Steven A. Jent

Composer and Songwriter









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I began writing music when I was a teenager in a garage band. For years I just wrote songs by ear. All that time I had more elaborate music in my head, but lacked the technical grounding I needed to capture it in a form that would allow anyone but me to hear it.


When personal computers and MIDI arrived in the 1980s, I could compose in ďclassicalĒ music forms, but I was still working from instinct and trial-and-error. The results sounded good to me at the time, but today when I listen to the MIDI files I created then, I can only shudder. Still, some of the musical themes I recorded have been worth salvaging for later works.


Finally, after I ended my career at IBM, I had time for formal instruction in composition. Now I theoretically know what Iím doing as a composer. Of course, music is a field that one need never finish exploring, and there is always more to learn. But I believe I can avoid the blunders I committed when I started composing on a Commodore 64 in 1983. Listen and judge for yourself.


All the instrumental works are recorded through Finale: notation software that gives me the sound of virtually any instrument, from simple piano to a symphony orchestra, and astonishingly lifelike. I play piano and guitar a little, but nothing like the level I would need to produce what I have here.



If you like what you hear, I can compose custom music for any special occasion.



Iíve made videos of some of my songs. You can watch them on my YouTube channel.



You can skip the instrumental works and go straight to the songs if you like.



This is a vaguely rag-like bit of swing music. In general the instrumental works here are produced entirely by computer. But the guitar here is actually me playing a big red jazz hollow-body (that I built from a kit, in fact). The music has nothing to do with the Waldorf Hotel. Iím slowing compiling a list of tangos, rags, and waltzes from A to Z, and W was yet unaccounted for.


Waldorf Shuffle


Flute, guitar, and cello

It is a truth universally acknowledged that great music starts out fast, slows down in the middle, and speeds up again at the end. This piece does just the opposite. The trio Suitte Royale performed it at a concert in January, 2017 on baroque instruments.


An eclogue is music with a pastoral tone, quiet and contemplative, though this one has a boisterous, playful interlude.



Eclogue (live performance)


Clarinet, cello, and piano

Recorder, viola da gamba, and harpsichord

I began this melancholy piece years ago and finally completed it in July of 2016. I originally conceived it for glass harmonica or musical glasses. Its first performance, however, was at the hands of a small wind ensemble, as is the case for so much of my music.



Musical glasses



Alto recorder and tenor recorder

Sometimes when I listen to unfamiliar music Iíll hear a phrase and think I know whatís coming next, and then Iím surprised when the composer does something different. Sometimes this prompts me to base a composition of my own on what I was expecting to hear but didnít. The first theme for this cheerful piece of swing was suggested by the brief ditty that plays when you complete a crossword puzzle on the New York Times website. Itís arranged for a small ensemble because three friends were available to play it that way. But I think it would work better with a big band.


Times After Times


Flute, tenor recorder, and bass clarinet

Four friends here in Denton used to perform as an a capella quartet they called Noted Vocals. They asked me to arrange some Christmas carols for them, and here are the results.


Good Christian Men, Rejoice

Once In Royal Davidís City

Il est nť, le divin Enfant

Riu Riu Chiu


As the title suggests, this is a light, whimsical bit of fun.




Flute, tenor recorder, and bass clarinet

There is nothing more romantic and charming than a waltz.


Oktoberfest Waltz


Flute, alto flute, and cello

The title explains the subject of this meditative piece.




Flute, alto flute, oboe, and cello

This short work for violin and piano was my submission in Hilary Hahnís competition for encore pieces in 2012. It didnít win, but Iím still pleased with it. Itís a stylistic stretch for me, which is not a bad thing.


The title is a portmanteau of indecent and descent. It suggests a descent into madness combined with, or triggered by, outrage at any of the indecent things that go on in the world.




This duet for flute and alto flute is just a light bit of froth with, I hope, some charm.


Flute Duet


This sonata for flute and cello has an Enlightenment feel, but doesnít imitate any particular composer.







I suppose this is my least serious composition. Itís my notion of what would happen if you crossed a bunch of extremely familiar classical music with the twelve-bar blues. Itís scored for wind quintet.


So, how many of the 35 different works can you identify?


Twelve-Bar Classics


A romance is a composition that expresses especially heartfelt or tender emotions.


Romance in C Minor

Viola and cello


George DíAscenzo, a cellist friend, mentors some beginning cello students and suggested I write something for a cello ensemble. This was to be the middle movement of a larger work, but it turned out I had made it both too simple (rhythmically) and too complicated (harmonically) for Georgeís group. So for now itís just a standalone piece.



Cello quartet


My friend Debbie was married in November of 2010. She said she didnít want to hear the same old Mendelssohn and Wagner at her wedding, and graciously invited me to write some organ music for the occasion. This ďWedding SuiteĒ is unified by two melodic fragments that appear, with variations, in each movement.






Like several other pieces here, these two are written for my friends and local musicians George DíAscenzo and Christie Wood, talented performers on the cello and flute respectively. ďPastoraleĒ uses alternative modes, including Dorian and Phrygian.





A local church has a thoughtful tradition of pausing during a Sunday service in Autumn to commemorate their fellows who have passed on during the year, while a few musicians in the congregation play some suitable music. They offered to let me write something for the occasion, solemn but not too mournful, and this is the result. It was first performed on November 1, 2009.


In Memoriam

Flute, alto flute, clarinet, cello, and contrabass



I love the sound of a wind quintet (flute, oboe, clarinet, bassoon, and horn). Warm, friendly music seems to be its natural element. A melodic contour of mi-do-re-mi is threaded throughout the four movements of this piece, set to many different rhythms and harmonies. How many do you hear? The Argyle Wind Quintet performed it in a concert of works by regional composers on May 17, 2010 in Denton.


1. Andante


2. Adagio


3. Scherzo


4. Allegro



Local violist Ken Gilleland asked me to write a viola concerto for him to premiere. We both like the result; now weíre looking for an orchestra to add it to a program.


1. Allegro


2. Adagio


3. Perpetuum Mobile



This overture in A minor is the first piece I wrote for orchestra. It premiered at the Rockwall Music Festival in 2004.





These are two fragments that sound to me like the themes for dramatic films. I eventually wrote lyrics for the second one.


Majestic theme


Celtic lament




This tune for winds also sounds like theme music, but for a slick caper movie or a detective story ŗ la Raymond Chandler or Dashiell Hammett.


Main Street Mosey




I wrote this waltz for the fatherĖdaughter dance at my daughterís wedding in April 2008.


Cristinís Waltz



I am a big fan of rags, not just Scott Joplin but James Scott and Joseph Lamb. I also enjoy writing my own. Two of these were performed at a concert in Seattle on July 19, 2009.


Culpeper Rag


Rondo Stomp




Solitary Rag


Rollercoaster Rag


King George Rag




Tangos are fun, too.


Tango Lindo

Flute and cello


Tango Elegante

Flute, oboe, clarinet, and cello


Tango Corazůn

Flute, oboe, clarinet, and cello


Tango Bonito

Two flutes, alto flute, and bass flute


Tango Doloroso

Flute, alto flute, and cello


Tango Ardoroso

Three cellos and double bass


Tango Malvado

Flute, alto flute, and cello


Tango de la Plata

Flute, alto flute, and cello


Tango Feliz

Flute, tenor recorder, and bass clarinet


Tango Taimado

Flute, clarinet, and cello


Tango Uberrimo

Flute, clarinet, and bass clarinet



Some college out there needs to adopt this sentimental tune. It would also work as a hymn or, with more lyrical instrumentation, as an Irish ballad.


Alma Mater



This is a folky-sounding little thing for a celtic harp (no pedals).


Harp Rondo




This moody number is about missing someone.


Nocturne for Nancy




This is the only expressly imitative piece here. Tombeau is an old name for music written as a memorial to someone. Here I pay my respects to Domenico Scarlatti, one of my favorite composers, with a sonata in his own typical binary form, which I like to imagine he would have enjoyed.


Tombeau de Scarlatti




As I said, I donít write much in the idiom of the 20th or 21st centuries. This is a perverse attempt to make a piece based on a 12-tone row sound almost tonal. Even at that, it has an unsettled, neurotic feeling to it.


Duet for Flute and Vibraphone



This is a hoppiní little instrumental that I wrote for no particular reason.


Rock One




Finally, here are some songs. The first thirteen date from the 1970s. In 1975 I bought a Dokorder 7140 reel-to-reel tape deck that allowed me to overdub four tracks. With the rotten job I had then, it cost a monthís pay. As I said before, I was in a band with some friends, and I wanted to record my original material, because I believed in it. My only instruments were a Gibson SG electric guitar and a Yamaha FG-75 acoustic. So I could record a guitar backing and vocalsóthat was it. I didnít have a bass or drums, and keep in mind that this was ten years before MIDI.


Fast forward to the present. Now a PC with the right software makes a decent recording studio. Iíve copied my primitive old tapes to WAV files on my hard drive, and Iíve used Finale to add drums, bass, and other instruments, including an orchestra. Sadly thereís nothing I can do now about the balance or noise levels in the original recordings, which I made in a basement efficiency apartment. Thereís also no way to fix my voice, about which I have no illusions. Try to imagine these sung by someone who can do them justice.



Conestoga Sunrise

Many of my songs are about the search for purpose and continuity in human experience, though I do my best to keep them from being as dry and pretentious as that may sound. This one is set in, of all places, a wagon train at dawn. Lyrics


Can It Be So Surprising?

I wrote this for my niece when she was a year old. Now she has three teenage sons. Lyrics


I Cut Out My Babyís Heart

The ultimate country-western ballad about adultery, murder, and prison was written with a bunch of guys in a dorm room. Lyrics


The Scarlet Pimpernel

One writes songs about hopeless love when one is in oneís twenties. Lyrics



You could call this an anthem of sorts for once young, once idealistic boomers. Lyrics


The Children Who Donít Speak

I was compelled to write this after seeing a news story about an autistic boy. Lyrics


Sheíll Come Upon You

One writes songs about hopeless love when one is in oneís twenties. Lyrics


Madame Soleil

The remarkable Jeanne Jackson, wherever she may be, no doubt still beams sunshine on anyone near her. This is the first song I ever wrote. Lyrics


There Will Be Times

Sometimes, when things are going badly, you need to write a song about holding on anyway. Lyrics


If I Knew You

One writes songs about hopeless love when one is in oneís twenties, but sometimes they find a way to accept something short of love. Lyrics


The Voices From Before

I used to have an aunt who genuinely believed she was a witchóa good witch. Lyrics



One writes lots of songs about hopeless love when one is in oneís twenties. Lyrics



Strangely enough, this song was prompted by browsing a family photo album, not by a tour of France. Lyrics


During my IBM years I didnít write much at all. The rest of the songs in this list date from the late 1990s and after. At first I had to let MIDI supply all the instruments except the acoustic guitar (my old Yamaha), having sold the SG long before. So some parts, especially electric guitar, donít sound very lifelike. At last in 2015 I bought an Epiphone ES-339, a Fender Champion 20, and a Yamaha FG730S. Since then Iíve added several other guitars, electric and acoustic. The songs Iíve recorded with these new instruments, beginning with ďThatís When You Know Youíve Got the Blues Again", sound dramatically better. My voice isnít much better, but everything else works at a whole new level.


Come Back to the King

Itís not about Elvis. I wrote this for a friend of mine to show him that I could understand his faith although I didnít share it. Lyrics


One for the Road

I saw yet another MADD cross by the roadside and wondered what the story behind it might be. Lyrics


Something Good

This is a song about hope. The range is way beyond me, but my friend Christie Wood has been kind enough to fill in the vocals. Thank you, Christie. Lyrics


A Little Romance

This song is for those of you who enjoy Cole Porter, Noel Coward, and the like. This charming performance is by the a capella quartet Noted Vocals. Lyrics



Rich Sons of Bitches

This is my reaction to the recent financial shenanigans. Judging by the response of everyone who has heard this song, I think a lot of people feel the way I do. There is one very strong word in this song, but I think itís the right word where I used it. Lyrics



Thatís When You Know Youíve Got the Blues Again

There is no end to the variations one can make with the twelve-bar blues form. Iíve been tinkering with this one since the 1970s. I added lyrics and recorded it after I finally bought another electric guitar in 2015, having been without one since 1982. Maybe a middle-class child of the suburbs has no business singing the blues, but thatís the way it came out. Lyrics



Only Love

This moody piece is my first venture into slide guitar. For now Iím just playing chords in an open tuning, but I do love that melancholy sound, so there is probably more to come. Lyrics



The Beachéd Margent of the Sea

This song is about walking on the shore at night, losing yourself in the soothing sounds of the surf and the infinite beauty of the stars, and forgetting about all those things that donít matter. Lyrics



Who Can You Call When Youíve Got the Blues?

The lyrics are a little whimsical, but to me this sounds like the sort of music youíd hear in a noisy, somewhat seedy, but authentic roadhouse where people hang out just to sip longnecks and listen to the blues. Lyrics



No Moon In June

In the summer of 1969 I went to my first real rock íní roll concert, a double bill of Pacific Gas & Electric and Chicago Transit Authority. The program included an interview with PG&Eís guitarist, who described their music as ďno moon in June, just real bluesĒ. I canít say why that phrase has been lodged in my head for nearly 50 years now, but it recently resurfaced as the inspiration for this tune. Ironically the musical style evokes the golden age of corny lyrics, the 1920s and í30s, with a little flavor of the Hot Club as well. It isnít difficult to imagine Rudy Vallee singing this through a megaphone, maybe accompanied by a ukulele. Lyrics


Long Stretch of Road

I considered letting this song tell the story of a derelict veteran. But I decided it was pointless to compete with John Prineís ďSam StoneĒ. So this is about a less specific homeless man. It doesnít matter how his world disintegrated around him and he wound up begging by day and sleeping beneath an overpass. So many disparate paths lead there. Which of us can remember a precarious moment that, had the balance tilted just slightly, could have taken our lives in a different, less fortunate direction? Lyrics




Below Zero

Two things I should point out about this song. First, it may initially seem misogynistic. But I made sure that every ďsheĒ and ďherĒ could be replaced with ďheĒ and ďhisĒ, so a female performer can just as easily sing it about a heartless man. Second, it isnít autobiographical in any way; Iíve never felt like this about anyone. The key phrase just naturally took the lyrics in that direction. Lyrics


Middle of Nowhere

I almost never collaborate with someone in writing a song. But when John Niebuhr read these lyrics at a meeting of the Denton Songwriters Guild, I immediately thought I could give them the right musical setting. Weíre both happy with the result. Lyrics


Hallelujah Anyway

Hereís a cheerful little song about greedy, predatory, hypocritical televangelists. Dedicated to Joel Osteen, Joyce Meyer, Paula White, and too many more to list here. Lyrics


Iíve Got The Twelve-Bar Blues

This song may not mean much to you if youíre unfamiliar with Denton, Texas. It will make more sense when you know that Giuseppeís, the Abbey, the Loco Cafe, Lone Star Attitude (LSA for short), Audacity, Wine Squared, Fuzzyís, Hooligans, the Garage, Dustyís, the Boardwalk, and Danís Silverleaf are all watering holes on and around the Denton town square. This song, built on the venerable twelve-bar blues form with a brief detour through the eight-bar blues, is thus an extended pun on ďtwelve barsĒ. Lyrics


The Saddest Man In The World

Singer and songwriter Nick Drake died in 1974 at the age of only 26. He overdosed on antidepressants, and it has never been clear whether this was accidental or deliberate. In his life his three LPs were respected by critics, but they were commercial failures largely because Drake was indifferent to the promotional side of a musicianís life. Today his most widely recognized song is ďPink MoonĒ, a brief, enigmatic track that some interpret as a foreshadowing of his suicide. (You may have seen the classic Volkswagen commercial that played it as the background to a romantic moonlit ride in a convertible.) My song is a meditation on the last days of Drakeís life, the recognition that was tragically denied to him then, and todayís acknowledgment as one of the influential songwriters of his time. Lyrics


You Can Get Used To It

A solemn reflection on the human condition and whatís Important in Life. Lyrics


Just Like This Life

Just Like This Life (cello)

This song, though it has a perky beat, starts out pretty pessimistic about the disappointments that life can be full of. But it ends with a positive thought. If thereís anything clever about it, that would be exploiting the fact that the word like can be a verb or a preposition. This is also my first foray into playing a dobro, on a very rudimentary level. You can also listen to an alternative version with my friend George DíAscenzo on cello. Lyrics


Ragged Edge Road

Not far from my motherís house near Chambersburg, PA, thereís a country lane called Ragged Edge Road. The first time I saw a sign for Ragged Edge Road I knew it had to be the title of a song. It sounded like a natural metaphor for desperately hoping for one last chance to change oneís life and make up for past mistakes. Lyrics


All Together Once Again

In the Spring of 2016 I was driving home from a visit to my elderly mother. Her condition kept me thinking about aging and about how we inevitably lose the people we care most about, whether family or friends. I found myself writing the music for this little hymn in my head. Itís clearly in the 19th-century tradition, and thereís even an echo of ďLeaning On The Everlasting ArmsĒ. I chose a sound patch that resembles a pump organ to suggest a plain country church as the setting. The words I eventually set to it are deliberately sentimental in keeping with the music. Itís a song of consolation, to say that all the people we loved and now miss arenít lost forever, and someday weíll be with them again, and what a happy reunion that will be. Itís an affecting thought whether one believes it or not. Lyrics


This Train

The use of trains as metaphors for all sorts of things goes about as far back as Stephensonís Rocket. In that tradition, the train in this song symbolizes life, with its opportunities taken or missed. Itís part Bo Diddley, part George Thorogood, part Woody Guthrie, and part carpe diem. Lyrics



The first line of this song is literally true. A few days before Christmas of 2017 I was driving from Texas to Pennsylvania to begin a holiday visit with family and friends. At a rest area on Interstate 40, 20 miles west of Nashville, I discovered that my car was burning oil at such a prodigious rate that I couldnít be sure of reaching the next town in time to add more. I had to call for a tow to Dickson. There, with luck and help from the good people at the local Goodyear shop, I was able to find a rental and continue my trip. I never saw that car again; I left it there to be donated to the Nashville Public TV station. (They sold it at auction for $200.) Naturally, when your car breaks down near Nashville, you are obligated by the Songwriterís Code to write a country song about it. (If it had happened in Memphis I would have had to write a blues song instead.) Lyrics


We Were Here First!

The Middle East is always in the news, and one day it put the phrase ďWe were here firstĒ in my head. Each ethnic or religious group claims that itís historically their home because they lived there before the others. Sorting that out is complicated enough, but when you really examine the history of that part of the world you find itís been the territory of Romans, Egyptians, Hittites, Sumerians, Babylonians, Assyrians… Well, you get the idea. I decided that a song about all the tenuous claims to precedence in the region would sound too academic. So Iíve applied this idea to North America. Here it isnít hard to find millions of people who are offended at the presence of some other people if not all other people. This ironic song tells how each set of newcomers has been greeted with hostility and distrust based on bigotry and stereotypes. At the end it fancifully depicts the resentment of the creatures, some now extinct thanks to us, that really were here first long, long before any people. Lyrics


Bone Dry

I mentioned above that I virtually never deliberately imitate another composer. The same applies to my songs. Iíve never set out to write a Gordon Lightfoot song, or a David Crosby song, or a John Prine song. But once in a while when I finish a song it will occur to me that it reminds me of the style of another songwriter. Sometimes it also makes me wish I could hear that person performing it. Anyway, this turned out sounding like something Chris Isaak might have written. At least I think that if you heard him singing it you wouldnít scratch your head and wonder where that one came from. Lyrics


You Ainít Never Had The Blues

Mark Twain once told a friend that to write about the injustices that filled him with rage he would need ďa pen warmed up in hellĒ. I donít have one of those; this is the best I can do. If I were a black American I donít know that I could contain my fury at the wrongs that continue a century after the Civil War was supposed to have done away with them. Iíve said above that itís probably presumptuous for someone like me, ďa middle-class child of the suburbsĒ, to write a blues song. That must be even more true of a song like this, which describes firsthand the intolerance that I can never experience. But if it might make someone else re-evaluate their own views of race and privilege, then Iím glad Iíve put it out here. Lyrics


I Hate Goodbyes

A little somber, I know. But an intervention is not called for; I donít go around feeling this lost and dejected. Itís just a song. Lyrics


Handmade in Heaven

As a rule I donít write cornball lyrics like these. But I have it on the authority of Sir Paul McCartney himself that thereís nothing wrong with silly love songs. Lyrics


Iíll Be OK Til Iím Not

This song is about someone who has decided that the responsibilities of life are too much trouble and never work out anyway. So now he has devoted himself to enjoying a slow, carefree, decadent decline. Lyrics


If Only

Time is the one commodity no one can buy. When itís gone itís gone. This wistful song is about finally running out of time. Some people call it sad, others hear it as a reminder to make the most of the time we have. Lyrics


Life Hurts

Sometimes itís as if Life is composed of all the things that shouldnít happen. This song is about those moments. The jaunty, swinging, danceable music is meant to create an ironic contrast with the cynical lyrics. Lyrics


Donít You Know?

At first this song was going to be about the drought that we endured here in North Texas during the Summer of 2018. Then it evolved into a jeremiad about global warming. In the end it turned positively apocalyptic. It needs a rougher voice than mine, like maybe Barry (ďEve of DestructionĒ) McGuire. Lyrics


If I Knew You Then

This is something of an anomaly: a love song in which the L-word never appears. Iíve been told that it sounds like something Peter, Paul, & Mary might have sung. I can live with that,I guess. Lyrics


Empty Glass

This is another song about hope. This personís life has never been what they dreamed it could be, but theyíre still holding on and trying to make it better. Lyrics


She Walks Alone

Anyone who remembers the old ballad ďLong Black VeilĒ will immediately know that this song is derived from that one. Here the person who tells the story is the husband of the woman whose lover let himself be hanged, though he was innocent of the crime, rather than reveal his affair with the wife of his best friend. Lyrics


Thereís a Lot That You Donít Know

Yet another variation on the 12-bar blues. This song is about a type of person, not someone specific. But you may be able to think of a VIP (vain imbecilic president) who matches this description pretty closely. Lyrics



To me this blue-collar ballad sounds like something The Boss might have written. It was prompted by memories of the five years I lived in northeastern Pennsylvania. I recall seeing a lot of windows downtown closed up with plywood. I also remember how skewed the age demographics were because so many young people left as soon as they could. I havenít been there in decades, but I hope theyíre doing better these days. Lyrics



Like ďNo Moon In JuneĒ, this is a corny little song that sounds like something you might have heard in an old music hall or on vaudeville. Sometimes I think I was born in the wrong century. Then I remember antibiotics, anesthesia, the Beatles, the Internet, and countless other benefits of my own time, and I donít feel that way after all. Lyrics


Iím Going To Memphis (íCause Your Love Gives Me The Blues)

In the Summer of 2018 I was once again driving west across Tennessee back to Denton. Memphis is a significant milestone because thatís where I cross the Mississippi, and that means thereís just one more state between me and Texas. As I was approaching Memphis on Interstate 40 the mile markers were counting down and I was thinking ď30 miles to MemphisĒ, ď20 miles to MemphisĒ… It started to sound like the title of a song, complete with alliteration: ď__ Miles To MemphisĒ. But why am I going to Memphis? Well, itís a, if not the, home of the blues. So the blues should have something to do with it. And whatís a more common source of the blues than love troubles? Ultimately I dropped the counting-the-miles element, and here we are. As I did with ďBelow ZeroĒ, Iíve deliberately kept the lyrics gender-neutral, so a woman can sing this song about her faithless man. Lyrics


Mountain Man

A fellow member of the Denton Songwriterís Guild has a remarkable gift for writing songs that sound like theyíve been sung in the Appalachian backwoods for a century or two. If she didnít reveal that sheís singing an original, you would take it for granted that itís an old, traditional ballad that an ethnomusicologist captured on a wire recorder in the 1920s. Listening to her made me want to try to write something similar. But I was sure the only proper instrument to accompany it would be a mandolin, though that may be simply because thatís what she plays. It had been a while since I had built an instrument, so that was all the excuse I needed to buy a DIY mandolin kit. Lyrics


Time Gets Away From Us

I admit the lyrics are somber. But I do particularly like the music. With the right harmonic backing, a simple descending scale can be an effective melody. You music theorists out there raise your hands when you hear the deceptive cadence. Lyrics


Good To See You Again

This song is only vaguely autobiographical. Itís inspired by memories of someone I knew in college, but our relationship never approached this sort of poetic ideal. Nevertheless, Lyn, it would be good to see you again. Lyrics


I Belong To The Blues

Maybe the title sounds depressing, and maybe the lyrics are about someone who just canít seem to get a break in life. But this song has an irrepressible eight-to-the-bar rockabilly beat, so Iím hoping itís such a toe-tapper that it wonít put anyone in a blue mood. Lyrics


No Means No

April is Sexual Assault Awareness and Prevention Month. The Denton office of Friends of the Family invited local songwriters to share a song on that theme at an open mic night in April 2019. This is my contribution. It isnít exactly about an assault. Itís about what could be the precursor to one—a guy who doesnít understand how to take no for an answer. Of course this sort of aggression can occur between any two sexes. But a male pressuring a female is surely the most common case, so thatís the story I tell here. And of course it needs to be sung by a woman. Lyrics


The Robots Are Coming

This is just a bit of frivolity. But it was fun playing with a theremin that I built from a very basic kit. (The theremin break in the middle is of course inspired by ď2000 Light Years from HomeĒ from the Rolling Stonesí Their Satanic Majesties Request.) This song aims to evoke the late 1950s and early 1960s, the golden age of cheezy movies that combined two genres: science fiction and beach parties. So many alien invaders landed on the southern California coast. Itís strange, isnít it? Lyrics



Quakertown used to be a prosperous, largely self-reliant black neighborhood of Denton, Texas. It lay three blocks northeast of the town square and bordered the campus of the College of Industrial Arts (today Texas Womanís University), then open only to young white women. In the early 1920s the city government wanted to establish its first public park and selected Quakertown for the site. Abundant evidence shows that this choice also served a secondary purpose: many influential white townspeople didnít want so many black people living near the city center or the girlsí school. Though 40% of the white-only votes cast were against it, the referendum to vacate Quakertown passed. The residents were legally coerced to sell their homes and move to a remote, undesirable part of town, which still lacked utilities. Some of their homes were moved with them, the rest were demolished. This song conflates two historical Quakertown figures—William Hill and Henry Taylor. Hill sued the city to stop the forcible relocation of himself and his neighbors, but he abandoned the suit to spare his family threats of violence from the KKK. Taylor was noted for the distinctive white lilacs in his yard; he did successfully transplant them to his new home. Lyrics


Just A Simple Song

My older sister Linda surprised me recently by showing me the lyrics and the melody of an original song sheíd just written, something new for her. Itís a pretty good first effort, with a catchy tune that uses a melodic sequence to good effect. So Iíve worked out a chord progression that sounds right. The big red jazz guitar that I built from a kit, along with a standup bass and brushes on a drum kit, give it a suitably smooth, mellow feel. Lyrics


Always You

Thereís always a place for another sad love song. Lyrics


All words and music copyright © 1975Ė2019 Steven A. Jent