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I Just Want To Be With You All The Time

When a whole writhing bundle of what you have always deeply felt and hoped finds a connection and expression with another human being – that’s what we like to label ‘love’.

The thing about labels, is that they change the experience. When we slap them on, there’s a “whew, now that’s explained!” sensation that comes with them. But the labels themselves arrive with a set of somewhat unacknowledged expectations – some of those are about experiences, and some are about commitments, and a whole narrative gets touched off by the simple application of a word.

I wanted to write a song about the early beginnings of making an authentic, deep connection with another person, without resorting to using the word ‘love’.

And I wanted to take it further from there – without leaving it at some gratuitous bit of lust, but also without assumptions of picket fences and Parent Council meetings lingering in the air. I wanted it to be a song about a living, purposeful, adaptive, engaged relationship with a transformative beginning.

Because while such relationships may include emotional and physical intensities, and maybe even picket fences and Parent Council meetings at some point, the point is that such a connection can be open and adaptable and not just locked into a set of tracks that sets off interminably into the horizon. A relationship can be transformative on an ongoing (although not linear and constant) basis.

The difference between being in love with a person – and not just one fixed idea of who a person is and what a relationship means – is that people change, and relationships can also change, and that can be good. A loving relationship can develop and evolve and still be love.

I wanted this song to put “seize the day” together with “live in the moment”. I wanted it to be mindfulness with enthusiasm, in the context of a relationship. I didn’t want it to be limited to a “we’ve got tonight” kind of song, but I also wanted didn’t want it to be limited to a “we were built to last” kind of song – because buildings tend to be sort of static and fixed and unchanging.

The idea of ‘living in the moment’ doesn’t just mean ‘taking the opportunity’ – it means to be fully engaged emotionally and intellectually engaged, as far as possible, with whatever kind of experience you are having in the now. Existentialism is about really acknowledging what’s going on with how you and others exist in context in each moment, and making your moments meaningful – because within us, we don’t measure life in minutes or hours or days or years, but in those meaningful moments. The more moments that we really live, the fuller our lives are. We can cram quite a bit of living into our days if we approach them in that way, and especially if we do so together.

Anyway, to whatever extent all those hopes for the song were successful, here are the lyrics;

I Just Want To Be With You All The Time

I just want to be with you all the time
I only want to be with you all the time
I want to be beside you, and with you in mind
I want to be all with you, all the time

Forever is a long time
and I must admit
I don’t have the kind of mind
that can conceive of it

But this moment has transformed
both the present and the past
The future would be better too
if we could make this last

I just want to be with you
all the time
I only want to be with you
all the time
I want to be beside you
and with you in mind
I want to be all with you
all the time

I want to be all with you
I want to be all with you
I want to be all with you
All the time
All the time
All the time

I just want to be with you
all the time
I only want to be with you
all the time
I want to be beside you
and with you in mind
I want to be all with you
all the time

I want to be all with you
all the time

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Heart Portal – 12 Years Old and Intense and Likes Poetry

These four lines were among those I wrote in one of my early attempts at songwriting, when I was 12 years old;

“Those eyes
are beautiful.

They’re all I see, sometimes,
when I look at you.

They cause me
to feel.

They move me softly,
they make me steel.”

To be honest, the poem/song wasn’t actually much longer than that. And the melody that went with those lines – simple, almost automatic, a bit stilted – is now part of the new version of the song I built around those lines.

I was a pretty intense 12 year old. I mean sure, that intensity came out in my love for floor hockey (I never did properly learn how to skate on ice – a source of some shame for a Canadian boy from Winnipeg). But I also really liked words. I read poetry, and every book I could get my hands on. Some nights I read the dictionary, and even took notes, trying to learn new words.

The line about how “the eyes are a window to the soul” made a lot of sense to me.

The intensity with which I felt my many conflicting emotions felt taboo to me somehow. Much of that was internal – I also felt a keen loyalty to logic, and the social attraction interactions of 12-year-olds made no sense to me at all. I wasn’t sure that emotions were even okay to have, never mind admit to. I unconsciously attributed this sense of taboo to coming from the faith community that I grew up in, but looking back I think it was more a matter of my own internal interpretations rather than dogma.

In one conversation I had as an older teenager at camp, I confessed to my desire to be a writer, but that I had some misgivings, since I felt that faith limited what I could write about. I don’t remember the name of the fellow I talked to, but I do remember what he said – or at least, what he meant. The gist of it was, that he saw spirituality as providing an expanded dimension for what a person could write about.
A person of faith (and I would now add, a person struggling with the notion of faith) could write about everything that anyone else could write about, and faith as well.

That conversation was part of my process of opening up and being more free to express myself, to consider all topics.

So this song, about feeling an intense attraction to another person, and the awkward and wonderful moment of getting caught up in that attraction, is part of belatedly setting my 12 year old conflicted self free to be expressive and less conflicted. As Wordsworth famously wrote in his poem ‘My Heart Leaps Up’- “The Child is father of the Man”.

Here are the rest of the lyrics of ‘Heart Portal’

Feels like I’m looking
through a window
deeply into you –

And I’m ashamed of how I stare,
but I don’t wanna
look away.

Some kind of power
is beginning
to flow.

Now we’re just standing there,
laser-locked
together.

Those eyes
are beautiful.

They all I see, sometimes,
when I look at you.

They cause me
to feel.

They move me softly;
they make me steel.

They penetrate.
They water-fall.

They massage my stiff heart until they hold it all.

Those eyes
are beauty
beauty
beauty-full.

They all I
they all I
they all I see.

They all I
they all I
they all I see.

… From there, it’s a matter of repetition.

The repetition itself functions in this song as a way to communicate the sense of being caught up in a moment, of not being able to get past the moment – of feeling entranced and having my mind captured by the beauty of the eyes I am looking into and by extension, the essence of the person that I feel drawn to as well.

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How I Came To Write ‘Perfectly Happy (Wedding Song)’

‘Perfectly Happy (Wedding Song)’ seems to be the most popular song from my debut EP. It was a song I wrote for my sister’s wedding. I could tell about the nuances of the lyrics, but it wouldn’t mean much without telling about my sister and what she means to me, because that is where it comes from.

My sister was 15 years old when I was born. She and my two brothers were old enough already to be fairly independent, and when I came along I was a bit of a surprise baby. My parents had started going out in the evenings on their own more often again, and this continued while I was little. I was regularly left in the care of my older siblings, and they did a great job of taking care of me, especially my sister.

Of course, my siblings got older, and along with that they moved out of the house and had their own families. My sister moved the furthest away, from going to University in Ontario, studying and working in Germany, and after she got married to her first husband Tim they went to work as teachers in Botswana in the town of Kanye. They were working for an agency subcontracted by the Canadian International Development Agency, teaching at the Seepasitso Secondary School.

Although my mom at this time had been fighting cancer, she had a period of remission, and my parents decided to go visit my sister and her husband in Botswana, with stops in Europe to do some vacationing and to visit with my Uncle and his family in the Schwarzwald area in Germany. Since I was still quite young, they took me along. This trip probably set the tone for my willingness to be a bit adventurous and take some risks in my life. My sister and her husband were gracious hosts, and I felt very comfortable in Botswana, where I enjoyed playing soccer in the street with some of the local boys. (The rest of the trip was great too).

A year later, my mother’s cancer had returned, and she was confined to the hospital for a long time. My sister and her husband came home from their teaching assignment early in order to help take care of me. When my mother died, it was my sister who delivered the news. Time passed, and circumstances changed. My father remarried. My sister and her husband had children of their own. I went to University, and had some adventures on my own, eventually marrying and being part of my own family. What did not change was my sister’s continued caring support and openness in relationship to me and the whole family.

My sister is a gracious, caring, and authentic person. She laughs easily and naturally. One of her quirks is that, having studied and taken an interest in language for her entire life, she is a bit particular about using language properly – but this particularity about language never takes precedence over how she cares about people. She does know what she wants in life, and partly because she has always been good at knowing what she wants to achieve (mostly in the way of contributing to her community, but also in the things she likes), she has experienced success in achieving her goals.

A few years ago, suddenly and unexpectedly, her first husband died of a heart attack that he experienced during a weekly floor hockey game at their church. This hit her hard, of course. He had always taken care of his health and been active, so it was a huge surprise and shock. Their boys, now grown up, grieved with her and supported her.

Over time, my sister rekindled a friendship with a former teaching colleague of hers, and that friendship became romantic. This eventually resulted in their getting married, and the opportunity to write ‘Perfectly Happy’.

In the lyrics of ‘Perfectly Happy’, I sort of playfully take on my sister’s perspective regarding her new husband (and old friend), suggesting that she is a particular person who knows what she wants – and that he fits the bill. There’s a bit of word-play, comparing the relationship between the couple to a sort of ascendancy to the leadership of a country. A ‘State of the Union Address’ is a speech given by a President of the United States, generally addressing significant and emerging circumstances of note to the entire country. A marriage is often also referred to as a union; a ‘state’ is a condition; and ‘addressed’ can mean either ‘indicating a place of residence’ or ‘the way in which one person initiates discussion with another’. I like word play, and so does my sister – it’s part of the whole family’s sense of humour, really.

So there you have it – that’s how I came to write ‘Perfectly Happy (Wedding Song)’. I’ve changed it a bit since I first sang it at my sister’s wedding – it is now lower in pitch, for example, since I refocused my overall singing style to stay in the vocal range I’m more comfortable with – but basically it’s the same song I wrote at the time. I hope that you can feel the sense of affection and playfulness that I had when I wrote it.

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Writing Whenever You’re Ready

When I listen to songs on the radio, I listen for message and tone.

The ‘love’ songs I often hear often are trying to present some urgent need for accepting love as an immediate adventure, something that could pass at any moment. There are few songs that consider patience a virtue. So I decided that I needed to write a different sort of love song, one that would be accepting of the time and space of the other, and yet would indicate the desire and caring of the lover’s voice in the lyrics.

That’s where ‘Whenever You’re Ready’ comes from. (The ‘meet the dawn’ line is meant figuratively; to help the other get through a ‘dark’ time).

WHENEVER YOU’RE READY
Lyrics and Music by Art Koop (last revised May 7, 2018)

You’re feeling the weight
of a wildly spinning globe
upon your shoulders…

and right now you see
love as another complication

But look at me-
I’m not asking you
to help me carry on…
If you let me in,
I’ll understand
and help you meet the dawn

Whenever you’re ready
to be loved…

Whenever you
Are ready to
Be loved…

Whenever you’re ready
To be
loved…

I’m ready to love you. (2x)

The burden you carry
you need not carry all alone. (2x)…

Whenever you’re ready
To be
loved

I’m ready to love you. (2x)

So I say again
lie down, let me
massage your tired limbs –
and if you sleep,
some hope and faith can
shine into your dreams (2x)

Whenever you’re ready
to be loved…

Whenever you
Are ready to
Be loved

Whenever you’re ready
To be
loved

I’m ready to love you. (4x)
I’m ready to love ——
you.

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