1. Exemplifies sabotaged-first-chorus and non-repeating-chorus principle (see last week's meadowlands-stuff-you-didn't-know-or-honestly-,-care-about post #5)
2. The chorus, geekily and non-interestingly, prob. my only that modulates to harmonic minor (D harm. min. in this case, relative to the F maj. the song's mostly in (see Bridge below))
3. The title is derived from a typo of the orig. title, She IS Kisses, by one of the other band geeks, when we were making an early version of it & other songs for a demo cassette for various labels, in the year or two preceding starting the meadowlands (so c. '97/'98). I preferred the 'Sends' to the "Is" and so wrote the final lyrics more around that.
4. Relatedly, I was also more than happy to change that orig. working title because it came too close to giving away what I modeled the chorus on (have I mentioned how I hate choruses yet)..."she is...as sweet as Tupelo Honey..". There, now like me, you'll never be able to not hear that when the chorus goes by.
5. The 'accordion' sound on intro & early v's is actually a dated-even-then guitar synth. Ok, technically it was actually my regular guitar with a late-'80s/early-'90s guitar synth set-up, a Roland GM-70 if I remember right, that a friend had perma-leant me. It had a hex pickup (so basically a pickup w/ a separate readable output for each of the six stings, hence 'hex') that mounted iffily under the strings by the bridge; that connected to an equally awkwardly-guitar-mounted rectangular interface thing that had four knobs to enable controlling four main assignable parameters per poorly-chosen patch.
That in turn ran a separate cable (so in addtion to one's regular guitar cable going to pedals/amp) to a large & archaic single-standard-19"-rack-size voltage-to-midi converter box thing. And that in turn could be patched into a synth, in this case, one of Kevin's also-even-dated-then '80s synth modules. You can see that here: https://www.joness.com/gr300/GM-70.htm
In hindsight, I wish I hadn't tried to get the Springsteen 2nd album effect (not only my favorite of his, my favorite period) and instead had gone for a different, weirder more unique sound that took it out of the nostalgic trap but gave it the same effect.
6. Similarly, the harp sound that takes over for the first (inst.) chorus is the same guitar-synth set-up, this time driving a dated '80s harp patch, which again, if I remember right, is the sound I wrote that arpeggio part on. Possibly easily played on an actual harp (I wouldn't know), more fiendishly problematic on a guitar, especially while singing, especially if you're me.
7. The Bridge, like some of my other dumb bespoke bridges, is an unlikely 20 measures long (it's really that it's sorta three times around the 8-chord block, the 2nd/middle time it's cut in half to 4 measures ("I fired replies back gun by gun"). With a crap-load of chords & couple modulations. You know, just like how the Beatles are always talking about how some song or another "then goes to the middle twenty" - ha. It also modulates first to the IV key (so Bb Maj.), then to G Maj. (basically the old parallel, as opposed to 'relative', major/minor chestnut), then sorta sneakily back to Bb major although it's intentional vague, finally borrowing a V chord (C) to get us back to F Maj. and the way home.
8. Speaking of, there's lyrical sorta near-palindrome in the bridge that I had a twinge of misplaced pride every time I sang (ha) - "our shore-town knockdown sure / was fun"
9. The very last two-part harmony was me trying to Bowie, prob. Five Years specifically, which I don't think people spot but I do a lot (ha).
10. Speaking of Springsteen & his 2nd album esp., while this, like most of the songs on the meadowlands is 'not' autobiographical (another geeked up topic for me), it was my first try to reconcile writing a song based in/near the south Jersey shore town I grew up in, Ocean City in this case, w/ a feeling that had prevented me from doing that previously - chiefly, that Springsteen had done it first & almost certainly better. My liberation finally to do so came from hearing the pre-Hold-Steady Lifter Puller album and thinking, 'oh yeah, one CAN write about this stuff..'
Serves one. Enjoy.