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Paul McCartney: Fleming Pie

 A l b u m   D e t a i l s


Label: MPL Communications Inc.
Released: 1997
Time:
 53:44
Category: Pop/Rock
Producer(s): George Martin, Jeff Lynne, Paul McCartney
Rating: ******.... (6/10)
Media type: CD
Web address: www.paulmccartney.com
Appears with: The Beatles
Purchase date: 2000.04.17
Price in €: 5,99



 S o n g s ,   T r a c k s


[1] Song We Were Singing (McCartney) - 3:52
[2] World Tonight (McCartney) - 4:03
[3] If You Wanna (McCartney) - 4:36
[4] Somedays (McCartney) - 4:11
[5] Young Boy (McCartney) - 3:54
[6] Calico Skies (McCartney) - 2:29
[7] Flaming Pie (McCartney) - 2:27
[8] Heaven on a Sunday (McCartney) - 4:26
[9] Used to Be Bad (McCartney/Miller) - 4:08
[10] Souvenir (McCartney) - 3:38
[11] Little Willow (McCartney) - 2:55
[12] Really Love You (McCartney/Starr) - 5:14
[13] Beautiful Night (McCartney) - 5:03
[14] Great Day (McCartney) - 2:06

 A r t i s t s ,   P e r s o n n e l


PAUL MCCARTNEY - Organ, Acoustic, Electric, Spanish, 12 String & Bass Guitar, Percussion, Piano, Drums, Harmonium, Harpsichord, Hammond B3 Organ, Vibraphone, Vocals, Background Vocals, Double Bass, Harmony Vocals, Mellotron, Fender Rhodes, Wurlitzer

JEFF LYNNE - Acoustic & Eletric Guitar, Keyboards, Background Vocals, Harmony Vocals, Electric Spinette Harpischord
RINGO STARR - Percussion, Drums, Background Vocals
LINDA MCCARTNEY - Background Vocals, Photography
STEVE MILLER - Acoustic, Rhythm & Eletric Guitar, Background Vocals, Harmony Vocals
JAMES MCCARTNEY - Electric Guitar

GEORGE MARTIN - Orchestration
MICHAEL THOMPSON - Horn, French Horn
LEVINE ANDRADE - Viola
ROBERT BAILEY - Cello, Celli
JOHN BARCLAY - Trumpet
DAVE BISHOP - Baritone Saxophone
BELINDA BUNT - Violin
ROY CARTER - Oboe, Cor Anglais
MICHAEL COX - Flute
CHRIS DAVIS - Saxophone
SNAKE DAVIS - Saxophone
RICHARD EDWARDS - Trombone
ANDREW FINDON - Alto Flute
ROGER GARLAND - Violin
SKAILA KANGA - Harp
GARY KETTEL - Percussion
CHRIS LAURENCE - Double Bass
ADRIAN LEVINE - Violin
MARTIN LOVEDAY - Cello, Celli
RITA MANNING - Violin
ROBIN MCGEE - Double Bass
BERNARD PARTRIDGE - Violin
ANTHONY PLEETH - Cello, Celli
MACIEJ RAKOWSKI - Violin
JOHNATHAN REES - Violin
KEVIN ROBINSON - Trumpet
GRAEME SCOTT - Viola
ROBERT SMISSEN - Viola
DAVID SNELL - Conductor
STEPHEN TEES - Viola
DAVID THEODORE - Oboe
DAVE WOODCOCK - Violin
RICHARD BISSILL - French Horn
STEVEN ORTON - Cello, Celli
PETER LALE - Viola
JULIAN TEAR - Violin
BOGUSLAW KOSTECKI - Violin
DAVID OGDEN - Violin
JEREMY WILLIAMS - Violin
ANDREW CROWLEY - Trumpet
MARK BENNETT - Trumpet
MARCIA CRAYFORD - Violin
PHILIP DUKES - Viola
ANDY FAWBERT - Trombone
KEITH PASCOE - Violin
JOHN PIGNEGUY - French Horn
IVO JAN VANDERWERFF - Viola
RICHARD WATKINS - Horn, French Horn
PETER MANNING - Violin
SUSAN MILAN - Flute
MARTIN PARRY - Flute
CHRISTIAN KAMPEN - Cello, Celli
JACKIE HARTLEY - Violin
BRIONY SHAW - Violin
JEREMY SMISSEN - Viola
NIGEL BLACK - Horn

KEITH SMITH - Assistant Engineer
GREG CALBI - Mastering
GEOFF EMERICK - Engineer
FRANK FARRELL - Engineer
JON JACOBS - Engineer
BOB KRAUSHAAR - Engineer
GEOFF FOSTER - Assistant Engineer
PAUL HICKS - Assistant Engineer
MARC MANN - Sequencing, Digital Sequencing
MARK LEWISOHN - Liner Notes
GEOFF BAKER - Liner Notes

 C o m m e n t s ,   N o t e s


"Ob nostalgische Midtempo-Songs zwischen Sixties-Rock 'n' Roll und Rhythm & Blues oder üppige Balladen, fast alle Songs wirken unspektakulär-sympathisch, wie gute alte Bekannte: Besonders "Beautiful Nights" und "Somedays" verbreiten friedvoll-positives Flair für Paul Hauptmotiv von Flaming Pie."

C. Hammer in stereoplay 6/97



According to McCartney, working on the Beatles Anthology project inspired him to record an album that was stripped-back, immediate and fun, one less studied and produced than most of his recent work. In many ways, Flaming Pie fulfills those goals. A largely acoustic collection of simple songs, Flaming Pie is direct and unassuming, and at its best, it recalls the homely charm of McCartney and Ram. McCartney still has a tendency to wallow in trite sentiment, and his more ambitious numbers, like the string-drenched epic "Beautiful Night" or the silly Beatlesque psychedelia of "Flaming Pie," tend to fall flat. But when he works on a small scale, as on the waltzing "The Song We Were Singing," "Calico Skies," "Great Day" and "Little Willow," the's gently affecting, and the moderately rocking pop of "The World Tonight" and "Young Boy" is more ingratiating than the pair of aimless bluesy jams with Steve Miller. Even with the filler, which should be expected on any McCartney album, Flaming Pie is one of his most successful latter-day efforts, mainly because McCartney is at his best when he doesn't try so hard and lets his effortless melodic gifts rise to the surface.

Stephen Thomas Erlewine, All-Music Guide



Als alle gerade die Hoffnung aufgegeben hatten, daß Sir Paul jemals wieder einen vernünftigen Popsong herausbringen würde, zauberte er eines seiner besten Alben seit Mitte der 70er-Jahre aus dem Hut. Bei der Arbeit an der Beatles Anthologie wurde er an die musikalischen Maßstäbe erinnert, die er längst vergessen hatte, und fühlte sich verpflichtet, ihnen wieder gerecht zu werden. Sogar Jeff Lynne, der viel zu dieser Platte beigetragen hat, hielt sich größtenteils im Hintergrund und ließ Paul das tun, was das Beste war: Er sang und spielte fast alles selber, mit ein wenig Unterstützung durch Ringo und den Gitarristen Steve Miller. Auch wenn die Songs die schwindelnden Höhen der besten Jahre nicht erreichen, so erinnern sie uns doch an das wahre Talent, das McCartney hat. Ein Ohrenschmaus.

Chris Nickson, Amazon.de



Blick zurück in die Zukunft: Die Arbeit an der "Anthology"-Serie habe ihn zu neuen Songs angeregt und ihm die Qualitäten der Beatles-Songs ins Bewußtsein gerufen, gesteht Paul McCartney - "ein guter Auffrischungskurs für mich, der mir eine Art Rahmen für dieses Album gab". Paules Nostalgietrip ist "Flaming Pie" prächtig bekommen. Zwar leidet die erste Single "Young Boy" ein wenig am "Macca-Syndrom" relativ schlichter Pop-Banalität. Lästermäulern, die erfahren, daß der Ex-Beratle besagten Titel geschrieben hat, während Gattin Linda für einen Journalisten der "New York Times" kochte, ist's sicher Wasser auf die Mühlen: "Das hört man." Wetten, daß man's beim ebenso flott entstandenen "Some Days" nicht hört? Fast durchgängig spielte McCartney auf der neuen CD das Meiste selbst - Baß, Gitarre, Piano, Drums; hier bat er auch noch Produzenten-Grandseigneur George Martin um ein (wahrhaft grandioses!) Arrangement, das sich vom akustischen Intro über Sitarverwandte Sounds zum orchestralen Finale steigert. Nicht nur das erinnert an ... na, an wen wohl? Beim akustischen Gitarren- Song "Calico Skies" gibrt "Macca" selbst zu, daß er ein Stück in der Tradition von "Blackbird" schreiben wollte, was ihm respektabel gelang. Auch sonst sind die Referenzen an die Beatles nicht zu überhören, ohne daß der frisch geadelte Sir zum Plagiator wird: So untermalt das rockige Titelstück ein lebendiges Honky-Tonk-Piano, wie man's von dem Mann seit der seligen "Lady Madonna" nicht mehr zu hören bekam. Neben George Martin und Jeff Lynne als gelegentlichen Co-Produzenten bat McCartney für zwei Stücke auch Ringo Starr ins Studio: Das vom schlichten Piano-Start zu voller Orchestrierung anschwellende "Beautiful Night" erinnert denn auch am stärksten an die Beatles der "Sgt. Pepper"-Ära. Hingegen überrascht das zweite Teamwork, "Really Love You" mit kernigem Rhythm & Blues-Feeling für das Paul seine Stimmbänder heftig stapaziert. So agil hat man ihn seit ewigen Zeiten nicht mehr erlebt! Der Überraschungen sind noch mehr: So überläßt der stolze Daddy in "Heaven On A Sunday" seinem 20jährigen Sohn James die Lead-Gitarre - mit mehr als passablem Resultat. Überhaupt gibt der so gern als Pop-Softie Verschriebene bei "Flaming Pie" den Gitarren heftig Zunder, was dank Steve Millers Saitenkünsten den bluesigen R & B "Used To Be Bad" und den kraftvollen Riff-Rocker "If You Wanna" zum staunenwerten Erlebnis macht. Keine Frage: Paul McCartney besinnt sich in den 14 Songs auf seine Wurzeln und leistet dennoch nicht purer Nostalgie Vorschub. Dieses Pop-Rock-Opus schillert so facettenreich, wie's "Macca" kaum noch zuzutrauen war!

© Audio



Lust auf Musik bekam Paul McCartney während der Arbeit an den Beatles-"Anthologies" im vergangenen Jahr, und so gibt es vier Jahre nach "Off the Ground" wieder ein neues Album. Mit überaus voluminösen akustischen Gitarrenklängen eröffnet "The Songs We Were Singing" den Reigen: ein wehmütiger, einfach gestrickter Ohrwurm mit hübschem Refrain. Der gäbe zwar auch für die Fischer-Chöre einen prima Kanon ab - aber da hält es McCartney eben mit John Lennon und dessen Bekenntnis: "I always liked simple music". So lautet auch das Motto im weiteren Verlauf von "Flaming Pie": Ob nostalgische Midtempo-Songs zwischen Sixties-Rock'n'Roll und Rhythm & Blues (am stärksten: "If You Wanna" mit Steve Miller an der Gitarre, und "The World Tonight") oder üppige Balladen, fast alle Songs wirken unspektakulär-symphatisch, wie gute alte Bekannte: So komponiert ein Mann, der mit sich im Reinen ist. Besonders "Beautiful Nights" (mit Ringo Starr als Gast) und "Somedays" verbreiten friedvoll-positives Flair - für Paul Hauptmotiv von "Flaming Pie". Natürlich erinnert da vieles an die Beatles, aber Maccas Songwriting ist mittlerweile derart prägnant, daß er vermutlich auch eine TipHop-Platte aufnehmen könnte, und sie klänge nach den Fab Four. Auch zwei, drei mäßige Rock-Versuche ("Really Love You", "Souvenir") können da den positiven Gesamteindruck nicht mehr trüben. ** M: 6-9

© Stereoplay



"The World Tonight"

Yes, McCartney is an icon, which means that on a certain level he is beyond reproach. And he knows it: he can release a shitty album if he wants to -- he's done so many times, and it never hurts his status in the long run, save for a few snickering whispers among latter-day naysayers. And that's what Flaming Pie will generate, perhaps even among the old faithful, because there's almost nothing by which to recommend it. The path he travels here is so well-worn that he actually thinks it's a fresh new direction. "I go back so far I'm in front of me," he sings on "The World Tonight," the first single. He mentions in his current bio that he questioned that line, and rightly so, but left it in because "John [Lennon] would have gone, 'OK, leave that one in, we don't know what it means but we know what it means.'" But in this case, it's all too telling of McCartney's artistic drought: he has nothing to say and no fresh way of not saying it. "Somedays," for instance, sounds dreadfully like a Beatles outtake circa '65 (it even features a "Yesterday"- like George Martin string arrangement, and is quite obvious in its attempt to recapture that magic). And then there's the ubiquitous multi- layered sheen that co-producer Jeff Lynne adds throughout most of this record, drowning McCartney's occasionally catchy melodies in the same sea that swallowed "Free as a Bird" and "Real Love" from those Beatles anthologies (which, McCartney notes, inspired him to work on this record -- yuck...). The truly sad part here is that Flaming Pie is a testament to laziness: McCartney, obviously, was born with a genius for melodic composition, yet time and again in the latter years of his career he has wasted it on pedestrian songs with even more hackneyed lyrics. That's a distressing thing to witness.

John Bitzer, Copyright © 1994-1999 CDNow, Inc. All rights reserved.



The Beatles' "Anthology" projects clearly left Paul McCartney in a reflective frame of mind. Too often in the past, that would mean a douse in a nostalgia bath, but on "Flaming Pie," McCartney's look back is a genuine search -- as though he were uncertain about what he might find there. The confusion becomes him, complicating his typically all-too-settled point of view and lending "Pie" a needed edge.
The best example is "The World Tonight," a brooding track driven by a nasty electric guitar. "I don't care what you wanna be/I go back so far, I'm in front of me," the 55-year-old McCartney sings, as if he were stunned to find himself still standing in the wake of grunge, rap, techno and every other sonic assault on the world since the '60s. It's assertive without being defensive, aware without being trendy.

The title track is similarly winning. Over an easy-rocking boogie-woogie piano vamp, McCartney wails surreal non sequiturs, a writing style he excels at: "Tucked my shirt and unzipped my fly/Go ahead, have a vision/I'm the man on the flaming pie." The title derives from John Lennon's wry description of how the Beatles got their name: "A man appeared on a flaming pie and said unto them: 'From this day on, you are Beatles, with an a.' " Having invoked Lennon, McCartney seems more willing to stretch.

Musically, the album is sparer than McCartney's recent efforts. Jeff Lynne and George Martin are sensitive collaborators in their co-productions with the singer; and guitarist Steve Miller displays muscle and finesse on four songs. Even Ringo Starr turns up on "Beautiful Night," a song he co-wrote.

Unfortunately, "Flaming Pie" is not all good news. "The Song We Were Singing" suffers from the self-congratulation of that most cliched of genres, the boomer reminiscence. And, against the troubling issues the album raises -- aging, the meaning of the past, the instability of the future -- McCartney tirelessly waves the magic wand of love. "Somedays" assures us that "inside each one of us is love"; "Young Boy" urges us to "find love, whatever you do"; and so on.

Still, "Flaming Pie" finds McCartney grappling with history, both personal and public, in intriguing ways. As a figure who has shaped the course of pop history, he knows that he could get away with doing less these days. But only at his peril. (RS 763)

Copyright © 1968-1999 Rolling Stone Network. All Rights Reserved.



As one of this century's greatest tunesmiths, it's always an event when Paul McCartney unveils a new collection of songs. Flaming Pie deserves special attention not only because it's McCartney's first CD in four years, but because it is arguably his strongest solo studio album since the demise of Wings in 1981. Paul remains true to his own spirit and place in history as the master of the charming pop melody. "The World Tonight," the album's first single, contains the line, "I go back so far I'm in front of me," a tongue-in-cheek reminder of McCartney's musical past (with the record-breaking sales of the Fab Four's Anthology in 1996/97, the only band ever to surpass the Beatles' sales were, surprisingly enough, the Beatles themselves). "The Song We Were Singing" reflects on a special time in McCartney's life when cosmic discussions under the influence of drugs and alcohol seemed important. "Calico" is a touching love song featuring Paul alone with an acoustic guitar. On "Used To Be Bad," Steve Miller shares songwriting credit and swaps vocal lines with McCartney in Texas blues style. "Really Love You," though not Flaming Pie's strongest tune, features a tough R & B groove, Ringo Starr on drums, and is the only song ever released with a McCartney/Starkey songwriting credit. Although Paul had his hand in the production of all tracks on Flaming Pie, co-production credits also go to Beatles producer George Martin and former ELO and Traveling Wilbury frontman Jeff Lynne on select tracks.

© 1978-1999 College Media Inc. All rights reserved.



Paul McCartney wrote most of the 14 songs on his new album while working on The Beatles Anthology projects, and has declared that he was deeply inspired by "the songwriting standards and the fun" the band had. Those memories start flowing from the first song on the album, "The Song We Were Singing," which swings between a spare, folksy arrangement and a "Sgt. Pepper" style orchestral interlude, united by McCartney's trademark euphonious melodies.

"Young Boy" and "Flaming Pie" also capture the jaunty spirit and tunefulness of The Beatles. Though this is ultimately a classically pop album, McCartney delves into traditional British folk music, psychedelic and hard rock sounds, and especially, the blues. His blues guitar and forceful vocals invigorate the album's ultimate track, "The World Tonight," as well as the cute, fake tough "Used To Be Bad." The blues hit a sweet note on the Clapton-esque "Heaven On A Sunday," with acoustic guitars and gentle harmonies taking the lead above atmospheric electric riffs.

McCartney's timeless pop melodies and rootsy rock rambles are given a 90's twist with a restrained spareness in the production, and occasional touches of post-grunge distortion. The result is a collection of music to please both the serious and fun-loving sides of any rock n' roll fan.

© 1999 Viacom International Inc. All Rights Reserved.
 

 L y r i c s


THE SONGS WE WERE SINGING

For a while, we could sit, smoke a pipe,
And discuss all the vast intricacies of life
We could jaw through the night
Talk about a range of subjects, anything you like
Oh yeah

But we always came back to the song we were singing
At any particular time
Yeah, we always came back to the song we were singing
At any particular time.

Take a sip, see the world through a glass
And speculate about the cosmic solution
To the sound, blue guitars
caught up in a philosophical discussion
Oh yeah

But we always came back to the song we were singing
At any particular time
Yeah, we always came back to the song we were singing
At any particular time

For a while, we could sit, smoke a pipe
Discuss all the vast intricacies of life
We could jaw through the night,
Talk about a range of subjects, anything you like

But we always came back to the song we were singing
At any particular time
Yeah, we always came back to the song we were singing
At any particular time
Yeah, we always came back

Take a sip, see the world through a glass
And speculate about the cosmic solution
To the sound, blue guitars
Caught up in a bit of philosophical discussion
Oh, yeah

But we always came back to the songs we were singing
At any particular time
Yes, we always came back to the songs we were singing
At any particular time
Yeah

We always came back to the songs we were singing


THE WORLD TONIGHT

I saw you sitting at the center of a circle.
Everybody, everybody wanted something from you
I saw you sitting there
I saw you swaying to the rhythm of the music.
Caught you playing, praying to the voice inside you
I saw you swaying there

I don't care what you wanna be
I go back too far; I'm in front of me!
It doesn't matter what they say
They're giving the game away
I can see the world tonight
Look into the future.
See it in a different light.
I can see the world tonight
I heard you listening to a secret conversation.
You were crying, you were trying not to let them hear you
I heard you listening in

Never mind what they wanna do
You've got a right to your point of view
It doesn't matter what they say
They're giving the game away - hey - hey.
I can see the world tonight
Look into the future
See it in a different light
I can see the world tonight
I saw you hiding from a flock of paparazzi.
You were hoping, you were hoping that the ground would swallow you.
I saw you hiding there

I don't care what you wanna be
I go back so far, I'm in front of me!
It doesn't matter what they say
They're giving the game away - hey - hey
I can see the world tonight
Look into the future
See it in a different light
I can see the world tonight
Look into the future
I can see the world tonight
See it in a different light
I can see the world tonight
I can see the world tonight


IF YOU WANNA

If you wanna
if you wanna
if you wanna love me again
I'll take you for a ride in my Cadillac.
He'll be in the front, we'll be in the back
When you're ready
Let me know
I'll be waiting
To make arrangements for the trip
To make arrangements for the trip
To make arrangements for the trip

And if you wanna
If you wanna,
If you wanna do it again.
I'll take you to the coast for a holiday
You can be my guest
You can let me pay-yeah

When you're ready
Well, let me know.
I'll be waiting
To make arrangements for the trip
To make arrangements for the trip
To make arrangements for the trip
Whenever you’re ready

When you wanna love me
This is what you need
To be thinking of me
When you plant the seed of love

When you're ready
Let me know
I'll be waiting
To make arrangements for the trip
To make arrangements for the trip
To make arrangements for the trip

Well if you want to love me
This is what you need
To be thinking of me
when you plant the seed
the seed of love

If you wanna
if you wanna
if you wanna love me again
I'll take you for a ride in my Cadillac.
He'll be in the front, we'll be in the back

When you're ready
let me know
I'll be waiting
To make arrangements for the trip
To make arrangements for the trip
To make arrangements for the trip


SOMEDAYS

Somedays I look
I look at you with eyes that shine
Somedays I don't
I don't believe that you are mine
It's no good asking me what time of day it is,
Who won the match or scored the goal
Somedays I look
Somedays I look into your soul

Sometimes I laugh
I laugh to think how young we were.
Sometimes it's hard
It's hard to know which way to turn

Don't ask me where I found that picture on the wall
How much it cost or what it's worth
Sometimes I laugh
I laugh to think how young we were

We don't need anybody else
To tell us what is real
Inside each one of us is love
And we know how it feels

Somedays I cry,
I cry for those who live in fear
Somedays I don't
I don't remember why I'm here

No use reminding me, it's just the way it is
Who ran the race or came in first
Somedays I cry,
I cry for those who fear the worst

We don't need anybody else
To tell us what is real
Inside each one of us is love
And we know how it feels

Somedays I look,
I look at you with eyes that shine
Somedays I don't
I don't believe that you are mine

It's no good asking me what time of day it is,
Who won the match or scored the goal
Somedays I look
Somedays I look into your soul


YOUNG BOY

He's just a young boy looking for a way to find love
It isn't easy, nothing you can say will help him, find love
He's got to do it for himself
And it can take so long
He's just a young boy looking for a way to find love.
He doesn't need another helping hand from someone
But don't you think he doesn't understand what he wants, someone
Though independence means a lot
He's still got to be strong
He's just a young boy looking for a way to find love.

Find love, a perfect combination.
Find love, whatever you do.
Find love, a cause for celebration
And it might come looking
Come looking for you.
Find love, in any situation
Find love, whatever you do
Find love, a cause for celebration
Then it might come looking
Come looking for you

He's just a young boy looking for a way to find love
It isn't easy, nothing you can say will help him, find love
He's got to do it for himself
And it can take so long
He's just a young boy looking for a way to find love
Find love, a time for meditation
Find love, a source of inspiration
Find love, instead of confrontation
Find love
And love will come looking for you


CALICO SKIES

It was written that I would love you
From the moment I opened my eyes
And the morning when I first saw you
Gave me life under calico skies.
I will hold you for as long as you like
I'll hold you for the rest of my life
Always looking for ways to love you
Never failing to fight at your side
While the angels of love protect us
From the innermost secrets we hide
I'll hold you for as long as you like
I'll hold you for the rest of my life
Long live all of us were crazy soldiers who
were born under calico skies
May we never be called to handle
All the weapons of war we despise
I'll hold you for as long as you like
I'll hold you for the rest of my life
I'll hold you for as long as you like
I'll love you for the rest of my...
For the rest of my life


FLAMING PIE

Makin' love underneath the bed
Shooting stars from a purple sky
I don't care how I do it.
I'm the man on the flaming pie
Stick my tongue out and lick my nose
Tuck my shirt in and zip my fly
Go ahead, have a vision.
I'm the man on the flaming pie

Everything I do has a simple explanation.
When I'm with you, you could do with a vacation
I took my brains out and stretched ‘em on a rack
Now I'm not so sure I'm gonna get 'em back

Cut my toes off to spite my feet.
I don't know whether to laugh or cry
Never mind, check my rhythm.
I'm the man on the flaming pie

I'm the man on the flaming pie
Now everything I do has a simple explanation
When I'm with you, you could do with a vacation.
I took my brains out and stretched ‘em on the rack.
Now I'm not too sure I'm gonna to get 'em back


HEAVEN ON A SUNDAY

Peaceful, like heaven on a Sunday.
Wishful, not thinking what to do
We've been calling it love
But it's a dream we're going through
And if I only had one love
Yours would be the one I’d choose.
If I only had one love
Yours would be the one I’d choose.

Restful, like Devon on a Monday
Cooling my fingers in the bay
We've been learning a song
But it's a long and lonely blues

If I only had one love,
Yours would be the one I’d choose
If I only had one love
Yours would be the one I’d choose

It’s peaceful, like heaven on a Sunday
Wishful, not thinking what to do
We've been calling it love
But it's a dream we're going through

And if I only had one love
Yours would be the one I’d choose
If I only had one love
Yours would be the one I choose
If I only had one love
Yours would be the one I choose
If I only had one love
Yours would be the one I choose
If I only had one love
You’d be the one I choose
If I only had one love
Yours would be the one I choose
If I only had one love

You’d be the one I choose
If I only had one love


USED TO BE BAD

I used to be bad
But I don't have to be bad no more
Yeah, I used to be bad
But I don't have to be bad no more
Well ain’t no doubt about it, people
It's something you can't ignore
Well, I ain't good looking
People, you know I've been up on a shelf
Yes, I know I ain't good looking
And I've been put up on the shelf
But I got a sweet disposition
I like to enjoy myself

I used to be bad
But I don't have to be bad no more
Yeah, I used to be bad
But I don't have to be bad no more
You know I learned my lesson
A long, long time ago

Well, no matter what you say
No matter what you do
You've got one life to live
It's gonna come back home to you
I used to be bad
But I don't have to be bad no more
Yeah, people, I learned my lesson
A long, long time ago

The good lord made this world
And everything that's in it
The way I see it, baby
You got to love it to the limit
Oh yes, now people
It's something you can't ignore
Yes I used to be bad
But I ain't gonna be bad no more

Well, the way you treat me darling
Made me understand
Never quit you baby
I’m gonna love you to the end.
Yeah, I used to be bad
But I ain't gonna be bad no more
Yes, I learned my lesson
A long, long time ago

Yes, I learned my lesson
A long, long time ago
Yes, I learned my lesson
You’re gonna reap just what you sow


SOUVENIRS

When you're fed up shedding too many tears
And your memory seems like just so
many souvenirs
I will come to you to ease the pain
If you want me, tell me now
If I can be of any help, tell me how
Let me love you like a friend
Everything is gonna come right in the end

When you’re crying like a poor little child
And you feel like you never could
be reconciled
Don't forget a word of what I'm saying - oh

If you want me, tell me now
If I can be of any help, tell me how
Let me love you like a friend
Everything is gonna come right in the end

Well, I can hold you too tight
I could never let you go
But that wouldn't be right
So, why don't you let me know (let me know)
Let me know what you want to do

Everybody's got a handful of fear
But tomorrow it may only be a souvenir
Of the way it is 'til it went away

If you want me, tell me now
If I can be of any help, tell me how
Let me love you like a friend
Everything is gonna come right in the end

Well, I can hold you too tight
I could never let you go
But that wouldn't be right
So, why don't you let me know
Let me know what you want to do

If you want me, tell me now
If I can be of any help, tell me how
Let me love you like a friend
Everything is gonna come right in the end

Souvenir
No, not another souvenir
No, no, no, no, no, souvenir


LITTLE WILLOW

Bend, little willow
Wind's gonna blow you
Hard and cold tonight
Life, as it happens
Nobody warns you
Willow, hold on tight.

Nothing's gonna shake your love
Take your love away
No one's out to break your heart
It only seems that way...hey

Sleep little willow
Peace gonna follow
Time's gonna heal your wounds
Grow to the heavens
Now and forever
Always came too soon.

Little willow

Nothing's gonna shake your love
Take your love away
No one's out to break your heart
It only seems that way...hey

Bend, little willow
Wind's gonna blow you
Hard and cold tonight
Life, as it happens
Nobody warns you
Willow, hold on tight.

Ahhh, little willow
Little willow


REALLY LOVE YOU

Well, I need you
Through the night
When morning comes
I love the light.
But in the night-time
That dark is black
Come on baby
You got to help me get back
I love you, oh yeah
I really love you, oh yeah
ooh ooh ooh ooh

Do one thing
Do one thing for me
If you’ve got love
Then let me see

If you feel it in your heart
Then show it right now
You know I love you baby
I gotta get to you, get to you somehow

Oh yeah, I really love you
Oh yeah, I really love you
You know it's true

I really love you
Day and night
Yeah, I really love you
In the morning light
I really love you
Sure be right
Come on little baby
Gotta find out somehow

Yeah, yeah, really love you
Oh yeah, really love you

I love the things
You say and do
I can’t get over
How much I love you

You know you do something
Special to me
And that’s the way
I want it always to be, yeah

Oh yeah, I really love you
Oh yeah, I really love you

I need your love
Like a bear needs a break

I need your heart, baby
Hopping on a plate

I need the sunshine
Of your smile
Help me walk
Help me walk that extra mile

Little baby, I love you
Oh yeah, you know I really love you
Oh yeah, you know it’s true
Oh yeah, I love you

I love you


BEAUTIFUL NIGHT

Someone's gone out fishing
Someone's high and dry.
Someone's on a mission to the lonely Lorelei.
Some folk’s got a vision of a castle in the sky
And I'm left stranded, wondering why.
You and me together
Nothing feels so good
Even if I get a medal from my local neighbourhood
I won't need a castle, they've got castles in Versailles
And I'm still stranded, wondering why.

Make it a beautiful night for me
It's a beautiful night for love
A wonderful sight for lovers of love to behold
Make it a beautiful night for me
It's a beautiful night for love
A wonderful sight for lovers of love to behold

Some boat’s on the ocean
We’re here in this room
Seems to me the perfect way to spend an afternoon
We can look for castles, pretty castles in the sky
No more wondering, wondering why.

Things can go wrong, things can go right
Things can go bump, in the dead of the night
So let me be there, let me be there
Let me be there with you in the dead of the night

Make it a beautiful night for me
It's a beautiful night for love
A wonderful sight for lovers of love to behold
Make it a beautiful night for me
It's a beautiful night for love
A wonderful sight for lovers of love to behold

Yeah, it's a beautiful night
Yeah, it's a beautiful night

Yeah, beautiful night, beautiful night
It’s such a beautiful night, beautiful night
(repeat to fade)


GREAT DAY

When you're wide awake
Say it for goodness sake
It's gonna be a great day,
While you’re standing there
Get up and grab a chair,
It's gonna be a great day.
And it won't be long, oh no
It won't be long, it won't be long, no no
It won't be long, it won't be long, oh no
It won’t be long, it won’t be long, ooh yeah

Ooh, ooh, yeah
Gonna be a great day

And it won't be long, oh no
It won't be long, it won't be long, no no
It won't be long, it won't be long, oh no
It won’t be long, it won’t be long, oh

When you're wide awake
Say it for goodness sake,
It's gonna be a great day.
While you’re standing there
Get up and grab a chair
It's gonna be a great day.

 M P 3   S a m p l e s


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