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Travis: The Invisible Band

 A l b u m   D e t a i l s


Label: Independiente Music
Released: 2001.06.12
Time:
 45:21
Category: Pop/Rock
Producer(s): See Artists ...
Rating: *******... (7/10)
Media type: CD
Web address: www.travisonline.com
Appears with:
Purchase date: 2001.06.30
Price in €: 16,99



 S o n g s ,   T r a c k s


[1] Sing (F.Healy) - 3:48
[2] Dear Diary (F.Healy) - 2:57
[3] Side (F.Healy) - 3:59
[4] Pipe Dreams (F.Healy) - 4:05
[5] Flowers in the Window (F.Healy) - 3:41
[6] The Cage (F.Healy) - 3:05
[7] Safe (F.Healy) - 4:23
[8] Follow the Light (F.Healy) - 3:08
[9] Last Train (F.Healy) - 3:16
[10] Afterglow (F.Healy) - 4:05
[11] Indefinitely (F.Healy) - 3:52
[12] The Humpty Dumpty Love Song (F.Healy) - 15:00

 A r t i s t s ,   P e r s o n n e l


FRANCIS HEALY - Guitars, Vocals
DOUGIE PAYNE - Bass
NEIL PRIMROSE - Drums
ANDY DUNLOP - Guitars

JASON FALKNER - Mastering
BERNIE GRUNDMAN - Mastering
STEVE ORCHARD - String Engineer
NIGEL GODRICH - Producer, Mixing
JON BAILEY - Assistant Engineer
DARRELL THORP - Assistant Engineer

 C o m m e n t s ,   N o t e s


2001 CD Sony 85797



1. SING

Written Spring 1999 the day before going in to do b sides for Turn (We Are Monkeys, Rock 'n' Salad Roll)

I was sitting strumming my guitar watching MTV with the sound down and there was something on about swing beat. I started humming what sounded like a verse part and took it into what then sounded like a natural chorusy part and because of the swing beat on TV, I sung "...if you swing, swing, swing etc..." I loved the freeness of the chorus melody next to the downness of the verse melody. It really felt like it took to the air.

So the next day whilst recording We Are Monkeys, and while Mark Wallis rewound the tape with Andy on Piano, Dougie on Bass and Neil on drums I started strumming out the chords of 'Swing' and everyone just joined in so I asked Mark to pause We Are Monkeys for the time being and record a quick demo of this new song. In singing the chorus the odd "Swing" was substituted for a "Sing". Andy had brought in his banjo for the recording of We Are Monkeys so we overdubbed some banjo onto it.

That night after listening to the rough demo, I decided that 'Sing' would be better than 'Swing' because the idea of having a song that said 'Sing' in the chorus seemed funny. The lyric to the song is loosely based around Nora's vocal shyness around me and my frustration with this.


2. DEAR DIARY

The basic melody was stumbled upon whilst strumming and humming one night at home in December 2000.

I didn't feel like pushing it at that point but looked at it again when I went out to LA to write in February 2001 before the boys and Nigel came out.

I have kept a journal since 1985 after the zietgiest that was The Secret Diary of Adrian Mole. Alot of my schoolfriends kept a diary and I followed suit buying my very first one on a primary school trip to Scarborough. If I was the Prime Minister I would make it statutory law that everyone from the age of 12 should keep a diary or journal.

Apart from the laugh you get looking back at what you were up to when you were younger, keeping a journal helps you to remember where you've been and is a great place to have a moan or really tell someone what you think about them.

So the song Dear Diary is a kind of thankyou to my invisible companion, who has never questioned what views I may be keeping or mocked me or spoken behind my back and has listened to my stories and songs since the beginning. This song wasn't demoed before recording.


3. SIDE

Originally there was a rap (a rap!Hah!) that I had that went "East side, west side , up side, down side, back side front side, inside outside right side wrong side...me beside you beside does there/ doesn't have to be a side.

I sat in bed and farted about until I got a riff that supported the rap and sung a melody over the top and then rolled it around again and again and again over a couple of weeks, adding lyrics and taking them away until I put it to paper on a plane trip back to the UK from I think the first American tour we did in February 2000.

If my memory serves me well it was on the cab ride home from this journey, riding down Parkway in Camden that I thought about 'The Invisible Band' for the first time in answer to a question I asked my self that was like "What is the best band?" the answer being (to me) the best band is the invisible band. A band that you hear but aren't exposed to visually like all the 60's bands that we hear on the radio and on record who's songs were so strong that they out lived the bands shelf life and sometimes even out lived the band members themselves.

The lyric is about how we always think there's something better for us out there than what we have without realising that what we truely have, LIFE, is something that we all share and hence are all standing on the same side as each other. Using the circle is apt because it it the only shape, I think in the universe, that only has one side.


4. PIPE DREAMS

Pipe Dreams started out life around spring 2000 as well.

Written again in the bedroom it sounded like an old folk song with its Yin and its Yang and its strummy quality. There wasn't a lyric in the song that sounded good as a title so I called it Shut The Folk Up because I knew that Nigel hated folk music and that calling it thus would endear it to him more.

It wasn't until after we recorded it that Andy Mac Donald suggested we call it Pipe Dreams. Why I hadn't thought of this before was beyond me because when he said it, it sounded so natural. So Shut The Folk Up was dropped out and Pipe Dreams was enlisted.

The lyric on the second verse is about signing on at the dole office and how they used to look at you when you said you were in a band. The "...I'd pray to god if there was heaven..." bit is how I truely feel having been brought up a catholic ( I stopped being catholic at the age of 12) and looking at the world we live in today being sssooo fucked up spiritually. The chorus is telling myself that what life is, when it all boils down to it, is usually a couple of things and not the million and one things that we all get wrapped up in daily.

Dougie said as a joke "..or a couple of pints please..." while I was singing it to him so I changed the last chorus to this instead of "...or a couple of Pipe Dreams". He funny boy.


5. FLOWERS IN THE WINDOW

This was written in Mike Hedges' studio in France in June 1998 during the first sessions of The Man Who.

Mike had said that every band that had recorded in his chateau had written a song and I was like, "..no way am I gonna be writing a song" I just didn't feel like it.

Until that point I had always written in the privacy of my own bedroom tucked away secretly where no-one could hear me. But one day whilst sitting at his grand piano with my guitar on my lap and the sun blazing in through a huge bay window and some time on my hands I came upon the opening piano riff. The Dan Dan da da da Dan... it and because I couldn't play the piano fluently I found the chords on the guitar and got a melody for the verse and the chorus and most importantly filled the six syllable vocal hook with what I could see in front of me. Which was the most beautiful flowers in Mike's garden through this huge bay window.

There was a photograph of James Dean Bradfield sitting at the piano with the very window behind him in an edition of Q around that time.

That night the boys all went to the local pub and I sat in my room drawing or writing a letter to Nora or something. Later, I heard them coming in, banging drunkenly around and finally settling down in their respective bedrooms. Then it all went quiet. Ahhhh...sleeping like babies they were.

About half an hour later I heard the most chilling sound...like someone was choking to death...I leapt out of bed while this whooping choking sound continued to echo round the house. Someone was choking on their own vomit.

The house was big and It was hard to tell which room the sound was coming from. It sounded like it was coming from Andys or Neils room so I bounded down the stairs and first burst into Andys room. He was lying on his back sleeping like a puppy and so then ran to the living room on the ground floor and there was Neil, TV blaring, fast asleep. "God it was Dougie..." I thought.

By this time my heart was pounding like a hammer and the choking sound was getting worse. Dougies room was directly across from mine and it hadn't sounded like it was coming fro his room and that is why I had gone downstairs.

When I burst into Dougies room the bed was empty. I was nearly crying. Dougie wasn't choking though, he was hanging out his window throwing up. I collapsed with relief beside him .

My heart was racing like 600 horsepower. I thought I was gonna have a heart attack. He had had a bit of a turn after drinking some tequilla at the local bar that night.

After making sure he was gonna be alright I went back to my room and wrote the lyric to Flowers In The Window on the back of a brown envelope in about 10 minutes. It made me cry when I sung it back to myself. I was aware for the first time that a good distraction is necessary in writing lyrics. Or not being concious of what I'm doing is required if it is to have that magic.


6. THE CAGE

New York February 1999.

I was talking to Cinjun fro Remy Zero for ages and we were having a great conversation. The kind of conversation that could have gone on indefinitely but because I was in a hotel and hotel phone calls cost an arm and a leg so after an hour and a half we HAD to terminate.

Before we did I asked him if he could see his guitar and he said yes. I could see mine across the other side of the room. I suggested that as soon as we put the phone down we should rush over and pick up our guitars and write a song and then the next evening I would call him up and we could play the song to each other. It was a deal.

So I put the phone down and rushed over and started to strum around some melody that I had gotten in LA a week earlier. It was just afew notes but was really melodic. This would make up what was the chorus of The Cage.

The chorus started lyrically as 'Cin-jun don't you worry, man....da da da da da da da ...oh da da ..." and listening back to the dictaphone changed to "When your bird has flown away...She was never meant to stay....Oh to keep..."

The verse melody and lyric and chords all came next and the song was finished in a skelatal form by the early morning. I finished it off the next day and called Cinjun up that night. He had written a song called 'Perfect Memory' and we both played these songs to eachother and blew the other away. Cool.


7. SAFE

Safe could well be the earliest Travis song.

It was written 8 years ago. I can't remember where or when exactly but I remember Mr Martin, father of Chris and Geoff, the old members, after hearing it saying that is was a great tune with great words.

We played Safe in very early Travis Shows, I even think we were called Glass Onion at the time. There are setlists from 1993 with Safe on. We played it alot faster back then. It was better acoustically.

The song was lost until 1999 when Andy MacDonald heard it on an early demo tape and asked us to record it. So in the same session as We Are Monkeys and the demo of Sing we recorded Safe with the thought of using it as a b side.

The original arrangement was crude and in my opinion didn't really go anywhere. It needed another part. A middle 8. So I jumped through to the control room in studio 1 in Rak studios and knocked out the middle 8 really quickly. Its the bit that goes, "...and I feel safe , I feel so brave, Im not afraid of anything they've got to say. And you're okay because you're tucked away. Don't go astray you've got to be just who you are...who you are..."

Dougie said it was as if the lyric in the Mid 8 is talking to the 19 year old in the rest of the song which is lovely but not intentional. We played Safe live and everyone got to hear it at the Glastonbuy 2000 show.


8. FOLLOW THE LIGHT

This was the last song to be added to the tracklisting of The InvisibleBand.

It began life in February 2001 just before I went to LA write. The melody came first and was memorable within one listen.

The tempo was sluggish and the verse was totally different from what it turned into. What it turned into didn't happen until we were in the studio.

The chorus melody began with the words,"But its alright..." but I couldn't seem to get the words to the rest of the chorus. It wasn't until I stumbled upon an interesting melody one night when I stayed behind in Ocean Way that flowed really well into the chorus that began " But it's alright.."

The tempo was alot more up than the chorus melody had been originally but as soon as I put the new verse with the older chorus the lyrics started to come. The hook line started out as ... " But its alright, just shadows and light.." but neil said there was a Joni album by the same name so it changed to, "...But its alright, you're travelling light..." and then became " ... Follow the light.." and then that was that.

The lyric in the chorus dictated what the verse was about, just how, when you don't know what you're doing or where you're going you've just got to follow that light. The light being whatever you want it to be.


9. LAST TRAIN

Possibly the darkest song on The Invisible Band.

Last Train started life in London, December, 2000 with the melody for verse and chorus and the openning lines "Rain on the brain, now there's flowers in your window..she well she's so strange ..." Nora said it sounded really longing.

I finished it off in LA in February 2001. The last verse is a completely different song who's chorus "If you took all the little feelings in your heart..." became, by default, the middle 8.

The lyric about Che Guevara and the rear window came from a night that me and Cinjun and Cedric and people from the Remy Zero tribe went to visit one of their friends who had just been to Cuba and had given Cedric a postcard of Che sitting under a tree and at a glance I had thought it looked like me.

Its a little lyrical polaroid that when I hear it reminds me all at once of that night and of the Alfred Hitchcock movie Rear Window with James Stewart and Grace Kelly and of Los Angeles and it's atmosphere. I was dead glad as well to have a song that had its middle 8 as the very last thing you hear.


10. AFTERGLOW

Afterglow was written in our first house in London in Finsbury park.

It didn't have the "...and when you finally leave ..."section at this point. I remember playing it to everyone when we were recording Good Feeling in Woodstock, in 'The Barn' which was a converted barn come studio.

It hung around and during writing sessions for The Man Who I finished it off but it was left behind.

The words are meant to be directed at whatever it is that lets me write songs. The Muse. And how this Muse comes down while I'm feeling fine.

"You are the Afterglow..." is me giving it a name and "..you are the midnight show.." is because I always seem to write better after midnight for some reason. "...You come and then you go" is simply what it seems to do without warning and then when your left with this lovely little thing, this little song, I get a funny empty feeling. Strange. Like shagging. haha! So Afterglow is a song to the muse.


11. INDEFINITELY

Somewhere in America as we travelled down a bumpy freeway, the noise at the front of the bus, all the plates and cups and dishes rattling loosely in the cupboards, was I remember most of what was recorded onto my dictaphone but you can just make out the opening chords and words of Indefinitely.

Backstage at a show in Germany, I think, is where I picked it up again and the ..."time exists but just on your wrist..." came out without a thought.

When I played this to Andy Mac Donald he pointed this line out as being one of the strongest lines I'd ever written. Annoying as I hadn't felt as though I'd meant it but cool because it meant that maybe what you should keep in a song are all the things you didn't mean to write and get rid of all the concious stuff.

Then there's this other recording, again at the back of the bus in America somewhere. I can't remember this at all but it's me singing this song and sobbing every time I reach the chorus. I must have been feeling emotional that day. It was written in 2000 America and I think in Germany.


12. THE HUMPTY DUMPTY LOVE SONG

I love the title of this song.

It was written in a hotel room in Seattle the night before we did our first show with Oasis in the States.

We'd shot a video in LA about a week earlier with our friend Ringan Ledwidge. He had directed the UK Turn video as well. The idea for his latest Travis video though was based around the nursery rhyme of Humpty Dumpty. HUMPTY DUMPTY SAT ON A WALL, HUMPTY DUMPTY HAD A GREAT FALL, ALL THE KINGS HORSES AND ALL THE KINGS MEN COULDN"T PUT HUMPTY TOGETHER AGAIN.

Ringan had set the medieval story of the eggman and placed it against a contemporary backdrop of downtown Los Angeles. The video ends in tradegy though and poor Humpty Dumpty is left for dead.

So in Seattle after a phonecall about the videos progress with Ring, I was strumming away and came up with The beginnngs of The Humpty Dumpty Love Song, all about the delicate heart of the protaganist and his dying thoughts



Here we have the third album from Scottish lads, Travis. After the phenomenal success of their second, The Man Who..., they have had quite a challenge set before them. Bummer I wasn't much of a Travis fan to begin with... The album opens with their new single, Sing. I can appreciate the great voice of vocalist Fran Healey, and I can understand the appeal of a banjo playing in the background, but throw it all together and it just doesn't do it for me. There is a distinct change of pace early in the album with the eerie Dear Diary, but it picks up again to a potential single Side, in fact, I'm willing to bet that eventually this track will make it up the charts on its own. I think one subject that a lot of bands are becoming afraid to sing about is religion, but Pipe Dreams has the line "I'd pray to god if there was heaven, but heaven seems so far away". It's about time someone who wasn't in a satanic black metal group from the far north of Scandinavia sung something like that. This album really doesn't have any tracks that really jump out at you. Both The Cage and Safe aren't anything worth rushing out to your stores for. There is the odd cool song title that is enough to keep me mildly enthused, for a second or two, such as The Humpty Dumpty Love Song. There is a very nice string section accompanying this old fairy tale however, but it's not there for long, so you'd better enjoy it when you catch it. The album closes with You Don't Know What I'm Like. At least there is something in here that has a little life to it, even if it be just a faint breath in the distance. Honestly, I don't know how these four Scottish lads stay awake during their concerts (let alone the audience).

The Undercover Review - Tim Cashmere



After repeated plays of Travis’s third album - The Invisible Band – there is only one conclusion - It’s a great record.

‘Sing’ is the one you all know and love (?) already, and starts the CD off well.

‘Dear Diary’ couldn’t be further away from ‘Sing’. A haunting track which somehow, even with its early place on the album, still makes sense and it completes a strong opening hand with ‘Sing’. It is probably the closest any track gets to Radiohead on this CD.

Next, the uplifting ‘Side’ houses his plain worldview – “We all will live, we all will die/ there is no wrong, there is no right/ the circle only has one side” – over guitars. This is a brisk poppy track.

‘Pipe Dreams’ and ‘The Cage’ are slower tracks relying primarily on acoustic guitars; these are the closest you’ll get to ‘Driftwood’ or ‘Turn’ on this album.

‘Afterglow’s' keyboard hook seems to revisit some older Travis tracks and seems to be one of the few songs here that sounds reliant on past ideas. This is probably the poorest track overall although it doesn’t really do anything wrong, it’s just that there are some amazing tracks on here and you get used to the exceptional quality.

‘Flowers In The Window’ is a brisker track based on becoming a Father; “to plant new seeds and watch them grow” seems to be a simple expression of his desire to become a dad. The pianos, a banjo like sound, a sample of gulls circling overhead and waves crashing on a coastline all add to this track, and it is surely destined for a future single release.

'Safe' is once again an uplifting, catchy tune that bounces along.

‘Follow The Light’ – another potential hit single is similar to ‘Flowers in the Window’ with a catchy chorus line and more uplifting music.

‘Last Train’ a song for the jilted is a deeper track, which a times seems to have the backing vocalist making almost train like sounds – although this does work well.

‘‘Indefinitely’ the penultimate track is a lovely slow track with church bells which brings the excellent Invisible Band towards a oh too soon close.

The amusingly titled ‘Humpty Dumpty Love Song’ brings it all to an excellent end. With lyrics such as “All of the king’s horses and all of the king’s men couldn’t put my heart back together again,” this seems like it may suddenly turn into Black’s Wonderful Life or one of Blue Niles finer moments. Ultimately it becomes one of the finest songs on the record.

Travis haven’t re-invented the wheel here however, The Invisible Band is an excellent album, and I feel we’ll be hearing a lot more off this album during the rest of the year. Surely already a contender for a Brit award in 2002!

Adrian
Copyright ©2001, Jelsoft Enterprises Limited.



The Invisible Band marks no major change in direction for Travis, but this is no bad thing. That Travis are the most simplistic of the post-Radiohead groups may not sound like the heartiest of compliments, but it undoubtedly accounts for their massive appeal. The Man Who became one of the most popular indie-rock records of the 1990s by virtue of its cheery accessibility and its way with a simple weather metaphor, and judging by the lyrics of "Side"--"The grass is always greener on the other side / The neighbor's got a new car that you wanna drive"--it's immediately obvious that come their third full-length album, Travis have figured out that their fans are not waiting for a brave sonic crusade. Which doesn't matter a bit, because The Invisible Band is such a natural, instantly lovable, and thoroughly unforced record, it seems completely churlish to knock it. The opening "Sing" sounds like, since their inception, all Travis have been missing is a banjo; the florid "Flowers in the Window" harks back to McCartney's finest Beatles compositions; and the synth-led "Humpty Dumpty Love Song" lays Travis's sentimental heart bare. "I'd pray to God if there were heaven," sings Fran Healy on "Pipe Dreams," "But heaven sounds so very far from here..." And that's exactly why Travis are so popular; they're the humble down-to-earth boys from next door, still singing the simplest songs, still making the mundane sound beautiful.

Louis Pattison - Amazon.com



Für Travis markiert The Invisible Band keinen nennenswerten Richtungswechsel, aber das muss ja nicht unbedingt schlecht sein. Wenn man Travis als die am einfachsten gestrickte Band aus der Nachhut von Radiohead bezeichnet, dann klingt das nicht unbedingt wie ein herzliches Kompliment, aber ihr so unglaublich wirkungsvolles Erfolgsrezept ist zweifellos hier wieder einmal zu finden. The Man Who wurde ganz schlicht und einfach wegen der ganz einfachen, fröhlichen Schlichtheit zu einer der populärsten Indie-Rockplatten der 90er-Jahre.

Wenn man den Text von "Side" hört, der ihren Umgang mit einem einfachen Bild über die Wirkung des Wetters zeigt -- "The grass is always greener on the other side/The neighbour's got a new car that you wanna drive" ("Das Gras auf der anderen Seite ist immer grüner/Der Nachbar hat ein neues Auto, das du auch einmal gerne fahren würdest"), dann wird sofort klar, dass die Fans von Travis so weit gebracht wurden, dass sie bei dem dritten Album keine mutigen musikalischen Abenteuer mehr erwarten. Was aber überhaupt nichts ausmacht, denn The Invisible Band ist eine derart liebenswerte und total lockere Platte, dass man sich selbst wie ein Flegel vorkäme, wenn man sie beschimpfen würde.

"Sing" eröffnet das Album und klingt so wie bei ihren ersten Anfängen, es fehlt hier eigentlich nur noch ein Banjo. Das blumige "Flowers In The Window" erinnert an McCartneys schönste Beatles-Kompositionen und bei dem von Synthesizern dominierten "The Humpty Dumpty Love Song" offenbaren Travis sentimental Herz und Schmerz. "I'd pray to God if there were heaven" ("Ich würde zu Gott beten, wenn es einen Himmel gäbe") singt Fran Healy bei "Pipe Dreams", "But heaven sounds so very far from here..." ("Aber Himmel klingt so weit entfernt von hier..."). Und genau deswegen bleiben Travis so populär: Sie sind die bescheidenen Jungs von nebenan, die mit beiden Beinen auf der Erde stehen, die immer noch ihre so einfachen Liedchen singen, bei denen Banalitäten auf einmal so richtig schön klingen.

Louis Pattison - Amazon.de



The new Travis album is pure cornball. Take the first single, "Sing": As if it wasn't potentially sappy enough (it's about singer Fran Healy's wife's reluctance to sing around him), the chorus is "But if you sing, sing / Sing, sing, sing / For the love you bring / won't mean a thing / unless you sing, sing, sing." It may be gushingly pathetic, but damn it all to hell if you're not singing along by the second chorus. Travis' knack for making saccharine songs is both a blessing and a curse; one doesn't know whether to feel the love or scream bloody murder. You'll recall that this is the same band that made rain sound positively delightful ("Why Does It Always Rain on Me?"). Perhaps it's appropriate that the album is titled The Invisible Band; on songs such as "Flowers in the Window" and "Follow the Light," any personality Travis might have is obscured by niceness. The Invisible Band sticks close to the slick, Britpop-and-ballads formula of 2000's The Man Who, with producer Nigel Godrich again steering the ship. Slathering on the string section -- on "Indefinitely" and "The Humpty Dumpty Love Song" -- ensures maximum swoon. The result is less Kid A, more Grade A cheese.

Dana Buoniconti - June 11, 2001
CDNOW Contributing Writer
Copyright © 1994-2001 CDnow Online, Inc. All rights reserved.



After circling the globe in support of its 1999 multi-million selling The Man Who, Travis is hardly invisible. Whether or not that breakthrough proves to be its commercial peak is a matter better left to its bankers. Judging by the sound and mood of its third album, The Invisible Band, the London-via-Glasgow quartet seems more concerned with the business of moving towards a creative pinnacle. While The Invisible Band comes from the same non-threatening Britpop camp as The Man Who, there's been measurable growth in the quality of Fran Healy's songs and in the way Radiohead producer Nigel Godrich decorates them. Akin to what Neil Finn did in Crowded House, Healy has learned to mix both melancholy and optimism in gorgeous little pop songs, like gray clouds with hummable silver linings surrounding them. The lead track, "Sing," is a shiny-happy standout (love that banjo!), but thankfully, the album isn't just a single surrounded by filler. You may even find that moodier tracks like "Last Train" or "Dear Diary" (Healy's thank you to his own journal) stay with you longer than those with an "up" beat. So Travis doesn't exactly rock the house, but The Invisible Band will no doubt rock the world of those who love warm and tender pop with substance.

Steve Ciabattoni - Jun 11, 2001
College Media, Inc. - CMJ New Music Report Issue: 718
 

 L y r i c s


SING

Baby you've been going so crazy
Lately nothing seems
To be goin' right
Solo, why d'you have
To get so low
You're so
You've been waiting in
The sun too long
But if you sing, sing
Sing, sing, sing, sing
For the love you bring
Won't mean a thing
Unless you sing, sing, sing, sing

Colder, crying over your shoulder
Hold her, and tell her
Everythin's gonna be fine
Surely, you've been going too early
Hurry, 'cause no one's
Gonna be stopped
Na na na na na

And if you sing, sing
Sing, sing, sing, sing
For the love you bring
Won't mean a thing
Unless you sing, sing, sing,
Sing, sing, sing, sing
Ooh, oh oh oh, ooh

Baby, there's somethin'
Goin' on today
But I say nothin', nothin', nothin'
Nothin', nothin', nothin', nothin'
Nothin', nothin', nothin'
So no no no no no

But if you sing, sing
Sing, sing, sing, sing
For the love you bring
Won't mean a thing
Unless you sing, sing,
Sing, sing, sing
Oh, baby, sing, sing
Sing, sing, sing, sing
For the love you bring
Won't mean a thing
Unless you sing, sing, sing, sing

 M P 3   S a m p l e s


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