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MP3 Dalton Bentley & Chas Thomas - Just One More Time

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MP3 Dalton Bentley & Cha
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If you liked the late 60's/70's rock music scene when guitarists actually played well and the music itself was part of the spell that transported you and made you think about and feel the lyrics, then you want to check out this album.

6 MP3 Songs in this album (31:36) !
Related styles: Rock: Adult Alternative Pop/Rock, Pop: Psychedelic Pop, Mood: Intellectual

People who are interested in Allman Brothers Deep Purple Moby Grape should consider this download.

Just One More Time (Track One: length 3:37)
(© Chas Thomas & Dalton Bentley 2010):
Just one more time----Donât want to leave my youth behind
Just one more time----Donât want to leave our love behind
Just one more time----I wonât go down without a fight
Just one more time----Ainât going gently into that night

Itâs just a cover-up; put the shades on the dimming windows
Want to eat and drink our fill, âfore that silver cord be sliced
Just one more time----I want to feel that love so fine
Just one more time----Donât leave me faceless, out of time
Just one more time----Feel the wind blow souls around
Just one more time----Iâll have to fight to hold my ground

Itâs just a cover-up---is it curse, or is it blessing?
That strips the life awayâ¦as weâre crushed beneath the Wheel.

Just one more time---âfore the strong men quake at night
Just one more time---I want to feel that love so fine
Just one more time---Donât leave me faceless, out of time
Just one more time----Iâll cut and paste this in the night

Itâs just a cover-up---is it curse, or is it blessing?
That strips the life awayâ¦as weâre crushed beneath the Wheel
Song notes:
We wrote this song 2010-02-06 (this is the latest recording, 2010-03-07). Dalton was driving over the Trans-Mountain pass over the Franklin Mountains on the way to the recording session when the music of the song came to him mostly complete, a driving rock and roll variation on a somewhat dark folk song he had written back in 1978 or so. When Dalton and Chas set down at the table February 6, 2010, they quickly wrote new lyrics to the song and began the process of re-creating the song in a new and dynamic vehicle, lyrically and musically. During the subsequent recording sessions Chas contributed great vocal and percussion tracks, while Dalton produced a driving bass guitar track and a slide guitar part using VST tube amplifier distortion on a 1955 Les Paul in counterpoint to an improvised acoustic guitar rhythm line using his 1975 Martin D-12 (strung 6 string) and a VST effect to give bite to that acoustic work.

Reflections w Beginnings (Track Two: length 4:57)
(© Chas Thomas & Dalton Bentley 2010):

(Lyrics to Reflections)
Pieces of my life come back to me

Like an interwoven tapestry

Sometimes happy, sometimes so sad

All things considered, the good outweighs the bad

The answer to it all is knocking at the door

My ship sails on--

The storm is over.

So many memories are now so clear,

I thought I lost them, but now they're near

It's a wonder how I've made it this far--

So hard to figure the meaning of it all...

The answer to it all is knocking at the door...

Our ship sails on--

The storm is over.

Song notes:

The first portion of this double song track (cross fades Reflections into Beginnings) features Chas' superb vocal range in melody and harmony, Chasâ great work on drums, acoustic guitar and Gretch electric guitar---and his lyrics. Dalton contributed musical composition (with Chas), lead guitar (Strat into VST chorus effects to give a simulated Leslie organ speaker guitar sound), string synthesizer and bass guitar parts.

The second portion was based on an instrumental prototype Dalton had composed some years ago and had recorded rough concepts of the song over the years. In a recording session 2009-02-21, Chas took a strong production role and with their usual synergy, he and Dalton produced a hauntingly beautiful piece that reproduces musically ideas that they had been talking about recently, i.e., the mystic idea that (paraphrasing from Mysticism: A Study in Nature and Development of Spiritual Consciousness by Evelyn Underhill) there is a music of humanity, one of the body, another of the soul, another in the connection between them. Thus the life of the visible and invisible universe consists in a supernal fugue. This music of the soul corresponds with the measured harmonies of the spiritual universe--one does not âseeâ the spiritual world: one âhearsâ itâ¦. a âheavenly melody, intolerably sweet. Dalton had named the composition as an allusion to lines written by Rainer Rilke in Letters to a Young Poet (from letters written 1902 - 1908): Why donât you think of him [the Messiah] as the coming one, who has been at hand since eternity, the future one, the final fruit of a tree whose leaves we are? What is keeping you from hurling his birth into evolving times and from living your life as though it were one painful beautiful day in the history of a great gestation? Donât you see that everything that happens begins again and again? Could it not be his beginning, since beginnings are in and of themselves always so beautiful? Chas suggested that Reflections and Beginnings belonged together and we think it was a good idea.

On the Beginnings piece, Chas plays acoustic guitar, electric guitar, vocals, bass, bongos, maracas. Dalton plays electric slide guitar, acoustic guitar, djenga drum.

Nowhere Left to Go (Track Three: length 4:44)
(© Chas Thomas & Dalton Bentley 2010)


You're only human? Well, I'm sorry about that...

We'll sleep together till we remedy that

You say you're living in another one's dream?

So change the channel---we'll find a new scene

She says "Remember how you loved me that night?"

It didn't matter that the end was in sight

Déjà vu said we'd been there before

How could we know that there wouldn't be more?

You think it's real when it's gone the next day?

We didn't know that there'd be hell to pay

But if we find love and it dies with the night

Still nothing here ever gets out alive

Is it safe?--she asked mockingly

I screamed---get out of my head

If it's a done deal then what have we found?

'Cuz if you're sinking you can't take me down!

In a place where there's no where to go

Can't find me---the man that I know

You tell me I'm the dawn of your time

With no beginning and no end of the line

But there's shadows obscuring this light

No one hears me and there's no one to fight

Seek in the Darkness when you've stripped all away

There's Something there that will show you the Way

Number 9 and your life's in Review

Find yourself --- the one you once knew

Song notes:

Chas is singing the vocal and playing snare, high hat, and bass drum, as well as acoustic guitar rhythm, shakers and a subtle tambourine part in some areas. Dalton is playing Les Paul lead guitar with tube amplifier distortion, bass guitar, and djembe drum. Chas produced wind chimes and wind.

Twilight (Track Four: length 2:31)
(© Chas Thomas & Dalton Bentley 2010)


Sometimes a strange despair
Rises deep within my soul
Leaves me gasping for my life
Wondering what's yet to unfold

Twilight is such a curious
Time of the day
So very beautifulâ¦
Yet other ways

Lonely people hiding in tears
Behind the walls of their fears
Stumbling on to eternity
In blind and lost uncertainty

If we'd just let love flow
And open up our hearts
That Wily Dragon might flee
And we'd be truly free

Sometimes a strange despair
Rises deep....within my soul

Song notes:

Chas wrote most of the preliminary lyrics of the song, Dalton contributing some additions and modifications as they produced phrasing to accommodate the meter of the composition, the music of which emerged upon consideration of a non-Western scale and the lyrics. Dalton sings the low range vocal verses alternating with Chas melodic choruses (on which Chas adds a harmony part also). Chas plays a 1959 Gretch Anniversary Model guitar with tube amplifier overdrive, establishing the electric guitar rhythm throughout, as well as playing drums and shakers. Dalton plays bass and the lead guitar interlude, the latter featuring an unusual sound sculpted through a Cubase VST via a Turser JT300 Strat.

Always Headed Out (Track Five: length 5:50)
(© Chas Thomas & Dalton Bentley 2010)


Verse I:

Your head is always on my shoulder

Even when we're miles apart

A travelling man is always headed out

I see you on the balcony (with your friends)

I stand and beckon with my hand

Your eyes light up a travelling girl is always-- moving on


Yes we savor the peaks

Made all the higher in the climb from the valley is it deja vu

--this thing me and you?

(and) If the world is illusion

Still we're living-- in a real tale

Ragged Ann and Andy-- in the tornado

Verse II:

Your scent remains upon my skin

Your honey kisses on my lips

Your taste it always makes me--catch my breath

I think of beauty and your perfect form

We come as one-- a single heart

Our passion always guides us--like our Northern Star
Song notes:

The initial lyrics (mostly based on Daltonâs thoughts about, and recollections of his wife, Cheri, whom he has known since 1972, with Chas adding most of the second verse), melody and chording emerged during work in the studio in July 2010. Chas sings the lead vocal, plays drums, and adds a second lead part (with echo delay) on a Gibson ES-135 class guitar (probable Turser JT-134) in the instrumental break, and plays one of the two harmonic electric guitar parts (Dalton playing the other part in simultaneous harmony) which introduce the song. Dalton plays electric rhythm guitar on a 1959 Gretch through a Fender Twin and lead guitar on a 1955 Les Paul throughout, with echo delay, as well as bass guitar. The instrumental break in the song features a lead by Dalton, then Chas, then Dalton and Chas trading measures with echo delay off for a raw one-take improvised musical conversation, coming out of the improvisation with simultaneous harmonic leads by both into a final chorus.

Journey to Montoya (Track Six: length 9:57)
(© Chas Thomas & Dalton Bentley 2010)

This 2009-02-28 recording is an example of the kind of improvisational work Chas and Dalton like to do in live settings---or anywhere. Back in the 1970's Dalton used to listen to Carlos Montoya's work (both for pleasure and to motivate technical exercises which informed his live guitar work at the time). Journey to Montoya is a free jam (spontaneous, unrehearsed) with roots in Dalton's admiration for Montoya's flamenco guitar work. Chas plays acoustic guitar and percussion with shakers. Dalton plays acoustic guitar on a Martin D-12 and plays the djenga drum percussion. Montoya, while machine gun fast on the guitar, annoyed the flamenco aficionados by feeling free to increase and decrease tempos as he allowed the song to develop during a performance. Journey to Montoya is true to this freedom (grin).

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