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RAW '83

by des hume

supported by
Hudson Rippon
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Mickel
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Colin Ablitt
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Kym Pop
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Jacob Piedra
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1.
RAW 04:44
lyrics
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If you were mine Touch me Even if it's just in passing We don't need nobody else to see But give me something Anything to go on Cause I'm driving myself crazy Wondering if it's only me Maybe I am not the type of boy that you had set your sights on But I promise that it only makes a difference with the lights on I can be quite shy at first But if you give me time to work I'm everything a man should ever be All you gotta do Is let me see your green light go If you want me to I can be the perfect lover I can go forever mama Take a chance on me You don't have to hold me Or whisper little nothings I know what I am supposed to be You don't owe me A tender hearts affection But a moment of attention Would mean everything to me Honey you could treat me better but I don't know if I'd want it I have got a history of falling for the coldest hearted Maybe it's no mystery That every little part of me Keeps coming back, coming back to you All you gotta do Is let me see your green light go If you want me to I can be the perfect lover I can go forever mama I wanna hear you scream All you gotta do Is let me see your green light go If you want me to I can be the perfect lover I can go forever mama Take a chance on me You said love is holy But it's a matter of time before you're feeling lonely And I don't have to be your one and only But give me a chance to show you what I've got It's under your control babe I'm a raw machine with a live wire ready to blow away You can say the word, leave me in the dirt And that's ok It's your show But you're giving me signs I know And your eyes are begging for something more So give me the green light and watch me go
2.
Holdout 05:42
lyrics
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Baby, I know that You've been spending nights alone Waiting and wishing He would come on back and turn you on I can't blame you for dreaming As long as you know that's all that it can be But you miss the signs that pass you by Just wish that you could see That you're wasting your time and breaking your heart Waiting around on nothing but a fantasy And I know that you're scared of making new starts But letting him go is only gonna set you free But you hold out for love Hold out for love, hold out for love, hold out for love Hold out for love Hold out for love, hold out for all that you've been dreaming of Woo It's not crazy to dream of All the shoulda-woulda-could But face it You know that It's not doing you much good To keep wasting your time and breaking your heart Waiting around on nothing but a fantasy And you know that it's wrong Carrying on Acting like you can make it a reality Because you Hold out for love Hold out for love, hold out for love, hold out for love Hold out for love Hold out for love, hold out for all that you've been dreaming of There's no changing your mind You're lost in a dream Closing your eyes Turning from me And maybe you're right Maybe you see A glimmer of light But it's just out of reach Just out of reach Because you Hold out for love Hold out for love, hold out for love, hold out for love Hold out for love Hold out for love, hold out for all that you've been dreaming of

about

My friends,

We are living in uncertain times. I am awakened from my dreams to a reality that, with each passing day, becomes more indistinguishably surreal. I speak only for myself. but I have found that in these times the only comfort lies in the bonds between us, and the passions that guide us. It is on that note, that I am reaching out to you today to inform you of new developments in the initiative, that date back to another period of uncertainty - the 1980s.

In 1983 I was in a strange place. I'd spent the previous years wandering the streets of London and New York, leaving copies of 'A Field Guide for Utopian Social Dynamics' in cafes and parks, and living off of a dwindling stipend from a wealthy benefactor. I'd been comfortable in earlier years, but irresponsible with my resources, and many of those lessons made their way into 'Field Guide' and subsequent publications. By February however, I was facing a harsh truth - I was broke, unsuccessful, and lost. This was the moment that Phil Collins entered my life.

In the early 1980s Phil was inescapable. 'Face Value' had been released in 1981 to critical and commercial fanfare, but his 1982 sophomore record had a cooler reception. Phil needed hits, and as a young songwriter I saw an opportunity. I knew Phil was aware of my work tangentially - he had a copy of 'A Field Guide', and was rumoured to be enamored with it - so I put the last of my money into studio time, crafting a series of songs I planned on pitching to him. My contact in the industry >>REDACTED<< was impressed by early demos and insisted on taking my masters in person to present them to Phil. Foolishly, I gave him my only copies of the tapes, and the day I handed them over was the last time I heard from him - and the last time that I heard those songs.

I don't know what happened to him, or the tapes, but for the last 37 years I have assumed these recordings were lost forever. In the time since, I have made many recordings (some of which have made their way outside of our organization) and watched our initiative grow into the thriving global movement that it is today. We have walked the true path together, and while this has been my singular focus for decades, I have always regretted my mistakes in that era and wondered at what could have been.

You will understand then, my delight last month when a pair of tapes were discovered in the back of a brooklyn janitorial closet, slightly warped but otherwise undisturbed by time. While they are only two of the 18 I recorded, hearing them transports me to the young man I was then. 'Raw' is a sexually charged plea for acceptance, with a sinuous bass synthesizer engulfed in circling guitar jabs. 'Holdout' is a slowburn disco tune that is meant for solo listening, at night with headphones or on a meandering drive. They both, and I say this with the utmost sincerity, slap.

On April 3rd, 2020 the DHI will be presenting these songs to the public, in their original form, as RAW '83. Our cultural outreach program will be handling this release, and any outsider inquiries can be directed to welcome@deshume.com. Internal queries will be handled as usual via mindlinkserver.

While we have kept much of our work secret by necessity, public curiosity and recent government inquiries have forced us to let others into our circles, to wonder at what we have created. In these times of anxiety, fear and ennui, we have a responsibility to provide hope to a world devoid of it. This is our calling. To all those who have not yet walked the true path we say "Join us. We have been waiting for you." This is just the beginning.

Blessings be.

-THE FOUNDER-

credits

released April 3, 2020

Backing vocals on 'Holdout' were performed by Biawanna.

All music engineered/mixed/mastered by technicians at dhi headquarters.

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des hume Vancouver, British Columbia

The des hume initiative is a for-profit organization dedicated to researching utopian social dynamics.

Join us. We have been waiting for you.
welcome@deshume.org

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