she got the feeling

Artist
derek chafin / joanna justice
Released
2015
  1. she got the feeling -:-- / -:--

NOTE:
For me, this song sums up a lot of what we were trying to communicate with this record and why we thought it important to be the lead off track – it lays down the idea of what’s to follow. The story starts with me getting hooked on traditional New Orleans music and diving deeper and deeper into those endless waters. I got hung up on an early recording by Cosimo Matassa of Little Richard’s “The Girl Can’t Help It”. It was raw and primitive, but the Second Line groove came blasting through – I had just never heard that Second Line influence so there, so apparent, so vital in the early formation of rock. Like seeing something you’ve seen all your life and one day seeing that it’s actually a different color than what you’d always thought. A revelation. Second Line, baby! It’s groove and it’s primal-ness made me think of dance music. Why are we slaves to 4 on the floor? There are other ways of getting there. The sonic quality of that recording which seemed to be so essential to the way it made me feel. I read up and next thing I’m testing mics in a space almost the equivalent size as Cosimo’s room. The basic groove is Justice playing a two-piece kit with a big ass circus kick drum in a small dead room with one ribbon mic about 3 feet away. Sound affects the feeling. We added more percussion and it was off to the races. I had been working on melody and laid down a bunch of ideas. When I played a few of them back all together I loved the way it sounded. I think I had also heard the soundtrack from the movie Hanna by the Chemical Bros and on the last tune 5 melodies converge – unbelievably great stuff. The song felt sexy and dirty and I wanted that to remain juxtaposed to a floating, ethereal idea. Again, Kearns lays down the Ray Charles jump on Wurly to mash up the old and new and back again of the track. This song is long form. It had to pull you in, and it needs time to hypnotize you. I love this in dance stuff where things exit or are introduced every 8 or 16 measures – it takes time to build a vibe. I didn’t want a traditional verse/chorus structure, but I still wanted something that kinda felt like that – no wandering about… or not too far. I wanted a Southern-ness to some of the imagery, being originally from the South myself. There’s a ton of Talking Heads via LCD Sound System, Chemical Brothers, and also another nod to Pete Townsend – the gypsy violin part that whips to a frenzy in Baba O’Riely.  All together we wanted it to add up to that power of being taken by love/lust.

LYRICS:
Shotgun in your pocket
And your head is filled with gin
Lips that taste like candy
And her hands feel more like sin (and you know)

She got the feeling on you, she got the feeling (3X)
Oh don’t believe, it’s true
She got the feelin’

Dips you in the water
And it’s the last breath you will get
Feeling like you’re falling
And you’re waiting for the hit (you know)

(CHORUS)

(Walk on the water)

Junkie come to Jesus
When she callin’ out your name
And when she whispers to you
The sacred and profane (you know)

(CHORUS) (FIN)

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