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Wish On The Bone

by Why Bonnie

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1.
But I’m stuck on the grid Asphalt and paint And gasoline saints That won’t even mind to bear witness To hands on the gate And watch while it shakes And sometimes it’s over Before it gets started So call me when the coast is clear Two evil eyes in a good, good head Making an imprint in my bed Wake up and take all your chances Wish on the bone And take yours on home Your soap box has turned to an ice box You’ll slip as it melts It’s hotter than hell And sometimes it’s over Before it gets started So call me when the coast is clear Two evil eyes in a good, good head Making an imprint in my bed
2.
Dotted Line 03:36
Give me something to believe Give me something I can’t reach Won’t take too much of your time “3 easy steps to rewire your mind” Give me freedom Give me gold Tell me that I will never grow old. All you dream of could be all yours Cut your hand and I’ll find the cure It’s easy as 1,2,3 If you just put your faith in me Let all your problems melt away Good days ahead after you pay. I should’ve known better Turns out it was a lie. I should’ve known better Than to sign on the dotted line I should’ve known better. Give me something I can feel Give me something to make it real Won’t take too much of your time “3 easy steps to rewire your mind” It’s easy as 1,2,3 If you just put your faith in me Let all your problems melt away Good days ahead After you pay. I should’ve known better Turns out it was a lie. I should’ve known better Than to sign on the dotted line I should’ve known better. Turns out it was a lie. I should’ve known better Than to sign on the dotted line. I should’ve known better
3.
Disappearing warmth of love Like the shape of your handprint Fogging up It stained it so much I could hardly see What you thought was disappointing Wasn’t second rate to me Just tell me when And I’ll be waitin’ There is no rhyme There is no reason Look into my eyes and tell me What it is you’re seein There is no future You’re only dreamin Look into my eyes and tell me What it is you’re seein The disappearing warmth of love Like Halley’s Comet I’ve only heard of it I’ve never seen its streak But I have heard it comes fast And you’ll miss it if you blink If you blink Just tell me when And I’ll be waitin’ There is no rhyme There is no reason Look into my eyes and tell me What it is you’re seein There is no future You’re only dreamin Look into my eyes and tell me What it is you’re seein
4.
Fake Out 04:22
If I put my Tongue to my teeth like this Would you tell me To stop opening my lips? I wouldn’t give it up Just to fade out I wouldn’t give it up Just to fake out. It’s not my face I imitate. You don’t want to Hear the sounds turn into words Something you thought Was only something that you heard I wouldn’t give it up Just to fade out I wouldn’t give it up Just to fake it but I could It’s not my face I imitate. It’s not my face I imitate.
5.
You cast a neon light When you’re having fun Like a poetic line in a standard country song. I thought that something I could give Could be something you could keep. How pretty can you get? Got me lost in the moment And I’m rambling Like a rolling stone. They’re burning the ice Another restless sleep can wait another night But for now I’m yours and baby won’t you be mine. Without a word that I could hear A message loud and clear Came ringing from your heart and into mine Your headlight sun began to set On my neon moon How pretty can you get? Got me lost in the moment And I’m rambling Like a rolling stone. They’re burning the ice Another restless sleep can wait another night But for now I’m yours and baby won’t you be mine. But for now I’m yours and baby won’t you be mine. But for now I’m yours and baby won’t you be mine. But for now I’m yours and baby won’t you be mine.
6.
Green Things 02:33
It’s the token bitter end To feel the way I do now. You were just so sweet to me The sugar blacked me out. Easy come and easy go For those with easy strides. I said no just go ahead I got tangled on the line. And you feed me Green things And I eat it up. And you feed me Green things And I eat it up.
7.
What if I could Be somebody’s baby Never hurting, Always loving, Baby. But all the money in the world wouldn’t buy No, all the money in the world wouldn’t buy What you want. What if I could Be somebody’s baby Never hurting, Always loving, Baby. But all the money in the world couldn’t buy No, all the money in the world couldn’t buy What you want.
8.
Peppermint 02:31
Sucking on a peppermint I lose my step I get back to it I got one ‘cause I felt sick And now I’m better because of it Spin me ‘round Sucking on a peppermint Leg over my head Just to prove it Pirouette til I’m teacher’s pet Spot my head so that I don’t lose it. Spin me ‘round Spin me ‘round Again Again
9.
I was a heavy weight Out there in space Took one for the team And took a swan dive into nothing They pinned a note to my collar It said “we couldn’t save her” And dropped down the american flag Like it was a favor Walked around a few earth hours Until my feet got sore Found a nice big crater 24 by 24 Houston, we have a problem So many that I just, I just can’t solve them Now that I’m here on this big rock alone There’s no way up The only road goes home Coming up on a year In my own little world I’m the king here And the prettiest girl You know the nighttime here Isn’t so bad I got three big moons That I can look up at Houston, we have a problem So many that I just, I just can’t solve them Now that I’m here on this big rock alone There’s no way up The only road goes home Oh I stand so tall When nobody’s there to make me small Oh I stand so tall When nobody’s there Houston, we have a problem So many that I just, I just can’t solve them Now that I’m here on this big rock alone There’s no way up The only road goes home
10.
Weather Song 02:22
You complain about the heat And I’ll cry about the cold Until we meet Somewhere in the middle And let the seasons take their hold It’s out of our control All my mornings tend to rise and sink In subtle harmonies That fade to hums And then their gone And I crave for your touch Like a lonely melody I just want you to sing along I feel you like a song That is just meant for us Oh what a feeling to feel so much When it’s all said and done I’ll keep you cooled off And you’ll keep me warm I’ll keep you cooled off and you’ll Keep me warm I’ll keep you cooled off and you’ll Keep me warm I’ll keep you cooled off and you’ll Keep me warm
11.
I remember when I thought this place would be my home Our friends all in the backyard We let get overgrown Turns out I don’t hate you And believe me I did try But as winter thawed so did my heart And I don’t wonder why I was somewhere in between A vision and a dream And I’d hoped you follow me But behind me there was nothing I waited at our old bar But you never showed So I took the shot I bought you And one more for the road And one more for the road And one more for the road And one more for the road And one more for the road

about

When Blair Howerton brought bandmates Chance Williams and Josh Malett together to work on Why Bonnie’s sophomore LP, the first song she showed them set the tone for what was to come. “Fake Out” is about “trying to be authentic in a world that makes it impossible to be so,” and fittingly, it’s the loudest song on Why Bonnie’s bold new album, Wish on the Bone. On the chorus, Howerton wails against a building wall of sound that overtakes her by the song’s end: “It’s not my face/ I imitate/ It’s not my face/ I imitate.”

The revelation has clouded Howerton’s mind in the two years since Why Bonnie released their debut, 90 in November, an album praised for its nostalgic depictions of wide-open spaces that earned comparisons to Waxahatchee and Wednesday. That album captured who Howerton felt like she was at the time – a twenty-something living in New York, yearning for the Texas of her adolescence through rose-colored glasses – but her self-conception is forever in flux. On Wish on the Bone, Why Bonnie is untethered from the particulars of landscape or genre, but a fixation on what it might look like to lead an authentic life grounds the record in place. “I’ve changed since that album, and I trust that I’ll probably continue to change,” Howerton says. “Maybe I won’t be the same person entirely two years from now.”

Curiously, that mercurial sense of personhood made Howerton trust herself more, both in personal relationships and in the studio. Though Howerton may change, her convictions are steadfast, as is her sense of moral responsibility. “These songs were written out of hope for a better future. I’m not naïve, the world is fucked up, but I think you can radically accept that while still believing it’s possible to change things,” Howerton says. “Hope, to me, is strength.” And to have it, one must develop a critical sensibility capable of subverting the charade of contemporary American existence. “Fake Out” puts it bluntly: “Something you thought/ Was only something that you heard.”

When Why Bonnie recorded 90 in November, they set out to make a country album, aligning their respective technical instincts with the genre trappings. With Wish on the Bone, Howerton had no interest in adhering to genre standards. Bands unbeholden to expectation like Broken Social Scene and HAIM were a guiding light as Howerton, Williams, and Malett fleshed out these songs with help from Jonathan Schenke, who co-produced alongside Howerton. “We were trying on musical hats,” Howerton says, laughing. “There’s still some country on this record, but I wasn’t thinking about sticking to one thing. Personal experience of learning to be bolder and more assertive and trusting myself has carried over into my music. I’m not afraid to take risks.” Howerton felt free enough to set one of these songs – the gorgeous, aching “Three Big Moons” – on a distant planet inspired, in part, by a sci-fi novel. “They pinned a note to my collar/ It said ‘we couldn’t save her’/ And dropped down the American Flag/ Like it was a favor,” Howerton sings. When she mentions Houston, it’s not only to reference her childhood home, but also NASA. “Houston, we have a problem/ So many that I just, I just can’t solve them.”

Lyrically, Wish on the Bone confronts issues both macro and micro in scale. “Dotted Line” was written when Howerton was experiencing “the weight of capitalism,” onset by a period when she was “broke as hell” and spiraling. “I was thinking of all the things we’re told are markers of success, and how at this rate, I’ll probably never have any of them.” To sign the “dotted line” in question is to make a Faustian bargain. “Good days ahead after you pay,” Howerton, or the devil, promises on the chorus, the backing beat as hypnotic as any hustler. It’s one of a handful of songs on Wish on the Bone that beckon the audience to scream along; how many of us have made deals like the one Howerton describes, only to come up short? “I should have known better,” we rage at ourselves, accompanied by Howerton, our infectiously confident guide into this netherworld.

A song like “Dotted Line” is written as a rallying cry, a defiant kiss off directed at the forces that be who, Howerton says, “are just turning the wheel.” But other songs on Wish on the Bone have an intimate edge, convincing the listener that Howerton is beckoning them into a private room, allowing them to witness a defining moment. On “I Took the Shot,” Howerton’s sun-bleached voice recounts the dissolution of a relationship over a bed of twinkling synths. “I waited at our old bar/ But you never showed/ So I took the shot I bought you/ And one more for the road.” It’s a cinematic ending to the album, like the final shot in a coming of age film in which the protagonist rejects the forces that have tried, and failed, to shape her into something other than herself. It leaves you with a hard-fought sense of hope, which is among Howerton’s greatest gifts as a songwriter.

“You owe it to the people who are experiencing the worst to just keep pushing,” Howerton says. That commitment to regenerating a sense of hope each new day was ingrained in her when she lost her brother. It happened just as Howerton was beginning to come into her own as a musician, finding her voice amidst the DIY scene of Austin, TX. To cope, she wrote song after song, built a catalog despite her suffering, and in doing so, developed a new relationship to spirituality, one that she defines on Wish on the Bone’s stirring standout, “Rhyme or Reason.” On the bridge, Howerton warns of what it feels like to lose the warmth of love: it’s like Halley’s Comet, “it comes fast/ And you’ll miss it if you blink.” With Wish on the Bone, Howerton is wide-eyed and waiting, reminding herself, even on the worst days, that despair is not inevitable. “This album is about choosing hope, beauty, and love every day because nothing is worth it if you don’t believe in those things.”

credits

released August 30, 2024

Blair Howerton: vocals, guitar
Chance Williams: bass, piano
Josh Malett: drums, percussion
Kendall Powell: piano, keys
Sam Houdek: guitar
Lily Desmond: Violin
Engineered by Jonathan Schenke at Figure 8 Studios
Produced by Blair Howerton & Jonathan Schenke
Mixed & Mastered by Jonathan Schenke at Studio Windows
Lyrics and music by Blair Howerton

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Why Bonnie Brooklyn, New York

“Shoegazeicana” from Texas

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