Jill Tracy's video: JILL TRACY: Sell My Soul w lyrics OFFICIAL

Sell My Soul words and music by Jill Tracy Trick me with your pretty things Black horses with their silver wings The halos in the sky are calling me again You reign under a broken crown Archangel of the underground The quicksand in your eyes is taking me down Could you be the one I sell my soul to Could you be the one who falls from grace Could you be the one you've got me falling apart again Or is it falling into place? Glass snakes on the windowpane Tremble in the pouring rain Come wrap your cloven foot upon my high-heeled throne Captivate the sweet machine Surrender to the offering Ashes and alibis, we all go down Could you be the one I sell my soul to Could you be the one who falls from grace Could you be the one you've got me falling apart again Or is it falling into place? Or is it falling into place? Under the rocks and stones I'll find you Beneath the bottom of below Under the rocks and stones I'm waiting Could you be the one Could you be the one Could you be the one I sell my soul to Could you be the one who falls from grace Could you be the one you've got me falling apart again Or is it falling Or is it falling Could you be the one? from the JILL TRACY album "The Bittersweet Constrain" released 11 June 2008 http://jilltracy.bandcamp.com/album/the-bittersweet-constrain http://jilltracy.com/ FROM THE PRESS: "It's nice to have discovered another artist of depth and substance, especially in an age where it's easy to feel that almost none still exist... Jill Tracy: "the elegant side of the netherworld" --maybe "netherworld" has replaced "underground" now. No wonder (Jello) Biafra had raved to me about her. The new music of the future will give us history lessons, and restore to us our lost authentic emotionality, in an age which J.G. Ballard has described as "the death of affect." The death of authentic emotionality and emotional response, indeed... NOT YET - not as long as a handful of people like Jill Tracy, Jello Biafra, Nick Cave, Henry Rollins, and Lydia Lunch keep "kicking against the pri-cks" (to paraphrase Shakespeare). And handing us reasons to still keep living and deciphering what we really feel..." V. VALE, RE/Search PUBLICATIONS "Few things are finer than drowning in anticipation for a new album -- having that album arrive and, most importantly, having that album more than satisfy said anticipation. "The Bittersweet Constrain" is wonderfully dark, mischievous and mesmerizing... twilight tales of spurned love, untimely ends and thoughts lost in the shadows, slowly creeping unseen and meaning to not merely embrace, but drag us down into those oh-so-wrong exalted states. What a bloody good record." L'ENNUI MÉLODIEUX "More noir than cabaret, Jill Tracy's "The Bittersweet Constrain" is a mesmerizing example of a musical endeavor that lives and breathes its own atmosphere. Like a trip down the back alleys of a metropolis in decline, you never know where the album is taking you; like an audio flaneur, you may find yourself strolling by the scene of a crime ("Room 19"), finding decadent delight in Faustian bargains ("Sell My Soul"), or becoming obsessed with fatal longing ("In Between Shades"). By turns seductive, dangerous, and knowing, Tracy's voice is pure chanteuse, irresistible even in the face of the beckoning downward spiral. Colored lightly in the hues of torch song and morbid nightclub songbird, the album takes its time to unfold, lulling you with waves of dissolute dreams as it subtly pulls you under the tide. Backed by her own tenebrous piano and a host of musicians dubbed The Malcontent Orchestra, "The Bittersweet Constrain" is a very dark album that avoids unnecessary bleakness. Though the record contains paeans to the barbarity of torture devices and other metaphoric references to the torments of love and lust, the raw emotional hunger of Tracy's voice indicates that the agony of "the bittersweet constrain" is, inevitably, all we have. A downbeat ending fit for the rain-drenched, black-and-white conclusion of a noir thriller to be sure, but with music as compelling as this, it is a proposition difficult to argue against." LIAR SOCIETY