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Hand That Gets Burnt

What a fool, I let you in
They all knew like they do when it begins
Friends they see when you're blind
Forgive me for the love I left behind

I'll right the wrong and prove it somehow
I'll come back strong, more so
For the hand that gets burnt
All the hard lessons learnt
Make me stronger
I'll be there whatever it takes

All my dreams they came to nothing
All my life making choices I regret

I'll right the wrong and prove it somehow
I'll come back strong, more so
For the hand that gets burnt
All the hard lessons learnt
Make me stronger
I'll be there whatever it takes


Written By:
A. Flett
 
Found On:
Hey Petrunko
Hey, Petrunko plus...
 
Quotes:
Andy: I was walking along the road where I live one bright sunlit winter morning and was struck at how bold the bare trees were, silhoutted against the blue of the winter sky. It looked like a Van Gogh painting, big thick blocks of colour, jarring but celebratory. The sunlight brightened my winter spirits and I soon found myself playing my acoustic guitar. It's hard to explain, but sometimes, you just know when a song is coming - strands of inspiration come together and all you can do is be a conduit for the song to emerge into our universe. I found myself writing a song that had bold, vibrant major chords in the verse, echoing the bold, stark trees on my road, linked by a jaunty melody over a 3/4 time rhythm - a hint of a 19th century European waltz perhaps. Basing the song in D with elements of D major 7th added a touch of nostalgia for something lost. Before long it turned out that I was writing a song about someone kicking themselves for making a wrong choice. Well I don't need any pop psychologists to tell me anything here, regret and moving on must be one of the most universal themes in culture, after all, we live and learn by our mistakes. The emotional motivation was connected to my feeling of being suckered in by events relating to the band, but that was only the starting point, underpinning the song with the necessary tinge of genuine resentment. Another emotional aspect was to do with realising that a girl I dumped was actually one in a million and I was stupid for being led by darker forces. I realised that this sort of song would be best conveyed by Sophia, and in due course, changed the key in pro-tools to accomodate her range. Dan helped out with the production and mixing although I recorded the bones of the song while he and Sophia were in New York City doing a series of acoustic gigs. Steve and Jaymie's contributions to the vibe were important here and without their encouragement, I would have found it hard get started with the recording, and without Sophia's willingness to sing and Dan's involvement, it wouldn't have been finished. It was another team effort. As for the recording, for a 'big' production, its very stripped down and I think that's in its favour compared with other more lush productions on the album. I recorded a twin track of acoustic guitars busking along, with country-esque tremolo electric guitars to add a bit of movement, distorted in the chorus and solo to add a bit of punch. I like the big drum sound Dan pulled from the mix and I'm amazed that pitch shifting the guitar and drum tracks worked as well as it did, so thanks to Tim and Paul Speed for letting us use their pro-tools package for free. This song has a simple appeal and is something you can just press play and get a quick fix of music from. It's not super high brow intellectual stuff but again, in context, that's a good thing.


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