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Paul McCartney: Band on the Run

 A l b u m   D e t a i l s


Label: Ring Records
Released: 1973.12.01
Time:
 41:02
Category: Pop/Rock
Producer(s): Geoff Emerick
Rating: *****..... (5/10)
Media type: CD
Web address: www.paulmccartney.com
Appears with: The Beatles
Purchase date: 2000.02.19
Price in €: 5,99



 S o n g s ,   T r a c k s


[1] Band on the Run (McCartney) - 5:12
[2] Jet (McCartney) - 4:13
[3] Bluebird (McCartney) - 3:24
[4] Mrs. Vandebilt (McCartney) - 4:44
[5] Let Me Roll It (McCartney) - 4:52
[6] Mamunia (McCartney) - 4:51
[7] No Words (Laine/McCartney) - 2:33
[8] Helen Wheels (McCartney) - 3:47
[9] Picasso's Last Words [Drink to Me] (McCartney) - 5:52
[10] Nineteen Hundred and Eighty Five (McCartney) - 5:29

 A r t i s t s ,   P e r s o n n e l


PAUL MCCARTNEY - Bass, Guitar, Piano, Vocals
DENNY LAINE - Guitar, Keyboards, Vocals
HOWIE CASEY - Saxophone
REMI KABAKA - Percussion
LINDA MCCARTNEY - Vocals

GEOFF EMERICK - Producer, Engineer
STEVE HOFFMAN - Remastering

 C o m m e n t s ,   N o t e s


Neither the dippy, rustic Wild Life nor the slick AOR flourishes of Red Rose Speedway earned McCartney much respect, so he made the self-consciously ambitious Band on the Run to rebuke his critics. On the surface, Band on the Run appears to be constructed as a song cycle in the vein of Abbey Road, but subsequent listens reveal that the only similarities the two albums share are simply superficial. McCartney's talent for songcraft and nuanced arrangements is in ample display throughout the record, which makes many of the songs -- including the nonsensical title track -- sound more substantial than they actually are. While a handful of the songs are excellent -- the surging, inspired surrealism of "Jet" is by far one of his best solo recordings, "Bluebird" is sunny acoustic pop and "Helen Wheels" captures McCartney rocking with abandon -- most of the songs are more style than substance. Yet McCartney's melodies are more consistent than any of previous solo records, and there are no throwaways; the songs just happen to be not very good. Still, the record is enjoyable, whether it's the minor-key "Mrs. Vanderbilt" or "Let Me Roll It," a silly response to John Lennon's "How Do You Sleep," awhich does make Band on the Run one of McCartney's finest solo efforts. However, there's little of real substance on the record. No matter how elaborate the production is, or how cleverly his mini-suites are constructed, Band on the Run is nothing more than a triumph of showmanship.

Stephen Thomas Erlewine, All-Music Guide



Band on the Run should have been a disaster. Two of Wings' original members quit in a huff just before its production. The whimsical decision to record in Lagos, Nigeria, became a nightmare when McCartney and company found themselves in a decaying studio, then had many of the project's demos stolen by armed bandits. Despite these hardships--perhaps because of them--Band on the Run remains the most focused and consistently satisfying record of McCartney's wildly uneven post-Beatles career. This mini box set contains the original album, a well-written booklet by Mark Lewisohn, and a bonus disc featuring outtake snippets and interviews with all the album's participants (including its cover crew, which includes actors James Coburn and Christopher Lee) and Dustin Hoffman, who recounts how he spurred McCartney to spontaneously write "Picasso's Last Words" on a dare. This second disc would make a fine radio show; it comes up short where it matters most--in music. Time spent detailing the album-cover photo session could have been more gratifyingly devoted to more contemporary outtakes (much of the bonus Band material is culled from live performances from as recently as the mid '90s; perhaps McCartney wants us to know how important the record has been to him over the years) or to a pair of single B-sides, which are curiously absent here.

Jerry McCulley - Amazon.com



Having decided it might be far out to cut a new Wings album in Lagos, Nigeria, Paul had already made all necessary arrangements when guitarist Henry McCullough and drummer Denny Seiwell announced that he could make the trip without them. Apparently they felt they were being turned into McCartney-programmed robots, and didn't like it any more than George and Ringo had. In their absence, Paul pulled himself together to create an album that picked up where Abbey Road left off. In doing so, he combined a sense of urgency with his renewed self-confidence; as Mrs. McCartney told Sounds: "Paul thought, I've got to do it, either I give up and cut my throat or get my magic back."

Supported only by his two unplucked Wings, Linda and faithful rhythm guitarist Denny Laine, Paul painstakingly overdubbed guitars, keyboards, synthesizers, Mellotrons, and some highly competent drumwork, on top of the most lyrical McCartney bass runs in years. (Occasionally Wings were joined by a smattering of local percussion, which led to charges that they had swooped down on Lagos in order to rip off Nigeria's musical heritage.) The process recalled that first do-it-yourself McCartney solo LP, but the results were incomparably more successful on every level. Band On the Run more than sufficed to dispel the stigma of all than intervening wimpery. And the aging hippies all said: McCartney Is Back.

Replacing their usual withering disdain with an Album of the Year award, Rolling Stone hailed McCartney's "subtle attempts to mythologize his own experience through the creation of a fantasy world of adventure -- perhaps remotely inspired by his having written "Live and Let Die." He does it by uniting the myth of the rock star and the outlaw, the original legendary figure "On The Run." Although Paul denied having consciously devided a Concept Album, he admitted to "a thread" loosely tying the songs together. Nearly all of Band On the Run's exceptionally uplifting melodies are coupled with lyrics about escape, flight, and freedom.

Some of the songs seem to use escaping from prison as a metaphor for McCartney's determination (finally realized) to break out of the rut he had landed himself in when the Beatles broke up. He revealed that a key phrase on the song "Band On The Run" -- "if we ever get out of here" -- was a remark George Harrison had made during one of those interminable Apple board meetings; and in "Helen Wheels" -- the punning name he gave his Land Rover -- Paul chronicles that first post-Beatles free-wheeling English tour he undertook in early 1972. (This song, in an odd reversal of tradition, was added to the American version of Band On the Run; elsewhere it was available only on a single.) The LP jacket depicts the remaining three Wings as outlaws, up against the wall in the bad company of James Coburn, Christopher Lee, Kenny Lynch, and John Conteh.

One of the most talked-about tracks was "Let Me Roll It," win which many critics discerned an affectionate tribute to John Lennon and his Plastic Ono sound -- and one more sign than the Beatles were pals again. Another focus of attention was McCartney's musical interpretation of Cubist painter Picasso's last words, which reportedly were "Drink to me, drink to my health, you know I can't drink any more." When Dustin Hoffman originally brought the quote to Paul's attention with the suggestion that it might make a good lyric, the ex-Beatle responded by whipping out a guitar and setting Picasso's last words to music on the spot, much to the actor's delight. In Lagos, McCartney decided to "cut it up, edit it, mess around with it, like he [Picasso] used to do with his pictures," and wound up weaving other Band On the Run melodies and snatched of French dialogue in and out of the recording.

Band On the Run did not really catch fire until two more of its numbers hit the big time as singles: the supersonic "Jet" and the five-minute, five-part title song (which Capitol hype dubbed "a mini-rock opera"). Finally, four months after its release, the album made itself at home at Number One; three years later and five million copies later, it was still on the charts, making Band On the Run the most popular of any of the Beatles' solo LP's and one of the Seventies' biggest and most consistent sellers. While Paul would soon abandon some of the sense of adventure that helped turn Band On the Run into as much of a smash with the critics as the public, he would never again forget how to make records.

Band On the Run first appeared on the Billboard charts on December 22, 1973, reaching #1 and spending a total of 116 weeks.

Nicholas Shaffner
The Beatles Forever, pp. 165-66.



It's been such a long time since anyone of the mighty foursome has given us something to really scream about. I mean, sure, by comparison with most of the stuff that comes out of John, Paul, George and Ringo have been excellent, but, compared to their united efforts of yesteryear, they've been nothing.

Now, Paul fans, you may scream, screech, and yes, rejoice. Band On The Run is absolutely brilliant. From the first strains of the title track there is an obvious difference. Suddenly all the subtleties of McCartney melody lines are back. And the vocals? Not since Abbey Road has Paul delivered such clear and satisfying performances. The album is credited to Wings, but for the first time this is a Paul McCartney album and no one gets in his way or mars the full effect.

"Jet" roars in, leaving little time to notice the transition from "Band On The Run." All of a sudden the room is filled with soaring harmonies, raunchy, rocking riffs and clever, distinctly McCartneyesque lyrics. Then there's "Bluebird," a delicate ballad with tasteful choruses and a lovely percussion section.

The album was recorded in Lagos, Afrca and there has to be a touch of the native influence. "Mrs. Vandebilt" spans the spectrum of McCartney's songwriting styles. Skipping lightly between the African tribal dance sounds and the majestic chord changes of earlier masterpieces, the band is flawless as is Paul's performance. Denny Laine fills in on Harrison-like guitar solos. This is not reactionary music, it's just damned good music. Lyrically the album is not strong, musically it meets and surpasses everything this kid from Liverpool has ever done before.

Band On The Run is an album to be amazed at, to tell people about, to buy for your friends and to play constantly.

Janis Schacht - Circus, 3/74.



I originally underrated what many consider McCartney's definitive post-Beatles statement, but not as much as its admirers overrate it. Pop masterpiece? This? Sure, it's a relief after the vagaries of Wild Life and Red Rose Speedway and most of side one passes tunefully enough -- "Let Me Roll It" might be an answer to "I Want You (She's So Heavy)" and "Jet" is indeed more "fun" than "Uncle Albert/Admiral Halsey." But beyond those two the high points are the title track, about the oppression of rock musicians by cannabis-crazed bureaucrats, and the Afro-soul intro to "Mamunia," appropriated from relatives of the Nigerian children who posed for the inner sleeve with Sah and helpmates. C+

Robert Christgau, Christgau's Record Guide, 1981.



Easily, McCartney's most successful and listenable outing, Band on the Run was recorded in Nigeria and reflects both his fine pop sensibility and production acumen (most of the sounds that make up the recording were, in fact, done by McCartney alone in the studio). It does contain some strong Seventies pop product, "Band on the Run," "Jet," and "Let Me Roll It" being the highlights. While it goes beyond mere aural wallpaper, it isn't any masterpiece either. The CD's sound, marred by some hiss as well as harshness and distortion, is more open, dynamic, and warm than that of the LP. B

Bill Shapiro, Rock & Roll Review: A Guide to Good Rock on CD, 1991.



On his best post-Beatles album, McCartney uses his mastery of studio technique and gift for musical juxtaposition - from symphonic touches to hard rock to melodic acoustic music - in a wonderful collection of well-constructed songs, including the Top Ten hits "Helen Wheels," "Band on the Run," and "Jet." * * * *

William Ruhlmann - 1995, All-Music Guide, © 1992 - 2001 AEC One Stop Group, Inc.



Everyone eventually winds up writing about themselves—the problem is finding the best way to go about it. To write about oneself literally, in the first person, presumes a more interesting personal life and philosophy than most rock lyricists possess. John Lennon was good for one great album based on musical direct address, Plastic Ono Band. Ten years from now he may have accumulated enough personal data on which to base another as provocative. In the meantime, he has cut himself off from all the other ways in which lyrics can be used—most importantly, to create imaginative worlds in which characters, ideas, fantasies and illusions are invented and appreciated apart from our interest in the artist's private life, per se.

The best rock lyricists have always used words in just those ways. They have been defining and redefining myths and icons, symbols that can stand for both their private feelings and those that transcend their personal point of view and speak to the audience's collective consciousness. Among the more obvious recent examples, culled from American artists: Dylan's interpretations of John Wesley Hardin and Billy the Kid; the Eagles' underrated parable of a rock band as an aging group of obsolete outlaws, Desperado, and Steve Miller's attempts to unify new and old myths through the creation of personas like the Gangster of Love and the Space Cowboy.

The Band, the most self-conscious American band, have transformed everything they've touched into a permanent image of the past as it was supposed to have been, which is as good a definition of mythologizing as rock requires. On one album they appear as survivors of a forgotten era and culture (The Band) and on another define their and our rock & roll past (Moondog Matinee).

Moondog Matinee freezes in time our image of a scuffling North American bar band in the early Sixties. The Who, England's most self-conscious band, have released Quadrophenia, which in turn freezes in time our image of the mid-Sixties Mod sensibility. Their album will become a definitive reference point for interpreting the recent rock experience as we necessarily come to rely more on interpretations of the past than on our ever-changing memories of it. Quadrophenia is both autobiography and mythology, the one dimension continually enhancing the impact of the other.

The Beatles assumed a sustained fictitious identity only once, on Sgt. Pepper's Lonely Hearts Club Band. By making themselves over as the disciples of Billy Shears, just another vaudeville revue, they could perform material that might have been rejected coming from the Beatles qua Beatles—songs like "When I'm 64," "Being for the Benefit of Mr. Kite" and the title cut.

Of the four former Beatles, John Lennon and George Harrison have gone on to write exclusively in the first person, their lyrics, both good and bad, never more or less than simple statements of their ideas and feelings. Ringo Starr and Paul McCartney have moved in the other direction, expressing themselves no less personally but through more inventive means. Starr has released an album whose subject is the myth of his own stardom, an extension of one of Sgt. Pepper's themes. (Producer Richard Perry has also been preoccupied with notions of stardom dating back to his Fats Is Back, an album with a theme and album cover that, like Ringo's, centers around stars.)

Band on the Run finds McCartney walking a middle ground between autobiographical songwriting and subtle attempts to mythologize his own experience through the creation of a fantasy world of adventure—perhaps remotely inspired by his having recently written "Live and Let Die." He does it by uniting the myth of the rock star and the outlaw, the original legendary figure on the run.

Up until now, the critical assumption has been that McCartney's lyrics mean little if anything, that he is a mere stylist, playing games with words and sounds. And it is of course possible that the words to Band on the Run don't mean (or weren't intended to mean) as much as I think they do. But I'll take a chance, and say that Band on the Run is an album about the search for freedom and the flight from restrictions on his and Linda's personal happiness. It is about the pursuit of freedom from his past as a Beatle, freedom from the consequences of the drug busts that have kept him from the United States and forced him into thinking of himself as an outlaw (witness the album cover, as well as the title). It is also about two people becoming what they want to be, trying to decide what they want to do, and asking to be accepted for what they are now rather than what they were then.

If the listener were to ignore the music and the skill with which McCartney has developed his theme, the entire enterprise might seem banal. But he holds the record together through the continual intimation that he enjoys the search for freedom more than he might enjoy freedom itself. In the best tradition of outlaw mythology, he makes being on the run sound so damned exciting.

I'm surprised I like Band on the Run so much more than McCartney's other solo albums because, superficially, it doesn't seem so different from them. Its superiority derives from a subtle shifting and rearrangement of elements running through all of his post-Beatles music, a rounding out of ideas that had previously been allowed to stand half-baked, often embarrassingly so. Band on the Run is no collection of song fragments (McCartney, Ram), nor a collection of mediocre and directionless songs (Wings, Red Rose Speedway). Band on the Run is a carefully composed, intricately designed personal statement that will make it impossible for anyone to classify Paul McCartney as a mere stylist again.

A lesser talent would have taken the escape concept and perhaps woven a simple story around it. But, consistent with his own past, the songs overlap both in their content and sentiments (some are even reprised), the album forming a unit without ever becoming too schematic, literal, overbearing or overtly accessible.

On Band on the Run, there are two separate searches going on: McCartney's for himself and the listener's for McCartney. The title song begins soberly, its narrator in jail, his music depressed. Both he and the album explode at the moment of his escape, the newfound exhilaration suggesting that there could have been no such pleasure without the preceding pain and that while McCartney prefers the former to the latter, he has learned how to cope with both.

From the moment of escape, everything on the album eventually evokes the notion of flight. "Jet," a superb piece of music with an obscure lyric about the McCartneys' dog, suggests an overwhelming desire not only to get away but to get away to someone. It ends up a love song, a tribute to both a person and a state of mind, propelled forward by a grand performance.

"Helen Wheels" (which wasn't supposed to be on the album) is about the McCartneys' Land Rover and is another travel song, more upbeat, and feeding the fantasy of a rock band looking for action. Even on a simple love song, "Bluebird," we find the narrator "... flying through your door" to take his lover away, "... as we head across the sea/And at last we will be free."

"Mrs. Vandebilt," which evidences some of Paul's healthy propensity for playfulness and nonsense, is vaguely about the outlaw's need for a haven, in this case the fantasy world of carefree jungle life (presumably inspired by their recording the LP in Lagos, Nigeria). In an album that contains a number of subtle and sometimes (perhaps) unintended comments on the Beatles, his innocent questions, "What's the use of worrying?/What's the use of hurrying?/What's the use of anything?" might be construed as a comment on Harrison and Lennon's continued high-mindedness and overbearing seriousness.

In point of fact, Band on the Run is closer to the Beatles' style than Ringo, which, though it utilized all the members of the group, is more Richard Perry than Ringo Starr. McCartney's emphasis on amplified acoustic guitars, double-tracked vocals, and a generally thin sound in the middle range, places much of the LP in the Hard Days' Night-Beatles VI mold. Despite the presence of pure McCartney elements (the lovely strings, so well done by Tony Visconti, the elaborate percussion so superior to Rams's) references to the Beatles make an important contribution to the album's mythic undercurrents.

"Mrs. Vanderbilt" fools with McCartney's own excesses of style from Ram, sounding vaguely like (although far superior to) my least favorite of his recrods, "Hankberry Moon Delight." "Mamunia," a lovely song about accepting nature as unalterable, begins with a guitar intro suspiciously like Harrison's on "Give Me Love," though all similarity ends when the vocal begins.

But there is no mistaking McCartney's intention on "Let Me Roll It." A parody of and tribute to John Lennon's Plastic Ono style, he re-creates it with such precision, inspiration, enthusiasm and good humor that I am hard pressed to remember whether Lennon has recorded even a handful of songs that better it, McCartney goes all the way: a perfect vocal imitation, duplication of the Lennon-Spector production style, use of Lennon's lead guitar punctuations and the simple arrangement (complete with tacky Farfisa organ). "Let Me Roll It" is McCartney joyfully asserting that he can play his former partner's music as well as Lennon can, at the same time that it stands on its own as a perfectly satisfying piece of work.

"Picasso's Last Words (Drink to Me)" is the album's most personally revealing and one of its most moving songs. Dylan mythologizes cowboys: McCartney idealizes artists. But his celebration of Picasso's life at the moment of his death quickly turns into a fantasy about his own death. He asks only that his woman sing the same words to him that he sings for Picasso: "Drink to me, drink to my health, you know I can't drink any more." His approach to death is remarkably good humored and a segue into "Jet" now suggests an even more grandiose escape than th one from jail.

Perhaps McCartney can face death with humor because, as the hilarious rock & roll of "1985" suggests, he plans to stick around for some time. It would have been easy to end Band on the Run with the cut's happy projection of the future, but McCartney doesn't take the easy way out this time around. At the exciting conclusion of "1985," he segues into a short reprise of the title cut, a move suggesting once again that he isn't really sure that he wants to give up the search and the 3/4ight. They. have become ends in themselves, part of his life, part of the mythology he has built up around himself, part of the fantasy he helped to create about the life of rock stars.

The album's abrupt and surprising ending suggests that the McCartneys are afraid they may find what they are looking for only to discover that it, too, fails to satisfy them. Thus they end with only one commitment: to remain a band on the run. That decision has resulted in (with the possible exception of John Lennon's Plastic Ono Band) the finest record yet released by any of the four musicians who were once called the Beatles.

JON LANDAU - RS 153
© Copyright 2001 RollingStone.com
 

 L y r i c s


BAND ON THE RUN

Stuck Inside These Four Walls, Sent Inside Forever,
Never Seeing No One Nice Again Like You,
Mama You, Mama You.

If I Ever Get Out Of Here,
Thought Of Giving It All Away
To A Registered Charity.
All I Need Is A Pint A Day
If I Ever Get Out Of Here.

Well, The Rain Exploded With A Mighty Crash As We Fell Into The Sun,
And The First One Said To The Second One There I Hope You're Having Fun.
Band On The Run, Band On The Run.
And The Jailer Man And Sailor Sam Were Searching Every One

For the band on the run, Band on the run,  Band on the run, Band on the run

Well, The Undertaker Drew A Heavy Sigh Seeing No One Else Had Come,
And A Bell Was Ringing In The Village Square for the rabbits on the run.
Band On The Run, Band On The Run.
And The Jailer Man And Sailor Sam,  were searching every one

For the band on the run, Band on the run,  Band on the run, Band on the run

Well, The Night Was Falling As The Desert World began To Settle Down.
In The Town They're Searching For Us Every Where, but We Never W Ill Be Found.
Band on the run, Band on the run

And The County Judge, who held a grudge
Will search for evermore
For the band on the run, Band on the run,  Band on the run, Band on the run


JET

Jet! I Can Almost Remember Their Funny Faces
That Time You Told Me That
You Were Going To Be Marrying Soon.
And Jet, I Thought The Only
Lonely Place Was On The Moon.
Jet! Jet!

Jet! Was Your Father As Bold As A Sergeant Major?
How Come He Told You That
You Were Hardly Old Enough Yet?
And Jet, I Thought The Major
Was A Lady Suffragette.
Jet! Jet!

Ah, Matter, Want Jet To Always Love Me?
Ah, Matter, Want Jet To Always Love Me?
Ah, Matter, Much Later.

Jet! With The Wind In Your Hair Of A Thousand Laces.
Climb On The Back And We'll
Go For A Ride In The Sky.
And Jet, I Thought The Major
Was A Lady Suffragette.
Jet! Jet!


BLUEBIRD

Late At Night When The Wind Is Still
I'll Come Flying Through Your Door,
And You'll Know What Love Is For.

L'm A Bluebird, I'm A Bluebird
I'm A Bluebird, L'm A Bluebird
Yeah ,Yeah ,Yeah.

I'm A Bluebird, I'm A Bluebird,
I'm A Bluebird
Yeah, Yeah, Yeah.

Touch Your Lips With A Magic Kiss
And You'll Be A Bluebird Too,
And You'll Know What Love Can Do.

L'm A Bluebird, I'm A Bluebird
L'm A Bluebird, L'm A Bluebird
Yeah, Yeah, Yeah.

L'm A Bluebird, I'm A Bluebird,
L'm A Bluebird,
Yeah, Yeah, Yeah.

Bluebird
Ah Ha,
Bluebird
Ah Ha,
Bluebird.

Fly Away Through The Midnight Air
As We Head Across The Sea,
And At Last We Will Be Free.

You're A Bluebird, You're A Bluebird,
You're A Bluebird, You're A Bluebird
Yeah, Yeah, Yeah.
You're A Bluebird, You're A Bluebird
You're A Bluebird
Yeah, Yeah ,Yeah.

Bluebird
Ah Ha,
Bluebird
Ah Ha,
Bluebird.

All Alone On A Desert Island
We're Living In The Trees,
And We're Flying In The Breeze.

We're The Bluebirds, We're The Bluebirds
We're The Bluebirds, We're The Bluebirds
Yeah, Yeah, Yeah.

We're The Bluebirds, We're The Bluebirds
We're The Bluebirds
Yeah, Yeah, Yeah.
Bluebird
Ah Ha,
Bluebird
Ah Ha,
Bluebird.


MRS VANDEBILT

Down In The Jungle Is On The Blink
You Don't Use Money You Don't Pay Rent
You Don't Ever Know The Time
But You Don't Mind

Ho Hey Ho...

When Your Light Is On The Blink
You Never Think Of Worrying
What's The Use Of Worrying?
When Your Bus Has Left The Stop
You'd Better Drop Your Hurrying
What's The Of Hurrying?
Leave Me Alone Mrs Vandebilt
I've Got Plenty Of Time Of My Own
What's The Use Of Worrying?
What's The Use Of Hurrying?
What's The Use Of Anything?

Ho Hey Ho...

What's The Use Of Worrying?
What's The Use Of Hurrying?
What's The Use Of Anything?

Ho Hey Ho...

When Your Pile Is One The Wane
You Don't Complain Of Robbery
Run Away Don't Bother Me
What's The Use Of Worrying?
What's The Use Of Anything?
Leave Me Alone Mrs Washington
I've Done Plenty Of Time On My Own

What's The Use Of Worrying?
What's The Use Of Hurrying? (No Use!)
What's The Use Of Anything?

Ho Hey Ho...


LET ME ROLL IT

You Gave Me Something, I Understand,
You Gave Me Loving In The Palm Of My Hand

I Can't Tell You How I Feel
My Heart Is Like A Wheel
Let Me Roll It
Let Me Roll It To You
Let Me Roll It
Let Me Toll It To You

I Want To Tell You
And Now's The Time
I Want To Tell You That
You're Going To Be Mine

I Can't Tell You How I Feel
My Heart Is Like A Wheel.
Let Me Roll It
Let Me Roll It To You
Let Me Roll It
Let Me Roll It To You


MAMUNIA

Mamunia Mamunia Mamunia
Oh Oh Oh
Mamunia Mamunia Oh Oh Oh Oh

The Rain Comes Falling From The Sky,
To Fill The Stream That Fills The Sea
And That's Where Life Began For You And Me

So The Next Time You See Rain It Ain't Bad,
Don't Complain It Rains For You,
The Next Time You See L.A. Rainclouds,
Don't Complain It Rains For You And Me

Mamunia...

It Might Have Been A Bright Blue Day
But Rainclouds Had To Come This Way
They're Watering Everything That They Can See.

A Seed Is Waiting In The Earth
For Rain To Come And Give Him Free,
So The Next Time You See L.A. Rainclouds
Don't Complain, It Rains For You.

So Lay Down Your Umbrellas
Strip Off Your Plastic Macs.
You've Never Felt The Rain My Friend,
Till You've Felt It Running Down Your Back

So The Next Time You See Rain, It Ain't Bad
Don't Complain, It Rains For You.
The Next Time You See L.A. Rainclouds
Don't Complain It Rains For You And Me.

Mamunia...


NO WORDS

You Want To Give Your Love Away
And End Up Giving Nothing
I'm Not Surprised, That Your Black Eyes
Are Gazing.

You Say That Love Is Everything
And What We Need The Most Of
I Wish You Knew, That's Just How True
My Love Was.

No Words For My Love

You're Burning Love, Sweet Burning Love
It's Deep Inside,
You Mustn't Hide, Your Burning Love
Sweet Burning Love, Your Burning Love.

You Want To Turn Your Head Away
And Someone's Thinking Of You
I Wish You'd See, It's Only Me,
I Love You.

No Words For My Love


PICASSO'S LAST WORDS (DRINK TO ME)

The Grand Old Painter Died Last Night
His Paintings On The Wall
Before He Went He Bade Us Well
And Said Goodnight To Us All.

Drink To Me, Drink To My Health
You Know I Can't Drink Any More
Drink To Me, Drink To My Health
You Know I Can't Drink Any More

3 O'clock In The Morning
I'm Getting Ready For Bed
It Came Without A Warning
But I'll Be Waiting For You Baby
I'll Be Waiting For You There

So Drink To Me Drink To My Health
You Know I Can't Drink Any More
Drink To Me Drink To My Health
You Know I Can't Drink Any More

French Interlude

Temp Change

Jet... Drink To Me

Drunken Chorus

French (Tempo) Drink To Me... Ho Hey Ho


NINETEEN HUNDRED AND EIGHTY FIVE

On No One Left Alive In 1985, Will Ever Do
She May Be Right
She May Be Fine
She May Get Love But She Won't Get Mine
'Cos I Got You
Oh I Oh I
Well I Just Can't Enough Of That Sweet Stuff
My Little Lady Gets Behind

Interlude

On My Mama Said The Time Would Come
When I Would Find Myself In Love With You
I Didn't Think I Never Dreamed
That I Would Be Around To See It All Come True
Woh I Oh I
Well I Just Can't Get Enough Of That Sweet Stuff
My Little Lady Gets Behind.


HELEN WHEELS

Said Farewell To My Last Hotel, It Was Never Much Kind Of Abode
Glasgow Town Never Brought Me Down When I Was Heading Out On The Road
Carlisle City Never Looked So Pretty And The Kendal Freeway's Fast
Slowdown Driver, Want To Stay Alive, I Want To Make This Journey Last.

Chorus
Helen, Hell On Wheels, Ain't Nobody Else Gonna Know The Way She Feels
Helen, Hell On Wheels, And They Never Gonna Take Her Away

M6 South Down To Liverpool, Where They Play The West Coast Sound,
Sailor Sam He Came From Birmingham But He Never Will Be Found
Doing Fine When A London Sign Greets Me Like A Long Lost Friend,
Mister Motor Won't You Check Her Out, She's Got To Take Me Back Again.

Chorus


COUNTRY DREAMER

I'd like to walk in a field with you,
take my hat and my boots off too.
I'd like to lie in a field with you.
Would you like to do it too, may?
Would you like to do it too?

I'd like to stand in a stream with you,
roll my trousers up and not feel blue.
I'd like to wash in a stream with you.
Would you like to do it too?

You and I, country dreamer,
when there's nothing else to do;
Me oh my, conutry dreamer,
make a country dream come true.

I'd like to climb up a hill with you,
stand on top and admire the view.
I'd like to roll down a hill with you.
Would you like to do it too, may?
Would you like to do it too?

I'd like to climb up a hill with you,
take my hat and my boots off too.
I'd like to lie in a field with you.
Would you like to do it too, may?
Would you like to do it too?

 M P 3   S a m p l e s


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