“All of the Time” by Locksley – Chords, Tabs, & How to Play

“All Of The Time”

G                                Em
There’s no one else I know
Em                     G         Em
Who makes me feel so…
Em                   G                 Em
I never want to see that girl go.
Em                 C                      D
Stay all of the time, all of the time…

But she’s not here tonight,
And if she’s out with you, that’s just not right.
I’d really hate to have to start a fight,
But I think that I might; I think that I might…

Bbm   Em
Everywhere she is I want to be,
Bbm   C   D
And when I’m holding her it makes me weak.
Bbm   Em
We’ve got a kind of love that’s hard to see,
C   D
And your lies are tearing her away from me.

So leave and you’ll be fine.
You tell another story, I’m drawing the line.
I end up in the middle all of the time,
All of the time, all of the time…

SOLO (over verse chords)

Everywhere she is I want to be,
And when I’m holding her it makes me weak.
We’ve got a kind of love that’s hard to see,
And your lies are tearing her away from me.

So leave and you’ll be fine.
You tell another story, I’m drawing the line.
I end up in the middle all of the time,
All of the time, all of the time…

G         Em
I really love her…
I can’t stop thinking of her…
You got in the way…
Now, hear what I say…

“All of the Time” (Locksley Cover)

For Locksley chords & lyrics, CLICK HERE!

By Chris Moore:

Hello and welcome to another all-new week of great material at the Laptop Sessions acoustic cover song music video blog!  Before I address my session for tonight, I should begin by announcing that this will be a jam-packed week of sessions, reviews, and other posts.  There’s Monday and Tuesday accounted for as you can always depend on, and rest assured that there is a Guest Session lined up for Friday.  In addition, I have some bonus chords coming your way, as well as a bonus Weekend Review post before the week is out.  All this when I’m beginning one of the busiest weeks of my life!

First of all, let’s get down to the session at hand.  For today, I’ve recorded “All of the Time” from the band Locksley’s second release, Don’t Make Me Wait.  This is one of those rare — but very exciting — CDs I came across quite randomly in the used CD rack at Newbury Comics.  I can’t really explain what possessed me to buy the album, but I was thrilled by what I heard.  Now, before you get your hopes too high, I should admit that their sound is some kind of cross between garage rock and early Beatles.  It’s a bit derivative, but I have a very good feeling about this group of guys, and I feel like they are going to evolve and come out with an album that is all their own in the future.

Hopefully, that “future” will be this March when they release their next album!

Funny enough, the band that gave us Don’t Make Me Wait and the accompanying title track has also, just as of last week, delayed the release of their new album, Be in Love, by nearly a month and a half.  Apparently, an opportunity to engage in a higher-profile marketing campaign arose recently that they couldn’t pass up.  The only problem was that they needed to hold off on the release to complete the necessary preparations.

Of course, I had decided to record this song today based on the Be in Love release date of tomorrow, January 26th, 2010.

Still, this will give me some more time to enjoy this album and wonder what the new one will be like.  I suppose that could be a good or a bad decision, as expectations often have a way of killing the real experience…

To return to the present, my version of “All of the Time” is based on the 2008 reissue version of the aforementioned album.  I was really pleased with the way this song translated to an entirely acoustic live Laptop Sessions performance, complete with my first recorded use of my “G” harmonica.  Unfortunately, I screwed up lyrically; it’s just one word that I missed, but it doesn’t make as much sense the way I sang it.  The most frustrating part is that I was singing it correctly before I hit record!

I think…

Regardless, this was my best take, and I hope you enjoy it.  I know I enjoyed learning and playing it, especially since it was one of my rare two-takes-and-I’m-done Laptop Sessions experiences.  That’s why it truly does help to practice days in advance and sing along in the car a ridiculous number of times!  But, as much fun as it’s been learning and recording the song, posting my Locksley-themed Weekend Review, and writing this post, I’m off to get some work done now so I can sleep well before continuing a week of grading exams and papers, closing out the semester by Thursday, closing in another sense on Wednesday, and moving five minutes closer to work on Saturday.

See you next session!

Reflections on Rock Music: "Alternative" to What? (Part One in a Series of Articles)

PART ONE: “Alternative” to What?

By Chris Moore:

Classifying and categorizing, partitioning and labeling.  As humans, we love to take hold of vast, mysterious expanses and sort through them, putting neat little tags on each of the pieces and placing — sometimes forcing — them together into nicely packaged puzzles.  We call it “studying” and academia has often been dominated by experts who take pleasure in putting their knowledge to good use.

Now, this is certainly not all bad, but it’s certainly not all good.  On the one hand, we need labels to help us understand relevance and form connections across time periods and genres.  It is vital to understand that romantic writers are different from realist writers for a very specific set of reasons, a very specific set of beliefs about human nature and life itself.  This being said, on the other hand, we sometimes get to a point in certain subjects when the labels, tags, and titles become cumbersome.

Rock music, I assert, has become one of those subjects.

If you are a fan of any band and have done any research online, then it should not shock you to learn just how many different genres of music there are.  Indeed, it is not so much that there are too many genres, yet it seems there are too many categories or sub-genres.  I understand there is a clear and necessary distinction between classical music and pop/rock music.  I even understand the need for titles such as “Neo-Classical” and others that serve the purpose of tracking music over a number of decades, even centuries.  However, rock music, for all intents and purposes, has only been around since the 1950s.  In less than sixty years, music critics and rock historians have managed to accumulate quite the catalog of titles by which to…um, catalog…rock music.

Tonight, I’ll tackle the term “alternative” rock.

I love alternative rock.  And, having said that, I must admit that I’m not sure at times what alternative rock actually means or includes.  For instance, the term alternative rock — or alternative music or alt-rock — has come to be used as an umbrella term for a wide range of acts in the 1980s, 1990s, and beyond.  Alternative rock has branched out and flowered into dozens and dozens of subgroups.  There’s punk rock, grunge, new wave, and post-punk just to name a few.  I like to think that I’ve done my research and I’ve listened to a wide range of rock music, and yet I have little to no idea of the specific criteria that separate one sub-group from the next.

What I find most interesting — and what I’d like to focus on in the remainder of this article — is the idea of “alternative” rock.  We all know that rock essentially began in the 1950s and 1960s, starting with its roots in folk and country and blues.  (This could, of course, be fodder for an entirely different article!)  After the age of classic performers like Buddy Holly and Chuck Berry passed, the age of songwriter performers was ushered in by the Beatles, Bob Dylan, and many others.  The seventies unfolded another series of events in rock music history, probably most notably the beginning of the unraveling of the relationship between pop and rock.

Then came the 1980s.  With the eighties came the popularization of technology in music, which we all recognize today in the signature synthesized sounds of many if not most popular eighties singles.  In retrospect, many look back on this and laugh.  The eighties have been the breeding grounds for some hilarious parodies and comedies in the 1990s and even more recently.

That being said, there were some bands in the eighties that wanted to play rock music, and yet they did not seem to fit in to any particular mold.  Take R.E.M. for example.  R.E.M.’s debut album, Murmur, sounds nothing like the popular music of 1983.  Still, as Mitch Easter points out in the liner notes to the re-release of the album, they didn’t necessarily sound like anything that had come before, either.  This is interesting because this alternative rock band chose to play the same instruments that rock musicians had been playing for decades — guitar, bass, and drums.  The basics.  R.E.M. may play the classic instruments, but the overall sound was drastically different from other rock music.  In addition to Peter Buck’s guitar sound, Michael Stipe’s vocals are characteristically difficult to understand on their early work.  This is quite a departure from the multi-layered harmonies and lyric-centered rock of previous decades.  Although they would go on to develop and mature in their style, that first album seems to have set a tone that many look back to as an early marker in the alternative rock music movement.

Since the eighties, more and more bands have sought to create an “alternative” to the norm.  Some bands keep more of the traditional elements than others, and some have more of a respect for the rock of old than others.  This idea of “alternative” really does appeal to me, as I believe it appealed to a great many avid listeners in the 1980s and 1990s.  I came of age in the late nineties, just as alternative music’s hold on the national attention was waning.  Nirvana had come and gone.  Somewhere along the way, “alternative” rock seems to have been born, risen to popularity, and then receded into the background.  I hear some remnants of alt rock in some of the indie and the punk/emo music being made now.  And yet, it feels fractured and insignificant to me.  It truly feels as if I am a man out of time — if only I could have appreciated the music that was being created, recorded, and performed when I was a toddler!

As I scroll through the Wikipedia post on alternative rock music, I find the range of subgenres to be daunting.  There’s Britpop, college, rock, geek rock, gothic rock, noise pop, post-rock, twee pop, alternative metal, industrial rock, and so much more.  I’ll have to check out math rock — that’s one I’d never even heard of!

In my relatively brief time as a consumer of all things rock, I have felt a more and more profound splintering of the genre of rock.  Particularly in the alternative rock category, it feels as if any semblance of unity has been abandoned to a vast multitude of record labels, genre titles, and music magazines.  I wonder if there ever actually was a more unified feel to the alternative music of the 1980s and 1990s, or even of the classic rock of the 1950s and 1960s, but I suppose I’ll never know.

I suppose I can only continue to thumb through the used CD racks and fill in the gaps one album — one song — at a time.