This part of the first verse is about experiencing two extremes and yet being helpless to stop any of what one witnesses is happening.  From attempting to capitalize on situations in the second line to passively observing the potential creative and destructive power of water, one is morally urged to actively engage, while logically forced to wait.
Verse I (Cont.):
I watched the sky expand,
I watched it miss the earth.
I watched the universe grow,
I watched a supernova explode.

The repetition of the “I watched” acts as a ‘pedal’ (which in music is a sustained note that plays under chord progressions whether or not it is a chord tone to all the chords its passing through).  It allows to listener to think, “Well, if he saw it, let me try to envision it” and that’s where the point comes across.  No one witnessed the “sky expand,” yet we witness the horizon changing and seemingly expand everyday.  Yet, we continue to watch the “universe grow,” for it is always expanding at an exponential rate of speed.  Lastly no one can watch a supernova explode, neither with the naked eye nor in real time with the most powerful telescope.  No one can actually witness these events, but can have the misconception that they have, which is where the message of prejudging an individual begins to form.
Chorus:
I know who I am, but I don’t think that you’d understand.
Bring me, what I need to survive in these times.
Bring me, your promises approved by the ones from above.
I know who I am, but I don’t think that you’d understand.

The first and last lines emphasize the message of the song.  The two lines between those have unique purposes.  They both contain a feeling of the narrator’s understanding that these people, or person, will not take the time nor put in the effort to become aware of who the narrator is, and thus all the narrator wants from these individuals are the necessities needed to survive, to live (socially) on the bare minimums.  The “promises” have nothing to do with religion, but “the ones from above” is a phrase used to describe something out of your control.  Our narrator merely has the ability to identify those individuals as neither friends nor enemies.  So our narrator will continue alone, until he meets someone who understands him, lives and dies alone, creates someone to fill the void left by living on the minimum social necessities, or is reunited with someone who did accept and understand him and from whom he has been separated.  This is the purpose of songwriters, to universalize their lyrics so many can identify with their message.
Verse II:
We watched the wind blow out,
We watch the waves roll in.
I watched the course sand spin,
Into monuments of you.

Now appears the “we”.  Our narrator has, one way or another, become united with what he was missing, or for what that was, it left up to the listener.  But this does not disestablish the possibility of our narrator living alone, because the lyrics do switch back to the “I” pronoun signifying, while all versions now acknowledge the need of others, that may not be a reality yet.  As the narrator watches the rough “sand spin”, one is left wondering who the “you” is; is this the figure with which our narrator wishes to be reunited, is it the created person being formed in the physical by out narrator’s  imagination to validate their actual existence to our narrator’s reason?  Or is it merely that our narrator is picturing an individual our narrator has met that accepts our narrator?  All these options are still openly available, which allows the listener to establish a more personal relationship with the song.
Verse II (Cont.):
I heard you lie so low,
I cried the truth a new.
I drew a breath in deep,
For the first time I was truly free.

The “I” is now the pedal through this verse.  This verse is entirely up to the listener from which to draw meaning.  Its connotation is based on the trail the listener has followed over the course of the song.  This could be that out narrator has realized he will never by reunited with who was lost and now is able to move on; or it could be our narrator has acknowledge the created companion and has come to a realization that it marks their low in society and the only way to go from there is up.  It could be that our narrator was wrong the entire time and no one was attempting to harshly prejudge them.  All these are viable options, because when you have one narrator telling one story from one perspective, the listener, as rarely as it happens, can question the validity of the situation.  Yet, all these hypothetical could mean nothing to another individual who constructs their own course of reality through our narrator’s story.  This is the beauty of music, it means different things to different people, yet has the ability to evoke, from those people, the same emotion.
The second song I composed for the project was “In the Crowd”.  This song focuses on the support and vulnerability of two individuals who meet.  One individual (I) attempts to aid another individual (you) who “I” finds in a state of distress.  For some, this situation is all too common, while for others it is their worst nightmare, given the challenge to support and grasp a person from the brink back into reality.
Verse I:
I see you crying in the back of the room.
Crying more than you ever thought you would.
I hear the sounds you make through your tears,
Funny how I understand everything.

This verse sets to scene for the song, an important step in making the song universal for listeners.  Listeners must be able to picture themselves before addressing the situation.  In this setting, “I” encounters “you” in the back of a room, which depending on the listener; “I” could be a complete stranger attempting to comfort “you” at a social gathering.  “You” is in distress, but “I” has been in this situation before, which is made clear by “I”’s comprehension of “you”’s feelings and thoughts.
Chorus:
BREAK, the errs we know,
The strikes we blow,
The weaknesses we never show.
WHY, cause no one cares,
The stunts you dare,
To escape the criticizing clears.

The break and why are key words in this chorus, for the “break” is the action “you” must take and the “why” is the question “I” must answer.  Part one of the chorus addresses correcting the human errs we all possess, fighting the human urge to exalt yourself at the expense of others, and hiding our flaws until they are exposed by individuals not fights the urge to exalt themselves.  The second part focuses more on “why” specific actions are being taken.  It states that they reason humans exploit others weaknesses is to take the focus off of their own, yet, once their weaknesses are exposed by another it does not matter how many weaknesses of others they exposed because now they are become the victim, they are become “you”.
Verse II:
Tell me you haven’t thought along the way.
Learning from all the experienced say.
Tell me you haven’t met friends in this wasted day.
And I’ll look for the joy hidden inside.

In this second verse, “I” is now in the process of revitalizing “you”.  “I” asks “you” why “you”’s fears and insecurities being exposed has subjected her to such misery.  “I” pushes “you” to explain how the state “you” is in is an adequate response to the event “you” has been faced with.  “I” tells “you” to learn from the experienced, who have either has their weaknesses exposed and are now accepting of their flaws or ones who have always been accepting of their flaws.  “I” ask if this is truly a “wasted day”, for “you” is in the process of accepting her weaknesses and perhaps not only making “friends” with them, but people as well.  “I” knows “you” can not be entirely miserable and so “I” searches for something inside “you” that will aid in her process of acceptance.  “I” is acting as a familiar bridge between “you”’s emotion and reason.
Transition:
The lights go low and the fears grow.
Roses in my garden, (oh they) bloom so slow.

In this short transition, “I” begins to notice the struggle “you” is having accepting weaknesses.  Yet, “I” is confident that nature will take its course and like a rose must bloom eventually, “you” too will conquer the fears and insecurities.
Bridge:
Will you be counting on me tomorrow?
Will you be looking for me in a crowd of the same?        X 2

Will you be counting on me tomorrow?
Is this only true for one.
Will you be looking for me in a crowd of the same?        X 5
(Each time this repeats, the “true” is switched.)
(First time “true”; second time “new”; “real”; (will this only “feel”;
will this only “last”.)

A vocal overlay mimics the voices “you” is hearing while attempting to overcome the weaknesses.  “I” wonders if “you” will be able to complete the process tonight, of if “you” will be looking for “I” tomorrow.  “I” also wonders if “you” is not able to complete to process, if “you” will seek “I” the next time she is going through this same crisis.  The “is this only ____ for one” is actually “you” speaking through “I”’s wondering.  “You” acknowledges that this is a new experience for “you”, but not for “I”.  (It is interesting that while writing this, I constantly wanted to put a “he” where “I” was and a “she” where “you” was.  I guess that’s just my interpretation of the song.  Even the songwriter, if not writing from a person experience, needs one.)
The third song I composed for this project is name “Pleads to the Deaf”.  It is a critique on human nature.  A scenario where a group of individuals witness something and, while becoming passionate about that scenario for a brief time, eventually dismiss or merely forget this passion for resolute and return to their lives, unchanged.  This song focuses on open-mindedness and vulnerability.
Verse I:
My guiding light, puts me sideways.
My backs against the wall, through which people watch me;
I am a show, so witness carefully.
Know what I do, never to repeat.

In this first verse of the song, our narrator is struggling through a conflict between what is right, and what is morally right.  Our narrator’s “guiding light” are our narrator’s morals, yet at times they mislead our narrator.  Our narrator feels somewhat forced or pressured into performing the “morally” right action because our narrator feels as though he is being scrutinized and watched by some audience not visible to our narrator.  Our narrator does realize though, that in certain instances, the morally right action to undertake is not the correct way to handle a situation.  This has become apparent as a fact of life to our narrator.  Yet, our narrator also knows that only in these specific situations is the correct path the not completely moral path; while still being aware that our narrator’s morals dictate most of their behavior.
Chorus:
Where are you going? Are you better off there?
Why are you leaving? Will it somehow change the past?
What do you expect from the place you’re going
To?  Would it hurt if I joined you?

In the chorus, our narrator is no longer the person speaking to us.  Rather our narrator is being asked these questions by another individual.  The first questions are rhetorical followed by more specific and personal direct questions, which are asked by the individual to our narrator as a mechanism to have him vindicate his actions to the world.  The theme of expectation as presents itself.  Moving to a new location gives our narrator the ability to recreate themselves and present a new identity to people they meet.  As the end of the chorus is reached, our narrator is asked a question by the individual that does not pertain to our narrator.  “Would it hurt if I joined you” is the question and it is asked because the individual knows that our narrator is leaving because he doesn’t believe the “mistakes” our narrator has made were actually mistakes; and realizing this injustice, the individual wishes to join out narrator.  They leave together to escape the feeling of forced decisions.  They believe they will be better off wherever they end up and while it may not change the past, they will be able to construct a new past.  These are their expectations, to live in a society and to live a life where they can truly be themselves.
Verse II:
The second verse purposely aligns perfectly with the chorus.  After their desertion has been discovered, the people from the two’s old location still wonder why they have left.
Filing out, cause they don’t understand,
What they acknowledge, might change them in a while.
Let it sink in, like the rays kissed off the Sun,
We’re still revolving, not as independent as we seem.

Humans have the uncanny ability to acknowledge something, but not understand it; or understand it, yet be content with their inaction.  When humans receive a message or witness an injustice, they are a species quick to come to that causes defense in the short term, yet once it has subsided, they return back to their routine lives.  Our narrator and the individual realize this, but know they must be patient, for this is just the way the human race is.  The “Sun” imagery does allow the listener to recognize the ability for this life to evolve.  Our narrator and the individual also recognize that even as they leave on a quest to find another habitable location, they (themselves and the human race as a whole) are never completely independent.  The Earth revolves around a star in a galaxy which probably revolves around another object in space.  But the universe is too impersonal.  Even on Earth, “we” are never truly independent.
Beyond composing music and understanding music is recording music.  Entering the year, I was ignorant towards the effort and precision it look to record any material.  Once the tempo of the song has been determined, the process begins with a detailed measure by measure write up of the guitar, bass, and drum parts.  A pattern for the drum part is composed and recorded into the drum machine.  The created drum machine part is then programmed into a song format and recorded onto the mixing board via a “midi” connection when verified.  “Midi” connections allow an artist to connect a drum machine with a song format to the mixing board.  This simplifies recording because they machine will automatically begin to play when the “play” button on the mixing board is pressed.
Next is the bass track.  Once the drum track is finalized and recorded into the mixing board, the bass track is much easier to record because the artist is playing with a drum track instead of a metronome.  The bass is plugged into a limiter box before being plugged into the board.  The limiter box limits and controls the -15dB levels and the 15dB levels output from the bass when the track is being recorded. This removes the threat of a bass track “bloting”, which can ruin the entire track.  “Bloting” will happen when one specific frequency is peaking and can easily be resolved when the correct mix (basic eq) of the frequencies is found.  This also depends of what strings you are playing on.  The low “E” string has a tendency to blot more that the “D” string.  What one looks for in a final bas track is a part that pops when it hits a note and easily and evenly sustains until the next note is played.
Contrary (and almost completely opposite) to what a listener will hear in the final product, the guitar(s) and vocal(s) are the last tracks to be recorded.  The guitar track, slightly more than the bass track, contains the rhythms of the piece.  To record the guitar track, a guitar is plugged into an effects box with a comp (compression) feature.  Compression creates a more crisp and uniform sound when the guitar is strummed.  From that point, the effects put on the guitar are up to the guitarist themselves.  Again, controlling the low, mid, and high levels of the basic eq (equalizer) are important in producing the sound desired.  On account of the sustain aspect of the guitar, it is impossible for an artist to salvage any part of song in which they “messed up” without the song sounding choppy, butchered, and unprofessional.  If the guitarist hits the wrong note or the intonation or rhythm is off, even from a moment, the entire track it scrapped and the process is repeated until recorded flawlessly.
Vocals are a different matter.  With vocal recording, unless the lyrics are linked together is it easy to “punch in” before the point the singer messed up and continue on with the track.  Though many do not like this style for once the singer stops singing, the singer may not be able to recreate the exact tone, mood, and intonation.  The setup for recording a vocal track is a quality microphone run through a pre-amp (a per-amplifier is used to boost the levels of the voice) and then into the mixing board.  Vocals are the biggest challenge.  At the beginning of the vocal process, Mr. Allard told me “Don’t worry about messing up or throwing out a track if even one thing is off.  When recording “Route 66” (a fairly simple vocal song) it took Natalie Cole sixty-four attempts to get a usefully vocal track.”3
The final process of recording is mastering.  It consists of setting final comps, eqs, and panning for each track individually.  Final compressions determine which frequencies will be “capped” and limited and which will come through with more emphasis.  Final equalization enables the artist to exalt and dampen certain frequencies and intonations on each track.  This process, like compression is done moving track by track and both listening to those tracks alone and combined with the other tracks.  Panning is a tool that benefits not only the artist, but the listener as well.  Panning is the ability to move the sound of a single track to the left or right sides by numerical intervals.  A basic panning example is to have the bass centered (so the same volume of the bass track is being played out of each speaker), vocal track to be five clicks to the right, the lead guitar to be five clicks to the left, the second guitar to be five clicks to the right, and the one drum track, which are recorded in stereo setting, to be set nine or ten clicks to the left and the other drum track nine or ten clicks to the left.  This enable the artist to group together specific tracks they want the listener to hear together and this lets the listener hear a surround sound type feel as though the band members where in front of them positioned on a stage.
From composition to completion, the process of recording music is a procedure that leans heavily on the precision and stamina of the individuals recording it.  Whether writing lyrics, which reflect the theme the artist wishes to be conveyed, or spending hours recording, the product is something humanity will continue to create, enjoy, and develop until humanity ceases to exist.  Music indicates a healthy society.  It is a form of communication that can transcend linguistic barriers and allow itself to be universalized so it can be understood and admired by the masses.

Work Cited
•    Merriam-Webster Online. May 2009. © 2009 Merriam-Webster, Incorporated. 28 May 2009 <http://www.merriam-webster.com/>.  (1)
•    Pandora, : Abstract. Pandora Video: Human Genome Project. Nov. 2008

http://facebook.com/pages/Pandora/5919726343?ref=ts.

Internet podcasted music video lesions; from composition to performance.
•    Interviews
o    Wolosz, Eugene H. Telephone interview. 19 May 2009. (2)
o    Jim, Allard. Personal interview. Oct. 2008 – June 2009. (3)