♪♪♪ announcer: From beautiful Solana Beach, this is San Diego's musical showcase, "Live at the Belly Up."

In tonight's episode, Dawes blaze their own trail through the Laurel Canyon sound with their Americana, folk, and rock sounds.

♪ When my time comes, whoa, ohhh.

♪ Taylor Goldsmith: If people were to say, "Dawes does the thing you can't get elsewhere," that's really the dream.

announcer: And now please welcome to the stage Dawes.

♪♪♪ ♪♪♪ ♪ Who, who do you think you're talkin' to?

♪ ♪ Is it the man that was here before me, ♪ ♪ the one that wrecked your heart and walked?

♪ ♪ 'Cause, if it isn't, I'll let you talk.

♪ ♪ It's clear that's somethin' you're still workin' through.

♪ ♪ But who, who do you think you're talkin' to?

♪ ♪ Where, where do you think you are right now?

♪ ♪ Is there a reason you're still diggin' through the past?

♪ ♪ Because you haven't touched your drink, ♪ ♪ and you haven't stopped to think if that holds you back ♪ ♪ from anyone that cares for you.

♪ ♪ But who, who do you think you're talkin' to?

♪ ♪ What do you want me to say to this?

♪ ♪ Frankly, I think we would be remiss if we don't remind ♪ ♪ ourselves to share the painful memories too.

♪ ♪ Baby, tell me, who?

Do you need to be alone?

♪ ♪ Can you find your own ride home?

♪ ♪ And is that still the house that you can't bear to leave?

♪ ♪ Does his coat hang in the hall or his pictures on the wall, ♪ ♪ and is there one of us you're tryin' to deceive?

♪ ♪ Oh, babe, the trains will all stop runnin' soon, and I ♪ ♪ don't know how long it's been since you walked away.

♪ ♪ And after all I said so far, the tender of this bar ♪ ♪ says the only people left here, man, are me and you.

♪ ♪ So, buddy, who, who do you think you're talkin' to?

♪ ♪ What do you want me to say to this?

♪ ♪ Frankly, I think we would be remiss if we don't remind ♪ ♪ ourselves to share the painful memories too.

♪ ♪ So, baby, tell me, who?

♪ ♪ Who do you think you're talkin' to?

♪ ♪ Who do you think you're talkin' to?

♪ ♪ Who do you think you're talkin' to?

♪ ♪ Who do you think you're talkin' to?

♪ ♪ Who do you think you're talkin' to?

♪ ♪ Who do you think you're talkin' to?

♪ ♪ Who do you think you're talkin' to?

♪ ♪ Who do you think you're talkin' to?

♪ ♪♪♪ ♪♪♪ ♪♪♪ ♪♪♪ ♪♪♪ ♪♪♪ ♪ I'm bucklin' my seat belt and plug my headset in a chair, ♪ ♪ and to the music, I watch flight attendants move.

♪ ♪ They are pointin' out the exits, ♪ ♪ but it looks more like a prayer ♪ ♪ or an ancient dance their bloodline reaches through.

♪ ♪ These planes are built for siftin' ♪ ♪ through the warriors from the men.

♪ ♪ I need time to sit and watch them for a while.

♪ ♪ You could see everywhere they're goin', you could ♪ ♪ see everywhere they've been, how they look out ♪ ♪ at the clouds each time they smile.

♪ ♪ And I think maybe he's in town for someone's birthday.

♪ ♪ Maybe he makes trouble everywhere.

♪ ♪ But as much he resists the conversation between the ♪ ♪ rivers and the freeways, he knows it's always there.

♪ ♪ As the northwest passage sits somewhere below me as I sleep, ♪ ♪ I dream of captains and explorers eatin' boots.

♪ ♪ When I ask if I could join them and they offer one to me, ♪ ♪ I wake up as my home comes into view.

♪ ♪ So I reach down for my notebook to see what ♪ ♪ impressions could be spun, but it's just buildings.

♪ ♪ It's just a million swimmin' pools.

♪ ♪ So I leaf back through the pages to see where I come ♪ ♪ from or for some crumbled map of what it's leading to.

♪ ♪ And I find that the hero in the songs ♪ ♪ that I've been writing ♪ ♪ doesn't know he's just the image of myself.

♪ ♪ But as much he resists the conversation ♪ ♪ between the rivers and the freeways, ♪ ♪ he's somehow always askin' them for help.

♪ ♪♪♪ ♪♪♪ ♪♪♪ ♪♪♪ ♪♪♪ ♪♪♪ ♪♪♪ ♪♪♪ ♪♪♪ ♪♪♪ ♪♪♪ ♪♪♪ ♪ I wanna make out all of the signs I've been ignorin', ♪ ♪ why the trees reach for the sky or in the length ♪ ♪ of someone's hair 'cause, when you don't know ♪ ♪ where you are goin', any road will take ya there.

♪ ♪ So maybe I'm in town for someone's birthday.

♪ ♪ Maybe I make trouble everywhere.

♪ ♪ But as much I resist the conversation ♪ ♪ between the rivers and the freeways, ♪ ♪ I know it's always there.

♪ ♪ I know it's always there.

♪ ♪ I know it's always there, ohhh.

♪ ♪♪♪ ♪♪♪ ♪♪♪ ♪♪♪ ♪♪♪ ♪♪♪ ♪♪♪ Taylor: I think when you're a younger musician, it's almost your duty to be kind of a snob.

It's based on whatever your tastes are.

I think you find out what you like, and then part of that is hating what you don't like, not really making a whole lot of room for it.

That was my experience, and I look back, and it's embarrassing, but it's very--not only is it inevitable, to some degree, but it's almost essential.

I feel like it helps you really learn yourself, and so things that I'm discovering now, I think, as time goes on, like, those rules and those strong, pointless opinions kind of just go away.

♪♪♪ ♪ You look at me through your red glasses ♪ ♪ while the yellow cab waits.

♪ ♪ We've been thinkin' 'bout our soul mates too long.

♪ ♪ We should take it all off, get it off.

♪ ♪ Not everybody gets to feel this way.

♪ ♪ Not everybody gets stuck so bad.

♪ ♪ We've been talkin' 'bout who we had, too much.

♪ ♪ Let's cut to the wrong, let's get it up.

♪ ♪ If we start right now, we could figure out ♪ ♪ the mistakes we should have made.

♪ ♪ We don't hypnotize our wanderin' eyes with the games ♪ ♪ we should have played, the mistakes we should have made.

♪ ♪♪♪ ♪ I wanna burn it down, the rubble.

♪ ♪ I want my future delayed.

♪ ♪ I wanna make sure all my aces get played.

♪ ♪ A firework's gotta crack before it fades.

♪ ♪ It's the one hour, keepin' off the books, ♪ ♪ the one night that we could stand accused.

♪ ♪ The one night that we have to lose control.

♪ ♪ Let's settle the bill.

Let's rock 'n' roll.

♪ ♪ If we start right now, we could figure out ♪ ♪ the mistakes we should have made.

♪ ♪ We could hypnotize our wanderin' eyes with the games ♪ ♪ we should have played, ♪ ♪ the mistakes we should have made.

♪ ♪ All of this nonsense, past-tense livin', this ♪ ♪ high-rent soul-bent existence, these nightshift ♪ ♪ "what if" questions, ♪ ♪ these taboo rearview reflections.

♪ ♪ If we start right now, we could figure out ♪ ♪ the mistakes we should have made.

♪ ♪ We could hypnotize our wanderin' eyes with the games ♪ ♪ we should have played, ♪ ♪ the mistakes we should have made.

♪ ♪♪♪ ♪♪♪ ♪♪♪ ♪ To be completely honest, the picture isn't clear to me yet.

♪ ♪ You insisted that you're owed explanations ♪ ♪ while I was patiently enjoyin' the debt.

♪ ♪ But when I think about it, I'm not even sure if I mind.

♪ ♪ You were the fading signal that would slip through the ♪ ♪ static from a station that I never could find.

♪ ♪ So you don't need to say a word right now.

♪ ♪ All your reasons would just flicker in the darkness.

♪ ♪ Maybe that's why nobody knows how ♪ ♪ to be completely honest.

♪ ♪♪♪ ♪ To be completely honest, feels like you're still in the room ♪ ♪ from the bracelets that you left on the nightstand, ♪ ♪ to the crows in the yard each afternoon.

♪ ♪ And I just can't get off it.

♪ ♪ I haven't been sleepin' at all.

♪ ♪ Some questions weave themselves into the fabric, ♪ ♪ and some are welcome, tell me to call.

♪ ♪ But then I never know where I should start, and the record ♪ ♪ of the symptoms is all I can accomplish.

♪ ♪ I never really thought it'd be so hard ♪ ♪ to be completely honest.

♪ ♪♪♪ ♪♪♪ ♪♪♪ ♪♪♪ ♪♪♪ ♪♪♪ ♪♪♪ ♪♪♪ ♪♪♪ ♪♪♪ ♪♪♪ ♪ To be completely honest, I think I know how it ends.

♪ ♪ The universe continues expanding while we discuss ♪ ♪ particulars of just bein' friends.

♪ ♪ And maybe that makes everything okay, ♪ ♪ remembering the defects at the heart of every promise.

♪ ♪ Well, maybe that's the only way, ♪ ♪ to be completely honest, ♪ ♪ to be completely honest, ♪ ♪ to be completely honest.

♪ ♪♪♪ ♪♪♪ Taylor: When we were Simon Dawes, before Dawes, I was more of the keyboardist and singer because the guitar player we were in the band with, Blake Mills, is a very incredible musician, incredible lead guitar player, so I didn't need to really play guitar.

I did, but it was more just as a rhythm instrument, and then, when we parted ways, I had to kind of learn how to be a lead guitar player on the fly.

speaker: Two, three, four.

♪♪♪ ♪♪♪ ♪♪♪ ♪ Everyone that greeted me was movin' slow and drinkin' fast.

♪ ♪ I was lost inside a painting on a wall.

♪ ♪ And a pretty lady with a cigarette was lookin' ♪ ♪ for a place to ash, just stumblin' ♪ ♪ toward the voices down the hall.

♪ ♪ They had "Thriller" on the stereo, ♪ ♪ not the album, just the song, ♪ ♪ for two dancers all in white that no one really knew.

♪ ♪ There were a lot of leather jackets.

♪ ♪ There was a haircut readin' palms.

♪ ♪ There was a line outside the ♪ ♪ bathroom that didn't really move.

♪ ♪ When the tequila runs out, we'll be drinkin' champagne.

♪ ♪ When the tequila runs out, we'll be drinkin' champagne.

♪ ♪ When the tequila runs out, we'll be drinkin' champagne.

♪ ♪ When the tequila runs out.

♪ ♪ Some girls forgot their bathing suits ♪ ♪ but still felt like jumpin' in that pool, right after makin' ♪ ♪ sure the underwater lights turned on.

♪ ♪ Now, I was starin' at a silhouette.

♪ ♪ I was blushin' like a fool, lettin' everyone ♪ ♪ pretend they hadn't planned it all along.

♪ ♪ Then our host bust out of his bedroom ♪ ♪ with his glasses slightly bent.

♪ ♪ He gets up on the diving board to tell us how he feels: ♪ ♪ "Ladies and gentlemen, we've begun the initial descent, ♪ ♪ so now it's time to pull up on the wheel."

♪ ♪ When the tequila runs out, we'll be drinkin' champagne.

♪ ♪ When the tequila runs out, we'll be drinkin' champagne.

♪ ♪ When the tequila runs out, we'll be drinking champagne.

♪ ♪ When the tequila runs out.

♪ ♪♪♪ ♪♪♪ ♪♪♪ ♪♪♪ ♪♪♪ ♪♪♪ ♪♪♪ ♪♪♪ ♪♪♪ ♪♪♪ ♪♪♪ ♪♪♪ ♪ On the floor of the living room, I saw my past life, ♪ ♪ passed out, laying next to her handsome new flame.

♪ ♪ I couldn't recognize his face so much ♪ ♪ except for that grimace on his mouth.

♪ ♪ That part looked a bit like me.

♪ ♪ He seemed to be in pain.

♪ ♪ Now, I didn't hear the picture window break, I didn't ♪ ♪ see the rising sun, but I could feel the morning breeze.

♪ ♪ Then I heard her tired voice speak up ♪ ♪ and say, "I think this party's done."

♪ ♪ She asked if I could drive her home, ♪ ♪ then she added, "Please, please."

♪ ♪ When the tequila runs out, we'll be drinkin' champagne.

♪ ♪ When the tequila runs out, we'll be drinkin' champagne.

♪ ♪ When the tequila runs out, we'll be drinkin' champagne.

♪ ♪ When the tequila runs out.

♪ ♪♪♪ ♪♪♪ ♪♪♪ Taylor: When I listen to my favorite artists in a live setting, the old live records or live shows that I'm going to now, there's always a singular potency.

Like, when I listen to this No Nukes concert that just came out from Bruce Springsteen, it makes me think like, "How does he do it?"

Like, "How did he get these songs together and put this show together with this kind of energy, with that kind of voice, with these solo breaks?"

You know, definitely takin' it apart and looking at it as a technician like, "Oh, he's, you know, goin' from the sax solo into the guitar solo, into the harmonica break," like, thinking about all these things but definitely leaving the experience feeling like no one else can do that.

♪♪♪ ♪♪♪ ♪ There were moments of dreams I was offered to save.

♪ ♪ I lived less like a workhorse, more like a slave.

♪ ♪ I thought that one quick moment that was noble ♪ ♪ or brave would be worth the most of my life.

♪ ♪ So I pointed my fingers and ♪ ♪ shouted few quotes I knew as if ♪ ♪ somethin' that's written should be taken as true, ♪ ♪ but every path that I've taken or conclusion I drew ♪ ♪ would put truth back under the knife.

♪ ♪ And now the only piece of advice that continues to help, ♪ ♪ anyone that's makin' anything new ♪ ♪ only breaks something else.

♪ ♪ When my time comes, ♪ ♪ whoa, ohhh, oh, ohhh.

♪ ♪ When my time comes, ♪ ♪ ohh, ohhh, oh, ohhh.

♪ ♪ So I took what I wanted and put it out of my reach.

♪ ♪ I wanted to pay for my successes with all my defeats, ♪ ♪ and if heaven was all that was promised to me, ♪ ♪ why don't I just pray for death?

♪ ♪ 'Cause now it seems like the unraveling started too soon, ♪ ♪ and now I'm sleepin' in hallways, drinkin' perfume, ♪ ♪ speakin' to mirrors, howlin' at moons while ♪ ♪ the worse and worse that it gets.

♪ ♪ Oh, you can judge the whole world ♪ ♪ on a sparkle that you think it lacks.

♪ ♪ You can stare into the abyss, but it's starin' right back.

♪ ♪ When my time comes, ♪ ♪ whoa, ohhh, oh, ohhh.

♪ ♪ When my time comes, ♪ ♪ ohh, ohhh, oh, ohhh.

♪ ♪♪♪ ♪♪♪ ♪♪♪ ♪ Well, you can judge the whole world ♪ ♪ on a sparkle that you think it lacks.

♪ ♪ You can stare into the abyss, but it's starin' right back.

♪ [audience singing] ♪ When my time comes, ♪ [audience singing] ♪ whoa, ohhh, oh, ohhh.

♪ ♪♪♪ ♪♪♪ ♪ When my time comes, ♪ ♪ whoa, ohhh, ♪ ♪ ohh, ohhh.

♪ ♪♪♪ Taylor: As far as musical influences go, it changes and develops over time, like, and then things come into our lives and out of our lives and then back in again.

When we first started, I think we were really--it was still very much that definitive period of anyone's life or any musician's life where the music that you're finding is so definitive, and it, like, is, like, concrete, or it really shapes you in a permanent way, and what you find at that time is, kind of, like where the chips fall, and, for us, you know, I was--you know, I loved music, and it was in bands, but I had yet to discover why Bob Dylan meant so much to me.

I'd yet to discover why the band meant so much, and so those were very big presences for us as a band early on.

♪♪♪ ♪♪♪ ♪ When the wind is with me but somehow out of sight, not ♪ ♪ knowin' where it comes from or where it goes, that's the way ♪ ♪ your memory shapes the middle of my night since ♪ ♪ the last time I saw you and the words you chose.

♪ ♪ When I said, "This must be what love is like I saw it in ♪ ♪ a dream," you looked into my eyes and said, ♪ ♪ "You don't know what you mean.

♪ ♪ Love is for the fisherman who cast his nets too far ♪ ♪ upstream, fishin' for ♪ ♪ the moon in the water."

♪ ♪ So I act now as if I've forgot my effort's all in vain.

♪ ♪ I spent some time with a new girl who made the simple world ♪ ♪ seem fine but like a rose placed in a flower pot, ♪ ♪ a true nature contained, ♪ ♪ not knowin' what she asks for or what she'll find.

♪ ♪ When she says, "If I've ever had love in my life ♪ ♪ then surely this is it," I said, ♪ ♪ "Anyone who talks like that doesn't understand one ♪ ♪ bit that love is for the fighter born to lose but ♪ ♪ never quit, swingin' at ♪ ♪ the moon in the water."

♪ ♪ So I left her with her dreams where I thought that ♪ ♪ she belonged, not with my secrets ♪ ♪ which she heard but never knew.

♪ ♪ I hoped my loneliness found peace.

♪ ♪ I hoped my number had been drawn when all I wanted ♪ ♪ from her was to remind me of you.

♪ ♪ So I stay out in the streets, hopin' to find you anywhere ♪ ♪ now that I understand the woman you need to be.

♪ ♪ I can feel you in the heat, I can taste you in the air, ♪ ♪ and I can't help but find your face in everything I see.

♪ ♪ And once I can admit you're gone, I'll place it on a star ♪ ♪ and wait for the day I am what you need and reach out ♪ ♪ for your heart 'cause, even if love is more my mistress ♪ ♪ than my lovers ever are, ♪ ♪ you'll always be the moon in the water.

♪ ♪ You will always be the moon in the water.

♪ ♪♪♪ ♪♪♪ ♪♪♪ ♪ I will do your interview, try to explain what ♪ ♪ I'm goin' through, give you somethin' to read ♪ ♪ into in a million different ways.

♪ ♪ A sick version of Telephone starts at the tip of the ♪ ♪ microphone, a game we thought we had all outgrown but still ♪ ♪ everybody plays, ignoring all of the remedies, ♪ ♪ believing all of the rumors ♪ ♪ with their endless database.

♪ ♪ I wanna sit with my enemies and say, "We should have ♪ ♪ done this sooner," ♪ ♪ while I look them in the face.

♪ ♪ Maybe that will crack the case.

♪ ♪♪♪ ♪♪♪ ♪ I got a friend who's been thinkin' ♪ ♪ 'bout finally kickin' her husband out.

♪ ♪ His secret life as a talent scout finally got him caught.

♪ ♪ While she was throwin' out all his clothes, she heard a voice ♪ ♪ from beyond the throes, "Punish him for the life ♪ ♪ he chose, but forgive the past he did not."

♪ ♪ It's really hard to hate anyone when you know what ♪ ♪ they've lived through and once they've given you a taste.

♪ ♪ She said, "This is for you to overcome, ♪ ♪ but I will always love you," ♪ ♪ in her perfect state of grace.

♪ ♪ Now, maybe that will crack the case.

♪ ♪♪♪ ♪♪♪ ♪ Ohhh, oh, oh, ohhh.

♪ ♪♪♪ ♪♪♪ ♪ "So now that we're through with formalities, ♪ ♪ what is it you'd like to ask of me?

♪ ♪ I'll answer open and honestly," ♪ ♪ whatever that means, ♪ ♪ findin' out that we occupy somebody else's opposin' side, ♪ ♪ on the banks of some great divide, ♪ ♪ two versions of a dream, countless revisions ♪ ♪ of history, tryin' to tell us the future ♪ ♪ between each commercial break.

♪ ♪ I wanna call off the cavalry, declare no winners ♪ ♪ or losers, and forgive ♪ ♪ our shared mistakes.

♪ ♪ You can pick the time and place.

♪ ♪ Maybe that will crack the case.

♪ ♪♪♪ ♪♪♪ ♪ Ohhh, oh, oh, ohhh.

♪ ♪♪♪ ♪♪♪ ♪ Ohhh, oh, ♪ ♪ ohhhh.

♪ ♪♪♪ ♪♪♪ ♪♪♪ ♪♪♪ ♪♪♪ Taylor: For me, it always ends up drifting back towards the love of the song, trying to find the next favorite writer that I can find.

You know, like, when I found Warren Zevon in 2010, I think that was a huge turning point for me, and he's always been a serious songwriting hero.

♪♪♪ ♪♪♪ ♪♪♪ ♪♪♪ ♪ He grabbed me by the shirt while I was payin' for ♪ ♪ my beer and screamed, "There you are, Balthazar.

♪ ♪ I knew I'd find you here."

♪ ♪ He hit me in the teeth, and then he spit ♪ ♪ into my face, took the keys to my Mercedes ♪ ♪ as he quickly left the place.

♪ ♪ Well, if I were in his shoes, ♪ ♪ maybe I would've done the same, ♪ ♪ but I don't know who he was, and Balthazar is not my name.

♪ ♪ And I said, "It's none of my business.

♪ ♪ It's really none of my business.

♪ ♪ It's really none of my business.

♪ ♪ I should be mindin' my own."

♪ ♪ And once the show was over, I met a fan at my hotel.

♪ ♪ He asked if I met Father John or if I knew him well.

♪ ♪ He said, "Is it true he doesn't eat but lives off ♪ ♪ starin' at the sun or that he wasn't really conscious ♪ ♪ when he wrote 'Fear Fun'?"

♪ ♪ I'm not the-- then he synthesized himself.

♪ ♪ "Sir, I wanna be a writer, and I think that this will help."

♪ ♪ But I said, "It's none of my business.

♪ ♪ It's really none of my business.

♪ ♪ It's really none of my business.

♪ ♪ I should be mindin' my own."

♪ ♪ I said, "It's none of my business.

♪ ♪ It's really none of my business.

♪ ♪ It's really none of my business.

♪ ♪ I should be mindin' my own."

♪ ♪ On that fateful day, when I get buried in the ground, ♪ ♪ I bet that I could tell you ♪ ♪ which friends make it into town.

♪ ♪ They'll tell you all my dirty secrets, ♪ ♪ and my brother's gonna sing.

♪ ♪ speaker: Yeah, yeah, yeah.

♪ ♪ Just make sure my suit is pressed ♪ ♪ and that they let me keep my ring.

♪ ♪ I'm not getting into heaven, and I don't believe in hell.

♪ ♪ I just wanna know my friends and family ♪ ♪ are rememberin' me well.

♪ ♪ But it won't be none of my business.

♪ ♪ It's really none of my business.

♪ ♪ It's really none of my business.

♪ ♪ I should be mindin' my own.

♪ ♪ It's really none of my business.

♪ ♪ It's really none of my business.

♪ ♪ It's really none of my business.

♪ ♪ I should be mindin' my own.

♪ ♪ I should be mindin' my own.

♪ ♪ I should be mindin' my own.

♪ ♪♪♪ Taylor: And the last song we're playing tonight is "A Little Bit of Everything," one of our bigger songs, but it feels good to end with that one 'cause it's a pretty heavy piano song.

Like, the first--the way we play it live, at least, the first two verses and chorus is just me and a piano, and then we all kind of join in, but for it to work as a closing song of a night, considering how mellow it is at the beginning, it feels really good.

It feels like a good way to go out.

♪♪♪ ♪♪♪ ♪♪♪ ♪♪♪ ♪♪♪ ♪♪♪ ♪♪♪ ♪♪♪ ♪♪♪ ♪ With his back against the San Francisco traffic, on the ♪ ♪ bridge's side that faces towards the jail, ♪ ♪ setting out to join a demographic, ♪ ♪ he hoists his first leg up over the rail.

♪ ♪ Then a phone call is made, and police cars show ♪ ♪ up quickly, and the sheriff slams his passenger door.

♪ ♪ He says, "Hey, kid, why don't you talk through this with me?

♪ ♪ Just tell me what you're doin' it for."

♪ ♪ "Oh, it's a little bit of everything.

♪ ♪ It's the mountains, it's the fog, ♪ ♪ it's the news at 6 o'clock, ♪ ♪ it's the death of my first dog, ♪ ♪ it's the angels up above me, it's the song that they ♪ ♪ don't sing--it's a little bit of everything."

♪ ♪♪♪ ♪ There's an older man who stands in a buffet line.

♪ ♪ He is smiling, and he's holdin' out his plate.

♪ ♪ And the further that he looks back into his time line, ♪ ♪ that hard road always led him to today.

♪ ♪ He's, makin' up for when his bright future just left him.

♪ ♪ He's makin' up for the fact that his only son is gone ♪ ♪ and letting everything out once his server asks him, ♪ ♪ "Have you figured out yet what it is you want?"

♪ ♪ "I think I'll have a little bit of everything, ♪ ♪ those biscuits and those beans, whatever helps me to ♪ ♪ forget about these things that brought me to my knees.

♪ ♪ So pile on those mashed potatoes, ♪ ♪ and how 'bout an extra chicken wing?

♪ ♪ 'Cause I'll be havin' a little bit of everything," yeah.

♪ ♪♪♪ ♪♪♪ ♪♪♪ ♪♪♪ ♪♪♪ ♪♪♪ ♪ Somewhere, a pretty girl is writing invitations ♪ ♪ for her wedding that she has scheduled in the fall.

♪ ♪ Her man walks in and says, "Baby, ♪ ♪ can I just make one quick observation?

♪ ♪ You don't seem to be havin' any fun at all."

♪ ♪ She says, "Well, you could just worry about your ♪ ♪ groomsmen and your shirt size and rest assured ♪ ♪ that this is makin' me feel good.

♪ ♪ I think that love is so much easier than we realize.

♪ ♪ If you can give yourself to someone, ♪ ♪ then you should 'cause it's a little bit of everything, ♪ ♪ the way you laugh, the way you ache.

♪ ♪ It's getting up way before you so I can just ♪ ♪ sit there and watch you as you wake.

♪ ♪ So on that day in late September, ♪ ♪ it's not just some stupid little ring.

♪ ♪ I'll be getting a little bit of everything."

♪ ♪ It's a little bit of everything.

♪ ♪ It's the matador and the bull.

♪ ♪ It's the suggested daily dosage.

♪ ♪ It's the red moon when it's full.

♪ ♪ All these psychics and these doctors, ♪ ♪ they're all right, and they're all wrong.

♪ ♪ It's like tryin' to make out every word ♪ ♪ when they should simply hum along.

♪ ♪ It's not some message written in the dark ♪ ♪ or some truth that no one's seen.

♪ ♪ It's just a little bit of everything.

♪ ♪♪♪ ♪♪♪ ♪♪♪ ♪♪♪ ♪♪♪ announcer: Support for this program comes from the KPBS Explore Local Content Fund, supporting new ideas and programs for San Diego.