Let me out


– “I got a gun; I’m on the run – I socked it to her and I’m still having fun

For all I know; it must be true: Nobody, baby, does it better than you, no!”


“Let me out” came about in 2008. It was the opening track on the “Uncovered” album (2010). It was an album dominated by hard rock tones and influences. At the time I had a residential gig: 6 nights a week at The Dockyard Theatre in Durban as a singing guitarist. I had also just become a single guy and I was disillusioned with the church. So composing the music for the entire album started taking on a more aggressive tone.


The lyrics are brutally honest, describing feelings of elation at being single, and paradoxically expressing my disappointment of my experience of romance. Expressing anger although in a tongue in cheek fashion while trying to paint the grim reality of the fact that I will always choose my music over a life partner if forced to make the choice…



– “Am I supposed to be so blue?

   As long as you still love me baby, I’ll be true.

   But know this: when push comes to shove

   I’ll be the one who’s falling out of love yeah!”


The music was conceived while playing in drop D tuning while “stepping” between the root notes of the main chords, which ads the desired energy required. Being a huge fan of John Bonham’s (Led Zeppelin – RIP) drumming I decided that the verses should be played in half time while the snare accentuates the 16th off beats, giving the main riff and the verses that ‘destabilised’ feel – which was pretty accurate in describing how I felt internally at the time (not that I really minded ;-). The choruses are a juxtapose in the sense that they are more ‘stagnant’ musically speaking, while the lyrics moan “Fly me to the moon” – an illustration of my apparent disillusionment with romantic love – and “Let me out” – clashing with the music which is trying to harness the desire to be free…    


The song bears strong resemblances to other hard rock classics like Black Dog by Led Zeppelin, in the sense that there are various guitar riffs played over half time and in between verses over normal time repeating, which lends credence to the parts without lyrics and vocals becoming as strong and apparent as the actual choruses.