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Mark Knopfler: Sailing to Philadelphia

 A l b u m   D e t a i l s


Label: Mercury Records
Released: 2000
Time:
 60:29
Category: Pop/Rock
Producer(s): Mark Knopfler, Chuck Ainlay
Rating: *******... (7/10)
Media type: CD
Web address: www.mark-knopfler.co.uk
Appears with: Dire Straits
Purchase date: 2000.10.07
Price in €: 13,99



 S o n g s ,   T r a c k s


[1] What It Is (Knopfler) - 4:57
[2] Sailing to Philadelphia (Knopfler) - 5:29
[3] Who's Your Baby Now (Knopfler) - 3:05
[4] Baloney Again (Knopfler) - 5:09
[5] Last Laugh (Knopfler) - 3:22
[6] Do America (Knopfler) - 4:12
[7] El Macho (Knopfler) - 5:29
[8] Prairie Wedding (Knopfler) - 4:26
[9] Wanderlust (Knopfler) - 3:52
[10] Speedway at Nazareth (Knopfler) - 6:23
[11] Junkie Doll (Knopfler) - 4:34
[12] Silvertown Blues (Knopfler) - 5:29
[13] Sands of Nevada (Knopfler) - 3:57

 A r t i s t s ,   P e r s o n n e l


MARK KNOPFLER - Guitar, Vocals

RICHARD BENNETT - Guitar, Strings
JIM COX - Piano, Hammond Organ
GUY FLETCHER - Keyboards, Vocals
GLENN WORF - Bass
CHAD CROMWELL - Drums

JAMES TAYLOR - Vocals
VAN MORRISON - Vocals
AUBREY HAYNIE - Violin
DANNY CUMMINGS - Percussion
CHRIS DIFFORD - Vocals
PAUL FRANKLIN - Pedal Steel Guitar, Lap Steel Guitar
MIKE HAYNES - Flugelhorn
JIM HOKE - Harmonica, Autoharp
JIM HORN - Baritone Saxophone, Tenor Saxophone
WAYNE JACKSON - Trumpet
FRANK RICOTTI - Marimba
HARVEY THOMPSON - Tenor Saxophone
GLENN TILBROOK - Vocals
CHRIS WILLIS - Vocals
DUANE STARLING - Vocals
GILLIAN WELCH - Vocals

ANDREW WILLIAMS - Portrait Photography
CHUCK AINLAY - Engineer, Mixing
DENNY PURCELL - Mastering
JONATHAN RUSSELL - Mastering Assistant
MARK RALSTON - Assistant
JON BAILEY - Assistant
GRAHAM LEWIS - Assistant
AARON SWIHART - Assistant
ERIC CONN - Editing

 C o m m e n t s ,   N o t e s


Mark Knopfler's second solo album might as well be called Dire Straits' eighth studio album, though Knopfler abandoned the group name with 1996's Golden Heart, dispensing with hefty sales in the process. (All six of Dire Straits' studio albums at least went gold and reached the top 20 in the U.S., while Golden Heart didn't even make the top 100.) He may be happier now; from the lead-off track of Dire Straits' first album, "Sultans of Swing," he was celebrating small-time lives, and his biggest hit, "Money for Nothing," was a workingman's dismissal of a rock star. There was never much doubt that the fame and lifestyle coincident with platinum sales made him uncomfortable, and discontinuing the "Dire Straits" billing was a means of walking away from all that. It also allowed him to indulge his love for various musical genres more, and that process continues on Sailing to Philadelphia. True, Knopfler's basic approach remains the same - as a guitarist, he is still enamored of the minor-key finger-picking style of J.J. Cale, and as a singer/songwriter, he remains enthralled with Bob Dylan. But in one song after another on this album, you get the feeling that he started out playing some familiar song in a specific genre and eventually extrapolated upon it enough to call it an original. "Who's Your Baby Now" seems drawn from the repertoire of the Everly Brothers as filtered through the Beatles of the Rubber Soul period; "Do America" could have begun life as a simple Bo Diddley riff; "Speedway at Nazareth" recalls the Appalachian style of the Carter Family; and "Junkie Doll" calls to mind Howlin' Wolf, especially "Sitting on Top of the World." (Lead-off track "What It Is," meanwhile, sounds like nothing so much as a classic Dire Straits song on the order of "Sultans of Swing.") Knopfler has grafted his own lyrical concerns to these songs, employing recurring references to life on the road (or on the sea or in the air, as the case may be) - "Sailing to Philadelphia," "Baloney Again," "Do America," "Wanderlust" - playing up the lives of humbled people, especially musicians ("Baloney Again" is about a traveling gospel group, circa 1953) and putting down powerful people, especially rock stars ("Do America" is about a British rocker on his way across the Atlantic, while "El Macho" mocks a star alone in a bar). There are also story songs on such wide-ranging subjects as the mapmakers Mason and Dixon ("Sailing to Philadelphia"), racecar driving ("Speedway at Nazareth"), an arranged marriage in the Old West ("Prairie Wedding"), and opposition to the building of London's Millennium Dome ("Silvertown Blues"), but the themes of travel and the dichotomy between the rich and famous (what Knopfler is) and the poor and powerless (those he identifies with) predominate. Working with a two-guitars, two-keyboards, bass and drums band (the old Dire Straits lineup), Knopfler brings in a variety of sympathetic guests, notably James Taylor, who plays Mason to Knopfler's Dixon in "Sailing to Philadelphia," Van Morrison, and Squeeze leaders Glenn Tilbrook and Chris Difford. These guest stars provide pleasant contrast to Knopfler's modest vocal talents, but they never steal the spotlight from the leader. (Well, okay, Morrison does.) His ability to hold his own is some indication that, however self-effacing he may be, he remains a star.

William Ruhlmann - All Music Guide



Mark Knopfler, geboren am 12. August 1949 im schottischen Glasgow, begann seine Karriere 1967 als Journalist bei der "Yorkshire Evening Post" in Leeds. Parallel dazu spielte er in diversen Bands. Zehn Jahre später gründete er dann zusammen mit seinem Bruder David, Bassist John Illsley und dem Schlagzeuger Pick Withers die Dire Straits, 1978 erschien ihr Debütalbum (Dire Straits).

Es folgte eine Bilderbuchkarriere, Alben wie Making Movies oder Brothers In Arms etablierten sie als Superstars. Anfang der Neunziger jedoch löst Knopfler die Band auf, zum Abschied wurde die Live-Platte On The Night auf den Markt gebracht, 1998 wurde das "Best Of"-Album Sultans Of Swing nachgeschoben. Knopfler widmete sich nach dem Ende der Dire Straits diversen Projekten, vor allem aber schrieb er Filmmusiken (u.a. zu Last Exit To Brooklyn und Wag The Dog). 1996 veröffentlichte er mit Golden Heart sein erstes Soloalbum, Sailing To Philadelphia ist sein zweites. Wie der Vorgänger zeigt es einen entspannten Mark Knopfler. Im Vordergrund steht dabei immer sein unverwechselbares Gitarrenspiel und sein charakteristischer Gesang.

Zwischendurch gibt es mal ein Duett mit Van Morrison ("The Last Laugh") oder eines mit James Taylor (im Titeltrack). Mal gibt es lupenreine Dire Straits-Songs ("What It Is"), dann wieder staubtrockene Akustik-Balladen ("Sands Of Nevada"). Knopfler muss sich nichts mehr beweisen, und das hört man Sailing To Philadelphia auch an; selten klang Gitarren-Pop auf so hohem Niveau relaxter.

Wolfgang Hertel - Amazon.de



Former Dire Straits leader Mark Knopfler's second proper solo album (he's remained preoccupied with soundtrack work through the years) is a stirring and considered set of transatlantic blues. The collection is bolstered by contributions from Van Morrison ("The Last Laugh") and James Taylor (the title track), while Knopfler's guitar playing remains fresh and alive as he merges country and folk picking with electric blues. But it's as a writer that he really impresses: "Baloney Again" is a sensitive portrayal of a black gospel outfit in Jim Crow America; the title track is an intriguing distillation of Thomas Pynchon's doorstopper novel, Mason & Dixon; and "Silvertown Blues" is a stirring appreciation of blue-collar endeavor. A lovingly and honestly crafted collection, Sailing to Philadelphia shows Knopfler's talent and commitment remain as strong as ever.

Gavin Martin - Amazon.com



You'd be forgiven for not remembering much of former Dire Straits frontman Mark Knopfler's past solo output, most of which has been limited to not-totally-memorable soundtrack recordings - like last year's Metroland - and one solo record, 1996's underwhelmingly received Golden Heart.

Sailing to Philadelphia, the singer's guest-star-heavy sophomore outing, is a deliberate, grown-up record (in a season which has seen a pronounced lack of adult offerings) that feels - heavily in places - like Dire Straits: Five Years Later. Knopfler, who probably can't help it that such tracks as "Silvertown Blues" are almost nostalgic in their resemblance to late-period Straits, fares much better on the record's collaborations. The highly literate title track duet with James Taylor (whose upcoming record Knopfler is reportedly producing) details the adventures of Mason and Dixon: On "The Last Laugh," Knopfler makes equally wise use of Van Morrison, who hasn't sounded this un-self-conscious in years.

Allison Stewart
CDNOW Senior Editor, Rock - September 29, 2000



Despite repeated multi-platinum successes with Dire Straits, on such hits as "Sultans of Swing" and "Money for Nothing," Mark Knopfler seems absolutely sincere when he says, "I've never been commercially motivated." For the fifteen years he spent as the singer/guitarist of Dire Straits, Knopfler always appeared to be the reluctant rock star. His disdain for doing press and promotion, as well as his consistent refusal to capitalize on Dire Straits' success, earned him the label of enigma.

Talking to Knopfler today, one realizes that he's not as curmudgeonly or enigmatic as one might believe. He's simply interested in keeping the music first. And while such actions as putting Dire Straits on hiatus for six years after Brothers in Arms made the band superstars may have confused the public, that staunch dedication to the music has earned Knopfler the respect of his peers around the world. Over the past twenty plus years, Knopfler has collaborated with everyone from Bob Dylan and Eric Clapton to Chet Atkins and Van Morrison.

Sailing to Philadelphia, Knopfler's second solo album and first since 1996, finds him once again making the CD he wants to make. It is a mature, literate record on which Knopfler draws from his wide range of tastes, including Delta blues, country and rock. In addition, he teams with fellow veterans James Taylor and Morrison, each of whom turns in a guest vocal appearance. Rolling Stone.com spoke with Knopfler about his new album, the possibility of a tour for the record, film scores and whether or not he's heard of Pink Floyd.

The interview with Mark Knopfler:

Sailing to Philadelphia is an unapologetically adult record. Something there doesn't seem to be a lot of right now.

I know it's kind of difficult these days, especially in America. There's a real sort of an ageist thing going on there at the moment, isn't there? Somebody was telling me John Fogerty hasn't got a record company. And Rickie Lee Jones has an album on a tiny label. It's like it was ten years ago, only worse. I don't mind. Although I seem to detect a tone about a lot of the stuff that's out there that I'm not keen on. I'm not really sure whether I'd want my kids to get involved in all of it. I think maybe the most poisonous are these little choreographed acts. I'd rather my kids were watching bands that were perfecting the art of spitting than watching some of this choreographed stuff.

In the four years since your first solo album, you did the scores for Wag the Dog and Metroland. Did working on those films affect Sailing to Philadelphia at all?

Yeah, I can be counted on to go wandering off into a film score for a while. That's why this album's taken far too long really. The trouble is I do a couple of tunes and then there's a gap where I write a film score. Then after the gap I'll write a bunch more songs. So when I come back there'll be six or seven more songs I want to record. It got to where I had a double album's worth of stuff for this record. And of course I don't want to do that.

Will we hear that other stuff down the road somewhere?

Some of it gets heard. Some of it comes out and it finds its way out with singles and such. I recorded a couple of things with Emmylou [Harris] that I would like to then add to. Instead of them going on Sailing to Philadelphia, I thought it would be nice to make a record with Emmy.

It seems like there really isn't anybody you haven't recorded with over your career. What artists have you learned the most from over the years?

At the very beginning, I didn't know what the hell I was doing, so I learned a little bit about making records with Barry Beckett, who I did Slow Train Coming and the second Straits album with. In terms of record making that was useful. I learned a lot about making records from the great engineers that I've worked with, Chuck Ainley and Neil Dorfman. Also I learned a lot from Chet Atkins, obviously. Not so much about recording, but the stories. I learned all the time from the guys in Straits too. I come away from the studio most days learning something.

Do you miss the circus that comes with rock stardom at all?

I don't miss it at all. I had a great time with it and I'm really glad that I've been there and done all that. I loved it, but I just always felt that I wanted to go on and express myself through other ways; do movie scores, sessions, make an album with Chet or something, whatever. Now I'm doing this and I'm just digging it. I feel as if I'm getting an awful lot of pleasure out of the writing and the recording, those two are fantastic. If I can get the third bit, which would be touring, then I'll just consider that a tremendous bonus.

You mentioned earlier that your kids are just starting to get into rock & roll. Do they have a good understanding of what you do?

I hope not. They're just at the age where they say funny things like, "Hey dad, have you heard of Pink Floyd?" They just tickle me.

STEVE BALTIN (September 29, 2000) - RollingStones.com



Mark Knopfler released his first real solo album, Golden Heart, only four years ago. It was an exciting debut, but his follow-up, Sailing To Philadelphia, is much more impressive and inspired. The album stays true to the trademark sound of Dire Straits, the band he gained fame with nearly a quarter century ago, by merging sparse, creative arrangements, blues-pop guitar and straight-ahead vocals. Sailing also benefits from plenty of rich vocal cameos: James Taylor lends his voice to the title track, which bemoans the shortsightedness of the surveyor of the Mason-Dixon line; Van Morrison swaps verses with Knopfler on "The Last Laugh;" Gillian Welch and David Rawlings lend their earthy harmonies to two tracks. However, the strongest song is "Do America," a tune that Knopfler tackles with his voice alone. A hip, electronica-influenced rocker, it gives us his take on jetting to New York and L.A. to party like the rock star that he is.

David M. Avery, CMJ Artist Services
 

 L y r i c s


WHAT IT IS

The drinking dens are spilling out
There's staggering in the square
There's lads and lasses falling about
And a crackling in the air
Down around the dungeon doors
The shelters in the queues
Everybody's looking for
Somebody's arms to fall into
And it's what it is
It's what it is now

There's frost on the graves and the monuments
But the taverns are warm in town
People curse the government
And shovel hot food down
The lights are out in city hall
The castle and the keep
The moon shines down upon it all
The legless and asleep

And it's cold on a tollgate
With the wagons creeping through
Cold on a tollgate
God knows what I could do with you
And It's what it is
It's what it is now

The garrison sleeps and the citadel
With the ghosts and the ancient stones
High up on the parapet
A Scottish piper stands alone
And high on the wind
The highland drums begin to roll
And something from the past just comes
And stares into my soul

And it's cold on a tollgate
Where the Caledonian blues
Cold on a tollgate
God knows what I could do with you
And It's what it is
It's what it is now
What it is
It's what it is now

There's a chink of light
There's a burning wick
There's a lantern in the tower
Wee Willie Winkie with a candlestick
Still writing songs in the wee wee hours
On Charlotte Street I take
A walking stick from my hotel
The ghost of Dirty Dick
Is still in search of Little Nell
And it's what it is
It's what it is now
Oh it's what it is
What it is now


SAILING TO PHILADELPHIA

I am Jeremiah Dixon
I am a Geordie boy
A glass of wine with you, sir
And the ladies I'll enjoy
All Durham and Northumberland
Is measured up by my own hand
It was my fate from birth
To make my mark upon the earth...

He calls me Charlie Mason
A stargazer am I
It seems that I was born
To chart the evening sky
They'd cut me out for baking bread
But I had other dreams instead
This baker's boy from the west country
Would join the Royal Society...

We are sailing to Philadelphia
A world away from the coaly Tyne
Sailing to Philadelphia
To draw the line
A Mason-Dixon Line

Now you're a good surveyor, Dixon
But I swear you'll make me mad
The West will kill us both
You gullible Geordie lad
You talk of liberty
How can America be free
A Geordie and a baker's boy
In the forests of the Iroquois...

Now hold your head up, Mason
See America lies there
The morning tide has raised
The capes of Delaware
Come up and feel the sun
A new morning has begun
Another day will make it clear
Why your stars should guide us here...

We are sailing to Philadelphia
A world away from the coaly Tyne
Sailing to Philadelphia
To draw the line
A Mason-Dixon Line


WHO'S YOUR BABY NOW

The rock you stood upon
Is broken up and gone
Hey baby, who's your baby now
On the slipway of your dream
Stands someone else's scheme
Hey baby, who's your baby now

Your baby now, baby now
Your baby now, your baby now

The ancient trade you ply
Ain't enough to get you by
Hey baby, who's your baby now
The yard is locked and closed
The old guard has been deposed
Hey baby, who's your baby now

Your baby now, baby now
Your baby now, your baby now

You always had to be the kind
To have to say what's on your mind
And hey, you really showed 'em how
You used to laugh about
How you used to dish it out
But hey, who's laughing now

'Cos the rock you stood upon
Is broken up and gone
Hey baby, who's your baby now
Yeh the rock you stood upon
Is broken up and gone
Hey baby, who's your baby now


BALONEY AGAIN

We don't eat in no white restaurants
We're eating in a car
Baloney again, baloney again
We don't sleep in no white hotel bed
We're sleeping in a car, baloney again
You don't strut around in these country towns
You best stay in the car
Look on ahead don't stare around
You best stay where you are
You're a long way from home, boy
Don't push your luck too far
Baloney again

Twenty-two years we've sung the word
since nineteen thirty-one
Amen, I say amen
Now the young folk want to praise the Lord
With guitar, bass and drums, amen
Well I'll never get tired of Jesus
But it's been a heavy load
Carrying His precious love
Down a long dirt road
We're a long way from home
Just let's pay the man and go
Baloney again

The Lord is my sheperd
He leadeth me in pastures green
He gave us this day
Our daily bread and gasoline
Go under the willow
Park her up beside the stream
Shoulders for pillows
Lay down your head and dream
Shoulders for pillows
Lay down your head and dream


THE LAST LAUGH

Don't you love the sound
Of the last laugh my friend
Don't you love the sound
Of the last laugh at the end
Down in the gutter with the mad old soldiers
Down in the scuppers with the drunken sailors
Down in the gutter with the mad old soldiers
But the last laugh, baby is yours
And don't you love the sound
Of the last laugh going down

Games you thought you'd learned
You neither lost nor won
Dreams have crashed and burned
But you're still going on
Out on the highway with the road gang working
Up on the mountain with the cold wind blowing
Out on the highway with the road gang working
But the last laugh, baby is yours
And don't you love the sound
Of the last laugh going down

They had you crying but you came up smiling
They had you crawling and you came up flying
They had you crying and you came up smiling
And the last laugh, baby is yours
And don't you love the sound
Of the last laugh going down
Yeh don't you love the sound
Of the last laugh going down


DO AMERICA

Well I have been it every since I was a kid at school
Now they love me in Newcastle and in Liverpool
I am as hard as a pistol I can't do no wrong
I've been in Birmingham and Bristol to play my song

Take the 777 to the USA
Gonna party all night and gonna sleep all day
Seen the New York City cause I never been
New York City in a limousine
Gonna do America do do America
Do America do do America now

Take the 777 over to LA
Gonna party all night and gonna sleep all day
Wake up and try to ??? I get the coolest girl in town
Do america do do america
Do America do do America now

Now the people go nah nah
Another people go wah wah
Another people go gah gah when I

Do America do do America
Do America do do America
Do America do do America
Do America do do America now

Backstage passes for the food and booze
Sunglasses from the interviews
Statue of liberty
Everybody looking at me

Do America do do America
Do America do do America now
Do America do do America
Do America do do America now

Do America do do America
...


SILVERTOWN BLUES

On Silvertown Way, the cranes stand high
Quiet and gray against the still of the sky
They won't quit and lay down though the action has died
They watch the new game in town on the Blackwall side

From the poisinous drains a vision appears
New circle of cranes, a new reason to be here
A big silver dome rising up into the dawn
Above the church and the homes were all the silver is gone

If I'd a bucket of gold, what would I do
I'd leave the story untold Silvertown blues
Going down Silvertown
Down in Silverdown
Going down Silvertown
Down in Silverdown

A silver dawn steals over the docks
A truck with no weels up on cinderblocks
Men with no dreams around a fire in a drum
Scrap metal schemes are rusted over and done

If I'd a bucket of gold, silver would do
I'd leave the story untold Silvertown blues
Going down Silvertown
Down in Silverdown
Going down Silvertown
Down in Silverdown

When you're standing on thin and dangerous ice
You can knock and walk in for citizens' advice
They'll tell you the where you can turn, where you can go
There's nothing they can tell me I don't already know

If I'd a bucket of gold, silver would do
I'd leave the story untold Silvertown blues
Going down Silvertown
Down in Silverdown
Going down Silvertown
Down in Silverdown

From the Caning Town train I see a billboard high
There's a big silverplane raising up into the sky
And I can make out the words 'seven flights every day'
Says six of those birds are bound for JFK

If I'd a bucket of gold, silver would do
I'd leave the story untold Silvertown blues
And I'm going down in Silvertown
Down in Silverdown
Going down Silvertown
Down in Silverdown


EL MACHO

Your date has gone home
Now you're left on your own sweet own
Your tough-talkin' friend
Split on you in the bitter end
And you look like a fine thing Jerry
Yeh you look like a fine thing Jerry

They say you're a star
That's what the boys all say you are
I don't see much TV
So you don't mean shit to me
But you look like a fine thing Jerry
Yeh you look like a fine thing Jerry

They got a name for people like you
Yeh they do
And they got a name for people like me too
El Macho, El Macho

Now they want you to sing
Don't get shy or anything
The boys are all here
Gonna buy you another beer
'Cos you look like a fine thing Jerry
Yeh you look like a fine thing Jerry
El Macho, El Macho


PRAIRIE WEDDING

We only knew each other by letter
I went to meet her off the train
When the smoke had cleared and the dust was still
She was standing there and speaking my name
I guarantee she looked like an angel
I couldn't think of what I should say
But when Adam saw Eve in the garden
I believe he felt the selfsame way

I handed her up on the wagon
And I loaded up her trunk behind
She was sitting up there with the gold in her hair
And I tried to get a hold of my mind

Do you think that you could love me Mary
Do you think we got a chance of a life
Do you think that you could love me Mary
Now you are to be my wife

We finally headed out of the station
And we drove up the home trail
And when we came on the farm she laid a hand on my arm
I thought my resolution would fail
And I froze as she stepped in the doorway
Stood there as still as could be
I said I know it ain't much, it needs a woman's touch
Lord she turned around and looked at me

Do you think that you could love me Mary
Do you think we got a chance of a life
Do you think that you could love me Mary
Now you are to be my wife

We had a prairie wedding
There was a preacher and a neighbor or two
I gave my golden thing a gold wedding ring
And the both of us said I do
When the sun's going down on the prairie
And the gold in her hair is aflame
I say do you really love me Mary
And I hold her and I whisper her name

Do you think that you could love me Mary
Do you think we got a chance of a life
Do you think that you could love me Mary
Now you are to be my wife


WANDERLUST

Big black cloud
On a yellow plain
Sure enough it
Looks like rain
Packin' up all our
Faith and trust
Me and the wanderlust

Open window
Empty bed and chair
Who's that callin'
Ain't nobody there
I look behind me
And I see there's just
Me and the wanderlust

Dead of night
I had a dream
Sky was bright yes and the
Fields were green
I was down the road
In a cloud of dust
Me and the wanderlust

And I'm on the egde
Of an endless fall
Sure enough
He's come to call
Got to go now
Get on that bus
Me and the wanderlust


SPEEDWAY AT NAZARETH

After two thousand came two thousand and one
To be the new champions, we were there for to run
From springtime in Arizona, 'til the fall in Monterey
And the raceways were the battlefields and we fought 'em all the way

Was at Phoenix in the morning, I had a wake-up call
She went around without a warning put me in the wall
I drove Long Beach, California with three cracked vertebrae
And we went on to Indianapolis, Indiana in May

Well the Brickyard's there to crucify anyone who will not learn
I climbed a mountain to qualify I went flat throught the turns
But I was down in the might-have-beens and an old pal good as died
And I sat down in Gasoline Alley and I cried

Well we were in at the kill again on the Milwaukee Mile
And in June up in Michigan we were robbed at Belle Isle
Then it was on to Portland Oregon for the G.I. Joe
And I'd blown off almost everyone when I my motor let go

New England, Ontario we died in the dirt
Those walls from mid-Ohio to Toronto they hurt
So we came to Road America where we burned up at the lake
But at the speedway at Nazareth I made no mistake


JUNKIE DOLL

Turnpike Lane, Turnpike Lane
You spiked my arm
But you missed the vein
Now it's all gone
But the scars remain
Junkie doll, I was stuck on you
My junkie doll

Turnham green, Turnham green
You took me high
As I've ever been
Now it's all gone
And now I'm clean
Junkie doll, I was stuck on you
My junkie doll

And a little bit of this'd get you up
And a little bit of that'd get you down
A little bit of this'd get you up
And a little bit of that'd get you down
And a little bit of this'd get you up
A little bit of that'd get you down
A little bit of this'd get you up
A little bit of that'd get you down

Turnpike Lane, Turnpike Lane
You took my heart
Pan American
Now rain or shine
It's all the same
Junkie doll, I was stuck on you
My junkie doll

And a little bit of this'd get you up
A little bit of that'd get you down
A little bit of this'd get you up
A little bit of that'd get you down
And a little bit of this'd get you up
A little bit of that'd get you down
A little bit of this'd get you up
A little bit of that'd get you down


SANDS OF NEVADA

These tables are haunted
By the ghost of Las Vegas
Their chips were once mountains
But they came here to play
They could take me if they wanted
But I have nothing worth counting
And like the sands of Nevada
They go drifting away

Lady luck's still a mystery
With her head on my shoulder
And I don't know why
I still want her to dance
I guess that's all history
What it is is a I'm older
And I'm still a fool
For a one-way romance

Her dice were red rubies
They rolled and they tumbled
And I never saw time
Running out with my roll
And in the wasteland of cut glass
My dreams were crumbled
And I've paid with whatever
I had left for a soul

Now the dawn's broken even
On a empty horizon
No reason for folding
No reason to stay
It's too soon to be leaving
Too late for criticising
And the sands of Nevada
They go drifting away

 M P 3   S a m p l e s


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