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Bruce Springsteen: The Rising

 A l b u m   D e t a i l s


Label: Columbia Records
Released: 2002.07.30
Time:
 72:57
Category: Pop/Rock
Producer(s): See Artists ...
Rating: ******.... (6/10)
Media type: CD
Web address: www.brucespringsteen.net
Appears with:
Purchase date: 2009.02.27
Price in €: 4,99





 S o n g s ,   T r a c k s


[1] Lonesome Day (B.Springsteen) - 4:08
[2] Into the Fire (B.Springsteen) - 5:04
[3] Waitin' on a Sunny Day (B.Springsteen) - 4:18
[4] Nothing Man (B.Springsteen) - 4:23
[5] Countin' on a Miracle (B.Springsteen) - 4:44
[6] Empty Sky (B.Springsteen) - 3:34
[7] Worlds Apart (B.Springsteen) - 6:07
[8] Let's Be Friends [Skin to Skin] (B.Springsteen) - 4:21
[9] Further On (Up the Road) (B.Springsteen) - 3:52
[10] The Fuse (B.Springsteen) - 5:37
[11] Mary's Place (B.Springsteen) - 6:03
[12] You're Missing (B.Springsteen) - 5:10
[13] The Rising (B.Springsteen) - 4:50
[14] Paradise (B.Springsteen) - 5:39
[15] My City of Ruins (B.Springsteen) - 5:00

 A r t i s t s ,   P e r s o n n e l


Bruce Springsteen - Acoustic, Baritone & Electric Guitar, Harmonica, Vocals

The E Street Band:
Danny Federici - Organ, Hammond B3 Organ, Farfisa Organ, Vox Continental
Roy Bittan - Organ, Piano, Keyboards, Mellotron, Kurzweil Synthesizer, Pump Organ, Korg M1, Crumar
Clarence Clemons - Saxophone, Backgrolund Vocals
Nils Lofgren - Banjo, Dobro, Electric Guitar, Backgrolund Vocals, Slide Guitar
Edward Manion - Baritone Saxophone
Garry Tallent - Bass
Brendan O'Brien - Glockenspiel, Bells, Producer, Hurdygurdy, Mixing, Orchestra Bells
Steven Van Zandt - Mandolin, Electric Guitar, Backgrolund Vocals
Jerry Vivino - Tenor Saxophone
Max Weinberg - Drums

Haji Nazir Afridi - Tabla, Vocals, Guest Appearance
Asif Ali Khan - Vocals, Guest Appearance

Nashville String Machine:
Carl Gorodetzky - Violin, Concert Master, Contractor
Ricky Keller - Conductor, String Arrangements, String Conductor
David Angell - Violin
Monisa Angell - Viola
David Davidson - Violin
Donald Clive Davidson - Violin
Connie Ellisor - Violin
Jere Flint - Cello
Jim Grosjean - Viola
Lee Larrison - Violin
Lynn Peithman - Celli
Mark Pender - Trumpet
Carl Rabinowitz - Celli
Carole A. Rabinowitz - Celli
Richie Rosenberg - Trombone
Jane Scarpantoni - Cello
Pamela Sixfin - Violin
Michael Spengler - Trumpet
Julie Tanner - Celli
Soozie Tyrell - Violin, Backgrolund Vocals
Alan Umstead - Violin
Gary VanOsdale - Viola
Mary Kathryn Vanosdale - Violin
Kris Wilkinson - Viola

Michelle Moore - Soloist
Patti Scialfa - Vocals
Tiffany Andrews - Choir, Chorus
Larry Antonio - Choir, Chorus

Billy Bowers - Engineer
Dave Reed - Engineer
Toby Scott - Engineer
Nick DiDia - Engineer
Karl Egsieker - Engineer
Melissa Mattey - Engineer
Chuck Plotkin - Engineer
Laurie Flannery - Digital Editing
Brian Humphrey - Second Engineer
Bob Ludwig - Mastering
Michelle Holme - Design
Danny Clinch - Photography
Christopher Austopchuk - Art Direction
David Bett - Art Direction, Design
Corinda Carford - Contractor
Kevin Buell - Project Coordinator
Katie Fendley - Project Coordinator
Erin Haley - Project Coordinator
Terry Magovern - Project Coordinator
Alison Oscar - Project Coordinator
Mala Sharma - Project Coordinator
 

 C o m m e n t s ,   N o t e s

2002 LP Columbia 86600
2002 CD Columbia 86600
2002 CD Columbia 866000
2005 CD Sony Japan 743
2002 CD Sony 86600
2002 CS Sony 86600
2002 CD Columbia 5080002
2003 CD Columbia 5080003
2002 CD Columbia 5080009
2003 CD Sony 5080003000
2002 LP Smi Col 5080001
2008 CD Sony 88697287612
2008 CD Sony Japan 728761

A studio album with the E-Street Band, the first since 1984's 'Born In The USA'. It features the single and title track'The Rising' and 'My City Of Ruins' a full band version of the song debuted at the America: Tribute To Heroes concert.

Recorded at Southern Tracks Recording, Atlanta, Georgia; Thrill Hill Studios, New Jersey; The Sound Kitchen Recording Studios, Franklin, Tennessee.

THE RISING won the 2003 Grammy Award for Best Rock Album. "The Rising" won the 2003 Grammy Awards for Best Rock Song and Best Male Rock Vocal Performance.



Considering that the last time Bruce Springsteen collaborated with the E Street Band for a full album of new material was on 1984's epochal BORN IN THE USA, it's entirely appropriate that their 2002 album THE RISING should be forged from images strongly linked to the events of September 11th, one of America's most trying times. Virtually every song here is related to that tragedy either directly or indirectly. Some, like the surging "My City in Ruins" and the melancholy "Empty Sky" largely eschew metaphor, while others approach the situation from more oblique angles. "Mary's Place" is a rousing roots-rocker about finding joy in the face of sadness, while both the Eastern-flavored "Worlds Apart" and the homegrown "Let's Be Friends" address the need for communication and understanding between disparate entities.

Musically, many of THE RISING's songs are in wide-screen, anthemic mode, as Bruce and company attempt to rally their wounded country with positivity and clear-eyed optimism without shrinking from unpleasant reality. The interstitial ballads take the poignant storytelling mode Springsteen employed on his last new album, 1995's THE GHOST OF TOM JOAD, and apply it to THE RISING's more universal themes. Whatever the format, the enthusiastic camaraderie of the E Streeters and their Boss is audible and infectious.

CDUniverse.com



"Yes, life is very confusing, we're just trying to get on with it." - Art Carney as Harry Coomes in Harry and Tonto.

The many voices that come out of the ether on Bruce Springsteen's The Rising all seem to have two things in common: the first is that they are writing from the other side, from the day after September 11, 2001, the day when life began anew, more uncertain than ever before. The other commonality that these voices share is the determination that life, however fraught with tragedy and confusion, is precious and should be lived as such. This is a lot for a rock album by a popular artist to claim, but perhaps it's the only thing there is worth anything.

On this reunion with the E Street Band, Bruce Springsteen offers 15 meditations -- in grand rock & roll style -- on his own way of making sense of the senseless. The band is in fine form, though with Brendan O'Brien's uncanny production, they play with an urgency and rawness they've seldom shown. This may not have been the ideal occasion for a reunion after 15 years, but it's one they got, and they go for broke. The individual tracks offer various glimpses of loss, confusion, hope, faith, resolve, and a good will that can only be shown by those who have been tested by fire. The music and production is messy, greasy; a lot of the mixes bleed tracks onto one another, giving it a more homemade feel than any previous E Street Band outing. And yes, that's a very good thing.

The set opens with "Lonesome Day," a midtempo rocker with country-ish roots. Springsteen's protagonist admits to his or her shortcomings in caring for the now-absent beloved. But despite the grief and emptiness, there is a wisdom that emerges in questioning what remains: "Better ask questions before you shoot/Deceit and betrayal's bitter fruit/It's hard to swallow come time to pay/That taste on your tongue don't easily slip away/Let kingdom come/I'm gonna find my way/ Through this lonesome day." Brendan O'Brien's hurdy-gurdy cuts through the mix like a ghost, offering a view of an innocent past that has been forever canceled because it never was anyway; the instrument, like the glockenspiels that trim Bruce Springsteen's songs, offers not only texture, but a kind of formalist hint that possibilities don't always lie in the future.

In contrast, "Into the Fire" seems to be sung from the perspective of a deceased firefighter's remaining partner who, despite her/his unfathomable loss, offers a prayer of affirmation, and the request to embody the same qualities he or she displayed in paying the ultimate price for selflessness. A Dobro and acoustic guitar bring in the ghost of a mountain melody, and Max Weinberg's muted snare and tom-tom rhythm offer the solemnity of the lyric before Roy Bittan and Danny Federici shift the gears and offer a nearly symphonic crescendo on the refrain: "May your strength bring us strength/may your faith give us faith/May your hope give us hope/May your love give us love." The second time through, the last line subtly changes to "May your love bring us love." While the band is in full flower, the keys are muted under sonic ambience and the snaky lone acoustic guitar and Weinberg's thundering processional drumming.

Likewise, the revelatory rock & roll on "Worlds Apart," complete with a knife-edged wail of a guitar solo by Springsteen that soars around a Sufi choir is not only a manner of adding exotica to the mix, but another way of saying that all cultures are in this together, and it unwittingly reveals that great rock can be made with virtually any combination of musicians. It's a true scorcher. "Further On (Up the Road)" is a straight-ahead rocker complete with knotty riffs and plenty of rootsed-out, greasy guitar overdrive -- most of the album does, but that's one of O'Brien's strengths as a producer -- that are evocative of Mike Ness and Social Distortion's late efforts.

Lest anyone mistakenly perceive this recording as a somber evocation of loss and despair, it should also be stated that this is very much an E Street Band recording. Clarence Clemons is everywhere, and the R&B swing and slip of the days of yore is in the house -- especially on "Waitin' for a Sunny Day," "Countin' on a Miracle," "Mary's Place" (with a full horn section), and the souled-out "Let's Be Friends (Skin to Skin)." These tracks echo the past with their loose good-time feel, but "echo" is the key word. Brendan O'Brien's guitar-accented production offers us an E Street Band coming out of the ether and stepping in to fill a void. The songs themselves are, without exception, rooted in loss, but flower with the possibility of moving into what comes next, with a hard-won swagger and busted-up grace. They offer balance and a shifting perspective, as well as a depth that is often deceptive.

The last of these is a bona fide love song, without which, in rock & roll anyway, no real social commentary is possible. The title track is one of Mr. Springsteen's greatest songs. It is an anthem, but not in the sense you usually reference in regard to his work. This anthem is an invitation to share everything, to accept everything, to move through everything individually and together. Power-chorded guitars and pianos entwine in the choruses with a choir, and Clemons wails on a part with a stinging solo. Here too, the chantlike chorus is nearly in symphonic contrast to the country-ish verse, but it hardly matters, as everything inside and outside the track gets swept into this "dream of life." The album closes with "Paradise," a haunting and haunted narrative offered from the point of view of a suicide bomber and a studio version of "My City of Ruins." These songs will no doubt confuse some as they stand in seemingly sharp contrast to one another, but in "My City of Ruins," all contradictions cease to matter. With acoustic pianos and subtley shimmering Memphis soul-style guitars that give way to a Hammond B-3 and a gospel choir, Springsteen sings "rise up" without artifice. In this "churchlike" confessional of equanimity, Springsteen reaches out to embrace not only his listeners, but all of the protagonists in the aforementioned songs and their circles of families and friends. The album ends with an acknowledgement of grace and an exhortation to action.

With The Rising, Springsteen has found a way to be inclusive and instructive without giving up his particular vision as a songwriter, nor his considerable strength as a rock & roll artist. In fact, if anything, The Rising is one of the very best examples in recent history of how popular art can evoke a time period and all of its confusing and often contradictory notions, feelings, and impulses. There are tales of great suffering in The Rising to be sure, but there is joy, hope, and possibility, too. Above all, there is a celebration and reverence for everyday life. And if we need anything from rock & roll, it's that. It would be unfair to lay on Bruce Springsteen the responsibility of guiding people through the aftermath of a tragedy and getting on with the business of living, but rock & roll as impure, messy, and edifying as this helps.

Thom Jurek - All Music Guide



Although it seemed the Boss had put writing rock anthems behind him after Born in the U.S.A., his longtime fans knew if any artist could write anthems addressing September 11, 2001, and not make them sound jingoistic, it would be Bruce Springsteen. The numerous anthems on his much-anticipated first full-length album with the E Street Band in 18 years are subtler than those of the Born to Run era. But the elements are all there: the joyous rocking strains of "Countin' on a Miracle," "Mary's Place," and "Waitin' on a Sunny Day"; the dark overtones of "Further on Up the Road"; the stunning guitar solo that closes "Worlds Apart," a dramatic Arabic-tinged piece detailing star-crossed love between a Muslim and an "infidel." Although most of these songs deal with death and tragedy, they still inspire. But while the lyrics are intriguing, what's more remarkable is how well The Rising works as epic rock & roll as it draws from rockabilly, soul, doo-wop hard rock, country, and even industrial. To skewer a cliché, when The Rising is good, it's great. And even when it's not great, it's still awfully good.

Bill Holdship - Amazon.com



Es sah zwar so aus, als ob der Boss nach Born In The USA das Verfassen von Rockhymnen aufgegeben hätte, aber seine langjährigen Fans wussten sehr genau: Wenn ein Künstler Hymnen schreiben kann, die sich mit dem 11. September 2001 beschäftigen, ohne dass sie nach Hurrapatriotismus klingen, dann ist dies Bruce Springsteen.

Die zahlreichen Hymnen auf diesem heiß ersehnten ersten großen Album mit der E Street Band seit 18 Jahren sind subtiler als alle anderen aus der Zeit von Born To Run. Aber die einzelnen Elemente sind hier alle wiederzufinden: die fröhlich rockende Stimmung von "Countin' On A Miracle", "Mary's Place" und "Waitin' On A Sunny Day"; die düsteren Obertöne von "Further On Up The Road"; das verblüffende Gitarrensolo am Schluss von "Worlds Apart", einem dramatischen Stück mit Anklängen an arabische Musik, in dem die unglückliche Liebe zwischen einer Muslimin und einem "Ungläubigen" geschildert wird.

Obwohl die meisten dieser Songs von Tod und Tragödie handeln, bleiben sie inspirierend. Die Texte sind schon faszinierend, aber noch bemerkenswerter ist, wie gut The Rising als episches Rock-'n'-Roll-Werk rüberkommt, da es unter dem Einfluss von Rockabilly, Soul, Doo-Wop, Hardrock, Country und sogar Industrial steht. Wenn The Rising gut ist, ist es sogar außergewöhnlich. Und wenn es mal nicht außergewöhnlich ist, dann ist es aber immer noch außerordentlich gut.

Bill Holdship - Amazon.de



It would be a gross understatement to say that anticipation for The Rising was high. Having previewed one of its songs -- "My City of Ruins," which appears here in radically reworked fashion -- on a post-September 11th benefit show, Springsteen made it clear that the album was going to be more than a mere collection of tunes, and he certainly delivers on that promise. For one thing, the album is the first in years to feature the entire E Street Band; in addition, the songs all reverberate with the events of September 11th. On the surface, those two elements would seem to go together like ham and ice cream, but in practice the mixture works stunningly well. On several songs, Bruce revisits the plainspoken blue-collar characters that often pop up in his oeuvre, but here, they face concrete crises, rather than existential ones: The stark "Into the Fire" tells the tale of a doomed rescue worker, while the unsettled "Nothing Man" -- a song of brooding incantation and sharp release -- delves into the survivor's guilt of one who made it out alive. Springsteen departs from tried-and-true formulas on many of The Rising's better songs: Techno beats creep into "The Fuse" (one of the disc's more positive numbers), while the voices of a South Indian choir waft above and around the melody of "Worlds Apart." The ghost of E Street bombast past rears up now and again -- notably on "Mary's Place," which sounds an awful lot like a dusted-off outtake from The Wild, The Innocent & the E Street Shuffle -- but for the most part, the musicians show admirable restraint. That might be a result of producer Brendan O'Brien's careful mix, but more likely, it's the kind of maturity that can only come from a place that's dark, but not without hope. After all, a rising can only come after a fall.

David Sprague - Barnes & Noble



With its bold thematic concentration and penetrating emotional focus, [The Rising] is a singular triumph. I can't think of another album in which such an abundance of great songs might be said to seem the least of its achievements.

Kurt Loder - Rolling Stone



Obsessed with mortality and suffused with grief, The Rising is the most eloquent artistic response yet to the World Trade Center tragedy. (8)

Robert Levine - Spin Magazine



Reunited with the E Street Band for their first full album together in nearly two decades, he drips inspiration.... The Rising is a ghost story, but it's more, too -- past and present, celebration and wake -- and few others could have pulled it off. (A-)

David Browne - Entertainment Weekly



The Rising is about Sept. 11, and it is the first significant piece of pop art to respond to the events of that day. Many of the songs are written from the perspectives of working people whose lives and fates intersected with those hijacked planes. The songs are sad, but the sadness is almost always matched with optimism, promises of redemption and calls to spiritual arms. There is more rising on The Rising than in a month of church.

Josh Tyrangiel - Time Magazine



The heart sags at the prospect of pop stars weighing in on the subject of September 11th. Which of them could possibly transmute the fiery horror of that day with the force of their art, or offer up anything beyond a dismal trivialization?

The answer, it turns out, is Bruce Springsteen. With his new album, The Rising, Springsteen wades into the wreckage and pain of that horrendous event and emerges bearing fifteen songs that genuflect with enormous grace before the sorrows that drift in its wake. The small miracle of his accomplishment is that at no point does he give vent to the anger felt by so many Americans: the hunger for revenge. The music is often fierce in its execution, but in essence it is a requiem for those who perished in that sudden inferno, and those who died trying to save them. Springsteen grandly salutes their innocence and their courage, and holds out a hand to those who mourn them, who seek the comfort of an explanation for the inexplicable:

Picture's on the nightstand, TV's on in the den
Your house is waiting . . . for you to walk in
But you're missing, you're missing

It's wonderful to hear these finely calibrated lyrics borne aloft by the E Street Band, brought back at last for a record that rocks as broadly as Born in the U.S.A., the last studio album for which they all gathered, eighteen years ago. However heavy of heart the new songs may be, this three-guitar incarnation of the band (with Steve Van Zandt and Nils Lofgren standing shoulder-to-shoulder with Springsteen -- never a slouch in the screaming-guitar department himself) propels them with resounding power. Like Born in the U.S.A. before it, The Rising sounds unlike any other record of its time; in an era of rock murk and heavy synthetics, it flaunts its hard, bright guitars and positively walloping beats.

Springsteen addresses the spiritual dislocations of the World Trade Center attack - and the unquestioning bravery of the rescuers who lost their lives in it - with "Into the Fire," a song that starts out with the simplicity of a white-gospel hymn ("I need your kiss/But love and duty called you someplace higher"), then blossoms into a luminous anthem:

May your strength give us strength
May your faith give us faith
May your hope give us hope
May your love bring us love

Elsewhere, Springsteen acknowledges the fury that welled up in many bereft New Yorkers after the destruction of Manhattan's two most towering landmarks: "I want a kiss from your lips/I want an eye for an eye/I woke up this morning to an empty sky." And in the lush, haunted ballad "Nothing Man," he seems to give voice to the emptiness and incomprehension felt by some of that day's surviving heroes:

I never thought I'd live to read about myself
In my hometown paper
How my brave young life was forever changed
In a misty cloud of pink vapor

Not every song on the album was written in the wake of September 11th: "Waitin' on a Sunny Day," for example, with its big, meaty riff and strutting lyrics. "Let's Be Friends (Skin to Skin)," with its entirely unexpected beach-beat bounce, wouldn't seem at first listen to fit in here. But every song on the album is unified, to an extent, by a mood of romantic longing and a yearning for human connection. In the end, they all flow together.

As with Born in the U.S.A., the title of this album may mislead some who hear it, particularly those intent on retaliation, which Springsteen himself shows little interest in contemplating. His concern is not with a national uprising but with a rising above: the transcending of ever-mounting losses and ancient hatreds.

His most inspired gesture comes in "Worlds Apart," a track that writhes with the sounds of qawwali, the intense, God-conjuring, life-affirming vocal music of the mystical Sufi sect of Islam - a branch of the faith much detested (and often suppressed) by death-trumpeting fundamentalist imams. Hearing ecstatic qawwali ululations underpinning a song in which Springsteen sings "May the living let us in/Before the dead tear us apart" is a truly soul-stirring experience.

Bruce Springsteen has gathered many a superlative over the years. His most resonant works stand as milestones in the lives of millions of fans. Even for him, though, The Rising, with its bold thematic concentration and penetrating emotional focus, is a singular triumph. I can't think of another album in which such an abundance of great songs might be said to seem the least of its achievements.

KURT LODER (Jul 30, 2002)
Rolling Stone
 

 L y r i c s

Lonesome Day

Once I thought I knew
Everything I needed to know about you
Your sweet whisper, Your tender touch
But I didn't really know that much
Joke's on me, It's gonna be okay
If I can just get through this lonesome day

Hell's brewin' dark sun's on the rise
This storm'll blow through by and by
House is on fire, Viper's in the grass
A little revenge and this too shall pass
This too shall pass, I'm gonna pray
Right now all I got's this lonesome day

It's allright? It's allright? It's allright

Better ask questions before you shoot
Deceit and betrayals bitter fruit
It's hard to swallow, come time to pay
That taste on your tongue don't easily slip away

Let kingdom come I'm gonna find my way
Through this lonesome day


Into The Fire

The sky was falling and streaked with blood
I heard you calling me then you disappeared into the dust
Up the stairs, into the fire
Up the stairs, into the fire
I need your kiss, but love and duty called you someplace higher
Somewhere up the stairs into the fire

May your strength give us strength
May your faith give us faith
May your hope give us hope
May your love give us love

May your strength give us strength
May your faith give us faith
May your hope give us hope
May your love give us love

You gave your love to see in fields of red and autumn brown
You gave your love to me and lay your young body down
Up the stairs, into the fire
Up the stairs, into the fire
I need you near but love and duty called you someplace higher
Somewhere up the stairs into the fire

May your strength give us strength
May your faith give us faith
May your hope give us hope
May your love give us love

May your strength give us strength
May your faith give us faith
May your hope give us hope
May your love give us love

May your strength give us strength
May your faith give us faith
May your hope give us hope
May your love give us love

It was dark, too dark to see, you held me in the light you gave
You lay your hand on me
Then walked into the darkness of your smoky grave
Somewhere up the stairs into the fire
Somewhere up the stairs into the fire
I need your kiss, but love and duty called you someplace higher
Somewhere up the stairs into the fire

May your strength give us strength
May your faith give us faith
May your hope give us hope
May your love give us love

May your strength give us strength
May your faith give us faith
May your hope give us hope
May your love give us love

May your strength give us strength
May your faith give us faith
May your hope give us hope
May your love give us love

May your strength give us strength
May your faith give us faith
May your hope give us hope
May your love give us love

May your love give us love


Waitin' On A Sunny Day

It's rainin' but there ain't a cloud in the sky
Musta been a tear from your eye
Everything'll be okay
Funny thought I felt a sweet summer breeze
Musta been you sighin' so deep
Don't worry we're gonna find a way

I'm waitin', waitin' on a sunny day
Gonna chase the clouds away
Waitin' on a sunny day

Without you I'm workin' with the rain fallin' down
Half a party in a one dog town
I need you to chase the blues away
Without you I'm a drummer girl that can't keep a beat
And ice cream truck on a deserted street
I hope that you're coming to stay

I'm waitin', waitin' on a sunny day
Gonna chase the clouds away
Waitin' on a sunny day

Hard times baby, well they come to tell us all
Sure as the tickin' of the clock on the wall
Sure as the turnin' of the night into day
Your smile girl, brings the mornin' light to my eyes
Lifts away the blues when I rise
I hope that you're coming to stay


Nothing Man

I don't remember how I felt
I never thought I'd live
To read about myself
In my hometown paper
How my brave young life
Was forever changed
In a misty cloud of pink vapor

Darlin' give me your kiss
Only understand
I am the nothing man

Around here everybody acts the same
Around here everybody acts like nothing's changed
Friday night club meets at Al's Barbecue
The sky is still the same unbelievable blue

Darlin' give me your kiss
Come and take my hand
I am the nothing man

You can call me Joe
Buy me a drink and shake my hand
You want courage
I'll show you courage you can understand
Pearl and silver
Restin' on my night table
It's just me Lord, pray I'm able

Darlin' with this kiss
Say you understand
I am the nothing man
I am the nothing man


Countin' On A Miracle

It's a fairytale so tragic
There's no prince to break the spell
I don't believe in magic
But for you I will, for you I will
If I'm a fool, I'll be a fool
Darlin' for you

I'm countin' on a miracle
Baby I'm countin' on a miracle
Darlin' I'm countin' on a miracle
To come through

There ain't no storybook story
There's no never-ending song
Our happily ever after Darlin'
Forever come and gone
I'm movin' on
If I'm gonna believe
I'll put my faith
Darlin' in you

I'm countin' on a miracle
Baby I'm countin' on a miracle
Darlin' I'm countin' on a miracle
To come through

Sleeping beauty awakes from her dream
With her lover's kiss on her lips
Your kiss was taken from me
Now all I have is this

Your kiss, your kiss, your touch, your touch
Your heart, your heart, your strength, your strength
Your hope, your hope, your faith, your faith
Your face, your face, your love, your love
Your dream, your dream, your life, your life

I'm runnin' through the forest
With this wolf at my heels
My king is lost at midnight
When the tower bells peal
We've got no fairytale ending
In God's hands our fate is complete
Your heaven's here in my heart
Our love's this dust beneath my feet
Just this dust beneath my feet
If I'm gonna live
I'll life my life
Darlin' to you

[CHORUS (4X)]


Empty Sky

I woke up this morning
I could barely breathe
Just an empty impression
In the bed where you used to be
I want a kiss from your lips
I want an eye for an eye
I woke up this morning to the empty sky

Empty sky, empty sky
I woke up this morning to an empty sky
Empty sky, empty sky
I woke up this morning to an empty sky

Blood on the streets
Yeah blood flowin' down
I hear the blood of my blood
Cryin' from the ground

Empty sky, empty sky
I woke up this morning to an empty sky
Empty sky, empty sky
I woke up this morning to an empty sky

On the plains of Jordan
I cut my bow from the wood
Of this tree of evil
Of this tree of good
I want a kiss from your lips
I want an eye for an eye
I woke up this morning to an empty sky

Empty sky, empty sky
I woke up this morning to an empty sky
Empty sky, empty sky
I woke up this morning to an empty sky
Empty sky, empty sky
I woke up this morning to an empty sky


Worlds Apart

I hold you in my arms, yeah that's when it starts
I seek faith in your kiss and comfort in your heart
I taste the seed upon your lips, lay my tongue upon your scars
But when I look into your eyes we stand worlds apart

Where the distant oceans sing and rise to the plain
In this dry and troubled country your beauty remains
Down from the mountain road where the highway rolls to dark
'Neath Allah's blessed rain we remain worlds apart

Sometimes the truth just ain't enough
Or is it too much in times like this
Let's throw the truth away we'll find it in this kiss
In your skin upon my skin in the beating of our hearts
May the living let us in before the dead tear us apart

We'll let blood build a bridge over mountains draped in stars
I'll meet you on the ridge between these worlds apart
We've got this moment now to live then it's all just dust and dark
Let's let love give what it gives
Let's let love give what it gives


Let's Be Friends (Skin To Skin)

I been watchin' you a long time
Trying to figure out where and when
We been moving down that same line
Time is now maybe we could get skin to skin

Don't know when this chance might come again
Good times got a way of comin' to an end
Don't know when this chance might come again
Good times got a way of slippin' a-way
Let's be friends, baby let's be friends

I know we're different you and me
Got a different way of walkin'
The time has come to let the past be history
Yeah if we could just start talkin'

Don't know when this chance might come again
Good things got a way of comin' to an end
Don't know when this chance might come again
Good things got a way of slippin'
Let's be friends, baby let's be friends

Do, do do doo do do do doo
Do, do do doo do do do do doo
Do, do do doo do do do doo
Let's be friends
Do, do do doo do do do doo
Do, do do doo do do do doo
Let's be friends

There's a lot of talk going 'round you
Let them talk you know you're the only one
There's a lot of walls need tearing down
Together we could take them down one by one

Don't know when this chance might come again
Good times got a way of comin' to an end
Don't know when this chance might come again
Good times got a way of slippin'
Let's be friends, baby let's be friends


Further On (Up The Road)

Where the road is dark and the seed is sowed
Where the gun is cocked and the bullet's cold
Where the miles are marked in the blood and gold
I'll meet you further on up the road

Got on my dead man's suit and my smilin' skull ring
My lucky graveyard boots and song to sing
I got a song to sing, keep me out of the cold
And I'll meet you further on up the road.

Further on up the road
Further on up the road
Where the way dark and the night is cold
One sunny mornin' we'll rise I know
And I'll meet you further on up the road.

Now I been out in the desert, just doin' my time
Searchin' through the dust, lookin' for a sign
If there's a light up ahead well brother I don't know
But I got this fever burnin' in my soul
So let's take the good times as they go
And I'll meet you further on up the road

Further on up the road
Further on up the road
Further on up the road
Further on up the road

One sunny mornin' we'll rise I know
And I'll meet you further on up the road
One sunny mornin' we'll rise I know
And I'll meet you further on up the road.


The Fuse

Down at the court house they're ringin' the flag down
Long black line of cars snakin' slow through town
Red sheets snappin' on the line
With this ring will you be mine
The fuse is burning
Shut out the lights
The fuse is burning
Come on let me do you right

Trees on fire with the first fall's frost
Long black line in front of Holy Cross
Blood moon risin' in a sky of black dust
Tell me Baby who do you trust?
The fuse is burning
Shut out the lights
The fuse is burning
Come on let me do you right

Tires on the highway hissin' that something's coming
You can feel the wires in the tree tops hummin'
Devil's on the horizon line
Your skin and I'm alive

Quiet afternoon in the empty house
On the edge of the bed you slip off your blouse
The room is burning with the noon sun
Your bittersweet taste on my tongue
The fuse is burning
Shut out the lights
The fuse is burning
Come on let me do you right


Mary's Place

I got seven pictures of Buddha
The prophet's on my tongue
Eleven angels of mercy
Sighin' over that black hole in the sun
My heart's dark but it's risin'
I'm pullin' all the faith I can see
From that black hole on the horizon
I hear your voice calling me

Let it rain, let it rain, let it rain
Let it rain, let it rain, let it rain, let it rain
Meet me at Mary's place, we're gonna have a party
Meet me at Mary's place, we're gonna have a party
Tell me how do we get this thing started
Meet me at Mary's place

Familiar faces around me
Laughter fills the air
Your loving grace surrounds me
Everybody's here
Furniture's out on the front porch
Music's up loud
I dream of you in my arms
I lose myself in the crowd

Let it rain, let it rain, let it rain
Let it rain, let it rain, let it rain, let it rain
Meet me at Mary's place, we're gonna have a party
Meet me at Mary's place, we're gonna have a party
Tell me how do you live broken-hearted
Meet me at Mary's place

I got a picture of you in my locket
I keep it close to my heart
A light shining in my breast
Leading me through the dark
Seven days, seven candles
In my window light your way
Your favorite record's on the turntable
I drop the needle and pray
Band's countin' out midnight
Floor's rumblin' loud
Singer's callin' up daylight
And waitin' for that shout from the crowd
Waitin' for that shout from the crowd
Waitin' for that shout from the crowd
Waitin' for that shout from the crowd
Waitin' for that shout from the crowd
Waitin' for that shout from the crowd

Turn it up, turn it up, turn it up
Turn it up, turn it up, turn it up, turn it up

Meet me at Mary's place, we're gonna have a party
Meet me at Mary's place, we're gonna have a party
Tell me how do we get this thing started
Meet me at Mary's place

Meet me at Mary's place
Meet me at Mary's place


You're Missing

Shirts in the closet, shoes in the hall
Mama's in the kitchen, baby and all
Everything is everything
Everything is everything
But you're missing

Coffee cups on the counter, jackets on the chair
Papers on the doorstep, you're not there
Everything is everything
Everything is everything
But you're missing

Pictures on the nightstand, TV's on in the den
Your house is waiting, your house is waiting
For you to walk in, for you to walk in
But you're missing, you're missing
You're missing when I shut out the lights
You're missing when I close my eyes
You're missing when I see the sun rise
You're missing

Children are asking if it's alright
Will you be in our arms tonight?

Morning is morning, the evening falls I have
Too much room in my bed, too many phone calls
How's everything, everything?
Everything, everything
You're missing, you're missing

God's drifting in heaven, devil's in the mailbox
I got dust on my shoes, nothing but teardrops


The Rising

Can't see nothin' in front of me
Can't see nothin' coming up behind
I make my way through this darkness
I can't feel nothing but this chain that binds me
Lost track of how far I've gone
How far I've gone, how high I've climbed
On my back's a sixty pound stone
On my shoulder a half mile line

Come on up for the rising
Com on up, lay your hands in mine
Come on up for the rising
Come on up for the rising tonight

Left the house this morning
Bells ringing filled the air
Wearin' the cross of my calling
On wheels of fire I come rollin' down here

Come on up for the rising
Come on up, lay your hands in mine
Come on up for the rising
Come on up for the rising tonight

Li,li, li,li,li,li, li,li,li

Spirits above and behind me
Faces gone, black eyes burnin' bright
May their precious blood forever bind me
Lord as I stand before your fiery light

Li,li, li,li,li,li, li,li,li

I see you Mary in the garden
In the garden of a thousand sighs
There's holy pictures of our children
Dancin' in a sky filled with light
May I feel your arms around me
May I feel your blood mix with mine
A dream of life comes to me
Like a catfish dancin' on the end of the line

Sky of blackness and sorrow (a dream of life)
Sky of love, sky of tears (a dream of life)
Sky of glory and sadness (a dream of life)
Sky of mercy, sky of fear (a dream of life)
Sky of memory and shadow (a dream of life)
Your burnin' wind fills my arms tonight
Sky of longing and emptiness (a dream of life)
Sky of fullness, sky of blessed life (a dream of life)

Come on up for the rising
Come on up, lay your hands in mine
Come on up for the rising
Come on up for the rising tonight

Li,li, li,li,li,li, li,li,li


Paradise

Where the river runs to black
I take the schoolbooks from your pack
Plastics, wire and your kiss
The breath of eternity on your lips

In the crowded marketplace
I drift from face to face
I hold my breath and close my eyes
I hold my breath and close my eyes
And I wait for paradise
And I wait for paradise

The Virginia hills have gone to brown
Another day, another sun goin' down
I visit you in another dream
I visit you in another dream

I reach and feel your hair
Your smell lingers in the air
I brush your cheek with my fingertips
I taste the void upon your lips
And I wait for paradise
And I wait for paradise

I search for you on the other side
Where the river runs clean and wide
Up to my heart the waters rise
Up to my heart the waters rise

I sink 'neath the river cool and clear
Drifting down I disappear
I see you on the other side
I search for the peace in your eyes
But they're as empty as paradise
They're as empty as paradise

I break above the waves
I feel the sun upon my face


My City Of Ruins

There is a blood red circle
On the cold dark ground
And the rain is falling down
The church door's thrown open
I can hear the organ's song
But the congregation's gone
My city of ruins
My city of ruins

Now the sweet bells of mercy
Drift through the evening trees
Young men on the corner
Like scattered leaves,
The boarded up windows,
The empty streets
While my brother's down on his knees
My city of ruins
My city of ruins

Come on, rise up! Come on, rise up!
Come on, rise up! Come on, rise up!
Come on, rise up! Come on, rise up!

Now's there's tears on the pillow
Darlin' where we slept
And you took my heart when you left
Without your sweet kiss
My soul is lost, my friend
Tell me how do I begin again?
My city's in ruins
My city's in ruins

Now with these hands,
With these hands,
With these hands,
I pray Lord
With these hands,
With these hands,
I pray for the strength, Lord
With these hands,
With these hands,
I pray for the faith, Lord
We pray for your love, Lord
We pray for the lost, Lord
We pray for this world, Lord
We pray for the strength, Lord
We pray for the strength, Lord

Come on
Come on
Come on, rise up
Come on, rise up
Come on, rise up
Come on, rise up
Come on, rise up
Come on, rise up
Come on, rise up
Come on, rise up
 

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