Release Date: 9/97





My best friend and a girl I used to like
Three people to a car
On our way to see a good punk band
Playing at Al's Bar

Shut out of the conversation
They became good friends
I don't want to sulk in the back seat
Because I've taken it again

I'm the third wheel
Doormat appeal
Stand me off to the side
Invisible man
Social slam
I'm just along for a long, long ride

Now I don't mind the situation
But I wish I could go home
'Cause they want me to stick around
And I want them to be alone

Contemplating my ego deflating
And the boredom makes it worse
I guess this means I'm back in my teens
I think I must be cursed

I don't want revenge
I just want the night to end
Whatever will be will be, without me
I just don't wanna pretend I'm having fun

We missed the band, they went on early
They said the booker lied
But still we stayed 'til the bank shots had all been made
And drinks had ossified

This night can have but one conclusion
At least that's how it looks
I can see them now curled up together in bed
I see myself curled up in bed with a book


Adam - vocals, guitars
Rob Cassell - vocals, bass
James Hazley - drums

Adam sez:

It's no secret that the Marsland-Cassell-Hazley lineup of Cockeyed Ghost that cut the first two albums was fraught with conflict and tension. Listening to some of the tracks now, on NEVEREST in particular, I hear a great band that did not want to be reigned in, and though Earle Mankey tried his hardest, I knew it was politically impossible and just let everybody do what they did. I'm sure the other guys would have a different perspective and point out that I pretty much ran everything and wrote everything. That's not untrue. The problem for me was that when the other guys wanted to participate in running the band, it usually wasn't in a way that lessened my workload...quite the reverse. So that's a good nutshell of the dynamic in the band those years when we were blowing up in L.A. - and then we just blew up, period.

One bone of contention with Rob was that he wanted to participate more in the songwriting. I actually was fine with that, but when I invited Rob to sit down and hash out some ideas, he usually wasn't very interested in it. I think he had something more in mind of having me bring in a nearly finished song and then chip in a few changes, which did not sit well with me...see the thing above about not lessening my workload. Which is too bad, because "The Third Wheel" is an example of a genuine songwriting collaboration that wouldn't have happened without Rob, and it came out pretty well, though I think lot a lot of the songs we did on the first two albums, we had played it so many times by the time we recorded it that we just kind of rushed through it all. It originally was much slower. But, that's what it wound up being, and it's fine.

What happened was I had had a night pretty much like the song - I had a date, I brought my roommate along, the date liked him better than me, and since he was driving I was stuck out with them all night. I came home and wrote the lyrics to "Third Wheel."

The next morning we had a rehearsal and as we were setting up Rob started aimlessly playing the bass riff that opens the song. I said "wait a minute!" and grabbed the lyrics and started singing over what he was playing. It fit perfectly, and we finished up the song pretty fast as I recall. It became a big live number and oddly enough a version exists that was produced by the guys in Baby Lemonade.

After Rob left the band, the song pretty much went out the window until one gig, I think around 2011 or 2012, when an old fan asked me to revive a bunch of NEVEREST-era songs for a show. I played this song and a few others, and let me tell you, it was a blast to do. Good times.

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