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Coldplay: X & Y

 A l b u m   D e t a i l s

Artist: Coldplay
Title: X & Y
Released: 2005.06.25
Label: Parlophone Records
Time: 62:32
Producer(s): See Artists ...
Appears with:
Category: Pop/Rock
Rating: ********** (10/10)
Media type: CD
Purchase date:  2005.08.01
Price in €: 18,99
Web address: www.coldplay.com

 S o n g s ,   T r a c k s


[1] Square One (Berryman/Buckland/Champion/Martin) - 4:47
[2] What If (Berryman/Buckland/Champion/Martin) - 4:57
[3] White Shadows (Berryman/Buckland/Champion/Martin) - 5:28
[4] Fix You (Berryman/Buckland/Champion/Martin) - 4:55
[5] Talk (Berryman/Buckland/Champion/Martin/Hütter/Bartos/Schult) - 5:11 *
[6] X&Y (Berryman/Buckland/Champion/Martin) - 4:34
[7] Speed Of Sound (Berryman/Buckland/Champion/Martin) - 4:48
[8] A Message (Berryman/Buckland/Champion/Martin) - 4:45
[9] Low (Berryman/Buckland/Champion/Martin) - 4:25
[10] The Hardest Part (Berryman/Buckland/Champion/Martin) - 5:32
[11] Swallowed In The Sea (Berryman/Buckland/Champion/Martin) - 3:59
[12] Twisted Logic (Berryman/Buckland/Champion/Martin) - 5:02

Hidden track:
[13] Till Kingdom Come (Berryman/Buckland/Champion/Martin) - 4:10

* - Contains elemets of Computer Love by Kraftwerk

 A r t i s t s ,   P e r s o n n e l


Chris Martin - Vocals, Piano, Producer, Photography
Will Champion - Drums, Producer, Photography
Guy Berryman - Bass Guitar, Producer, Photography
Johnny Buckland - Guitar, Producer, Photography

Additional personnel
Matt McGinn - Guitar
Brian Eno - Synthesizer on [3]

Danton Supple - Producer
Ken Nelson - Producer
Michael H. Bauer - Mixing
George Marina - Mastering
Chris Athens - Mastering
Jon Bailey - Assistant Engineer
Will Hensley - Assistant Engineer
Jake Jackson - Assistant Engineer
Matt Lejeune - Assistant Engineer
Taz Mattar - Assistant Engineer
Adam Noble - Assistant Engineer
Mike Pierce - Assistant Engineer
Dan Porter - Assistant Engineer
Tim Roe - Assistant Engineer
Cryan Russell - Assistant Engineer
Adam Scheuermann - Assistant Engineer
Rob Smith - Assistant Engineer, Computer wizzardry
Brad Spence - Assistant Engineer
Jon Withnal - Assistant Engineer
Andrea Wright - Assistant Engineer
Mark Phytian - Computer wizzardry
Carmen Rizza - Computer wizzardry
Estelle Wilkinson - Management
Dave Holmes - Management
Phil Harvey - Wise Words
Dan Keeling - A&R
Tappin Gofton - Design and Direction
Kevin Westenberg - Photography
Tom Sheenan - Photography

 C o m m e n t s ,   N o t e s


2005 CD Capitol 74786
2005 CD Capitol 42427



After Radiohead stubbornly refused to accept the mantle of world's biggest and most important rock band by releasing the willfully strange rocktronica fusion Kid A in 2000, Coldplay stepped up to the plate with their debut, Parachutes. Tasteful, earnest, introspective, anthemic, and grounded in guitars, the British quartet was everything Radiohead weren't but what the public wanted them to be, and benefited from the Oxford quintet's decision to abandon rock stardom for arcane art rock. Parachutes became was a transatlantic hit and 2002's sequel, A Rush of Blood to the Head, consolidated their success by being bigger and better than Parachutes, positioning Coldplay to not be just the new Radiohead, but the new U2: a band that belongs to the world but whose fans believe that the music is for them alone. To that end, Coldplay's third album, X&Y -- slightly delayed so it follows Rush of Blood by nearly three years, but that's no longer than the time separating OK Computer and Kid A, or The Unforgettable Fire and The Joshua Tree -- is designed to be the record that elevates Coldplay to the major leagues, where they are at once the biggest and most important band in the world. It's deliberate and sleek, cinematic and pristine, hip enough to sample Kraftwerk and blend in fashionable retro-'80s post-punk allusions without altering the band's core. Indeed, X&Y is hardly a bold step forward but rather a consolidation of Coldplay's strengths, particularly their skill at crafting surging, widescreen epics. But if X&Y highlights their attributes it also brings Coldplay's weaknesses into sharp relief. Forget the fact that they, by any stretch of the imagination, do not rock -- rocking is simply against their nature. They are a meditative band, reflecting on their emotions instead of letting them go in a cathartic blast of noise and rhythm. This isn't a problem -- after all, there have been plenty of great bands that do not rock & roll -- but their terminal politeness does cripple their music, preventing it from being as majestic as its aspirations. Coldplay is well scrubbed and well behaved, possessing a textbook education in classic rock and the good sense to never stretch any farther than needed. They are the perfect middlebrow rock band -- clean, pristine, and rational, seemingly smart since they never succumb to pounding, primal riffs, but also not weird enough to be genuine art rock. It's ambitious, yet its ambitions are modest, not risky, so their ambitions can be fulfilled without breaking a sweat. And since their sweeping yet subdued theatricality does recall the more majestic moments of Radiohead and U2, they have won millions of fans, but another crucial reason that Coldplay have a broad appeal is that lead singer/songwriter Chris Martin never tackles any large issues, preferring to endlessly examine his feelings. Like on Parachutes and Rush of Blood, all the songs on X&Y are ruminations on Martin's doubts, fears, hopes, and loves. His words are earnest and vague, so listeners can identify with the underlying themes in the songs, and his plain, everyman voice, sighing as sweet as a schoolboy, is unthreatening and unassuming, so it's all the easier for listeners to project their own emotions into the song. But for as impeccable as X&Y is -- and, make no mistake, it's a good record, crisp, professional, and assured, a sonically satisfying sequel to A Rush of Blood to the Head -- it does reveal that Martin's solipsism is a dead-end, diminishing the stature of the band. Where U2 is big in sound, scope, ambition, and intent, Coldplay is ultimately big music about small things, and even if X&Y is a strong, accomplished album, its limited, narcissistic point of view is what prevents the quartet from inheriting the title of the biggest and most important band in the world.

Stephen Thomas Erlewine - All Music Guide



As they proved on their stellar, remarkably focused sophomore effort, A Rush of Blood to the Head, Coldplay weren't about to be spoiled by success. But in the time since that disc's release, the band -- or, more to the point, major-domo Chris Martin -- have had to deal with a potentially more dangerous problem: a little thing called happiness. While most of the quartet's previous output has dealt with isolation, rejection, and unattainable love, X&Y was crafted in, for lack of a better term, the Gwyneth and Apple Years -- a fact that colors many of the disc's tunes. "The Hardest Part," one of the band's typically elegiac swoonfests, finds Martin marveling at the wonders of pregnancy(!) but managing to stop himself before sinking too deeply into Jim Brickman quicksand. Lovestruck giddiness likewise rears up in the sparse bonus track "Til Kingdom Come," a gentle, folk-tinged catalog of his spouse's attributes. X&Y isn't lyrically one-dimensional, thankfully, and musically, it's far more open-ended than Coldplay's previous full-lengths. "Square One," for instance, replaces the traditional slow build with a lurching gait propelled by Will Champion's tense post-punk drumming. Similarly, "Low," obviously inspired by the Bowie album of the same name, slinks along with a decadent and previously unaired lustiness. Most enjoyable of all -- in part because it shows a nascent sense of humor -- is "Talk," a winking appropriation of Kraftwerk's "Computer Love" that, in the hands of Martin and company, becomes a sort of cyborg power ballad. Much like U2 -- a band that's constantly held up as a benchmark for these boys -- at a similar point in their career, Coldplay exude both power and self-importance. And much like Bono and crew, it's looking like Coldplay have the goods to back up the latter for a long time to come.

David Sprague - Barnes & Noble



Although Coldplay was already big before A RUSH OF BLOOD TO THE HEAD's 2002 release, nothing could have prepared the British band for the album's Grammy-garnering runaway success. In addition to becoming a full-blown rock star, frontman Chris Martin remained in the media spotlight through his marriage to actress Gwyneth Paltrow and the subsequent birth of the couple's child. What followed for Coldplay was, reportedly, a difficult and lengthy recording process where the group tinkered extensively with their signature sound and eventually arrived back at square one. "Square One" is, in fact, where X&Y, the band's third album, begins, with a subtle, dreamy keyboard line giving way to a barrage of razor-sharp guitar riffs and Martin's plaintive vocals. In keeping with RUSH's overall theme, the songs of X&Y aren't simply catchy singles so much as engaging and meticulously crafted tracks that fit seamlessly together. Many of the record's songs clock in around the five-minute mark, revealing that the quartet feels no obligation to create short, snappy hits; instead they take their time establishing a resonant, anthemic atmosphere, most notably on the slowly building "Fix You." It's clear on X&Y that nothing about Coldplay needed to be fixed, since this album serves as a potent reminder of the band's charms and talents.

CDUniverse.com



Coldplay didn't seem destined for bigness. Their 2000 debut, Parachutes, was full of drizzly but pretty rock ballads that were almost memorable enough to prevent American listeners from confusing the band with Travis. Of course, that album also included a huge, soaring song called "Yellow," which may well be inspiring a drunken singalong in your local bar as you read this.

"Yellow" was a smash, but what came next was even smashier. In 2002, Coldplay released A Rush of Blood to the Head, which perfectly captured the heady feeling of a small band acting big. The band's sad-sack frontman, Chris Martin, transformed himself with so much swagger and so many hooks that even 50 Cent had to pay tribute, turning Martin's ambivalent lyric into a greasy boast: "God gave me style, God gave me grace." The rest of the band supplied Martin with propulsive rhythms, giving their newly pushy leader something to pull against, and the songs were even better; the band had mastered the art of writing graceful ballads that were both deceptively simple and fiendishly hard to dislodge from the human brain.

Since then, Martin has become a worldwide rock star, for better and for worse. He has a wife named Gwyneth and a baby named Apple, who just turned one, and who probably already knows what "paparazzi" means. On the other hand, Martin's newfound notoriety has meant more exposure for his favorite causes, such as fair trade. Compared to all the hubbub about Chris Martin the celebrity, his band's return to the American pop charts was a bit of a letdown. Coldplay began the campaign for X&Y with "Speed of Sound," an appealing but not thrilling song (it sounds a bit like Rush of Blood's "Clocks" but without the swagger). Whereas Rush of Blood was a nervy bid for bigness, X&Y is something less exciting. It's the serious sound of Martin trying to sing songs that match his stature. It's the sound of a blown-up band trying not to deflate.

Like the previous one, this album starts in outer space. Last time, there were those roiling piano chords of "Politik" and an audacious opening: "Look at Earth from outer space/Everyone must find a place." This time there's an atmospheric hum, and Martin murmurs, "The future's for discoverin'/The space in which we're travelin'." Drummer Will Champion enters with a tense rhythm, Guy Berryman adds one of those hurtling- forward bass lines, and Jonny Buckland doubles it with a skinny guitar line -- there's plenty to listen to, but not a lot to love. Luckily, this album contains its share of lovely ballads that sound, well, Coldplay-ish: Thanks to Keane and other imitators, Coldplay's name has become an adjective. One of the best is "Fix You," an unabashedly sentimental song where Martin delivers words of encouragement in a gentle falsetto. "Lights will guide you home/And ignite your bones/And I will try to fix you," he sings, proving once more that no band can deliver a stately rock ballad like this one. And although "Twisted Logic" may be an obvious Radiohead rip-off (with a title that sounds alarmingly Fred Durst-ish), the members find ways to build suspense while progressing toward that inevitable crashing climax.

Still, a surprising number of songs here just never take flight, from "The Hardest Part" (which actually gets less catchy as it goes along) to "A Message," which might actually be too Coldplay-ish: "My song is love," Martin announces, and you might find yourself wishing it weren't. Martin has talked about how hard he worked on this album, and it shows: Nothing on it sounds easy -- maybe 50 Cent made off with a little bit of his style and grace. X&Y does find ways to reward persistent listeners, especially those who make it all the way past the end to the bonus track, "Till Kingdom Come," which is the most casual thing on the album (it starts with Martin counting) and maybe the best. "I don't know which way I'm going/I don't know which way I've come," he sings, accompanied by little more than an acoustic guitar, and after what's come before, it's an unexpected delight to hear him sound so small again.

KELEFA SANNEH - Rolling Stone
Posted: Jun, 16 2005



Spin (pp.99-100) - "By ratcheting up their guitars and still singing about everyday themes, Coldplay are recasting their nerdy-student Britpop as Important Rock Music without sacrificing the homespun vibe..."

Grade: B+ Mojo (p.63) - Ranked #37 in Mojo's "The 50 Best Albums Of 2005" - "[N]o contemporary group builds a crescendo more masterfully..."

Uncut (p.98) - 3 stars out of 5 - "Coldplay's third album finds this remarkable band cruising into their prime...X&Y is an exceptional pop record.
 

 L y r i c s


Square One

You're in control is there anywhere you wanna go?
You're in control is there anything you wanna know?
The future's for discovering
The space in which we're traveling

From the top of the first page
To the end of the last day
From the start in your own way
You just want somebody listening to what you say
It doesn't matter who you are.

Under the surface trying to break through
Deciphering the codes in you
I need a compass,draw me a map
I'm on the top I can't get back
Whoah. Woah.

First line of the first page
To the end of the last place
You were looking
From the start in your own way
You just want somebody listening to what you say
It doesn't matter who you are
It doesn't matter who you are

Oooh.

You just want somebody listening to what you say
You just want somebody listening to what you say
It doesn't matter who you are
It doesn't matter who you are

Is there anybody out there who is lost and hurt and lonely too
Are they bleeding all your colours into one
And if you come undone as if you'd been run through
Some catapult that fired you
You wonder if your chance will ever come
Or if you're stuck in square one.


What If

What if there was no light
Nothing wrong, nothing right.
What if there was no time?
And no reason or rhyme.

What if you should decide
That you don't want me there by your side.
That you don't want me there in your life.

What if I got it wrong, and no poem or song
Could put right what I got wrong
Or make you feel I belong

What if you should decide
That you don't want me there by your side
That you don't want me there in your life.

Oooh, that's right
Let's take a breath and jump over the side
Oooh, that's right
How can you know it if you don't even try
Oooh, that's right

Every step that you take
Could be your biggest mistake
It could bend or it could break
But that's the risk that you take

What if you should decide
That you don't want me there in your life.
That you don't want me there by your side.

Oooh, that's right
Let's take a breath jump over the side
Oooh, that's right
How can you know it when you don't even try
Oooh, that's right
Oooh
Oooh, that's right
Let's take a breath jump over the side
Oooh, that's right
You know that darkness always turns into light
Oooh, that's right


White Shadows

When I was a young boy I tried to listen
And I wanna feel like that
Little white shadows - blink and miss them
Part of a system I am


If you ever feel like something's missing
Things you never understand
Little white shadows sparkle and glisten
Part of a system, a plan

All this noise I'm waking up
All this space I'm taking up
All this sound is breaking up

Wooaaooh

Maybe you'll get what you wanted
Maybe you'll stumble upon it
Everything you ever wanted
In a permanent state

Maybe you'll know when you see it
Maybe if you say it you'll mean it
And when you find it you'll keep it
In a permanent state, a permanent state

When I was a young boy I tried to listen
Don't you wanna feel like that?
You're part of the human race
All of the stars in the outer space
Part of a system, a plan

All this noise I'm waking up
All this space I'm taking up
I cannot hear you're breaking up

Woaaooh.

Maybe you'll get what you wanted
Maybe you'll stumble upon it
Everything you ever wanted
In a permanent state

Maybe you'll know when you see it
Maybe if you say it you'll mean it
And when you find it you'll keep it
In a permanent state, a permanent state

Swim out on the sea of faces
The tide of the human races, oh
An answer now is what I need
See it in the new sun rise and
See it break on your horizon, oh
Come on love stay with me


Fix You

When you try your best but you don't succeed
When you get what you want but not what you need
When you feel so tired but you can't sleep
Stuck in reverse

And the tears come streaming down your face
When you lose something you can't replace
When you love someone but it goes to waste
Could it be worse?

Lights will guide you home
And ignite your bones
And I will try to fix you

And high up above or down below
When you're too in love to let it go
But if you never try you'll never know
Just what you're worth

Lights will guide you home
And ignite your bones
And I will try to fix you

Tears stream, down on your face
When you lose something you cannot replace
Tears stream down your face
And I..

Tears stream, down on your face
I promise you I will learn from my mistakes
Tears stream down your face
And I..

Lights will guide you home
And ignite your bones
And I will try to fix you.


Talk

Talk

Oh, brother, I can’t, I can’t get through
I’ve been trying hard to reach you
Cause I don’t know what to do
Oh, brother, I can’t believe it’s true
I’m so scared about the future
And I want to talk to you
Oh, I want to talk to you

You could take a picture of something you see
In the future where will I be
You could climb a ladder up to the sun
Or write a song nobody had sung
Or do something that’s never been done

Are you lost or incomplete
Do you feel like a puzzle
You can’t find your missing piece
Tell me how you feel
Well, I feel like they’re talking in a language I don’t speak
And they’re talking it to me

So you take a picture of something you see
In the future where will I be
You could climb a ladder up to the sun
Or write a song nobody had sung
Or do something that’s never been done
Or do something that’s never been done

So you don’t know where you’re going
And you want to talk
And you feel like you’re going where you’ve been before
You'll tell anyone who’ll listen but you feel ignored
And nothing’s really making any sense at all
Let’s talk, let’s talk
Let’s talk, let’s talk


X & Y

Trying hard to speak and
Fighting with my weak hand
Driven to distraction
It's all part of the plan
When something is broken
and you try to fix it
Trying to repair it anyway you can

I dive in at the deep end
and you become my best friend
I want to love you but I don’t know if I can
I know something is broken
and I’m trying to fix it
Trying to repair it anyway I can

Oooohh, oooohh
Oooohh, oooohh

You and me are floating on a tidal wave… together
You and me are drifting into outer space
and singing

Oooohh, oooohh

You and me are floating on a tidal wave… together
You and me are drifting into outer space
You and me are floating on a tidal wave… together
You and me are drifting into outer space
and singing

Oooohh, oooohh
Oooohh, oooohh


Speed Of Sound

How long before I get in
Before it starts before I begin
How long before you decide or
Before I know what it feels like
Where to, where do I go?
If you never try then you'll never know
How long do I have to climb
Up on the side of this mountain of mine

Look up, I look up at night
Planets are moving at the speed of light,
Climb up, up in the trees
Every chance that you get is a chance you seize
How long am I gonna stand
With my head stuck under the sand
I'll start before I can stop or
Before I see things the right way up

All that noise and all that sound
All those places I got found
And birds go flying at the speed of sound
To show you how it all began
Birds came flying from the underground
If you could see it then you'd understand

Ideas that you'll never find
All the inventors could never design
The buildings that you put up
Japan and China all lit up
The sign that I couldn't read
or a light, that I couldn't see
Some things you have to believe
While others are puzzles, puzzling me

All that noise and all that sound
All those places I got found
And birds go flying at the speed of sound
To show you how it all began
Birds came flying from the underground
If you could see it then you'd understand
Oh, when you see it then you'll understand

All those signs I knew what they meant,
some things you can invent
Some get made and some get sent ooh

And birds go flying at the speed of sound
To show you how it all began
Birds came flying from the underground
If you could see it then you'd understand
Oh, when you see it then you'll understand


A Message

My song is love
Love to the loveless shown
And it goes on
You don't have to be alone

Your heavy heart
Is made of stone
And it's so hard to see you, clearly
You don't have to be on your own
You don't have to be on your own

And I'm not gonna take it back
And I'm not gonna say I don't mean that
You're the target that I'm aiming at
Can i get that message home?

My song is love
My song is love unknown,
But I'm on fire for you, clearly
You don't have to be alone
You don't have to be on your own

And I'm not gonna take it back
And I'm not gonna say I don't mean that
You're the target that I'm aiming at
And I'm nothing on my own
Got to get that message home

And I'm not gonna stand and wait
I'm not gonna leave it until it's much too late
On a platform, I'm gonna stand and say
That I'm nothing on my own
And I love you, please come home

My song is love, is love unknown?
And I've got to get that message home.


Low

You see the world in black and white
No colour or light
You think you'll never get it right
But-you're wrong you might

The sky could fall could fall on me
The parting of the seas
But-you mean more mean more to me
Than any colour I can see

All you ever wanted was love
But you never looked hard enough
It's never gonna give itself up
All you ever wanted to be
Living in perfect symmetry
Nothing is as down or as up as us

You see the world in black and white
No paint to write
You see no meaning to your life
You should try
You should try

And all you ever wanted was love
But you never looked hard enough
It's never gonna give itself up

All you ever wanted to be
Living in perfect symmetry
Nothing is as down or as up
Don't you want to see it come soon
Floating in a big white balloon
Oh, given your own silver spoon

Don't you want to see it come down
There for throwing your arms around
an sayin "you're a moment too soon"

Cause I feel low
Cause i feel low
Oh oh oh oh oh
Yeah I feel low
Oh no

Ohh

Ohh
Cause I feel low
Cause i feel low
Oh oh oh oh oh
Yeah I feel low
Oh no

Ohh


The Hardest Part

And the hardest part
Was letting go not taking part
Was the hardest part
And the strangest thing
Was waiting for that bell to ring
It was the strangest start

I can feel it go down
Bittersweet I could taste in my mouth
Silver lining the clouds
And I
I wish that I could work it out

And the hardest part
Was letting go not taking part
You really broke my heart
And I tried to sing
But I couldn't think of anything
And that was the hardest part

I can feel it go down
You left the sweetest taste in my mouth
You're a silver lining the clouds
Oh, and I
Oh, and I
I wonder what its all about [x2]

Everything I know is wrong
Everything I do it just comes undone
And everything is torn apart
Oh and thats the hardest part
Thats the hardest part
Yeah, thats the hardest part
Thats the hardest part


Swallowed In The Sea

Swallowed By The Sea

You cut me down a tree
And brought it back to me
And that's what made me see
Where I was going wrong

You put me on a shelf
And kept me for yourself
I can only blame myself
You can only blame me

And I could write a song
A hundred miles long
Well, that's where I belong
And you belong with me

And I could write it down
Or spread it all around
Get lost and then get found
Or swallowed in the sea

You put me on a line
And hung me out to dry
And darling that's when I
Decided to go to see you

You cut me down to size
And opened up my eyes
Made me realize
What I could not see

And I could write a book
The one they'll say that shook
The world, and then it took
It took it back from me

And I could write it down
Or spread it all around
Get lost and then get found
And you'll come back to me
Not swallowed in the sea

Ooh...

And I could write a song
A hundred miles long
Well, that's where I belong
And you belong with me

The streets you're walking on
A thousand houses long
Well, that's where I belong
And you belong with me

Oh what good is it to live
With nothing left to give
Forget but not forgive
Not loving all you see

Are the streets you're walking on
A thousand houses long
Well that's where I belong
And you belong with me
Not swallowed in the sea

You belong with me
Not swallowed in the sea
Yeah, you belong with me
Not swallowed in the sea


Twisted Logic

Sunlight opened up my eyes
To see for the first time it opened them up
And tonight rivers will run dry
Not for the first time rivers will run

Hundreds of years in the future
There could be computers looking for life on Earth
Don't fight for the wrong side
Say what you feel like
Say how you feel

You go backwards but then you go forwards again
You go backwards but then you go
Created then drilled and invaded
If somebody made it someone will mess it up
And you are not wrong to
Ask who does this belong to
It belongs to all of us

You go backwards but then you go forwards again
You go backwards but then you go forwards
You go backwards but then you go forwards again
You go backwards but then you go forwards


Till Kingdom Come

Kingdom Come

Still my heart and hold my tongue
I feel my time
My time has come
Let me in
Unlock the door
I never felt this way before

And the wheels just keep on turning
The drummer begins to drum
I don’t know which way I’m going
I don’t know which way I’ve come

Hold my head inside your hands
I need someone who understands
I need someone, someone who hears
For you I’ve waited all these years
For you I’d wait till kingdom come
Until my day, my day is done
And say you'll come and set me free
Just say you'll wait, you'll wait for me

In your tears and in your blood
In your fire and in your flood
I hear you laugh, I heard you sing
I wouldn’t change a single thing
And the wheels just keep on turning
The drummers begin to drum
I don’t know which way I’m going
I don’t know what I’ve become

For you I’d wait till kingdom come
Until my days, my days are done
And say you'll come and set me free
Just say you'll wait, you'll wait for me
Just say you'll wait, you'll wait for me
Just say you'll wait, you'll wait for me
 

 M P 3   S a m p l e s


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