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Paul McCartney: Off the Ground

 A l b u m   D e t a i l s


Label: MPL Communications Inc.
Released: 1993.02.01
Time:
 50:19
Category: Pop/Rock
Producer(s): Paul McCartney, Julian Mendelsohn
Rating: *******... (7/10)
Media type: CD
Web address: www.paulmccartney.com
Appears with: The Beatles
Purchase date: 2000.12.30
Price in €: 3,99



 S o n g s ,   T r a c k s


[1] Off the Ground (McCartney) - 3:41
[2] Looking for Changes (McCartney) - 2:48
[3] Hope of Deliverence (McCartney) - 3:21
[4] Mistress and Maid (Mac Manus/McCartney) - 3:00
[5] I Owe It All to You (McCartney) - 4:51
[6] Biker Like an Icon (McCartney) - 3:26
[7] Peace in the Neighborhood (McCartney) - 5:06
[8] Golden Earth Girl (McCartney) - 3:44
[9] The Lovers That Never Were (Mac Manus/McCartney) - 3:42
[10] Get Out of the Way (McCartney) - 3:32
[11] Winedark Open Sea (McCartney) - 5:26
[12] C'mon People (McCartney) - 7:42

 A r t i s t s ,   P e r s o n n e l


PAUL MCCARTNEY - Organ, Acoustic & Electric Guitar, Bass, Guitar, Percussion, Piano, Celeste, Conga, Drums, Ocarina, Sitar, Vocals, Background Vocals, Mellotron
BLAIR CUNNINGHAM - Percussion, Conga, Drums, Background Vocals
ROBBIE MCINTOSH - Acoustic Guitar, Mandolin, Electric Guitar, Background Vocals, Slide Guitar, Spanish Guitar
LINDA MCCARTNEY - Percussion, Autoharp, Cello, Harmonium, Vocals, Background Vocals, Moog Synthesizer, Whistle, Photography
HAMISH STUART - Acoustic Guitar, Percussion, Piano, Bass, Electric & 12-String Guitar, Vocals, Background Vocals,
PAUL "Wix" WICKENS - Synthesizer, Percussion, Piano, Accordion, Hammond Organ, Programming, Background Vocals, Clavinet

GORDON HUNT - Oboe
SUSAN MILAN - Flute
DAVIDE GOIVANNI - Percusson
MAURICE RAVALICO - Percusson
DAVID PUTTMAN - Percusson
THE MIDNIGHT HORNS - Horn section
GEORGE MARTIN - Arrangement, Conduction
CARL LEWIS - Arrangement, Conduction

BOB KRAUSHAR - Engineer
CLIVE ARROWSMITH - Cover Photography
EDUARDO PAOLOZZI - Centerfold Collage
OLIVER RAAB - Paintings
AUDREY POWELL - Art Direction

 C o m m e n t s ,   N o t e s


1993 LP Capitol 15966
1993 CD Capitol 80362
1993 CS Capitol 80362



Paul McCartney gets an extra star for the song "Looking for Changes" from Off the Ground. Its potent animal-rights message is married to a good tune, some sinewy playing, and a believable sense of commitment. Beyond this, the news is not as good. The advance hype pegged this release as a "return" to a harder, angry edge for cuddly Paul. The basic tracks were recorded live in the studio to impart an urgent feel. McCartney's social conscience may be active on songs like "Hope of Deliverance," "C'mon People," and "Peace in the Neighbourhood," but — more often than not — the album is awash in lame, gummy music and mawkish sentiment.

Roch Parisien, All-Music Guide



Immer schön harmonisch, das sind wir von Paul McCartney gewohnt. So hält er's auch hier, abgesehen von den paar Malen, wenn die beiden Gitarristen Hamish Stewart und Robbie McIntosh ein wenig von der Leine dürfen (im Titelsong, bei Biker Like An Icon) oder Piano und Bläser mit abrocken (Get Out Of My Way). Ansonsten duftet's ein wenig zu penetrant nach Friede, Feude, Eierkuchen, gibt's vor allem im zweiten Teil mehr Talmi als Perlen. Schlecht ist anders, aber Off The Ground hebt einen Macca diesmal wirklich nicht.

© Audio



Entgegen dem Plattencover und dem Albumtitel "Off The Ground" hinterläßt Paul McCartneys jüngstes Werk einen eher bodenständigen Eindruck. Kein Wunder: Der Ex-Beatle beorderte das Team seiner letzten Welttournee ins Studio und spielte dort mit Ehefrau Linda, Bassist Hamish Stuart, Gitarist Robbie McIntosh, Keyboarder Wix Wickens und Drummer Blair Cunningham die zwölf Songs live ein. Dank des Session-Arbeitsstils dieser Band ist der Sound vieler Titel erfrischend rauh und unkompliziert - ein Trend, dem der technisch versierte Mitproduzent Julian Mendelsohn (Pet Shop Boys) nicht entgegensteuert. Mit spitzer Feder ist auch Declan McManus alias Elvis Costello dabei. McManus und Macca arbeiteten schon auf Pauls vorherigem Album "Flowers In The Dirt" erfolgreich zusammen - diesmal teilen sie sich die Komponisten-Credits bei "Mistress And Maid", einem Ehedrama im Dreivierteltakt, und "The Lovers That Never Were". Gegenüber "Flowers In The Dirt" fällt "Off The Ground" trotzdem etwas ab. Wohl ist bei "C'mon People" die Arrangierkunst von Beatles-Produzent George Martin zu vermelden, bei zwei weiteren Titeln die von Carl Davis, dem Dirigenten des "Liverpool Oratorio". Wohl gibt es starke Verse - etwa "Looking For Changes", in dem der Vegetarier Paul gegen qualvolle Tierversuche wettert, oder das kantig-rockige "Get Out Of My Way", in dem der erfolgreichste Popmusiker aller Zeiten mit der Kritiker-Zunft abrechnet. Doch die Melodien bleiben für McCartney-Verhältnisse ungewöhnlich blaß. Eine Ausnahme bildet "Hope Of Deliverance", das auf einem fließenden Latin- Rhythmus dahingleitet. ** Interpret.: 06-08 ** Klang.: 07- 08

© Stereoplay



Flowers in the Dirt did earn good reviews but perhaps more important was its accompanying tour, McCartney's first full-fledged world tour in years. Given the tour's enthusiastic reception, McCartney could wait until 1993 to deliver the album's proper sequel, Off the Ground. Though it isn't as consciously ambitious, Off the Ground certainly picks up where Flowers left off, as McCartney feels no shame in making an album that doesn't aim for the charts (though success would certainly be welcomed), yet is still classy, professional, and ambitious. Two key differences appear: It's a leaner production (making the mid-tempo numbers seem less cloying and giving the rockers real kick), and McCartney's social conscience dominates the record (which is easily his most politically active, as he rails against animal testing and pleads for world peace several times). He doesn't leave love or whimsy behind ("Biker Like an Icon" is easily his worst, most studied stab at whimsy), and he still has a pair of fine McCartney/McManus songs ("Mistress and Maid," "The Lovers That Never Were") to pull out. This all results in a record that has its virtues — it's clean and direct, where many of his solo albums are diffuse and meandering, and it's serious-minded where many rely on cutesiness — but, overall, Off the Ground feels like less than the sum of its parts, possibly because the seriousness is too studied, perhaps because the approach is a bit too stodgy. Nevertheless, this has nearly as many successful moments as Flowers in the Dirt, standing as a deliberately serious comeback record by an artist who spent too much time relying on his natural charm, and who feels no shame in overcompensating at this stage of the game.

Stephen Thomas Erlewine, All-Music Guide



In addition to copiloting the greatest bands in rock & roll history, Paul McCartney and Mick Jagger have something else in common: Both have watched their solo careers sputter. McCartney hasn't placed an album or single at the top of the charts in nearly a decade, and only one album, an "unplugged" MTV concert, has broken the Top Twenty. Jagger waited until 1985 to test the solo waters and has thus far found them icy. His last album, Primitive Cool (1987), stalled at Number Forty-one, while its would-be anthem "Let's Work" logged one lonely week at the tail end of the Top Forty.

No acts will ever rule the rock realm so completely for so long as the Beatles and the Stones. Times have changed; attention spans have shortened, owing to video overexposure (resulting in careers with the trajectory of a Roman candle), rigid radio formats, the corporate trivialization of rock's mission and the sheer accumulated mass of music, old and new, being thrust at listeners. These days the sales go to the likes of Michael Bolton, Garth Brooks, Boyz II Men and Kris Kross, while living legends like McCartney, Jagger, Bob Dylan, Van Morrison and arguably even Bruce Springsteen are consigned to an elder rockers' Valhalla, where they bask in critical favor and do good tour business while watching their new work hobble and fall off the charts.

So why suffer the ignominy of being outsold by artists of far less luster? Why not stay home counting royalties and tending investments? For both Jagger and McCartney, pride and ego figure in, certainly; but there's also the matter of creative viability. There's plenty of ambition, not to mention craft, to be found on both Wandering Spirit and Off the Ground. McCartney, fresh from dabbling in light classical with his Liverpool Oratorio, imparts a mock-orchestral grandeur to his pop sensibility on Off the Ground. While occasionally slow-moving (McCartney could use a boot from an aggressive producer), Off the Ground contains some fine songs and sustains a guardedly optimistic mood that conveys a faith in the future. Jagger manages to paint in the primary hues of an inveterate rock animal on Wandering Spirit while decorating the margins with some left-field material that recalls the fervid eclecticism of the Between the Buttons-era Stones. If Wandering Spirit gets the nod over Off the Ground, it's because Jagger sounds livelier and more welded to the present than McCartney.

The differences between the two can be illustrated by their lyrics. Whereas McCartney sings, "I feel love for you now" in "Winedark Open Sea," Jagger growls, "I don't ever wanna see your picture again" in "Don't Tear Me Up." McCartney is a family man whose idealism springs from his commitments; Jagger remains a realist and, true to the title, a wandering spirit whose blood runs hot. Wandering Spirit rises to a rousing boil, while Off the Ground maintains a mannerly simmer. They're about as different as day and night, and as it was in the early days, when people were either Beatles fans or Stones fans, you'll probably prefer one to the exclusion of the other.

Poking their heads above the manicured surface of McCartney's song cycle are "Hope of Deliverance" and "Peace in the Neighbourhood." The first is one of those perfect little tunes McCartney plucks from his songwriter's subconscious like a pearl from a shell. Deceptively wispy, effortlessly catchy, it finds McCartney breezily proffering a positive attitude toward the days ahead: "When it will be right, I don't know/What it will be like, I don't know/We live in hope of deliverance from the darkness that surrounds us." "Peace" is a cheerful, dreamlike vision of a halcyon world; its sunny, casually funky groove recalls odes to brotherhood by the likes of Sly and the Family Stone and War.

Elvis Costello rejoins McCartney as a songwriting collaborator on two numbers: "Mistress and Maid," in which fanciful flourishes provide a Sgt. Pepper-style spin, and "The Lovers That Never Were," a gorgeous, lushly arranged vocal showcase also taken at a swaying waltz tempo. McCartney falters when he tries to rock out on "Looking for Changes," a literal-minded animal-rights broadside, and "Biker Like an Icon," a quixotic character study. At this juncture, he doesn't seem able to rock with authority, and he under-mines his effort by applying a sugary glaze, such as the inappropriately tame chorus to "Biker Like an Icon." A clutch of longish songs – "Winedark Open Sea," "C'mon People," "I Owe It All to You," "Golden Earth Girl" – seems calculated to cast an ambient stargazing spell, and McCartney closes the album with an Aquarian Age reminder to remain "cosmically conscious." While the sentiments are commendable and the music pleasurable, Off the Ground is a tad undercooked – a souffle that doesn't quite rise to the grand heights its creator envisioned.

Jagger, on the other hand, rocks with a willful, desperate abandon on Wandering Spirit, the most purposeful and assured of his three solo discs. With Rick Rubin coproducing, the album has a live, knife edge feel to it, from Jagger's counting off the bristling opening cut, "Wired All Night," on through to the reckless declaration of independence of the title track. While Wandering Spirit possesses a rock-solid backbone that will please Stones fans, Jagger adroitly tosses a few curves – a pure-country foray, some hard-hitting urban funk, a courtly overlay of harpsichord and Mellotron – to keep things interesting. And though not everything works – particularly problematic are "Handsome Molly," a dire foray into Celtic folk, and a starchy retread of Bill Withers's "Use Me" – Jagger communicates both laser-focused directness and far ranging versatility.

Jagger, who will turn fifty this year, seems determined to cede nothing to age, dismissing the idea of mellowing out as anathema: "I'm as hard as a brick/I hope I never go limp," he rages from the center of the cyclonic fury of "Wired All Night." His brashness and swagger are well intact on numbers like "Put Me in the Trash" and the doggedly relentless cover of James Brown's "Think." The first single, "Sweet Thing," finds him applying a "Fool to Cry" falsetto to a danceable, "Miss You"-style track. On "Out of Focus," a churchy piano-vocal intro segues into reggae-accented gospel-funk as Jagger deals squarely with a harsh comeuppance that tempts with autobiographical overtones: "Maybe I lied a little bit too much.... I saw the future just shatter like glass." "Don't Tear Me Up" is another sadder-but-wiser reflection bolstered by echoes of "You Can't Always Get What You Want." The title song spells out his rootless dilemma with forcible resolve: "Yes, I am a restless soul/There's no place that I can call my home," he sings as the band ensnares him in a tight jump blues.

But Jagger isn't content to let matters rest there. From this defiant perch he reveals the cracks in a vulnerable façade with three remarkable songs near the album's end. "My cards are on the table/You can get up and walk away/Or stay," he importunes in the country-flavored ballad "Hang On to Me Tonight." Tart Memphis-soul guitar and a solid backbeat buoy Jagger's bittersweet plaint in "I've Been Lonely for So Long." "Angel in My Heart" closes this trilogy with a heartbreaking plea – "Stay with me till night turns to day/Let me in your dreams" – set to an exquisite melody reminiscent of "Lady Jane." Wandering Spirit, then, illuminates the varied aspects of a complex personality. But best of all, it rocks like a bitch.

PARKE PUTERBAUGHRolling Stone (No. RS 650 2/18/93, p.58) - 3.5 Stars
© Copyright 2001 RollingStone.com
 

 L y r i c s


OFF THE GROUND

There must have been a lot of heartache
For you to sink so low.
You must have had a ton of pressure.
Only answer if the answer's no.
I Need Loving, You Need Loving Too.
Doesn't Take A Lot To Get Off The Ground.

There Must Have Been A Lot Of Magic
When The World Was Born.
Let Me Be The One You Wish For,
One You Call For, When You're All Alone.

I Need Loving, You Need Loving Too.
Wouldn't Take A Lot To Get Off The Ground.

Off The Ground, Off The Ground.
Fly Around, Fly Around.
Hear The Sound, Hear The Sound.
Off The Ground, Off The Ground.

Though It Takes A Lot Of Power
To Make A Bog Tree Grow.
It Doesn't Need A Pot Of Knowledge.
For A Seed Knows What A Seed Must Know.

You Need Loving, I Need Loving Too.
Doesn't Take A Lot To Get Off The Ground.

Off The Ground, Off The Ground.
Fly Around, Fly Around.
Hear The Sounnd, Hear The Sound.
Off The Ground, Off The Ground.

Hear The Sound, Hear The Sound.
Off The Groound, Off The Ground.
Yeah Yeah, Off The Ground.


LOOKING FOR CHANGES

I Saw A Cat With A Machine In His Brain
The Man Who Fed Him Said
He Didn't Feel Any Pain
I'd Like To See That Man Take Out That Machine
And Stick It In His Own Brain
You Know What I Mean
I Saw A Rabbit With Its Eyes Full Of Tears
The Lab That Owned Her Had
Been Doing It For Years
Why Don't We Make Them Pay For Every Last Eye
That Couldn't Cry Its Own Tears
Do You Kmow What I Mean

When I Tell You That We'll All Be
Looking For Changes
Changes In The Way We Treat Our Fellow Creatures
And We Will Learn How To Grow

Well I Tell You That We'll All Be
Looking For Changes
Changes In The Way We Treat Our Fellow Creatures
And We Will Learn How To Grow
When We're Looking For Changes

I Saw A Monkey That Was Learning To Choke
A Guy Beside Him Gave Him Cigarettes To Smoke
And Everytime That Monkey Started To Cough
The Bastard Laughed His Head Off
Do You Know What I Mean

When I Tell You That We'll All Be
Looking For Changes
Changes In The Way We Treat Our Fellow Creatures
And We Will Learn How To Grow

When We're Looking For Changes
We're Looking For Changes
We're Looking For Changes
We're Looking For Changes In The Way We Are


HOPE OF DELIVERANCE

I Will Always Be Hoping, Hoping.
You Will Always Be Holding, Holding
My Heart In Your Hand. I Will Understand.
I Will Understand Someday, One Day.
You Will Understand Always,
Always From Now Until Then.

When It Will Be Right, I Don't Know.
What It Will Be Like, I Don't Know.
We Live In Hope Of Deliverance From The Darkness That Surrounds Us.

Hope Of Deliverance, Hope Of Deliverance.
Hope Of Deliverance From The Darkness That Surrounds Us.

And I Wouldn't Mind Knowing, Knowing
That You Wouldn't Mind Going, Going Along With My Plan.

When It Will Be Right, I Don't Know.
What It Will Be Like, I Don't Know.
We Live In Hope Of Deliverance From The Darkness That Surrounds Us.

Hope Of Deliverance, Hope Of Deliverance.
Hope Of Deliverance From The Darkness That Surrounds Us.

Hope Of Deliverance, Hope Of Deliverance.
Hope Of Deliverance From The Darkness That Surrounds Us.

Hope Of Deliverance, Hope Of Deliverance.
Hope Of Deliverance From The Darkness That Surrounds Us.

Hope Of Deliverance, Hope Of Deliverance.
Hope Of Deliverance From The Darkness That Surrounds Us.


MISTRESS AND MAID

She Said
Come In My Dear,
You're Looking Tired Tonight.
Your Bath Is Drawn, Let Me Loosen Your Tie
And Fix You Your Usual Drink.
He Settles Back,
Takes A Magazine,
Kicks Off His Shoes, As He Studies The Form
Of Every Appealing Soubrette.
But Where Are The Flowers That He Used To Bring?
Every Endearing Remark
Reminds Her Of Passionarte Promises,
That He Only Made In The Dark.

In Her Bed,
She Wants To Shout At The Back Of His Head
Look At Me, Look At Me, Look At Me I'm Afraid
See What It's Come To,
I'm Just Your Mistress And Maid.

The Wine Is Warm
But The Dinner Is Cold.
The Look In His Eye Tells Her It Won't Be Long
'Till The Girls On The Page Come To Life.
And They'll Get The Flowers That He Used To Bring
With Every Endearing Remark,
And All Of The Passionate Promises
He'll Never Fulfil In The Dark.

In Their Bed,
She Wants To Shout At The Back Of His Head
Look At Me, Look At Me, Now That I'm Not Afraid.
See What It's Come To,
I'm Not Your Mistress And Maid.

See What It's Come To,
I'm Not Your Mistress Annf Maid.


I OWE IT ALL TO YOU

Last Night You Helped Me Through,
Took Me To The Lovers Zone.
I Sae There, Images
Projected On A Wall Of Stone.
I Stood Inside Egyptian Temples,
I Looked Into Eternal Gardens,
Lau On The Shores Of Distant Islands,
Linstening To The Sea Birds Song Of Joy.
Oh - I Owe It All To You,
You Make Me Happy,
Oh - I Owe It All To You.

Late Last Night, We Were Right
Into Some Exotic Scene.
Everywhere, Images
Appearing On A Giant Screen.
I Stood Inside A Glass Cathedral,
I Looked Into The Golden Canyon,
Lay By The Lakes Of Holy Water
Glistening Like A Diamond In The Light.

Oh - I Owe It All To You,
You Make Me Happy,
Oh - I Owe It All To You.


PEACE IN THE NEIGHBORHOOD

Best Thing I Ever Saw
Was A Man Who Loved His Wife
In A Place Where Things Were Good
I Felt Peace In The Neighbourhood
That Feeling In The Air
Something Was Definitely There
It Was A Time When Things Were Good
I Felt Peace In The Neighbourhood

I Was There, I Really Was.
At The Centre Of A Love Vibration.
People Sharing With Their Friendd.
Helping Each Other Out
Peace In The Neighbourhood
Helping Each Other Out

Then I Woke Up From My Dream
To See Things As They Really Are
People Struggling To Survive
How Can Peace Hope To Stay Alive?

Well I Was There...I Felt So Good
At The Centre Of A Love Vibration.
People Caring For Their World
Helping Each Other Out.
Peace In The Neighbourhood
Helping Each Other Out.
Peace In The Neighbourhood
Helping Each Other Out.

Best Thing I Ever Saw
I Saw A Man Who Loved His Wife.

Peace In The Neighbour Hood
Helping Each Other Out.
Peace In The Neighbourhood.


GOLDEN EARTH GIRL

Golden Earth Girl, Female Animal
Sings To The Wind, Resting At Sunset
In A Mossy Nest
Sensing Moonlight In The Air
(Moonlight In The Air)
Good Clear Water Friend Of Wilderness
Sees In The Pool Her Own Reflection.
In Another Woeld
Someone Over There Is Counting.

Fish In A Sunbeam,
In Eggshell Seas.
Fish In A Sunbeam.
Eggshell Finish.

Natures Lover Climbs The Primrose Hill,
Smiles At The Sky Watching The Sunset
From A Mossy Nest.
As She Falls Asleep She's Counting ...

Fosh In A Sunbeam,
In Eggshell Seas.
Fish In A Sunbeam.
Eggshell Finish.


THE LOVERS THAT NEVER WERE

I Have Always Needed Somebody Girl,
But I Close The Doors To Keep Out The World.
But For You, I Would Be Here All Alone,
Locked In A Photograph.
All Of The Clocks Have Run Down.
Lover Beware.
We'll Be The Lovers That Never Were.
I Hang Patiently On Every Word You Send.
Will We Ever Be Much More Than Just Friends?
As For You, You Sit There Playing This Game,
You Keep Me Waiting
When All Of The Clocks Have Run Down,
All Over The World.
We'll Be The Lovers That Never Were.

For As Long As The Sun Shines In Somebody's Eyes,
I Believe In You Baby, So Don't Tell Me Lies.
For As Long As The Trees Throw Down Blossoms And Leaves,
I Know There Will Be A Parade Of Unpainted Dreams.

And I Know Dear, How Much It's Going To Hurt
If You Still Refuse To Get Your Hands Dirty.
So You, You Must Tell Me Something,...I Love You,
Say Goodbye Or Anything.
All Of The Clocks Have Run Down.
Time's At An End.
If We Can't Be Lovers We'll Never Be Friends.

For As Long As The Sun Shines In Somebody's Eyes,
I Believe In You Baby, So Don't Tell Me Lies.
For As Long As The Trees Throw Down Blossoms And Leaves,
I Know There Will Be A Parade Of Unpainted Dreams.


GET OUT OF MY WAY

Crash Bang Wallop I'm A Lover Again
I've Got My Eyes On The Road
And I'm Feeling No Pain
I've Found A Real Fine Woman
I'm Heading To See Her.
Bye Bye Melancholy Listen To Me
We Had A Long Long Ride
But It Isn't To Be
I've Found A Real Fine Woman
I'm Heading To See Her.

Get Out Of My Way
Get Out Of My Life
I Don't Need Anybody To Tell Me
How To Be Right
Don't Try To Stop Me
I've Got The Answer
I Won't Need Anybody Except My Woman Tonight.

I Can't Help It If I'm Starting To Smile
I've Got A Full Gas Tank
And It's Only A Mile
'Till I'll Bee With My Little Woman
I'm Ready To See Her.

So I Say ...
Bye Bye Melancholy Listen To Me
We Had A Long Long Ride
But It Isn't To Be
I've Found A Real Fine Woman
I'm Heading To See Her.

Get Out Of My Way
Get Out Of My Life
I Don't Need Anybody To Tell Me
How To Be Right
Don't Try To Stop Me
I've Got The Answer
I Won't Need Anybody Except My Woman Tonight.


WINEDARK OPEN SEA

Open Up Your Heart
If You Want To Set Me Free
Full Of Love, Your Love.
Sailing On A Winedark Open Sea.
Sailing On A Winedark Open Sea.
Lighten Up, My Heart.
Leave It To The Evening Breeze.
Give Me Love, Your Love.
Sailing On A Winedark Open Sea.
Sailing On A Winedark Open Sea.

Oh My, I Feel Love For You
Spreading Through My Body,
I Remember How
We Can Be So Loving.
I Feel Love For You Now,
I Feel Love For You Right Now.

Loosen Up, My Heart.
Let Me Have Some Time To Be
With A Love, My Love.
Sailing On A Winedark Open Sea.
Sailing On A Winedark Open Sea.

Oh My, I Feel Love For You
Spreading Through My Body,
I Remember How
We Can Be So Loving.
I Feel Love For You Now,
I Feel Love For You Right Now.

Sailing On A Winedark Open Sea.
Sailing On A Winedark Open Sea.

Oh, I Feel Love For You Now.
I Feel Love For You Right Now.
I Feel Love Forr You Now.
Baby I Feel Love For You Right Now,

We're Sailing On A Winedark Open Sea.
Sailing On A Winedark Open Sea.


BIKER LIKE AN ICON

There Was A Girl Who Loved A Biker
She Used To Follow Him Across America
But The Biker Didn't Like Her.
She Didn't Care, She Still Persisted
Though Her Brother Said She Was Twisted
And The Family Said They Wouldn't Miss Her
Anyway.

She Loved The Biker Like An Icon
Gazing At His Picture Everyday.
She Loved The Biker Like An Icon
Slowly Watching Precious Water Drip Away.

She Did Her Best To Fix A Meeting
She Pulled It Off One Night In Hollywood
When He Met Her He Couldn't Let Her Get Away.

He Didn't Ask For Her Permission
He Took Advantage Of Her Position
But He Was Always Her Ambitiion
Anyway.

She Loved The Biker Like An Icon
Gazing At His Picture Everyday.
She Loved The Biker Like An Icon
Slowly Watching Precious Water Drip Away.

The Family Tried So Hard To Find Her
They Showed Her Picture Across America.
But No Trace Of Her Sweet Face
Was Ever Found.

She Loved The Biker Like An Icon
Gazing At His Picture Everyday.
She Loved The Biker Like An Icon
Slowly Watching Precious Water Drip Away.


C'MON PEOPLE

Well We're Going To, Yeah We're Going To
Get It Right This Time.
We're Going To Really Going To
Raise It To The Sku.
People Are Ready To Forgive A Few Mistakes
But Let's Get Started, Form A Party
Don't You Know How Long It Takes!
C'mon People Let The Fun Begin.
We've Got A Future And It's Rushing In.
Call All The Minstrels From The Ancient Shrine.
Pass Down The Message That It's Right This Time.

Well I'm Trying To, Yeah I'm Crying To
Lay It On The Line.
We're Trying To, Really Dying To
Get It Right This Time.
So Many Yearning For The Way It's Gonna Be.
Believe It When You See It Happening To You.,
You Know It's Real.

C'mon People Let The World Begin.
We've Got A Future And It's Charging In.
We'll Make The Best Of All We Have, And More.
We'll Do What Never Has Been Done Before.
Oh Yeah.

Well I'm Going To, Yeah I'm Going To
Get It Right This Time.
I'm Going To, Really Going To
Raise It To The Sky.
I Must Admit I May Have Made A Few Mistakes,
But Let's Get Started, From A Party
Don't You Know How Long It Takes!

So C'mon People Let The Fun Begin.
We've Got A Future And It's Rushing In.
Call All The Minstrels From The Ancient Shrine.
Pass Down The Message That It's Right This Time.
Oh Yeah.

C'mon People Let The World Begin.
We've Got A Future And It's Charging In.

Now C'mon People.


AND REMEMBER TO BE ... COSMICALLY CONSCIOUS

C'mon, Be Cosmically Conscious,
Cosmically Conscious With Me.
How To Be Cosmically Conscious,
Cosmically Conscious With Me.
Such A Joy, Joy.
Such A Joy, Joy.
So That Means
Such A Joy

 M P 3   S a m p l e s


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