimes, I may have a feel for a melody or a chorus which consistently makes its presence felt with certain lyrics or verses.
CD: Have you ever collaborated with any singer-songwriter musicians for any of your projects?
TGM: No. I did attempt to collaborate with musicians on a previous project. But, as a rule, I don’t like to rely on anyone else to provide inspiration in order to further my ideas of words or lyrics. This is due to the fact that I’ve never really found a musician dedicated enough who has wanted to, or been able to, provide their musical talent to accompany my lyrics. However, I’m not saying that’s a closed chapter or book. If the right type of dedicated musician, or musicians, came along and providing they could bring their enthusiasm and creativity to the project, then I would be willing to discuss such matters.
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Below, Tony G. Marshall explains the concepts and themes within the lyrical prose of “Whirlpool To Reality” – the lyrics to the song can be accessed via this graphic link:
- The first verse of lyrics depict the start of the so-called ‘whirlpool’ or nightmare. It’s the river which is illustrated by the “surrounding shivers” .
- “The needles” act as a reference to both the spikey coldness from the river and the Twin Towers of the World Trade Center. Remember, the timeline of the story is pre-9/11.
- “clouds in creases” is exactly that, the “creases” may be caused by the falling dusk or the fact that the clouds are passing over the Twin Towers which is causing them to separate.
- The second verse’s “man flailing” is in reference to Goldie’s late husband, Gil whom she sees in the nightmare sequence. Or, at least she assumes it’s Gil.
- “violet cascading” refers to the falling dusk once again.
- “A tempest crying” is a summation of how she feels, what she sees – it’s the whole sequence of events unfolding in a climaxing anxiety all around her.
- The bridge of the song relates to her reaching for Gil, but “you’re all gone” (in body and spirit) and it’s a “cloud that reigns” – it rules the situation because the dream or nightmare is continuous.
- The first part of the chorus obviously confirms the ‘opening door’ (‘the whirlpool’) to her realistic existence. But, she hasn’t quite reached that stage, therefore all actions including “Words spoken” all take on a form of unreality which in a sense makes her wonder if this is all a joke (“Jest”).
- The second part of the chorus once again confirming that ‘whirlpool’ in the river. But maybe she has just passed through that route to her reality – just before she awakens and the “purple” that is in “reign” is the last thing she can remember before it transforms into the darkness into which she cannot see any further.
- The third verse takes us into another element of the dream. This time we are in the depths of the river with the “woman’s shadow” (silhouette) which is “below the silence” (in or beneath the depths).
- “Cutting the eye within my mind” illustrates the effect the water is having on her sight. She’s hoping to see more clearly so that her mind is able to process the images better.
- Her feelings and perception of the moment also spill over into the next line: “Splintering heart, leading the blind”.
- “A child aloft in the arms of innocence” is exactly that. The shadow she sees is as innocent in the situation as the child she holds up. It’s a very evocative combination.
- In the fourth verse, the “desperate call from the voice’s past” depicts a shout or an echo from the image that she sees. Possibly from the shadow itself.
- “the mirror” is probably what she sees as elements of her life being magnified in the river. Then, it becomes her very own “looking-glass” from which the “terror” ‘bleeds’.
- “The hand from above” reaches down to her, but it’s not a ‘saving hand’ or her savior. It’s exactly the opposite.
- In the fifth verse, we discover they’re the “hands of Satan”. The ‘satan’ of her nightmare. The one who created the nightmare in the first place. His “lust” is conveyed through his touch. His “eyes” also take charge in a “lusty” manner by provocatively enforcing her “doom”.
- The ‘dream’ continues (“dancing” with her thoughts) as the ‘nightmare’ elements are now reinforced – “soaked in the reaper’s dust”. The expression “soaked” is used in reference to the river from which she has been pulled to face this ‘demon’. The ‘demon’ is from the past because he is “soaked” (or ‘cloaked’) in dust – something old.
- In the sixth verse, her “flailing fists” don’t resolve the situation and the struggle continues. “The past” begins to take hold and dominate. However, “the river” flows away but with a definite sadness. The feeling here resonates in the “ringing chimes” which sound out in the distance somewhere.
- The seventh verse alludes to the ‘sound’ of reality which is gradually becoming the dominating force as the dream/nightmare begins to fade (“dissolve”) along with the flow of the river.
- The “images” from the sky in this verse are almost mirroring the river below. A great sense of flowing (“sailing”) into oblivion, but “symbols” of reality are gradually becoming more prominent after experiencing a “lost” or ‘limbo’ sensation. Reality taking over.
- The eighth verse brings her full circle only to experience the ‘flip side’ of the nightmare which turns out to be reality itself. The “leering”eyes of ‘Satan’ now look on helplessly in “fear”.
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For a further insight into the creation and development of “Whirlpool To Reality” then read the FREE 1st story of the “GOLD1E” serial, at the following link:
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*Tony G. Marshall expresses his sincere gratitude to Callum Gee for his assistance and organisation with this blog interview*
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“THE SONG REMAINS THE SAME” – The Prologue of the 2nd story in the “GOLD1E” serial is at the following link:
Goldie now with her very own dedicated Facebook and Twitter profiles at the following links below:
“GOLD1E” Serial of short stories and its accompanying projects, characters and contents – Copyright ©2012, 2013, 2014, 2015 by Tony G. Marshall and Cosmic Dwellings. All Rights Reserved.
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