Taken

by Greg Fleming

Taken cover art
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about

2x album set / 32 Tracks / Extensive liner notes.
Includes remastered "Ghost Are White" album with bonus tracks.

Greg Fleming is an established singer-songwriter from Auckland, New Zealand.

"Taken" features 11 tracks recorded between 1994 and 2003 at various studios around Auckland, New Zealand. From full band tracks through to sparse live-to-tape vocal/piano numbers, "Taken" shows-off Fleming's strong lyrics and song-arrangements.
The album wast mostly produced by Wayne Bell and mastered by Dale Cotton.

"Ghosts Are White" (as Greg Fleming and The Trains) was originally released in late 1993. The album features 21 songs – the original 11 tracks plus 10 bonus cuts from the same sessions. All tracks are remastered.

©&(P)2010 Greg Fleming under exclusive license to LucaDiscs.
The copyright in this sound recording is owned by Greg Fleming. All rights of the producer and of the owner of the recorded work reserved.

www.gregfleming.co.nz

credits

released 21 June 2010
TAKEN:
All songs written by Greg Fleming (Control).
Tracks 1-6 produced by Wayne Bell.
Tracks 7, 9 & 11 produced by Greg Fleming.
Tracks 8 & 10 produced by Anthony Ioasa.
Recording engineers: Chris Van de Geer (The Lab), Chris Sinclair (York Street), Andre Upston (Helen Young).
Tracks 1-7 mixed by Chris Van de Geer.
Track 8 mixed by Anthony Ioasa.
Recorded between 1994-2003, Auckland,
New Zealand at the Lab, York St Studios, Vine Street,
Helen Young Studios and Progressive Studios.
Pre-production by Andy Morton.
Mastered by Dale Cotton Mastering, April, 2010.

GHOSTS ARE WHITE:
Original Credits:
All songs written by Greg Fleming (Control).
Produced by Greg Fleming.
Recording engineer: Matthew Heine.
Recorded between 1991-1993 at the Lab, Auckland, New Zealand except ‘Codeine Road’, recorded at bFM studios, Auckland, 1989.
Greg Fleming: Vocals/electric & acoustic guitars/harmonica/piano. Bass on ‘Codeine Road.’
Nick Kreisler: Bass on all tracks except ‘Codeine Road.’
Mark Petersen: Electric guitars/backing vocals on ‘Mr. Clive’/‘Bottom Of The World’/‘Into Stone Into Sand’/‘Get Somebody Else’/‘Wanna See You Again’.
Stuart Broughton: Drums on ‘Mr. Clive’/‘Bottom Of The World’/‘Into Stone Into Sand’/‘Get Somebody Else’/‘Wanna See You Again’.
John Segovia: Acoustic & electric guitars/backing vocals on ‘Ghosts Are White’/‘Wish I’d Hesitated’/ ‘Just Drove Through Town’/‘Unanswered Prayers’.
Robert Key: Drums on ‘Ghosts Are White’/‘Unanswered Prayers’.
Meryl Maine: Violin on ‘Mr Clive’.
Oliver Stead: Backing vocals on ‘Codeine Road’.
Chris McKibbin: Backing vocals on ‘Get Somebody Else’.
Tony Bones: Backing vocals on ‘Wish I’d Hesitated’.
Original cover photo: Greg Semu.
Portrait photo: Kerry Brown.
Original design: Boris Jansen/Greg Fleming/Kane Massey.
Executive producer: Kane Massey.
Thanks to Harborne & Arthur, Craig Mason, Tony Bones, Danny Mannetto, Chris McKibbon, Susie Devereaux, Sharon McNabb, James Holt, Pagan Records, Paul Casserly, Mark Tierney, Greg Johnson, Grant’s Border Radio show, Campbell Smith, Andrew Thorne, Andrew Baxter, Kerry Brown, Ollie Stead.
Special thanks to: Matthew Heine, Stuart Broughton and Kane Massey.
For Angus and Peter who couldn’t hang around.

"Ghosts Are White" Bonus Tracks Credits:
All songs written by Greg Fleming (Control) except ‘She’s Got A Star’ – music by Greg Fleming, lyrics by Greg Fleming and Richard Kingsford (Control).
Produced by Greg Fleming.
Recording engineer: Matthew Heine.
Additional production and engineering on ‘All The Time In The World’: Chris Sinclair.
Recorded between 1991-1993 at the Lab except ‘Roll Into My Arms’ and ‘Hurt In A Friendly Game’ recorded circa 1988/89 at bFM studios.
Pre-production on ‘All The Time In The World’ by Andy Morton.
Ghosts Are White + bonus tracks mastered May 2010 by Andrew B. White; digitally transferred from Matthew Heine’s
original 1993 Sony PCM master. Many thanks to Matthew for the loan of the Sony converter for the audio transfer.
Greg Fleming: Vocals/electric & acoustic guitars/piano. Bass on ‘Roll Into My Arms’.
Nick Kreisler: Bass on all tracks except ‘All The Time In The World’ and ‘Roll Into My Arms’. Backing vocals on ‘So Happy It’s Sad’.
Mark Petersen: Electric guitars/backing vocals on ‘D’/‘Fire Escape’/‘Whisper’/‘Friends Of Mine’/‘She’s Got A Star’.
Stuart Broughton: Drums on ‘D’/‘Fire Escape’/‘Whisper’/ ‘Friends Of Mine’/‘She’s Got A Star’.
John Segovia: Acoustic, electric & slide guitars/backing vocals on ‘So Happy It’s Sad’.
Andrew Baxter: Drums on ‘So Happy It’s Sad’.
Meryl Main: Violin on ‘Fire Escape’/‘She’s Got A Star’.
Ted Brown: Backing vocals on ‘All The Time In The World’.
Cameron Miller: Bass on ‘All The Time In The World’.
Ricky McShane: Drums on ‘All The Time In The World’.
Jono Lonie: Violin/mandolin on ‘All The Time In The World’.
Oliver Stead: Backing vocals on ‘Roll Into My Arms’.

Taken/Ghosts Are White Production Credits:
Executive producer for LucaDiscs: Andrew B. White.
Front cover photo of Greg by Mark Smith taken at the Occidental Hotel, Vulcan Lane, Auckland, 1994.
Artwork by Andrew B. White Design Associates.
Photographers (where known): Mark Smith, Ted Baghurst, Greg Semu, Kerry Brown, Stuart Page, Becky Nunes, Nicky Fleming, David des Baux, Rudolf Erb,
Greg Hammerdown, Nick Kreisler, Andrew B. White.

tags

tags: ghosts are white greg fleming lucadiscs rock taken alt-country rock singer songwriter Auckland

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Track Name: California Fishing
I was following the pitcher,
some faces just come out of the dark and man they hit ya!
Real life or is it art?
I was standing in the kitchen,
staring at photographs and my fingers started twitchin’,
just like a polygraph.
Think I’ll take my time again…
It was 1977.
We were in California and we weren’t fishing,
just busy making sons and daughters.
Think I’ll take my time again…
California fishing (California),
California fishing (California),
Cal-I-forn-I-A.
Think I’ll take my time again…

©Greg Fleming (Control)
Track Name: Good Memory
I’ve got a good memory and I don’t forget the things that worry me.
Now it’s another lonely night and I don’t feel like sleep,
it’s another lonely time and I turn in the summer heat,
and I remember the time when our lives had only sweet memories,
only sweet memories.
I’ve got faces and no names,
I’ve got numbers that don’t connect.
I’ve got days of wanting nothing.
I’ve got nights when nobody ever slept.
Now it’s another lonely night and I don’t feel like sleep,
it’s another lonely time and I turn in the summer heat,
and I remember the time when our lives had only sweet memories,
only sweet memories.
I’ve got a good memory,
that was the one good thing you did for me.
Now that we’re both free to have memories.
One more lonely night,
just one more lonely night.

©Greg Fleming (Control)
Track Name: So Sad Sometimes
You look so sad sometimes.
And I wish that I could change your mind.
And you try to be so kind but you look so sad, so sad sometimes.
And I know and I can sense in your heart of hearts, is the
answer to the question I could never ask, could never ask, could never ask.
So sad sometimes, so sad.
You look so sad sometimes.
Is something inside out of line?
And you try to be so kind.
But you look so sad, so sad sometimes.
Is it nothing to do with all the friends you lost?
Could I put my finger on it if I had the hand of God?
But I have not no, I have not.
So sad sometimes, so sad.
You take it in your stride, but you can’t hide.
Your arms they aren’t tied.
It’s time to open up and let me inside.
So sad sometimes, so sad.

©Greg Fleming (Control)
Track Name: Taken
Swimming through the air.
Lost in your own house.
There’s nobody there, everyone’s gone out.
Then you take me by the hand, and I follow you.
And you take me again and you break right through.
Yes I’m waiting for your touch from a thousand fingers, and I’m floating like dust, in the smoke that lingers.
Taken. Taken. Closing the door.
We don’t have to speak.
Clothes that ain’t yours, falling at your feet.
Then you take me by the hand, and I follow you.
And you take me again and you break right through.
Yes I’m waiting for your touch from a thousand fingers,
and I’m floating like dust, in the smoke that lingers.
Taken.
Taken.
I never knew that you could light up the dark,
across an empty room right into the heart, taken.
Taken.
Taken.
Taken.

©Greg Fleming (Control)
Track Name: Hamish
You’ll find out in the morning what you’ve got,
whether you’ve got something or not.
Can you take it with a bow?
Can you take it like a mother’s kiss?
Hamish.
Hamish.
You’ll find out in the night what you need.
What kind of book you got to read.
Can you take it like a gift?
Can you take it like a mother’s kiss?
Hamish.
Hamish.
If you get a little careless, just let me know and I’ll tell all the cars to go real slow.
Can you take it with a bow?
Can you take it just like Lou Reed did?
Hamish.
Hamish.
Can you take it with a bow?
Can you take it only then and now?
Can you take it like a gift?
Can you take it just like Lou Reed did?
Can you take it like a mother’s, a mother’s kiss?
Hamish.
Because the satellite’s gone right up to the sky.
Because the satellite’s gone right up to the sky.
Because the satellite’s gone right up to the sky.
Because the satellite’s gone.
The satellite’s gone.
If you get a little careless, just let me go.
I’ll tell all the cars to go real slow.

©Greg Fleming (Control)
Track Name: Never Wanted To See You Cry
You say you want a piece of me,
get even before you get free,
well it was fun for a little while.
I wrote your number in the book,
I didn’t have to look.
I knew it straight, straight off by heart.
I wouldn’t lie to you, you’d see right through.
I wouldn’t lie to you, although some nights I might’ve tried.
I never wanted to see you cry.
I never wanted to see you cry.
I never wanted to see you cry.
So darlin’ please, dry your eyes.
The same bathroom with white, white walls.
The mirror that you’re using, don’t work the same, anymore.
Better get out your make-up bag, things are lookin’ real sad.
There’s too much been said tonight, there’s too much that can’t.
I wouldn’t lie to you, you’d see right through.
I wouldn’t lie to you, although some nights I might’ve tried.
I never wanted to see you cry.
I never wanted to see you cry.
I never wanted to see you cry.
So darlin’ please, dry your eyes.

©Greg Fleming (Control)
Track Name: Threw Me
You never learnt the rules.
You never even played.
I caught my breath, tried to clear my head and brushed those thoughts away.
But your moves they all had meanings, and I couldn’t quite see.
The shape of the room seemed to change and you had the only key.
And it threw me like a light you can’t escape.
Threw me like a drug you just can’t shake.
Threw me like a light you can’t escape.
Threw me like a drug you just, you just can’t shake.
I got a hotel on a pillow and the bar’s open late.
If I could just reach you tonight God knows the noise we’d make.
Cos you threw me like a light you can’t escape.
Threw me like a drug you just can’t shake.
Threw me like a light you can’t escape.
Threw me like a drug you just, you just can’t shake.

©Greg Fleming (Control)
Track Name: Codeine Road (Single Version)
Put the fear of God as you hop, skip skip and jump, put the fear of God in you.
Same old man you know, out taking a stroll.
He might be the king of rock’n’roll, that’s the way it goes, all the way down Codeine Road.
Stop in at the shop.
Spend all the money he got on red red wine and a video.
A shot to go, the whole way down Codeine Road.
She’s sitting there, talking on the phone.
I take a chair, she take a car and go go go!
Codeine Road.
There’s little boy blue he’s out on his own too.
Lord, he ain’t got a clue, just what he’d do if they closed Codeine Road.
There’s little boy blue, hey look, there’s me and you down Codeine Road.
Hey don’t make no fuss, just find someone you can trust down Codeine Road.
You got the same old face, in the same old place Codeine Road. It’ll put the fear of God in you.
It’ll put the fear of God in you.
It’ll put the fear of God in you.
It’ll put the fear of God in you.

©Greg Fleming (Control)
Track Name: Lovers Of Listening For The Weather
(for Jade)
Invited round for dinner and wine they haven’t seen each other for such a long time.
He’s standing there behind her door, they both take a breath and try to stand tall.
She’s wearin’ a brand new, similar dress, roses red right outa bed.
Paperback’s at the same page and Bic’s ‘Listening For the Weather’ just plays and plays. There’s no climbing in that window again.
They can’t seem to win, but whoever wins, whoever wins?
They wish the wine was twice as strong, in Western Springs there’s a party going on and slowly they tell their sad old stories and only ‘Listening for the Weather’ makes it hunky dory.
And he makes her watch Letterman and she pretends to like TV American, and outside the rain it’s pouring down she wants ‘Listening for the Weather’ can he turn down the sound?
There’s no climbing in that window again.
They can’t seem to win, but whoever wins, whoever wins?
She pays the taxi with her credit card, almost trips going into the yard, and everyone
thinks they’re back together but now they’re just lovers of ‘Listening For the Weather’.
So he walks back down the hill to home, kinda sad but kinda glad to be alone.
He left her at the party talking to a guy and only ‘Listening for the Weather’ dries the tears from his eyes.
He puts the CD on at track number 10 and the rain stops just as the song begins and he starts to grin.
Never be afraid of change, Never be afraid of change, Never be afraid of change, Never be afraid of change.

©Greg Fleming (Control)
Track Name: Making A Fool
A novel on a notepad says tomorrow’s just gone by.
A lifeline of cotton thread, hanging from the sky.
A telephone gone silent, starts ringing like a bell.
A promise whispered like a secret but uttered like a spell, is making a fool happy.
Making a fool, making him cry.
Making a fool happy, happy, happy tonight.
A silent conversation.
A star shot from the sky.
Leaving a trail of light I can see you by.
The moon above the rooftops is just dying, dying to come down and roll on along the road, heading out of town.
You’re making a fool happy.
Making a fool, making him cry.
Making a fool happy, happy tonight.
A lifeline of cotton thread, leads me back to you.
You’re making a fool happy.
You’re making a fool you’re making him cry.
Making a fool happy, happy tonight.

©Greg Fleming (Control)
Track Name: Early Spring
Well it’s going to be an early spring.
I can feel it now, even though it’s winter and the cars are cold.
The sky is high and a bright bright blue, my September girl I can almost see you, though the pavements are empty and cold.
And the car alarms are singing now and the wind is gray and how it howls but I’m warm inside.
And the hotel’s are eating up electricity and the chimney smoke blows back at me but I smile inside even though Auckland is cold.
The carpet’s damp and the streets are wet.
The wind’s too strong to light a cigarette, but the street corners are warmer than your heart since it turned cold.
Don’t let the winter weather gather at your throat.
You can forget the scarves and the coats soon, spring is never cold.

©Greg Fleming (Control)
Track Name: Ghosts Are White
Although I lie
beside you tonight
I don't sleep,
your house is far too quiet.
Hey look at what we've done -
kind of killed ourselves
with the autopsy to come.

Ghosts are white.
Ghosts are white
And jails can be houses
and smiles just tricks of light.
Ghosts are white.
Ghosts are white.
And tears are only water
and death is still a life.
Ghosts are white.

This house is haunted
but it's not
scary at all
it's just sad
from bottom to top.
Ghost number one,
ghost number two.
One of them looks like me
and the other?
well would a description do...

Ghosts are white.
Ghosts are white.
And jails can be houses
and smiles just tricks of light.
Ghosts are white.
Ghosts are white
and tears are only water
and death is still a life.
Ghosts are white.

©Greg Fleming (Control)
Track Name: Mr. Clive
Well he's 41 years old tonight.
He don't like what passes for rock'n'roll.
"Play me something real," he says.
"Something with a bit of soul."
Well they're bringing out the coffee,
but he won't have none of that.
"There's some whiskey there in that bottle,
Greg, pass that bottle back."

Yes he'll die
Yes he'll die,
Die if his throat gets dry.

Well the girls now they won't dance with him
so he's dancing on his own,
picking up the chair that he knocks down quick
like he's in total control.
We're in the backseat going home
singin'
"Happy Birthday Clive."
Clive is thanking his lucky stars
he says
"Thank God I'm alive!"

Yes he'll die
Yes he'll die,
Die if his throat gets dry.
Mr Clive
Mr Clive
Mr Clive
Mr Clive.

©Greg Fleming (Control)
Track Name: Fire Escape
I don't know
what you want
or if
you want anything.
You never go out alone
without leaving behind
a friend.
But when you return
and find the fire escape in flames,
will you climb up anyway?

Well I'm up here on the roof,
if you want to know the truth.
I can't let you know
I can't let you go,
I can't let you tell me
"I told you so".
I hope you come
I hope you run
I hope you don't bring anyone
I'll take
the fire escape.

I can't wake myself up
I can't keep my eyes shut
I wonder where you are
as she buys me a drink
from the bar.
Infidelity is just a back door key,
so please don't walk away.

Well I'm up here on the roof,
if you want to know the truth.
I can't let you know
I can't let you go,
I can't let you tell me
"I told you so".
I hope you come
I hope you run
I hope you don't bring anyone
I'll take
the fire escape.

I love you
don't I?
I love you
don't I
try?,
don't I try?

let it shake,
let it shake,
let it shake,
let it shake,
let it shake,
let it shake,
let it shake.

©Greg Fleming (Control)
Track Name: Hurt In A Friendly Game
You were coming in to tackle,
but I didn't even have the ball.
You put your shoulder into my ribs
and I hit the floor.
You got up and ran away,
but I couldn't get up at all.
I was doubled up in pain.

Hurt in a friendly game.

Now any referee he would've sent you straight off.
That sort of behaviour
is just not what the game wants.
It might've been an accident,
but I don't think it was.
You wanted me out of the play.

Hurt in a friendly game.
Hurt in a friendly game.

Now when you put on your jersey
and run out on the field
there's always a chance of injury
that's part of the deal,
but when your very best friend
is in the opposition
it's twice as dangerous a game.

Hurt in a friendly game.
Hurt in a friendly game.

©Greg Fleming (Control)
Track Name: Grand Baby Grand
You'll be great
I'll be ok.
You'll be late,
I'll be waiting.
You'll be busy,
I'll be totally free.
You'll be straight
and I'll just be me.

You'll be beautiful,
I'll be stunning.
You'll be looking.
I'll be charming.
You'll be trouble,
I'll be indefensible.
We'll probably
be invincible.

Gorgeous and fabulous and funny and blue.
So cute, so vicious and kind of cool too.
The dirtiest, the finest
and the very first of all.
Come on baby,
let's do it some more.

You'll be wicked.
You're so debonair.
You'll be greedy
and I won't even care.
You'll be priceless
and I'll buy you.
You'll be timeless
and baby
I'll spend my time with you.

Gorgeous and fabulous and funny and blue.
So cute, so vicious and kind of cool too.
The dirtiest, the finest
and the very first of all.
Come on baby,
let's do it some more.

©Greg Fleming (Control)
Track Name: Roll Into My Arms
She's playing the little girl
in a black Catholic dress.
Oh you never can tell,
just where she'll rest.

Roll into my arms.
Roll into my arms.

She got a little whiskey.
She pours us a glass.
She's right there with me,
I don't make no pass.

Roll into my arms.
Roll into my arms.

She'll tell you a story
leave you for dead,
better than any
you've ever read.

Roll into my arms.
Roll into my arms.

She don't need no help
gettin' there.
I got a space for her,
I always keep it clear.

Roll into my arms.
Roll into my arms.

©Greg Fleming (Control)
Track Name: So Happy It's Sad
She can be so hard,
so hard to understand.
To try to find the words she needs
she waves around her hands.

She can be so passionate,
so difficult to please.
So hard to realise sometimes,
just what it is she needs.

She can be so blue.
She can be so mad.
You can be so happy
sometimes it's sad.
So happy it's sad.
So happy it's sad.

She can be so funny
with her stand-up routines
and her voice you know
it sounds so good
on the answering machine.

She can be so blue.
She can be so bad.
You can be so happy
sometimes it's sad.
So happy it's sad.
So happy it's sad.

She can be so glamorous
so amorous and free,
who's that there beside her?
who's that there beside her?
don't,
don't it look like me?
don't it look like me?
don't it look like me?
don't it look like me?
I'm so happy it's sad.
So happy it's sad.

©Greg Fleming (Control)
Track Name: First Waltz
I never learnt just how to waltz
but since you asked me to
I'll try my best
to keep off your toes
just till this waltz is through.

I never was one for holding a girl,
longer than I had to
but I'll hold you as best as I can
just till this waltz is through.

I always was one for rock'n'roll
waltzes weren't ever my style.
If I thought I'd be here
waltzing with you
I would have run a mile.

I never was one for holding a girl
longer than I had to
but I'll hold you as best as I can
just till this waltz is through.

©Greg Fleming (Control)
Track Name: All The Time In The World
You got all the money
to be honest.
You got a love
to be true to.
You got the nerve to promise
and never follow through.

You got all the luck
to be careless
and all the heart to be hurt.
All those keys you carry round,
don't any of them work?
Do those ghosts still haunt?

You got all the time in the world.
You got all the time in the world.
You got all the time in the world.
to be free,
to be free,
to be free from these.

You got all the luck
to be careless,
somebody'll help you out.
You got all the faith to be fearful,
and all the strength
to be sick with doubt,
while all these ghosts
haunt your house.

You got all the time in the world.
You got all the time in the world.
You got all the time in the world.
to be free,
to be free,
to be free from these.

©Greg Fleming (Control)