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'And time would flow through us and you' Drawing

Philip Leister

Drawing, Paint Pen on Canvas

Size: 20 W x 16 H x 0.2 D in

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About The Artwork

If I could save time in a bottle The first thing that I'd like to do Is to save everyday 'til eternity passes away Just to spend it with you And if I could make days last forever And if words could make wishes come true We'd walk through the fields of ripening corn And time would flow through us and you And I'd save everyday like a treasure and then Again and again I'd spend them with you And I've looked around enough to know You're the one I wanna go through time with (ooh-ooh) Through time with (ooh-ooh) Through time with If I had a box just for wishes And dreams that had never come true The box would be empty except for the memory Of how they were answered by you So if only I could save time in a bottle The first thing that I'd like to do Is to save everyday 'til eternity passes away Just to spend them with you And I'd save everyday like a treasure and then Again and again I'd spend them with you (spend them with you) I've looked around enough to know You're the one I wanna go through time with (ooh-ooh) Through time with (ooh-ooh) Through time with ‘Time in a Bottle’ by Jim Croce Songwriter: Jim Croce "Time in a Bottle" is a hit single by singer-songwriter Jim Croce. Croce wrote the lyrics after his wife Ingrid told him she was pregnant, in December 1970. It appeared on his 1972 ABC debut album You Don't Mess Around with Jim and was featured in the 1973 ABC made-for-television movie "She Lives!". ABC originally did not intend to release the song as a single; but when Croce was killed in a plane crash in September 1973, its lyrics, dealing with mortality and the wish to have more time, had additional resonance. The song subsequently received a large amount of airplay as an album track and demand for a single release built. When it was eventually issued as a 7", it became his second and final No. 1 hit. It was also the third posthumous Billboard number-one hit after "Sittin' on the Dock of the Bay" by Otis Redding and "Me and Bobby McGee" by Janis Joplin. After the single had finished its two-week run at the top in early January 1974, the album You Don't Mess Around with Jim became No. 1 for five weeks. In 1977, "Time in a Bottle" was used as the title for a compilation album of Croce's love songs. The arrangement features a harpsichord that producer Tommy West discovered had been left in the mixing studio: The night before we were going to mix, I was watching a horror movie on TV, and something must have lodged in my brain because when I walked into the studio the next day, I saw this harpsichord sitting in a corner and got an idea. A jingle company had used it on a session and in walked a couple of guys from SIR [Studio Instruments Rental] to haul it away. I asked them to take a lunch break and told Bruce to put a couple of mics on it. He was whining that it was out of tune, but I asked him to let me try something. I added two tracks of harpsichord, told the movers they could remove it, walked into Jerry's office and asked if I could borrow the electric bass that was sitting on his couch, played that on just the second verse and the outro, and that was that! Radio compression worked in our favor on that record. It made the harpsichord blend with the two guitars in an unusual way. But we thought this record would only be an album cut. You Don't Mess Around with Jim is the third studio album by American singer-songwriter Jim Croce, released in April 1972. The album was recorded over a three to four-week period for approximately $18,000, with most funding coming from the PolyGram Group in Baarn, the Netherlands on the basis of hearing an 8-song demo tape assembled by production team Cashman & West. The deal with PolyGram was made after team attorney Phil Kurnit approached a contact within the record company who then had PolyGram executives listen to the demo tape. After having the finished album rejected by up to 40 record labels, Croce was signed to ABC Records after Cashman & West had a chance meeting with ABC promotion man Marty Kupps. Kupps urged label head Jay Lasker to sign Croce after hearing cuts from a cassette tape of the finished album. The record spent 93 weeks on the charts, longer than any other Jim Croce album. Due to the strong performance of the posthumous single release "Time in a Bottle" (#1 pop, No. 1 AC), You Don't Mess Around with Jim was the best selling album in the U.S. for five weeks in early 1974. It was listed at No. 6 on the 1974 Cash Box yearend album charts. Two singles were originally released from the album in 1972: the title track (#8 pop) and "Operator (That's Not the Way It Feels)" (#17 pop). The album was issued on CD by the Rhino Flashbacks record label on September 30, 2008. James Joseph Croce (/ˈkroʊtʃi/; January 10, 1943 – September 20, 1973) was an American folk and rock singer-songwriter. Between 1966 and 1973, Croce released five studio albums and numerous singles. His first two albums were commercially unsuccessful, failing to chart or produce any hit singles. During this period, Croce took a series of odd jobs to pay bills while he continued to write, record, and perform concerts. After forming a partnership with songwriter and guitarist Maury Muehleisen his fortunes turned in the early 1970s. His breakthrough came in 1972; his third album You Don't Mess Around with Jim produced three charting singles, including "Time in a Bottle", which reached No. 1 after his death. The follow-up album, Life and Times, contained the song "Bad, Bad Leroy Brown", which was the only No. 1 hit he had during his lifetime. On September 20, 1973, the day before the lead single to his fifth album, I Got a Name, was released, Croce, along with five others, was killed in a plane crash, at the height of his popularity. Croce's music continued to chart throughout the 1970s following his death. His wife, Ingrid Croce, was his early songwriting partner and she continued to write and record after his death, and his son A. J. Croce himself became a singer-songwriter in the 1990s. Source: Wikipedia

Details & Dimensions

Drawing:Paint Pen on Canvas

Original:One-of-a-kind Artwork

Size:20 W x 16 H x 0.2 D in

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I’m (I am?) a self-taught artist, originally from the north suburbs of Chicago (also known as John Hughes' America). Born in 1984, I started painting in 2017 and began to take it somewhat seriously in 2019. I currently reside in rural Montana and live a secluded life with my three dogs - Pebbles (a.k.a. Jaws, Brandy, Fang), Bam Bam (a.k.a. Scrat, Dinki-Di, Trash Panda, Dug), and Mystique (a.k.a. Lady), and five cats - Burglekutt (a.k.a. Ghostmouse Makah), Vohnkar! (a.k.a. Storm Shadow, Grogu), Falkor (a.k.a. Moro, The Mummy's Kryptonite, Wendigo, BFC), Nibbler (a.k.a. Cobblepot), and Meegosh (a.k.a. Lenny). Part of the preface to the 'Complete Works of Emily Dickinson helps sum me up as a person and an artist: "The verses of Emily Dickinson belong emphatically to what Emerson long since called ‘the Poetry of the Portfolio,’ something produced absolutely without the thought of publication, and solely by way of expression of the writer's own mind. Such verse must inevitably forfeit whatever advantage lies in the discipline of public criticism and the enforced conformity to accepted ways. On the other hand, it may often gain something through the habit of freedom and unconventional utterance of daring thoughts. In the case of the present author, there was no choice in the matter; she must write thus, or not at all. A recluse by temperament and habit, literally spending years without settling her foot beyond the doorstep, and many more years during which her walks were strictly limited to her father's grounds, she habitually concealed her mind, like her person, from all but a few friends; and it was with great difficulty that she was persuaded to print during her lifetime, three or four poems. Yet she wrote verses in great abundance; and though brought curiosity indifferent to all conventional rules, had yet a rigorous literary standard of her own, and often altered a word many times to suit an ear which had its own tenacious fastidiousness." -Thomas Wentworth Higginson "Not bad... you say this is your first lesson?" "Yes, but my father was an *art collector*, so…"

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