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by Arlin Godwin

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  • Compact Disc (CD) + Digital Album

    Arlin Godwin's debut album

    Includes unlimited streaming of THE SECRET LIFE OF BOYS [Deluxe Edition] - ALBUM via the free Bandcamp app, plus high-quality download in MP3, FLAC and more.
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  • Full Digital Discography

    Get all 21 Arlin Godwin releases available on Bandcamp and save 20%.

    Includes unlimited streaming via the free Bandcamp app, plus high-quality downloads of DIM ALL THE LIGHTS [radio edit], WAKE US UP, BONER DELUXE, MISS YOU, VIOLENT TRUE BELIEVER - Music From The Film, ED's PLACE [Remastered], ALEXANDER FROM ALEXANDERPLATZ, THE CURIOUS DAHO, and 13 more. , and , .

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This is mostly an instrumental.
BOY SEVENTEEN Words & Music by Arlin Godwin / 2001 Boy number one, Was incredibly fun, And number two? Well, he reminded me a whole lot of you, Boy number three, Was meaner than mean, It doesn't matter, I'm in love with boy seventeen, It doesn't matter, it doesn't matter...I'm in love, Boy number four, Was a ten dollar whore, And number five? Well, I'm afraid he's wanted dead or alive, Boy number six, Was in a porn magazine, It doesn't matter, I'm in love with boy seventeen, It doesn't matter, It doesn't matter...I'm in love,
Rosemere 03:11
GOD DAMN YOU'RE BEAUTIFUL Words & Music by Arlin Godwin / 2001 You look like someone, I used to sleep with, I look like someone, You used to french kiss, You are so perfect, Let no violence ever change, God damn you're beautiful, God damn you're beautiful, God damn you're beautiful, I wanna do ya, All night long - yeah, You look like someone, I used to talk to, I look like someone, You could get used to, You are so perfect, Let no violence ever change, God damn you're beautiful, God damn you're beautiful, God damn you're beautiful, I wanna do ya, All night long - yeah.
Mostly an instrumental.
Instrumental for the most part.
Get Stoned 04:07
BLUE Words & Music by Arlin Godwin / 2000 When you hear me turn it up, You better run for cover, When you hear me plug it in, You better think it over...
IT'S ABOUT YOUR SOUL Words & Music by Arlin Godwin / 2001 It's about your soul, And now nothing else matters, Elvis in the mirror so divine, Say, say, Elvis in the mirror so divine, It's about your soul, And now nothing else matters, Queer on the floor and dance some more, Queer on the floor and dance some more, Come on baby, Shake it down, Come on baby, Shake it down, Shake it down, Elvis, Elvis, Elvis... It's about your soul, And now nothing else matters, Elvis in the mirror so divine, Say, say, Fuck it all - we could always turn it up, Turn it up... It's about your soul, And now nothing else matters.
THE SECRET LIFE OF BOYS Words & Music by Arlin Godwin / 2001 Lower the cables Johnny, Why can't I tell you, About the secret life of boys? Why can't I tell you, About what goes on, Behind closed doors? I'm afraid once I get started, I might not be able to stop myself, Why can't I tell you, About the secret life of boys? Why can't I tell you, About my own private joy? I'm afraid once I get started, I might not be able to stop myself, Lower the cables Johnny.


This is the 16-track Deluxe Edition of Arlin Godwin's debut album.


Until I made this record I had only done singles. One song at a time. This was the first time I decided to make a collection of tracks that would be linked in sound and subject matter. In other words, an album.

These tracks were recorded in an empty apartment in southwest Washington, DC in the late winter, spring, and summer of 2001.

9/11 happened not long after this was finished. I spent about 7 months writing and recording 23 tracks. Only the ones I really liked made the final cut.

This record was well received by my small fan base at that time and was the reason I got signed to INgrooves when CEO Robb McDaniels heard "Boy Seventeen" on a San Francisco radio station and called me up to ask if I wanted to perform at Burning Man. Yeah! Really.

This is still some of my favorite music.

What follows is a track-by-track discussion of all the tunes that appeared on the first version of this album. This was written not long after the record was mastered. I wanted to put down my most immediate thoughts on where these tracks came from and how I made them. Because I knew as time passed I would forget. So this is for posterity I suppose:

The first thing that I wrote in January 2001 - in my new apartment in Southwest DC - was "Boy Seventeen". The music for that song came very quickly and the lyric did as well. This was unusual because most of my songs aren't hatched that easily. Of course, just because I wrote it rapidly does not mean that I finished the studio work as quickly. I didn't. I ended up carrying various mixes of that song around with me on cassette and I would hear things in those rough mixes that I didn't like. So, I would go back and tinker with the original tracks over and over for several months. Much of that tinkering was done during the summer of 2001. I was doing some television work up in the Northwest part of the city near Tilden Street and I would take long walks and listen to that track over and over trying to figure out how I wanted it to end up. It was eventually mixed when I finally got so tired of hearing it that I couldn't deal with working on it anymore. I think it's an interesting track because it combines the sounds of two of my favorite artists: Pet Shop Boys (who I worked with in 1986 in a video capacity) and Depeche Mode.

Also, this song features "the wall of voices" trick that I learned long ago from listening to Lindsey Buckingham records. That is, you record dozens and dozens of separate, breathy, atmospheric vocals which takes weeks sometimes and is extremely boring to do. But in the end, you get this huge, ambient "wall of sound" that is just fantastic. I've done this many times because I love the way it sounds and I did it on this song---and strangely (to me anyway) many people think the whole thing is synthesized. As in: created on a machine.

I beg to differ. All those voices are me - overdubbed a zillion times. I really have forgotten exactly how many takes were piled on top of one another but it went on for more than a week, so it must have been a great, great many. Art is pain.

This one had already been recorded when I moved into my new place. It had even been mixed. But when I decided to put it on the new album I went back and remixed it and even chopped some sections of the original out and shortened it a bit. The club mix version (which might eventually be released) is considerably longer but not necessarily better for the extra length. I have a terrible fear of being boring and overly repetitive so I didn't mind cutting the track a little. The song (if you can call it that) was originally written on Halloween 2001 after seeing my good friend Dan dressed up as Judy Garland. That's what inspired it. And it does have this big, celebratory vibe to it that makes you want to hit the dance floor. The big ending was something I came up with because I didn't want to fade it. I can't remember why. I just wanted to have a big, movie-star ending so I put in the kettle drums etc. and created this really nice finale. It's a fun track.

This track is just flat-out gorgeous if I do say so myself. It originally had lyrics but I finally decided that no lyrics could do that music justice. It's just too lovely to be restricted by words. As for the name of the track--I suppose Rosemere literally means roses & water? I have been told that the word "mere" means "body of water" or "lake" I think. Maybe someone can correct me on that. Whatever it means, the track is one of my absolute favorites because it's so beautiful and it pretty much came out the way I wanted it to. I had a guy in Finland write to me and ask if he could put his own words to it. I told him to have fun. Once again, in my opinion, this is really, really gorgeous music - and it needs no words.

This track was licensed in 2007 by the gigantic NOKIA cell phone company for inclusion on one of their products in Europe and Asia. The song started out with just the part of me humming those ascending 5 notes. That was taken from a completely different song that never went anywhere. It was just a little snippet of backing vocal and I looped it and ended up building New World Coming around it. I think NWC has one of the most outrageously fabulous drum arrangements that I've ever done. It was extremely dense and complicated and I remember greatly enjoying doing it.

It was mostly done on the Roland MC505 Groovebox with some supplemental percussion from my old Alesis D4 drum machine. But there are literally 40 or so percussion tracks before you even get to the other instruments.

If you wonder where this track came from...it reminds me of the vibe of an old Elton John tune called "Bite Your Lip (Get Up And Dance)". I believe it's off of "Blue Moves". Anyway, it's a cool groove and I like the way it builds until you have this huge thing - which hopefully once again makes you want to get on the floor and dance because the new world IS coming...

This track (and the whole album) is dedicated to a long-time friend. He once spent a summer in Alaska. So, now you know. Anyway, not long after I had moved into my new apartment last year, I had a dream right out of nowhere about him being on mountain-tops and seeing glaciers and grizzlies and in my dream, there was a little satellite hovering over it all up in space amongst the stars. This track was written that night - after I woke up from the dream and went into the living room where all my studio equipment was set up. I just sat down and played a few basic parts so I would have it down and not forget it - and then I went back to bed. Later I fleshed it out. I dream music a lot and am often disturbed in the middle of the night by musical ideas which somehow enter my brain without permission. Lyrics on the other hand are something I actually have to work hard at. But actual music, for me, is automatic and that's how I got this track.

This one has two distinct sections which are easily discernible even to the unmusical ear. For several minutes you get the 'glamour' part which symbolizes for me the experience of going out to the clubs and having a high old time. Then you get to the second part which is the 'damage' bit and that's all about the pain, the paranoia, and the destruction of one's health and mental condition because of all the bad things you've done to yourself the night before. The whole ending section with the trumpets and so on was inspired by having just seen Tina Turner in concert. I was trying to "Tina-up" the end of this track.

This one is not about me getting snockered. Oddly enough I wrote this track immediately after coming home from seeing Steven Soderbergh's movie "Traffic" which dealt with the whole subject of drugs and the law and politics etc. I thought the film was very good but I thought I could have made the music better. So, I came home and recorded this track just to prove to myself that I could have done a better soundtrack for Mr. Soderbergh. Maybe he'll hire me someday. This track was really just a fluke. I never intended to release it - and it was recorded really quickly. Nevertheless, it came out rather nicely. I remember those drum fill parts were taken from a little Casio keyboard toy which I EQed and flanged to make it sound bigger. It's a cool track. I think my oldest son Neil (yes I have kids) has that old keyboard now.

This one was written for someone special. I guess the lyric is self-explanatory. I thought this person was very lovely to look at and this song was inspired directly by that kind of physical beauty. Of everything on the record I think this one has the best chance at modern rock radio and probably the college stations as well. It has a great chorus hook if I do say so myself.

Written for an old friend when he started going to therapy. There are several versions of this song floating around as bootlegs on the Internet. This mix is just a really laid-back, ethereal, ambient version. But quite beautiful I think.

This is a techno-dance track that was issued in a shorter version by 3000 Records on their compilation CD "Listen NUDE" last year. I like this one a lot because it never gets boring. Lots of parts and cool samples.

The title track is about going to the baths. If you don't know what that is Google it. Maybe put the word "gay" in front of the word "baths". Specifically, this was about the Washington Club baths - which have been torn down to allow the building of a new stadium in DC. This track was inspired by what could be called "the secret life" of the baths. The lyric asks "Why can't I tell you about the secret life of boys?" Probably because you wouldn't believe me if I did.


released January 12, 2019

Composed & Produced by Arlin Godwin


all rights reserved



Arlin Godwin Washington, D.C.

I live in Washington, DC about five blocks from the big white mansion.

I've written and produced 4 full length albums, a number of EPs and countless singles and demos. Honored to have been nominated more than twenty times for the Washington Area Music Association WAMMIE Award, winning twice in the Electronica category. ... more

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