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Norah Jones: Feels Like Home

 A l b u m   D e t a i l s


Label: Capitol Records
Released: 2004.02.10
Time:
 45:16
Category: Jazz
Producer(s): Arif Mardin, Norah Jones
Rating: *******... (7/10)
Media type: CD
Web address: www.norahjones.com
Appears with:
Purchase date: 2004.03.04
Price in €: 13,99



 S o n g s ,   T r a c k s


[1] Sunrise (L.Alexander/N.Jones) - 3:21
[2] What Am I to You? (N.Jones) - 3:30
[3] Those Sweet Words (L.Alexander/R.Julian) - 3:23
[4] Carnival Town (L.Alexander/N.Jones) - 3:12
[5] In the Morning (A.Levy) - 4:07
[6] Be Here to Love Me (T.VanZandt) - 3:29
[7] Creepin' In (L.Alexander) - 3:04
[8] Toes (L.Alexander/N.Jones) - 3:46
[9] Humble Me (K.Briet) - 4:37
[10] Above Ground (A.Borger/D.Oda) - 3:44
[11] The Long Way Home (K.Brennan/T.Waits) - 3:13
[12] The Prettiest Thing (L.Alexander/N.Jones/R.Julian) - 3:52
[13] Don't Miss You at All (D.Ellington/N.Jones) - 3:08

 A r t i s t s ,   P e r s o n n e l


NORAH JONES - Vocal, Piano, Wurlitzer, Pump Organ

DARU ODA - Backing Vocal
ADAM LEVY - Acoustic & Electric Guitar, Backing Vocal
LEE ALEXANDER - Acoustic & Electric Bass
KEVIN BREIT - Acoustic Guitar, Mandolin, Resonator Guitar, Backing Vocals
ANDREW BORGER - Drums, Box, Snare Drum

ARIF MARDIN - String Arrangements

Very special guests:
DOLLY PARTON - Vocals
GARTH HUDSON - Accordion
LEVON HELM - Drums
TONY SCHERR - Electric Guitar
JESSE HARRIS - Acoustic Guitar
BRIAN BLADE - Drums
ROB BURGER - Pump Organ
JANE SCARPENTONI - Cello
DAVID GOLD - Viola

JAY NEWLAND - Engineer, Mixing
STEVE MAZUR - Assistant Engineer
AYA TAKEMURA - Assistant Engineer
MATTHEW CULLEN - Assistant Engineer
DICK KONDAS - Assistant Engineer
GENE PAUL - Mastering
ELI WOLF - A&R
CHRIS COLONA - A&R Administration
ZACK HOCHKEPPEL - Production Manager
GORDON H. JEE - Creative Director
JESSICA NOVOD-BERENBLAT - Art Director, Designer
BURTON YOUNT - Design Production Assistance
CLAY PATRICK MCBRIDE - Photography

 C o m m e n t s ,   N o t e s


2004 CD Blue Note 84800

'Feels Like Home' features 13 tracks & a host of special guests including Dolly Parton, Levon Helm, Garth Hudson of the Band, Jesse Harris, Robert Burger and Tony Scherr. Blue Note. 2004



Das Label über die CD

Zwei Jahre nach der Veröffentlichung ihres mit zigfachem Platin und acht Grammys ausgezeichneten Debütalbums Come Away With Me kehrt Norah Jones mit einer superben Sammlung neuer Songs zurück. Für das Album Feels Like Home arbeitete die Sängerin, Songwriterin und Komponistin einmal mehr mit dem Produzenten Arif Mardin zusammen, sowie mit dem Toningenieur Jay Newland und ihrer Begleitband. Neben eigenen Songs adaptierte Norah Jones auch Songs ihrer Bandkollegen und von dem Sänger und Songwriter Richard Julian. Außerdem hat Jones einige Songs gecovert, darunter "Be Here To Love Me" von Townes Van Zandt und Duke Ellingtons Komposition "Melancholia", für die sie einen Text schrieb und die nun unter dem Titel "Don't Miss You At All" erscheint.

Norah Jones hat den größten Teil von Feels Like Home mit jener Formation aufgenommen, die sie auch auf ihren Tourneen begleitet: Adam Levy und Kevin Breit (guitars), Daru Oda (keyboards/backing vocals), Lee Alexander (bass) und Andrew Borger (drums). "Ich wollte keine überproduzierte Platte machen" erläutert die Künstlerin. "Außerdem spielt die Band nun seit zwei Jahren kontinuierlich zusammen und man fühlt sich wohl. Die Aufnahmen für das neue Album haben Spaß gemacht, weil wir uns so gut kennen. Die Herangehensweise war genauso wie beim ersten Album: Wir haben uns gute Songs ausgesucht, von denen viele von der Band selbst stammen, und versucht, die bestmöglichen Aufnahmen davon zu machen. Und mit dem Ergebnis bin ich wirklich glücklich."

Wie schon auf ihrem Debüt deckt Norah Jones mit Feels Like Home ein vielfältiges stilistisches Spektrum ab, das neben Country und Pop natürlich auch Jazz umfasst. War Come Away With Me noch ausgesprochen ruhig und von Balladen geprägt, variiert Norah Jones nun das Tempo und hat auch schnellere Songs. So ist die erste Singleauskopplung, "Sunrise", die Jones mit ihrem Bassisten Lee Alexander geschrieben hat, lebhaft und überschäumend; "Above Ground", von Oda und Borger geschrieben, hat einen Hauch von Funk; und "In The Morning", ein Beitrag von Levy mit Wurlitzer-Solo, zeigt eine Norah Jones, die sich mit ihrer warmen Stimme völlig dem Blues hingibt.

EMI Music



It may be far too obvious to even mention that Norah Jones' follow-up to her 18-million-unit-selling, eight-Grammy-winning, genre-bending, super-smash album Come Away With Me has perhaps a bit too much to live up to. But that's probably the biggest conundrum for Jones: having to follow up the phenomenal success of an album that was never designed to be so hugely popular in the first place. Come Away With Me was a little album by an unknown pianist/vocalist who attempted to mix jazz, country, and folk in an acoustic setting — who knew? Feels Like Home could be seen as "Come Away With Me Again" if not for that fact that it's actually better. Smartly following the template forged by Jones and producer Arif Mardin, there is the intimate single "Sunrise," some reworked cover tunes, some interesting originals, and one ostensible jazz standard. These are all good things, for also like its predecessor, Feels Like Home is a soft and amiable album that frames Jones' soft-focus Aretha Franklin voice with a group of songs that are as classy as they are quiet. Granted, not unlike the dippy albeit catchy hit "Don't Know Why," they often portend deep thoughts but come off in the end more like heartfelt daydreams. Of course, Jones could sing the phone book and make it sound deep, and that's what's going to keep listeners coming back.
What's surprising here are the bluesy, more jaunty songs that really dig into the country stylings only hinted at on Come Away With Me. To these ends, the infectious shuffle of "What Am I to Do" finds Jones truly coming into her own as a blues singer as well as a writer. Her voice has developed a spine-tingling breathy scratch that pulls on your ear as she rises to the chorus. Similarly, "Toes" and "Carnival Town" — co-written by bassist Lee Alexander and Jones — are pure '70s singer/songwriting that call to mind a mix of Rickie Lee Jones and k.d. lang. Throw in covers of Tom Waits and Townes Van Zandt along with Duke Ellington's "Melancholia," retitled here "Don't Miss You at All" and featuring lyrics by Jones, and you've got an album so blessed with superb songwriting that Jones' vocals almost push the line into too much of a good thing. Thankfully, there is also a rawness and organic soulfulness in the production that's refreshing. No digital pitch-correction was employed in the studio and you can sometimes catch Jones hitting an endearingly sour note. She also seems to be making good on her stated desire to remain a part of a band. Most all of her sidemen, who've worked with the likes of Tom Waits and Cassandra Wilson, get writing credits. It's a "beauty and the beast" style partnership that harks back to the best Brill Building-style intentions and makes for a quietly experimental and well-balanced album.

Matt Collar - All-Music Guide, © 1992 - 2004 AEC One Stop Group, Inc.



The subtlest of pop stars, Norah Jones beguiled listeners with her low-key delivery and classic vocal pop sensibilities on her 2002 debut smash, Come Away with Me. She hasn't changed her tune much on the follow-up, wisely resisting any sophomore impulse to add a glossy sheen to her organic, jazz-informed arrangements. Again produced by Arif Mardin, Feels Like Home is a cozy listen for Jones fans, as she brightens various hues in her palette but maintains the noirish tone of Come Away with Me. The singsongy single "Sunrise" is up-tempo for Jones, a tuneful toe-tapper with an optimistic message, and "Carnival Town" reinforces her warm embrace of traditional vocal pop as the circular, piano-led melody echoes a study of the symbolic possibilities in a Ferris wheel. Both songs were co-written by Jones and her bassist, Lee Alexander, a sign of the singer's stepped-up songwriting contributions. Jones lets a little more steam out on her completely self-penned "What Am I to You?," a slow-cooking blues that captures the restrained passion in her voice, with instrumental support from Levon Helm and Garth Hudson of the Band and guitarist Tony Scherr, and on "In the Morning," penned by her regular six-stringer Adam Levy, a slinky examination of lovesickness flavored by Jones's tasteful playing on a Wurlitzer electric piano. She gets a little bit country on "Creepin' In," wherein Dolly Parton reciprocates for Jones's contribution to the Parton tribute Just Because I'm a Woman with typically stellar vocals, trading verses on a tasteful and twangy breakdown. But Jones shines equally on "Don't Miss You at All" - actually Ellington's instrumental "Melancholia" with new, original lyrics - a piano-and-voice, post-breakup look at a relationship. Whether on her own at the piano or joined by close friends, Norah Jones continues to enchant with her honeyed voice, sophisticated playing, and sincere expression. Welcome home.

Lydia Vanderloo - Barnes and Noble



Far from blanded-out background music, Feels Like Home, Jones' second album, is a triumph of the low-key, at once easygoing and poignant.

Tom Moon - Rolling Stone



Jones's sense of quiet - her refusal to scream, belt and growl, ornament a melody ostentatiously or play the piano more than just functionally - marks her as a rebel against the notion of the pop star as a competitive, in-your-face diva.

Stephen Holden - Blender



Norah Jones blew everybody away with her jazzy, country-tinged, Grammy-winning debut CD, Come Away With Me. On this recording, Jones doesn't mess with her trademark formula. Under Arif Mardin's cozy co-production, Jones is supported by her writing partners, her Handsome Band, and some special guests (country legend Dolly Parton, Levon Helm and Garth Hudson of the Band, and jazz drummer Brian Blade, to name a few). Jones's Texas-twanged vocals and her sparse acoustic and electric Wurlitzer piano lines enliven the CD's 13 tracks, from the light and lively single, "Sunrise" to Tom Waits' "The Long Way Home" and the bouncy duet with Parton, "Creepin' In." Jones's soul-baring piano/vocal rendition of Duke Ellington's "Melancholia," retitled "Don't Miss You at All," proves she's a true Blue Note artist with unlimited potential.

Eugene Holley, Jr. - Amazon.com



Tja, das war ein Einstand, der sich gewaschen hatte: Über 16 Millionen Mal ging das Debütalbum von Norah Jones Come Away With Me über die Ladentheken, sie sammelte rund 80 Platin-Auszeichnungen ein und -- sozusagen als Krönung der jungen Musik-Königin -- überhäufte die amerikanische Schallplattenindustrie die Künstlerin und ihr Erstlingswerk mit insgesamt acht (!) Grammys. Die Welt erlebte die Geburt eines Weltstars -- einer Musikerin, die mit auffallend leisen, akustischen, stilistisch kaum einzuordnenden Klängen höchst erfolgreich gegen den Trend-Strom anschwamm. Was kann da noch kommen? Antwort: Feels Like Home, ihr zweites Album.
Feels Like Home ist mehr als nur eine Fortsetzung ihrer mit Come Away With Me begonnen künstlerischen Reise; mehr, als eine kreative Bestätigung ihres großen Talents; mehr als eine CD ohne einen einzigen Durchhänger. Feels Like Home ist auch das Reifezeugnis einer scheinbar unbeirrbar gefestigten Musikerin. Denn genau wie ihr Erstlingswerk wird auch dieses zweite, wieder von Arif Mardin produzierte Album zuvorderst von einer faszinierend lässigen, relaxten Atmosphäre geprägt. So hat man beim Durchhören der CD sogar den Eindruck, dass die New Yorkerin im Vergleich zum Debüt noch einen Gang zurück schaltet: Wie kaum eine andere lässt sie die Songs atmen und sich entwickeln, lässt sie Pausen und ganz, ganz ruhige Momente zu, und schafft dadurch Spannungsbögen, die den Hörer mit sanfter Gewalt zu fesseln vermögen. Keine Frage: eine Meisterleistung!
Stilistisch ist die rehäugige Schönheit mit den dunklen Barbie-Locken genauso wenig einzuordnen wie bei ihrem Debüt: Steht bei den Titeln das Klavier oder E-Piano (ein knurrendes Fender Rhodes!) im Vordergrund, überwiegen jazzige Elemente. Spielt in Songs wie "Humble Me" oder "The Long Way Home" die Akustik-Gitarre die erste Geige, sind es auch mal reinrassige Folk-Songs. Ein Schuss Country muss natürlich auch wieder sein: "Creepin' In" heißt der Bluegrass-Feger (mit Abstand der schnellste Song der CD), bei dem sich Norah Jones mit hörbarem Spaß das Mikro mit Country-Queen Dolly Parton teilt.
Trotz der vielen stilistischen Ausritte lässt sich ein gemeinsamen Nenner ausmachen: der Blues. Aus zwei Gründen: Zum einen wegen der latent melancholischen Note in den Kompositionen, zum anderen wegen Norah Jones' bluesig-angerauhter Stimme. So erinnert sie in Timbre, Feeling und Ausdruck an eine sanftere Ausgabe einer Janis Joplin. Beste Beispiele hierfür sind "In The Morning" und "Be Here To Love Me". Hätte die wilde Janis damals nicht flaschenweise Jack Daniels konsumiert und stattdessen nur ab und zu an einem Bud genippt, hätte sie -- wer weiß -- wohl so ähnlich geklungen. Gewiss aber länger gelebt.

Gunther Matejka - Amazon.de



Ihr Pianosound ist dunkel wie ein Nachtclub bei Stromausfall. Und sie hat eine einmalige Art, ihre Stimme zum Hauchen werden zu lassen, während ihr Gesang gerade dynamisch anschwillt. Diese Art der Phrasierung ist die letzte Spur Jazz, die uns die achtfache Grammy-Siegerin nach ihrem 16-Millionen-Debüt "Come away with me" noch gönnt. Ihr neues Album ist voller Balladen auf der breiten Basis von Folk und Country; es ist eins, das uns sediert und melancholisch glücklich macht. Der perlende Folk von "Sunrise" oder das Boom- tschicka-boom des Waits-Covers "The long Way home" sind überraschungslos inszeniert, erfüllen aber auch geschickt die Erwartungen. Nur bei "Creepin' in", einem flotten Country-Duett mit Dolly Parton, heben wir einmal irritiert die Braue. Dem Album fehlt die Zauberkraft des Erstlings, doch vielleicht liegt das nicht am Album selbst, sondern daran, dass eine solche Verblüffung nur mit der Sensation selber und nicht mit ihrer Wiederholung zu erzielen ist. Eine Platte für Männer, die gern taktisch den Sensiblen spielen - und für Frauen, die sich in der postfeministischen Rolle der starken Scheuen wohl fühlen. Zusammen gibt es davon global bestimmt mehr als 16 Millionen.

(mw) - Kulturnews



With Feels Like Home, the follow-up to her eight times Grammy winning debut, Come Away With Me, easy listening's 24 year-old poster girl Norah Jones has a staggering weight of expectation to live up to.
However, anyone expecting to be wowed from the start stands to be disappointed. At face value it's Come Away with Me MkII, albeit a more countrified version without the instantly dreamy and delightful melodies of "Don't Know Why" and "Come Away with Me". Over the long haul though, it's a quietly brilliant leap forward that not only lives up to expectation, but far exceeds it.
With "Sunrise", "Those Sweet Words" and "Carnival Town" Jones ushers in more gentle sauntering and jazz-sweet reflection, but this time the understated dirt-track atmospheres don't just conjure pretty twilight moods; they convey a beauty and a powerful emotional cache that lingers. Likewise, "The Prettiest Thing" murmurs with tender sadness while the low-slung swagger of "In the Morning" broods with so much lip-curling passion it's almost seedy. However, the proof of just how far Jones has come lies in "Don't Miss You At All". A humbling end-of-the-affair lullaby built around the two-in-the-morning piano of Duke Ellington's instrumental "Melancholia", it's as moving as it is brave.

Dan Gennoe - Amazon.co.uk



In two short years, Norah Jones went from playing clubs as an unknown to becoming a ubiquitous, insanely heralded new artist and the prime torch carrier for "grown-folks' music." Most of the praise was for Jones' voice: You put on her 8 million-selling, eight-Grammy-winning 2001 debut, Come Away With Me, to be transported by that tousled half-whisper and by the twenty-four-year-old's affectation-free Texas-saloon-chanteuse vibe. The surrounding musical embellishments might as well have been ring tones. But singing doesn't just happen: It needs context, and this could be Jones' particular genius; she is as much a piano player as a singer, despite her best efforts to hide this fact -- in performance she slinks behind the piano and does her thing with undivalike anonymity. Far from blanded-out background music, Feels Like Home, Jones' second album, is a triumph of the low-key, at once easygoing and poignant.
Jones, her bandmates and producer Arif Mardin take what might seem like unexceptional acoustic-lounge arrangements and turn them into high drama. The gorgeous "Those Sweet Words," one of several songs Jones co-wrote with her boyfriend and bassist, Lee Alexander, is a good example. It begins as an ordinary singer-songwriter tangle of acoustic guitars, ambling along in the medium-slow tempo that became, from overuse, her Achilles' heel. Jones enters by pawing delicately at a single note, then plays idle throwaway chords that exude a round, almost liquid tone you rarely hear from a piano. They're just random jazz-piano jottings, yet from them Jones creates the outline of a sullen, disconsolate scene. The hard work of framing a narrative backdrop is done. All that remains is for Jones to heave that heavy sigh and fill in the details.
Feels Like Home is a series of these carefully drawn mood states, each one set in a slightly different shade of blue and differentiated by subtle changes in the arrangements. Though the originals, written mostly by members of her touring band, lack some of the earnest grabbiness of the songs Jesse Harris wrote for Jones' first foray, they're far more varied musically, and they depend on Jones' magic, her ability to invest the most fragile melody with some preternatural impact. There are moments of lithe, coolheaded boho blues ("In the Morning," featuring a coy Jones solo on Wurlitzer electric piano) and downcast salvation-seeking waltzes (the transfixing "Humble Me"). There's a credible excursion into country two-step (the duet with Dolly Parton, "Creepin' In") and a haunted Brechtian tone poem called "Carnival Town."
Jones talks about her whirlwind success just a little, with her usual understatement: On the idyllic "Toes," she sings of an idealized, unharried life not in the strident complaining voice of a newly minted star but like any other overwhelmed soul yearning for a moment's peace.
The most heartening thing about Feels Like Home is the utter absence of fussiness, or second-album overthink. It extends the Come Away With Me template while never echoing the earlier songs. Where most creators of vocal pop music concentrate on crafting tight couplets and big-payoff refrains, Jones just sits at the piano and chases less obvious targets -- ruminative moods and hushed-whisper atmospheres. And she's found, in two graceful albums, a whole different kind of mojo lurking inside the three-minute song.

TOM MOON - March 4, 2004
RS 943 - © Copyright 2004 RollingStone.com
 

 L y r i c s


SUNRISE

Sunrise, sunrise
Looks like morning in your eyes
But the clock's held 9:15 for hours

Sunrise, sunrise
Couldn't tempt us if it tried
'Cause the afternoon's already come and gone

And I say hooooo, oooooo, oooooo, oooooo
hooooo, oooooo, oooooo, oooooo
hooooo, oooooo, oooooo, oooooo
Do you?

Surprise, surprise
Couldn't find it in your eyes
But I'm sure it's written all over my face

Surprise, surprise
Never something I could hide
When I see we made it through another day

And I say hooooo, oooooo, oooooo, oooooo
hooooo, oooooo, oooooo, oooooo
hooooo, oooooo, oooooo, oooooo
Do you?

And now the night
Will throw its cover down
mmmmm, on me again
Ooooh, and if I'm right
It's the only way to bring me back

hooooo, oooooo, oooooo, oooooo
hooooo, oooooo, oooooo, oooooo
hooooo, oooooo, oooooo, oooooo
Do you?

hooooo, oooooo, oooooo, oooooo
hooooo, oooooo, oooooo, oooooo
hooooo, oooooo, oooooo, oooooo
Do you?


WHAT AM I TO YOU

What am I to you
Tell me darling true
To me you are the sea
Fast as you can be
And deep the shade of blue

When you're feeling low
To whom else do you go
See I cry if you hurt
I'd give you my last shirt
Because I love you so

If my sky should fall
Would you even call
Opened up my heart
I never want to part
I'm giving you the ball

When I look in your eyes
I can feel the butterflies
I love you when you're blue
Tell me darlin' true
What am I to you

Yeah well if my sky should fall
Would you even call
Opened up my heart
Never wanna part
I'm giving you the ball

When I look in your eyes
I can feel the butterflies
Could you find a love in me
Could you carve me in a tree
Don't fill my heart with lies

I will you love when you're blue
Tell me darlin' true
What am I to you
What am I to you
What am I to you


THOSE SWEET WORDS

What did you say
I know I saw you saying it
My ears won't stop ringing
Long enough to hear
Those sweet words
What did you say

And now the day
The hour hand has spun
Before the night is done
I just have to hear
Those sweet words
Spoken like a melody

All your love
Is a lost balloon
Rising up through the afternoon
'Til it could fit on the head of a pin

Come on in
Did you have a hard time sleeping
'Cause a heavy moon was keeping you awake
And all I know is I'm just glad to see you again

See my love
Like a lost balloon
Rising up through the afternoon
And then you appear

What did you say
I know I saw you saying it
My ears won't stop ringing
Long enough to hear
Those sweet words
And your simple melody

I just have to hear
Your sweet words
Spoken like a melody
I just wanna hear
Those sweet words


CARNIVAL TOWN

Round 'n' round
carousel
has got you under it's spell
moving so fast ... but
going nowhere

Up 'n' down
ferris wheel
tell me how does it feel
to be so high ...
looking down here

Is it lonely?
lonely
lonely

Did the clown
make you smile
he was only your fool for a while
now he's gone back home
and left you wandering there

Is it lonely?
lonely
lonely


IN THE MORNING

I can't stop myself from callin'
Callin' out your name
I can't stop myself from fallin'
Fallin' back again

In the mornin'
Baby in the afternoon

Dark like the shady corners
Inside a violin
Hot like to burn my lips
I know I can't win

In the mornin'
Baby in the afternoon

I tried to quit you but I'm too weak
Wakin' up without you I can hardly speak at all

My girlfriend tried to help me
To get you off my mind
She tried a little tea and sympathy
To get me to unwind

In the mornin'
Baby in the afternoon

Funny how my favorite shirt
Smells more like you than me
Bitter traces left behind
Stains no one can see

In the mornin'
Baby in the afternoon

You're gonna put me in an early grave
I know I'm your slave whenever you call

I can't stop myself from callin'
Callin' out your name
I can't stop myself from fallin'
Fallin' back again

Fallin' back again
Fallin' back again
Fallin' back again
Fallin' back again


BE HERE TO LOVE ME

Your eyes seek conclusion in all this confusion of mine
Though you and I both know it's only the warm glow of wine
That's got you to feeling this way, but I don't care,
I want you to stay
and hold me and tell me you'll be here to love me today

Children are dancin', the gamblers are chancin' their all
The window's accusing the door of abusing the wall
But who cares what the night watchmen say
The stage has been set for the play
Hold me and tell me you'll be here to love me today

The moon's come and gone but a few stars hang on on to the sky
The wind's runnin' free but it ain't up to me ask why
The poets are demanding their pay
They've left me with nothin' to say
'cept hold me and tell me you'll be here to love me today
Just hold me and tell me that you'll be here to love me today


CREEPIN' IN (CREEP ON IN)

There's a big ol' hole
That's gone right through the sole
Of this old shoe
And the water on the ground
Ain't got no place else it found
So it's only got one thing left to do

Creep on in
Creep on in
And once it has begun
Won't stop until it's done
Sneaking in

There's a silver moon
That came just a little soon
For me to bare
Shines brightly on my bed
And the shadows overhead
Won't let me sleep as long as they're there

Creep on in
Creep on in
And once it has begun
Won't stop until it's done
Sneaking in

There's a big ol' hole
That goes right through my sole
And that ain't nothin' new
So long as you're around
And got no place else you've found
There's only one thing left to do

Creep on in
Creep on in
And once you have begun
Don't stop until you're done
Sneaking in


TOES

The current is strong from what I've heard
It'll wisk you down the stream
But there never seems to be much time

My toes just touched the water
My toes just touched the water

Daydreamed on the bank again
I was swimming with the fish
And I thought this time that it may be true

(But) My toes just touched the water
My toes just touched the water
My toes just touched the water

Walked a mile just to find the edge
Some place low enough to step right in
Now I'm here and I can't begin - to move

Walked a mile just to find the edge
Some place low enough to step right in
Now I'm here and I can't begin - to move

The spoiled sun up over there
It always has to have its way
And I know that the river's there to shelter me

My toes just touched the water
My toes just touched the water


HUMBLE ME

Went out on a limb
Gone too far
Broken down at the side of the road
Stranded at the outskirts and sun's creepin' up

Baby's in the backseat
Still fast asleep
Dreamin' of better days
I don't want to call you but you're all I have to turn to

What do you say
When it's all gone away ?
Baby I didn't mean to hurt you
Truth spoke in whispers will tear you apart
No matter how hard you resist it
It never rains when you want it to

You humble me Lord
Humble me Lord
I'm on my knees empty
You humble me Lord
You humble me Lord
Please, please, please forgive me

Baby Teresa got your eyes
I see you all the time
When she asks about her daddy
I never know what to say

Heard you kicked the bottle
And helped to build the church
You carry an honest wage
Is it true you have somebody keeping you company ?

What do you say
When it's all gone away ?
Baby I didn't mean to hurt you
Truth spoke in whispers will tear you apart
No matter how hard you resist it
It never rains when I want it to

You humble me Lord
Humble me Lord
I'm on my knees empty
You humble me Lord
You humble me Lord
Please, please, please forgive me


ABOVE GROUND

Underground I'm waiting
Just below the crowded avenue
Watchin' red lights fading out of view

Oh the air feels heavy
Everything just passes by
And I think that I'm a little shy

Meet me outside above ground
I see you on your way
I'll be with you someday, someday

Drawing lines above my head
But the fan keeps spinning over me
Just my thoughts to keep me company

Now I know I'm ready
Pour the night into a glass
Can I sip it slow and make it last?

Meet me outside above ground
I see you on your way
I'll be with you someday, someday

Meet me outside above ground
I see you on your way
I'll be with you someday, someday


THE LONG WAY HOME

Well I stumbled in the darkness
I'm lost and alone
Though I said I'd go before us
And show the way back home
There a light up ahead
I can't hold onto her arm
Forgive me pretty baby but I always take the long way home

Money's just something you throw
Off the back of a train
Got a handful of lightening
A hat full of rain
And I know that I said
I'd never do it again
And I love you pretty baby but I always take the long way home

I put food on the table
And roof overhead
But I'd trade it all tomorrow
For The highway instead
Watch your back if I should tell you
Loves the only thing I've ever known
One thing for sure pretty baby I always take the long way home

You know I love you baby
More than the whole wide world
You are my woman
I know you are my pearl
Let's go out past the party lights
We can finally be alone
Come with me and we can take the long way home
Come with me, together we can take the long way home
Come with me, together we can take the long way home


THE PRETTIEST THING

The prettiest thing
I ever did see
Was lightning from the top of a cloud
Moving through the dark a million miles an hour
With somewhere to be

So why does it seem
Like a picture
Hanging up on someone else's wall
Lately I just haven't been myself at all
It's heavy on my mind

I'm dreamin' again
Like I've always been
And way down low
I know

The prettiest thing
I ever did see
Was dusty as the handle on the door
Rusty as a nail stuck in the old pine floor
Looks like home to me

I'm dreamin' again
Like I've always been
And way down low
I'm thinkin' of the prettiest thing


DON’T MISS YOU AT ALL

Don’t Miss You At All

As I sit and watch the snow fallin' down
I don't miss you at all
I hear children playin', laughin' so loud
I don't think of your smile
So if you never come to me
You'll stay a distant memory

Out my window, I see lights going dark
Your dark eyes don't haunt me
And then I wonder who I am
Without the warm touch of your hand

And then I wonder who I am
Without the warm touch of your hand

As I sit and watch the snow fallin' down
I don't miss you at all
I don't miss you at all
I don't miss you at all

 M P 3   S a m p l e s


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