Sitting down at the piano, Britt launched into an untamed force of music that Charlie followed, hesitantly at first, and then more confidently when he caught on to the fact that Britt had deliberately made his part easy.
When Britt began to sing, his voice was raspy as always, yet noticeably deeper, more resonant, then it had ever been:
Daylight is hot—
Bare skin on the sand,
Raw wind in your face.
I mean, hot, baby.
A thousand chances to make it happen,
A thousand gifts in my hands
To do it all
Or do nothing at all.
Nighttime is hot—
Sizzling love in the air,
Wild music in your head.
I mean, hot, baby.
A thousand lights in your eyes.
A thousand words on my tongue
To say it all
Or say nothing at all.
Britt let the piano slide into a mellow minor key, softer, and he nodded at Charlie to cease playing as he sang:
But between the hot day
And the hot night
Is a place where the breeze is cool,
The words are sweet,
Your skin is soft,
Our hearts can meet.
He let the force of the music build again:
A thousand keys to open one door;
A thousand voices to speak one word.
The piano found the original rhythm and key, and Charlie resumed playing. Britt sang now with his eyes closed, sustaining the power of the music to the last note, even though his voice subsided as the words ended:
Daylight is hot—
There’s no calm on the sea.
Nighttime is hot—
No peace for you and me.
Take a thousand roads to the place.
Open a thousand doors if you must.
Come there with me.
Come there gently with me.
The song ended abruptly. No one said a word. Everyone stared at Britt in awe, even Bonnie. Finally, Charlie humbly lifted the guitar strap from his shoulders and put the instrument down. “That was the most extraordinary thing I have ever heard,” he said to Britt. “Thank you for letting me be a part of it.”
“My pleasure,” said Britt. “This song will net me the first Grammy I really deserve.
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