Although some local critics have described the guitar and bassist positions as "revolving doors" or "musical chairs," Lyman says that each change of personnel has brought inspiration and fresh sound to the band. "Kevin and I are always energized when new members enter the project, but we would love to find two people that could truly complete the band." Bassist Adam Sentz joined the line-up a few months ago and the band continues to audition guitarists.

Perhaps it is this ubiquitous flux that's spurred Blue Meridian to release their third album, Bleeding on the Guardrail, this December 8th at the Sapphire Club, consisting solely of twelve previously unreleased, ancient (in the local music world) songs. But why spend the time and money releasing songs recorded in 1996 that are observably a freshman effort?

"We had this time capsule of music just sitting around collecting dust. Sure we've grown as writers, performers, and players, but these recordings captured a stage in the bands history. Most of the musicians on this album haven't worked with Kevin and I in years. We just want to get these songs out there. Let them be celebrated or cataloged. We went into the studio almost five years ago with pride and determination and we wanted to preserve that," answers Lyman, making a rather noble statement about the importance of roots considering the music industry's inability to focus on anything for very long.

In tribute to this remark, I noticed on my advance copy of Bleeding on the Guardrail, in the "Acknowledgements" section that Blue Meridian thanks everyone in the industry that has been able to focus on the band for more than two months.

"I wrote these songs years ago without thinking about the industry, or what's being played on the radio, or what had number one potential," recalls Lyman.

That's obvious. Few top forty tunes have ever been so densely worded and peppered with religious and literary imagery. It's hard to imagine hearing a throaty voice crooning brain food like "burning stone like Rome on fire, I wear my crucifix just like a wire.." right before the "If you got a job, you ride you ride" commercial.

John Teer, who engineered the Guardrail songs five years ago at his Shock Lizard Studios, adds, " The music scene in Orlando back in '96 was very different... it wasn't so much the pop, radio thing. Blue Meridian was one of the bands of the time that defined the scene. These songs represent classic Blue Meridian: the lyrics played with words and hid their meanings."

Once you are past the photogenic Kirkwood on the cover of Guardrail, reading over the lyrics on the insert, they seem to have been written by a cynical, dejected individual: "I'm awkwardly hung on this

lovers cross, where I'll count my sins, I'll count my losses, when you're all but gone…" (from "I Don’t Want to Talk About It"). Certainly a man who produces such introspective work would have to be self-effacing, unassuming, and extensively modest. Ironically, Lyman is not.

Surprisingly though, Lyman comes off as confident in the band's art, rather than arrogant about it. The integrity of songwriting is important to him as well as the other past and present Blue Meridian members. Jason Miller, a former bassist for the band who now works in sound production, recalls one of his favorite song collaboration experiences:

""Raggedstar" [also the title of one of the old twelve songs on the new CD] has always been one of my favorite B.M. tunes. I'm thrilled that it's finally being released. I remember Donovan writing it on the piano. Its melodic temperament makes it extremely memorable."

Donald D'Aprix, a former Blue Meridian guitarist who also plays on Guardrail, recalls the songwriting experiences fondly, "Working with Donovan affected my transformation into an invaluable member of a band. He taught me the importance of simplicity, originality, repetition and vibe. I refer to his sensibilities in almost every musical situation now."

Also unpredictably, Blue Meridian's integrity for their art spills into their quest for success. According to Kirkwood and Lyman, they have gotten a great deal of attention from the recording industry, some of which they might have been able to cultivate into a lucrative deal. But the band shies away when the industry interest seems to wane after a month or so.

"We don't even care why it's waning, we just know he's not the right guy. If he won't fight to win us, he won't fight for us once we're on the same team. We want to sign with an A&R guy that would swim through sharks for our music and its possibilities. Maybe we'll swim through sharks for him one day, but right now we'd rather focus on our music than play their game," says Lyman

So does the fact that they are releasing the Bleeding on the Guardrail "old stuff" now mean that they are simply out of new material? According to band members, they will release another album this spring rich with constantly uncompromising brand new songs that also have potential commercial appeal.

According to Blue Meridian, they will be taking a massive leap away from Brave Angel, this year’s Orlando Music Awards’ Album of the Year and away from their 1998 self-titled release which spawned the single "Sideways Silverjet" that garnered heavy radio play on Orlando’s Real Radio 104.1 FM last year.

Although they are reluctant to divulge too much information about the enigmatic new CD, they promise it to be "ultra-modern" and fashioned after "nothing that is popular right now." They are teasingly calling it Kid B, given that the group feels Radiohead's latest work is a masterpiece. Also under consideration is Bumby Road, due to their fondness for The Beatles last album. First things first, though: this is the season of Bleeding on the Guardrail.

On the eve of the release of this third CD, one feels compelled to examine the fact that Blue Meridian has been recording and performing for over half a decade with relatively no significant monetary reward. What is it that drives them to persist at this seemingly fruitless game?

"It's an enormous amount of work and it takes incredible patience. I haven't been on vacation in over six years. I would love to make it big on a national level, but sometimes I look at Orlando's budding skyline and think, 'We've been the biggest rock band in this town for two years or more.' While some bands will never even get a gig at Sapphire, my guitar and Kevin's drum are hanging in the Hard Rock."

Lyman continues, "We don't take any of our success for granted, however, we are caring a lot less about the industry these days. Making it big is just not as important as it used to be. It seems the closer the band gets, the more vivid the flaws of the industry become. We just want to keep doing what we love doing for the sake of the music and the joy it brings to us and to our friends. We feel we're pretty damn good at it."

Although humility will never be a rock star virtue, that isn't the problem I have with championing unsigned bands. Unsigned bands like Blue Meridian do not need to be championed. They are pursuing a dream and doing what they love to achieve it. If they never "make it big," they spent their life doing their favorite thing every day. After all, it's the journey, not the destination. How many of us can say that we get to do our favorite thing every day?

No, I don't care about the plight of these unsigned bands at all. In fact, I'm jealous of it.

David Swabbs

Mr. Swabbs is a freelance writer and can be reached at:

Davidswabbs@aol.com

Contact Information:

Blue Meridian Hotline: 407-895-BLUE

e-mail: raggedstar@aol.com