While working on his newest album, the first in a two-part series, singer-songwriter Bill Scorzari considered the concept of the sidereal day—a period of time about four minutes shorter than the solar day, Noting that the sidereal day is measured in relation to the earth’s position to the stars rather than by the solar calendar, he called his new album Sidereal Days (Day 1) with plans for a second album (Day 2) to follow in 2026.
Although Scorzari’s last album The Crosswinds of Kansas was released more than three years ago, most of the songs on this new project were written over a thirty-year period, including the opening song “All This Time,” written in 1994. And while the previous album took listeners along on a cross-country journey with Scorzari, the idea for this album project, he says, is built on “the very interesting concept of something returning to a fixed point without any other influences on it.” He finds this an apt analogy for these two albums, as he returns to these older songs—figuratively tracing movement back in time.
Describing his songwriting process, Scorzari noted that “you never do really ‘finish’ writing a song. Ultimately, it seems, any unfinished parts will find their way into other songs. . . .” These new songs lyrically, thematically, and sonically move together back in time.
A musician with a poet’s heart—and ear—Scorzari has assembled a collection of what have been called “songs of love and regret.” Close listening is rewarded by the use of subtle internal rhyme, repetition, and imagery throughout the songs
In “All This Time,” almost like a villanelle, the lines “I’ve been looking for a love like you” alternates with “’cause I’d do anything for you.” Intentionally breaking the unwritten rule not to begin with a conjunction, Scorzari begins two of the songs on this album in medias res: The lyrics of “And Carries Me Away” develop the concept of motion:
And there’s this ripple in my time that takes me ‘round in circles.
And as I move ahead, I move ahead,
then suddenly it looks instead just like it did the same as when I was behind
And now that same old freight train’s coming down the line…
It circles round and carries me away.
When writing “And So (Deep into the Dark),” using anaphora, he began each line of the verses with “And so,” varying only on the chorus.
Scorzari also weaves threads of literary allusions through the lyrics. In “Borrowed Heart,” he opens with an old love “puttin’ on her white dress,” with flowers for her “somethin’ blue.” Noting as well her “somethin’ old” and “somethin’ new,” he says, “She borrowed my heart and brought it back broken.” Having learned his lesson, he incorporates the familiar line from Shakespeare’s Polonius, promising from now on, “I’ll never a lender or borrower be.”
As a musician with a sense of what he wants in his music, Scorzari is less concerned with algorithms and radio constraints, although “Can’t Break the Fall,” one of the more upbeat songs” was remixed to fit radio play. (Only two songs, “Breathe” and “From Your Heart” come in under four minutes, and some, seven or eight minutes long.) Instead, he fleshes out the songs to accomplish his personal vision.
The musical arrangements of the tracks measure up to the poetry of the lyrics. In addition to singing all the vocal leads and some of the harmony, Scorzari also plays several guitars—from classical to electric—as well as piano, Zen bells and Zephyr chimes. He completed his part of all the tracks—vocal and instrumental—in his home studio before going into the studio in Nashville. There he assembled a strong team of musicians to complete the tracks.
Scorzari also enlisted the vocals of Marie Lewey and Cindy Richardson Walker (The Shoals Sisters), who have sung backup on at least three of his albums. He said, “I have had their voices in mind for a number of songs that I’ve written. I told myself I needed to write a song where I could bring them back in because they are so amazing.” Working with them in the studio, he said, is astonishing because the music comes together for them so easily. “They just go right to it, and it’s always beautiful. It’s fun to watch.”
Scorzari’s signature raspy vocals juxtaposed against the musical accompaniment produce a unique experience that entices one to listen around the lyrics after letting the words sink in. In one of the more complex tracks “Grace,” he speaks through much of the song. Noting the challenging depth of that song, he felt it needed to be “hit in a certain way, with intense honesty and complete unguarded emotion.” He was reading Rick Rubin’s book The Creative Act around the same time, which gave him guidance as well.
“Grace” leads into the closing track, “Breathe,” which feels like an Irish blessing, providing a perfect close to the album, with the promise of its Day 2 counterpart to come.