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Fire & Ice
by the ajjancy

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Lyrics

There once lived a prince
They called Mr. Right
Romancing in pics
Each Saturday night
Hedging bets on sacrements
Wait and see what he gets

The prince was taking heat
For biding his time
And faking
Completely in spite of his style
Tired tropes, rotting hopes
Wind him up, watch him go!

They said he was playing with fire
But he was playing with ice
Saving face without lying
It doesn't pay to be nice
(Name your price!)

Sometimes you don't know what you have
Until it slips away

The princess held a lightning rod
On a dark, stormy night
She walked across her balcony
To ask for a light
On Juliet the virgins bet
She won't be wearing white
The prince was discreet
But she caught his disguise
"What are you doing here?!"
She asked, and he replied
With a wicked smile
"I'm no one's Romeo.
Don't mind me while I spy!"

They said he was playing with fire
But he was playing with ice
Saving face without lying
It doesn't pay to be nice

So he set his mind on better things
Invited to bed, but instead
She stopped him and said,
"No offense, but don't forget:
This isn't legal yet!"

They said he was playing with fire
But he was playing with ice
Saving face without lying
It doesn't pay to be nice

Does it pay to be nice?
Wherefore art thou, Romeo?

Bio

the ajjancy, moniker of NJ-native singer/songwriter George Ajjan, tackles recurring Gen-X & millennial themes of parenthood, coping with love & loss, and seeking hope in an increasingly desperate political climate. His non-musical alter-ego jets around the globe navigating the corridors of power, for which the ajjancy aspires to atone through meticulous song-craft, tempering the melancholic with a indefatigable glimmer of optimism.

If he “has agency” to make the listener think and feel, it’s thanks to a wide range of pop, rock, and classical idioms. Thus, the ajjancy’s originals, featuring session pros Fernando Perdomo on guitar, Dan Feiszli on bass, Matt Lebofsky on keyboards, and Terry Branam on drums, could be called chamber-rock: unexpected chord changes, the occasional odd meter, layers of instrumental parts and vocal harmonies: always melodic, sometimes sacrilegious - the gods of form be damned. Result: a pop-oriented distillate of progressive rock’s best elements without the derivative tropes and dated clichés.

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