The following “Credits” document was written by: D-Wattz
Song: Good Morning
You may distribute this song freely while following these rules:
– Artist Name and Song Title remain unchanged on the file and song description.
– A link back to http://dwattz.com is cited for more information if sharing it on a website.
– You may not charge anyone for this song for any reason without written consent from Millinium VII Entertainment.
– We request that you share the entire .zip package where possible, but sharing just the song is ok too.
– You may create lower quality (smaller files) for ease of sharing if desired.
Included in this .zip package is an A capella version (vocal track only). We’ve included this
for any producers to make a remix. The BPM (beats per minute) is noted in the filename. More
information regarding the remix contest will be made available in the future. Details will
be announced at http://dwattz.com. We plan on also releasing a remixed version of the album.
Gary Jules – Mad World [Donnie Darko soundtrack, cover of Tears For Fears – Mad World]
All lyrics written by D-Wattz.
All other music composed and arranged by D-Wattz.
Recorded and Mastered by D-Wattz.
Notes from the Artist:
I wrote the lyrics for this song in 2006; I’ve only changed six or seven lines from the original version. The only thing the same from the original version of the beat is the sample; the beat has gone through maybe 4 different remakes from the 2006 version.
Of all the songs I’ve made/written over the years (released or unreleased), this one is probably my personal all-around favorite. Multi-layered, poetic, mature, revolutionary, pop, anti-pop, and personal. I’m very interested in making Hiphop music that can speak to people on a mainstream scope, while being non-threatening yet revolutionary, familiar yet original. I beleive the greatest artists are those who can pull off that formula naturally and sincerely, and I think this song is my best offerring to that tune thus far. I want the listener, and other artists, to start thinking of Hiphop being capable of a much larger musical space than what it is typically thought to occupy.
The concept takes inspiration from a few sources. The first being the movie “Waking Life”, specifically the part where the main character is walking on the street and accidentally bumps into someone, which consequently starts a conversation between the two about how we’re all walking around with our heads down, not really engaged with our surroundings, uninviting to personal interaction, and having these predefined questions and responses prepared to get through life. The second being the song “Why Georgia” by John Mayer. The third source obviously being the song sampled on the track “Mad World” covered by Gary Jules, originally written by Tears For Fears, which in my interpretation, compares adulthood to childhood, and schoolyard days to work life.
Pulling from those three sources, I tried to combine them all metaphorically into one concept, exploring the systematic ‘driving’ force that both binds us together and yet keeps us disconnected from one another. The story starts as a metaphor about the morning drive to work. Morning, afternoon, money, sleep, dreams, cars, roads, and the act of driving all have methaphorical meanings throughout the song. Morning obviously symbolizes new beginnings, childhood, and repetition. The cars represent our lives, specifically to mean that we are behind the wheel, and in control of our own lives. Roads represent predetermined paths for our lives that are part of a larger system; social and economic structure. Money represents wealth, happiness, and goodwill. The act of driving symbolizes the decisions and turns we make, and why we take the directions we take in our lives. Sleep methaphorically represents death, fear of the unknown, and overlaps with its representation of dreams and the courage it takes to follow the path of your dreams. The last verse represents the impersonal daily interactions with each other that both uphold the facade of our society, yet help us all get through our day politely, recognizing their necessity. It also represents the fact that I couldn’t find the words to really express what I wanted to say, so I satirically embrace and admit my own conformity, my own appreciation of these interactions, just like everyone else. Enjoy responsibly.
All around me are familiar faces,
Worn out places, worn out faces,
Bright and early for the daily races,
Going nowhere, going nowhere,
The tears are filling up their glasses,
No expression, no expression,
Hide my head, I want to drown my sorrows,
No tomorrow, no tomorrow.
[Waking up] Ahh. What time is it? Dammit. Alright…
Alarm clock blues, all slaves to the snooze,
Shit, shower, shave, tie our shoes, read the news,
Through the motions, on cruise,
Sleep walking, running on the fumes,
Hit the drive, begin to fantasize,
‘Bout punching 95 and let our exits pass by,
to a new highway, a new life,
but we let the brakes ride, change our minds, and before we realize
we’re stuck in traffic and we’re keeping perfect time,
Stop, go, yield, left, right, synchronized,
The subtle cadence of conformity lines,
All caught between the stripes and stopped at red lights,
Fuel pumpin’ caffeine like gasoline,
Reading that graffiti like financial magazines,
Selling all our time saving up for dreams,
But right when you fall asleep, the horn beeps.
See, we’re all the new child in the lost and found
just trying to find a table and our place to sit down,
Just one friendly face to face the playground,
and let the hours spin around on the merry-go-round,
Now, the playscapes all changed to skyscrapers,
And the asphalt layers lead us there like conveyor,
Children running late for tag with elevators
because we’re in the parking lots playing musical chairs,
Were we too young to know? Or, too free to care?
About how a couple wasted days could turn to 30 years,
How smiles turn to tears, little giggles to swears,
How hopes turn to fears, and daydreams to blank stares,
Gazed about the time we jerk the wheels of our careers,
Jam revolving doors, and throw ourselves between the gears,
And it’s so clear, we hold that moment so dear,
Because we’re all so near, but the disconnect is more real.
It goes, Please, Thank you, and Your welcome,
Not a problem, Nice to meet ya’, Beg your pardon,
Take care, Have a good one, Yeah,
A Good morning, and a Great afternoon,
See ya’ later, ‘Preciate it, Hope you come again soon, Next,
For here? To go? Limited time only,
Call now toll free, Money back guaranteed,
Thanks for choosing us, For your patience, and For holding,
and For understanding, Playing, For your time, and Not smoking,
Enjoy responsibly, Be seated, and Behave,
Arch your back, Make eye contact, Entertain,
Open doors, Clean your plate, Lose weight,
Keep your word, Smile, Laugh, Shake hands, Turn and wave,
Hey, You dropped your wallet, Please wait,
Drive safe, Say, I need some help,
Excuse me, Are you ok? Yeah,
Thanks for checking in, Have a nice day,
Great job, Leave a penny, Take a penny,
Keep the change, and Sing.
Editor’s note: According to the artist’s wishes, the preceding was posted word for word from the original “Credits” document that accompanied the release of this song. Any producers or DJ’s that are interested in participating in the Remix Contest for “Good Morning” can inquire about the A cappella version by emailing firstname.lastname@example.org. Also, if you are interested in owning a free mp3 copy of “Good Morning” (with Cover Artwork), you can request that as well by emailing email@example.com.