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Bee Gees: This Is Where I Came In

 A l b u m   D e t a i l s

Artist: Bee Gees
Title: This Is Where I Came In
Released: 2001.04.24
Label: Polydor Ltd. (London)
Time: 52:18
Producer(s): See Artists ...
Appears with:
Category: Disco
Rating: *******... (7/10)
Media type: CD
Purchase date:  2001.10.01
Price in €: 7,27
Web address: www.bee-gees.com

 S o n g s ,   T r a c k s


[1] This Is Where I Came In (Gibb/Gibb/Gibb) - 4:56
[2] She Keeps on Coming (Gibb/Gibb/Gibb) - 3:57
[3] Sacred Trust (Gibb/Gibb/Gibb) - 4:53
[4] Wedding Day (Gibb/Gibb/Gibb) - 4:43
[5] Man in the Middle (Gibb/Gibb/Gibb) - 4:21
[6] Déjà Vu (Gibb/Gibb/Gibb) - 4:19
[7] Technicolor Dreams (Gibb) - 3:04
[8] Walking on Air (Gibb) - 4:05
[9] Loose Talk Costs Lives (Gibb) - 4:19
[10] Embrace (Gibb) - 4:43
[11] The Extra Mile (Gibb/Gibb/Gibb) - 4:21
[12] Voice in the Wilderness (Bonelli/Gibb/Kendall/Rucker/Stivers) - 4:38

 A r t i s t s ,   P e r s o n n e l


MAURICE GIBB - Guitar, Keyboards, Vocals, Producer, Executive Producer, Drum Programming
ROBIN GIBB - Vocals, Producer, Executive Producer
BARRY GIBB - Guitar, Programming, Vocals, Producer, Executive Producer, Drum Programming

PETER GRAVES - Arranger, Conductor, Orchestral Arrangements
JOE BARATI - Trombone
ALAN KENDALL - Guitar
GEORGE PERRY - Bass
MATT BONELLI - Bass
STEVE RUCKER - Drums
BEN STIVERS - Organ, Piano, Keyboards, Programming
PETER JOHN VETTESE - Programming, Vocals (bckgr), Producer

LARRY WARRILOW - Orchestration
JIM HACKER - Trumpet, Piccolo Trumpet, Soloist
JASON CARDER - Trumpet
KENNETH FAULK - Trumpet
ALFREDO OLIVA - Violin, Concert Master
GUSTAVO CORREA - Violin
CHRIS GLANSDORP - Cello
TIM BARNES - Viola
NEAL BONSANTI - Clarinet
DAVID COLE - Cello
MEI MEI LUO - Violin

MARK EVANS - Programming, Engineer
BOB LUDWIG - Mastering
JOHN MERCHANT - Engineer, Drum Programming, Mixing, Assistant Mastering Engineer, Technical Producer, Mixing Engineer
CHERYL ENGELS - Quality Control
ROGER LYONS - Programming
DICK ASHBY - Project Coordinator
ALEX DELVES - Stylist

 C o m m e n t s ,   N o t e s


2001 CS Uptown/Universal 549626
2001 CD Uptown/Universal 549626



There is a reason why the Bee Gees have been around for decades, successfully making music — they are innovative craftsmen, who have carved out and maintain a signature sound, while having the ability to adapt to the times that they find themselves composing in. The Bee Gees — brothers Maurice, Barry, and Robin Gibb — are profoundly creative and have a gift for writing good songs, whether they are radio friendly (usually the case) or a bit off the beaten path. The Gibbs see music as if viewed through a kaleidoscope. The result is magical, tuneful, and colorful music — with a mainstream sensibility. That said, on their 28th studio album, This Is Where I Came In, the Bee Gees, again, inspire audiences with their ability to make music that is fresh, yet familiar, and ahead of their peers in terms of sound, song structure, and style. The album's title and opening song instantly recalls the Beatles in their later years, and combines late-'60s British rock with crafty funk guitar playing. It's no wonder, too; according to the album's accompanying press, Maurice Gibb plays an acoustic guitar given to him by John Lennon on this song. The Bee Gees offer a nod to other musicians, as well, such as the Talking Heads and the Kinks on "She Keeps on Coming," which is an entirely jubilant listen. Audiences looking for that classic light and airy Bee Gees sound will best find it on the tracks "Loose Talk Costs Lives," "Sacred Trust," and "Wedding Day," all a wonderful tribute to the types of songs that established them as pop culture icons. Edgier fare is found on the urgent "Voice in the Wilderness," with its contemporary electronica and warbled guitar sounds, and "Déjà Vu," which is rich in slick hooks and crafty sound bites. Not many musicians could pull off placing a Dixieland-style song on an album in 2001. However, this is the Bee Gees, and not only does "Technicolor Dreams" work, but it is arguably the best song on the album. With its toe-tapping, enchanting clarinet solo and charming lyrics, "Technicolor Dreams" personifies how music is seen through the eyes of a Gibb. And listeners are fortunate for this Bee Gees-eye view.

Liana Jonas



The old adage that says you can't go home again rings especially true for artists and musicians attempting to return to their artistic roots. Ironically, it's also what makes the Bee Gees' journey back to their '60s sensibilities feel like a gratifying, if unassuming, triumph. Indeed, while the songs here are possessed of the innate soulfulness and melodic flair familiar from their youth, they've wisely allowed disparate musical elements from their dizzying three-decade-plus career to season this collection, giving it a satisfying pan-generational sense that's as rewarding as it is rare. The title track sets the tone, with the brothers trading verses against a spare acoustic guitar and drum-kit backdrop. It's a bracing reminder that the Gibb brothers' locked-in harmony remains one of pop's enduring sonic archetypes. While they've never completely shaken the cultural stereotyping of their late '70s megaplatinum doses of disco fever, there are few remnants of it here, save for the insistent drum loop. Given their longevity and pervasive insider influence, it's sometimes a historical riddle to figure out who's influencing whom, from the distinct ELO-isms of Robin's "She Keeps on Coming" and Maurice's "Man in the Middle" to Barry's singular balladry on "Loose Talk Costs Lives." And lest anyone think it's strictly a '60s-'70s love fest, the Gibbs toss in a good-natured nod to Tin-Pan Alley ("Technicolor Dreams") and even a spirited, if somewhat ham-handed, post-modern romp ("Voice in the Wilderness"). More than anything, it's a record that argues that home is but a state of mind, and that the Bee Gees have learned more than a few things on the way back.

Jerry McCulley, Amazon.com



Recorded over three years (the Bee Gees have earned the right to take their time), This Is Where I Came In is another paradigm of the timeless brand of white soul and pop that has become their trademark. Thirty years and 110 million albums have yet to diminish the Bee Gees' appetite or the admiration of their fans. The brothers Gibb have spent four decades knocking out hits since they arrived on the scene in 1963 as one of the original boy bands--hence the frequency their younger counterparts choose to cover their material. The title track, a huge acoustic ballad stamped with those unmistakable breathy harmonies and spiralling falsettos, kick-starts an album packed full of lavishly constructed songs that will delight their fans. Boy bands desperate for new material should investigate the Paul McCartney-style stomp of the double entendre-laden "She Keeps On Coming" or "Wedding Day", a classic tear-jerking ballad destined to become a staple first dance at wedding receptions for years to come. Failing that, there's the breezy "Man in the Middle" and the bandstanding "Dèjá vu". Of the 14 tracks, only "Technicolour Dreams"--a horrible trad jazz pastiche--disappoints. Respect is due.

Mike Pattenden, Amazon.co.uk



Allein mit den Top Ten-Hits der Bee Gees lassen sich ganze Bücher füllen. Die Gebrüder Gibb zählen zu den erfolgreichsten Musikern dieses Planeten, einzig die Beatles können auf mehr Nummer-eins-Erfolge zurückblicken. 1966 landeten sie mit "Spicks And Specks" ihren ersten Volltreffer, es folgten Klassiker wie "Massachusetts", "To Love Somebody" oder "How Can You Mend A Broken Heart". In den 70er-Jahren traten sie mit dem legendären Soundtrack zu Saturday Night Fever die Discowelle los, in den 80er-Jahren schrieben sie für Diana Ross "Chain Reaction", für Dionne Warwick "Heartbreaker" und für Dolly Parton und Kenny Rogers den Evergreen "Islands In The Stream". In den späten 80er- und frühen 90er-Jahren dann reihten sie weiter Hit an Hit: "Ordinary Lives", "You Win Again", "Alone" um nur einige zu nennen.

Und auch im neuen Jahrtausend beweisen Barry, Robin und Maurice Gibb, dass sie ihr untrügliches Gespür für exquisite Melodien nicht im Stich lässt. This Is Where I Came In ist Pop reinsten Wassers. Angefangen beim angenehm abgespecktem, aber nichtsdestotrotz hymnischen Titeltrack über das schmeichelnde "Sacred Trust" bis hin zu "Technicolor Dreams", einer gelungenen Hommage an die 40er-Jahre. In "Voice In The Wilderness" wird zum Schluss sogar milde abgerockt. Zugeständnisse an kurzlebige Trend wird man hier genauso wenig finden wie Szene-Elemente. Dafür gibtes zwölf Songs, wie man sie perfekter nicht produzieren kann und für die es eigentlich nur ein Prädikat gibt: zeitlos schön.

Wolfgang Hertel, Amazon.de



"...Those breathless falsetto harmonies retain their doo-wop edge, the compelling title track has a pared-down, beat-driven, almost Beatles-ish quality..."

Q Magazine (5/01, p.102) - 3 stars out of 5



"...Fromthe mastercraftsmanly pop-structure of the title track opener to the final big and sprauncy Euro-disco anthem that is 'Promise The Earth,' everything is harmonious, hooky and comfortingly cliched, the complete Bee Gees bee's knees..."

Mojo (5/01, p.114)



At no point on the twenty-eighth Bee Gees studio album does Barry Gibb really unleash that falsetto - what former producer Arif Mardin called his method of "screaming in tune." This Is Where I Came In is a little light on the Brothers Gibb's trademark keening harmonies. The toothsome threesome does, however, winningly assume the mantle of boy-band elder statesmen. Each Gibb stakes out a portion of the album for his own: The Eurodisco "Embrace" is Robin's own version of Cher's "Believe," while Maurice evokes the Beach Boys on "Walking on Air." As ever, though, Barry is the Bee Gee MVP. The blow-dried love-song bard makes like Noel Coward on "Technicolor Dreams" and sounds like he rediscovered cocaine on the frantic "Voice in the Wilderness." He powers through terrific ballads such as "The Extra Mile" and "Loose Talk Costs Lives" like he's been doing them since Max Martin was in nursery school. Which, of course, he has.

ROB KEMP (RS 870 - June 7, 2001)



The Bee Gees are one of the longest lasting music groups in history. They rate up there with The Beatles, The Rolling Stones, and the Beach Boys as one of the most famous performing groups of the later 20th century. They are one of the most prolific song-writing and recording teams in history. They have produced hit albums and singles starting in the 1960's and going through every decade until the current day, have still maintained their edge. Their latest release, This Is Where I Came In is further proof of their ability to pen and sing quality songs. In many ways, it is a return to their harmonic and melodic beginnings.
What can one say about the Bee Gees? Comprising of a trio of brothers, Barry, Robin and Maurice, they first earned a record contract as the Gee Bees in 1963. Their debut single, 'The Battle of the Blue and the Grey' hit the top of the charts in Australia, which is where the Gibb family had moved to in the late 1950's. From the moment of the first single, The Gee Bees have maintained their momentum and made great music. Throughout the later 1960's and mid 1970's, they continued to make music and maintain a loyal fan base. In 1977, they were asked to create a few songs for a soundtrack for a film set in a dance club in New York. They agreed and made music history.

Their hits on the soundtrack, Saturday Night Fever (the best selling soundtrack record ever) made them a world name and cultural phenomenon. Their most successful single, 'Staying Alive' made them the biggest group in the world between 1977-1979. The Bee Gees then took some time off in the early and mid 80's to concentrate on family. Although they have never again achieved the popularity they had in the late 1970's, the Bee Gees have consistently been popular and maintained solid fan bases around the world. By the late 1990's, the Bee Gees found themselves being covered by a multitude of current acts. They received respect in the form of winning a number of Lifetime Achievement honours and being inducted into the Rock & Roll and Songwriter Halls of Fame. In 1997, they went on a mini world tour promoting Still Waters and found that they could still fill stadiums and the such. The Gee Bees still had it.

This Is Where I Came In is their 28th studio record. It took three years of work done both as a group and by individual efforts by the boys. They wanted to go back to their roots as a beat group and they have admirably succeeded. From the start, the title track, 'This Is Where I Came In' sets the tone showing the incredulous Beatlesque harmony of the brothers. Having said that, the album is not a copy of old styles. There is a wide selection of styles on the CD, expressing the preferences of the brothers Gibb in their music. They produced the album as well as performed on it, thus allowing complete expression of their talent and individuality.

From hard rocking tunes to gentle ballads, This Is Where I Came In has it all. The tune, 'Wedding Day' is a powerful paean by the brothers to their wives. 'The Extra Mile' was originally written for use by the Sydney Olympics but can be understood by anyone that knows adversity and what that can do to someone. The accompanying instruments are of high quality, not to mention the Gibb brothers own strong abilities. The CD also has multi-media elements to it with a video of the first single along with interviews of the band members and people that have known them for a long time. Result: a very modern touch to an older group.

In summary, This Is Where I Came In is an excellent addition to the group's repertoire, proving the talent level which is characteristic of Bee Gees music. They have been able to maintain the best of their older success and prove that they are still creative and fresh.

By Daniel Sanford, CanEHdian.com 2001



This Is Where I Came In marks the 28th album from the Brothers Gibb. Lest you think time has passed them by, their last studio release (Still Waters in 1996) sold five million units, and their 1998 live album, One Night Only, sold six million units.

So don't kid yourself. The hit-making combo that generated such hits as "Stayin' Alive" and "Night Fever" is as strong as ever. Front and center are the Bee Gees' terrific harmony vocals and sure sense of pop. Says Barry Gibb, "This Is Where I Came In is really about us. It's our way of saying that nothing ever really changes. The music really doesn't ever change. There are only so many notes on a piano . . . It's back to basics, it's back to live performances. It's back to playing music, as opposed to programming music."

Adds Robin Gibb, "The record is kind of full circle. I like the title because it speaks about our whole career. What I also like about it is musically, it's filled with all kinds of sounds and different elements."

The 12 songs on This Is Where I Came In were all written by Barry, Robin & Maurice Gibb. Listen for the beautiful "Walking On Air," which brings to mind The Beach Boys, and ask yourself: what if Brian Wilson produced a Bee Gees album?

Another standout is "Sacred Trust," which builds to a lovely layered finale. And you'll hear elements of Jeff Lynne's (ELO) vocal approach on songs like "Loose Talk Costs Lives."

You don't get this kind of studio perfection without a lot of hard work. According to the press kit, "Each of the brothers went into the studio and created several tracks on his own, then they got together to finish writing and recording the songs."

Explains to Robin Gibb, "The one thing I like about what we've done on the new album is that we decided to take time out and the three of us, to individually go off and do our own thing in another studio, wherever that may be, and contribute to the album in our own way. So Barry went off and did his. I went to London and did mine. Maurice went off and did his. And over a period of six or seven months, we did about three or four tracks each and then we came back together and then we did three or four tracks together as the Bee Gees in the studio. I love this way of working."

This Is Where I Came In doesn't miss a beat. The album is a seamless piece of work, and is sure to generate radio hits.

Randy Krbechek © 2001



Bee Gees over Saturday Night Fever; now in Sunshine State

The British are a fickle crew: their pop diet is promiscuous, consuming and disposing with relish. The Americans, to over-employ the broad brush analysis perhaps, are more loyal to their famous faces. Rock celebrity in the UK marks the beginning of the end; in the US it means that the road of opportunity — from Hollywood openings to the Hall of Fame — opens up in a clean, straight line. Not every act fits this over-simplified model, of course, but the transatlantic divide is reasonably clear: for complex reasons to do with national temperament, massive geographical disparities, media access and customer reception, the Anglo-American split is pretty plainly drawn. While the Rolling Stones retain a god-like aura in the States, for example, on the other side of the ocean the group have been regarded as little more than a rock 'n' roll parody for some 20 years.

The Brothers Gibb sustain the argument. While the Bee Gees' history is almost as long as that of the Glimmer Twins, the lines on the graph dip and rise more dramatically than those on the Stones chart. If Jagger and Richards hit the heights in a supreme surge between 1964 and 1971 and then levelled out, the Gibb clan have experienced more of a roller-coaster, rising impressively, falling noticeably, then re-gaining ground though a career shift, an image re-launch.

Yet the Bee Gees benefit again from the US pop loyalty card. Now Florida-based, their mature balladeering has carved a niche in the American show biz psyche. In London and Birmingham they are best known now as the act who, a couple of years ago, walked out on a chat show of only moderate profile, fronted by Oxbridge-educated barrister turned quipster Clive Anderson, whose barbed mocking drove Barry, Robin and Maurice from their leather banquettes within minutes of their fanfared arrival, leaving the host with a large hole of TV time to fill. The story offers a useful illustration. In the US, would Letterman or Leno been so irreverent to these near-legends or would the smoothly-oiled American PR machine have ensured that stars are regarded as such?

Such observations are probably academic though. The Bee Gees are now sufficiently entrenched in the land of Miami nice — mansions, pools, limos and soft focus — to be barely dented by the quick witted cracks of an English satirist. They may have been roused by Anderson's insolence but the balm of warm breezes, the long beaches and the sight of the Keys curling away towards Cuba are soothing enough for the even most fragile pop persona.

It's been quite a journey. Born in the north of England, emigrees to Australia, returning to their homeland as stars, suffering decline, then reviving via the US and the disco boom as one of the top twenty acts of all time, principally on the wave that transformed their Saturday Night Fever soundtrack double album into one of the biggest sellers ever known.

Since then — despite the jibes about their time-capsule appearances, frozen in an era when nuclear-powered blow-dryers sculpted shoulder-wide hairstyles and white suits, bleached by something akin to Pepsodent, were the had-to-have wardrobe accessory of that season — their career has largely been bump free. The Bee Gees make expensively crafted albums, smoothly concocted AOP — adult oriented pop — which is both palatable and virtually charisma free. If the reputation of Chinese food to leave you hungry has substance, the group's new CD This Is Where I Came In provides an acceptable analogy. Noodles lite without the spice, without the sauce, is your main dish if you order from their latest menu.

The album's cover reveals a transformation: a monochrome shot of late Sixties Bee Gees juxtaposed with a moody, fuzzy, harshly cropped image of the guys today — clad in the hard, Armani-like minimalism of plain black casuals. But the mood shots inside the booklet are still locked in the Travolta years, an aviator frame here, a satin jacket there, hinting at the American summer of 1978.

As for the dozen self-penned songs, there is an inoffensive familiarity about most of them: the distinctive three-way harmonies are a trademark the boys will forever wear. The title tune is their stock in trade, while Barry's breathy intonations on "Sacred Trust" almost enter the land of self-lampoon. "Technicolor Dreams" breaks the mould somewhat — a Thirties pastiche, actually reminiscent of a similar departure Eric Clapton made on his most recent collection — but its cloying arrangement doesn't, thankfully, hang around too long. The strings of "The Extra Mile" are lush yet faintly vacuous, but "Voice in the Wilderness" switches mode, recalling the sort of song Prince may have test run during the brief Sheena Easton period but never actually allowed to see the light of day. Sheena also turned up in the TV cop fantasy version of Miami, with Don Johnson calling the shots; the Bee Gees with this sort of serviceable blandness can no doubt book their glamorous, and very real, homes in the city for life.

by Simon Warner - PopMatters Music and Books Critic
© 1999-2001 PopMatters.com. All rights reserved.



The Bee Gee's are legends. Is there anyone who will doubt this? From hits they've done on their own to the monster hits they've written for all sorts of artists over the last few decades. Now comes a new album filled to the brow with new songs.
They still have it. I'm almost embarrassed to admit it. "This Is Where I Came In" may not have hit written on it but that doesn't detract from it one bit.

The love songs aren't left far behind. "Sacred Trust" is good, but doesn't hold a candle to "Wedding Day". Can you see the dollars here? Every wedding dj in the world is going to snap this baby up.

My favorite track comes from the simply desirable "Man In The Middle". "Déjà vu" sounds like it could have been sold to the Backstreet Boys or NSYNC. It's not bad, but it's certainly a pop track that could attract plenty of attention with the teeny boppers. "Technicolor Dreams" has a bit of a vaudeville jaunt and is a great break in the middle of heavy tracks.

"Loose Talk Costs Lives" is an interesting title, and an even more interesting song. More interesting is "Embrace". It pulls up that dance beat we've heard once before, however, this track doesn't seem to build to epic stature. The last track, "Voice In The Wilderness", gives us a good rock song.

The Bee Gees are living legends. This Is Where I Came In however doesn't quite live up to expectations. But those expectations are mighty high. They certainly have a better showing than most bands that try to muster up a comeback without sounding like a cover band.

Rae gun - 05.17.01
© 1997-2000 hip online All Rights Reserved.



BeeGees Give Another Great Album!!

BeeGees lates album "This Is Where I Came In" show that they'll always be the greatest! You would just love listening to their music in your car with the volume cranked up and the windows down. Terrific cruising music!! Here are my few favorite songs from this album:

This Is Where I Came In: I like the strong drums and guitar in this song. Sacred Trust: Lovely song with a good beat. I love it when the music fades out and you hear only the nice harmonizing voices of Barry, Robin, and Mauric Gibb. Man In The Middle: It has a sort of "Moody Blues" type of feel, with neat synthesizer and drums. Chorus is really nice. Walking On Air: Another song which reminds me of "Moody Blues". The lyrics are real nice, with words like "I think I'm walking on air, so much in love I can't tell what I'm saying..." Embrace: The words are so good in the song "Embrace". Whenever I listen to this album with my family, we always have to listen to this song. And practically all of the songs are fantastic with such good lyrics. If you're a BeeGees fan, this is an album that you have to buy and listen to!

Priscilla Stafford from Yokohama, Japan , September 15, 2001



What a Gem!!!

I asked for this CD for my birthday and what a treasure it is. I did not know any of the music before I listened the first time. I now keep the CD player on repeat so I can listen over and over. The songs are catchy and wonderful gems. My favorite selections are "Wedding Day", Sacred Trust" and Deja Vu". If you like the Bee Gee's music old or new, this CD will be a great addition to your collection. My husband and 2 sons, 12 and 16 also are enjoying this collection.

Shelley from Michigan , September 12, 2001



She Ain't No Greta Garbo

What a great CD by the Bee Gees! Almost every track here is worth repeated listening. "This Is Where I Came In" starts with acoustic guitar and the soulful Bee Gees harmonies. When the Brothers Gibb sing, "I'll go anywhere with you," they are in a way inviting us to go anywhere with them -- through a CD diverse in musical styles. "She Keeps On Coming Back for More" is #1 on my own personal top ten. It rocks. The guitar line sounds like something out of Peter Gunn. "I ain't no Valentino; she ain't no Greta Garbo." For me, the repetition works. "Sacred Trust" combines breathy vocals with a bossanova beat. "Wedding Day," with its chimes and stately melody is gorgeous. "We'll be together, husband & wife; now and forever, lovers for life." This is classic Bee Gees, up with their best. "Man In the Middle" is a great rocker/pop tune. "I'm just the man in the middle of a complicated plan." Anyone who has felt things are just a bit too complicated can relate to the urgency of the track. The midtempo "Deja Vu" has some sweet high Bee Gee vocals. "Walking On Air" is kind of like a march with a summer theme, "We will never be apart again... Here comes the summer with love in the air." "Loose Talk Costs Lives" has the wispy Bee Gees vocals in a beautiful slow song. "Embrace" combines pep with eloquent lyrics for another classic, "Can we love and live apart? How can we divide the heart?" "The Extra Mile" is the real closer for me with its slow stately melody and a horn to end in elegy, "Let your soul shine through; I will go that extra mile for you." "Technicolor Dreams," a tribute to the 40's big band. The final track, "Voice in the Wilderness," is less successful for me. But the CD is SO good, that I'll go anywhere with the Bee Gees! Don't miss a great offering from a classic band!

Lee Armstrong from Greenville, NC USA , August 24, 2001



Long time Bee Gees fan

I'm in my thirties now and have been a Bee Gee fan since I was 13 yrs old. I have a total of thirteen Bee Gee CD's and the Living Eyes album which I wish I could get on CD. Their latest "This Is Where I Came In" is definitely different for them, but as usual shows their talent in songwriting and I like the fact they like to try new areas in their music. No exception with TIWICI, although the only really disappointment I have is that it became a solo album for the brothers with a few songs with them doing what they do best. Their harmonies are what make me a very huge fan. And as a Barry Gibb fan, I do miss the falsetto, but it must get more difficult to do when you get older, but even without Barry's falsetto, he's still to me the most talented of the three (no offense to Robin & Maurice). The song to me that stands out the most as being different for them is "Technicolor Dreams". It's not really the type of music I prefer, but strike it up for Barry for giving it to me, a sort of dedication to his father who was a big band leader. I wish they would take on some more country type music as they did on their Main Course album and the excellent songs they did for Kenny Rogers "Eyes That See In The Dark" All and all they are my favorite and the only group I will play in my car. Thanks Barry, Robin and Maurice for your gift as songwriters and performers!

Wendy from Vancouver, WA United States , August 8, 2001



Different but, nevertheless, superb.

An high quality album by one of, if not the, greatest group of all time. Although some may be put off by the unusual title track, This Is Where I Came In, after listening to it for awhile its genius becomes apparent. She Keeps On Coming is a smart rock-like 60s-style song, while Sacred Trust and Wedding Day are two typical, yet brilliantly executed, Bee Gees ballads. Even Maurice gets in on the act with the breezy Man in the Middle and the pleasant Walking on Air. Embrace and The Extra Mile are two more examples of quality romantic songs by the experts of the genre, while songs such as Technicolor Dreams and Voice in the Wilderness illustrate clearly just how far and varied their musical talents extend. Recommended.

A music fan from Liverpool, United Kingdom , 16 April, 2001



The Bee Gees take some chances, in their old age!

As a long time fan of The Bee Gees, I looked forward to the new release with interest but, after their somewhat predictable albums of the last decade, some trepidation. However, I was pleasantly surprised. Although there is some wishy-washy balladry and some unwise attempts at a couple of rockier efforts, there are some very fine tracks on this new effort. Not least of these is the new single, the title track, a very bluesy affair. However, at least as enjoyable are "Technicolor Dreams", which, believe it or not, has a 1920s feel, the highly infectious "Sacred Trust",which must be the next single, the surprisingly impressive "Walking On Air", featuring Maurice on lead vocal, the soulful, elegant "Loose Talk Costs Lives" and the energetic closer, "Promise The Earth", with a more modern-sounding production.

What definitely comes across with this album is that the Gibbs have at least decided to take a few chances in their fifth decade at the top, a refreshing move. Listen and enjoy. A return to form!

A music fan from Sussex , 3 April, 2001



A fine new collection from a legendary outfit

Forget the hairy chests and the silly madallions. Forget the often embarrassingly high-pitched vocals of the Saturday Night Fever period. Forget the daft blow-dried hairstyles of their "kings of the disco" days. The Bee Gees deserve our respect if only because they produced some of the most achingly beautiful pop music of the 1960s - First of May, Don't Forget To Remember, Gotta Get A Message To You, and many many more. Their gorgeous melodies and sweeping harmonies continued to characterise their records well into the seventies and beyond. That this latest offering - This Is Where I Came In - should be so very fine is something of a surprise to me only in so far as many a band of this vintage would have given up as a creative force a long time ago. The title track along with songs like Wedding Day and The Extra Mile are simply 'classic Bee Gees'. It is a much better album than we had a right to expect from these aging millionaires. They truly are wonderful songwriters. Decades after they first burst onto the scene, Robert Stigwood's answer to The Beatles continue to make their mark. PS - For new Bee Gees fans, might I also recommend Life In A Tin Can from 1973?

A music fan from England , 25 September, 2001



Whatever you think - try it

After hearing the "This Is Where I Came In" single, the rest of the album proved too intriguing to miss. Having never bought a Bee Gees album before, this was a brave move but in the end a good decision. Clever harmonies, ryhtmns and variety make the album very listen-able. Apart from the single, favourites are Man In The Middle, Deja Vu, Walking On Air, Embrace, Voice In The Wilderness and Promise The Earth. The rest remind me too much of my sisters 1978 record collection but alone these tracks make the album well worth a purchase.

A music fan from London , 16 June, 2001



Die Bee Gees sind zurück !!!

Die Bee Gees sind zurück ! Es hat sich gelohnt, die 4 Jahre zu warten. Das neue Album ist abwechslungsreich und rundum gelungen. Vielleicht muß man die Titel mehr als einmal hören, damit sie gefallen, vielleicht ist Maurice Gibb nicht der beste Leadsinger (er hat auf früheren Alben aber auch ein oder zwei Stücke gesungen) und vielleicht hat Barry Gibb wirklich ein paar Probleme mit der Stimme, aber das tut der Qualität keinen Abbruch. Kompositorisch perfekt sind die Titel wie gewohnt, nur hat halt diesmal Robin Gibb den größten Anteil am Album und nicht Barry Gibb wie sonst. Und das muß nicht falsch sein.

Berndt Daniel von Braunschweig , 12. April 2001



Ein zeitloses Pop-Juwel

Wer hätte gedacht das den Australiern noch einmal ein so großer Wurf gelingen würde. Fast jeder Song weiß zu überzeugen. Allen voran die grandiose Singleauskopplung "This is where I came in" und Robin's Pop-Juwel "Deja-Vu". Barry reduziert die hohen Piepstonlagen auf ein erträgliches Maß und überrascht mit der gelungen 40er Jahre Hommage "Technicolor dreams".Gekonnt wird zwischen 60s Rock ("She keeps on Coming back","Voice in the wilderness") und modernem Pop mit traumhaften Melodien ("Embrace","Deja-Vu","Man in the middle") variiert. Natürlich fehlt auch die typische, epische Ballade ("the extra mile") nicht. Alles in Allem ein fantastisches Popalbum, welches den Bogen zurück spannt zu den frühen Bee Gees der 60er. Und Robin Gibb hat noch immer die schönste Stimme der Popgeschichte. Eine reife Leistung, meine Herren. Das beste Bee Gees Album seit "E.S.P" und um einige Klassen besser als der Vorgänger "Still Waters".

Deutschland , 4. April 2001



Eine Beispiellose Referenz-CD !

Ich erinnere mich an ein kürzlich im TV gesehenes Interview in einer Talkshow, in dem sich ein schleimiger Dieter Bohlen anmaßte, seinen vermeintlichen Gesang mit dem der BeeGees zu vergleichen - Mich hat es fast um den Verstand gebracht. Ebenso könnte man die Titanic mit einem Schlauchboot vergleichen. This Is Where I Came In ist zweifellos eine der ausgereiftesten Produktionen, die je auf CD gemacht wurden. Nicht nur im einfachen 2-Kanal-Stereo-Ton, sondern erst recht über eine Mehrkanalanlage (DSP über alle Lautsprecher)entwickelt sich eine unglaublich saubere und kraftvolle Dynamik, die eine Konzertatmosphäre in den eigenen vier Wänden zaubert. Wer Subwoofer in der 20Hz-Kategorie besitzt, wird dank der bei der Aufnahme eingesetzten Subharmonic-Prozessoren die Freudentränen in den Augen stehen haben. Jeder nur aufgespielte Ton auf dieser Scheibe kommt beispiellos kristallklar rüber. Die Stimmen, die Texte der "drei Brüder", allererste Sahne. Die gleichnamige DVD werde ich mir ebenfalls kaufen. Wiedereinmal ist den BeeGees eine CD gelungen, die man ohne sie vorher gehört zu haben, blind kaufen kann.

moll390904@aol.com von Eifel , 12. Juni 2001



Alte Klasse rostet nicht - Die Bee Gees besser denn je !

Kaum zu glauben, dass die drei "Jungs" schon über 30 Jahre dabei sind, denn ihre neue CD ist einfach zeitlos schön. Jede Menge Ohrwürmer prägen sich unaufdringlich in die Gehörwindungen, wobei die erste Single-Auskopplung ("This is were I came in" bei weitem nicht das beste Stück auf dieser rundum gelungenen Scheibe ist. Mein Favorit auf den nächsten (Sommer-)Hit ist das wunderschöne "Walking On Air", dass man am besten in einer warmen Sommernacht bei guter Laune "konsumiert". Aber ernsthaft: die Bee Gees haben eine klasse Produktion abgeliefert, die man ohne Probleme auf jeder Party laufen lassen kann.

Herzebrock-Clarholz,NRW , 18. Mai 2001

 L y r i c s


THIS IS WHERE I CAME IN

I've seen the story
I've read it over once or twice
I said that you say
A little bit of bad advice
I been in trouble
Happened to me all my life
I lie and you lie
And who would get the sharpest knife

You know I shouldn’t be somebody like that
I’m not the kind of man to throw his hat into the ring and
Go down without following through
The day turns into night
Go down without following through
The day turns into night

Ohh
Ohh
Ohh
This is just where I came in

Hope rides on
But I’ll go anywhere
Yes, I’ll go anywhere with you
Time has gone
But I’ll go anywhere
Yes, I’ll go anywhere with you

This is the danger zone
This is where I came in
They know not what they do
Forgive them of their sins
They know they cannot take away
What you have given me

Ohh
Ohh
Ohh
This is just where I came in

Fade into colour
Colour into black and white
Under the bedclothes
Everything will be alright
I know that you know
Nothing ever stays the same
Said so, I said so
The love will never speak its name

Never gonna find somebody like you
Beauty with a brain and a body too
I could never make a move on a woman that leads me on
She’s got a little bit of something for everyone
It’s a little too late and the wolf is on the run

Hope rides on
But I’ll go anywhere
Yes, I’ll go anywhere with you
Time has gone
But I’ll go anywhere
Yes, I’ll go anywhere with you

I always told myself
I would regret this day
That I would fall apart
And watch you walk away
That you would cry out loud
And I would stand aside

Ohh
Ohh
Ohh
This is just where I came in

Ohh
Ohh
Ohh
This is just where I came in

I can fly
But I’ll go anywhere
Yes, I’ll go anywhere with you
Time goes by
But I’ll go anywhere
Yes, I’ll go anywhere with you

This is the danger zone
This is where I came in
They know not what they do
Forgive them of their sins
They know they cannot take away
What you have given me

Ohh
Ohh
Ohh
This is just where I came in

Ohh
Ohh
Ohh
This is just where I came in

Ohh
Ohh
Ohh
This is just where I came in


SHE KEEPS ON COMING

Front and centre
I don't know how it happened then
I can't explain it
What was she thinking of when
Mother Nature
She put us both together, and
The way she touched me
And I ran that red light and so I
Said I love her
She tell me I don't matter
I try to kiss her
But every dream is shattered
No early warning
Except the morning after
Look in the mirror like a rabbit in the headlights

She keeps on coming back for more
She keeps on coming back for more
She keeps on coming back for more
Champagne and roses
Breakfast in bed
Wrapped in each other
And out of my head
She keeps on coming back for more
She keeps on coming back for more

Oh no
Oh no
Yeah
Oh no

She ain't no Cleopatra
I ain't no Julius Caesar
I ain't no Casanova
She ain't no Mona Lisa
She charm a nation
She send you out to die
And we were flying when she ran that red light
I ain't no Valentino
She ain't no Greta Garbo
No Aphrodite
I'll never be Apollo
But when we come together
There's no one else can follow
There's no tomorrow when we run that red light

She keeps on coming back for more
She keeps on coming back for more
She keeps on knocking at the door
Drunk on desire
Erotic delights
Sooner or later, she'll kiss you goodnight
She keeps on coming back for more
She keeps on coming back for more

Oh no
Oh no
Oh no
Oh no

Midnight
Die in the arms of a lover
Hold tight
I close my eyes and she's gone
Dream time
She's mine
Always here
Small town
Daytime
Disappear

She keeps on coming back for more
She keeps on coming back for more
She keeps on coming back for more
Drunk on desire
Erotic delights
Sooner or later, she'll kiss you goodnight
But she keeps on coming back for more
She keeps on coming back for more
She keeps on knocking at the door
She keeps on coming back for more
She keeps on coming back for more


SACRED TRUST

I meant to fight it to the finish but you made me forget
And though it's possible I'm dreaming, don't wake me yet
You know I love you
I can't see the day for night

You know I twist around and turn around and then I give in
You end up in control of me it's really a sin
I don't know what you're doing to me
But I know it's a crime

And baby I can't last another night
And every moment is eternity
And from the depth of my soul
Can't let another day go by

I follow my heart right up to the end
As far as the eye can see
I'm faithful and true and living up to
Your sacred trust in me
I'll never give out to somebody else
I know where my arms should be
I'm faithful and true and making it through
Your sacred trust in me
Your sacred trust in me

You take me and you break me and you do what you please
I stumble and I tremble and I'm weak at the knees
The vision that lies before me is not reality

I tell you I can't wait another night
For every secret that your soul reveals
And you and I may get to know
That it's real, that it's real

I follow my heart that leads me to you
And all that my love should be (You know I'm talking to you)
And you can be sure I'm doing it for
Your sacred trust in me
I'll never give out to somebody else
There's nowhere my heart should be (You know I'm calling to you)
I'm faithful and true and living up to
Your sacred trust in me
Your sacred trust in me

I follow my heart right up to the end
As far as the eye can see
I'm faithful and true and living up to
Your sacred trust in me
I'll never give out to somebody else
I know where my arms should be
I'm faithful and true and making it through
Your sacred trust in me
Your sacred trust

I follow my heart that leads me to you
And all that my love should be (You know I'm calling to you)
And you can be sure I'm doing it for
Your sacred trust in me
I'll never give out to somebody else
There's nowhere my heart should be (You know I'm calling to you)
I'm faithful and true and living up to
Your sacred trust in me
Your sacred trust


WEDDING DAY

We both acknowledge what we came here for
We take each other and walk through the open door
From the first time that I saw you
To the way you look tonight
I was shaken by your spirit
I was blinded by your light

And the world that I used to see is gone without a trace
Replaced by your eyes and the smile upon your face
And I will not turn away
'Cause you might disappear
I was haunted by your heart
And I felt that you were here

And funny when the time is right
When lightning strikes
You're not alone
Baby, I will pray for you my whole life through
This day

We'll be together
Husband and wife
Now and forever
The rest of our lives
Well, take me to Heaven
Take me tonight
There is nothing words can say
On this our wedding day

Oh, now is the hour, now is the sowing of the seed
I will take tomorrow
I will lay it at your feet
And the two of us escape from the sadness of the world
From the thunder and the darkness
From the hunger and the hurt

You know I will remember well the mission bell
That rings your name
And baby there could never be
A memory like you

We'll be together
Husband and wife
Now and forever
Lovers for life
Well, take me to Heaven
Take me tonight
There is nothing words can say
On this our wedding day

This is my pledge to you
I will follow through to the end
And we will find another plane
We'll be home again
And tonight I'm going to find true love, true love

We'll be together
Husband and wife
Now and forever
Lovers for life
Well, take me to Heaven
Take me tonight
There is nothing words can say
On this our wedding day
This our wedding day


MAN IN THE MIDDLE

You've got a plan that could never go wrong
You took advantage and the damage done
It all comes back to me baby
It all comes back to me

I played the fool and I went off the track
And when I think of all it cost
When the die was cast
You know I had to be crazy
You know I had to be

I've been telling lies
And you forgive me but my heart still cries
And you can understand

I'm just the man in the middle
Of a complicated plan
No one to show me the signs
I'm just a creature of habit
In a complicated world
Nowhere to run to
Nowhere to hide

I know I let you down in so many ways
I know that sorry doesn't tell you
What you need me to say
But, I would die for you baby
Yes, I would die for you

I've been in disguise
And you forgive me and our love will rise
And you can understand

I'm just the man in the middle
Of a complicated plan
No one to show me the light
Ah,yes, I'm weary from battle
But I've just begun to fight
Nowhere to run to
Nowhere to hide

I'm just the man in the middle
Of a complicated plan
No one to show me the signs
I'm just a creature of habit
In a complicated world
Nowhere to run to
Nowhere to hide

I'm just the man in the middle
Of a complicated plan
No one to show me the light
Ah, yes, I'm weary from battle
But I've just begun to fight
Nowhere to run to
Nowhere to hide

I'm just the man in the middle
The only man
The fool of a man in the middle
Nowhere to run to
Nowhere to hide

I'm just the man
The only man
That stupid man
Nowhere to run to
Nowhere to hide


DÉJÀ VU

This is my dedication
This is my dedication

I'm not a saint but stand accused
You're with someone who thinks love's the same as being used
And now suspicious minds may say it's over
Over
Whether I live or die, you are my saviour
You're my saviour

It's my déjà vu, sweet déjà vu
Through the feast or famine I'll be with you
Sheltering arms reach out to you
This is my dedication
This is my dedication
This is my dedication
This is my dedication

The silent nights, I cry your name
You're with someone who says
They can get you through your pain
These golden years keep on returning
It's hurting
Precious and few
You're my saviour, you're my saviour

It's my déjà vu, sweet déjà vu
Through the feast or famine I'll be with you
Sheltering arms reach out to you
This is my dedication
This is my dedication
This is my dedication

And cherish what they've lost
When often it's too late

It's my déjà vu (memories of you)
Sweet déjà vu (keep coming through)
Through the feast or famine
I'll be with you (all that is true)
Sheltering arms reach out to you
Oh baby
This is my dedication
This is my dedication
This is my dedication
This is my dedication


JUST IN CASE

Well, it seems every night and day, I get to lose
And I always held the faith inside
That love would find a way
And I always reached for more than the others ever saw
I was always the first to follow my foolish prayer
And the feeling that I have is more than any soul could bear
Hold me when I wake
Then I can be sure of who I am
I'm half the man I should be, when you're gone

And you're telling me this is love,
But just in case, keep my heart in a secret place
Safe under lock and key, 'til I know it's only me
One of us got to be the one that's true
One for the other and the love comes through
Right here or out in space
Give my heart to you, babe, but just in case
Yeah, just in case

Tell the world that I've come to claim your tomorrows
Let the universal word go out a million miles away
And let history show
On the wind the seed is sown
We are living in a time where the tears fall where they might
But we hear each other much more than those who see
We are not alone
Love is there for everyone who needs
And for anyone who cries
I will always have you here with me
Ohh

And you're telling me this is love,
But just in case, keep my heart in a secret place
Safe under lock and key
'Til I know it's only me
One of us has got to be the one that's true
One for the other and the love comes through
Yours, mine, and face to face
Give my heart to you
But just in case
Yeah, just in case

Ahhh, ohhh baby, ahhh, ohhh, ohhh baby, ahhh

And you're telling me this is love,
But just in case, keep my heart in a secret place
Safe under lock and key
'Til I know it's only me
One of us has got to be the one that's true
One for the other and the love comes through
Yours, mine, and face to face


PROMISE THE EARTH

It's not worth one night on earth
Baby I know, baby I know
I won't know whose lips you're kissing
Baby I know
You don't know what you have done
Baby I know, baby don't go
You don't know what you are missing
Baby and so

There's not a sacrifice too strong
I've been alone for far too long
I'd be a fool to fail, I follow you
You must believe

Promise the earth
Give her the ocean
A kiss on the wind, goes straight to the heart
Promise the earth
With tears of emotion
If fate is a force that tears you apart

Please believe me, I would sell my soul for you
It's not too late
And we can turn back the time

Baby I know
I lay down with you in dreams
Baby I know, baby don't go
I was driven by this vision
Baby and so
If I could testify to you
Then I could prove my aim is true
If I am guilty or I'm innocent
You must believe

Promise the earth
Give her the ocean
A kiss on the wind, goes straight to the heart (baby believe)
Promise the earth
With tears of emotion
If fate is a force that tears you apart

You know I'm only human, so what am I supposed to say
'Course I'm gonna miss you, and curse the day you went away
What I would surrender, if I could make you turn around
The world we've got together, forever is on solid ground

Oooh, baby don't go
Baby don't go
Baby don't go
Baby
You're part of every dream
Before the dawn
You must believe

Promise the earth
Give her the ocean
A kiss on the wind, goes straight to the heart (make her believe)
Promise the earth
With tears of emotion
If fate is a force that tears you apart

Baby believe
Promise the earth
Give her the ocean
A kiss on the wind, goes straight to the heart
Promise the earth
With tears of emotion
If fate is a force that tears you apart

Baby believe
Promise the earth
Promise the earth
Promise the earth
Promise the earth
You better believe


TECHNICOLOUR DREAMS

Now, I've been accused of going Hollywood
Chasing some cinematic schemes
But I'll give you Panavision pictures
If you give me Technicolour dreams

I never thought in terms of growing old
Nothing is ever as it seems
But I'll give you Panavision pictures
'Cause you give me Technicolour dreams

Up there, walking on air
I'd like to show you how
I loved you way back then
As much as I need you now

Some people like to send the world away
Some sunlight on some silver beams
And I'll give you Panavision pictures
'Cause you give me Technicolour dreams

Oh wow, look at us now
All of our dreams fulfill
I would implore you still
From under your windowsill

Sometimes, I'd like to send the world away
Some sunlight on some silver beams
So I'll give you Panavision pictures
'Cause you give me Technicolour dreams
Technicolour dreams

I'll give you Panavision pictures
'Cause you give me Technicolour dreams

Go far, follow your star
I'll help you climb that hill
I would adore you still
From under your windowsill

Sometimes, I'd like to send the world away
Some sunlight on some silver beams
So I'll give you Panavision pictures
'Cause you give me Technicolour dreams
Technicolour dreams


WALKING ON AIR

I've been around the world
You'll never know just how long I've been praying
To get you into my life

It won't be long before you understand
Even our love becomes a master plan, and so I

I think I'm walking on air
So much in love I can't tell what I'm saying
There'll be no running away

You and I won't be apart again
I know in my heart that we can start again

Wait for the summer
When love's in the air
You won't be sorry
You answered my prayer

I see the games that you play
And I don't care what the people are saying
No other love can compare

Just to hold you in my arms again
I feel like walking on air
And just to dream you'll be there keeps me going
And all those days go by

We will never be apart again
Knowing our love will never die

Wait for the summer
When love's in the air
We'll be together this time of the year

We will never be apart again
Knowing our love will never die

Here comes the summer
With love in the air
You won't be sorry
You answered my prayer

Here comes the summer
And everyone's here
We will be sailin'
Through year after year

You know I'm walking on air
I know I'm walking on air
You know I'm walking on air


LOOSE TALK COSTS LIVES

Loose talk costs lives
People like to play
We're basically the same
We never lie
Loose talk costs lives

Don't look at me as if you don't remember me at all
There was laughter, there was pain
But I won't make the same mistakes I made
You are too beautiful to me
I hide my tears inside the rain

Am I the soul you cast your spell upon
I had control and now it's gone
Or are you someone who controls my heart and mind
And I will never say a word
And I will never say goodbye

Loose talk costs lives
People like to play
We're basically the same
We never lie
Loose talk costs lives

I can see that someone hung a sign around your heart
And it reads "do not return"
And there is so much trouble I could cause
Someone as beautiful as you
You can feel my candle burn

And I still recall some starry night
We had it all, we held on tight
I promised I would come to you and catch you if you fall
And they will never know about us
For just one moment you were mine

Loose talk costs lives
People like to play
We're basically the same
We never lie
Loose talk costs lives

For just one moment, just one moment, you were mine
Loose talk costs lives
(Our moment held in time)
People like to play
We're basically the same
We never lie
Loose talk costs lives

Loose talk costs lives
People like to play
We're basically the same
We never lie
Loose talk costs lives


EMBRACE

I don't know what you want, I don't hear what you said
Truth behind the lies
'Cause I can't see what's in your head
And spread your wings and fly, out in a brave new world
Let this be my prayer, to keep you safe when I'm not there
Can we love and live apart, I don't know,no, I don't know
How can we divide the heart, I don't know, no, I don't know

And when the night falls, and when the sky falls,
I long for your embrace
And in the cold night, under the street light
I long for your embrace
Living separate lives, I have faith in you, away from you
Like a lonely child, I will hang on every word
Embrace

Through the mists of time, lovers can be friends
The power of the human heart
The secrets in the souls of men
All my blessings in disguise
I don't know, no, I don't know
Reunited we will rise
I don't know, no, I don't know

And when the night falls, and when the sky falls,
I long for your embrace
And in the cold night, under the street light
I long for your embrace
Living separate lives, I have faith in you, away from you
Like a lonely child, I will hang on every word

And when the night falls, and when the sky falls,
I long for your embrace
Another daybreak, another heartache
I long for your embrace

Living separate lives
Away from you
Embrace, embrace
The lonely, lonely life
Lonely days and nights
We can live our life
Embrace, embrace
With our separate lives
Embrace, embrace
The lonely, lonely lives
Lonely days and nights
I will never send away
Embrace, embrace
The lonely, lonely lives
Embrace the child inside
The lonely, lonely lives


THE EXTRA MILE

I want to go where no one's gone before
And my faith will find the way
And I'm not afraid
Now I am here with all that is true
So many times
You lived with my strength and my pain
You are my friend

I'm ready to walk that line
Ready to fight, for
I'm not alone in the night
You're always in sight and it's so right
For once in your life, let your soul shine through
And know I will go
That extra mile for you

In all the years, you suffer for your love
And my tears will fade away
Heaven above
Now I can steer my ship to the shore
Borne on the wind
All's fair in love and in war
Steady and sure

I'm ready to walk that line
Ready to fight, I'll
Weather the storm in the night, you're always around and it's so right
For once in your life let your soul shine through
And know I will go
That extra mile for you

Ready to walk that line
Ready to fight, I'll
Weather the storm in the night
You're always in sight and it's so right
For once in your life let your soul shine through
And know I will go
That extra mile for you


VOICE IN THE WILDERNESS

It's another woman
Hey, it could be me, it could be anyone
Yeah, she got the energy to blind the sun
And she make me glow
She sparkle and I see the light
I miss her every moment she is out of sight
She's a necessity
My baby keeps rolling me

Watch her glide
This girl is bonafide
She's got what causes chaos

She's got the power that I can't explain
Blowing through each other like a hurricane
Look at me, I'm twenty-seven stories high
There may be somebody else and,

I don't want to live like that
No, I don't want to live like that
Don't want to live like that
No, I don't want to live like that, live like that
Just another voice in the wilderness

Stick with me forever
Cross my heart and hope to die
You should give me everything and so will I
And the world will know
I say I will not lie
You know more lovers than one for some become a necessity
My baby keeps rolling me

Live on stage
Exposing my jealous rage
Life can be complicated

I give you something you can talk about
Love is like a prison and you can't get out
These things are hard to find
You say the world is flat but

I don't want to live like that
No, I don't want to live like that
Don't want to live like that
No, I don't want to live like that, live like that
Just another voice in the wilderness

Walking through the fire
Running like a river 'til the race is won
I'm risking everything to be someone
I will stick by you
We know but we will not fail
Lifting of the spirit and the flesh prevails
And the fight is on
This love, it keeps rolling on

Watch me fly
Into the clear blue sky
This is the age of wonder
I am the one

I don't want to live like that
No, I don't want to live like that
I don't want to live like that, live like that
Just another voice in the wilderness

 M P 3   S a m p l e s


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