Biografia:
The Good Life surgiu para que Tim Kasher pudesse utilizar letras de músicas com uma abordagem diferente de seus outros projetos (Cursive), mas não demorou muito para que seu projeto solo se tornasse uma banda.
Com o tempo, o som da banda evoluiu e foi ficando mais refinado. Desde seu primeiro álbum, Novena on a Nocturne, um tanto pop; passando pelo álbum lançado em 2002, Black Out, com seus refrões inconfundíveis; até as músicas pra cantar junto do recente Lovers Need Lawyers EP.
Read more on Last.fm
Outras músicas:
- Early Out The Gate
- Some Bullshit Escape
- A Dim Entrance
- A Little Bit More
- A New Friend
- After Orourkes 210Am
- Album Of The Year
- An Acquaintance Strikes A Chord
- Black Out
- Dont Make Love So Hard
- Drinking With The Girls
- Empty Bed
- Entertainer
- For The Love Of The Song
- Friction
- Heartbroke
- Honeymoon
- Inmates
- Keely Aimee
- Leaving Omaha
- Lovers Need Lawyers
- Needy
- New Denial
- Night And Day
- Notes In His Pockets
- Off The Beaten Path
- Orourkes 120 Am
- Some Tragedy
- The Competition
- The Moon Red Handed
- Thirty
- Twenty Two
- Under A Honeymoon
- You Dont Feel Like Coming Home To Me
- Your Birthday Present
- Youre No Fool
- Youre Not You
Quatro anos de trabalho duro!Neste mês de maio fizemos quatro anos no ar. Continuamos trabalhando na divulgação deste maravilhoso instrumento, obrigado por participar da nossa história!
4 chords, pretty awesome song.
THE GOOD LIFE - NOTES IN HIS POCKETS
Dm
Drunk at the bar at last, last call
A# Dm
my baby’s home on her night off,
Dm
So I’m involved in a serious talk
A# Dm
with a girl I had known growing up.
A# Dm
So we buy a six; decide to split –
A# Dm
she has a downtown apartment.
A A#
She opens the door, falls to the floor,
Dm A# Gm A
says, “I’m bitter sick of sweet and pure, take me now I’m yours.”
Dm A# Gm A
Notes in his pockets, rumors in the mill,
Dm A# Gm A
phone calls after the bars close – unlisted numbers.
A# Dm
If she only knew, then he’d be through
A# Dm
but who knows which parts are true.
A A#
She hates how it looks, but what can she do?
Dm A# Gm A
The girls all talk behind her back, they say she’s being used.
Dm
At Sullivan’s drinking with Justin,
A# Dm
he says he’s seen my ex-girlfriend.
Dm
She’s back in town – and what’s worse
A# Dm
he knows where and when she works.
A# Dm
So we head over to the Underwood,
A# Dm
she’s trading shots with regulars:
A A#
She gives me a hug ‘til our hips are flush
Dm A# Gm A
says, “Boy, we’ve hardly kept in touch – it’s time for catching up.”
Dm A# Gm A
Notes in his pockets, rumors in the mill.
Dm A# Gm A
Phone calls after the bars close – unlisted numbers.
A# Dm
Still, he insists on his innocence;
A# Dm
says those girls are all gossips.
A A#
She’s gotta drop the axe –catch him in the act
Dm A# Gm A
with his shame around his ankles, chain the guilt around his neck.
from Christoph Whitbeck. You're welcome. <3
THE GOOD LIFE - NOTES IN HIS POCKETS
Dm
Drunk at the bar at last, last call
A# Dm
my baby’s home on her night off,
Dm
So I’m involved in a serious talk
A# Dm
with a girl I had known growing up.
A# Dm
So we buy a six; decide to split –
A# Dm
she has a downtown apartment.
A A#
She opens the door, falls to the floor,
Dm A# Gm A
says, “I’m bitter sick of sweet and pure, take me now I’m yours.”
Dm A# Gm A
Notes in his pockets, rumors in the mill,
Dm A# Gm A
phone calls after the bars close – unlisted numbers.
A# Dm
If she only knew, then he’d be through
A# Dm
but who knows which parts are true.
A A#
She hates how it looks, but what can she do?
Dm A# Gm A
The girls all talk behind her back, they say she’s being used.
Dm
At Sullivan’s drinking with Justin,
A# Dm
he says he’s seen my ex-girlfriend.
Dm
She’s back in town – and what’s worse
A# Dm
he knows where and when she works.
A# Dm
So we head over to the Underwood,
A# Dm
she’s trading shots with regulars:
A A#
She gives me a hug ‘til our hips are flush
Dm A# Gm A
says, “Boy, we’ve hardly kept in touch – it’s time for catching up.”
Dm A# Gm A
Notes in his pockets, rumors in the mill.
Dm A# Gm A
Phone calls after the bars close – unlisted numbers.
A# Dm
Still, he insists on his innocence;
A# Dm
says those girls are all gossips.
A A#
She’s gotta drop the axe –catch him in the act
Dm A# Gm A
with his shame around his ankles, chain the guilt around his neck.
from Christoph Whitbeck. You're welcome. <3
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