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Tom Petty: Wildflowers

 A l b u m   D e t a i l s


Label: Warner Bros. Records
Released: 1994.11.04
Time:
 62:50
Category: Pop/Rock
Producer(s): See Artists ...
Rating: *********. (9/10)
Media type: CD
Web address: www.tompetty.com
Appears with: Traveling Wilburys, Jeff Lynne, Roy Orbison, George Harrison
Purchase date: 2001.11.17
Price in €: 9,99



 S o n g s ,   T r a c k s


[1] Wildflowers (T.Petty) - 3:11
[2] You Don't Know How It Feels (T.Petty) - 4:49
[3] Time to Move On (T.Petty) - 3:15
[4] You Wreck Me (M.Campbell/T.Petty) - 3:22
[5] It's Good to Be King (T.Petty) - 5:10
[6] Only a Broken Heart (T.Petty) - 4:30
[7] Honey Bee (T.Petty) - 4:58
[8] Don't Fade on Me (M.Campbell/T.Petty) - 3:32
[9] Hard on Me (T.Petty) - 3:48
[10] Cabin Down Below (T.Petty) - 2:51
[11] To Find a Friend (T.Petty) - 3:23
[12] A Higher Place (T.Petty) - 3:56
[13] House in the Woods (T.Petty) - 5:32
[14] Crawling Back to You (T.Petty) - 5:05
[15] Wake up Time (T.Petty) - 5:19

 A r t i s t s ,   P e r s o n n e l


TOM PETTY - Acoustic & Electric Guitar, Bass, Harmonica, Vocals, Producer, Harmony Vocals

RINGO STARR - Drums
MICHAEL KAMEN - Conductor, Orchestration
MIKE CAMPBELL - Acoustic & Electric Guitar, Bass, Harpsichord, Producer, Slide Guitar, Coral Sitar
BENMONT TENCH - Organ, Piano, Harmonium, Electric Piano, Mellotron, Orchestration, Tack Piano, Grand Piano
LENNY CASTRO - Percussion
HOWIE EPSTEIN - Bass, Vocals, Harmony Vocals
STEVE FERRONE - Drums
BRANDON FIELDS - Saxophone
GARY HERBIG - Saxophone
JIM HORN - Saxophone
KIM HUTCHCROFT - Saxophone
PHIL JONES - Percussion
JOHN PIERCE - Bass
MARTY RIFKIN - Pedal Steel Guitar
CARL WILSON - Vocals

RICK RUBIN - Producer
RICHARD DODD - Engineer, Mixing
DAVID BIANCO - Engineer
JIM SCOTT - Engineer
STEPHEN MCLAUGHLIN - Engineer
STEPHEN MARCUSSEN - Mastering
KENJI NAKAI - Assistant Engineer
JEFF SHEEHAN - Assistant Engineer
GEORGE DRAKOULIAS - Consultant
ROBERT SEBREE - Photography
MARTYN ATKINS - Art Direction, Design, Photography
JOE BARESI - Assistant Engineer

 C o m m e n t s ,   N o t e s


1994 CD Warner Brothers 45759
1994 LP Warner Brothers 45759
1994 CS Warner Brothers 45759
1995 CD Warner Brothers 9362 457592



Under the guidance of producer Rick Rubin, Tom Petty turns in a stripped-down, subtle record with Wildflowers. Coming after two albums of Jeff Lynne-directed bombast, the very sound of the record is refreshing; Petty sounds relaxed and confident. Most of the songs are small gems, but a few are a little too laidback, almost reaching the point of carelessness. Nevertheless, the finest songs here ("Wildflowers," "You Don't Know How It Feels," "It's Good to Be King," and several others) match the quality of his best material, making Wildflowers one of Petty's most distinctive and best albums.

Stephen Thomas Erlewine - All-Music Guide
© 1992 - 2001 AEC One Stop Group, Inc.



As you listen to Wildflowers, Tom Petty's first new album in three years and his first ever for Warner Bros., you may be struck by a certain quality, new for Petty but nonetheless familiar. The predominance of the twangy rhythm guitar; the high-pitched, nasal singing; the irresistibly catchy pop hooks; and the melancholy lyrics straining for a spiritual significance just beyond their grasp--all these elements make Petty sound as if he were a Beatle imitating Bob Dylan. Then you may realize that Wildflowers resembles nothing so much as a George Harrison solo album. That's not such a bad thing; Harrison (Petty's old bandmate in the Traveling Wilburys) has a knack for giving moody spiritualism a pop tunefulness. It's just that Harrison on his own is a second-tier rock & roll figure whose best work is long behind him, and that's pretty much the case with Petty as well. Only with appropriately reduced expectations can one enjoy Wildflowers for what it is.

Geoffrey Himes - Amazon.com



Rolling Stone (5/13/99, p.63) - Included in Rolling Stone's "Essential Recordings of the 90's."

Mojo (1/95, p.51) - Included in Mojo's "25 Best Albums of 1994" - "...highlights Petty's oddly poignant pop writing which, though full of nostalgic resonances, sounds fresher than ever..."

Rolling Stone (11/3/94, pp.95-96) - 4 Stars - Excellent - "...Petty's music...has always demanded a respect that no amount of wry humility could undermine, and his new album WILDFLOWERS proves no exception..."

Spin (1/95, p.74) - Recommended - "...Petty has an evocative voice, and writes great, simple melodies. These are his strong points, and both are amply in evidence on WILDFLOWERS..."

New Musical Express (11/19/94, p.48) - 8 - Excellent - "...the soundtrack for people who felt they were experiencing their mid-life crisis at 14..."



"Wildflowers" ist das zehnte Studioalbum des US-Musikers und gleich in mehrfacher Hinsicht ein Klassiker geworden. Anfangs begeisterte er mit einem sympathischen Hauruck-Stil, der von der Kritik als Mischung aus Rolling Stones und Byrds beschrieben wurde. Heute weiß der Jahrgang '52 als gereifte Persönlichkeit und exzellenter Songschreiber zu überzeugen, der aus einem Riesenfundus über die Jahre verinnerlichter Stilsitiken schöpfen kann und dessen Zusammenarbeit mit den Traveling Wilburys, sprich Dylan, Roy Orbison, Jeff Lynne und Beatle George Harrison, positiv Spuren hinterlassen hat. Zwischen Rhythm & Blues, Pop und Folk changiert er souverän. Und ganz egal, was er anpackt, es hat Poesie, nicht nur, wenn Streicher schwelgen. Faszinierend transparent und schlichtweg briliant ist auch die Produktion von Rick Rubin.

© HIFI Test - Detlef Kinsler



Vor drei Jahren verschwand er vorerst Into The Great Wide Open. Nach einem Greatest Hits-Album 1993 schnuppert Tom Petty, der liebenswerte Rock-Nöler, nun an frischen Wildflowers. Auf den ersten Ohren-Blick treiben die 15 neuen Songs aber keine so betörenden Hitblüten wie die Vorgänger-CD. Sie entfalten ihre Pracht eher mit der Zeit: Ruhig und geradlinig, ohne Elektronikschnörkel, zeigt Onkel Tom souveräne Saiten-Kunst und pirscht sich teilweise mit Mundharmonika und Piano nahe an Neil Young und Jackson Brown heran.

© Audio



Der schlaksige Blonde hat Freunde in hohen Etagen: Der ultrascheue Bob Dylan duldet ihn in seinem engsten Umfeld, Ex-Beatles George Harrison geht mit ihm öfters abends aus, E.L.O.-Überflieger Jeff Lynne gab an ihn immer wieder gerne sein Studiowissen weiter. Kein Zweifel: Tom Petty ist ein Everybody's Darling der Rock-Prominenz. Und auch das Publikum hält ihm seit über 15 Jahren die Treue. Gründe für diese Erfolgsstory finden sich zuhauf. Vielleicht erklärt sich Pettys langanhaltende Glückssträhne durch sein Gespür für einprägsame Melodien, vielleicht auch durch sein Faible für klare Arrangements ohne technischen Firlefanz. Sodann hat er den legendären Folkrock-Sound der Byrds und die näselnde Vokalphrasierung Dylans auf durchaus eigenständige Weise in die Moderne übersetzt. Und stets bewies der traditionsverbundene Typ eine erstaunliche musikalische Wandlungsfähigkeit, die bei seiner angestammten Begleitband, den Heartbreakers, auf offene Ohren stieß. Mit seiner jüngsten Kreation "Wildflowers" geht der Gitarrist und Sänger, der in Florida geboren wurde und in Kalifornien lebt, einmal nicht stilistisch, sondern im Sound neue Wege. Diese Wildblumen sind von einer betörenden klanglichen Frische, überdies weisen sie all jene oben genannten Vorzüge auf, die man Petty zuschreiben kann. Für die außergewöhnliche Transparenz der Aufnahmen zeichnete Kultproduzent Rick Rubin verantwortlich, der zuvor schon solch unterschiedliche Leute wie Johnny Cash, Mick Jagger oder die Red Hot Chili Peppers betreut hatte. Das Songspektrum reicht von heilendem Wüstenrock bis zu relaxtem Highway-Folkpop. Im Studio assistierten bei dieser mitreißenden Session neben den Heartbreakers auch Fossile von den Beatles (Ringo Starr) und den Beach Boys (Carl Wilson). ** Klang.: 08-09

© Stereoplay



Wildflowers is Tom Petty's best record in years; it's certainly his least commercial and most heartfelt. His first album for Warner Bros. (after a career's worth on MCA) captures the vibe that's attracted the likes of Bob Dylan, George Harrison and Roy Orbison to Petty's side. With Rick Rubin thankfully replacing Jeff Lynne in the producer chair, Petty sounds as comfortable as a man can get in the studio, leaning on his acoustic side far more than he did on past efforts. While Petty's fans include album oriented rockers across the country, Wildflowers stands toe-to-toe with the likes of the Jayhawks and Alejandro Escovedo in its warm presence and six-string splendor. We'll be listening to these tracks again: "Only A Broken Heart," "It's Good To Be King," "Honey Bee," and the title track.

Steve Ciabattoni: CMJ New Music Report Issue: 404 - Nov 21, 1994
© 1978-1999 College Media Inc. All rights reserved.



Tom Petty, Roaches, and the WWF

It was the summer of 1995. The setting: Rancho Cucamonga, California, home to inordinate amounts of collected smog and several quality Carl's Jr. and Del Taco restaurants. Three college buddies and myself were only days into our job hocking pest control to half-naked retired men in Palm Springs and had already learned to say "spiders, ants and cockroaches" in Spanish. We were set up in a posh two-bedroom condo, with a wide array of hot tubs to choose from each evening and a wee little exercise room to boot. Within the complex, bikini-clad womenfolk tanning by the pool served as eye candy and, once night fell, we had HBO and consistent Beavis and Butthead Moron-a-thons on the tube. The lap of luxury was there for the sitting as we looked forward to bronzed tans, easy California women and making fat wads of dough in four months' time. All was well.

My first mistake was lending Scott my copy of Tom Petty's Wildflowers. It was one of many lapses of judgment on my part, but one I dreaded over and throughout the summer months. He could only claim one other CD as his, the reggae-tinged Mr. Labah-Labah himself, Shaggy's Boombastic. Every morning, without fail, Dave and I were subject to either a cranked "In the Summertime", "You Don't Know How It Feels" or the sound of yelling coming from the other bedroom, which he shared with his very large brother. (A sidenote: This was before WWF's Smackdown seeped into the heads of the TV-watching mainstream, mind you. My roommate and I listened with sick fascination to the two of them scream obscenities while taking turns hurling one another across the room like human shot puts. There were no fake punches. No trampolines to break their falls. No menacing face paint to speak of. Much more entertaining than anything Hulk Hogan could pull off.)

It was all I could do to clamber to my own stereo system to blast any album I could get my hands on to drown it out (unless they were doing some of that high intensity wrestling I spoke of, which had us clambering to our walk-in closet, ears pressed to the walls like excited voyeurs). But that was then, this is now. While anything Shaggy still makes me wince, I remain a faithful stalwart of Tom Petty. He is one musician I have such a high amount of faith in, I purchase his albums as they are released, sometimes without hearing so much as a song off them beforehand. And, while the critics foamed at the mouth over "Full Moon Fever", I hold my ground when I proclaim Wildflowers to be his strongest album out there.

Not because it's modeled after those vinyl records of yesteryear, with a "Side 1" on its golden top to boot. Not because it's got all the words to all the songs printed in its liner notes, leaving no question in the mind of his groupies (c'mon, he's got to have at least a couple!) as to what he's singing. It's the music. Good music. Songs that could have been emblazoned all over the radio, but hedged on the song that could have been a Grateful Dead epic, the lightly countrified, drug-friendly ditty "You Don't Know How It Feels". If you haven't heard it on the radio, you've heard it played at a NBA game during a time-out.

Nobody knows just where to place Tom, largely because he doesn't look the part of the airbrushed musician (suppose he ever hangs out with Elvis Costello or Barry Manilow?). He still looks like the shaggy, blonde-haired boy who once worked the graveyard shift in a . . . graveyard. While he writes all of his own songs and consistently makes good albums — both with and sans Heartbreakers — it seems his ho-hum, aw-shucks type personality and look cause him to be passed by the wayside almost regularly.

Anybody care to pass on to the mainstream that he's not going away?

Wildflowers, while criticized as being uneven and even a bit on the produced-sounding side of things, is a fun album, one that is gleefully scattered across the board. Every one of its tracks — save the somber "Wake Up Time" perhaps — could rest comfortably among the peanut shells of a seedy bar, whether its customers see fit to wear cowboy hats or Birkenstocks.

Petty's oddly pleasing, nasally voice transcends across folk, pop, country, and blues — kinda like Dylan does if you're one for comparing. While delivering his almost-expected light folk rock fare, barely skipping along — "Wildflowers", "Time to Move On", "Don't Fade on Me" — his ripping blues are each welcome surprises. I could have sworn "Honey Bee" was a '60s blues cover the first time I heard it but, alas, 'tis a creation of his own. It putters along like an easier-on-the-ears, guitar-heavy Thorogood number.

She like to call me king bee she like to buzz 'round my tree I call her honey bee I'm a man in a trance I'm a boy in short pants When I see my honey bee
You almost wonder if Petty ever cracks up while he's writing his songs. I'd bet on it.

Some songs are just too good not to have been discovered by the public, but they seem likely to stay that way. The ballads "Only a Broken Heart" and "To Find a Friend" are both gems, both facing unlucky-in-love subjects with a smile. And, hey, you have got to give Petty credit for the latter — Ringo Starr shows up to play drums on it, though he never reappears throughout the rest of the album. Way to give an out-of-work Brit a job there, Tommy.

"You Wreck Me" and "A Higher Place" also rank high on listenability. Petty is at the top of his game, but even he knows his place in the grand scheme of the music world, evident in the chorus of "It's Good to Be King". When he sings "Yeah, the world would swing if I were king / Can I help it if I still dream time to time," you can't help but think he's singing from his own experience.

I skipped town a month before my contract was up in the grand Inland Empire. I'd met one girl the entire summer, I had an impressive farmer tan and I fell way short of making my expected $40,000. With $400 in my pocket and my two bags stuffed in the back of a friend's truck, I headed back to Utah and breathed a sigh of relief. Even played Wildflowers on the way back, no doubt leaving Scott's brother subjected to all things "boombastic" for the remainder of the summer. And leaving was the best idea I'd had in three months.

Dainon Moody - PopMatters Music Critic
© 1999-2001 PopMatters.com. All rights reserved.
 

 L y r i c s


WILDFLOWERS

You belong among the wildflowers
You belong in a boat out at sea
Sail away, kill off the hours
You belong somewhere you feel free

Run away, find you a lover
Go away somewhere bright and new
I have seen no other
Who compares with you

You belong among the wildflowers
You belong in a boat out at sea
You belong with your love on your arm
You belong somewhere you feel free

Run away, go find a lover
Run away, let your heart be your guide
You deserve the deepest of cover
You belong in that home by and by

You belong among the wildflowers
You belong somewhere close to me
Far away from your trouble and worry
You belong somewhere you feel free
You belong somewhere you feel free


YOU DON'T KNOW HOW IT FEELS

Let me run with you tonight
I'll take you on a moonlight ride
There's someone I used to see
But she don't give a damn for me
 
But let me get to the point, let's roll another joint
And turn the radio loud, I'm too alone to be proud
You don't know how it feels
You don't know how it feels to be me
 
People come, people go
Some grow young, some grow cold
I woke up in between
A memory and a dream
 
So let's get to the point, let's roll another joint
Let's head on down the road
There's somewhere I gotta go
And you don't know how it feels
You don't know how it feels to be me
 
My old man was born to rock
He's still tryin' to beat the clock
Think of me what you will
I've got a little space to fill
 
So let's get to the point, let's roll another joint
And let's head on down the road
There's somewhere I got to go
And you don't know how it feels
You don't know how it feels
No, you don't know how it feels to be me
 
You don't know how it feels
You don't know how it feels
No, you don't know how it feels to be me


TIME TO MOVE ON

(Chorus)
It's time to move on, time to get going
What lies ahead, I have no way of knowing
But under my feet, bab grass is growng
It's time to move on, it's time to get going

Broken skyline, movin' through the airport
She's an honest defector
Conscientious objector
Now her own protector

Broken skyline, which way to love land
Which way to something better
Which way to forgiveness
Which way do I go

(Chorus)

Sometime later, getting the words wrong
Wasting the meaning and losing the rhyme
Nauseous adrenalin
Like brakin' up a dogfight
Like a deer in the headlights
Frozen in real time
I'm losing my mind

(Chorus)


YOU WRECK ME

Tonight we ride, right or wrong
Tonight we sail, on a radio song
Rescue me, should I go down
If I stay too long in trouble town

(Chorus)
Oh, yeah, you wreck me, baby
You break me in two
But you move me, honey
Yes, you do

Now and again I get the feeling
Well if I don't win, I'm a gonna break even
Rescue me, should I go wrong
If I dig too deep, if I stay too long

(Chorus)

I'll be the boy in the corduroy pants
You be the girl at the high school dance
Run with me, wherever I go
Just play dumb, whatever you know

(Chorus)


IT'S GOOD TO BE KING

It's good to be king, if just for a while
To be there in velvet, yeah, to give 'em a smile
It's good to get high, and never come down
It's good to be king of your own little town

Yeah, the world would swing if I were king
Can I help it if I still dream time to time

It's good to be king and have your own way
Get a feeling of peace at the end of the day
And when your bulldog barks and your canary sings
You're out there with winners, yeah, it's good to be king

Yeah I'll be king when dogs get wings
Can I help it if I still dream time to time

It's good to be king and have your own world
It helps to make friends, it's good to meet girls
A sweet little queen who can't run away
It's good to be king, whatever it pays

Excuse me if I have some place in my mind
Where I go time to time


ONLY A BROKEN HEART

Here comes that feeling I've seen in your eyes
Back in the old days, before the hard times
But I'm not afraid anymore
It's only a broken heart

I know the place where you keep your secrets
Out of the sunshine, down in a valley
But I'm not afraid anymore
It's only a broken heart

What would I give, to start all over again
To clean up my mistakes

Stand in the moonlight, stand under heaven
Wait for an answer, hold out forever
But don't be afraid anymore
It's only a brkoen heart

What would I give, to start all over again
To clean up my mistakes

I know your weakness, you've seen my dark side
The end of the rainbow is always a long ride
But I'm not afraid anymore
It's only a broken heart


HONEY BEE

Come on now, give me some sugar
Give me some sugar, little honey bee
Don't be afraid, not gonna hurt you
I wouldn't hurt my little honey bee

Don't say a word, 'bout what we're doin'
Don't say nothin' little honey bee
Don't tell your momma, don't tell your sister
Don't tell your boyfriend, little honey bee

She like to call me king bee
She like to buzz 'round my tree
O call her honey bee
I'm a man in a trace
I'm a boy in short pants
When I see my honey bee
And I've got something to say

Look here now, peace in the valley
Peace in the valley with my honey bee
Don't say a word, 'bout what we're doin'
Don't say nothin' little honey bee

She give me her monkey hand
And a Rambler sedan
I'm the king of Milwaukee
Her juju beads are so nice
She kissed my third cousin twice
I'm the king of Pomona
And I've got something to say


DON'T FADE ON ME

I remember you so clearly
The first one through the door
I return to find you drifting
Too far from the shore

I remember feeling this way
You can lose it without knowing
You wake up and you don't notice
Whcih way the wind is blowing

(Chorus)
Don't fade
Don't fade on me

You were the one who made things different
You were the one who took me in
You were the one thing I could count on
Above all you were my friend

(Chorus)

Well your clothes hang on a wire
And the sun is overhead
But today you are too weary
To even leave your bed

Was it love that took you under?
Or did you know too much?
Was it something you could picture?
But never could quite touch?

(Chorus)


HARD ON ME

It's all I can do
To keep that little girl smiling
And keep my faith alive
Takes all I got to hold on to tomorrow

And you want to make it hard
Yeah, you want to make it hard on me

Some other time
I'd be understanding
You were supposed to be
The friend that I needed when I was down and now

You want to make it hard
You want to make it hard on me

Maybe if I tried, I could turn the other cheek
Maybe, but how big do I have to be?

Now you want to make it hard
Yeah, you want to make it hard on me

Maybe if I tried, I could turn the other cheek
Maybe, but how big do I have to be?

I need someone
To put their arm around me
Shelpter me from all harm
Just as I find something to believe in

You want to make it hard
You want to make it hard on me
Yeah, you want to make it hard
You want to make it hard on me


CABIN DOWN BELOW

Come go with me, babe
Come go with me, girl
Baby, let's go
To the cabin down below

I got a radio
Put it on soft and low
Baby, let's go
To the cabin down below

Well, I've had my eye on you
For a long, long time
I'm watching everything you do
Baby, you're gonna be mine

Come on go with me, babe
Come on go with me, girl
Baby, let's go
To the cabin down below

Time's been moving slow
Since we both got here
Come on slide a little closer
Let me whisper in your ear

Well I got a radio
Turn it on soft and low
Baby, let's go
To the cabin down below

Oh, baby, let's go
To the cabin down below
Baby, let's love
In the cabin down below


TO FIND A FRIEND

In the middle of his life
He left his wife
And ran off to be bad
Boy, it was sad
But he bought a new car
Found a new bar
And went under another name
Created a whole new game

(Chorus)
And the days went by like paper in the wind
Everything changed, then changed again
It's hard to find a friend
It's hard to find a friend

Meanwhile then
His wife's boyfriend moved in and
Took over the house
Everybody was quiet as a mouse
And it changed their lives
Changed their plans
Slowly they grew apart
Boy, it would broke your heart

(Chorus)


A HIGHER PLACE

We gotta get to a higher place
And we gotta leave by night
Before that river takes us down
We gotta find some place that's dry
We gotta run like we've never run
Or we're gonna lose the light

(Chorus)
[But] if we don't get to a higher place and find somebody
Can help somebody, might be nobody no more

Well, I fool myself and I don't know why
I thought we could ride this out
I was up all night making up my mind
But now I've got my doubts
I got my eye on the waterline
Trying to keep my sense of humor

(Chorus)

We gotta get to a higher place
And I hope we all arrive togheter
We gotta get to a higher place
If we want to survive the weather

I remember walking with her in town
Her hair was in the wind
I gave her my best kiss
She gave it back again
When I add up what I've left behind
I don't want to lose no more

(Chorus)


HOUSE IN THE WOODS

I'm goin' down to the house in the woods
See my little darlin'
I'm goin' down, out in the fields
With summertime comin'

Oh my love, what can I do
What can I do but love you?
For the rest of my days, the rest of my nights
What can I do but love you?

Summertime falls on the house in the woods
Back by the power lines
I ain't got a neighbor for nine or ten miles
Back in the tall pines

And hey, now baby, what can I do?
What am I goin' to do but trust you?
The rest of my nights, the rest of my days
What can I do but love you?

Hey now baby, what can I do?
Waht am I goin' to do but love you
For the rest of my days, the rest of my nights
What could I do but love you?


CRAWLING BACK TO YOU

Waiting by the side of the road
For day to break so we could go
Down into Los Angeles
With dirty hands and worn out knees

(Chorus)
I keep crawling back to you
I keep crawling back to you

The ranger came with burning eyes
The chambermaid awoke surprised
thought she'd seen the last of him
She shook her head and let him in

Hey baby, there's something in your eyes
Tryin' to say to me
That I'm gonna be alright if I believe in you
It's all I want to do

It was me and my sidekick
He was drunk and I was sick
We were caught up in a barroom fight
Till an Indian shot out the lights

I'm so tired of being tired
Sure as night will follow day
Most things I worry about
Never happen anyway

(Chorus)


WAKE UP TIME

You follow your feelings, you follow your dreams
You follow the leader into the trees
And what's in there waiting, neither one of us knows
You gotta keep one eye open the further you go
You never dreamed you'd go down on one knee, but now
Who could have seen, you'd be so hard to please somehow
You feel like a poor boy, a long way from home
You're just a poor boy, a long way from home

(Chorus)
And it's wake up time
Time to open your eyes
And rise and shine

You spend your life dreaming, running 'round in a trace
You hang out forever and still miss the dance
And if you get lucky, you might find someone
To help you get over the pain that will come
Yeah, you were so cool back in high school, what happened
You were so sure not to have your spirits dampened
But you're just a poor boy alone in this world
You're just a poor boy alone in this world

(Chorus)

Well, if he gets lucky, a boy finds a girl
To help him to shoulder the pain in this world
And if you follow your feelings
And you follow your dreams
You might find the forest there in the trees
Yeah, you'll be alright, it's just gonna take time, but now
Who could have seen you'd be so hard to please somehow
You're just a poor boy alone in this world
You're just a poor boy alone in this world

(Chorus)

'Cause it's wake up time
It's time to open your eyes
And rise and shine
 

 M P 3   S a m p l e s


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