Jill Tracy's video: JILL TRACY: I Can t Shake It w lyrics OFFICIAL

I Can't Shake it words and music by Jill Tracy No medicine for this malady No snake oil, no gris gris There's no magic potion, no afterglow No backstage exit To some secret show And I'm screaming at these four walls Shivering from the thought That I just can't shake it baby Because the words intoxicate me I won't surrender from this state I'm in Held guilty of magnificent sin Because I just can't shake it baby No sanctuary, no antidote No saving grace, no Holy Ghost There's no diamond powder, no parlour trick No bloodletting, this one cuts to the quick And I'm screaming at these four walls Shivering from it all And I just can't shake it baby Because the words intoxicate me I won't surrender from this state I'm in Held guilty of magnificent sin No I just won't let it freeze beneath my fingertips No I just won't let it disappear inside of my head I'm drowning in these words nobody's ever heard Sinking so fast, I'm never coming back And I just can't shake it baby Cause there's no cure today No I just won't let it freeze beneath my fingertips No I just won't let it disappear inside of my head I'm drowning in these words nobody's ever heard Gathering clouds, I'm never coming down But I could be good, if you just let me This big white light shining down On me 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