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Joni Mitchell: Shine

 A l b u m   D e t a i l s


Label: Elektra/Asylum Records
Released: 2007.09.25
Time:
 55:33
Category: Pop/Rock
Producer(s): Joni Mitchell
Rating: ********.. (8/10)
Media type: CD
Web address: www.jonimitchell.com
Appears with:
Purchase date: 2007.10.20
Price in €: 17,99



 S o n g s ,   T r a c k s


[1] One Week Last Summer (J.Mitchell) - 4:59
[2] This Place (J.Mitchell) - 3:54
[3] If I Had a Heart (J.Mitchell) - 4:04
[4] Hana (J.Mitchell) - 3:43
[5] Bad Dreams (J.Mitchell) - 5:41
[6] Big Yellow Taxi 2007 (J.Mitchell) - 2:47
[7] Night of the Iguana (J.Mitchell) - 4:38
[8] Strong and Wrong (J.Mitchell) - 4:04
[9] Shine (J.Mitchell) - 7:29
[10] If (R.Kipling/J.Mitchell) - 5:32

 A r t i s t s ,   P e r s o n n e l


Joni Mitchell - Guitar, Piano, Arranger, Keyboards, Vocals, Producer, Art Direction, Package Design, Instrumentation

Brian Blade - Drums
Paulinho Da Costa - Percussion
Larry Klein - Bass
Greg Leisz - Pedal Steel
Bob Sheppard - Alto & Soprano Saxophone
James D. Taylor - Acoustic Guitar

Leigh Allardyce - Dancer

Joshua Blanchard - Engineer
Dan Marnien - Engineer
Chris Marshall - Engineer
Bernie Grundman - Mastering
Robbie Cavolina - Art Direction
Charles "Chilly Dog: Hope - Photography
Clay Stang - Photography

 C o m m e n t s ,   N o t e s

2007 CD Hear Music 30457

Joni Mitchell is generally considered to be the single most important female singer-songwriter of the 20th Century. Her new CD features 10 great new songs that resonate on the level of some of her all-time classic work, with much of the material inspired by Joni’s passion to save the environment. Her lyrics on the subject are truly inspiring.



The world almost didn't get another Joni Mitchell album after she announced her retirement following 2002's TRAVELOGUE. Whatever her reasons for changing her mind five years down the line, the sheer inspiration behind SHINE is obvious. Her first album of new material in nine years, SHINE finds Mitchell adopting a more intimate approach (especially in contrast to the massive orchestrations of TRAVELOGUE), handling many of the instrumental duties herself. In fact, it's her unconventional approach to both acoustic and electronic instruments that gives the album much of its singular charm; unusually organic synthesizer stabs and skittering electronic percussion rub shoulders with oddball guitar tunings and spidery piano lines. Lyrically, Mitchell melds poetic imagery with sociopolitical themes more seamlessly than she's done in some time, and even revisits one of her earliest songs in this mode, with a perky recasting of her chestnut "Big Yellow Taxi." Listening to the level of artistic urgency apparent on SHINE, it's difficult to imagine Mitchell could have ever really believed she had nothing left to say.

CDUniverse.com


Shine, recorded and released in 2007, is the sign from the heavens that Joni Mitchell has come out of retirement. She left in the early part of the century, railing against a music industry that only cared about "golf and rappers," accusing it of virtually every artistic crime under the sun. So the irony that she signed to Hear Music, Starbucks' music imprint, is pronounced. The company has been embroiled in controversy over its labor and trade practices, and has been accused of union-busting and spying on its employees and union members. It's especially ironic given the nature of the music on this set, which is political, environmental, and social in its commentary. Hear Music has also issued recordings by Paul McCartney and Bob Dylan, so she's in great company. But it's music that we're after here, and Mitchell doesn't disappoint on this score. She doesn't have the same reach vocally that she used to. A lifetime of cigarette smoking will do that to you. But given the deeply reflective and uncomfortably contemplative nature of some of these songs, it hardly matters. Mitchell produced this set herself, and with the exception of guest performances: saxophones by Bob Sheppard, steel guitar by Greg Leisz, some drum spots by Brian Blade, and bass by Larry Klein, all selectively featured. Mitchell plays piano, guitar, and does all the other instrumentation and arrangements herself. The drum machine she uses is so antiquated, it's corny, but it's also charming in the way she employs it. The songs carry the same weight they always have. Her off-kilter acoustic guitar playing is as rhythmically complex as ever, and her commentary is biting, sartorial, and poetic.

The set begins with a five-minute instrumental that would be perfect to accompany the images of the ballet dancers on the cover. "This Place," where her acoustic guitar, a synth, and the pedal steel are kissed by Shepard's soprano saxophone, follows it. Its a statement of place, and the knowledge that its natural beauty is heavenly, but will not remain that way: "You see those lovely hills/They won't be there for long/They're gonna tear 'em down/And sell 'em to California...when this place looks like a moonscape/Don't say I didn't warn ya." She ends it with a prayer for the "courage and the grace/To make genius of this tragedy/The genius to save this place." It's hardly the standard pontificating of rock stars. Thank God. The next tune, "If I Had a Heart," with Blade, Klein, and Leisz, offers this confession: "Holy war/Genocide/Suicide/Hate and cruelty...How can this be holy?/If I had a heart, I'd cry." It's the acceptance of the dehumanization of the culture as well as the increasing uninhabitability of the planet, this resignation that's so startling even as these melodies take you to the places in Mitchell's songwriting we've always loved. The massive drum loops, didgeridoo samples, and bass throbs - with additional percussion by Paulinho da Costa - is a story-song that is meant to be a backbone, hands dirty working and improving things. It's haunting, as it hovers inside its groove with startling electric guitar distortion and effects. But only two songs later we move to "Big Yellow Taxi (2007 Version)." It's radically revisioned and reshaped. It's full of darker tones, soundscapes, an accordion sample, and a tougher acoustic guitar strum. What used to be a hummable if biting indictment of the powers that be, who wanted to develop every last inch of natural space, has become a self-fulfilling prophecy. The exhortation to farmers is still there, but it's more a bitter reminder of the refrain. It's the only song here, and followed by the most beautiful cut on the entire set in "Night of the Iguana," a big, elegant, polyrhythmic allegory that features some of the greatest guitar playing Mitchell has ever done - those leads actually sear, though she employs them as Brian Eno would. In this tune, the storyteller is at the height of her powers, examining the contradictions in being human in a morality tale. With her poetic powers at a peak, she sings, "The jasmine is so mercilessly sweet/Night of the iguana/Can you hear the castanets?/It's the widow and her lover boys/Down on the beach." She suspends all judgment of the protagonist. She merely lets it all come in and sort itself out. "Strong and Wrong" reasserts with Blade and Leisz, and Mitchell's beautifully articulate piano and warm, watery sonic textural backdrops, her feminism, and the story of war is because men love it and that's what history is for, "a mass-murder mystery/His story." Right. Chrissie Hynde and Madonna may have trouble with Mitchell's old-school feminism, her politics, and her view, but she indicts not only men but all of us for "still worshipping/Our own ego." Shine is an unsettling album, full of lean, articulate statements that are not meant to make you feel good. She doesn't have to finger-wag like Bono, who foolishly tries to use the power of guilt on the people he's playing with - they've been at this game for far longer and seen it all - or Thom Yorke's own contemptuous anguish that pleads as much as it professes. Mitchell doesn't have to do anything but lay it down in song, play the generalities and ambiguities as part and parcel of human existence as it has "evolved" and wandered off the path to paradise, through the seduction of power and money. She's an artist; it's her job to report what she sees. "Shine," a relatively simple, mantra-like song, is the other side of the coin and provides that glimmer of Beckett-ian hope we need more than she does, but it seems she's holding out for it too. It's hunger. Musically it's imaginative, fresh, full of a more studied elegance and a leaner kind of pomp that we heard during her Geffen years (a period of her career that's still criminally underappreciated). In addition to her truly iconoclastic songwriting ability, she has proved herself to be a worthy producer of her own work. She's picked up tips from many others from Klein to Daniel Lanois to Jon Brion, and by employing excess at all the seemingly wrong moments, while stripping away the drama from her truly forceful lines and letting them hang out there nearly naked, she offers a view inside her music we haven't heard before but still sounds familiar. Shine isn't a coffee table record. It's an intuitive one; it won't attract record execs looking for the next fading star to resurrect. Mitchell doesn't need them, because there is little to resurrect in the life of a singular artist, especially this one. Her spirit is as unbowed, aesthetically curious and restless as it has ever been - thankfully.

Thom Jurek - All Music Guide



Shine may ultimately register as a "fans only" milestone, but it proves that Joni Mitchell retains many of the storied calling cards of her best albums. The searing lyricism of 1971's Blue and the penchant for self-redefinition hailed by 1974's Court and Spark make cameos here, but sadly, lesser efforts' drawbacks abound. True, "Big Yellow Taxi" reprises the environmental dystopia Mitchell first poeticized on 1970's Ladies of the Canyon, but the occasion only prompts new pedantic effrontery ("This Place," "If I Had a Heart"). In this regard, Shine's especially cloying title track marks the worst offender. Blissfully, though, "Hana" boasts a driving rhythm section and blurting squirts of electric guitar and saxophone in support of a compelling character sketch, and "If"--based on Rudyard Kipling's poem of the same name--paints a lyrical message of affirmation in bold strokes. Mitchell's songwriting shines brightest at such singularly poignant moments where specificity of images meets the vagaries of the instrumental arrangements, and, in the end, these and other highlights ("Bad Dreams," "Night of the Iguana") definitively carry the torch.

Jason Kirk - Amazon.com



Es gibt Künstler, hinter deren Namen man drei Kreuze macht, wenn sie bekanntgeben, dass sie von der Bühne abzutreten gedenken. Und wenn sie dann (was leider viel zu oft passiert) nach einer Pause doch wieder aus der Versenkung auftauchen, hechtet man flugs in schalldichte Räume. Nicht so bei der ebenso großartigen wie eigenwilligen Joni Mitchell. Als sie vor fünf Jahren ihren Rückzug verkündete, herrschte allgemeines Bedauern. Zumal sie ihr letztes Album mit neuen Songs, "Taming The Tiger", bereits 1998 veröffentlicht hatte, vier Jahre vor dem offiziellen Karriereende. Danach brachte die poetische Songschreiberin mit "Both Sides Now" (2000) noch ein Album heraus, auf dem sie, begleitet von großen Orchestern, vorwiegend Jazzstandards interpretierte, und 2002 schließlich "Travelogue", ein Doppelalbum mit Neuinterpretationen älterer Eigenkompositionen. Mit der für sie typischen Deutlichkeit ließ sie anschließend verlautbaren, daß sie von "dem korrupten Sumpf, den pornographischen Schweinen" des Musikbusiness die Nase gestrichen voll habe. Dass sie nun ausgerechnet Hearmusic, das neue Plattenlabel des expansionsfreudigen Kaffeekonzerns Starbucks, für ihr Comeback wählte, dürfte einige Mitchell-Fans deshalb verwundern. Denn dessen Praktiken im Umgang mit Kaffeeproduzenten in der Dritten Welt und Gewerkschaftsmitgliedern in den USA gelten - sachte ausgedrückt - auch nicht gerade als vorbildlich. Doch was bei Jonis Comeback-Album "Shine" zählt, ist schließlich die Musik: Und die ist, auch wenn sie natürlich nicht mehr ganz so abenteuerlich und aufregend wie in den 70er und 80er Jahren klingen mag, immer noch um etliche Klassen besser als das, was die meisten von Mitchells Epigoninnen heute so auf Alben bannen. Angesichts der Tatsache, dass Joni mittlerweile 64 Jahre alt ist, sieht man ihr diese kleinen Schwächen aber gerne nach. Zumal sie ihre Songs immer noch mit exzellenter Lyrik garniert, bei der sie kein Blatt vor den Mund nimmt. Zu den Höhepunkten von "Shine" gehören neben dem Titelstück (das auch hervorragend ins Repertoire einer Abbey Lincoln passen würde), das Remake ihres Klassikers "Big Yellow Taxi", "Night Of The Iguana" und die Schlussnummer "If", für die sie einen Text des in Indien geborenen britischen Schriftstellers Rudyard Kipling adaptierte. Bei der Einspielung erfuhr Mitchell, die sich hier als Multiinstrumentalistin präsentiert, dezente Unterstützung durch Pedal-Steel-Gitarrist Greg Leisz, Bassist Larry Klein, Schlagzeuger Brian Blade, Perkussionsist Paulinho da Costa, Saxophonist Bob Sheppard und Special Guest James Taylor. Für jemanden, der noch vor ein paar Jahren meinte, dass er die Musik zu hassen gelernt habe, schreibt Joni Mitchell erstaunlich gefühlvolle Songs.

pure.de



In 2002, Joni Mitchell - folk legend and creator of timeless albums like Blue, Hejira and The Hissing of Summer Lawns - went into retirement. Following the release of that year’s Travelogue album, she denounced the music industry and at the same time announced plans to pursue her other passion: painting. Shine, Mitchell’s 17th studio album and her first collection of new songs in almost a decade, is therefore something of a surprise. Inspired by the need to speak out against warmongering politicos and environmental myopia, Mitchell has written ten elegant, sparse songs that match idiosyncratic arrangements (think chamber folk merged with curious 80s drum sounds and painterly daubs of sax and guitar) with incisive lyricism and her classic story-telling technique. Opening instrumental "One Week Last Summer" sets an optimistic tone, but the album veers mostly between melancholy, introspection, bitterness and even misanthropy. Mitchell’s voice is more cracked than it used to be - but there’s no denying her passion, nor her continued ability to write engaging tunes.

Paul Sullivan - Amazon.co.uk


Joni Mitchell’s Shine is the work of an artist compelled to make music. Having turned her back on the recording industry years ago, Mitchell, an icon who could certainly rest on her laurels (and royalties), returned to the studio to make an album that rings with personal conviction and quiet intensity. Primarily ballads, Mitchell’s new songs communicate a brooding vision of a world riven by war, greed, and personal confusion. Yet, as expressed through the direct emotionalism of her still arresting voice and unmistakable idiosyncratic phrasing, Mitchell hasn’t given up hope. Honest observation rather than resignation or bitterness permeates these songs, and, as a reworking of her classic “Big Yellow Taxi” attests to, Mitchell can even peer into the darkness with more than a glimmer of humor. Working closely with producer (and former husband) Larry Klein, Mitchell builds a spare yet enveloping sonic environment that owes much to her own piano work and the contributions of pedal steel guitarist Greg Leisz and drummer Brian Blade. Shine is a mature album from an artist who assumes her audience is as grown up as she is.

Steve Futterman - Barnes & Noble



This is the best album by an artist of her generation since Bob Dylan's Modern Times.... Piano-dominant songs form the core of Shine, the most bare album she has made since the early Seventies. The jazzy feel of "This Place", "Hana" and the anti-war "Strong is Wrong" is deceptive and all the more effective as the stark lyrics sink in, while the haunting "If I Had a Heart" and "Bad Dreams Are Good" sound like laments for planet Earth.

The Independent



Entertainment Weekly (p.105) - "Delicate overture 'One Week Last Summer' could be an outtake from 1977's underrated DON JUAN'S RECKLESS DAUGHTER..."



Uncut (p.114) - 3 stars out of 5 -- "[A] stripped-back, more personal album....There's elegiac beauty to these tracks..."



Joni Mitchell is the kind of aging egoist who gives ecology a bad name. On her first album in five years and first for Starbucks -- a connection some anti-corporatists will foolishly disparage -- she rails against environmental ills with the privileged pique of someone who considers the world's failure to resemble the one she grew up in a cosmic affront. Skillfully marshaling the jazzy growl and desultory melodies she's cultivated for decades, she observes that "there's just too many people now," compares our world unfavorably to the Garden of Eden and heaps cell phones with her gorgeous wrath. Given Mitchell's talent and prestige, it's a waste of precious resources that she couldn't have emulated the kindhearted heroine of "Hana" when reminding the caffeinated consumer that nature is gravely out of whack. Instead, her most nuanced new lyric details an apostate tour-bus driver's descent into a luscious sin she probably knows better than she lets on. The runner-up is the title tune, where she grants the sun leave to bless all sinners -- even cell-phone users! Text her your thanks.

ROBERT CHRISTGAU (Sep 20, 2007)
RollingStone.com
 

 L y r i c s


One Week Last Summer

Instrumental


This Place

Sparkle on the ocean
Eagle at the top of a tree
Those crazy crows always making a commotion
This land is home to me.

I was talking to my neighbor
He said, "When I get to heaven, if it is not like this,
I'll just hop a cloud and I'm coming right back down here
Back to this heavenly bliss."

You see those lovely hills
They won't be there for long
They're gonna tear 'em down
And sell them to California
Here come the toxic spills
Miners poking all around
When this place looks like a moonscape
Don't say I didn't warn ya...

Money, money, money...
Money makes the trees come down
It makes mountains into molehills
Big money kicks the wide wide world around.

Black bear in the orchard
At night he's in my garbage cans
He's getting so bold but no one wants to shoot him
He's got a right to roam this land.

I feel like Geronimo
I used to be as trusting as Cochise
But the white eyes lies
He's out of whack with nature
And look how far his weapons reach!

Spirit of the water
Give us all the courage and the grace
To make genius of this tragedy unfolding
The genius to save this place.


If I Had A Heart

Holy war
Genocide
Suicide
Hate and cruelty...
How can this be holy?
If I had a heart I'd cry.

These ancient tales...
The good go to heaven
And the wicked ones burn in hell...
Ring the funeral bells!
If I had a heart I'd cry.

There's just too many people now
Too little land
Much too much desire
You feel so feeble now
It's so out of hand
Big bombs and barbed wire
We've set our lovely sky
Our lovely sky
On fire!

There's just too many people now
And too little land
Too much rage and desire
It makes you feel so feeble now
It's so out of hand-
Big bombs and barbed wire...
Can't you see
Our destiny?
We are making this Earth
Our funeral pyre!

Holy Earth
How can we heal you?
We cover you like a blight...
Strange birds of appetite...
If I had a heart I'd cry.
If I had a heart I'd cry.
If I had a heart I'd cry.


Hana

Hana steps out of a storm
Into a stranger's warm, but
Hard-up kitchen.
She sees what must be done
So she takes off her coat
Rolls up her sleeves
And starts pitchin' in.

Hana has a special knack
For getting people back on the right track
'Cause she knows
They all matter
So she doesn't argue or flatter
She doesn't fight the slights
She takes it on the chin
Like a champ

Hana says when life's a drag
Don't cave in
Don't put up a white flag
Raise up
A white banner
In this manner-
Straighten your back
Dig in your heals
And get a good grip on your grief!

Hana says, "Don't get me wrong
This is no simple Sunday song
Where God or Jesus comes along
And they save ya."
You've got to be braver than that
You tackle the beast alone
With all its tenacious teeth!
Light the lamp.


Bad Dreams

The cats are in the flower bed
A red hawk rides the sky
I guess I should be happy
Just to be alive...
But we have poisoned everything
And oblivious to it all
The cell phone zombies babble
Through the shopping malls
While condors fall from Indian skies
Whales beach and die in sand...
Bad dreams are good
In the great plan.

You cannot be trusted
Do you even know you're lying
It's dangerous to kid yourself
You go deaf and dumb and blind.
You take with such entitlement.
You give bad attitude.
You have no grace
No empathy
No gratitude

You have no sense of consequence
Oh my head is in my hands...
Bad dreams are good
In the great plan.

Before that altering apple
We were one with everything
No sense of self and other
No self-consciousness.
But now we have to grapple
With our man-made world backfiring
Keeping one eye on our brother's deadly selfishness.

And everyone's a victim!
Nobody's hands are clean.
There's so very little left of wild Eden Earth
So near the jaws of our machines.
We live in these electric scabs.
These lesions once were lakes.
No one knows how to shoulder the blame
Or learn from past mistakes...
So who will come to save the day?
Mighty Mouse?
Superman?
Bad dreams are good in the great plan.


Big Yellow Taxi 2007

So they paved paradise
And put up a parking lot
With a pink hotel
A boutique
And a swinging night spot.
Don't it always seem to go
That you don't know what you got 'til it's gone
They paved paradise
Put up a parking lot.

They took all the trees
Put 'em in a tree museum
And they charged all the people
An arm and a leg just to see 'em
Don't it always seem to go
That you don't know what you got 'til it's gone
They paved paradise
Put up a parking lot.

Hey farmer
Put away your DDT
Give me spots on my apples
But leave me the birds and bees
Please
Don't it always seem to go
You don't know what you got 'til it's gone
They paved paradise
And they put up a parking lot.

Late last night
I heard the screen door slam
And a big yellow taxi come and took away my old man.
Don't it always seem to go
You don't know what you got 'til it's gone
They paved paradise
Put up a parking lot.


Night of the Iguana

The tour bus came yesterday
The driver's a mess today
It's a dump of a destiny
But it's got a view...
Now the kid in the see-through blouse
Is moving in hard on his holy vows...
Since the preacher's not dead
Dead drunk will have to do!

Night of the iguana
The jasmine is so mercilessly sweet
Night of the iguana
Can you hear the castanets?
The widow is dancing
Down on the beach

The starlight is steaming
He'd like to be dreaming
His senses are screaming
Not to be denied...
But if the spell of the night should win
He could lose his bus
For the same sweet sin
That took his church from him
Then how will he survive?

Night of the iguana
The jasmine is so mercilessly sweet
Night of the iguana
Can you hear the castanets?
It's the widow and her lover-boys
Down on the beach

The night is so fragrant
These women so flagrant
They could make him a vagrant
With the flick of a shawl.
The devil's in sweet sixteen
The widow's good looking but she gets mean
He's burning like Augustine
With no help from God at all


Strong and Wrong

Strong and wrong you win--
Only because
That's the way its always been.
Men love war!
That's what history' s for.
History...
A mass--murder mystery...
His story

Strong and wrong
You lose everything
Without the heart
You need
To hear a robin sing
Where have all the songbirds gone?
Gone!
All I hear are crows in flight
Singing might is right
Might is right!

Oh the dawn of man comes slow
Thousands of years
And here we are...
Still worshiping
Our own ego

Strong and wrong
What is God's will?
Onward Christian soldiers...
Or thou shall not kill...
Men love war!
Is that what God is for?
Just a Rabbit's foot?
Just a lucky paw
For shock and awe?
Shock and awe!

The dawn of man comes slow
Thousands of years
Here we are
Still worshiping
Our own ego
Strong and Wrong!
Strong and Wrong!


Shine

Oh let your little light shine
Let your little light shine
Shine on Wall Street and Vegas
Place your bets
Shine on the fishermen
With nothing in their nets
Shine on rising oceans and evaporating seas
Shine on our Frankenstein technologies
Shine on science
With its tunnel vision
Shine on fertile farmland
Buried under subdivisions

Let your little light shine
Let your little light shine
Shine on the dazzling darkness
That restores us in deep sleep
Shine on what we throw away
And what we keep

Shine on Reverend Pearson
Who threw away
The vain old God
kept Dickens and Rembrandt and Beethoven
And fresh plowed sod
Shine on good earth, good air, good water
And a safe place
For kids to play
Shine on bombs exploding
Half a mile away

Let your little light shine
Let your little light shine
Shine on world-wide traffic jams
Honking day and night
Shine on another asshole
Passing on the right!
Shine on the red light runners
Busy talking on their cell phones
Shine on the Catholic Church
And the prisons that it owns
Shine on all the Churches
They all love less and less
Shine on a hopeful girl
In a dreamy dress

Let your little light shine
Let your little light shine
Shine on good humor
Shine on good will
Shine on lousy leadership
Licensed to kill
Shine on dying soldiers
In patriotic pain
Shine on mass destruction
In some God's name!
Shine on the pioneers
Those seekers of mental health
Craving simplicity
They traveled inward
Past themselves...
May all their little lights shine


If

If you can keep your head
While all about you
People are losing theirs and blaming you
If you can trust yourself
When everybody doubts you
And make allowance for their doubting too.

If you can wait
And not get tired of waiting
And when lied about
Stand tall
Don't deal in lies
And when hated
Don't give in to hating back
Don't need to look so good
Don't need to talk too wise.

If you can dream
And not make dreams your master
If you can think
And not make intellect your game
If you can meet
With triumph and disaster
And treat those two imposters just the same

If you can force your heart
And nerve and sinew
To serve you
After all of them are gone
And so hold on
When there is nothing in you
Nothing but the will
That's telling you to hold on!
Hold on!

If you can bear to hear
The truth you've spoken
Twisted and misconstrued
By some smug fool
Or watch your life''s work
Torn apart and broken down
And still stoop to build again
With worn out tools.

If you can draw a crowd
And keep your virtue
Or walk with Kings
And keep the common touch
If neither enemies nor loving friends
Can hurt you
If everybody counts with you
But none too much.

If you can fill the journey
Of a minute
With sixty seconds worth of wonder and delight
Then
The Earth is yours
And Everything that's in it
But more than that
I know
You'll be alright
You'll be alright.

Cause you've got the fight
You've got the insight
You've got the fight
You've got the insight

 M P 3   S a m p l e s


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