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Kate Bush: The Red Shoes

 A l b u m   D e t a i l s


Artist: Kate Bush
Title: The red shoes
Released: 1993
Label: EMI Records
Time: 55:30
Producer(s): Kate Bush
Appears with:
Category: Pop/Rock
Rating: ********.. (8/10)
Media type: CD
Purchase date:  1998.04.21
Price in €: 10,83
Web address: www.katebush.com




 S o n g s ,   T r a c k s


[1] Rubberband Girl (K.Bush) - 4:42
[2] And So Is Love (K.Bush) - 4:16
[3] Eat the Music (K.Bush) - 5:08
[4] Moments of Pleasure (K.Bush) - 5:16
[5] Song of Solomon (K.Bush) - 4:27
[6] Lily (K.Bush) - 3:51
[7] Red Shoes (K.Bush) - 4:00
[8] Top of the City (K.Bush) - 4:14
[9] Constellation of the Heart (K.Bush) - 4:46
[10] Big Stripey Lie (K.Bush) - 3:32
[11] Why Should I Love You? (K.Bush) - 5:00
[12] You're the One (K.Bush) - 5:52  
  

 A r t i s t s ,   P e r s o n n e l


KATE BUSH - Bass, Guitar, Piano, Arranger, Composer, Keyboards, Vocals, Fender Rhodes

JEFF BECK - Guitar
PRINCE - Bass, Guitar, Arranger, Keyboards, Vocals
MICHAEL KAMEN - Orchestration
DR. NIGEL KENNEDY - Violin, Viola
GARY BROOKER - Hammond B3 Organ
TRIO BULGARKA - Vocals
COLIN LLOYD TUCKER - Vocals
PADDY BUSH - Vocals, Human & Instrument Whistle, Mandola, Valiha, Singing Bowls, Fujara, Musical Bow
ERIC CLAPTON - Guitar
STUART ELLIOTT - Percussion, Drums
JOHN GIBLIN - Bass
NIGEL HITCHCOCK - Baritone & Tenor Saxophone
DANNY MCINTOSH - Guitar
CHARLIE MORGAN - Percussion
J. NEIL SIDWELl - Trombone
STEVE SIDWELL - Trumpet, Flugelhorn
PAUL SPONG - Trumpet
GAUMONT D'OLIVEU - Bass, Percussion, Drums, Sound Effects
JUSTIN VALI - Vocals, Valiha, Kabosy
BOROMIRA NEDEVA - Interpretation

HAYDN BENDALL - Engineer
JOHN CARDER BUSH - Photography
DEL PALMER - Engineer, Fairlight, Mixing
IAN COOPER - Mastering
IAN SYLVESTER - Digital Consultant
 

 C o m m e n t s ,   N o t e s


1993 CD Columbia 53737
1993 CS Columbia 53737
1993 LP Columbia 53737

Recorded at Abbey Road Studios Number One, London, England. All songs written by Kate Bush.

Kate Bush was never the most prolific of artists; this 1993album and its attendant singles formed her complete '90s output. Her recordings are carefully conceived, densely orchestrated, and finely tuned, and THE RED SHOES is no exception.Though spontaneity may not be her strong suit, her records are never dull or self-indulgent. Among Kate Bush's most relaxed recordings, THE RED SHOES features a number of guestappearances, notably Eric Clapton, Nigel Kennedy, and Jeff Beck. Highlights include the appropriately bouncy "Rubberband Girl", the double entendre-laden "Eat the Music", completewith a great horn section, and "Big Stripey Lie", an angry track shot through with distortion and some of Bush's most agonised vocals since her 1980 album NEVER FOR EVER. Also noteworthy is "Why Should I Love You?" an interesting collusionbetween Bush's introspective style and loose funk lite, courtesy of The Artist Hereafter Known As Prince Rodgers Nelson.



On her first album since The Sensual World, in 1989, Kate Bush continues in the manner of that album's verbal directness while displaying a melodic sense that's in peak form – there are more hooks on The Red Shoes, both subtle and obvious, than on any of her releases since The Dreaming, in 1982. Bush seems content now to dress her songs in simpler – though still occasionally antic – colors. The result is offbeat pop that refines but doesn't sacrifice her signal eccentricity.

While the music has settled down somewhat, Bush herself remains rambunctious, and it's a saving grace. A sighing remembrance like "Moments of Pleasure" or the purple pleas of "Big Stripey Lie" could have the cloying aura of pressed flowers if they weren't put across with conviction and a tendency to really belt. "And So Is Love" is typical of Bush's aggressively sad torch songs, built of simple phrases theatrically enunciated and enhanced by dramatic support from guest Eric Clapton.

It's not all fainting hearts on Shoes, though. The mood ranges from the pure pop of "Rubberband Girl" to the exuberant reel of the title cut (an homage to the classic film), from the wistful verse and funky chorus of the Prince collaboration "Why Should I Love You?" to the West Indies-flavored "Eat the Music." The Red Shoes is a solid collection of well-crafted and seductively melodic showcases for Bush's hypercabaret style.

Canadian Jane Siberry has often been compared to Bush, partly due to the convenience of lumping together quirky female singer/songwriters but also as an acknowledgment that both are working in a personal subgenre of art rock. And there are similarities between Siberry's When I Was a Boy and Shoes – both display a preoccupation with the difficulty of separating pain and love; both evoke a questioning spirituality and a distinctly feminine earthiness.

But Siberry's album is as funereal and expansive as Bush's is tight and energized. Nothing Siberry has done in the past quite prepares the listener for this album's prevalent mood of spooky obsession, bewilderment and resignation, and deathbed reflections. Though there's occasionally a rumble in the reverie ("All the Candles in the World," for instance, is positively funky), the overall ambience is prayerful, abetted by a production that often creates a cathedral of silence between the low tones (husky viola or cello filigrees) and the spare front line (an acoustic piano or guitar). Though songs like "Temple" (co-produced by Siberry and Brian Eno) and "Candles" are immediately likable, long free-floating meditations like "Sweet Incarnadine" and "The Vigil (The Sea)" are the album's centerpieces, gradually unfolding songs about love and dying.

It would all be horribly pretentious – if not maudlin – in the hands of a lesser talent, but Siberry approaches her task with a fearless simplicity, resisting easy irony or cleverness. Like Bush she creates dramatic structure by using a variety of voices, from brimming-heart full tones to deadpan whispers. When I Was a Boy is a difficult disc to get into – the languidness at its center can be off-putting – but a little patience rewards you with a gem.

RICHARD C. WALLS - RS 670
Rollig Stones.com



"...There are more hooks on THE RED SHOES than on any of [Kate Bush's] releases since THE DREAMING...while the music has settled down somewhat, Bush herself remains rambunctious, and it's a saving grace..."

Rolling Stone 11/25/93, p.120 3.5 Stars



"...Great songs lurk on THE RED SHOES....Bush still sings like a siren..."

Spin (12/93, p.119) - Recommended



"...Between the theatrical arrangements and aggressively intimate vocals, Bush has clearly labored to do justice to the soul's storms..."

Musician (11/93, p.86)



"...THE RED SHOES improves immeasurably after repeated plays over a long period of time...[it's] more musically varied than thematically..."

Q Magazine (11/93, p.115) - 3 Stars - Good



"...when the blues really burn, she'll break your heart...."

Ranked #45 in New Musical Express' list of `The Top 50 LPs Of 1993'
New Musical Express (12/25/93, p.67)



"...a paradoxical thing. It's her most personal album to date, yet it's also her most accessible, in which the listener can identify personally with the pain she's trying to pull herself through....a truly exceptional album...."

New Musical Express (11/6/93, p.29) - 9 - Excellent Plus



"...an utter masterpiece. It had decked me within four tracks and by the climax I was positively subterranean...."

Melody Maker (10/30/93, p.32)



"...Filled with lovely, if loopy, pop songs, RED SHOES makes sense of Bush's excesses without squelching her beguiling silliness...."

Entertainment Weekly (11/5/93, p.70)
Good Plus - Rating: B+



Something of a step backward for Bush, with not much new ground covered. The beat throughout is pretty strong and catchy, her voice is in excellent form, and if one can ignore an obvious lift from the Spinners ("Rubberband Girl"), the record is enjoyable, although the title song is a little obscure.

Bruce Eder , All-Music Guide



The album is a continuation of Bush's multi-layered and multiple musical pursuits and interests. If not her strongest work — a number of songs sound okay without being particularly stellar, especially given Bush's past heights — Red Shoes is still an enjoyable listen with a number of diversions. The guest performer list is worthy of note alone, ranging from Procol Harum keyboardist Gary Brooker and Eric Clapton to Prince, but this is very much a Kate Bush album straight up as opposed to a collaborative work like, say, Santana's Supernatural. Opening song "Rubberband Girl" is actually one of her strongest singles in years, a big and punchy song served well with a horn section, though slightly let down by the stiff percussion. "Eat the Music," another smart choice for a single, mixes calypso and other Caribbean musical touches with a great, classically Bush lyric mixing up sexuality, romance, and various earthy food-based metaphors. Another highlight of Bush's frank embrace of the lustier side of life is "The Song of Solomon," a celebratory piece about the Bible's openly erotic piece. Those whose prefer her predominantly piano and vocal pieces will enjoy "Moments of Pleasure" with a strong string arrangement courtesy of Michael Kamen. Other standouts include "Why Should I Love You?" with Prince creating a very Prince-like arrangement and backing chorus for Bush (and doing quite well at that) and the concluding "You're the One," with Brooker laying down some of his trademark Hammond organ sound for the slow piece.

Ned Raggett, All-Music Guide, © 1992 - 2001 AEC One Stop Group, Inc.



If you had to put a picturesque caption on Kate Bush's ninth album (her first since 1989's The Sensual World), it would have to be that she's finally managed to match her stunning musical vision to the real world outside the rain-streaked window. While Hounds Of Love and The Sensual World were largely introverted, languorous affairs, for this LP Kate comes down out of the attic, and takes what may be her fullest steps yet into the mortal, modern world. The Red Shoes tones down the lace, clouds and ephemeral imagery, replacing them with a more straightforward vision; if anything, the album's more squarely in the "traditional" lineage of English art rock than in the ethnic-influenced musical exotica that was popular when her last LP came out. At this point in her career, you'd sort of suspect that it'd be another masterpiece, and that it is-of course, it helps if you have friends like The Artist Formerly Known as Prince to duet with, or Jeff Beck and Eric Clapton to lay dreamy, bluesy guitar over a few tracks. Even the unlikeliest combinations, such as the duet with The Artist Formerly Known as Prince, "Why Should I Love You," (which sounds on paper like a match dreamed up by some addled rock copywriter), end up working beautifully. As long as Kate Bush keeps turning out brilliant songs like "Rubberband Girl," "Eat The Music," "Top Of The City" or "You're The One," she will continue to thrive as one of music's most enduring, valuable and cherished artists.

CMJ New Music Report Issue: 355 - Oct 25, 1993
© 1978-1999 College Media, Inc. All rights reserved.



Few female vocalists are as instantly memorable or as endearingly quirky as Kate Bush. Whether following an ebullient pop rhythm or leading a sparse piano line, Bush's girlish, sultry soprano is capable of changing the texture and mood of a song with a single breathy squeal. On The Red Shoes, her first album since 1989's silky, sexy The Sensual World, Bush once again rearranges pop convention to suit her artistic vision, exploring an intimate range of emotional expression along the way. While The Sensual World was centered on eroticism and seduction, the new album is less physical, more romantic, feeling its way through an adventurous, sometimes vaguely awkward, series of rhythms and melodies like a young couple meeting for the first time. There are no set rules, and Bush enthusiastically mixes schmaltz with chutzpah, as on "Big Stripey Lie," where dissonant guitar squalls and an ominous bassline merge with weepy strings (compliments of Nigel Kennedy), murky keyboards and emotive vocals. Even on a touching cut like "The Song Of Solomon," Bush can't resist mingling Middle-Eastern sounding background harmonies (courtesy of Trio Bulgarka) and naive squeaks with heart-tugging vocals, atmospheric keyboards and slow, tribal beats. Even without the musical assistance of Eric Clapton ("And So Is Love"), Jeff Beck ("You're The One") and Prince ("Why Should I Love You"), The Red Shoes would still have been a bold, sizzling triumph.

© 1978-1999 College Media, Inc. All rights reserved.



Es ist wieder was im Bush: Eine der eigenwilligsten britischen Künst- lerinnen zieht sich nach vierjähriger Pause musikalisch neue Schuhe an - Red Shoes. Neben zart-poetischen Piano-Stücken sind ihr auch ex- perimentierfreudige Stil- und Sound-Ideen keine Nummer zu groß. Dazu versammelte sie im legendären Abbey Road-Studio eine illustre Truppe um sich: Eric Clapton, Jeff Beck, das Trio Bulgarka und Nigel Kennedy. Eine Handschrift fällt jedoch besonders auf: Rot-Kätchen ließ sich vom kleinen Prince küssen. Er drückte einem Song sein Love-Symbol auf.

© Audio



Vier Jahre nach "The Sensual World" lädt die Pop-Fee Kate Bush wieder in ihren versponnenen Musik-Kosmos. Das druckvolle "Rubberband Girl" eröffnet den eigenwilligen Songreigen. "And So Is Love" bezaubert mit elfenhaftem Gesang und den schlichten eindringlichen Gitarrenakkorden von Eric Clapton, in "Why Should I Love You" unterstreicht Prince sein Rhythmusgefühl, "Eat The Music" verbreitet gar südliche Fröhlichkeit. "The Red Shoes" garantiert sinnlichen Hörgenuß der besonderen Art.

© Stereoplay
 

 L y r i c s


Rubberband girl

See those trees
Bend in the wind
I feel they've got a lot more sense than me
You see I try to resist

A rubberband bouncing back to life
A rubberband bend the beat
If I could learn to give like a rubberband
I'd be back on my feet
A rubberband hold me trousers up
A rubberband ponytails
If I could learn to twang like a rubberband
I'd be a rubberband girl
A rubberband girl me
A rubberband girl me
Oh I wanna be a rubberband girl

When I slip out
Of my catapult
I gotta land with my feet firm on the ground
And let my body catch up

A rubberband bouncing back to life
A rubberband bend the heat
If I could learn to give like a rubberband
I'd be back on my feet
A rubberband hold me trousers up
A rubberband ponytails
If I could learn to twang like a rubberband
I'd be a rubberband girl
A rubberband girl me
A rubberband girl me
Oh I wanna be a rubberband girl

Give like a rubberband
Twang like a rubberband
Snap like a rubberband

Rub-a-dub-a-dub-a-dub
Rub-a-dub-a-dub
Rub-a-dub

One rubberband won't keep you up
Two rubberbands won't keep you up
Three rubberbands won't keep you up
Here I go......(aDLib)
.... Yeah!

One rubberband won't keep you up
Two rubberbands won't keep you up
Three rubberbands won't keep you up


And so is love

And you huh?
You do huh?

We let it in
We give it out
And in the end
What's it all about?
It must be love

I give you my
I give you my
You give me your
You give me your joy

We used to say
"Ah Hell, we're young"
But now we see that life is sad
And so is love

Ooh baby live your life for love
Ooh baby live your life for love

We used to say
"Ah Hell, we're young"
But now we see that life is sad
And so is love

Ooh baby for the sake of love
Ooh baby for the sake of love

And whatever happens
What really matters?
It's all we've got
Isn't that enough?

Life is sad and so is love

You let it slip
You let it slip
I love you more
I love you more for it

Life is sad and so is love

All for love
Just for the sake of love
You set me free
I set you free


Eat the music

Split me open
With devotion
You put your hands in
And rip my heart out
Eat the music

Does he conceal
What he really feels?
He's a woman at heart
And I love him for that
Let's split him open

Like a pomegranate
Insides out
All is revealed
Not only women bleed

Take the stone out
Of the mango
You put it in your mouth
And pull a plum out

Take a papaya
You like a guava?
Grab a banana
And a sultana
Rip them to pieces
With sticky fingers
Split the banana
Crush the sultana

Split 'em open
With devotion
You put your hands in
And rip their hearts out

Like a pomegranate
Insides out
He's a woman at heart
And love him for that

Take a papaya
You like a guavva?
Grab a banana
And a sultana
Rip 'em to pieces
With sticky fingers
Split the banana
Crush the sultana

All emotion
And with devotion
You put your hands in
What ya thinking?
What am I singing?
A song of seeds
The food of love
Eat the music


Moments of pleasure

Some moments that I've had
Some moments of pleasure

I think about us lying
Lying on a beach somewhere
I think about us diving
Diving off a rock, into another moment

The case of George the Wipe
Oh God I can't stop laughing
This sense of humour of mine
It isn't funny at all
Oh but we sit up all night
Talking about it

Just being alive
It can really hurt
And these moments given
Are a gift from time

On a balcony in New York
It's just started to snow
He meets us at the lift
Like Douglas Fairbanks
Waving his walking stick
But he isn't well at all
The buildings of New York
Look just like mountains through the snow

Just being alive
It can really hurt
And these moments given
Are a gift from time
Just let us try
To give these moments back
To those we love
To those who will survive

And I can hear my mother saying
"Every old sock meets an old shoe"
Isn't that a great saying?
"Every old sock meets an old shoe"
Here come the Hills of Time

Hey there Maureen,

Hey there Bubba,
Dancing down the aisle of a plane,

'S Murph, playing his guitar refrain,

Hey there Teddy,
Spinning in the chair at Abbey Road,

Hey there Michael,
Do you really love me?

Hey there Bill,
Could you turn the lights up?


The song of Solomon

The Song of Solomon
The song of everyone
Who walks the path
Of the solitary heart
The soul cries out
Hear a woman singing

Don't want your bullshit, yeah
Just want your sexuality
Don't want excuses, yeah
Write me your poetry in motion
Write it just for me, yeah
And sign it with a kiss

Mmm, just take any line
"Comfort me with apples
For I am sick of love
His left hand is under my head
And his right hand
Doth embrace me"
This is the Song of Solomon
Here's a woman singing

Don't want your bullshit, yeah
Just want your sexuality
Don't want your excuses, yeah
Write me your poetry in motion
Write it just for me, yeah
And sign it with a kiss

And I'll do it for you
I'll be the Rose of Sharon for you
I'll do it for you
I'll be the Lily of the Valley for you
I'll do it for you
I'll be Isolde or Marion for you
I'll do it for you
Ooh I'll come in a hurricane for you
I'll do it for you
A wop bam boom

Don't want your bullshit, yeah
Just want your sexuality


Lily

Oh thou, who givest sustenance to the universe
From whom all things proceed
To whom all things return
Unveil to us the face of the true spiritual sun
Hidden by a disc of golden light
That we may know the truth
And do our whole duty
As we journey to thy sacred feet

Well I said
"Lily, Oh Lily I don't feel safe
I feel that life has blown a great big hole
Through me"
And she said
"Child, you must protect yourself
I'll show you how with fire"

Gabriel before me
Raphael behind me
Michael to my right
Uriel on my left side
In the circle of fire

I said
"Lily, Oh Lily I'm so afraid
I fear I am walking in the Veil of Darkness"
And she said
"Child, take what I say
With a pinch of salt
And protect yourself with fire"

Gabriel before me
Raphael behind me
Michael to my right
Uriel on my left side
In the circle of fire


The red shoes

Oh she move like the Diva do
I said "I'd love to dance like you."
She said "just take off my red shoes
Put them on and your dream'll come true
With no words, with no song
You can dance the dream with your body on
And this curve, is your smile
And this cross, is your heart
And this line, is your path

Oh it's gonna be the way you always thought it would be
But it's gonna be no illusion
Oh it's gonna be the way you always dreamt about it
But it's gonna be really happening to ya
Really happening to ya
Really happening to ya"

Oh the minute I put them on
I knew I had done something wrong
All her gifts for the dance had gone
It's the red shoes, they can't stop dancing, dancing
And this curve, is your smile
And this cross, is your heart
And this line, is your path

"Oh it's gonna be the way you always thought it would be
But it's gonna be no illusion
Oh it's gonna be the way you always dreamt about it
But it's gonna be really happening to ya"

She gotta dance, she gotta dance
And she can't stop 'till them shoes come off
These shoes do, a kind of voodoo
They're gonna make her dance 'till her legs fall off

Feel your hair come tumbling down
Feel your feet start kissing the ground
Feel your arms are opening out
And see your eyes are lifted to God
With no words, with no song
I'm gonna dance the dream
And make the dream come true
I'm gonna dance the dream
And make the dream come true

She gotta dance, she gotta dance
And she can't stop 'till them shoes come off
These shoes do, a kind of voodoo
They're gonna make her dance 'till her legs fall off
Call a doctor, call a priest
They're gonna whip her up like a helicopter

Really happening to ya
Really happening to ya

You gotta dance....


Top of the city

One more step to the top of the city
Where just a couple of pigeons are living
Up on the angel's shoulders

I don't know if I'm closer to Heaven but
It looks like Hell down there
These streets have never been paved with gold
Welcome to the loneliest city in the world
It's no good for you baby
It's no good for you now
Keep looking up for the ladder

I don't know if you'll love me for it
But I don't think we should suffer this
There's just one thing we can do about it

Take me up to the top of the city
Take me up to the top of the city
Take me up to the top of the city
And put me up on the angel's shoulders

See how that building there is nearly built
There's a big fire over on the north of the city
I see you walking down the street with her
I see your lights going on and off
She's no good for you baby
She's no good for you now
Look I'm here with the ladder

I don't know if you love me or not
But I don't think we should ever suffer
There's just one thing we can do about this

Take me up to the top of the city
Take me up to the top of the city
Up to the highest point of the city
One more step to the top of the city
Put me up on the angel's shoulders

And I don't mind if it's dangerous
I don't mind if it's raining
Take me up to the top of the city

And put me up on the angel's shoulders
Take me up to the top of the city
Mmm yes, one more step to the top of the city
And put me up on the angel's shoulders


Constellation of the heart

We take all the telescopes
And we turn them inside out
And we point them away from the big sky
Put your eye right up to the glass, now
And here we'll find the constellation of the heart

Steer your life by these stars
On the unconditional chance
'Tis here where Hell and Heaven dance
This is the constellation of the heart

We take all the telescopes
And we turn them inside out
And we point them away from the big sky
Put your eye right up to the glass, now
And here we'll find the constellation of the heart

The constellation of the heart
The constellation of the heart

We take all the telescopes
And we turn them inside out
And we point them away from the big sky
Put your eye right up to the glass, now
And here we'll find the constellation of the heart

The constellation of the heart
The constellation of the heart

Well we think you'd better wake up capt'n
There's something happen'n up ahead
We've never seen anything like it
We've never seen anything like it before

I want a full report
That's it
What do you mean, "That's it?"
That's all you get
You'd better do something 'bout it
What am I supposed to do about it?
We don't know, but you can't run away from it
Maybe you'd better face it
I can't do that
C'mon face it!
I can't do that
C'mon, c'mon face it
What am I gonna do?
It is gonna hurt, it is gonna hurt me bad?

Ooh here's the constellation of the heart

Who said anything about it hurting?
It's gonna be beautiful
It's gonna be wonderful
It's gonna be paradise

(Just being alive, it can really hurt...)
Ooh find me the man with the ladder
And he might lift me up to the stars

(Without the pain there'd be no learning
Without the hurting we'd never change.)

Oooh and if you see the woman with the key
I hear she's opening up the doors to Heaven
Oh and here comes the man with the stick
He said he'd fish me out of the moon

Ohoh here's the constellation of the heart
It is the constellation of the heart

Oh yes it is the constellation of the heart


Big stripey lie

Oh big stripey lie moving
Like a wavy line
Coming up behind

All young gentle dreams drowning
In life's grief
Can you hang on me?

Don't want to hurt you baby
I only want to help you
I could be good for you

Your name is being called by sacred things
That are not addressed nor listened to
Sometimes they blow trumpets

Only want to help you
Never want to hurt you
I know I could be good for you

Oh my God it's a jungle in here
You've got wild animals loose in here

Want to help you
Never hurt you
Good for you

Hey all you little waves run away
Mmm run away


Why should I love you

This chapter says
"Put it out of your mind"
Mmm, give it time....

The fine purple
The purest gold
The red of the Sacred Heart
The grey of a ghost
The "L" of the lips are open
To the "O" of the Host
The "V" of the velvet

Of all of the people in the world
Why should I love you?
There's just something 'bout you
There's just something 'bout you
Of all the people in the world
Why should I love you?

Have you ever seen a picture
Of Jesus laughing?
Mmm, do you think
He had a beautiful smile?
A smile that healed

Of all the people in the world
Why should I love you?
There's just something 'bout you
There's just something 'bout you
Of all the people in the world
Why should I love you?
Of all the people in the world
Why should I love you?

The fine purple
The purest gold
The red of the Sacred Heart
The grey of a ghost
The "L" of the lips are open
To the "O" of the Host
The "V" of the velvet
The "E" of my eye
The eye in wonder
The eye that sees
The "I" that loves you

Of all the people in the world
Why should I love you?


You're the one

It's alright I'll come 'round when you're not in
And I'll pick up all my things
Everything I have I bought with you
But that's alright too
It's just everything I do
We did together
And there's a little piece of you
In whatever
I've got everything I need
I've got petrol in the car
I've got some money with me
There's just one problem

You're the only one I want
You're the only one I want
You're the only one I want
You're the only one I want

It's alright I know where I'm going
I'm going to stay with my friend
Mmm, yes, he is very good looking
The only trouble is

He's not you
He can't do what you do
He can't make me laugh and cry
At the same time
Let's change things
Let's danger it up
We're crazy enough
I just can't take it

You're the only one I want
You're the only one I want
You're the only one I want
You're the only one I want

I know where I'm going
But I don't want to leave
I just have one problem
We're best friends, yeah?
We tied ourselves in knots
Doing cartwheels 'cross the floor
Just forget it alright

Sugar?...
Honey?...
Sugar?...
 

 M P 3   S a m p l e s


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