"I'm not doing anything. I gave you a lot of responsibility letting you pick out the band. You're just going to have to deal with it. Have fun." Ned promptly left the room and Alexis followed, giving Emily a sympathetic look as she passed.
"So, are we going to get started?" Chuck, the bass player, asked.
Juan rolled his eyes. "I suppose. Why don't you show me the kind of music you're talking about."
"Ok, great, let us set up in the studio. It seems like the only place that will hold our equipment," Jon said.
"Jon is the spokesman for the group," Sly said to Emily.
"And Sly is our creative genius. You know all the great composers: Bach, Mozart, and Eckert."
"Damn straight," Sly said.
"And Strait? George Strait doesn't really write his own music, Sly," Cris laughed.
Juan was more confused than ever. Who were these people they were talking about?
Emily was amused. Juan looked like they were speaking another language. He was kind of cute when he was befuddled. She would try to explain.
"George Strait is like the king of modern country music. Don't worry, I'll be here to translate."
Juan smiled. "Thank goodness for that." He leaned over and kissed her.
-*-*-*-*-*-
Sly's band had soon set up their instruments. "Well, why don't we start off with a Hal Ketchum song? He might like that kind of sound," Sly said.
"It's worth a shot," Cris said. Keith grunted in approval.
Emily and Juan entered into the studio. Sly could not help but notice how much
Emily had changed. She was no longer the gawky preteen he remembered; now she
was fully mature and beautiful.
Emily and Juan sat in some chairs in the dimly lit studio. Emily couldn't believe that of all the bands Juan could have picked, it was Sly's. It was such a strange coincidence, even though she remembered Lucky sometimes mentioning that Sly had a band.
"Ok, we're going to start with an example of what we think might be a good style for you," Jon said.
"Jon here will play electric guitar for now. You don't really need the steel so much in this song, but you definitely need the electric. Ordinarily, I'd play both parts," Sly said.
"Fine. Whatever," Juan said crossly. "Just play."
Sly counted off the song while Keith knocked his drumsticks together. "One, two, one two three four…"
The band started what sounded like a country song with slight rock overtones to Emily's ears. Then she heard Sly start to sing.
Last night I dreamed you were back again
Larger than life again, holdin' me tight again
Placin' those same kisses on my brow
Sweeter than ever now, Lord I remember how
Couldn't get enough of kissin'
Do you know how much you're missin'
No you don't, but I do
Emily nearly gasped. Sly had an incredible voice. The band backed him nicely. Sly's hands moved swiftly over his acoustic guitar. They seemed to know exactly where to be at all times.
Days like a slow train trickle by
Even the words that I write refuse to fly
All that I hear is your song haunting me
Can't get the melody out of my head, you see
Distractions I've been using
Do you know how much you're losing
No you don't, but I do
Emily thought that Sly really felt the song. The jovial guy from before became a haunted, desperate man. It was as if he became the character in the song.
But I do
And I wonder if I'm past the point of rescue
Is no word from you at all the best that you can do
I never meant to push or shove you
Do you know how much I love you
No you don't, but I do
Emily guessed that was the chorus. Jon struck two distinctive harmonic notes
to bring the song back to the verse. Emily couldn't take her eyes off of Sly.
He had a certain, indefinable presence that drew attention to him.
I swore I'd never fall like this again
Fools like me never win, came to my knees again
Can't close the door on the likelihood
Things might be just as good, always believed they would
Got to let your love invite me
Baby do you think it might be
No you don't, but I do
But I do
And I wonder if I'm past the point of rescue
Is no word from you at all the best that you can do
I never meant to push or shove you
Do you know how much I love you
No you don't, but I do
Ah, no you don't, but I do
The band finished the song, letting its melody float to the end. Immediately, Sly's demeanor changed again; he was back to his old self. "So what did you think?"
Juan looked coldly at Sly. "I thought it was awful."
"Past the Point of Rescue" written by Mick Hanly. Sung by Hal Ketchum on his album of the same name.