Biografía:
The Mendoza Line formed in Athens, Georgia in 1996 when Timothy Bracy, Peter Hoffman, and Paul Deppler, sharing a common love of such classic songwriters as Dylan, Costello, and Richard Thompson, sought to distill these influences into a sound falling somewhere between those of the two greatest pop bands of their formative years—American Music Club and the Replacements. After embracing and repelling various other members, Tim, Pete, and Paul were joined in 1998 by Shannon Mary McArdle
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Otras canciones:
¡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!
C
Chastised and abraded;
F
So windswept and faded.
C G
She wore the aspect of an old maid.
Am
Well, you're still taking lovers;
F
You take some further than others.
C
I still can not believe how I saw behind your blinded, blotted eyes,
G
But I could not get beneath your covers.
Am
I've seen the old cabaret
F
With the fetish's tailor.
C
I've seen the morbid cachet
G
Of significant failure.
Am F
And I know this means so much more to me than it does to you,
Am F G
But meet me back in room 417 we've still got work to do.
C F
Hey, baby, I know you had that baby before you were really ready to,
C
Because I've seen you hold it so timid and unsteady,
G
and I've seen the fear when it looks at you.
Am
And I've seen so much of your body,
F
And, though you were just under 30,
C G
I swore I saw on your face the aspect of an old maid.
Am
And so call on your tyrant director,
F
Let his cruel will be dispersed,
C
Tell all my deeds to the inspector;
G
I am ready for the worst.
Am F G
All that hubcap stealing, marijuana dealing, high sex crimes and electric cars.
[Instrumental]
C F C G Am F Am F G
C
Hey painting in the crosshairs, lets you rearrange the deck chairs.
F
Though you swoon and you sway, you still don't belong here.
C
And it's not as if I ever really told you that I cared,
G
But you know that even if I did,
You still would not be spared.
Am
And you're still taking long drives;
F
Even the end designing needs of why.
C
Oh it's so hard to know just how to dress
G
For the last days of our lives.
Am
I've seen the whole three act play.
F
I've seen the poster and the trailer.
C
I never thought i'd have to pay
G
This much attention to one girl just to nail her.
Am
Down as to what it was,
F C
She wore the aspect of an old maid.
[Outro]
C F C G Am F Am F G x2
Chastised and abraded;
F
So windswept and faded.
C G
She wore the aspect of an old maid.
Am
Well, you're still taking lovers;
F
You take some further than others.
C
I still can not believe how I saw behind your blinded, blotted eyes,
G
But I could not get beneath your covers.
Am
I've seen the old cabaret
F
With the fetish's tailor.
C
I've seen the morbid cachet
G
Of significant failure.
Am F
And I know this means so much more to me than it does to you,
Am F G
But meet me back in room 417 we've still got work to do.
C F
Hey, baby, I know you had that baby before you were really ready to,
C
Because I've seen you hold it so timid and unsteady,
G
and I've seen the fear when it looks at you.
Am
And I've seen so much of your body,
F
And, though you were just under 30,
C G
I swore I saw on your face the aspect of an old maid.
Am
And so call on your tyrant director,
F
Let his cruel will be dispersed,
C
Tell all my deeds to the inspector;
G
I am ready for the worst.
Am F G
All that hubcap stealing, marijuana dealing, high sex crimes and electric cars.
[Instrumental]
C F C G Am F Am F G
C
Hey painting in the crosshairs, lets you rearrange the deck chairs.
F
Though you swoon and you sway, you still don't belong here.
C
And it's not as if I ever really told you that I cared,
G
But you know that even if I did,
You still would not be spared.
Am
And you're still taking long drives;
F
Even the end designing needs of why.
C
Oh it's so hard to know just how to dress
G
For the last days of our lives.
Am
I've seen the whole three act play.
F
I've seen the poster and the trailer.
C
I never thought i'd have to pay
G
This much attention to one girl just to nail her.
Am
Down as to what it was,
F C
She wore the aspect of an old maid.
[Outro]
C F C G Am F Am F G x2
The Mighty Might (...)
The Milk Carton (...)
The Mills Brothe (...)
The Miserables
The Mixtures