Joy Electric is a one-man electropop/synth pop group consisting of Ronnie M… Read Full Bio ↴Joy Electric is a one-man electropop/synth pop group consisting of Ronnie Martin. The group started out in 1994, after the demise of Dance House Children, a band Ronnie was in with his brother Jason Martin of Starflyer 59. Starflyer 59 bass player Jeff Cloud joined Joy Electric from 1996 until 2002. Ronnie is currently solo again.
Having experimented with live shows, formed countless after-school bands, and recorded an album that was never to be released under the moniker Morella's Forest with Randy Lamb, Ronnie and his brother Jason found their way onto Michael Knott’s fledgling label, Blonde Vinyl, with a dance album to produce, Songs and Stories.
After buying an old Akai sampler and a few synthesizers, Ronnie began crafting his own spin-off of current electronic "club" music. Still working with his brother Jason, Ronnie's new band, Dance House Children, posited cold, hypnotic electronica against quaint, old-fashioned lyrics. After producing another album, Jesus, Dance House Children found Jason leaving to pursue his own musical endeavors, Starflyer 59.
With the help of a few friends, Ronnie turned from the club-oriented music to a more melodic, orchestrated sound. The range of instruments on his third album exploded, containing timpanis, Moog synthesizers, and far more exotic sounds than anything he had previously produced. It was evident that Martin was quickly moving beyond the level of pre-programmed keyboard sounds as he became more well-versed in the programming of his synthesizers. Rainbow Rider: Beautiful Dazzling Music No. 1, the name of his third album, formed the bridge between Martin's "techno"-like early days and his enigmatic Joy Electric creation. Rainbow Rider was part of the name of Ronnie's third album, rather than a change in the name of the musical group from Dance House Children.
During the process of writing his fourth album (originally intended as Beautiful Dazzling Music No. 2, then Fairy Tale Melodies--some Tooth and Nail promotional material came out with this name--and then later to be renamed simply as Melody), Martin found the sound of his project changing radically. Of course, changes were quite evident during Beautiful Dazzling Music, but this fourth album carried things to the extreme. Analog synths began to dominate the studio floor-space. Furthermore, Martin began perfecting a clock-like musical technique that had a strange assortment of blips and whirls constantly rotating in the background. The fourth album resulted in several things: a new band name (Joy Electric), his signing with a new label (Tooth & Nail Records), and the launching of Martin's signature sound which he carries to this day.
Although Joy Electric was now part of a "real" record label—with all the benefits of promotion and better distribution—this did not spell the end of Martin's worries for his budding project. Amidst mostly punk, ska, or hardcore bands, Joy Electric was usually dismissed as a Tooth & Nail curiosity—a funny little joke band with Atari music and girlish vocals. Looking back on those years, Martin recalls a crisis of feeling legitimate and being treated as a peer. Audiences at Joy Electric shows remained small. Melody caused no stir. The album came and went without much response from the audience, the critics, or anyone in general.
This depressing situation was the backdrop for the next CD—an EP appropriately titled Five Stars for Failure. This EP, Martin's first, could not have contrasted more with the exuberantly optimistic joy of Melody. Bi-polar Joy Electric had slumped to the opposite extreme. The sound become slower and more dire. Covering previously happy songs (with remix titles like "The Woods are Haunted" and "The House in the Woods") Martin seemingly undid all his previous work.
Besides simply being sad, the Five Stars EP showed a curious development: with darker sounds and "House in the Woods" songnames that conjured up pictures of frightening Black-Forest scenes, Joy Electric was picking up a strange strain of imagery: the dark world of German folklore, mixed in with a little bit of medieval scenes for good measure. The upcoming album, We Are the Music Makers, would become the strangest goth album to be produced: dark and Teutonic, electronic and infectious, antiquated with a strong backbeat.
By this time, Martin became increasingly fascinated with the idea of musical purism. Finding inspiration in '70s electronic bands that were "purists" out of necessity (having nothing but simple analog synthesizers with which to assemble an entire collage of blurpy sounds), Martin delegated nearly his entire studio to the closet and vowed to build an album up, brick by brick, from the sounds of just one master synthesizer. Under this constraint he went to work -- designing, programming, and storing all his sounds for the new album in a Roland JD-990.
Putting all his eggs in one basket (or synthesizer in this case) left Martin particularly vulnerable to one perennial problem: his synthesizer's storage memory got wiped clean. It's uncertain how this happened, but halfway through the new album Martin found that all his work had been lost.
Martin again began from scratch. Taking this opportunity, he decided to move into an even more purist direction than before. Since the first half-completed album is no longer in existence, it is impossible to gauge just how radical a move that was.
We Are the Music Makers includes Arthurian songs of dim castles, assemblies of knights riding out to battle, dedications to monarchy, and crumbling recollections of Christendom. This Medieval theme was unusual subject matter for a mid-'90s electronic album.
Of all his albums, Martin consistently cites this as his least favorite. Indeed, the songs are quickly monotonous — a consequence of Martin's inexperience at this new "purist" model. However, fans claim that this album contains some of Martin's most memorable and emblematic work, including "Burgundy Years," "Hansel (I Will Be Your Friend)," and "I Beam, You Beam".
Martin quickly followed this album with yet another EP, this one titled Old Wives Tales. While retaining the Black Forest fairy-tale theme, he dropped the darker, gothic strains and produced a set of songs mixing pop and nostalgia. Joy Electric, in some way or another, has always been an escapist band, leading the listener into a sort of musical land largely unfamiliar and isolated. Old Wives Tales stands as the high-point of that escapism, and proved to be just what fans were looking for. Audiences began to grow, the EP sold in greater numbers, and favorable articles appeared in all sorts of music magazines. Finally, the band was getting the attention it deserved.
Riding this building wave of popularity, Joy Electric began commanding greater respect both abroad and at home. This attention at Tooth & Nail was especially critical, leading to a series of albums that were designed to, and indeed succeeded in, garnering some degree of commercial success. Music videos were made and became more widely distributed. The music moved out of cult circles and picked up new fans in rapid numbers.
Robot Rock was the first album to capitalize on this. The album moved away from the world of "bedroom production" and into professional studio hands. The vocals came across as polished and well-groomed. Having practiced on his analog synthesizers for years, Martin commanded better control of his synthesizers' sounds. To showcase these growing skills, the songs were generally more sparse. The entire album harked back, more than any other release, to his groundbreaking work in Melody.
Following his pattern, Martin released an EP as well, titled The Land of Misfits. It was generally considered a disappointment by fans, containing only one new song along with reworkings of songs from Robot Rock.
Eventually another EP materialized, the Children of the Lord maxi single. While still including covers on the EP, Martin this time brought some greater variety to the release. Two songs covered radically different influences: Punk rockers MxPx and seventies singer Keith Green. The last song was a Cloud2Ground remix of a song from the upcoming album.
In 1999, CHRISTIANsongs was released. Concerning the title, Martin explained his frustration over Christian music groups attempting to downplay their religion in hopes for greater commercial success.[3] Having grown up a Christian, Martin had rarely allowed his faith to intrude heavily upon his music. He nevertheless disapproved of silly "we're Christians but we're not a Christian band" statements. In contrast, and to set the record straight for any fans, Martin's new album title left no doubt concerning the matter.
CHRISTIANsongs contained some of Joy Electric's most overt references to Christianity, exhorting believers to remain strong ("Lift Up Your Hearts"), singing musical prayers of religious dedication ("Make My Life a Prayer"), and proclaiming general obedience to God ("True Harmony"). But the album contained deep lyrical divides. The religious songs were overwhelmingly religious. The other half of the album was, more or less, the usual Joy Electric fare.
CHRISTIANsongs also demonstrated Martin's ability to move beyond bubbly-happy songs that critics condemned for being too shallow. The album showcased a wide range of feelings, spanning to familiar exuberant territory all the way into new, darker directions.
2001 saw the release of Legacy Volume 1: The White Songbook. A year and a half in the making, The White Songbook continued in the synthesized tradition of the past few albums by using nothing but a Roland System 100, but with many intricate and interwoven layers of sounds building on each other. The music was divided into four thematic chapters, and the very sparse artwork of the album was meant to invoke the sense of an old book. This album also brought the relatively successful single "We Are Rock." In spite of a level of critical success, Ronnie was miserable during the album's long and tedious production. The companion EP to this album is Starcadia, which has since gone out of print and become a much sought after collectible.
The Legacy series continued with The Tick Tock Treasury, whose sparseness was a musical reaction to the thick and lush nature of The White Songbook. Instead of including lyrics in the booklet, Ronnie opted to include a short story which served as inspiration for the title of the album. As opposed to The White Songbook, The Tick Tock Treasury's placement in the Legacy series was found only in a small and passing liner note in the CD insert. The companion EP to this album is The Tick Tock Companion, a long-running set of experimental synthesizer music recorded in one take.
The third Legacy album was Hello, Mannequin. Like its predecessor, its place in the Legacy series was only shown by a small liner note. This album brought a significantly more rigid structure to the songs, with basslines sometimes not changing for the duration of an entire track. The companion EP, Friend of Mannequin, contains remixes, several new songs, and a three-part interview.
The Ministry of Archers, identified as a Legacy album only by the mark "lv4" (for Legacy Volume 4) in the liner notes, was also the first to be produced in the newly-renovated Electric Joy Toy Company on Ronnie's new Moog synthesizer equipment. The new synthesizer brought a significant change in sound, though the album bears some resemblance to previous Legacy works. Namely, it is broken into chapters like The White Songbook and its lyrics are not printed in the sleeve, like The Tick Tock Treasury. The companion EP, Montgolfier and the Romantic Balloons, is split into two sections: an eponymous mini concept album, and a collection of remixes and extra tracks called "Other Archers."
The Otherly Opus was released on March 20, 2007 as the fifth and final volume in the Legacy series, noted as "Moog Dynasty Years Volume 2". The album includes some of the most intricate vocal work on a Joy Electric album to date. Thematically, the album is split in two halves. The first half is known as The Otherly Opus, while the second half is The Memory of Alpha, a mini concept album about the fall of Adam and Eve. The album's companion EP, Their Variables, contains remixes of all songs on The Otherly Opus as well as two new songs. It was released on September 18, 2007.
Joy Electric's tenth full-length album My Grandfather the Cubist, the first album since CHRISTIANsongs to not be part of the Legacy series, was released on May 27, 2008. It features a starkly minimalist sound, particularly in the vocals, which are produced to sound more raw and unpolished than any previous effort, in contrast to the layered, glossy approach of The Otherly Opus. Martin specifically referred to it as the most minimalist sound he has produced since 1994's Melody.
Favorites At Play, an EP covering nine modern songs including Blink 182's "I Miss You" and The Killers' "When You Were Young", was released by Tooth & Nail Records in November of 2009 and would prove to be the final JE recording that the label would release. Shortly after, Joy Electric went on indefinite hiatus and Martin relocated from from California to Ashland, Ohio to take a full-time music ministry position. In 2010, he released a three-song EP under the name Said Fantasy, with a very similar minimal synthesizer-based pop sound.
In Fall 2011, Martin made reference in an interview to a forthcoming 11th album, to be titled Dwarf Mountain Alphabet. No further information was released until March 20, 2012, when the official announcement was made that Joy Electric had left Tooth & Nail Records and would be funding Dwarf Mountain Alphabet independently, with help from a Kickstarter campaign. The Kickstarter goal of $6,000 was reached within nine hours of the announcement. No release date for the album has been announced, but it is expected in 2013.
Having experimented with live shows, formed countless after-school bands, and recorded an album that was never to be released under the moniker Morella's Forest with Randy Lamb, Ronnie and his brother Jason found their way onto Michael Knott’s fledgling label, Blonde Vinyl, with a dance album to produce, Songs and Stories.
After buying an old Akai sampler and a few synthesizers, Ronnie began crafting his own spin-off of current electronic "club" music. Still working with his brother Jason, Ronnie's new band, Dance House Children, posited cold, hypnotic electronica against quaint, old-fashioned lyrics. After producing another album, Jesus, Dance House Children found Jason leaving to pursue his own musical endeavors, Starflyer 59.
With the help of a few friends, Ronnie turned from the club-oriented music to a more melodic, orchestrated sound. The range of instruments on his third album exploded, containing timpanis, Moog synthesizers, and far more exotic sounds than anything he had previously produced. It was evident that Martin was quickly moving beyond the level of pre-programmed keyboard sounds as he became more well-versed in the programming of his synthesizers. Rainbow Rider: Beautiful Dazzling Music No. 1, the name of his third album, formed the bridge between Martin's "techno"-like early days and his enigmatic Joy Electric creation. Rainbow Rider was part of the name of Ronnie's third album, rather than a change in the name of the musical group from Dance House Children.
During the process of writing his fourth album (originally intended as Beautiful Dazzling Music No. 2, then Fairy Tale Melodies--some Tooth and Nail promotional material came out with this name--and then later to be renamed simply as Melody), Martin found the sound of his project changing radically. Of course, changes were quite evident during Beautiful Dazzling Music, but this fourth album carried things to the extreme. Analog synths began to dominate the studio floor-space. Furthermore, Martin began perfecting a clock-like musical technique that had a strange assortment of blips and whirls constantly rotating in the background. The fourth album resulted in several things: a new band name (Joy Electric), his signing with a new label (Tooth & Nail Records), and the launching of Martin's signature sound which he carries to this day.
Although Joy Electric was now part of a "real" record label—with all the benefits of promotion and better distribution—this did not spell the end of Martin's worries for his budding project. Amidst mostly punk, ska, or hardcore bands, Joy Electric was usually dismissed as a Tooth & Nail curiosity—a funny little joke band with Atari music and girlish vocals. Looking back on those years, Martin recalls a crisis of feeling legitimate and being treated as a peer. Audiences at Joy Electric shows remained small. Melody caused no stir. The album came and went without much response from the audience, the critics, or anyone in general.
This depressing situation was the backdrop for the next CD—an EP appropriately titled Five Stars for Failure. This EP, Martin's first, could not have contrasted more with the exuberantly optimistic joy of Melody. Bi-polar Joy Electric had slumped to the opposite extreme. The sound become slower and more dire. Covering previously happy songs (with remix titles like "The Woods are Haunted" and "The House in the Woods") Martin seemingly undid all his previous work.
Besides simply being sad, the Five Stars EP showed a curious development: with darker sounds and "House in the Woods" songnames that conjured up pictures of frightening Black-Forest scenes, Joy Electric was picking up a strange strain of imagery: the dark world of German folklore, mixed in with a little bit of medieval scenes for good measure. The upcoming album, We Are the Music Makers, would become the strangest goth album to be produced: dark and Teutonic, electronic and infectious, antiquated with a strong backbeat.
By this time, Martin became increasingly fascinated with the idea of musical purism. Finding inspiration in '70s electronic bands that were "purists" out of necessity (having nothing but simple analog synthesizers with which to assemble an entire collage of blurpy sounds), Martin delegated nearly his entire studio to the closet and vowed to build an album up, brick by brick, from the sounds of just one master synthesizer. Under this constraint he went to work -- designing, programming, and storing all his sounds for the new album in a Roland JD-990.
Putting all his eggs in one basket (or synthesizer in this case) left Martin particularly vulnerable to one perennial problem: his synthesizer's storage memory got wiped clean. It's uncertain how this happened, but halfway through the new album Martin found that all his work had been lost.
Martin again began from scratch. Taking this opportunity, he decided to move into an even more purist direction than before. Since the first half-completed album is no longer in existence, it is impossible to gauge just how radical a move that was.
We Are the Music Makers includes Arthurian songs of dim castles, assemblies of knights riding out to battle, dedications to monarchy, and crumbling recollections of Christendom. This Medieval theme was unusual subject matter for a mid-'90s electronic album.
Of all his albums, Martin consistently cites this as his least favorite. Indeed, the songs are quickly monotonous — a consequence of Martin's inexperience at this new "purist" model. However, fans claim that this album contains some of Martin's most memorable and emblematic work, including "Burgundy Years," "Hansel (I Will Be Your Friend)," and "I Beam, You Beam".
Martin quickly followed this album with yet another EP, this one titled Old Wives Tales. While retaining the Black Forest fairy-tale theme, he dropped the darker, gothic strains and produced a set of songs mixing pop and nostalgia. Joy Electric, in some way or another, has always been an escapist band, leading the listener into a sort of musical land largely unfamiliar and isolated. Old Wives Tales stands as the high-point of that escapism, and proved to be just what fans were looking for. Audiences began to grow, the EP sold in greater numbers, and favorable articles appeared in all sorts of music magazines. Finally, the band was getting the attention it deserved.
Riding this building wave of popularity, Joy Electric began commanding greater respect both abroad and at home. This attention at Tooth & Nail was especially critical, leading to a series of albums that were designed to, and indeed succeeded in, garnering some degree of commercial success. Music videos were made and became more widely distributed. The music moved out of cult circles and picked up new fans in rapid numbers.
Robot Rock was the first album to capitalize on this. The album moved away from the world of "bedroom production" and into professional studio hands. The vocals came across as polished and well-groomed. Having practiced on his analog synthesizers for years, Martin commanded better control of his synthesizers' sounds. To showcase these growing skills, the songs were generally more sparse. The entire album harked back, more than any other release, to his groundbreaking work in Melody.
Following his pattern, Martin released an EP as well, titled The Land of Misfits. It was generally considered a disappointment by fans, containing only one new song along with reworkings of songs from Robot Rock.
Eventually another EP materialized, the Children of the Lord maxi single. While still including covers on the EP, Martin this time brought some greater variety to the release. Two songs covered radically different influences: Punk rockers MxPx and seventies singer Keith Green. The last song was a Cloud2Ground remix of a song from the upcoming album.
In 1999, CHRISTIANsongs was released. Concerning the title, Martin explained his frustration over Christian music groups attempting to downplay their religion in hopes for greater commercial success.[3] Having grown up a Christian, Martin had rarely allowed his faith to intrude heavily upon his music. He nevertheless disapproved of silly "we're Christians but we're not a Christian band" statements. In contrast, and to set the record straight for any fans, Martin's new album title left no doubt concerning the matter.
CHRISTIANsongs contained some of Joy Electric's most overt references to Christianity, exhorting believers to remain strong ("Lift Up Your Hearts"), singing musical prayers of religious dedication ("Make My Life a Prayer"), and proclaiming general obedience to God ("True Harmony"). But the album contained deep lyrical divides. The religious songs were overwhelmingly religious. The other half of the album was, more or less, the usual Joy Electric fare.
CHRISTIANsongs also demonstrated Martin's ability to move beyond bubbly-happy songs that critics condemned for being too shallow. The album showcased a wide range of feelings, spanning to familiar exuberant territory all the way into new, darker directions.
2001 saw the release of Legacy Volume 1: The White Songbook. A year and a half in the making, The White Songbook continued in the synthesized tradition of the past few albums by using nothing but a Roland System 100, but with many intricate and interwoven layers of sounds building on each other. The music was divided into four thematic chapters, and the very sparse artwork of the album was meant to invoke the sense of an old book. This album also brought the relatively successful single "We Are Rock." In spite of a level of critical success, Ronnie was miserable during the album's long and tedious production. The companion EP to this album is Starcadia, which has since gone out of print and become a much sought after collectible.
The Legacy series continued with The Tick Tock Treasury, whose sparseness was a musical reaction to the thick and lush nature of The White Songbook. Instead of including lyrics in the booklet, Ronnie opted to include a short story which served as inspiration for the title of the album. As opposed to The White Songbook, The Tick Tock Treasury's placement in the Legacy series was found only in a small and passing liner note in the CD insert. The companion EP to this album is The Tick Tock Companion, a long-running set of experimental synthesizer music recorded in one take.
The third Legacy album was Hello, Mannequin. Like its predecessor, its place in the Legacy series was only shown by a small liner note. This album brought a significantly more rigid structure to the songs, with basslines sometimes not changing for the duration of an entire track. The companion EP, Friend of Mannequin, contains remixes, several new songs, and a three-part interview.
The Ministry of Archers, identified as a Legacy album only by the mark "lv4" (for Legacy Volume 4) in the liner notes, was also the first to be produced in the newly-renovated Electric Joy Toy Company on Ronnie's new Moog synthesizer equipment. The new synthesizer brought a significant change in sound, though the album bears some resemblance to previous Legacy works. Namely, it is broken into chapters like The White Songbook and its lyrics are not printed in the sleeve, like The Tick Tock Treasury. The companion EP, Montgolfier and the Romantic Balloons, is split into two sections: an eponymous mini concept album, and a collection of remixes and extra tracks called "Other Archers."
The Otherly Opus was released on March 20, 2007 as the fifth and final volume in the Legacy series, noted as "Moog Dynasty Years Volume 2". The album includes some of the most intricate vocal work on a Joy Electric album to date. Thematically, the album is split in two halves. The first half is known as The Otherly Opus, while the second half is The Memory of Alpha, a mini concept album about the fall of Adam and Eve. The album's companion EP, Their Variables, contains remixes of all songs on The Otherly Opus as well as two new songs. It was released on September 18, 2007.
Joy Electric's tenth full-length album My Grandfather the Cubist, the first album since CHRISTIANsongs to not be part of the Legacy series, was released on May 27, 2008. It features a starkly minimalist sound, particularly in the vocals, which are produced to sound more raw and unpolished than any previous effort, in contrast to the layered, glossy approach of The Otherly Opus. Martin specifically referred to it as the most minimalist sound he has produced since 1994's Melody.
Favorites At Play, an EP covering nine modern songs including Blink 182's "I Miss You" and The Killers' "When You Were Young", was released by Tooth & Nail Records in November of 2009 and would prove to be the final JE recording that the label would release. Shortly after, Joy Electric went on indefinite hiatus and Martin relocated from from California to Ashland, Ohio to take a full-time music ministry position. In 2010, he released a three-song EP under the name Said Fantasy, with a very similar minimal synthesizer-based pop sound.
In Fall 2011, Martin made reference in an interview to a forthcoming 11th album, to be titled Dwarf Mountain Alphabet. No further information was released until March 20, 2012, when the official announcement was made that Joy Electric had left Tooth & Nail Records and would be funding Dwarf Mountain Alphabet independently, with help from a Kickstarter campaign. The Kickstarter goal of $6,000 was reached within nine hours of the announcement. No release date for the album has been announced, but it is expected in 2013.
The Robot Beat
Joy Electric Lyrics
We have lyrics for these tracks by Joy Electric:
(I Am) Made From the Wires tin man is what I'm called or puritan? from the confederacy …
A Family Of Archers A, a, a, a, a, a family A, a, a, a,…
A Glass To Count All The Hours Sleep until night The slowness of ancient sights Ponder the …
A New Pirate Traditional Keep lying to appear complete You're so not there Reap more …
A Page of Life A page of life torn out Of which cannot be…
Analogue Grand Diary I know why You came here I know that it's never…
And It Feels Like Old Times Mother is churning butter by the old barn Bees are buzzin'…
And Without Help We Perish Lean of means and friends Tricked too, by rusting replican…
Angels We Have Heard On High Angels we have heard on high Sweetly singing o'er the plain…
Become As Murderers Minus blood I'm still not you Multiplied, you are not so…
Bee Hoping There's a place I'm going and I want you to…
Berry Patch The When we were so young and full of life The…
Birds Will Sing Forever Mountain berry fields Come with me, come Deer linger where…
Burgundy Years Dark the days that beckon me throughout the Northland countr…
Buttercup Fairy Jamboree In love with me here forever King and Country live forever L…
C Minor Miners Failed at wit and construct Happenings unbeknown to us Not…
Can You Refrain Unable to socialize, sleep deprived Sloping countenance Ra…
Candy Cane Carriage Pink a snow sleigh ride You are good, you were kind And…
Chapter 1. The White Songbook This is the way Reprogrammed This…
Children of the Lord who cares? we do! but we don't care what you think our…
Christendom on White Horses Hitherto great lamentaions consume us Garland feigning on th…
Cobbler The Take my hand To the wondrous land Of lollipop trees Of peppe…
Colours In Dutch Life as a movement, still Like a single leaf that finally…
Come In, Brother Come in, brother Show some holiday feeling Under wreaths and…
Dance to Moroder Let's go, fashion queen The doors are opening at 9:00 PM I…
Deck The Halls Deck the halls with boughs of holly Fa la la la…
Decode How can I decide what's right When you're clouding up my…
Disco for a Ride Disco for a ride Let's go disco for a ride You all…
Disloyalist Party Disloyalist Disloyalist Diseased and taken sick Sworn alle…
Drum Machine Joy Drum machine joy- Drum machine joy Soon the Goodness King wi…
Every Boy And Girl Falls In Love Every boy and girl falls in love Every boy and girl…
Every Nook And Cranny To the horse and carriage Yuletide on a white noon Like a…
Falling Slowly I don't know you But I want you All the more…
Farmhouse Fables Hear them well, these farmhouse fables And read them well, …
Five Stars for Failure Five stars for failure Five stars for failure You'd be now…
Four Gone Pierre What dictates? Is it your love or your distaste? As with s…
Friend of Mannequin Go on, ask yourself Am I talking to myself? Have…
Frivolity And Its Necessities Contemplate what holds you at this time? Books, self help, …
From Mount Chorus How your end fate tells a story Like the ones…
Happiness and Life I can see the sun rising high above the hills I…
Have Yourself a Merry Christmas Have yourself a merry Christmas Have yourself a bright new y…
Here We Come A Wassailing Here we come a-wassailing among the leaves so green Here we…
Holly Jolly Christmas Have a holly, jolly Christmas It's the best time of the…
I Laser boy I'm called the one who makes and creates…
I Am a Pioneer From the school of revision Comes the standard inventor's …
I Beam You Beam Laser boy I'm called the one who makes and creates…
I Miss You I miss you, miss you Hello there The angel from my…
I Recall The Telephone Booth You left on a train On the morning of October "Won't you…
I Sing Electric Will you ever hear me? I'm too tired for sad behavior Don'…
I'm OK You're OK What's going on tonight Is everything alright? I hope there'…
I'm Your Boy Get a, get a good thing boy You'll never change when…
It Ends Tonight Your subtleties They strangle me I can't explain myself …
J.E. Picturephone *Hello, I see you...* I connect We sort through discreet co…
Joy Electric Land Joy electric land Singing in your heart again I'm a boy …
Keep Him in Your Thoughts You are afraid when I am dark I seem to be…
Let It Snow Oh, the weather outside is frightful But the fire is so…
Life Guardian Twenty Life guardian twenty Take me back to the place we loved All…
Lift Up Your Hearts Join the club to fight the scene You're choking on the…
Lily Pad the Forest Our Home Here is where I love Here is where my hope grows I…
Losing Touch With Everyone Losing touch with everyone But when we were young we made…
Make My Life a Prayer Make my life a prayer to You I wanna do what…
Marigoldeness Spiral to the treasure chest The painted tops, a pretty dre…
Misfortune's Apprentice Oh, Misfortune, everything I know isn't much, I know for…
Mistletoe And Molasses We wake to a Christmas snow And wonder what will be…
Mistook Lost in the dark of your youth The pain of sinking…
Monosynth Like the sound of sliders Here we go Up and down the…
Most Terrible Archer Separate your chief anxieties Cut the cord, but you won't …
Never Be A Star Come, take me where You are More than anything I want Is…
Nikola Tesla Nikola Tesla, Nikola Tesla Nikola Tesla, Nikola Tesla Le…
Octuplet Down To what effect Do you think? Better to check Than to shri…
Of Stories And Love Come into my heart Stay forever with me Open up Yourself Wit…
Old At This Young After you stay After you go home Before I'm tired, you dra…
Old Castle Madrigal Fairest and majestic kind draped in royalty and prose Mounta…
Old Wives Tales Old wives tales come The morning of the first snow When th…
Only Copernicus Telescope, I see you have a vision for me Nights spent…
Pilgrimage The septer song harkens dominion to sew the champion The…
Ponderance Need Not Know I begin to unfold like envelopes sent By the hands of…
Post Calendar Sent to the liars With my neck being hung by…
Quite Quieter than Spiders In between Wools and weaves Knots and ties Unhinged eyes …
Red Will Dye These Snows Of Silver I arrived to hear the earth unleash its cries A guilty…
Rickety Trickery Perpetually paralyzed Kept within unkept frames of mind Ig…
Ringing Bells And now the days must fly away And leave us with…
Rudimentary Animation Sealed with age by a brush stroke Stream of colors Choirs …
Say It Right In the day, in the night Say it right, say it…
Sheffield Youth No future is where we have come from The blight of…
Shepherds of the Northern Pasture This is the way Reprogrammed This…
Singing in Gee Losing that feeling You are the jumper I'm the trampoline…
Somewhere Only We Know I walked across an empty land I knew the pathway like…
Song for All Time Often how I keep wondering In these minutes of a…
St. Glockenspiel's Science Faire Undo, then think back What was learned is not forgotten Logg…
Strawberry Heart My love my love are words you used to say…
Such a Beautiful Thought I know you, do you know me? Forget all of our…
Such as It Was And what of all of these moments? Years have made…
Sugar Rush [Chorus] I get a sugar rush Thinking of you too much…
SugarRush [Chorus] I get a sugar rush Thinking of you too much…
Sweet Sweet Charity There were yellow roses of delight We pick them with a…
Synthesized I Want You Synthesized 1,2,3 And the the glowbugs fly free Navigate the craft "El…
The 100 Knighthood Hear the song of saints forsook by the dark rule…
The Berry Patch When we were so young and full of life The…
The Boy Who Never Forgot This is the way Reprogrammed This…
The Carousel of Progress Famous words and lines From the mouths of the metal creatio…
The Cobbler Take my hand To the wondrous land Of lollipop trees Of pe…
The Confectionary Perched upon the lap of hope and northern slopes Nestled…
The Dark Ages Please help me, I'm here Tell me there's some way out Tell…
The Electric Joy Toy Company Electric joy, building Electric joy, build hope for the wor…
The Fifth Point of the Compass Who's aboard this ancient ship, am I? Sailing over seas and…
The Girl From Rosewood Lane In your greenhouse I could feel the same about Everything…
The Golden Age The golden age for us We meet under the great oaks The…
The Harvestry of Ghosts Grim nor gale shall hinder clove or heather Ghouls nor…
The Heritage Bough Greet me ice queen in spite Of favors once sung…
The Magic Of Snowflakes fall Spring's snoring Elves are scurrying in t…
The Matterhorn You think back to carousels You can't explain Is progress…
The Melody Book She sews little hearts And bakes a gingerboy I carry her h…
The Memory Of Alpha Thought I saw a specter in the tree Be careful if…
The Ministry Of Archers Alright, start the tape Lean on your sufficience String …
The North Sea You fall in the night It's just a bird Telling the time…
The Otherly Opus Clusters spring from the mounds Assembled acorns form shape…
The Road to Monarchy Sadness sings through daunting hours The cloaks of yarn cove…
The Romantic Balloons We left our things on the ground Cheered by the voice…
The Singing Arc All of my lost inventions Somehow I'm feeling much older W…
The Songbook Tells All Can you not read music, plain Greek alphabet? Tables and…
The Tick Tock Treasury *Ladies and Gentlemen, children of all ages, the Electric Jo…
The Ushering In Of The Magical Era Writings found beneath the stairs Where youth dares to craw…
The Voice of the Young Here we, here we come We are the voice of the…
The White Songbook This is the way Reprogrammed This…
The Works Of Unknowns Have to read patiently Books from past centuries Books of …
These Should Be the Good Times Please be my ears Come to me I want you to…
True Harmony True Harmony is ringing in your ears The youth are singing …
Unicornucopia In winter homes we sigh Beneath the leaves sing "I…
Victorian Intuition/Father Winter Replies You waistcoat high Into self absorption Deviation No Vic…
Viva La Vida I used to rule the world Seas would rise when I…
We Are Rock Let's get away and we won't stop Together Yeah, we are…
We'll Last So Long Seems so very nice of you Seems so very kind of…
Weep in the Sunshine And why, oh why, do I cry for you? Alone for…
What Child Is This? What child is this who laid to rest On Mary's lap,…
When You Were Young You sit there in your heartache Waitin' on some beautiful b…
Who Are Friends? I make a sound In my self contained hospital Fend…
Winter Wonderland Sleigh bells ring, are you listening? In the lane, snow is…
Wolf in the Bend Of the sect called the "Naive Disowned" Your earnestness, …
Write Your Last Paragraph Where do minutes of the past go When the hands…
You Laser boy I'm called the one who makes and creates…
You Forget Oh, look back All the leaves are turning pale To us, it's…
You're Material Not that you remember good advice Every conversation had i…
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