The Morose Rose

written 1989/1992/1996


I thought it up (“composed” still sounds too big) when I was chyba 13 on a lovely day at the beginning of July. I was dallying with a hehe psychedelic masterpiece of my imaginary band called The Bagers. I had written three Bagers albums to that point (consisting of melodies in my head, which were set to gibberish lyrics) but this time it felt somewhat real. I was instantly lifted by what had just appeared out of nowhere (or rather out of the above, as we say in Poland). My voice hadn’t even started breaking, so I was singing the song to myself in a very high and mellow pitch, as in the more remote ELO tracks, oblivious to the dangers of the world inevitably coming with the bloody September.

When the first real band I was in had been created, I started writing real lyrics to some of the Bagers songs. This one, along with Stay Beside, was obviously the first one to jump to mind. This was mid 1992, when The Round Triangle were finishing the first form of secondary school. So it was almost July again, and I seemed to be aptly inspired but there were just two snags: my guitar skills were hardly even rudimentary and so was my songwriting in English. The songs was perhaps too hastily set in the key of D and it began like this: hey, look at this pretty day/ then, look for some pretty face… The rest was no better, though perhaps ringing of some pristine blessed naivety. Anyway, this monster midget, called Glory of a Day [sic] then, was a staple for The Round Triangle, and nobody seemed to mind the lyrics.

When I started studying English in 1995 I had no other option but to deem all the Triangle lyrics inadequate, to say the least. I had written about 100 songs to that point, and none of them passed the quality (and er grammar) test untouched. With Glory of a Day there was no point in any editing, so I basically wrote the lyrics from scratch, luckily under the influence of the metaphysical poets I was then covering in my English Literature, with an obligatory reference to The Moody Blues. The need to change the key back to perhaps falsetto somehow didn’t occur to me at that point, so when I was recording it as a Soundrops track – in 2007 and again – I let things stay in D.

Perhaps there will be a radical rewrite sometime, but that’s where it’s at now: a somewhat folkish angle of British Invasion? Intriguing enough, I hope.