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Electric Light Orchestra: Zoom

 A l b u m   D e t a i l s


Artist: Electric Light Orchestra
Title: Zoom
Released: 2001.06.11
Label: Epic Records
Time: 43:32
Producer(s): Jeff Lynne
Appears with: Traveling Wilburys, Jeff Lynne
Category: Pop/rock
Rating: *********. (9/10)
Media type: CD
Purchase date:  2001.06.12
Price in €: 14,99
Web address: www.elo.biz











 S o n g s ,   T r a c k s


[1] Alright (Jeff Lynne) - 3:11
[2] Moment in Paradise (Jeff Lynne) - 3:36
[3] State of Mind (Jeff Lynne) - 3:05
[4] Just For Love (Jeff Lynne) - 3:39
[5] Stranger on a Quiet Street (Jeff Lynne) - 3:40
[6] In My Own Time (Jeff Lynne) - 3:04
[7] Easy Money (Jeff Lynne) - 2:51
[8] Really Doesn't Matter At All (Jeff Lynne) - 3:20
[9] Ordinary Dream (Jeff Lynne) - 3:23
[10] A Long Time Gone (Jeff Lynne) - 3:15
[11] Melting In the Sun (Jeff Lynne) - 3:10
[12] All She Wanted (Jeff Lynne) - 3:14
[13] Lonesome Lullaby (Jeff Lynne) - 4:03

 A r t i s t s ,   P e r s o n n e l


JEFF LYNNE - Lead Vocals, Background Vocals, Lead Guitar, Rhythm Guitar, Piano, Keyboards, Bass, Drums, Cello
ROSIE VELA - Background Vocals on "Alright", "All She Wanted"and Flamencodance on "In My Own Time"
RINGO STARR - Drums on "Moment In Paradise" and Easy Money
SUZIE KATAYAMA - Cello on "Just For Love", "Stranger On A Quiet Street" and "All She Wanted"
GEORGE HARRISON - Slide Guitar on "A Long Time Gone" and ""All She Wanted"
DAVE BORUFF - Saxophon on "A Long Time Gone"
LAURA LYNNE - Background Vocals on "All She Wanted"
ROGER LEBOW - Cello on "Lonesome Lullabye"

MARC MANN - String Arrangements
KRIS WILKINSOn - String Arrangements
ROSIE VELA - String Arrangements

 C o m m e n t s ,   N o t e s


UK - June 11: CD - Epic 502500 2 / MiniDisc - Epic 502500 8
USA - June 12: CD - Epic EK 85336 2 / MiniDisc - Epic ET 85336 4
JAPAN - June 6: CD - Sony SRCS 2466 (includes bonus track Long Black Road)



ELECTRIC LIGHT ORCHESTRA SET TO 'ZOOM' INTO 2001 WITH FIRST ALBUM IN 15 YEARS

JEFF LYNNE, the sonic architect of ELECTRIC LIGHT ORCHESTRA, will build on the group's formidable legacy in April 2001 with the release of Zoom, their first album of new material in 15 years on Epic. Meanwhile, a major concert tour for the summer of 2001 is in the talking stages.

Written, produced and performed by LYNNE, the album mixes many classic widescreen ELO elements-the layered harmonies, ringing guitars, melodic rushes, string arrangements and rootsy rock stylings-with the shimmering sonic touches he brought to other projects as a producer (George Harrison's Cloud Nine; Tom Petty's Full Moon Fever, Petty and The Heartbreakers' Into The Great Wide Open; Roy Orbison's hit "You Got It") and as a member of the Traveling Wilburys, with Harrison, Bob Dylan, Orbison and Petty, on their two albums (1988's Volume 1 and 1991's Volume 3).

"The general body of work of ELO actually goes all the way back from a couple of cellos and a violin to a 40-piece orchestra and a 30-piece choir at its biggest and most expansive," reflects LYNNE. But the strings on Zoom, he points out, "are not over the top--there are just little string quartets and little violin sections."

Throughout Zoom, LYNNE handles lead vocals, backing vocals, lead guitar, rhythm guitar, cello, piano, keyboards, bass and drums. He's joined at various points on Zoom by such guests as George Harrison (slide guitar on "A Long Time Gone," "All She Wanted") and Ringo Starr (drums on "Easy Money," "Moment in Paradise") as well as vocalist Rosie Vela and cellist Suzie Katayama.

LYNNE says his musical relationships with Harrison, Dylan, Orbison and Petty influenced how he sculpted the ELO sound on Zoom. "Working with them broadened my mind and I thought, 'What if I applied this new knowledge to a new ELO album? I'd probably see it differently and do it differently.' I have learned a lot working with all those guys, all my favorite guys. It was a total pleasure. I suppose bits of them rubbed off on me and it opened me up more. I was always locked away, working on stuff."

Zoom's 13 songs were recorded over the period of two and a half years at the British artist's Los Angeles home recording studio and in various rooms throughout the house, utilizing the built-in dramatic acoustics. "It's interesting in that respect," says LYNNE. "You actually get different sounds than you probably would in a studio. I prefer natural-sounding wood and the echo of different rooms." LYNNE adds, with a laugh, "Sometimes in the bathroom I've got an acoustic guitar."

The songs on Zoom draw on life's "ups and downs, you know," LYNNE explains. "Some of them are about just trying to do as good as you can when things don't work out. Sometimes there are loose ends that you can never tidy up," adds LYNNE about relationships that falter. "But it's also about trying to learn to trust your instincts and do what you feel is right." LYNNE reveals that "these words actually came to me much faster than they used to in the old days because I was basing them more on things that have happened to me. These lyrics are more heartfelt than ones in the past."

While waiting for the release of Zoom, ELO fans luxuriate in the newly issued Flashback, a three-CD box set compiled by LYNNE that spans ELO's entire career from 1970 to 1986. The 53-track (Epic/Legacy) collection includes seven previously unreleased tracks, plus alternative mixes and rare demos plus liner notes by Rolling Stone's avid Wild and track-by track comments from LYNNE.

Between 1974 and 1981, the multi-million selling ELO enjoyed a remarkable 17 Top 40 hits--among them "Evil Woman," "Strange Magic," "Telephone Line" and "Livin' Thing"--and became a major arena and stadium draw. The final ELO album was 1986's Balance of Power. In 1990 LYNNE released a solo album, Armchair Theatre.

© Sony Music Entertainment, Inc. All rights reserved.



Jeff Lynne 'Zoom's' ELO Into 2001

JEFF LYNNE, the sonic architect of ELECTRIC LIGHT ORCHESTRA, builds on the group's formidable legacy with the June 12 2001 release of 'Zoom' on Epic Records. The album showcases Lynne's prodigious talent and unbridled musical passion on 13 songs. Here, in a special interview, Jeff talks about ELO's first album of new material in 15 years.

What distinguishes 'Zoom' from your earlier Electric Light Orchestra work?

Jeff: I've learned a lot from producing and playing with other people, and over the years I've been lucky enough to work with most of my heroes. I've learned a lot working with all those guys. I suppose bits of them rubbed off on me and it opened me up more. And I've seen a lot more of life since the last album, and I hope 'Zoom' reflects that.

So was there unfinished business for ELO?

Jeff: Now that I can see it all from this distance, I wanted another go at it.

Where does ELO fit in the current musical landscape?

Jeff: I don't think my music has ever fitted into a current musical landscape - I'd like for it to stand out as something different. I try to give the music as much care and love as I can.

What inspired the title 'Zoom'?

Jeff: It's 15 years since the last ELO album, and they've gone by pretty quickly. And zoom - here we are in 2001. I think that's what I meant.

How long did 'Zoom' take to record?

Jeff: I recorded it over a period of about two and a half years. I completely finished 18 songs. When you approached recording 'Zoom', how did you go about creating the ELO sound?

Jeff: It's like an atmosphere. I try to get old-fashioned sounds. I suppose the way I work as a songwriter is like, 'producer-songwriter.' I imagine the sound of what I want before I actually finish writing it. So I started thinking about the ELO sound and what it would be like now.

What can listeners expect from the new material - are there any standout tracks for you?

Jeff: One of my favourites is 'State Of Mind'. It has a lot of power to it and has cheeky harmonies jumping in and out. I also like 'Ordinary Dream' because I like the phases it goes through, and its different textures. And I like the words. I hadn't written any words for a long time, not for an album or anything. These lyrics actually came to me much quicker than they used to in the old days because I was basing them more on things that had happened to me. Some of the songs are about trying to do as good as you can get when things don't work out. There are loose ends you can never tidy up. But it's also about trying to learn to trust your instincts and do what you feel is right.

One thing that must inspire you creatively but also give you flexibility isyour new home studio.

Jeff: If you don't feel like recording one day, you can say, "Don't come in today" to the engineer. I have two good pals who are great engineers (Marc Mann and Ryan Ulyate) who live locally, and so it's not like you've got a studio booked and you've got to do a record. You just do it when you're inspired. Most days I record for probably six or eight hours of the day. I've just recently - a few months ago - been helping to master 53 tracks of the 'Flashback' box set, which was a bit like going to work for me. I had to wake up really early and get down to the mastering lab by a certain time, so it was strange getting up and not walking straight into the studio at home.

It proved to me that the environment I've had for 'Zoom' suits me better. I've got it all wired up so that you can have mics anywhere in the house. I can get different sounds from different instruments and I can do strings in the kitchen or in the big room. Sometimes in the bathroom I've got an acoustic guitar. It's interesting in that respect. You actually get different sounds than you probably would in a studio. I prefer natural-sounding wood and the echo of different rooms. How has your mastery of the new technology and engineering software helped recording?

Jeff: You can do lots of tricks with Pro Tools and have clever things that you couldn't do before. Some of the things you could have done by hand, but this makes it a million times quicker, and they've made it 24bit, which is why I succumbed to it. For example, say you've got an ambient room with a drum in it and the actual mic picking the drum up is 30 feet away, just for the effect. The drum is 30 milliseconds late on the machine, right? So, you could slide that up and make up the distance in air but still retain all the air in the sound and get it right in time. It's a nice thing to be able to do, because to me, ambience is one of the nicest things about making records. Mic distances and all that are very important.

'Zoom' also features George Harrison and Ringo Starr as special guests. What were they like to work with this time around?

Jeff: I've worked with them a lot, especially George - we are good friends. It was great to have George play some slide guitar for me (Harrison plays slide on 'Zoom's' 'A Long Time Gone' and 'All She Wanted') because he's my favourite guitar player. He's tuneful and melodic and he can really hold a note just perfectly with total control in his vibrato. Ringo is a fantastic drummer (Starr appears on Zoom's 'Easy Money' and 'Moment In Paradise'). I've always loved his drumming and in fact when he said, "I wouldn't mind playing on one of your tracks", I said, "Well, how about tomorrow?" And he played live in my living room, which was great fun because we actually played it all live together. It was myself and Marc Mann playing bass and guitar and Ringo playing the drums in his own inimitable style. And he did a really great job of it.

You get a very distinct quality to your acoustic production and harmonies.

Jeff: I get a kind of grainer sound on the acoustic instruments. The sound flows and is full, but it's got an edge to it. The harmonies are quite simple. It's just the way I layer them, by weaving them in and out of each other. One will start and the other will end just as another begins. I start out with all the parts and I don't know how it's going to end up until I'm actually done. I'll just have this idea for the first part. I'll probably double-track it, then I'll do the next part. And while I'm doing the next part, I'm always thinking about what the part after that is going to be as I'm doing it. Sometimes I'll actually be stressing the engineer out because I'll already be on the next part practicing it, even though I haven't finished the second part yet. But that's the way I do it.

How did you integrate the strings on 'Zoom' compared to previous ELO recordings?

Jeff: The general body of work of ELO actually goes all the way back from a couple of cellos and a violin to a 40-piece orchestra and a 30-piece choir at its biggest and most expansive. The strings on 'Zoom' are not big, they are just little string quartets and little violin sections. It's a more guitar-orientated album.

Do you have any fond memories of the huge ELO live spectacle of the 70's?

Jeff: On the 'Out Of The Blue' Tour, some nights I would even sneak into the audience to look at the closing of the spaceship. It was pretty spectacular. The racket was enormous; there was smoke coming out of it and lasers everywhere. It wasn't my idea to be honest. To me it was a bit over the top, but lots of fun. The first few tours were exciting, because it was all new and it was America. I had never ever dreamed of coming to America. But the really long tours would eventually become a bit of a drag, because I really wanted to be in the studio, making records.

Roy Orbison has been a particular musical hero for you over many years.

Jeff: When I was only about 13, I was sitting by the radio and me mum and me auntie were there. And 'Only The Lonely' came on and it was fantastic, and I loved it. It was the first time I'd heard it. And I went, "Oh, it's unbelievable. It's fantastic! And me mum and me auntie, they go, "Oh, horrible. Sexy." And I didn't even know about it, that there was sex involved! Later, when I became a musician myself, I realised that the quality of his voice was so amazing. It's just a remarkable thing. When I co-wrote 'You Got It' with him, we recorded it in Mike Campbell's studio. When we came to do the lead vocal, he stood at the mic and during the run-though just kind of mumbled the melody. I thought that's how loud he's going to sing but when he actually starts singing it was like a million times louder. So we had to readjust the mic for this enormous voice. And we finally got it after two or three takes of 'You Got It'. And it was one of the most exciting things I've ever recorded.

Why do you choose to call Los Angeles home?

Jeff: After spending more and more time here, I just got used to the weather. It's just nice to see blue skies every day. I am quite happy here at the moment. I remodelled a house and rebuilt it all wired for the studio and brought it to a professional level. That's the great thing about having a house to record in -you get sounds you probably wouldn't get in the studio.

And finally, is there ever going to be a third Traveling Wilburys album?

Jeff: When I see George occasionally, we always end up talking about it. And then we go our separate ways again and then we see each other again and do the same thing. So, who knows, one day it might happen.



Classic E.L.O. music has always been stuck in its own retro-futuristic time warp of recombinant pop. Inside that image of E.L.O.'s spaceship (here updated without the 8-track docking bay), one imagines a ye olde discotheque stuffed with Beatles mannequins and powered by pump organ synthesizers. The genius of Jeff Lynne is to fuse kindergarten rock & roll, ultra-Liverpudlian choruses, and faux-symphonic instrumentation with a pop that's both sappy and supple. With only a few duff tracks, this timeless, invigorating disc is a rocking, left-field surprise. Talk about a comeback--Zoom is nothing short of a revelation for fans of this critically underappreciated group. Lynne sings on the opening cut, "Alright," that "You've got to hold onto something that you believe / Hold onto something that makes you feel alright," and the entire album bears this out with grace and wit.

Mike McGonigal - Amazon.com



Bei Zoom handelt es sich zwar um das erste richtige Album von ELO seit 15 Jahren, es wäre aber ungerecht, Jeff Lynne den Vorwurf zu machen, dass er sich auf seinen Lorbeeren ausruht. Schließlich ist die Schlüsselfigur von ELO in dieser Zeit mehr als je zuvor beschäftigt gewesen. Er ist zu einem heiß begehrten Produzenten für Leute, wie Tom Petty (Full Moon Fever und Into The Great Wide Open), George Harrison (Cloud Nine), Paul McCartney (Flaming Pie) und selbst für die Beatles geworden (er produzierte die Single des Wiedertreffens "Free As A Bird" aus ihrer ersten Sammlung). Bei Zoom demonstriert Lynne wieder einmal sein einmaliges Talent, einfache Melodien und Texte mit grandioser, sinfonischer Musik zu kombinieren, eine Zauberformel, die aus ELO eine der größten Bands der 70er-Jahre gemacht hat. Bei Zoom fehlt ein übergreifendes Thema als roter Faden, was für einige der besten Werke dieser Gruppe typisch war (insbesondere Out of the Blue, A New World Record, Eldorado und Time), und ELO wurde ungerechterweise mit den Prog-Rock-Leuten in einen Topf geworfen. Stattdessen präsentiert Lynne seine Stärken als Komponist von Pop-Songs -- er ist ja immerhin der Mann, der solche Renner der Rockmusik der 70er-Jahre, wie "Living Thing", "Evil Woman" und "Don't Bring Me Down" geschrieben hat. Auf Zoom sind seine Songs ein wenig stärker introvertiert und persönlicher, und darüber hinaus wurde der Name "Orchestra" ein wenig heruntergestuft auf ein Streicherquartett. Aber mit Songs, wie "Ordinary Dream", das an die Beatles erinnert, dem rockigen "Easy Money" (mit Ringo Starr am Schlagzeug), dem sanften "A Long Time Gone" (mit George Harrison als Gitarrist) und der ersten Single "Alright" wirkt diese Veränderung glaubwürdig. Hoffentlich müssen wir auf das nächste ELO-Album nicht so lange warten wie dieses Mal.

Robert Burrow - Amazon.de



Eine Legende kehrt zurück

Nach 15-jähriger Pause kehrt das Electric Light Orchestra zurück. Am 11. Juni veröffentlicht das Sony Music Label Epic das brandneue ELO-Album „Zoom“. ELO wurden 1971 von Jeff Lynne und Roy Wood aus der Taufe gehoben. Zwischen 1974 und 1983 gehörten ELO zu den populärsten Bands in Großbritannien und den USA. „Telephone Line“ (1977), „Shine A Little Love“ (1979), „Don't Bring Me Down“ (1979) , „Xanadu“ (zusammen mit Olivia Newton-John 1980) und „Hold On Tight“ (1981) sind ihre bekanntesten Hits. Ende der 80er-Jahre konzentrierte sich Jeff Lynne mehr auf seine Arbeit als Produzent und nahm unter dem Namen Traveling Wilburys mit Bob Dylan, George Harrison, Tom Petty und Roy Orbison ein Album auf. 1990 veröffentlichte Lynne sein Solo-Album „Armchair Theatre“. Er arbeitete am Beatles-Album „Anthology“ mit und produzierte die Singles „Free As A Bird“ und „Real Love“. 1986 erschien dann mit „Balance Of Power“ das letzte ELO-Album, aber jetzt melden sich Lynne & Co. mit dem brandneuen Album „Zoom“ zurück. Als Gastmusiker sind außerdem George Harrison und Ringo Starr zu hören.

SonyMusic.de (11.04. 2001)



Reunions come and go, but this one is a genuine surprise.

The first album from ELO in 15 years hits stores Tuesday after last year's three-CD box set, Flashback, which spanned the orchestral rock group's career from 1970-1986. Perhaps ELO's British braintrust, Jeff Lynne, who has acted as a producer for such A-listers as Paul McCartney, George Harrison, Tom Petty and Roy Orbison, and as a member of The Traveling Wilburys with Harrison, Petty, Orbison and Bob Dylan, missed being a frontman after all this time. With Lynne back to guide the group -- he essentially is the group as lead and backing vocalist, lead and rhythm guitarist, cellist, pianist, keyboardist, bassist and drummer -- ELO's layered, often melodramatic sound is intact. Still, there's nothing here that ranks along the lines of such ELO classics as Can't Get It Out Of My Head, Evil Woman or Strange Magic. Highlights include the memorable ballads Moment In Paradise, featuring Ringo Starr on drums, and A Long Time Gone, with Harrison on slide guitar; the orchestral and bluesy In My Own Time and the mid-tempo Ordinary Dream, Melting In The Sun and All She Wanted, the latter with Harrison back on slide guitar. Less successful are middle-of-the-road rockers like Alright, State Of Mind, Stranger On A Quiet Street, Easy Money (with Starr back on drums) and Really Doesn't Matter At All, or the ballad Just For Love, which begins pleasantly enough before derailing about halfway through due to Lynne's overindulgences.

Sunday, June 10, 2001
JAM! Music at Canoe.ca



ELO reunites for 2001 album, tour

With a new box set in stores, Electric Light Orchestra is about to light up their fans with an album of new material, Rolling Stone reports. Although an outfit calling itself ELO II released albums in the early '90s, this incarnation of the band will include the group's original guitarist, singer and songwriter Jeff Lynne, who in the intervening years served as a member of the Traveling Wilburys and produced albums for Tom Petty and George Harrison, as well as The Beatles reunion song "Free As A Bird." The new album, due in April, is called "Zoom," and will feature Lynne playing alongside Beatles Harrison and Ringo Starr, as well as singer Rosie Vela and cellist Suzie Katayama, Rolling Stone reports. "(The songs) came to me much faster than they used to in the old days because I was basing them more on things that have happened to me. These lyrics are more heartfelt than ones in the past," Lynne told Rolling Stone. Song titles for the 13-track "Zoom" include "A Long Time Gone," "All She Wanted," "Easy Money," "Moment In Paradise," "Alright," "State Of Mind," "Just For Love," "Stranger On A Quiet Street," "In My Own Time," "Really Doesn't Matter At All," "Ordinary Dream, "Melting In The Sun" and "Lonesome Lullaby," the report said.

Wednesday, November 29, 2000
JAM! Music at Canoe.ca
  

 L y r i c s


ALRIGHT

The gold verandah in the dark has gone down to the metal man
No better time to leave the ground and maybe try to understand
You've got to hold onto something that you believe
Hold onto something that makes you feel alright

Into the darkest times of your life you always try to be the one
And now the times have made you wonder if you ever knew what was goin' on
You've got to hold onto something that you believe
Hold onto something that makes you feel alright

Alright
Alright
Alright
Alright
Alright

(Alright...)

It's no use thinkin' about what you ain't got just makes you bitter
And as you speak everything that you say goes out on the big transmitter
You've got to hold onto something that you believe
Hold onto something that makes you feel alright

Alright
Alright
Alright
Alright
Alright

You've got to hold onto something that you believe
Hold onto something that makes you feel alright

Alright
Alright
Alright
Alright
Alright

(Repeat)


MOMENT IN PARADISE

(ho yeah)
(ooh)

She never cried, she only tried to fly beyond the dreams
(No was there ever mine)?

Deep inside she tried to hide, but she was way beyond her means
(No part is in our lines)?

She said that it's your duty to save your soul, to save it for someone

Moment In Paradise (just a)
Moment In Paradise (ho yeah)
Moment In Paradise (just a)
Moment In Paradise (ho yeah)

She floated out upon the wind that blew my thoughts into the night
(She knew the things she had to know)

She drifted high above my mind blew my brains out "did alright"?
(I think she knew it all along)

She said that it's your duty to save your soul, to save it for someone

Moment In Paradise (just a)
Moment In Paradise (ho yeah)
Moment In Paradise (just a)
Moment In Paradise (ho yeah...)

She said that it's your duty to save your soul, to save it for someone

Moment In Paradise (just a)
Moment In Paradise (ho yeah)

Moment In Paradise

Repeat To Fade


STATE OF MIND

I was goin' round the world
I was lookin' for somewhere
I was searchin' for someone
Who was gonna take me there

Didn't wanna do it 'cos I knew what I'd find
Really only livin' in a state of mind yeah

I was thinkin' of the past
I was tryin' to rack my brain
I was lookin' at the future (lookin' at the future)
I was tryin' to play the game

Didn't wanna do it 'cos I knew what I'd find
You're really only livin' in a state of mind yeah

Sometimes you get lost
Sometimes you get found
In a state of mind
Sometimes you're too high
Sometimes you're too down
It's just a state of mind

Didn't wanna do it 'cos I knew what I'd find
Really only livin' in a state of mind yeah

Sometimes you get lost
Sometimes you get found
In a state of mind
Sometimes you're too high
Sometimes you're too down
It's just a state of mind

You think you know it all
Then you think that you know nothing
Can't dance can't walk (walk)
Maybe you better forget it

Didn't wanna do it 'cos I knew what I'd find
You're really only livin' in a state of mind yeah

Didn't wanna do it 'cos I knew what I'd find
You're really only livin' in a state of mind yeah

Didn't wanna do it 'cos I knew what I'd find
You're really only livin' in a state of mind yeah

State of mind

(Repeat)


JUST FOR LOVE

Falling through the endless sky
The signals dance upon the twilight
Falling earth to reach someone ?
Who waits there in the lonely night

Just For Love
Just For Love

Soon beyond the melting clouds
The light will shine on everyone
That waits there in the silver rain
To meet the golden sun

Just For Love
Just For Love
Just For Love
Just For Love

I came a long way 'cross the water
Came a long way to get here
Ridin' round in perfect circles ?
Tryin' to ease my fear

Out in all the mysteries
And distant new tomorrow's
There goes another one
Don't know which way the wind blows

Just For Love
Just For Love
Just For Love
Just For Love

Love (you're gonna get it right)
Just for love (you're gonna get it together)

(Repeat)


STRANGER ON A QUIET STREET

When all the thrills have been forgotten
The chill of night can call him home
And all the dreams that you left standin'
Will slowly start to come along

I felt it as she slipped away (slipped away)
I didn't have the words to say
When I saw a stranger
The stranger on a quiet street

Stranger on a quiet street

You can go straight as an arrow
You can go straight as you dare
Walkin' the old straight and narrow
Don't always get you there

The sun was shinin' when I saw it all (saw it all)
She was movin' to a different beat
When I met a stranger
The stranger on a quiet street

Stranger on a quiet street

It came to me out of the blue (out of the blue)
It came ? that I really knew
When I met a stranger
The stranger on a quiet street

Stranger on a quiet street

(Repeat)


IN MY OWN TIME

Doom, gloom and misery
That's what you gave to me
Cold, tired, late and mean
Beyond my wildest dreams

Now that it's over
And the sun came out to shine
Don't look for me
'Cos I set myself free
In my own time

New days have come along
And now I'm at where I belong
Blue sky shines above
And I got someone to love

Now I think about it
Lifts the clouds from my mind
Goin' out on the sea
Gettin' further from me
In my own time
My own time

(French?)

Bye bye bye bye
Is that a tear in your eye?
Too late to cry
You and your precious disguise

Sometimes I wonder
If I ever saw the sign
But it's too late to care
'Cos I've done that been there
In my own time
So don't look for me
'Cos I set myself free
In my own time
In my own time


EASY MONEY

(1 2 3)

Tell me I'm mistaken
I must be kinda slow
The only time you ever cared
Was when you needed more

Easy Money
Easy Money

You got outta control
And you sold your soul
For easy money

If you see a sucker
Standin' at your door
A bring him in
And make him grin
And take him to the store

Easy Money
Easy Money

Watch out from above
You broke into the bank of love
Easy money

Some people never learn
To stop when they've had enough
(Easy money, easy money)
Some people only have to shop
When the goin' get's tough

Come to the conclusion
It's like the old men say
The only thing you gave me
Was shit and promises

Easy Money
Easy Money

One day you have to earn
All the money that you burn
Easy money

(Take it Jeff)

Some people never learn
To stop when they've had enough
(Easy money, easy money)
Some people only have to shop
When the goin' get's tough

Funny thing about it
Don't even make me blue
'Cos there's no better dealer
Rather sing 'bout you ?

Easy Money
Easy Money

You stashed that cash
And right into your stash
Of easy money

You got outta control
And you sold your soul
For easy money

Easy Money
Easy Money


REALLY DOESN'T MATTER AT ALL

I spend some time across the waves
I learned alot of things I never could
I wave my magic wand over the past
I never understood

It really doesn't matter at all
It really doesn't matter at all
If you've found what your lookin' for
It really doesn't matter at all

We moved around on different ground
There must've been some kind of reason
Nothing ventured nothing found
Must've been the wrong season

It really doesn't matter at all
It really doesn't matter at all
If you've found what your lookin' for
It really doesn't matter at all

Flew you high I flew you low
I flew you all the way around
You played for me a pretty tune
Now look what I have found

It really doesn't matter at all
It really doesn't matter at all
If you've found what your lookin' for
It really doesn't matter at all

It really doesn't matter at all (doesn't matter at all)
It really doesn't matter at all (doesn't matter at all)
If you've found what your lookin' for (doesn't matter at all)
It really doesn't matter at all


ORDINARY DREAM

I couldn't really understand at all
The writing on the wall from you to me

A jigsaw puzzle of a twisted tale
That set it's lonely sail from you to me

'Cos I tried to get the message
But it's not understood
Wide apart and so far away
It mattered at the start
Until I realised instead

I'm flyin' in a troubled sky
Watching you as you go by
In an ordinary dream
I'm sailin' on a troubled sea
Watching you as you watch me
In an ordinary dream

Couldn't understand a word it said
The letter that I read from you to me

I couldn't find? amount the stuff you wrote
So I guess it's just a joke from you to me

Though reality keeps calling me
Away from my dreams
And the wreckages'n'all? it might've been
Didn't matter at the start
Until I realised it did

I'm flyin' in a troubled sky
Watching you as you go by
In an ordinary dream
I'm sailin' on a troubled sea
Watching you as you watch me
In an ordinary dream

I'm flyin' in a troubled sky
Watching you as you go by
In an ordinary dream
I'm sailin' on a troubled sea
Watching you as you watch me
In an ordinary dream

(Ordinary Dream, Ordinary Dream)


A LONG TIME GONE

Seems like forever
And time left to spare
When I look out the window
And still you're not there
You're a long time gone
Such a long time gone

Tearing down memories
Bitter and sweet
Smashing away 'til
It's all obsolete
You're a long time gone
Such a long time gone
You're a long time gone

Do I wonder why
Everyday that I
Think about you still
And I always will

Did so much for me
Now I think I see
This I do believe
Feels more like a dream

Looked at the weeds
In the broken concrete
For the bulldozers
Waltzed in and killed the old street
You're a long time gone
Such a long time gone

Doorsteps that shone
In the bright summer sky
Lay shattered and wasted
Since our last goodbye
You're a long time gone
Such a long time gone
You're a long time gone

Do I wonder why
Everyday that I
Think about you still
And I always will
(you're a long time gone)

Did so much for me
Now I think I see
This I do believe
Feels more like a dream
(you're a long time gone)

Do I wonder why?
(you're a long time gone)
You never said goodbye
(you're a long time gone)


MELTING IN THE SUN

There's no way out and there's no way back
Sailin' forever out along your path
Some troubles there to loose your sleep
I started thinkin' that I'm in to deep

The wheels of life would stretch your face
Squeeze you flat without a trace
But when I was in trouble I never heard you speak
I got the message that I'm in to deep

Close my mind melting in the sun
Starts to shine then suddenly it's gone
Melting in the sun

Stayed up and wondered what was goin' on
Shifted ? and silence and gone
Reasons for promises that no-one could keep
I got the picture and I'm in to deep

Close my mind melting in the sun
Starts to shine then suddenly it's gone
Melting in the sun

There's no way out the only way is in
Don't matter who you are
Don't matter where you've been
You can buy your freedom
But it don't come cheap
No doubt about it now I'm in to deep

Close my mind melting in the sun
Starts to shine then suddenly it's gone
Melting in the sun

Suddenly it's gone
Melting in the sun
Suddenly it's gone
Melting in the sun


ALL SHE WANTED

She was a good girl been true to herself
Never swayed by the notions of a somebody else
She'd had it rough maybe most of the time
With only one thing on her mind

All she wanted was a lovin' man
All she wanted was a lovin' man
Who was tryin' to do the best that he can
All she wanted was a lovin' a lovin' man

There could be blue skies in her heart
But she was waitin' for the good times to start
She never wanted diamonds she never wanted gold
She was holdin' out for someone to hold

All she wanted was a lovin' man
All she wanted was a lovin' man
Who was tryin' to do the best that he can
All she wanted was a lovin' a lovin' man

(A lovin' man)
(All she wanted was a lovin' man)

All she wanted was a lovin' man
All she wanted was a lovin' man
Who was tryin' to do the best that he can
All she wanted was a lovin' a lovin' man

All she wanted was a lovin' man
All she wanted was a lovin' man
All she wanted was a lovin' man
All she wanted was a lovin' man


LONESOME LULLABYE

I listened to the wire for way too long
Time for me to hear a different song
I waited all the time for things to turn around
Tired of waitin' for it all to hit the ground

You said you knew all about it
What was right and what was wrong
You pulled the wool over the eyes of everyone
Maybe I was weak when I should've been strong

Cry baby cry
Tell me 'bout your lonesome lullaby
Cry baby cry
Tell me 'bout your lonesome lullaby

You took me by surprise like a shot in the dark
(Shot in the dark)
You showed yourself in your truest light
(Truest light)
You saved yourself by saving nobody else
You must've cringed when you heard them tell

Cry baby cry
Tell me 'bout your lonesome lullaby
Cry baby cry
Tell me 'bout your lonesome lullaby

You took the wrong turn at the city of dreams
(City of dreams)
You ended up back where you came from it seems
(Came from it seems)
Back there to where there's nothing else to do
Back there where you can sit and think of only you

Cry baby cry
Tell me 'bout your lonesome lullaby
Cry baby cry
Tell me 'bout your lonesome lullaby
Cry
Tell me 'bout your lonesome lullaby
Cry
Tell me 'bout your lonesome lullaby

Your lonesome lullaby

 M P 3   S a m p l e s


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