Biografía:
The Lucksmiths son una banda independiente formada en 1993 en Melbourne ( Australia) , se les asocia con géneros como el indie pop, anti-folk y retro-pop.
Sus componentes son Martin "Marty" Donald (guitarra), Taliesyn "Tali" White (voces y tambores), y Mark "Marky" Monnone (bajos); en 2004 se les une el guitarrista de Mid State Orange's Louis Richter. A principios de los noventa se reunen con Chris Crouch, quien informalmente les contrata para la discográfica Candle Records.
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Otras canciones:
- There Is A Boy That Never Goes Out
- Cassingle Revival
- Cat In Sunshine
- Clever Hans
- Cliched Title For Kris
- Deep Sea Diving Suit
- Fiction
- Forgetting Of Wisdom
- Friendless Summer
- Frisbee
- From Macauley Station
- Goodness Gracious
- Guess How Much I Love You
- Little Athletics
- Midweek Midmorning
- Motorscooter
- Point Being
- Punchlines
- Requiem For The Punters Club
- Run Spot Run
- Scottsdale
- Southernmost
- Spond
- Summer Town
- Sunlight In A Jar
- T Shirt Weather
- Tale Of Two Cities
- The Chapter In Your Life Entitled San Francisco
- The Golden Age Of Aviation
- Untidy Towns
- Weatherboard
- Year Of Driving Langourously
¡Cuatro años de duro trabajo!Este mes de mayo cumplimos cuatro años al aire. Seguimos trabajando en la difusión de este maravilloso instrumento, ¡gracias por participar en nuestra historia!
Lucksmiths – Ficiton (from Warmer Corners.)
Written down here, gentle reader
G
It seems too good to be true
C
But there’s a girl in Kansas City
G
With my favourite tattoo
Am C G
Oh why would I lie to you?
C
This was in another century
G
Somewhere near the summer’s end
C
The fahrenheit was frightening
G
I was awake the whole weekend
C
Invited to a barbecue
G
I found refuge in the kitchen
C
Discussing post-war US literature
G
With a girl whose upper arm read “fiction”
Am C G
Like it might have been typewritten
C G – C G
C
When I asked her its significance
G
She said she sometimes took reminding
C
What she wanted to be doing
G
Whether reading it or writing
C
I admitted admiration
G
For both typeface and intent
C
And said more softly — sotto voce —
G
I knew too well what she meant
Am C G
She just smiled and in a while she went
Dm Am G
For a time I forgot this ever took place
C
She left her bottle on the bookcase
G – C G – C G – C G – C G – C G
C
So though I leave you little option
G
But to take me at my word
C
I assure you, dearest listener
G
That it happened as you’ve heard
C
A beer left on a bookshelf
G
At a bygone barbecue
C
By a girl from Kansas City
G
With my favourite tattoo
Am C G
Oh why would I lie to you?
Am C G
Oh why would I lie to you?
Am C G
Oh why would I lie?
Written down here, gentle reader
G
It seems too good to be true
C
But there’s a girl in Kansas City
G
With my favourite tattoo
Am C G
Oh why would I lie to you?
C
This was in another century
G
Somewhere near the summer’s end
C
The fahrenheit was frightening
G
I was awake the whole weekend
C
Invited to a barbecue
G
I found refuge in the kitchen
C
Discussing post-war US literature
G
With a girl whose upper arm read “fiction”
Am C G
Like it might have been typewritten
C G – C G
C
When I asked her its significance
G
She said she sometimes took reminding
C
What she wanted to be doing
G
Whether reading it or writing
C
I admitted admiration
G
For both typeface and intent
C
And said more softly — sotto voce —
G
I knew too well what she meant
Am C G
She just smiled and in a while she went
Dm Am G
For a time I forgot this ever took place
C
She left her bottle on the bookcase
G – C G – C G – C G – C G – C G
C
So though I leave you little option
G
But to take me at my word
C
I assure you, dearest listener
G
That it happened as you’ve heard
C
A beer left on a bookshelf
G
At a bygone barbecue
C
By a girl from Kansas City
G
With my favourite tattoo
Am C G
Oh why would I lie to you?
Am C G
Oh why would I lie to you?
Am C G
Oh why would I lie?
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