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Gary Moore: Back to the Blues

 A l b u m   D e t a i l s


Label: Sanctuary Records
Released: 2001.03.12
Time:
 53:25
Category: Blues
Producer(s): Gary Moore
Rating: *********. (9/10)
Media type: CD
Web address: www.gary-moore.com
Appears with:
Purchase date: 2001.03.13
Price in €: 15,99



 S o n g s ,   T r a c k s


[1] Enough of the Blues (Moore) - 4:47
[2] You Upset Me Baby (Bihari/King) - 3:13
[3] Cold Black Night (Moore) - 4:18
[4] Stormy Monday (Walker) - 6:53
[5] I Ain't Got You (Carter) - 2:53
[6] Picture of the Moon (Moore) - 7:14
[7] Looking Back (Watson) - 2:19
[8] The Prophet (Moore) - 6:19
[9] How Many Lies (Moore) - 6:09
[10] Drowning in Tears (Moore) - 9:20

 A r t i s t s ,   P e r s o n n e l


GARY MOORE - Vocals, Guitar, Brass arrangement, Mixing, Artwork design
PETE REES - Bass
VIC MARTIN - Keyboards
DARRIN MOONEY - Drums

Horn (brass) section on "You upset me baby":
MARTIN DROVER - Trumpet
FRANK MEAD - Tenor Saxophone
NICK PENTELOW - Tenor Saxophone
NICK PAYN - Baritone Saxophone, Brass arrangement

CHRIS TSANGRADIES - Co-Producer, Engineer, Mixing
GERED MANKOWITZ - All photos
IAN COOPER - Mastering

 C o m m e n t s ,   N o t e s


UK - Sanctuary Music SANCD 072
US - BMG/CMC - '86302(CMCI63022.2)' - 20th March, 2001.
Japan - Victor - 'VICP-61331' - 28th March, 2001

Recorded at Music Bank's Waterloo Sunset Studios, Mixed at Sarm West Studios.



Guitarist Gary Moore is an anomaly: a testosterone-driven rocker with jazz and romantic leanings, equally at home pacing the stage with the Thin Lizzy boys, fusion riffing with John Heisman's Colosseum or pouring out his heart in any one of the many versions of the same minor ballad that he keeps penning (represented here by "Picture of the Moon" and "The Prophet"). Mind you these are good minor ballads and no more repetitive than your average blues or country tunes. Speaking of the blues, with this CD Moore shows that he can also remind us what we liked about British blues in the first place: genuine feeling, great tone, and an energy that puts the electric in electric guitar. Those that miss the fire of Clapton's Bluesbreaker years will find it here. "You Upset Me Baby" shows that Moore can swing, and if some metal plod occasionally seeps into tunes like "I Ain't Got You" or "Looking Back" we can forgive him, for in a world blighted by way too much irony and cold craftsmanship, this man's honest passion is something to be treasured.

Michael Ross - Amazon.com



...This is an album defined by the words 'taut' and 'blistering' with bone-crunching production values and some incendiary, recorded-live solos. Eric Clapton could learn from this....and not a metal cliché in sight.

Mojo - 3/2001, p.103



Gary Moore, Back To The Blues, SANCD 072, Sanctuary Music, UK, 2001

So here it is, the new Gary Moore CD. It's already leaked out that he has headed back to blues territory after the last couple of CDs ("Dark Days In Paradise"" and "A Different Beat") where he experimented incorporating modern contemporary dance beats with his as usual heartfelt and blues laden guitar playing. And yes, this is a CD I would best describe in a few words as a cross between his huge hit album "Still Got The Blues" (1990) and his Peter Green tribute CD "Blues For Greeny" (1995). The whole vibe of the CD is also very "live in the studio" and Moore is a brilliant live performer especially on his most inspired nights, so that's fine with me.

I have followed Moore since the late 70s myself and I have dug up most of the work he's done since the late 60s up until today, and one thing is sure, he usually never stay within the boundary of a single genre or musical direction for very long. We've seen him play classic rock, heavy metal, fusion jazz/rock, blues and pop just to mention some of the labels you could put on his output through the years. So a change of direction should be no surprise to anyone with a little insight to the man's career. However, he was very successful with his blues albums in the early 90s, which spawned the mega hit "Still Got The Blues", but after that things got stale and new ideas seemed to be nowhere in sight and he bought himself time with a tribute CD, a live CD and a one off project with Jack Bruce and Ginger Baker (BBM, 1994).

Then when he really tried to do something new with "Darker Days In Paradise" (1997) the whole thing bombed and the record company he had been with for some 15 years suddenly decided it was time to let him go. Now there's a much smaller machinery grinding behind him when it comes to promotion, recording budgets and whatever which of course has an effect on the probability of success. I don't know if this has anything to do with the fact that he decided to go back to the blues but one can always wonder...

So what do we get on this new CD then? It kicks off with "Back To The Blues" and the intro features Moore singing and playing in "telephone line quality" and a Dobro sounding slide guitar. It soon launches into a stomping blues with a raunchy rhythm guitar and Moore in his best howling and growling voice sings, "well, I had enough of the blues, but the blues ain't had enough of me". Nice, but still not enough to convince me that it was the right decision to turn back into blues land again.

Next up is "You Upset Me Baby", and here we're welcome to a swinging blues a la BB King with a full horn section adding that jazz brass vibe. I have never been big on this "sophisticated" blues style since I think the raw and dirty blues sounds so much more true, and honest to the true meaning of blues. Still, who am I to complain and my right foot stomps away and we get more exquisite guitar playing. Although I suspect Moore could churn out tracks like this 13 on the dozen. Blues by the numbers? You'll be the judge, but I am still not convinced...

"Cold Black Night" is a track I heard Moore play on the last tour when I saw him in Stockholm. Here, the "live in the studio" vibe is apparent and although the track is nothing fantastic as such, Moore sounds very inspired and some blistering notes are sent out into the stratosphere from this fast paced blues rocker. Oh and by the way, although the title is the same this track is not the same as the unreleased track on a Thin Lizzy bootleg from the period when Moore was in the brigade led by Sergeant rock himself, Phil Lynott.

"Stormy Monday" is a blues classic and sure the boys does a nice version with soothing keyboards adding to the atmosphere, but it all sounds old to me, and by know I really wonder if I will get through this CD without feeling that Moore has produced a boring "mo(o)re of the same" CD just to please his blues fans?

"Ain't Got You" is yet another rocking blues number where the band sounds like they were jamming hard in the studio. It's got a great vibe and glowing guitar playing but nothing really new and mind-boggling for old Moore aficionados, like me.

Then just by the opening notes of "Picture Of The Moon" the hair on my arms stand straight out. I can already hear people comparing this blues ballad to "Parisienne Walkways" and "Still Got The Blues", and it's definitely a song in that old Moore school, but it's so beautifully executed and with such exquisite and tasteful guitar picking and with a voice conveying so much feeling it really gets you, or else you're dead! Thumbs up, and now we're talking a revived belief in Moore's blues again... but still I need more to call the CD one of his best.

Bam! The old John Mayall and the Bluesbreaker's track "Looking Back" pops out of the speakers and hits you right where it should. Pull away the chairs and tables and start dancing. They played this live and the last tour and they have cut a great foot stomping version of it on plastic as well. Great!

Then, yet again the hair on my arms gets another electric shock and I just shiver when "The Prophet" rolls in. It's also a track some of his fans got to hear on the last tour. It's also a track "from the same part of the world" as Moore's previous instrumental classics "The Loner" and "The Messiah Comes Again" (although the latter is a Roy Buchanan original). A slow paced song with a Hammond organ laying down the harmonies over which Moore gets to shine and guitar playing wise this is Moore's best moment in a long time, to these ears at least. He goes from the softest "Peter Green" cotton smooth notes to the angriest bitter-filled razor-sharp notes and back again. He gives us all his trademark stuff and ends with the classic volume swells a la the long outros of "Parisienne Walkways" we've heard in the live shows through the years. Amazing!

"How Many Lies" is a 12 bar standard stomping blues and nothing really fantastic, at least if you are used to the standards of Mr Moore.

"Drowning In Tears" is another ballad, and the exotic rhythm and the guitar sound makes me think of "The Supernatural" and "Looking For Somebody" off the "Blues For Greeny" CD. Another spine chilling guitar performance by Moore where he hits those perfect notes, and no other notes than those, that only he can. Great!

So there you have it. The new Gary Moore CD. Four standout tracks; "Picture Of The Moon", "The Prophet", "Looking Back" and "Drowning in Tears". With several other great ones but also a couple of fillers. The CD definitely reinstates my belief in Moore as the best rock blues guitarist around. No one else can simply pour so much emotion into guitar playing and come up with notes that speak words no singer could interpret better or clearer. Direction wise I still have the feeling Moore is a seeker and I would assume the commercial debacle of the last two CDs where he really put a lot of stuff on the line and tried a new more contemporary sound still hurts. The band on this CD is the same as he's using in the live shows and they're decent especially for this kind of music since they're all veterans from the London blues circuit. They add nothing spectacular and Moore is the only world-class player here.

So the verdict is positive. The "guitar player" is back and armed with some tracks on the level of his best work of his long career I can strongly recommend the CD to you, especially if you like classic blues rock.
LH, March 2001

Addendum: It's now a week after I added the review of "Back To The Blues". The CD has been given quite a few spins in the CD player during the week. A few more observations hit me. The drummer Darrin Mooney is actually a very good drummer... which maybe I should have noticed right away!? ;) Also, "live" feel of the CD just comes through stronger and stronger and it makes the whole thing vibrant. /L.



Der Gitarrist Gary Moore fällt immer wieder aus der Rolle: Ein ungestümer, urwüchsiger Rocker mit Liebe zum Jazz und Hang zur Romantik, der sich zu Hause fühlt, wenn er mit den Jungs von Thin Lizzy über die Bühne fegt, seine Fusion-Riffs bei John Heismans Band Colosseum abliefert, der aber genauso sein Herz in einer der vielen Versionen seiner ständig so nebenher geschriebenen Balladen ausschütten kann -- hier vertreten durch "Picture of the Moon" und "The Prophet". Ehrlich gesagt, für so nebenher geschriebene Balladen sind die sogar verdammt gut und enthalten nicht mehr Routine und Wiederholung als jede so gängige Blues- oder Country-Melodie. Da wir gerade vom Blues sprechen: Mit dieser CD demonstriert Moore, dass er all das, was wir an dem britischen Blues so von Herzen gern hatten, wieder in unsere Erinnerung zurückrufen kann: Tief empfundene Gefühle, tolle Klangfarbe und eine Energie, die eine elektrische Gitarre echt unter Strom setzt. Wer das Feuer von Eric Claptons Bluesbreaker-Jahren vermisst, wird es hier wieder finden. "You Upset Me, Baby" beweist, dass Moore auch swingen kann. Verzeihen wir ihm doch ganz großzügig, wenn hier und da schwerfällige Metal-Klänge in Melodien wie "I Ain't Got You" oder "Looking Back" einsickern, denn in einer Welt, die von allzu viel Ironie und kühlem Können geprägt ist, muss man die ehrliche Leidenschaft dieses Mannes wie einen kostbaren Schatz hüten.

Michael Ross - Amazon.at



Although guitarist Gary Moore opens his latest album with a song called "Enough of the Blues," there are some musicians, such as Moore, who will never get enough blues. They eat and drink this stuff, and seemingly even breathe blue air. With his new album Back To The Blues, Moore once again blows like a six-string hurricane. Loud and loose Chicago blues is Moore's atmospheric element of choice, and his sound resides solidly within the Buddy Guy and Albert King camp. Moore gets especially loud 'n’ proud on the frustrated "I Ain't Got You" and the pumped-up "Looking Back." On these cuts, Moore's voice takes on a gritty Steven Tyler-like quality. He backs this sandpaper singing with swaggering and stinging leads.

Moore's musicianship is not always boisterous bravado, though, as he's almost a dead ringer for Eric Clapton's more sensitive side on "Picture of the Moon." His solos on this selection swell and float like long, lingering Carlos Santana fills.

Since this is first and foremost a guitar album, axe work takes center stage in the mix. Each and every solo shines like shooting laser beams, thrilling the ear. Moore's singing is rarely anything to write home about, but his serviceable vocals are nevertheless tracked well.

This collection is a mixture of standards, like "Stormy Monday" and "You Upset Me Baby," alongside Moore originals. Moore may have the sound and feel of authentic blues locked in, but he still lacks a little of the genre's bad attitude. The best Chicago bluesmen, such as Muddy Waters and Howlin' Wolf, infused their signature recordings with the undeniable force of their extroverted and often scary personalities. Musical style was a vehicle to express already established unique personality characteristics.

Moore, on the other hand, comes off a tad on the anonymous side. We can sense his talent, but we can't seem to get a good glimpse of just who he really is.

Reviewed by Dan MacIntosh
AudioRevolution.com



Gary Moore's album will be released in March 2001 and it will be called " "Back to the Blues". Comments Chris Tsangaridis: "And it sure is. It is probably his most honest album to date, no tricks just some great playing and great songs."

At Music Bank in London respected engineer/producer Chris Tsangarides has assembled his own impressively equipped studio in order to record Gary Moore's new blues-influenced album. The studio, which centres around a 32 channel VTC by TL Audio and Otari Radar system, has been put together so that the band's performances in the adjacent rehearsal space can be recorded onto multitrack, resulting in a virtual 'live' album!

"Gary and his band are doing what they do best - playing live - andthe sound we're getting down here is terrific. When we weighed up the relative costs of doing a conventional studio album, or investing in the VTC and doing everything here in this environment, it made much more sense to set up camp here. As far as the console goes, there's nothing in its price range to match it - its ease of operation is second to none, and it sounds great. It really is a pro desk at a semi-pro price."
Chris, whose associations with Gary stretch back to the Colosseum2 days, already has a formidable arsenal of TL Audio outboard gear, including Ivory range voice processors, compressors and EQs, although he concluded: "To be honest though, I've not touched anyoutboard preamps on this album so far. Everything we have recorded has gone straight into the desk."

Pro-Music-News



I have been extremely fortunate in that last month I was able to review R.L. Burnside’s new offering and Gary Moore this month. These artist’s talents to make music that has vigor and life pour through every note that they produce.

Gary Moore’s latest album, Back To The Blues, crackles with such electricity and power that it made me long for the days when artists recorded everything live and didn’t worry about overdubbing every little piece of the track. This "live in the studio" approach by Moore just unleashed a wall of guitar sound that I haven’t heard since a kid by the name of Edward Van Halen unleashed his "brown sound," and hammer-ons on the first Van Halen album.

With such impressive passion and technique, you would tend to think that the songs might end up sounding a bit sterile, but Moore shows creativity and a love for the blues through all 10 tracks on the album. This passion makes the CD one of the finest testaments to the beauty of the blues that many of us have internalized and let consume us from the first Muddy Waters or Howlin’ Wolf song we ever heard.

Moore does pay homage to some of the masters by doing a great funked up version of B.B. King’s "You Upset Me Baby," and a masterful cover of "Stormy Monday," by T-Bone Walker. I have only heard two people ever do justice to "Stormy Monday," other than Moore, one being T-Bone himself and the other being Greg Allman and the Allman Brothers Band. It is not an easy song to do well, but Moore pulls it off like he wrote it himself.

Of his original material on the album, the bookends of the album, "Enough Of The Blues," and "Drowning In Tears," just move you to feel the blues down deep in that place where only the blues grows from.

This album had to have been a labor of love for Moore because something this masterful comes from an artist when they are totally in their element. I hope Moore plans on staying in the blues for a while because he is just the man to help revitalize this great music.

Studog - Revue Magazine



Neues von Gary Moore gibt es in Form des Albums "Back to the blues". Wie der Titel schon andeutet unternimmt er stilistisch keine Experimente seit der "Wende" zu Anfang der 90er, als er vom Hardrock britischer Prägung zurück zu seinen Ursprüngen fand. Im Titel findet sich aber auch eine verdächtige Parallelität zwischen "Still got the blues" und "Back to the blues" die nicht von ungefähr kommt. Mit der Ballade "Picture of the moon" hat er die Nummer "Still got the blues" quasi neu aufgesetzt. Das Instrumental "The prophet" erinnert überdeutlich an the "Loner" vom Wild Frontier Album und der Rest des Songmaterials kommt über einen gediegenen Durchschnitt nie hinaus. Daran kann auch Star-Co-Produzent Chris Tsangarides nichts mehr retten. Ohne zu den ewig Gestrigen gehören zu wollen kann ich da nur sagen, dass Gary Moore sein Kreativpotential definitiv in den 80ern verschossen hatte. Wer es nicht glaubt, dem sei geraten noch einmal in die Mottenkiste zu greifen und sich weltweite Hitnummern wie "Empty Rooms" oder "Out in the fields" anzuhören. Gemessen an diesem Standard ist "Back to the blues" nicht mehr als bessere Straßenmusik.

Alexander Karapidis



Zum Glück ist der einstige Saitenmann von Thin Lizzy, Colosseum II und Skid Row zum Blues zurückgekehrt. 1990 hat er dem Blues mit seiner Erfolgs-CD «Still Got The Blues» ein neues Gesicht gegeben und damit viele «Normal-Konsumenten» zu den Ursprungssounds der heutigen Rock&Pop-Musik bekehrt. Respektive das Interesse daran geweckt. Nach zwei eher experimentellen letzten Alben und nach der Zusammenarbeit mit den Blues-Rock-Koryphäen Jack Bruce und Ginger Baker im Trio BBM 1994 – beide schrieben mit Eric Clapton im Trio Cream Musikgeschichte – kehrt Moore nun mit Kraft und Bestimmtheit zum Blues zurück. Zehn feine Blues-Songs, teils von ihm selber komponiert, teils wunderbare Coverversionen von Klassikern wie etwa T-Bone Walkers «Stormy Monday». Oder mit «The Prophet» ein herrliches Balladen-Instrumental im besten Stil von Santanas «Samba Pa Ti» oder «Europa», zum Weinen schön. Bei Gary Moore geben sich Technik und Gefühl ein Stelldichein.

Artikel vom 04. Mai 2001
Blick CH Online
 

 L y r i c s


ENOUGH OF THE BLUES

Somebody help me.
Lord, I'm in misery.
Somebody help me.
Lord, I'm in misery.
I had enough of the blues,
but the blues ain't had enough of me.

Had me a woman.
Oh Lord, I done her wrong.
Had me a woman.
Oh Lord, I done her wrong.
She got sick and tired of the cheatin',
and now she's up and gone.

That's why she left me,
left me in misery.
That's why she left me,
left me in misery.
Yes, she did.
I had enough of the blues,
but the blues ain't had enough of me.

Ah-ah-ah-ah-ah-ah-ah.
Ah-ah-ah-ah-ah-ah-ah.
Ah-ah-ah-ah-ah-ah-ah.
Ah-ah-ah-ah-ah-ah-ah.

Somebody help me.
Lord, I'm in misery.
Somebody help me.
Lord, I'm in misery.
Uh-uh.
Well, I had enough of the blues,
but the blues ain't had enough of me.
Oh, no.

Ah-ah-ah-ah-ah-ah-ah.
Ah-ah-ah-ah-ah-ah-ah.
Ah-ah-ah-ah-ah-ah-ah.
Ah-ah-ah-ah-ah-ah-ah.

Somebody help me.
Lord, I'm in misery.
Somebody's gotta help me.
Lord, I'm in misery.
Yes, I am.
I had enough of the blues,
but the blues ain't had enough of me.

I had enough of the blues,
but the blues ain't had enough of me.
Oh, no.
I had enough of the blues,
but the blues ain't had enough of me.

Ah-ah-ah-ah-ah-ah-ah.
Ah-ah-ah-ah-ah-ah-ah.
Ah-ah-ah-ah-ah-ah-ah.
Ah-ah-ah-ah-ah-ah-ah.

Ah-ah-ah-ah-ah-ah-ah.
Ah-ah-ah-ah.
Ah-ah-ah-ah.

Ah-ah-ah-ah-ah-ah-ah.
Ah-ah-ah-ah-ah.
Ah-ah-ah-ah-ah.


YOU UPSET ME BABY

That's right!

Yes, she's 36 bust,
28 in the waist,
44 on the hip.
She's got some crazy legs.

It upsets me baby.
Ooh, upsets me baby,
Yeah, I'm tellin' you
she's so fine,
somethin' that you ought to see.

Well, she's not too tall,
complexion is fair.
It knocks me out
the way she wears her hair.

You upsets me baby.
You upsets me baby.
Like beein' hit by a fallin' tree,
woman what you do to me.

Well, I try to describe her.
It's hard to stop.
I better stop now
in case I got a weak heart.

You upsets me baby.
You upsets me baby.
Like beein' hit by a fallin' tree,
woman what you do to me.
Yeah!

Yeah!

Try to describe her.
It's hard to stop.
I better stop now
in case I got a weak heart.

You upsets me baby.
You upsets me baby.
Like beein' hit by a fallin' tree,
woman what you do to me.

It upsets me baby.
It upsets me baby.
It upsets me baby.
It upsets me baby.
Like beein' hit by a fallin' tree,
woman what you do to me.
That's right.

Hoh!


COLD BLACK NIGHT

It was a cold black night,
and the rain was falling down.
It was a cold black night,
and the rain was falling down.
It was a cold black night,
the night that my baby left town.

It was the darkest day,
and the wind was howlin' through.
It was the darkest day,
and the wind came howlin' through.
It was the darkest day,
day my baby said we're through.

Oh, come back baby,
never did you no wrong.
Come back baby,
I never did you no wrong.
I've been sleeping in the ground
ever since your love been gone.

It was a cold black night,
and the rain was falling down.
It was a cold black night,
and the rain was falling down.
It was a cold black night,
the night my baby left town.
Yeah.

It was the darkest day,
and the wind came howlin' through.
It was the darkest day,
and the wind came howlin' through.
It was the darkest day,
the day my baby said we're through.

It was a cold black night.
It was a cold black night.
It was a cold black night.
It was a cold black night.

It was a cold black night,
and the rain was falling down.
It was a cold black night,
and the rain was falling down.
It was a cold black night,
the night my baby left this town.
Yes.

It was a cold black night.
It was a cold black night.
It was a cold black night.
It was a cold black night.
It was a cold black night,
the night my baby left town.

It was a cold black night.


STORMY MONDAY

Call it stormy Monday,
but Tuesday's just as bad.
Call it stormy Monday,
Tuesday's just as bad.
Wednesday is worse,
and Thursday's all so sad.

The eagle flies on Friday,
Saturday I go out to play.
Eagle flies on Friday,
Saturday I go out to play.
Sunday I go to church,
I get down on my knees and pray.

Lord have mercy,
Lord have mercy, mercy on me.
Lord have mercy,
Lord have mercy, mercy on me.
Oh, I'm crazy about my baby,
please send her home to me.
Yeah, yeah.

Lord have mercy,
Lord have mercy, mercy on me.
Yeah, Lord have mercy,
Lord have mercy on me.
Well, I'm crazy about my baby,
please, please send her home.

Call it stormy Monday.


AIN'T GOT YOU

I've got a Maserati GT.
I got snakeskin upholstery.
I've got a charge account at Goldblatt's,
but I ain't got you.

I've got a closet full of clothes,
but no matter where it goes,
it keeps a ring through my nose,
but I ain't got you.

Got a tavern,
a liquor store.
I play the numbers,
yeah four-fourty-four.
I got a mojo,
don't you know.
I'm all dressed up
with no place to go.

I got women to the left of me.
I got women to the right of me.
I got women all around me,
but I ain't got you.
No, I ain't got you.

I got women to the left of me.
I got women to the right of me.
I got women all around me,
but I ain't got you.
No, I ain't got you.
No, I ain't got you.


PICTURE OF THE MOON

Picture of the moon
you gave to me that night.
The stars were out to play,
the moon was shining bright.
If only I had known
that it would end so soon.
I was left with a picture of the moon.

The sound of soft guitars
beneath the spanish skies.
Across the candle lights
the sadness in your eyes.
If only I had known
that it would end so soon.
I was left with a picture of the moon.

Picture of the moon
you gave to me that night.
The stars were out to play,
the moon was shining bright.
However could I know
that it would end so soon?
I was left with a picture of the moon.
I was left with a picture of the moon.
All that's left is a picture of the moon.


LOOKING BACK

I was looking back to see
if she was looking back to see
if I was looking back at her.

I saw her walking down the street,
though little does she look so sweet.
I followed her for half a mile,
I had to stop and talk a while.

I was looking back to see
if she was looking back to see
if I was looking back at her.

She had a yellow golden hair,
I'm gonna follow everywhere.
She had a wiggle when she walk,
I wanted her to stop and talk.

You know that I was looking back to see
if she was looking back to see
if I was looking back at her.
Yeah!

She had a yellow golden hair,
I'm gonna follow everywhere.
She had a wiggle when she walk, yeah,
I wanted her to stop and talk.

You know that I was looking back to see
if she was looking back to see
if I was looking back at her.

You know that I was looking back to see
if she was looking back to see
if I was looking back at her.

You know that I was looking back to see
if she was looking back to see
if I was looking back at her.


THE PROPHET

Instrumental.


HOW MANY LIES

How many more lies
you gonna have to tell?
How many more lies
you gonna have to tell?
Well, I've been watching what you're doin',
and I don't like what I see,
you're makin' a fool out of me.

How many more years
you gonna wreck my life?
How many more years
you gonna wreck my life?
Well, I've been checkin' on you baby,
with your cheating and your lies,
you're in for a big surprise.
Yeah!

How many more tears
do I have to cry?
How many more tears
do I have to cry?
When I'm old and I'm grey,
I just gonna walk away,
try to make a fool out of me.

How many more times
you gonna treat me like you do?
How many more times
you gonna treat me like you do?
I've been watching what you're doin',
and I don't like what I see,
you're makin' a fool out of me.
Yeah!

How many more lies
you gonna have to tell?
How many more lies
you gonna have to tell?
Well, I've been checkin' on you baby,
and I don't like what I see.
All your lyin' and your cheatin',
tryin' to make a fool of me.
Had enough of all your prayin',
gonna show you to the door.
If I'm livin' when you're leavin',
I won't be a fool anymore.
No!

How many more lies?
How many more times?
How many more years?
How many more tears?

Hey-hey-hey!
Hey-hey-hey!
Hey-hey-hey!
Hey-hey-hey!


DROWNING IN TEARS

The woman I love doesn't want me.
I'm having to face my worst fears.
She's promised her heart to another.
Feel like I'm drowning in tears.

She is the one I have lived for.
I've waited for so many years.
Now she is leaving me lonely.
Feel like I'm drowning in tears.

I was the one who waited endlessly,
sending you kisses from the stars.
I was the one who fought relentlessly,
wishing you hadn't gone so far.

The woman I love doesn't want me.
I'm having to face my worst fears.
She's promised her heart to another.
Feel like I'm drowning in tears.

Feel like I'm drowning in tears.

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