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Blame The Miles Between

by Drew Michael Blake

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1.
Who stole the light from your eyes, my child? Where comes this sadness in your quiet hour? I see your lashes fall, I hear your sighs. Tell me who has made you cry. How can I speak of the churning inside? What tongue can tell without telling lies? My soul is restless, my hands are on fire since she stole the stars from my eyes. Yes, she stole the stars from my eyes. Does she appear to scrape the sky, my child: the heavens gathered up like fireflies. She is no goddess. She has no power over you. She's just a passing cloud in the night. I see the truth, but I feel the sorrow. Speak no more until the morrow comes. We will come through.
2.
Companion 04:13
You get tired when you travel alone, so you find someone who can share your load and you hope to God that you found a companion. Well, the time you spend together will show if it's gonna ease or increase your load; if the laughter outweighs the sorrow. Where are you headed? Where do you think you're gonna go? Can we get there together, and how are we supposed to know? Is it mystical or fate, or a decision that you make? What makes this love the one for the rest of your life? If you need someone to say or a sign to show the way you might be traveling alone for a long, long while. Oh, so let me ride down your road and shoulder up underneath of your load I've been praying to God to let me be your companion. 'Cause the time I've spent with you has shown that I can depend on you to hold me up. You lift me up when I'm feeling low, and our laughter fills me up inside. You're my cherry wine. Don't know where I'm headed, but I think I know which way to go. I've made up my mind, I want you by my side. Is it mystical or fate, or a decision that you make? What makes this love the one for the rest of your life? If you need someone to say or a sign to show the way you might be traveling alone for a long, long while. So, let me ride down your road when you get tired of traveling alone.
3.
Cut and File 02:57
I spent a while trying to cut and file myself into something you'd want to see, but all that ever did was make me bleed: and calloused underneath. Don't you do me wrong. Don't you string my heart a long. Won't you do, do right, right by me. Well, I got wise to all those lies that always made me feel so incomplete. I found out just what I need: someone who can build on what I bring. No, she don't do me wrong. She don't string my heart along, no, she do, do right right by me. Don't you do me wrong. Don't you string my heart a long. Won't you do, do right, right by me.
4.
I have never seen the face of a word on a page, I've never held the hand of a glowing screen. But, I have fallen in love over and over again with words I've read from people I never see. "The distance," said a friend of mine, "is really what you love, and knowing it won't work out is what you need." That I'm afraid to face the day to day with someone who's not far enough away to blame the miles between. But, I've been blinded I've been double-crossed. I've been hardened by the hurt. How far away is the nearest broken heart that might align with the way that mine's been fractured? I'll start with my voice and spare the written word before my life becomes a silent film and I the only actor. I've been blinded I've been double-crossed. I've been hardened by the hurt.
5.
Some live high and some just try to make it out alive I just tried to get it right The time you waste playing it safe becomes a memory, and it’s as painful as can be. Did you make the most? Did you make the most of it, honey? Or did you give it up for free. Did you make the most? Did you make the most of it, honey? ‘Cause once it’s gone it will never be that way again. I’ve been looking back on me in such a curious way. Why did I leave so many things undone? Many’s the chance I did not take afraid it might be some mistake. Now, those chances no longer come. Did you make the most? Did you make the most of it, honey? Or did you give it up for free. Did you make the most? Did you make the most of it, honey? ‘Cause once it’s gone it will never be that way again. You feel it now or you feel it then, there’s no way to go back again and do or undo what was or wasn’t done. "You can stay safe by staying free," Lord knows I tried it and come to believe wisdom only comes on the heels of suffering.
6.
Summer Grass 03:57
Shades of green hues of violet frame the banks of a wooden streamlet an architects' parade of sun-dappled shade beneath a coat of swinging arms Summer grass lines the pathway wild wheat, flowing gently stirred by a breeze your hand glides with ease through an ocean of flaxen grain Kaleidoscope at sunset violets form a carpet even tulips blush when our two lips touch before a crested Monet sky Side by side in a hammock my right arm beneath your neck you close your eyes mine open wide beneath a canopy of stars
7.
You had me but you didn't want me you just wanted to keep me from loving anybody else The look on your face said everything so I said nothing at all. There was a time you swore you'd be mine, now we don't even talk. And you can't lie, can't look behind. Now you've blown your cover. You had me but you didn't want me you just wanted to keep me from loving anybody else So, I won't keep living with the false hope that I'll ever see your heart show. Half-hearted lover. So, I'll take anybody else I'll take anybody else I'll take anybody else. Half-hearted lover The time that I wait for the silence to break I could be halfway to Harlem, or taking a plane to learn the name of a girl who lives in L.A. And I won't lie, won't look behind. There's nothing to keep under cover. You had me but you didn't want me you just wanted to keep me from loving anybody else So, I won't keep living with the false hope that I'll ever see your heart show. Half-hearted lover. So, I'll take anybody else I'll take anybody else I'll take anybody else. Half-hearted lover
8.
O! Serenity 04:17
Tell me of that secret place you carry deep inside; when your cares are pressing hard and you need a little peace of mind –tell me where you hide. Is it a refuge made of stone on a mountain high, or a cabin in the woods of your heart and mind that no one else can enter or can find. That secret place is where I want to go. Lead me there, or else leave me alone. O! Serenity. With a look of quiet ease resting on your face, you take your troubles one by one, you take them down to the riverside and there you mill them fine. That secret place is where I want to go. Lead me there, or else leave me alone. O! Serenity. While others drift like autumn leaves, aimless on the breeze, easy as a falling stone finds the bottom of the stream you find whatever you seek.
9.
Sunshine and rain. Pleasure and pain. How can it be? How can it be? You caught me at a good time: just when my dreams were coming true. So, excuse me if I seem a little dazed and rightly confused. 'Cause there's pain under the pleasure and pleasure under the pain like sunshine and rain on a sun-cloudy day I can't get used to the two and I'm trying to believe what's true. See, most of my life I've had to struggle just to be seen by someone like you. But, I called your name and you answered right away. See, now I don't know what I'm supposed to do. My mind's telling me it can't be true. I know what I'm feeling might be deceiving still I want to believe that it's you. But there's pain under the pleasure and pleasure under the pain like sunshine and rain on a sun-cloudy day I can't get used to the two and I'm trying to perceive what's true. And there's pain under the pleasure and pleasure under the pain like sunshine and rain on a sun-cloudy day it's neither good, no no nor bad. It's just true. Sunshine and rain. Pleasure and pain. How can it be?
10.
Cold World 03:50
I left work about six o'clock drove to the café down the street. Jumped in line and struggled with the crowd just trying to get a seat. Well, the waiter took my order down and when I cracked a joke he didn't even smile. So, I ate by myself and realized after a while. It's a cold world without you, girl. Places I go, people I know: they all change from red to blue. It's a cold world without you. So, I paid the check and put on my coat stepped outside and it dropped fifteen degrees. The car was cold when I got in so, I shivered down and turned up the heat. But, by the time that I got home, you know that needle barely moved above "C" So, with fingers locked and frozen I was fumbling in the dark for my house key when it came to me. It's a cold world without you, girl. Places I go, people I know: they all change from red to blue. It's a cold world without you. It's your face at the end of the day; It's your warm hand in mine that keeps me from turning old and turning cold as the months and years blow by. It's a cold world without you, girl. Places I go, people I know: they all change from red to blue. It's a cold world without you. It's a cold world without you. It's a cold world without you.

about

I don’t make perfect records.

In the winter of 2002, when I was 14 years old, I begged my parents to get me a 4-track recorder. Two years before, I started a band with my friends Sam and Brendan. Practicing in bedrooms and outbuildings, we had finally come up with a handful of songs. A three piece pop-punk band a few grades ahead of us had put out a record, and we didn’t see any reason why we couldn’t do the same. That Christmas, at my grandparents house, I unwrapped a silver Tascam PortaStudio 4-Track cassette recorder. In Brendan’s shed behind his mom’s house, we threw a single Shure SM57 microphone over the rafters and carefully placed our amps and drums around it. That day we recorded what became the first record I ever wrote, recorded, and produced. I called it “Nothing’s Perfect,” printed it, labeled it, and sold copies for three dollars each to my classmates.

In the summer of 2014 I started recording demos in my home studio. Some songs I had crafted for years, others had only just been written. My guitar player, Adam Meisterhans, knew a guy who could get us into a professional recording studio on Nashville’s Music Row after hours. The plan was to demo the songs, rehearse them with the band, and come in a few evenings, late at night on a weekend, to record a four or five song EP. About a week before we were scheduled to record it all fell through. I got a call from our studio connection telling me that the studio was booked for the time we had planned and we had to call it off. All of my bandmates were in other touring bands, and this was the only weekend that everyone was in town. I was screwed.

I still had a home studio. I still had songs. I had made my own record before. With no budget, and no other choice, I started refining my demos into real studio recordings. When my drummer, Matt Scibilia, was in town, I’d have him over to lay down some drum trucks on songs that I had mapped out using only a drum machine. My organ player, Jason Thompson, would come over after he got off work. Adam came over to throw down some mind blowing guitar solos, with everything he had left after spending months on the road, followed by days in the studio working on other artist’s albums. After months and months of recording and revising, mixing and mastering, and many other contributions from my friends, it was done. Ten tracks later, and every expense out of my own pocket, I have my first full-length record. It’s called “Blame The Miles Between."

I am extremely proud of this record, and it feels so closely connected to that record I made in that backyard shed with my friends, years ago. Over those years I have become a much better musician, a much better songwriter, and much better at making records. Still, one thing remains: nothing’s perfect. In an interview with Consequence of Sound, producer John Congleton explained that there’s a tendency in today’s record industry to remove any offensive element, to try to massage and condition a record so that every edge is smooth and every line is straight. Yet, in doing so, he says, "in the long run what you do is make a record that isn’t memorable.” I don’t make perfect records, and I never want to. I want to make records that are good, and that are memorable.

Take a listen. You just might have found a companion. A record that you will still like on the third listen, and that you will still like in thirty years.

Special thanks to all of my Kickstarter backers who made the physical release of this record possible. You've contributed so much more than money can buy.
-------------------------------------
Drew Michael Blake

credits

released September 9, 2016

Who Stole The Light?: Acoustic Guitar, Upright Bass, Electric Guitar, Vocals, Harmony Vocals - Drew Michael Blake

Companion: Acoustic Guitar, Electric Guitar, Electric Bass, Piano, Auxiliary Percussion, Vocals - Drew Michael Blake, Harmony Vocal - Charlie Murphey, Hammond Organ - Jason Thompson, Drums - Matt Scibilia

Cut and File: Electric Lead Guitar, Electric Rhythm Guitar, Electric Bass, Auxiliary Percussion, Keyboard, Vocal, Harmony Vocal - Drew Michael Blake, Hammond Organ - Jason Thompson, Slide Guitar - Adam Meisterhans, Drums - Matt Scibilia

Double Crossed: Electric Lead Guitar, Electric Rhythm Guitar, Acoustic Guitar, Electric Bass, Vocal - Drew Michael Blake, Hammond Organ - Jason Thompson, Guitar Solo - Adam Meisterhans, Drums - Matt Scibilia.

Did You Make The Most?: Acoustic Guitar, Electric Guitars, Electric Bass, Vocals - Drew Michael Blake, Harmony Vocals - Charlie Murphey, Hammond Organ - Jason Thompson, Pedal Steel - Jesse Thompson, Drums - Matt Scibilia

Summer Grass: Acoustic Guitar, Upright Bass, Organ, Electric Guitar, Vocal - Drew Michael Blake, Drums - Matt Scibilia

Half-Hearted Lover: Electric Guitars, Electric Bass, Vocal - Drew Michael Blake, Harmony Vocal - Charlie Murphey, Electric Piano - Zach Vinson, Drums - Matt Scibilia

O! Serenity: Electric Guitars, Acoustic Guitar, Vocal - Drew Michael Blake, Harmony Vocals - Hannah Leigh Lusk and Abigail Dempsey of Forlorn Strangers, Electric Bass - Taylor Thompson, Hammond Organ - Jason Thompson, Drums - Matt Scibilia

Sunshine and Rain: Electric Guitars, Electric Bass, Harmony Vocal, Vocal - Drew Michael Blake, Harmony Vocal - Charlie Murphey, Electric Piano - Zach Vinson, Hammond Organ - Jason Thompson, Drums - Matt Scibilia

Cold World: Acoustic Guitar, Vocals - Drew Michael Blake

I Won't Worry: Electric Guitar, Electric Bass, Harmony Vocal, Vocal - Drew Michael Blake, Electric Piano - Zach Vinson, Drums - Matt Scibilia

Sing Something Beautiful - Electric Guitar, Electric Bass, Vocal - Drew Michael Blake, Harmony Vocal - Hannah Leigh Lusk and Abigail Dempsey of Forlorn Strangers, Electric Piano - Zach Vinson, Drums - Matt Scibilia

Recorded, Engineered, and Produced by Drew Michael Blake at Color Animal studio

Mixed by Evan Redwine at The Wine Box. Mastered by Kim Rosen at Knack Mastering.

All songs by Drew Michael Blake, except track 7, written by Drew Michael Blake and Adam Agin.

All songs copyright Patched Knee Publishing (BMI), except track 7, copyright Patched Knee Publishing (BMI) and Honest Bear Music (ASCAP)

Released by Huzoo Records.

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