Sitting all alone in my school my of stone that keeps me from my home
I put a kettle on the stove and look towards the fields overgrown
You know I came here to make things alright
Fade away from the lights that shine from the town

The farmer in the fields he never feels all alone he’s got his family by his side
And he looks towards his crops because he knows they will yield all he needs
I heard he never even questions what it is that separates him from the lights that shine from the town

As planes fly overhead, I wonder where they’ve been or where they are going
And if I could grab on to wing, I’d fly I would fly so far away
You know I never stick around for too long
In a matter of time, I’ll be gone away from this town

Still the farmer he sits quiet, so rooted in the fields in which he lives
And as cars drive towards the town, he wonders why they would be leaving
The open fields and skies that are here
What is it with the silence that we fear?

So please take me home I don’t want to live alone
I’m alive and living so much that it’s time that I go home
To the streets and the lights that I know
Will lead me to the next place I’ll call home



Mike Filipowitsch – acoustic guitar & vox (2005)
Jeremy Little – synths (2005) bass and drum programming (2020)
Mike Obrien – acoustic & electric guitar (2020)
Peter Elkas – slide guitar (2020)

"This tune was the most worked on and turned out to be one of my favourites. The demo had this finger picking acoustic which I wasn’t digging. I found another of Mikes' acoustic tracks turned off when I first reopen the session. There was this chugging palm muted acoustic track that I used to define the direction of the song. It sounded like a train rolling by and i wanted that vibe to be the groove. The original atmospherics synths I tracked in 2005 really seem to jive and then I programmed a traditional train drum beat. To accentuate more of that chugging acoustic, I tracked my bass with a similar vibe but with a lead instrument intention. I originally ask O'brien to track a guitar solo for the outro, but sent back the electric rhythm you hear now. I was a pleasantly surprised. I was now hearing this guitarmony slide outro and that is all the direction I gave Elkas. He killed it!! Mixing this song was hard. Carlin and I were having a hard time getting the original acoustic to sit in the mix right. Obrien tracked a new version of what Mike did 15 yrs ago, but I wasn’t the same vibe. Making Mike’s original guitar work was so important me to because it had the right feel (too bad it was recorded bad) and it was recorded on Bjay’s 1920’s parlour guitar (a ton of other meaning for obvious reasons). Carlin & I massaged the shit of the guitar and ended up using it for the main section of the song and then switched to Obriens fuller acoustic sound for the outro to beef it up. With the song finally mixed a couple of times, I still felt the groove of the song was off. I ended up redoing the complete drum part in December and we remixed the tune on boxing day. To me the groove is super happening now and the vibe is alive." - Jeremy Little

"Of all the songs on this recording, this is the one I play live the most, still. It holds a lot of special meaning and speaks directly to a feeling of isolation and longing that I had while living in an old schoolhouse on the outskirts of Guelph, Ontario. And Jer is right, I so remember trying to figure out just what the feel should be. Although this song turned up on another record of mine, this is (in my view) is the ultimate version. Elkas’ outro work is truly amazing. It is one of those moments that I am glad I was not involved in its evolution, as perhaps this may not have come to fruition in the amazing way that it did. " - Mike Filipowitsch