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Dave Matthews Band: Stand Up

 A l b u m   D e t a i l s


Label: RCA Records
Released: 2005.05.10
Time:
 56:32
Category: Pop/Rock
Producer(s): Mark Batson
Rating: *******... (6/10)
Media type: CD
Web address: www.davematthewsband.com
Appears with: Boyd Tinsley
Purchase date: 2006.09.12
Price in €: 19,99



 S o n g s ,   T r a c k s


[1] Dreamgirl (M.Batson/D.Matthews) - 4:01
[2] Old Dirt Hill (Bring That Beat Back) (M.Batson/D.Matthews) - 5:00
[3] Stand Up [For It] (M.Batson/D.Matthews) - 4:13
[4] American Baby [Intro] (M.Batson/D.Matthews) - 2:03
[5] American Baby (M.Batson/D.Matthews) - 4:35
[6] Smooth Rider (M.Batson/D.Matthews) - 2:17
[7] Everybody Wake Up (Our Finest Hour Arrives) (M.Batson/D.Matthews) - 4:17
[8] Out of My Hands (M.Batson/D.Matthews) - 3:41
[9] Hello Again (D.Matthews) - 3:56
[10] Louisiana Bayou (M.Batson/D.Matthews) - 5:36
[11] Stolen Away on 55th & 3rd (M.Batson/D.Matthews) - 4:17
[12] You Might Die Trying (M.Batson/D.Matthews) - 4:44
[13] Steady as We Go (M.Batson/D.Matthews) - 3:24
[14] Hunger for the Great Light (M.Batson/D.Matthews) - 6:52

 A r t i s t s ,   P e r s o n n e l


Dave Matthews - Guitar, Piano, Vocals, Art Direction, Design
Stefan Lessard - Bass, Guitar, Vocals, Art Direction, Design
Carter Beauford - Percussion, Drums, Vocals
Boyd Tinsley - Mandolin, Violin, Vocals, Electric Violin
Leroi Moore - Baritone, Soprano & Tenor Saxophone, Vocals, Pyrotechnics

Mark Batson - Organ, Synthesizer, Percussion, Piano, Keyboards, Clavinet, Producer, Engineer, Mellotron, Fender Rhodes, String Arrangements, Moog Bass, String Conductor, Vox Continental
Butch Taylor - Organ, Piano, Keyboards, Bakcground Vocals, Wurlitzer
Lee Grove - Percussion, Programming

Audrey Riley - Cello, String Arrangements
Ann Marie Calhoun - Violin
Sue Dench - Viola
David Gee - Cello
Jennifer Myer - Viola
Leo Payne - Violin

John Hanes - Engineer, Digital Editing
Chris Kress - Engineer
Mark "Spike" Stent - Mixing
Serban Ghenea - Mixing
Brian Gardner - Mastering
Alex Dromgal - Mixing Assistant
Dave Emery - Mixing Assistant
Rob Evans - Engineer, Assistant
Coran Capshaw - Management
Danny Clinch - Photography
Bruce Flohr - A&R
Wyndsor Taggart Hug - Art Direction, Design
Patrick G. Jordan - Project Manager
Thane Kerner - Art Direction, Design
Kev Mahoney - Assistant
Brian Malouf - Pre-Production
Tim Roberts - Assistant

 C o m m e n t s ,   N o t e s


2005 CD RCA 68796
2005 CD RCA 68796.2
2005 CD V2 1034482

Recording information: Haunted Hollow Studio, Charlottesville, Virginia.

When the members of the Dave Matthews Band commenced recording STAND UP, they did so with the express intent of creating an album markedly different from their past efforts. To this end, they hired R&B/hip-hop producer Mark Batson (Eminem, India Arie) and started down a path of experimentation that re-defined the group's creative process.

Whether on the loop-like electric mandolin lines on "American Baby," the spooky, slowed-down vocal on "Stand Up (For It)," or the psychedelic echo effect on the chorus of "Everybody Wake Up (Our Finest Hour Arrives)," artistic freedom is in the air here, and the musicians sound like they're having the time of their lives. Even Matthews's idiosyncratic vocals are looser and friendlier, and his lyrics seem more in sync with the music. In fact, the album's overall sense of liberation and quirkiness lends it a sound reminiscent of Mitchell Froom's work on Los Lobos' landmark KIKO. Of course, longtime fans of the Dave Matthews Band will find all of their favorite elements here, including syncopated, world-music-inspired grooves, jaw-dropping drum chops, a few extended jams, and the dark, immediately identifiable singing of Matthews himsel



Given the slew of live albums that clutter its discography, it's easy to lose sight of the fact that the Dave Matthews Band hasn't cut all that many studio albums. Just five in ten years, in fact (2003's Some Devil was a solo side project by Matthews), and two of those were made in the aftermath of the unreleased 2000 Steve Lillywhite sessions - a set of heavily bootlegged recordings that most serious DMB fans consider among the group's strongest work. The brouhaha surrounding the Lillywhite recordings and, particularly, their polished, mannered Glen Ballard-produced 2001 substitute, Everyday, may not have affected the group's sales, but it sure wreaked havoc on the psyches of the band and its fans, who questioned the band's direction after Everyday. But all of that turmoil disguised a problem that the group faced: they still could captivate fans in concert, but as a recording unit, the Dave Matthews Band was having some serious problems figuring out where to go next. They pulled it together on Busted Stuff - a de facto do over for the Lillywhite sessions that also functioned as a tidy apology for the Ballard debacle - but that album was essentially a holding pattern, since the songs were older than those on Everyday, which makes 2005's Stand Up the first album of new material since that 2001 album, and it finds the band right back where it was after Before These Crowded Streets: the guys don't know what the hell to do next.

Five years ago, Matthews initially responded to that puzzle with a set of soul-searching songs, but he abandoned them in favor of a collaboration with Ballard, a producer so meticulous, each of his projects is given a similar sheen that's mainstream but not quite pop. Having tried that approach, DMB decided to team up with a very different producer this time around - Mark Batson, who made his bones with modern R&B and hip-hop records by the likes of India Arie, Joe, Beyoncé, and Seal. This doesn't result in an extreme makeover - which, quite frankly, would have been more interesting -- but instead a gentle gloss on the band's sound that renders it sleek, muted, and rather lifeless. Batson produces the DMB as he would any other record: he keeps the mixes relatively spare and open, cutting up the rhythms in the computer, polishing it all so it glistens. It may not be as robotic as Ballard's approach - it's much warmer actually, even if all the emphasis is on the surface - but it still doesn't play to the group's strengths as a band as a performing unit. Too many of the cuts appear pieced together in the studio, never once capturing the energy of a band playing live. And when the group does lay into a groove, as it does on the title track or "Old Dirt Hill" (never has a song struggled so hard to sound breezy), the music sounds stiff and stilted, a faltering attempt to replicate what came so easily to the band a decade ago. But the fault should not be placed at Batson's feet, as he pulls out all of his tricks to save a set of moribund music. Matthews pulls away from any of the progress he made as a writer on both Busted Stuff and Some Devil. His ballads regain their sense of static, turgid monotony and he often resorts to the smirky humor that plagued his earliest work. To top it all off, Matthews sounds ragged, his voice breathy and torn to shreds. It's immediately distracting on the opener, "Dreamgirl" - which romanticizes a "good, good drunk" - and that scratchiness never goes away, providing an appropriately worn, tattered center for an album that is directionless, ham-fisted, consciously classy, and ultimately bland, the kind of record that could make longtime fans doubt about sticking around from this point on. Not only does Stand Up fail to solve the central question of where does the Dave Matthews Band go next, it suggests that even though they are aware of the problem, they haven't really pondered what to do about it, or what it means for them in the long

Stephen Thomas Erlewine - All Music Guide



In Deutschland ist er ja nie was geworden, dieser virtuose Bastard aus Grateful-Dead-Pychedelia und Folkjam. Das wird sich mit „Stand up" nicht ändern. Im Gegenteil, hier lassen Matthews & Co. sogar das vermissen, was ihre Alben in den USA zu Bestsellern machte: jene epische Brillanz und Innovation, die fehlende Singlehits wettmacht. Technisch brillant sind sie immer noch, aber das Songmaterial kann nicht mithalten. Meilenweit kreatives Flachland. Je kürzer die Songs der Band, desto mehr verlieren sie ihre Stärke, nämlich die (seltene) Fähigkeit, einem Song durch Länge Qualität zu verleihen. Auf der Vierminutenstrecke aber erfordert ein Rocksong Prägnanz und Präzision. Die fehlt hier. Alles fließt, aber es ist halt nur ein Bächlein, kein Strom.

(vs) - kulturnews.de



Die Dave Matthews Band bringt am 03 März ihr neues Album “Stand Up” incl. Bonus DVD auf den Markt. In den USA wäre das eine Meldung, die die Musikmedien wochenlang beschäftigen würde. Über 30 Millionen Platten haben sie dort in den letzten 12 Jahren verkauft und gehören damit zu DEN Acts des Jahrzehnts. Dieses Millionen-Publikum erspielten sie sich vor allem durch ihre schier endlosen Touren, so spielten sie 2000 die dritterfolgreichste Tour (nur kurz hinter Tina Turner & N’Sync) des Jahres in den USA. Ganz nebenbei spielt Rockgröße Neil Young mal eben so bei ihnen im Vorprogramm, und die Legende Carlos Santana als Gastgitarrist auf einem ihrer Alben.

Nachdem Namensgeber, Gitarrist und Frontmann Dave Matthews im Jahr 2002 ein Solo-Album einspielte, und ebenfalls mit recht großem Erfolg veröffentlichte, fand sich die Band nun wieder zusammen um mit „Stand Up“ das erste reguläre Studio-Album seit 2001 anzugehen. Und das Ergebnis kann sich sehen lassen. Mit Mark Batson wurde ein, mit dem Grammy ausgezeichnetes, Multitalent als Produzent engagiert. Die Erfahrungen, die er bereits mit Künstlern wie Eminem, 50 Cent & Anthony Hamilton gesammelt hatte, flossen direkt in die Arbeit mit der Dave Matthews Band ein. So bleibt zu sagen: Die Stücke sind kompakter, kürzer, anders geworden. Aber sie haben nichts von ihrem Reiz verloren. Überraschende Melodien gibt es nach wie vor, auf Groove und Lebendigkeit achten DMB mehr denn je.


"[T]here's lots of enlightened riff-rock and splashes of color....The band's singular groove is as self-sustaining as ever..."

Rolling Stone (pp.73-74) - 3.5 stars out of 5



"[T]he disc hopscotches among a dizzying array of sounds and approaches..." - Grade: A-

Entertainment Weekly (No. 819, p.84)



"[N]ow they're changing...to folk-funk/hardcore-gospel! The fundamental is the intimacy gathered around Matthews' new frontporch growl."

Mojo (p.119) - 3 stars out of 5



With a string of live recordings since 2001's controversial Everyday, the Dave Matthews Band has been grooving in something close to autopilot, more intent on pleasing fans than in stretching out. That M.O. changes significantly on Stand Up, one of the band's most adventurous efforts, and certainly among the most varied studio sets of their career. For starters, Matthews pumps up the energy level surprisingly often, as on the title track, which uses a martial drumbeat to anchor a bottom end that doesn't politely suggest that folks shake their groove thang but rather forces them onto the dance floor. That's underscored by the agreeably gritty playing of saxophonist Leroi Moore, who also struts his stuff on the hip-hop-tinged "Stolen Away at 55th and 3rd." Some credit must go to producer Mark Batson, who helmed India.Arie's breakthrough, Acoustic Soul, as well as tracks for Eminem, Beyoncé, Seal, and Sting. But Matthews retains his unique style, making better use of world music elements here than he has in some time, notably on the sensual "Dreamgirl," which employs eerily echoing backing vocals dripping with aboriginal flavor. That song is one of several that let the singer get his mojo working and provide good counterpoint to topical tunes such as the sprawling "American Baby," a life-during-wartime allegory that's preceded by the separate "American Baby" intro, a mélange of mournful piano and sampled gunfire. There's a similar urgency in "Everybody Wake Up (Our Finest Hour Arrives)," a song that also boasts a fascinating (and somewhat jarring) arrangement drawing as much on modern classical music as on anything from the rock idiom. The vibe of Stand Up is slightly different than the average DMB album, but for those who value a thrill ride as much as a cruise, it's definitely worth buckling up for.

David Sprague - Barnes & Noble



Don't let the headless CGI dancer on the cover fool you. While Stand Up has a more organic feel than 2001's radio-ready Everyday, it is hardly an invocation for carefree days spent twirling on the grass. Instead it is a call to arms that carries over much of the insurrectionary spirit the Dave Matthews Band brought to 2004's Vote For Change Tour. Matthews, sounding rawer than ever, swerves between optimism ("To change the world you only start with one step," he sings on "You Might Die Trying") and angst ("See the man with the bomb in his hand/ Everybody wake up," goes "Everybody Wake Up [Our Finest Hour Arrives]"), while producer Mark Baston, best known for his small-time work with big-name pop acts like Beyonce and 50 Cent, responds by putting the marching band rhythms of Carter Beauford in the front and galvanizing the music with a crisp R&B edge, most evident in the totally - okay, partially - crunk "Stolen Away On 55th & 3rd."

Aidin Vaziri -  Amazon.com



The Dave Matthews Band decided to team up with a very different producer for Stand Up -- Mark Batson, who earned his reputation with modern R&B and hip-hop records by the likes of India Arie, Joe, Beyoncé, and Seal. This doesn't result in an extreme makeover but instead puts a gentle gloss on the band's sound that renders it sleek and muted. Batson produces the DMB as he would any other record -- by keeping the mixes relatively spare and open, cutting up the rhythms in the computer, and polishing it all so it glistens. It's much warmer than Glen Ballard's makeover on 2001's Everyday, even if some of the cuts here appear to be pieced together in the studio. Matthews pulls away from the introspection of both Busted Stuff and Some Devil, occasionally reviving the humor that spiked his earlier work. The resulting album may not be to everybody's taste -- some fans will surely miss the loose jams that characterized DMB's '90s work -- but it is an intriguing change of pace for the group.

Stephen Thomas Erlewine - All Music Guide



One advantage of actually being able to play your instruments: Midcareer crises are often less scary. In the four-plus years since Dave Matthews Band last convened to write and record a new album, its members have toured the country several times over; released four live albums and the rejiggered leftovers collection Busted Stuff; and taken time out as the band's frontman recorded a successful, if lightweight, solo debut. The group also dipped its toe into politics, playing concerts for John Kerry on the Vote for Change Tour. But if you were expecting DMB to be bogged down by fame, fatigue or global politics on its thirteenth album, Stand Up, you haven't been paying much attention to this twelve-year-old quintet.

"This album," Matthews told ROLLING STONE, "is about love, life, God, death and sex." You can take him at his word, but Stand Up is also a quintessential summer record, a collection of tight, group-composed grooves and breezy tunes that sometimes float by too easily. Dave Matthews Band has always operated on a pleasure principle that has endeared it to nice folks everywhere: the adventure and instrumental skill of jazz music in a framework your average rock fan can understand, delivered by unassuming guys you don't have to pay a two-drink minimum to hear. In the past decade, they've held onto this communal vibe even as they've streamlined their sound and quietly grown from a frat-rocking cult act to America's biggest band. Where 2001's manicured Everyday turned DMB into a world-beating, chart-busting juggernaut, Stand Up is the sound of a veteran outfit navigating between jammy mojo and pop-wise charm.

More than most bands, DMB needs a skilled producer to edit out the fatty jam sessions. For Everyday, the group had that in Glen Ballard; for Stand Up, Matthews has done well again, finding Brooklyn-born Mark Batson, best known for co-writing songs by Seal and India.Arie and co-producing tracks by 50 Cent, the Game and Eminem. Batson met with each band member individually, taping instrumental ideas from which Stand Up's fourteen tracks were later constructed: The result is a disc whose unfussy demeanor conceals a mountain of overdubs and deftly edited jams. There may not be enough sax and violin spotlights to satisfy old fans, but there's lots of enlightened riff-rock and splashes of color -- the syncopated strings on "Everybody Wake Up"; the sexy funk-lite of "Stolen Away on 55th and 3rd" -- to fill that void. Even better, Carter Beauford's drumming is less cluttered than ever. On standout cuts such as the light-footed title track and the wistful backyard-barbecue soundtrack "American Baby," DMB's easygoing choruses sound fully cooked, which hasn't always been the case in the past.

Stand Up is as democratic a record as you can expect from a band named after the singer. Unfortunately, that organic feel comes at the expense of Matthews' personality, a combination of pervy extroversion and armchair philosophizing that Everyday channeled more purely. Matthews' hazy words and warm voice rarely gather much force on the new album's less memorable cuts, such as the slow, guitar-heavy "You Might Die Trying." He tacitly addresses his displeasure over the Iraq War on "Everybody Wake Up," which begins with lines about "the man with a bomb in his hand," but that's about it; the point of the song is the four minutes of percussion-packed communal uplift that follow. And the self-parodying yips and drawls with which he fills "Louisiana Bayou" reveal one of his less endearing traits: getting so caught up in the groove that he forgets to come up with a decent lyric or convincing hook.

If the thoroughly good-natured Stand Up proves anything, it's that Dave Matthews Band has learned to temper its considerable chops with enough restraint and pop smarts that it no longer seems possible for even the most ardent punks to hate the group. But the album won't give the unconverted a reason to love Matthews, either. When he sings, "It's out of my hands for now," on the sparse, piano-backed lullaby "Out of My Hands," he might as well be describing his relationship to the music on Stand Up: The band's singular groove is as self-sustaining as ever, and this happy guy is simply content to let the songs come as they may.

CHRISTIAN HOARD (May 6, 2005)
Rolling Stone
 

 L y r i c s


Dreamgirl

I would dig a hole all the way to China
Unless of course I was there
then I’d dig my way home
If by diggin’ I could steal
the wind from the sails
of the greedy men who ruled the world

Still you’re my best friend
And after a good, good drunk
You and me wake up and make love after a deep sleep
Where I was Dreamin’, I was Dreamin’ of a
Dreamgirl, Dreamgirl, Dreamgirl, Dreamgirl

I was feelin’ like a creep
As I watched you asleep
Face down in the grass,
in the park, in the middle
of a hot afternoon
Your top was untied
And I thought how nice
It’d be to follow the sweat down your spine

You’re like my best friend
aw after a good, good drunk
You and me wake up and make love after a deep sleep
Where I was Dreamin’, I was Dreamin’ of a
Dreamgirl, Dreamgirl, Dreamgirl, Dreamgirl

Caught by a wave
my back to the ocean
it knocks me off my feet and
just as I find my footing
here you come again
Dreamgirl, aww Dreamgirl, Dreamgirl, Dreamgirl, Dreamgirl, Dreamgirl, Dreamgirl

(Scat….trails off)

*Deep in, Deep in
Deep in, Deep in
Deep in


Old Dirt Hill (Bring That Beat Back)

Bring that beat back to me again
Take me back, take me back, can't catch me can't catch me
Bring that beat back to me again
Take me back, take me back, can't catch me, can't catch me

Ride my bike down that old dirt hill (can't catch me)
First time without my trainin' wheels
First time I kissed you I lost my legs (can't catch me)
Bring that beat back to me again

Scream and shout out loud our innocence
Days when all we did would never end

Bring that beat back to me again
Take me back, take me back, can't catch me can't catch me
Bring that beat back to me again
Take me back, take me back, can't catch me can't catch me

Smokin' on the railroad bridge
I used to ride my bike down that old dirt hill
The first time I kissed you I lost my legs
Bring that beat back to me again

Scream and shout out loud our innocence
Days when all we did would never end

Screamin' down that old dirt hill
Bring that beat back to me again

Oh when it gets hard
That's when the days I remember seem so far
When I was just a kid that's what I miss
When I was just a kid that's what I miss
Take me back, Take me back to that beat again

Smokin' on the railroad bridge
Bring that beat back to me again (again)
Bring that beat back to me again (can't catch me)
Bring that beat back to me again
First time all we were was good friends
Bring that beat back to me again
Bring that beat back to me again
Bring that beat back to me again (can't catch me)
Bring that beat back to me again
Bring that beat back to me again
Bring that beat back to me again


Stand Up (For It)

Stand up! Stand up!
Stand up! Stand up!
Stand up!

I woke up to the angels
Singin' in my head
You look so good naked next to me
The angel in my bed

Stand up! Stand up!
Stand up! Stand up!
I feel like a drug is cookin' in my veins
I'm so out of my mind, I'll shoot you up again

Stand up! Stand up!
Stand up! Stand up!
Save my soul
Stand up!

I feel like smoke and fire
Burnin' us all
You drop me in the water
Lift me out, save my soul

Stand up! Stand up!
Stand up! Stand up!
Stand up! Stand up!
Stand up! Stand up!
Stand up!
Some one save my soul

Stand up! (x 42, with gibberish sung throughout)


American Baby [Intro]

She said a hundred times
She said a thousand times
And I hold on to you
She said

   

American Baby

If these walls came crumbling down,
Fell so hard to make us lose our faith,
From what’s left you’d figure it out,
Still make lemonade taste like a sunny day,

Stay, beautiful baby,
I hope you stay American, baby
American baby,

Nobody’s laughing now,
Gods grace lost and the devil is proud,
But I’ve been walking for a thousand miles,
One last time I could see you smile,

I, I, hold, hold on to you,
You bring me hope,
I’ll see you soon,
And if I don’t see you,
I’m afraid we’ve lost the way

Stay, beautiful baby,
I hope you stay American, baby
American baby (2x)

I hold on, to you, you lift me up
And always will,
I see you in life,
Hope I don’t get left behind,

I, I, hold, hold on to you,
You bring me hope,
I’ll see you soon,
And if I don’t see you,
I’m afraid we’ve lost the way

Stay, beautiful baby,
I hope you stay American, baby,
I hope you stay, beautiful baby,
I hope you stay American, baby,
American baby (2x)
Stay American, baby
Beautiful,

Nobody’s laughing now,
Cause you could always make me laugh out loud,
Stay American, baby
American baby,
Stay American, baby
American baby


Smooth Rider

angry
Last night
No way
I was gonna be left hungry
Then your daddy caught me sneakin out your bed
It's just a game i play
It's just i roll that way
Don't think, sweet baby
I'm messin with your head

I'm a smooth rider baby
You know I just keep movin on
I don't know why I like to carry on the way I do
It's just that I'm in love with you

If you see me out there runnin
And you hear the sherriff's comin
Your daddy's crazy with that gun in his hand
If you know they're comin for me
And you know they're running for me
You know my love won't let them keep me away

I'm a smooth rider baby
You know I just keep movin on
I don't know why I like to carry on the way I do
It's just that I'm in love with you

If you see me out there runnin
And you hear the sherriff's comin
Your daddy's crazy with that gun in his hand
If you know they're comin for me
And you know they're running for me
You know my love won't let them keep me away
I'm a smooth rider baby...


Everybody Wake Up (Our Finest Hour Arrives)

Everybody wake up
If you're living with your eyes closed
See the man with the bomb in his hand
Everybody wake up

Oh baby its not easy sometimes
But build these walls ever higher and hide behind them
Seems an odd way to try and make things right
Oh I feel like I'm crazy sometimes

(Our Finest hour arrives, see the pig dressed in his finest fine)
Finest Fine
The beleivers stand behind him and smile

Everybody wake up
If you're living with your eyes closed
See the man with the bomb in his hand
Everybody wake up

Oh I remember the words of the misguided fool
Do unto others as you'd have them do
and not an eye for an eye is the golden rule
Just leaves the room full of blind men

Out finest hour arrives
See the pig dressed in his finest fine
The believers stand behind him and smile
As the day lights up with fire

Everybody wake up,
Everybody wake up,
Everybody wake up,
Everybody wake up (Wake up),
Everybody wake up,
If you're living with your eyes closed
See the man with the bomb in his hand
Everybody wake up...


Out Of My Hands

On the window ledge I don't feel safe,
Stay looking down on you

It's out of my hands for now
It's out of my hands for now
I can't just walk away
It'd be nice to walk away
But I don't feel safe
Get away, all the way up here

*whispered* I said
It's out of my hands for now
It's out of my hands for now
Oh it is down from here
Down from here

*whispered* I said
Start to feel insane, betrayed
Out on my window ledge

And now our finest hour arrives,
See the pig dressed in his finest fine
And all the believers stand behind him and smile
And the day lights up with fire
Let me in
Let me in
I stopped feeling crazed, betrayed
Out on my window ledge

And now our finest hour arrives,
See the pig dressed in his finest fine
And all the believers stand behind him and smile
Watch the day lights up in fire
Lookin' down from here

It's out of my hands for now
On my window ledge
It's out of my hands for now
So let me in
Let me in
   

Hello Again

Sinnin' I've done my share of this
Still hope the lord forgive me my sins
Ten years ago down by the lake
I saw my sweet love, her watery grave
I close my eyes, still see her face
I'd give my soul to take back that day

Hello again, it's been too long,
Too long, too long, hello again
You know you got what it is I want
Anyway (could be "In a way") I'm gonna take it from you
Hello you know you got what it is I want
Any way I know I'm gonna take it from you
Hello, Hello, you know, Hello Again

It's like a note you got to never dance, man'?)
Over and over, I'm gonna see her face
Like inside my soul together with me
Over and over, I'm gonna see her face
Blown away, on that day

(Dave talks in the background)
I am a waste of the flesh on my bones
I am a waste of the air in my lungs
So go far from me, man, go and be saved
This serpent, not God, that crawls through my veins
Here we go

Hello again, it's been too long,
Too long, too long, hello again
You know you got what it is I want
Anyway (could be "In a way") I'm gonna take it from you
Hello you know you got what it is I want
Any way I know I'm gonna take it from you
Hello, Hello, you know, Hello Again

a truck load got set on me man
Over and over I'm gonna see her face
The scum in me likes the devils scheme here
Over and over I'm gonna see her face
Blown away, on that day, yeah, I am
Hello, you know, Hello, Hello Again
You know you got what it is I want
Anyway you know, my love, I'm gonna take it from you
Hello, you know, Hello, Hello again


Louisiana Bayou

No, no, mamma now dealer don't docey-doe
Two young boys lyin' dead by the side of the road
The coins on their eyes represent the money they owe
No judge or jury ever gonna hear their story told

Down by the bayou
Tryin to play with the cain-you
Tryin to play with the cain-you
Same old story again-you
Louisiana Bayou
Down by the bayou
Tryin to play with the cain-you
Tryin to play with the cain-you
Same old story again-you
Louisiana Bayou

Sweet girl daddy done beat that girl like he's insane
Brother can't watch him beat that girl down again
'Till late one night cookin up with a couple of friends
Swear his daddy never gonna see another day

Down by the bayou
Tryin to play with the cain-you
Tryin to play with the cain-you
Same old story again-you
Down by the bayou
Tryin to play with the cain-you
Tryin to play with the cain-you
Same old story again-you

No, no, mamma GOD and Devil don't docey-doe
Two young boys lyin' dead by the side of the road
Shame, shame
IT'S A SHAME TO LOSE YOUR WAY RUNNNG WILD
SHAME, SHAME
It's a shame to lose your way as a child
IT'S A SHAME TO LOSE YOUR..

Money on the bed but you aint got to go
Sold your soul just tryin to get overload
No EMPTY pocket gonna keep ya from gettin yours
No judge or jury ever gonna hear their story told

Down by the bayou
Tryin to play with the cain-you
Tryin to play with the cain-you
Same old story again-you
Down by the bayou
Tryin to play with the cain-you
Tryin to play with the cain-you
Same old story again-you

No, no, mamma tried doin the docey-doe
Two young boys lyin' dead by the side of the road
Down by the bayou
Tryin to play with the cain-you
Tryin to play with the cain-you
Same old story again-you

It's a shame

(Dave talking in bayou)


Stolen Away On 55th & 3rd

Hello, again.
It seems like forever between now and then.
You look the same.
I mean, you look different but you haven't changed.

Funny, to think how the time gets away.
Funny, how you take me right back again.

Chorus:
Stole me away.
The first time I saw you you did me that way.
What should I say?

I saw you laughing, when I was afraid I might get in the way.
I did not think I would see you again, SO How have you been?
Do you remember, I mean everything?

Chorus

Saw you there dancing, when I was afraid I might get in the way.
I did not think I would see you again.
Funny, to think how the time gets away.
Funny, how you take me right back again.
Funny, the feeling when forever ends.
Stole me away.
First time I saw you you did me that way,
What should I say?

Saw you there dancing, when I was afraid I might get in the way.
I never thought I would see you again, how have you been?
WATCHIN' THE YEARS AS THEY trickle away?
it's everything how time gets away.
Funny, how you take me right back again.
Steal me away.

Like the first time I saw you, you do me that way.
What should I say?
I see you there standing, and I am afraid I might get in the way.

I never thought I would see you again, how have you been?
Do you remember, I mean everything?
You steal me away.
LIKE the first time I saw you you do me that way
What can I say?
I see you standing, when I am afraid I might get in your way.


You Might Die Trying

To change the world, start with one step
However small, the first step is hardest of all
Once you get your gait, you'll be walkin' tall
You said you never did, cuz you might die tryin'
Cuz you might die tryin', cuz you...

If you close your eyes cuz the house is on fire
And think you couldn't move until fire dies
The things you never did, oh, cuz you might die tryin'
Cuz you might die tryin', you'd be as good as dead
Cuz you might die tryin', cuz you might die tryin'

(sax solo) I still remember I woke up and all ran away

If you give, you begin to live
If you give, you begin to live
You begin, you get the world
If you give, you begin to live
You get the world, you get the world
If you give,YOU BEGIN TO LIVE, YOU MIGHT DIE TRYIN'
Oh you might die tryin', you might die tryin'
The things you never did, oh cuz you might die tryin'
You'd be as good as dead
The things you never did


Steady As We Go

I'll walk halfway around the world
Just to sit down by your side
And I would do most anything, girl
To be the apple of your eye
Well troubles, they may come and go
But good times, they're the gold
And if the road gets rocky, girl
Just steady as we go

Any place you wanna go
Know I'll be next to you
If it's treasure, baby, you're looking for
I'll search the whole world through
I know troubles, they may come and go
But good times, they're the gold
So if the road gets rocky, girl
Just steady as we go

When the storm comes down you shelter me
When I don't say a word and you know exactly what i mean
In the darkest times, oh, you shine on me
You set me free and keep me steady as we go

So if your heart wrings dry, my love
I will fill your cup
And if your load gets heavy, girl
I will lift you up
Well troubles, they may come and go
But good times be the gold
So if the road gets rocky, girl
Just steady as we go

- Dave ad lib -

Shine, shine, shine
shine on me, baby


Hunger For The Great Light

Oh great light of love
Oh great light of love
Oh great light of love
OH GREAT LIGHT OF LOVE

Here you go, you dirty girl
Good God, try to love try to oh
God's love is alive inside you
You know who needs you

I wanna be your hunger
I wanna see you open wide
And then I COULD go down for you
I wanna blow your mind

It's my aim to kill you
My aim's to love you

You and I ARE such a pretty thing
Smile, smile, you know you thrill me
Cross your heart and hope to die
You know I'd love to

I wanna be your hunger
I wanna see you open wide
And when I go down for you
I wanna blow your mind

You and I oh oh
Shine, shine

Oh great light of love
Oh great light of love
Oh great light of love
Oh great light of love

You come like an ANSWERED prayer
Praise God, try to love try to oh
I have the little death delight
Oh I love you

I wanna be your HUNGRY
I wanna see you open wide
And when I go down for you
I wanna blow your mind

You, you, hey you
You, you, ohh
You, you, ohh
 

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