“Wounded”, a creative endeavor between me and the AI Music Engine, Suno, and a follow-up to “Wisdom’s Water”, is available on iHeart, Apple Music, and Spotify.
“Wounded” presents an eclectic collection of songs spanning musical genres, from rockabilly and grunge-inflected bangers to melodic country western ballads.
The work appears under the artist profile “Sapient Rain.”
The lyrics are from poems I’ve written that focus on individuals wounded by love, depression, and the whims of demented, power-hungry authoritarians.
I had a lot of fun crafting the lyrics and working with Suno to select the musical score for my poetry.
My Paper, My Words is a collection of essays, stories, and poems that reflect the challenges of a middle-class husband and father trying to navigate a rapidly changing political, religious, and technological landscape of post-911 America.
Wisdom’s Water, a creative endeavor between me and the AI Music Engine, Suno, is now available on Apple Music, YouTube Music, and Spotify.
The work appears under the artist profile “Sapient Rain.”
The lyrics on Wisdom’s Water come from poems I’ve written and published over the last few years, and center around themes of religion, violence in America, civic responsibility, and the fragility of democratic ideals.
The music is generated by Suno and adds a second consciousness to the collaboration, shifting from atmospheric tension to rhythmic urgency, mirroring the political and social turbulence the album explores.
I had a lot of fun crafting the lyrics and working with Suno to select the musical score for my poetry.
I’m inspired by all the artists and citizens who are speaking out and protesting in defense of our democracy. I believe this album will resonate with anyone concerned about the troubling direction in which our country is heading under Donald Trump’s fascist regime.
Not all of the songs on Wisdom’s Water are protest songs, but many are. I hope you download, stream, and share them with friends and family. And I hope you enjoy listening to them!
And finally, look for my second collaboration with Suno, titled Wounded, which will be available on streaming services on February 26th, 2026.
My Paper, My Words is a collection of essays, stories, and poems that reflect the challenges of a middle-class husband and father trying to navigate a rapidly changing political, religious, and technological landscape of post-911 America.
For the last several weeks, I’ve been pushing my poems through the Suno AI music generator to see how they work as song lyrics.
I’m no Suno expert. In fact, I’m sure that I’m barely scratching the surface of its capabilities.
My process is simple (bordering on rudimentary).
I copy and paste a poem from my blog into the “Lyrics” window in the Suno song generator.
I enter a free-form description of the music style to use for the poem. For example: “Rap, Hip Hop, with Grunge Guitar licks, Female Vocals“.
I add a title for the song and click Create.
Suno generates two songs based on the criteria I entered. Next, I listen to the songs. I can tell right away whether I like what I hear, and often, I delete the song only after the first few bars. Other times, I find that some of my lyrics “work” nicely, while others don’t flow with the music and need tweaking.
I usually have the lyrics open in a text document as I listen to the song, pausing to rework my phrasing to better match the song’s cadence and rhythm. I add or delete verses, move chunks of text around, then have Suno create a new version of the song (with the same criteria). When I have the new songs with my lyrical updates, I go through the same listening and editing exercise.
It’s a very iterative process—and probably not the best way to use the tool. I haven’t managed to fiddle with the remixing and song editing features.
Poems don’t always have a verse-chorus structure commonly found in songs, so reworking these poems into lyrics often involves coming up with a memorable/catchy chorus. That has been the most fun and challenging part of this project.
Some poems that I envisioned as rap or hip-hop songs end up sounding better as rockabilly/country western songs. Switching the vocals from male to female can give a song an entirely new feel.
With Suno, I’ve repurposed my poems into thoughtful, memorable, and singable songs, even though I have no musical skills (I’m not sure if that is a good thing or a bad thing, but it’s definitely a thing). The following table summarizes my “collaborations” with Suno that are publicly available for listening.
I’d love to hear what folks think of these songs or of AI music in general. Post your comments here or on Suno. And please follow me on either platform.
These lyrics are from a poem I wrote years ago after a spate of school shootings. I really like how Suno split the lyrics between male and female vocalists without me specifically directing it. I always heard this poem musically in my head, even when I was writing it. And, I always envisioned a female vocalist singing the “I see angels” part – it was like Suno was reading my mind on how to turn this poem into a song. Favorite Verse:I’m the isolated IncelThe bullet in the gunThe angry white AmericanWho’s blaming everyoneI’m the cryptic manifestoThe video onlineThe AR-15 lover-boyWho grew-up Columbine
I wrote the poem “Pierced Hearts and Sorrow” after the mass shooting in Uvalde, Texas. I also wrote a short story titled “That Final Hug” inspired by that horrible day. I’d gladly give up this type of inspiration if it meant fewer mass shootings where children are murdered in their classrooms. I hate that I feel compelled to write these types of poems. I think Suno captured the mood and tone of what I was trying to convey with my words. Favorite Lyric:We live in a landof pierced hearts and sorrowno shooting today?just wait till tomorrowIn a fog of futilityexplicably numbwe reach for our heartstringsbut there’s nothing to strum
These lyrics are from a poem I wrote after the Charlie Kirk assassination. It’s about how dangerously divided America is and the potential for spiraling political violence that seems increasingly likely in the second Trump term. Favorite Verse:We ought to runfrom martyrdomnot pin it to our chestnot canonizethe hateful guyswho scream that they know best
I wrote a poem called “Ashes to Ashes” ten or more years ago. I fiddled with it and published it on my blog about 5 years ago. With some significant edits and a revamped chorus, here it is with Suno’s light touch. Favorite Verse:We stretch our souls tight on a drumWe beat it bare till it goes numbWe feel the eyes of everyone
Bored one afternoon, I challenged myself to write a poem about Dorothy from The Wizard of Oz. With Suno’s assistance, here is the musical version of that poem. Favorite Verse:Tracing the stitch on her pillowshe imagines the blood in her veinsshe chases the witch up a willowtill the beat of her heart starts to wane
I wrote the poem this song is based on about a month or so ago. It takes a familiar place for Portsmouth, RI, residents (The Glen) and builds a song about the realities of relationships around that place. I trimmed the poem quite a bit for the song and changed some wording. In fact, the verse about chasing fireflies does not appear in the poem at all. That verse came to me as I was listening to the rhythm of the music, and it turned out to be my favorite lyric in the song. I chose a country-western style, which I think works nicely. Favorite Verse:The fireflies we used to chasewent dark forever without a traceand we chose to leave love’s warm embrace
I wrote the poem “Get a Load of Elon” after seeing the sickening footage of that smiling dirtbag laughing it up and swinging a chainsaw around like some fake-ass efficiency hero. Fuck that guy and everything he represents. I think Suno captured the tone I was looking for on this one. Favorite Verse:He pulled into WashingtonBlack MAGA cap on his headHe spent a ton of cashput a felon in our bed
Donald Trump is my fat, ugly muse. There, I said it. Shame on everyone who voted for this criminal, and fuck all the cowards in Congress who are failing to stand up to this two-bit thug. And that’s all I have to say about this song. Favorite Lyric:My heart is full of penniesthere’s no light inside my eyesthere’s only room for Donnyand all that I despiseMy mind is fully taintedI can’t connect the dotsI’m more and more acquaintedwith Russian drones and bots
I wrote a poem in May of 2024 titled “Bonjour, Borg”, which was about the headlong way we are embracing AI, without fully understanding the consequences. I reworked that poem, added a chorus, and handed it to Suno. I include two versions (a power pop version and a blues version). Favorite Lyric: We’re messing with knowledgewe don’t understandplaying our cardswithout knowing our handA sprint to the finishBut where are we going?Dimmed and diminishedWe’ve no way of knowing
I wrote a poem in May of 2024 called “Boys in Distress”. I took bits and pieces from that poem and wrote the lyrics “New Boy Paranormal”. It’s about young adult men in America not being able to find their footing socially to the point where they retreat into a digital world of grievance, anger, and misogyny. This is an example of a previously written poem serving as a concept for new lyrics for a song. I wrote this specifically for Suno. The chorus: Fiber-optic geldings alone inside their heads they bathe in Incel chatrooms masturbate beside their bedsthey’re the new-boy paranormal walking ghosts and talking shit the no-screw-boy semi-formal stalking post sand keeping fit is new and does not appear in “Boys in Distress” – I came up with it on the fly and added it after listening to Suno’s first attempt at creating the song from my poem. This song went through several renditions before I settled on a “Surf rock-influenced” beat. I smiled broadly when I heard the finished product for the first time. Favorite Verse:Fiber-optic geldingsalone inside their headsthey bathe in Incel chatroomsmasturbate beside their beds
I wrote this poem about the climate crisis about 4 years ago. I kept the words pretty much the same for the musical version – just adding a second verse to the chorus. I can see Greta Thunberg belting this out on the bow of the Greenpeace Rainbow Warrior, with a hard-rocking band of Norwegian’s backing her. Greta, if you’re interested, text me. 😊 Favorite Verse: The dangers in Pittsburgthe dangers in Norwaywherever we liveit’s outside our doorwayThe science is speakingthe numbers aren’t lyingThe danger is globalWith temperatures rising
I came up with these lyrics based on a poem I wrote in 2017 called “Resist”, which was about pushing back against Donald Trump and his policies, which I saw as an existential threat to America’s democracy. I added several new verses for the song and reworked the verse that would become the chorus. I can see the Dixie Chicks or Dolly Parton belting this out. I’m not a big fan of country or rockabilly music, but I think that musical style works well with the words here. Favorite Verse:He belittles and threatensthose who oppose himHe stomps up and downscreams America chose him!
The phrase “love grenade” came into my head when I was noodling around a text file. I created this song entirely around that one phrase. No previous poem for this rocker – it just came to me very quickly, all of it from that one phrase “love grenade” – I like the vibe of the music that Suno generated – it’s got a female punk energy that’s fun to listen to (at least to me it is). Favorite Verse:You’re the drunken saintof unrestraintthe banger at the balla bourbon shotwithout a plota fist inside the brawl
Suno and I, channeling our best Pat Benatar impression. I wrote the poem “Oligarchic Kings” recently and published it on my blog. I changed it quite a bit for the song version. Favorite Verse:Oligarchic Kingsare here to clip your wingsto wrap a rope around your throatto cast dark shadows over hopeto crush your dreams of better daysto dress your colors in shades of greys
When I wrote this poem originally, I wrote it to the cadence of Supercalifragilisticexpialidocious from “Mary Poppins” and included it in my book “Imagine There’s No Donald” (available on Amazon😉 ). I asked Suno to create a power-pop song from the poem. It’s the only poem I used as is (not changing any of the words). It’s a campy/poppy version of a Disney classic. Favorite Verse:Neo-fascist-oligarchic-expialidociousElon-Bezos-Zuckerberg are really quite atrociousWe need to fight them in the streetsand call them on their grossnessNeo-fascist-oligarchic-expialidocious
When I was a youngster (I’m talking elementary school age), I remember “feeling” the news of the times – Watergate and Vietnam were in the news all the time. And though I was just a child and could not comprehend the realities swirling around me, I could sense a tension in the air – parents and other adults in heated conversations, the constant coverage of Watergate and Vietnam seeping into our subconscious among all the wonderful distractions of childhood at that time. That’s what inspired me to write the poem that this song’s about. Favorite Verse:Watergate was all aroundin our sight and in our soundon the news and in the paperthe Viet Cong and foiled caperIt lurked and hovered overheadPages written and words were saidit wormed its way into our headthat innocence was finally dead
I wrote a poem titled “Too Small to See” some 20 years ago after reading Robert Frost’s poem “Fire and Ice,” which is about “the destructive power of human emotions, suggesting the world could end through either fiery desire or icy hate, with both leading to the same annihilation, equating intense passion (fire) with destructive greed/lust and cold indifference (ice)” – I remember taking more literal slant on the subject of human mortality against the backdrop of an e-bola outbreak, which made me think that the way humanity ends is less likely to be from nuclear annihilation or climate-related disaster and more likely to be something “too small to see” – like a virus – When COVID came along it only reinforced my belief that our angel of death will be too small to see, killing us all, infectiously. I used to Suno to create two versions of this song with different styles (I’m not sure which one I like better). Favorite Verse:We’ll end with a whimperviral, tiny, and smallfrom something we caughton our trip to the mall
This song combines verses from two separate poems I wrote a few years back – one about regret and the other about a post-apocalyptic world. The result here is both bleak and sweet. Favorite Verse:Some people start to gathershake their fists and curse the sunwhile others mumble silentlyquoting Nietzsche and Carl Jung
This song is based on a poem I wrote, which was published in Beyond Words Literary Magazine a few years back. I did not change any words in the poem. I just added a chorus, and Suno did the rest. Favorite Verse:With a never-ending stipendof more than you can bearan abundant over-ripenedsoftened fruit of deep despair
On April 3rd, my son and I attended a concert by The Breakers, a tribute band to Tom Petty and the Heartbreakers. My son and I are diehard Tom Petty fans – me from when they hit the airways in 1976, and my son through parent-to-child musical osmosis.
The Breakers concert was my first tribute band experience, and to be honest, my expectations were low. I envisioned a cheap and costume-themed knockoff of what I consider to be one of the best Rock and Roll bands of all time. For me, the night was more about spending time with my son than the show itself.
The Breakers started the show with Love Is a Long Road from Tom’s 1989 solo album, Full Moon Fever. That song was an interesting choice because it’s not a Tom Petty “hit, ” and non-Petty enthusiasts might even consider it a deep cut. The Breakers performed a blazing rendition of the song, and when they finished, my son and I just looked at one another, each of us with a “holy shit” expression on our faces.
The Breakers went on to perform brilliantly and passionately. Their musicianship was jaw-droppingly good, and you sensed they were true fans of the band they were paying homage to. Their performance was joyful and soulful with zero pretense. The songs were not “cookie-cutter” versions of Tom Petty and the Heartbreaker albums. There were elements of creativity and artistry in every song they delivered that evening.
At times, I felt myself getting emotional watching and listening to the band play—I’m not sure why. Perhaps that’s the power and mystery of true art—it touches us in ways we can’t put a finger on. Or maybe a spiritually communal experience occurs when the musicians on stage and the fans in attendance connect emotionally through mutual love and respect—in this case, love and respect of Tom and his musical genius.
If you’re a fan of Tom Petty and the Heartbreakers, see The Breakers, you won’t be disappointed.
It’s been nearly six years (October 2, 2017) since Tom Petty died.
A few months before his passing, my son and I drove from Rhode Island to Philadelphia to catch Tom and the Heartbreakers on the final leg of their 40th Anniversary Tour.
On our way down to the show, we listened to every Heartbreakers album in sequence, amazed at the quantity of quality the band produced over their 40 years.
When Tom made his way to the microphone that night in front of a packed Wells Fargo arena — he seemed a little unsteady. His voice was thin and shaky when he addressed the audience, and I wondered if time had finally caught up to the rock icon.
That show was my sixth Tom Petty and the Heartbreakers concert. Like the previous five, I walked out of the arena blissfully. At 66 years old and on a fractured hip, Tom Petty remained true to his craft and the spirit of rock and roll. He and the band were brilliant.
For over 40 years, Tom Petty and the Heartbreakers never cheated their audience with half-hearted performances or sub-par albums. They loved what they did, which showed in the studio and on stage.
That show in 2017 has me reminiscing on how and when I got hooked on the Heartbreakers.
The first Tom Petty and the Heartbreakers song I heard was Refuge in 1979 as a junior in high school. That song jolted with me the instant I heard it. My reaction to it bordered on chemical, and for three minutes and twenty-two seconds, I felt true clarity, like the music physically pushed shit aside in my head – so it was just me and the song.
I’m not sure why that song resonated so powerfully. Perhaps it was the convergence of Petty’s aggressive-edged delivery frenetically stirred by the tumult of adolescence and teenage angst.
I don’t know “the why,” but I remember “the when” like it happened yesterday.
I’m not sure how it began for my son. Maybe it was musical osmosis from exposure to A LOT OF Tom Petty and the Heartbreakers at an early age.
Perhaps my son connected with a specific song or album during adolescence and got hooked like I did.
Or maybe he saw Tom Petty as a musical bridge to span the sometimes-fractious waters between a father and son.
The most intriguing thing about this trip down memory lane is how Tom Petty evolved as an artist and the impact that had on me as a fan.
As much as I loved Refugee as a teenager, listening to that song as an adult was mainly a way of reconnecting with my youth. Sometimes, “reconnecting” is the extent of our relationship with an artist or song.
A more substantive relationship develops when the artist evolves – because that presents an opportunity to connect with them on a deeper level.
As Tom Petty matured, he became a master songwriter. His songs tapped into the complexities of human relationships with sparse and simple language. That’s what kept me tethered to him as an artist.
The way I connect with songs like Wildflowers and Square One is totally different than the nostalgic way I connect with Refugee or Here Comes My Girl – because I evolved as well (thankfully).
Tom’s evolution as an artist allowed his fans to grow with him — and most of us did.
And that’s why the relationship is impactful to so many people.
I was driving home from Boston with my younger son today. We had spent the previous day in Roxbury MA at the Reggie Lewis Track and Athletic Center for and AAU basketball tournament. We had his iPod plugged in and jacked up. My son was almost fully reclined in the passenger seat, the window rolled up and the sun warming his face; he was teetering between wakefulness and sleep when the Sultans of Swing came on.
I was never a huge Dire Straits fan growing up – I mean, I liked them well enough, but I didn’t love them; but in my opinion that song comes as close to a perfect song as musically possible. Everything about it seems perfect to me – and I am not sure why. Whenever I hear it, I am transported back in time; and I do not mean in a general sense. I mean I am transported to a very specific memory of me driving my car, turning right from Union Street on to East Main road in Portsmouth RI, on a bright sunny day listening and marveling at how good a song that was. That was in 1979, 34 years ago – and the memory remains crystal clear for some reason. When I hear that song, I remember the warmth I felt from the sun that day; I remember greenness of the trees against the blueness of the sky as vividly as if I were experiencing them in the present.
It was 9:00 PM and I needed to go for a walk. This is a relatively new thing for me. I have taken to night walking – it relaxes me – clears my head – puts my spirit at peace for 30 minutes. Sometimes I start out with my dog Walter in tow, then I swing back by the house to drop him off and continue on my own – alone with the night – and my iPod. Before heading out on this particular night I made a point of re-synching my iPod, because somehow I inherited 23 “System of a Down” songs from my son’s playlist.
Here’s a truism: There few things in life more abrasive than having System of a Down pumped into your head unexpectedly at full volume. It’s happened to me on several occasions and the experience has literally shaken my faith in humanity.
bendingtheneedle 