
How We React and How We Recover, the new album from three time Tony Award winner Jason Robert Brown. His first solo recording in over a decade is a politically-charged, far-reaching rumination on love, family and music.
How We React and How We Recover – partly a response to our fraught political climate, part portrait of an evolving contemporary artist– is Brown’s definitive interpretation of his own compositions, pregnant with emotion, capacious musical energy and symphonic sweep. “I grew up on Billy Joel and Joni Mitchell, but also Stephen Sondheim and Leonard Bernstein,” reflects Brown. “All those influences sit within the work. This album has a specific emotional palette and musical aesthetic that rests between rock ‘n’ roll, jazz, folk, gospel and Broadway.”
The opening song, “Hope,” written the morning after the fateful 2016 U.S. Presidential election, was meant to set the tone for the record. “It’s about having hope when you have no reason to be hopeful, trying to capture the positive energy of life in bad times. I still have a tough time performing it, it’s a very direct expression of a very difficult emotional moment.” Ultimately the album is about, as the song “Hope” itself says, being a force of good “in spite of everything ridiculous and sad.”
“The Sandy Hook school shooting just broke me,” Brown continues. “My daughter was the same age as those kids and it mobilized me to do something, anything I could about the scourge of guns in this country. Ultimately, I wrote ‘A Song About Your Gun.’ I had to express my anger, not just for the killing of the innocent people, but the fetishization of this weapon. This object has been placed on a pedestal to become a symbol of who we are supposed to be as a country. I started writing this song to deal with that rage and now it’s become my primary social issue.”
“All Things in Time” – the song which provides the album its title – closes many of Brown’s concerts. With a quiet and clear-eyed optimism, the song says, “we can’t predict what comes to pass, all we control is how we react and how we recover.” “That line really encapsulates both the album and what it’s like to live in this crazy time,” Brown explains. “Let’s just hang in there together. It doesn’t matter if I really believe it, what matters is that I must believe it.”
Other album highlights include “Fifty Years Long,” Jason’s lyrical song originally written for a long-married couple he didn’t know, but which ended up exploring not only his own marriage, but that of his parents and the very nature of relationships, and how they are affected by community, luck and hard work. “Melinda,” infused with the chaos and energy of big band Latin rhythm, is about a rising salsa musician set in the melting pot of 1970s New York City.
“Hallowed Ground” – an infectiously percussive chamber pop song – was inspired by his daughter’s visit to the same performing arts camp Brown attended in his formative years, and the emotions from witnessing her budding musical talent. “Being a father is the thing I had to do to keep being a writer,” he reflects. “There were things I didn’t know how to feel, emotions I never knew existed, or how to express them. I’ve already said all there was to say about myself. It’s very different when you are responsible for other people and every facet of their lives.”
The Grammy Award-nominated vocalist Kate McGarry lends her voice to the bittersweet bossa nova-inspired “One More Thing Than I Can Handle.” Brown recalled, “I was dazzled by her technical facility and unbelievable musicality, but she really connects with the lyrics too. I am honored that she’s part of the album. She’s a special artist.”
“Wait ‘Till You See What’s Next” – the album’s ebullient closing track – was originally written as the finale of the Broadway musical Prince of Broadway, which honors Brown’s mentor, the lauded director Hal Prince. Brown provided arrangements, orchestrations, music supervision, and co-produced the cast album for Ghostlight Records. “As an optimist, Hal genuinely believes good things are going to happen,” says Brown. “His entire life and career are based on not the assumption, but the literal knowledge, that it’s all going to work out exactly the way you want it to. He’s always moving forward with positivity and belief in the future. This song was written to be in Hal’s voice, but by singing it on the album, I started to find that quality in myself. The world is rough right now, but wait until you see what’s next. Let’s celebrate what’s coming up.”
How We React and How We Recover is produced by Jason Robert Brown and Jeffery Lesser. Stacey Mindich and Kurt Deutsch serve as executive producers.
Brown also is represented on Ghostlight Records with his debut solo album – Wearing Someone Else’s Clothes – in addition to The Last Five Years (2002 Original Off-Broadway cast album, 2013 Revival Off-Broadway cast album, and 2015 Motion Picture Soundtrack), and the Original Broadway Cast Albums of 13 and The Bridges of Madison County.
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HOPE
Music and lyric by Jason Robert Brown
Sheet music available on SheetMusicDirect.com.
I come to sing a song about hope.
I’m not inspired much right now, but even so,
I came out here to sing a song. So here I go.
I guess I think
That if I tinker long enough, one might appear.
And look! It’s here.
One verse is done.
The work’s begun.
I come to sing a song about hope.
In spite of everything ridiculous and sad,
Though I’m beyond belief depressed, confused and mad,
Well – I got dressed.
I underestimated how much that would take.
I didn’t break
Until right now.
I sing of hope
And don’t know how.
So maybe I can substitute “strength,”
Because I’m strong.
I’m strong enough.
I got through lots of things I didn’t think I could,
And so did you.
I know that’s true.
And so we sing a song about hope.
Though I can’t guarantee there’s something real behind it,
I have to try to show my daughters I can find it,
And so today –
When life is crazy and impossible to bear –
It must be there.
Fear never wins.
That’s what I hope.
See? I said “hope.”
The work begins.
New York, NY
November 9, 2016
Friday morning, early summer
Mama's still laying deep, dead asleep
With the curtains drawn and her head underneath the blanket
Out the front door, up the stairwell
Past the stink of the frying and the dying
'Till I hit the roof, pull my transistor out and crank it
Friday morning, seven-thirty
New York City, grand and dirty
Creeping out of the shadows like a whore
Look around, I can hear, in the ground
Somewhere near, there's a sound, something no one ever noticed before
Down there on the street
Someone's playing salsa
Someone's playing disco
Someone's making something burn
Someone plugged in a guitar and is shooting fireworks
And I said Melinda, when's it gonna be my turn?
Oh
Friday, midnight, try to find me
I'm the boy with his feet on the street
Hunting down the sound with his ears like an antenna
Hit the back door, past the bouncers
Those cabrons with the blades and the shades
Enjoying their latest shipment from Cartagena
Couples shouting, couples swaying
All the while the band is playing
Old shit any wedding band could play
No one knows, no one cares
But that kid by the stairs has a song inside him
That'll blow you all away
Down here on the street
They've been playing mambo
Someone's playing bebop
Like Abuela's old LPI can hear the sound of the Bronx exploding
And I said, Melinda, when they gonna notice me?
Out there on the street
Someone's tagging subways
Someone's jumping fences
Someone's cursing at the moon
Meanwhile, some clown gets a million dollar contract
And I said, Melinda, this story better change soon
Out there on the street
They've been shooting cop cars
They've been torching high schools
There ain't nothing that can grow
All I got is a crazy fortune teller
And I said, Melinda, tell me where I got to go
Guess what I’m doing sitting in this chair.
I’m shooting lightning bolts across the sky.
You hear that thunder rolling through the air?
That’s how you know that I’ll be rolling by.
You think that isn’t how I’m meant to be?
You don’t know my secret identity!
Here I go – look at me!
There’s a lot I can be, but I won’t be
invisible.
Here I go!
Breaking out, breaking free – no, I won’t be
invisible.
Don’t try to tell me what I cannot do.
Take down the barricades, I’m coming through!
Here I go – now you know!
Just ‘cause you can’t see me,
It don’t make me
invisible.
You see me coming in your rear view fast
–You duck and weave and try to block my way.
But like a lightning bolt I slip right past.
I don’t have time to waste on you today.
No point in telling me I won’t succeed
–I’ve got a better life I’m gonna lead!
Here I go – look at me!
There’s a lot I can be, but I won’t be
invisible.
Here I go!
Breaking out, breaking free – no, I won’t be invisible.
Don’t try to tell me what I cannot do.
Take down the barricades,
I’m coming through!
Here I go
– now you know!
Just ‘cause you can’t see me,
It don’t make me invisible.
I was lost in the dark,
I was deep in the ground,
I was hidden away
When the light came around.
But I clawed my way out
–And I’m on the attack.
I will not disappear
And I’m not going back!
Here I go – look at me!
There’s a lot I can be,
but I won’t be
invisible.Here I go!
Breaking out, breaking free
– no, I won’t be
invisible.
Don’t try to tell me what I cannot do.
Take down the barricades,
I’m coming through!
Here I go – told you so!
Just ‘cause you can’t see me,
You can’t see me,
You can’t see me,
It don’t make me invisible.
Fifty years started in West Pennsylvania
Coulda been Paris or Rome or Duluth
But fifty years started in West Pennsylvania
And that′s how you know that I'm tellin′ the truth
'Cause fifty years isn't some fairy tale story
Some Hollywood horseshit, some old country song
It starts out as nothing and grows till it′s fifty years long
One year is easy, five years, whatever
And ten years or twelve, now you′re starting to learn
It's climbing and driving and giving up something
And praying you like what you got in return
And what is this city? And who are these people?
And how did we get here? And did we go wrong?
Well, keep holdin′ hands, kids
You grew something fifty years long
It's fifty years fightin′ and fifty years dancin'
And fifty years chancin′ the wheel
It's fifty years reachin' and fifty years growin′
And fifty years knowin′ it's real
It′s real
It's funny how someone looks fifty years different
But still looks the same, give or take, more or less
It′s funny to think eighteen thousand days later
What you might have been if you hadn't said yes
But look at us cryin′ and look at us laughin'
And here's what we′re thinkin′, in case it's not clear
If that love could happen in West Pennsylvania
Who knows what could happen right here
So come tell the story of how you can do it
It′s love and it's luck and it′s sacred and strong
It starts out as nothing and grows till it's fifty years long
You start out with nothing and grow something fifty years long
I’m walking on hallowed ground.
I’m breathing in ancient air.
I’m hearing a long-lost sound
From the water down there –
It’s a distant beat
Pulsing through the heat of the long ago.
I’m walking on hallowed ground.
I’m stepping on sacred bones.
Another new fossil found
In the silt and the stones,
Just beyond this hill
In the sultry still of the summer.
I am trying to find
Something I left behind in the long ago.
I’m walking on hallowed ground.
I’m holding my daughter’s hand.
I’m taking a look around
Where my Dad used to stand
When he’d watch me play
On some sun-scorched day in the long ago.
I’m following faded trails
From when I was twelve years old.
I’m fi shing out new details
In the stories I’ve told,
Like the hearts I broke,
Like the truth unspoken in summer.
Turn a corner and then
I am right back again in the long ago.
See that kid in the breeze?
I keep telling him “Easy does it.”
That’s the problem with him,
It was never that simple, really, was it?
I’m walking on hallowed ground.
I’m checking out every clue.
I’m seeing my life unwound
And assembled anew.
Then I hear that line:
“Dad, relax, I’m fine,”
And she’s running off.
And she’ll stand here one day
Watching me walk away in the long ago.
You can run, you can learn,
But you’ll always return to the long ago.
Between the look and the look away,
I saw paragraph on paragraph of wanting
Written in the space around your eyes
And the corners of your smile.
Between the look and the look away,
I heard, louder than the bells of a cathedral,
Everything you wish that you could ask
If we only were alone,
If you only could be sure
That your wife would never know...
But that’s one more thing than I can handle,
One more cross than I can bear.
God, you’re beautiful,
God, it would be easy to say yes,
But that’s just
One more thing than I can handle,
One more way I mustn’t care.
Take me like a photograph,
Put me in a drawer beside your fantasies,
And leave me there.
Between the look and the look returned,
I made hundreds of frenetic calculations,
Measuring the distance to my train,
And the light inside the bar,
And the force beneath your arms,
What I’d say if we got caught...
But that’s one more thing than I can handle,
One more choice that isn’t fair.
God, you’re beautiful,
God, it would be nice to acquiesce,
If only, if only it weren’t
One more thing than I can handle,
One more never answered prayer.
Close me like a bank account,
Drop me at the bottom of your memories
And leave me there.
Leave me empty,
Leave me dry,
Leave me hanging on the branch to rot.
You might be strong enough,
You might be strong enough...
But I’m not.
I’m not.
It’s just one more thing than I can handle,
One more cross than I can bear.
God, you’re beautiful,
God, it would be easy to say
If only, if only, if only, if only it weren’t
One more thing than I can handle.
One more castle in the air.
Hide me like an accident.
Watch me walk away,
Light me in the window of your could-have-beens,
And leave me there.
Leave me there.
Leave me there
All things in time.
If not today, if not tomorrow,
Then all things in time -
We can’t predict
What comes to pass.
All we control is how we react
And how we recover.
Something like faith,
Deep in our skin:
Everything in its time.
All things in time –
Some things come quick, some things come easy,
But all things will come
Given the chance,
Given the room.
I can’t decide the length of a day,
The depth of an ocean –
I just decide what to explore.
Maybe it’s just wanting it more –
Want it enough,
Want to begin.
Everything in its time.
No way to know –
No guarantees,
Nothing but choices.
Plenty to lose,
Plenty to fear –
Let’s make a deal:
I will be here,
Waiting with you,
Trusting what’s true,
Stumbling blind
But knowing we’ll find
Everything –
Everything in its time
Who’s gonna sing a song about your gun?
Who’s gonna sing a song about the way you feel protected
When you hold it in your arms when day is done?
Who’s gonna sing that song, sir?
Who’s gonna sing a song about your gun?
Who’s gonna tell the world that you feel
grounded and connected
When you wrap your hands around your Remington?
Who’s gonna sing a song about your gun?
All those people at the rodeos and ranges
Putting Freedom First and nothing else above –
Surely one of them could play a couple changes
And then write a verse in praise of what you love.
Someone’s gotta think it would be fun
To sing a little song about your gun, sir.
I can’t sing a song about your gun.
I’ve got twenty-seven other jobs that I’ve
neglected,
And in fact, right now I’ve kinda gotta run,
So I can’t sing a song about your gun.
See, I’m too busy singing songs about my
daughters
And the news I have to hide from them today.
I’m too tired from reading stories about
slaughters
In some little town a half an hour away
By some kid who looks a little like your son,
So I can’t sing a song about your gun, sir.
I’m not interested in your justifi cations
Or the patriotic sermons that you’ve preached.
Pardon me, sir, but I ran right out of patience
Sitting waiting for consensus to be reached.
So honestly, the odds are one-to-one
That I don’t give a shit about your gun, sir.
Who’s gonna sing a song about your gun?
Who’s gonna tell the world you’ve been maligned
and disrespected
And you’re never understood by anyone
Who wouldn’t sing a song about your gun?
Hold up, don’t be mad,
I’ve got some news but it isn’t bad,
Exactly,
It’s just, you’re on your phone a lot less than I
And so this thing might have passed you by.
The other night when we were both at the gala,
I never knew,
Selena Gomez took a pic of me staring at you
And put it up on her Instagram for all to see,
And wrote, “Why can’t someone look like that
at me?”
And within about an hour, yikes,
It had 47 million likes
And a national conversation
About my look
In the pic that Selena took,
And I never told them, but everybody knows,
Everybody knows that I love you.
I never told them, but everybody knows,
Everybody knows how I feel.
I was hoping
You were unaware
Of what I’d never dare express...
Nevertheless,
Apparently it shows,
‘Cause everybody knows.
All right, now look, what I meant,
This doesn’t have to be a big event,
I know it’s been re-grammed, re-posted and
retweeted,
But I’m expecting you to still delete it.
I mean, I’ve been staring like that for at least
a year
And you don’t even know I’m here,
So in spite of all the encouragement the
commenters wrote us,
You can keep on pretending not to notice.
But hey, in case the public response
Makes the lady reconsider what she wants,
I am ready and willing, completely gratis,
To change your relationship status.
I never told you but everybody knows,
Everybody knows that I love you.
I never told you but everybody knows
Everybody knows how I feel.
I was planning
Just to lay down dead
If you never read the clues,
But based on the news,
I might as well propose
‘Cause everybody knows.
I never told them but everybody knows
Everybody knows how I love you.
I never told you but everybody knows
Everybody knows how I feel.
I was dreaming
That you’d be in sync
With what I’d been thinking of –
‘Cause people say that love
Invariably grows
When everybody knows...
And everybody knows.
He passes by,
You catch his eye,
He tilts his head and smiles,
And just like that, he strips away
Your half-hearted denials.
He turns to go
And you don’t know
If it was even real,
But how on Earth can you explain
This uneasiness you feel?
Maybe some primal recognition, baby.
Maybe some signal from the sky.
Tell me why is falling in love so easy,
But staying in love gets harder all the time?
Why is falling in love so easy,
But holding on to love is the hardest hill to climb?
You oversleep
And so you keep
Her waiting for an hour.
You used to charm your way out of this,
But lately you’ve lost that power.
The silence stings;
You think of things
You know you shouldn’t say.
You reach across the table
But she pulls her hand away.
How did you get in this position, baby?
How can you get those tears to dry?
Tell me why is falling in love so easy,
But staying in love gets harder all the time?
Why is falling in love so easy,
But holding on to love is the hardest hill to climb?
Why, when we know how it’s all gonna go,
Do we still find a way to justify
Why?
Hiding inside the heart of each hello, baby,
Is the beginning of goodbye…
Tell me why is falling in love so easy,
But staying in love gets harder all the time?
Why is falling in love so easy,
But holding on to love is the hardest hill to
climb?
Why is falling in love so easy,
But staying in love gets harder all the time?
Why is falling in love so easy,
But holding on to love is the hardest hill to
climb?
I know a room in Memphis, Tennessee
With our names written over the bed.
There is a rose in southern Italy
Growing right in the spot where you once laid
your head.
I have a picture from Mexico
Of a hammock built for two
And there’s you and me and a caravan of angels
Following us close behind.
There goes you and me and a caravan of angels
Any way the road will wind.
Maybe we’ll find the wine has turned,
The fireworks are gone –
There’s still you and me
And the caravan we’re leading on.
In Illinois, I’m told that there’s a ghost
In the house where I first made you cry.
And there’s a phone, just minutes from the coast,
Where you don’t know I heard you tell me a lie.
Right at Columbus and 81st,
There’s a challenge we came through…
And there’s you and me and a caravan of angels
Harmonizing every note.
Observe you and me and a caravan of angels,
Making sure we stay afloat.
And if we wrote a thousand lines
But couldn’t find the song,
There’s still you and me and the caravan to
sing along.
There on the freeway, there on the plane,
There on the playground slide,
Crowding around us, forming a border
Two whole lifetimes wide.
I wrote some words on a Hallmark card
That I wasn’t sure were true,
Until you and me and a caravan of angels
Trusting how the river flows.
There goes you and me and a caravan of angels –
How they found us, nobody knows!
And only those who see this well
Can tell how love is blind.
‘Cause there’s you and me and the summer and the sea
And the big red sun and the tall oak tree
And the people that we call a family:
There’s just you and me and the caravan that
we defined.