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U2: How to dismantle an Atomic Bomb

 A l b u m   D e t a i l s


Label: Island Records
Released: 2004.10.23
Time:
 49:08
Category: Pop/Rock
Producer(s): See Artists ...
Rating: ********.. (8/10)
Media type: CD
Web address: www.u2.com
Appears with:
Purchase date: 2007.02.14
Price in €: 18,99



 S o n g s ,   T r a c k s


[1] Vertigo (Bono/Edge/U2) - 3:14
[2] Miracle Drug (Bono/U2) - 3:59
[3] Sometimes You Can't Make It on Your Own (Bono/U2) - 5:08
[4] Love and Peace or Else (Bono/Edge/U2) - 4:50
[5] City of Blinding Lights (Bono/U2) - 5:47
[6] All Because of You (Bono/U2) - 3:39
[7] A Man and a Woman (Bono/U2) - 4:30
[8] Crumbs from Your Table (Bono/U2) - 5:03
[9] One Step Closer (Bono/U2) - 3:51
[10] Original of the Species (Bono/U2) - 4:41
[11] Yahweh (Bono/Edge/U2) - 4:21

 A r t i s t s ,   P e r s o n n e l


Bono - Guitar, Vocals, Background Vocals
Adam Clayton - Bass Guitar
The Edge - Synthesizer, Guitar, Percussion, Piano, Keyboards, Background Vocals
Larry Mullen, Jr. - Percussion, Drums, Background Vocals

Carl Glanville - Synthesizer, Percussion, Producer, Engineer, Mixing
Jacknife Lee - Synthesizer, Programming, Producer
Daniel Lanois - Mandolin, Pedal Steel, Producer, Shaker

Brian Eno - Producer
Steve Lillywhite - Producer
Chris Thomas - Producer
Nellee Hooper - Producer, Mixing
Flood - Producer, Mixing
Simon Gogerly - Mixing
Chris Lillywhite - Mixing
Arnie Acosta - Mastering
Patricia Sullivan Fourstar - Digital Editing
Candida Bottaci - Production Coordination
Greg Collins - Mixing
Anton Corbijn - Photography
Joe Edwards - Photography
Steve Averill - Direction
Cheryl Engels - Post Production
Chris Heaney - Assistant Engineer
Kieran Lynch - Mixing Assistant
Steve Matthews - Production Coordination
Rab McAllister - Studio Technician
Shaughn McGrath - Design
Paul McGuinness - Management
Simon Osborne - Mixing
Sam O'Sullivan - Production Assistant, Drum Technician
Sheila Roche - Production Coordination
Ian Rossiter - Mixing Assistant
Dallas Schoo - Guitar Technician
Scott Sedillo - Digital Editing
Fabien Waltman - Programming

 C o m m e n t s ,   N o t e s

2004 CD Interscope 000361302
2004 CD Interscope 000361400
2004 CD Island 214
2004 CD Universal 9868181
2006 CD Universal 9013

Released over 25 years into their career, this is the eleventh studio album from U2. 'How To Dismantle An Atomic Bomb' sees the band return to their classic sounding mix of rock, pop and strong songwriting skills, harking back to the days of 'The Unforgettable Fire' and 'The Joshua Tree'. The albumalso includes the singles 'Vertigo' and 'Sometimes You Can't Make It On Your Own'.



The album that carries U2 into its 25th year - and likely the mixed blessings of the Rock and Roll Hall of Fame - is one of its most frank and focused since the days of October and War. But its gestation was anything but simple, in part salvaged from '03 sessions the band deemed subpar. Enter Steve Lillywhite, the band's original producer and sometime collaborator in the decades since, who helped retool the track "Native Son" (originally an anti-gun screed) into the aggressive i-Pod anthem "Vertigo" and leaves his distinctive stamp on the muscular "All Because of You" and others. Perhaps weary of ceaseless, fashion-driven reinvention in the wake of monumental success, U2 seem only too happy here to re-embrace their original sonic trademarks in service of more daring, pop-melodic hooks than they've collected in one place in decades. The Eno/Lanois produced "Love and Peace or Else" may shimmer with the duo's electro-production conceits, but it's Edge's lugubrious, post-modern John Lee Hooker guitar swagger that drives it. Elsewhere, Bono's trademark dramaturgy is spotlighted on "City of Blinding Lights," the unabashed romance of "A Man and a Woman" and the confessional "Sometimes You Can't Make It On Your Own." It may come wrapped in a conundrum--is it nostalgic retrenchment or sum of the band's endless musical catharsis?--but it's also the album where, Fly and MacPhisto be damned, U2 boldly claims its arena titan mantle with apologies to no one.

Jerry McCulley - Amazon.com



Auf ihrem 11. Studioalbum schließen die vier Iren um Sänger Bono einen großen Kreis: How To Dismantle An Atomic Bomb ist textlich wie musikalisch eine Rückkehr zu Wurzeln der Band. Fast könnte man an die Wiederentdeckung verschollenen U2-Songmaterials aus Anfangszeiten glauben, wären da nicht die textlichen Anspielungen auf 9-11 und klangtechnische Details, die es seinerzeit noch nicht gab. Wieder unter Mitwirkung von Brian Eno und Daniel Lanois bildet How To Dismantle An Atomic Bomb eine ganz deutliche Zäsur zu den elektronischen Experimenten der 90er Jahre. Der Song "Vertigo" überrascht mit rockigen, fast punkigen Allüren und einer wirklich ruppigen Gitarrenhandschrift, die sich durch das gesamte Album zieht. So klingt es, wenn sich U2 mit ihren heutigen musikalischen Erfahrungen in ihre Gründungszeiten zurückversetzen. Was wäre eine Band wie U2, wenn die inhaltliche Ebene im Schatten der musikalischen stünde: Schließlich waren es die spirituellen Wurzeln ihrer Texte, die sie schon lange vor den Anschlägen auf die Twin Towers, Wirtschaftskrise und Irakkrieg zu einem Mythos machten, der zuweilen schon fast an Heiligenverehrung grenzt. Wellness für die Seele ist heute nötiger denn je, und davon gibt es auf How To Dismantle An Atomic Bomb mehr als genug. Bonos Botschaften, wie "Sometimes You Can't Make It On Your Own" in gleichnamigem Stück, spenden zwar gläubigen wie ungläubigen Schäfchen gleichermaßen Trost, sind jedoch nicht über den Verdacht einer gewissen Plattheit erhaben. Auffällig ist, wie viel sich auf textlicher Ebene um den Glauben dreht: "All Because Of You" beschäftigt sich mit Bonos Wiedergeburt, und "Yahweh" trägt gar den hebräischen Namen Gottes als Titel. Wie auch immer die Fans diese Entwicklung auffassen werden -- am Ende werden sich die meisten von ihnen wieder darüber einig sein, dass U2 mit How To Dismantle An Atomic Bomb ein homogenes Album gelungen ist. Political correct, nur diesmal zur Abwechslung im rockigen Retro-Look.

Andreas Schultz - Amazon.de



Die größte Rockband des Planeten ist zurück! Es gibt wohl kaum eine Band, um deren Veröffentlichungen sich im Vorfeld ein solches Mysterium bildet, wie bei den irischen Superstars von U2. Diese Band hat es nicht nötig, sich an Trends anzubiedern, ebenso versucht sie es aber auch nie, eigene erfolgreiche Stile schlicht zu kopieren. U2 sind innovativ wie keine andere Band in diesem Stadium. "Vertigo", die erste Singleauskoppelung des neuen Studioalbums "How to dismantle an atomic bomb" belegt genau dieses auf ein Neues. Man mag es am ehesten vergleichen mit den frühen Alben der Männer von der grünen Insel, gepaart mit Einflüssen der äußerst kreativen "Pop" Phase... Dennoch kommt Vertigo so rockig und mit gar punkigen Allüren daher, dass selbst der eine oder andere Hardcore-Fan überrascht sein sollte, nicht jedoch vom unverkennbaren Bono-Refrain, der sich nach nur einmaligem Lauschen in den Gehörgängen einhämmert. Aber auch die anderen Songs auf "How To Dismantle An Atomic Bomb" bestechen durch grossartiges Songwriting, hochemotionale Lyrics und unnachahmlichen U2-Sound.

Amazon.de



A return to bombast and stadium histrionics, there is little disarming about U2's eleventh album, How To Dismantle An Atomic Bomb. A rather predictable if undeniably effective guitar-fuelled romp, with long-time collaborator Steve Lillywhite at the production helm, the Irish quartet's follow up 2000's 11-million selling All That You Can't Leave Behind with much of the same, something that will delight fans of Rattle And Hum while frustrating those who preferred the beat-driven experimentalism and eminently more evocative lyricism that made Achtung Baby! grab attention. While there is certainly no "One" here with Bono proving a less politically subtle songwriter than he obviously is a proven negotiator on the likes of "Love And Peace Or Else"; "We need love and peace/Lay down your guns," he chimes simply, he does reach the heartstrings on "Sometimes You Can't Make It On Your Own", a passionate ode to his dead father, and the equally sharp scribing "No I could never take a chance/Of losing love to find romance" on "A Man And A Woman." As you might expect the production, assisted by the likes of Brian Eno, Daniel Lanois and Nellee Hooper, resounds with epic depth, while The Edge's trademark guitar sound rings throughout, cutting through the booming bass and honed rhythm section. Nothing ventured, nothing gained then? Well no. How To Dismantle An Atomic Bomb is the sound of a band who, with a confident swagger, have finally decided on content over style.

Christopher Barrett - Amazon.co.uk Review



Ever since the beginning of their career, U2 had a sense of purpose and played on a larger scale than their peers, so when they stumbled with the knowing rocktronica fusion of 1997's Pop -- the lone critical and commercial flop in their catalog -- it was enough to shake the perception held among fans and critics, perhaps even among the group itself, that the band was predestined to always be the world's biggest and best rock & roll band. Following that brief, jarring stumble, U2 got back to where they once belonged with All That You Can't Leave Behind, returning to the big-hearted anthems of their '80s work. It was a confident, cinematic album that played to their strengths, winning back the allegiance of wary fans and critics, who were eager to once again bestow the title of the world's biggest and best band upon the band, but all that praise didn't acknowledge a strange fact about the album: it was a conservative affair. After grandly taking risks for the better part of a decade, U2 curbed their sense of adventure, consciously stripping away the irony that marked every one of their albums since 1991's Achtung Baby, and returning to the big, earnest sound and sensibility of their classic '80s work. How to Dismantle an Atomic Bomb, the long-awaited 2004 sequel to ATYCLB, proves that this retreat was no mere fling: the band is committed to turning back the clock and acting like the '90s never happened. Essentially, U2 are trying to revirginize themselves, to erase their wild flirtation with dance clubs and postmodernism so they can return to the time they were the social conscience of rock music. Gone are the heavy dance beats, gone are the multiple synthesizers, gone are the dense soundscapes that marked their '90s albums, but U2 are so concerned with recreating their past that they don't know where to stop peeling away the layers. They've overcorrected for their perceived sins, scaling back their sound so far that they have shed the murky sense of mystery that gave The Unforgettable Fire and The Joshua Tree an otherworldly allure. That atmospheric cloud has been replaced with a clean, sharp production, gilded in guitars and anchored with straight-ahead, unhurried rhythms that never quite push the songs forward. This crisp production lacks the small sonic shadings that gave ATYCLB some depth, and leaves How to Dismantle an Atomic Bomb showcasing U2 at their simplest, playing direct, straight-ahead rock with little subtlety and shading in the production, performance, or lyrics. Sometimes, this works to the band's detriment, since it can reveal how familiar the Edge's guitar has grown or how buffoonish Bono's affectations have become (worst offender: the overdubbed "hola!" that answers the "hello" in the chorus of "Vertigo"). But the stark production can also be an advantage, since the band still sounds large and powerful. U2 still are expert craftsmen, capable of creating records with huge melodic and sonic hooks, of which there are many on HTDAAB, including songs as reassuring as the slyly soulful "Sometimes You Can't Make It on Your Own" and the soaring "City of Blinding Lights," or the pile-driving "All Because of You." Make no mistake, these are all the ingredients that make How to Dismantle an Atomic Bomb a very good U2 record, but what keeps it from reaching the heights of greatness is that it feels too constrained and calculated, too concerned with finding purpose in the past instead of bravely heading into the future. It's a minor but important detail that may not matter to most listeners, since the record does sound good when it's playing, but this conservatism is what keeps HTDAAB earthbound and prevents it from standing alongside War, The Joshua Tree, and Achtung Baby as one of the group's finest efforts.

Stephen Thomas Erlewine - All Music Guide



Over the past decade or so, U2 have reinvented themselves several times, producing a string of albums that, individually, have been paragons of consistency. But the dizzying How to Dismantle an Atomic Bomb, unlike its more uniform predecessor, All That You Can't Leave Behind, recaptures the band's flair for surprises. At first blush, the disc seems peppered with the sort of soaring mid-tempo anthems that were the U2's bread-and-butter back in the '80s - "Sometimes You Can't Make It On Your Own," with Bono's falsetto set against the Edge's gingerly picked guitar figure, is a trip in the wayback machine, for sure. Similarly, the slowly building "City of Blinding Lights" - one of the most straightforward love songs Bono's penned in ages - seems like a tip of the hat to colleagues the Cure and New Order, but that's not the disc's predominant flavor. On "Love and Peace or Else," for instance, the band lay down a minimal, electronics-enhanced backing dominated by Larry Mullen's primal tom-tom, a vibe that soon gives way to a sort of postmodern walking blues. The initial single, "Vertigo," ratchets up the energy, lurching along with a compelling blend of garage-band bluster and arena-filling authority. Again, though, that's not the whole story. "All Because of You" reconciles Brit-pop jangle and neo-psychedelic fillips, topping off the mixture with Bono's self-aware musings ("I love the sound of my own voice / I didn't give anyone else a choice"). And, since no U2 album would be complete without a shout-out to the Man Upstairs, the band ends the disc with "Yahweh," a plea for salvation that's matched in lyrical intensity by its beseeching melody. It may not be rocket science, but How to Dismantle an Atomic Bomb, more than any of the band's efforts in years, pushes the right buttons to get listeners involved - mind, body, and soul.

David Sprague - Barnes & Noble



Halfway through the excellent new U2 album, Bono announces, "I like the sound of my own voice." Well-said, lad; well-said. Ever since U2 started making noise in Dublin several hundred bloody Sundays ago, Bono has grooved to the sound of his own gargantuan rockness. Ego, shmego -- this is one rock-star madman who should never scale down his epic ambitions. As the old Zen proverb goes, you will find no reasonable men on the tops of great mountains, and U2's brilliance is their refusal to be reasonable. U2 were a drag in the 1990s, when they were trying to be cool, ironic hipsters. Feh! Nobody wants a skinny Santa, and for damn sure nobody wants a hipster Bono. We want him over the top, playing with unforgettable fire. We want him to sing in Latin or feed the world or play Jesus to the lepers in his head. We want him to be Bono. Nobody else is even remotely qualified.

U2 bring that old-school, wide-awake fervor to How to Dismantle an Atomic Bomb. The last time we heard from them, All That You Can't Leave Behind, U2 were auditioning for the job of the World's Biggest Rock & Roll Band. They trimmed the Euro-techno pomp, sped up the tempos and let the Edge define the songs with his revitalized guitar. Well, they got the job.

On Atomic Bomb, they're not auditioning anymore. This is grandiose music from grandiose men, sweatlessly confident in the execution of their duties. Hardly any of the eleven songs break the five-minute mark or stray from the punchy formula of All That You Can't Leave Behind. They've gotten over their midcareer anxiety about whether they're cool enough. Now, they just hand it to the Edge and let it rip.

During the course of Atomic Bomb, you will be urged to ponder death ("Sometimes You Can't Make It On Your Own"), birth ("Original of the Species"), God ("Yahweh"), love ("A Man and a Woman"), war ("Love and Peace or Else") and peace ("City of Blinding Lights"), which barely gives you time to ponder whether the bassist has been listening to Interpol. "Vertigo" sets the pace, a thirty-second ad jingle blown up to three great minutes, with a riff nicked from Sonic Youth's "Dirty Boots." "City of Blinding Lights" begins with a long Edge guitar intro, building into a bittersweet lament. "Yahweh" continues a U2 tradition, the album-closing chitchat with the Lord. It's too long and too slow, but that's part of the tradition.

Like all U2 albums, Atomic Bomb has false steps, experimental bathroom breaks and moments when the lofty ambitions crash into the nearest wall. As America staggers punch-drunk into another four-year moment we can't get out of, it would be a real pleasure if the political tunes had any depth. (How long? How long must we sing this song?) But Bono scores a direct hit on "One Step Closer," an intimate ballad about his father's death from cancer in 2001; "Sometimes You Can't Make It On Your Own" is the song U2 did at the funeral. When Bono sings, "You're the reason why I have the operas in me," his grief and his grandiosity seem to come from the same place in his heart. It's a reminder that what makes U2 so big isn't really their clever ideas, or even their intelligence -- it's the warmth that all too few rock stars have any idea how to turn into music.

ROB SHEFFIELD (RS 963 - December 9, 2004)
Rolling Stones



The album easily stands alongside the best work of U2's career - "Boy," "War," "The Joshua Tree" and "Achtung Baby" - and, song for song, it's more consistent than any of them.

Jon Pareles - New York Times
 

 L y r i c s

Vertigo

Uno, dos, tres, Catorce!

Turn it up loud, captain

Lights go down, it's dark
The jungle is your head
Can't rule your heart
a feeling so much stronger than
a thought
Your eyes are wide
And though your soul
It can't be bought
Your mind can wander

Hello, Hello (¡Hola!)
I'm at a place called Vertigo (¿Dónde está?)
It's everything I wish I didn't know
Except you give me something i can feel,
feel

The night is full of holes
As bullets rip the sky
Of ink with gold
They twinkle as the
Boys play rock and roll
They know that they can't dance
At least they know...

I can't stand the beat
I'm asking for the cheque
The girl with crimson nails
Has Jesus round her neck
Swinging to the music
Swinging to the music
Oh, Oh, Oh

Hello, Hello (¡Hola!)
I'm at a place called Vertigo (¿Dónde está?)
It's everything I wish I didn't know
But you give me something I can feel,
feel

Checkmated,
Just fun,
you'll need it!

All of this, all of this can be yours
All of this, all of this can be yours
All of this, all of this can be yours
Just give me what I want and no one gets hurt...

Hello, Hello (¡Hola!)
I'm at a place called Vertigo (¿Dónde está?)
Lights go down and all I know
Is that you give me something

I can feel you love teaching me, how
Your love is teaching me how,
how to kneel, kneel

Yeah, Yeah, Yeah, Yeah, Yeah, Yeah, Yeah,
Yeah, Yeah, Yeah, Yeah, Yeah, Yeah, Yeah


Miracle Drug

I want a trip inside your head
Spend the day there...
To hear the things you haven't said
And see what you might see

I wanna hear you when you call
Do you feel anything at all?
I wanna see your thoughts take shape
And walk right out

Freedom has a scent
Like the top of a new born baby's head

The songs are in your eyes
I see them when you smile
I've seen enough I'm not giving up
On a miracle drug

Of science and the human heart
There is no limit
There is no failure here sweetheart
Just when you quit...

I am you and you are mine
Love makes no sense of space
And time...will disappear
Love and logic keep us clear
Reason is on our side, love...

The songs are in your eyes
I see them when you smile
I've had enough of romantic love
I'd give it up, yeah, I'd give it up
For a miracle, a miracle drug, a miracle drug

God I need your help tonight

Beneath the noise
Below the din
I hear your voice
It's whispering
In science and in medicine
"I was a stranger
You took me in"

The songs are in your eyes
I see them when you smile
I've had enough of romantic love
I'd give it up, yeah, I'd give it up
For a miracle, miracle drug

Miracle, miracle drug


Sometimes You Can't Make It On Your Own

Tough, you think you've got the stuff
You're telling me and anyone
You're hard enough

You don't have to put up a fight
You don't have to always be right
Let me take some of the punches
For you tonight

Listen to me now
I need to let you know
You don't have to go in alone

And it's you when I look in the mirror
And it's you when I don't pick up the phone
Sometimes you can't make it on your own

We fight all the time
You and I... that's alright
We're the same soul
I don't need... I don't need to hear you say
That if we weren't so alike
You'd like me a whole lot more

Listen to me now
I need to let you know
You don't have to go it alone

And it's you when I look in the mirror
And it's you when I don't pick up the phone
Sometimes you can't make it on your own

(This is it)
I know that we don't talk
I'm sick of it all
Can, you, hear, me, when, I, sing
You're the reason I sing
You're the reason why the opera is in me

Well hey now, still gotta let ya know
A house doesn't make a home
Don't leave me here alone

And it's you when I look in the mirror
And it's you that makes it hard to let go
Sometimes you can't make it on your own
Sometimes you can't make it
Best you can do is to fake it
Sometimes you can't make it on your own


Love And Peace Or Else

Lay down
Lay down
Lay your sweet lovely on the ground
Lay your love on the track
We're gonna break the monster's back
Yes we are...
Lay down your treasure
Lay it down now brother
You don't have time
For a jealous lover

As you enter this life
I pray you depart
With a wrinkled face
And a brand new heart

I don't know if I can take it
I'm not easy on my knees
Here's my heart I'll let you break it

I need some release, release, release

We need
Love and peace
Love and peace

Lay down
Lay down your guns
All your daughters of Zion
All your Abraham sons
I don't know if I can make it
I'm not easy on my knees
Here's my heart I'll let you break it
I need some release, release, release

We need
Love and peace
Love and peace

Baby don't fight
We can talk this thing through
With me, me and you
I'll call on your phone
The TV is still on
But the sound is turned down
And the troops on the ground
Are about to dig in

And I wonder where is the love?
Where is the love?
Love and peace
Where is the love?
Where is the love?
Where is the love?


City Of Blinding Lights

The more you see the less you know
The less you find out as you go
I knew much more then than I do now

Neon heart day-glow eyes
A city lit by fireflies
They're advertising in the skies
For people like us

And I miss you when you're not around
I'm getting ready to leave the ground

Oh you look so beautiful tonight
In the city of blinding lights

Don't look before you laugh
Look ugly in a photograph
Flash bulbs purple irises
The camera can't see

I've seen you walk unafraid
I've seen you in the clothes you made
Can you see the beauty inside of me?
What happened to the beauty I had inside of me?

(cut)

And I miss you when you're not around
I'm getting ready to leave the ground

Oh you look so beautiful tonight
In the city of blinding lights

Time...time...time...time...time
Won't leave me as I am
But time won't take the boy out of this man

Oh you look so beautiful tonight
Oh you look so beautiful tonight
Oh you look so beautiful tonight
In the city of blinding lights

The more you know the less you feel
Some pray for others steal
Blessings are not just for the ones who kneel... luckily


All Because of You

I was born a child of grace
Nothing else about the place
Everything was ugly but your beautiful face
And it left me no illusion

I saw you in the curve of the moon
In the shadow cast across my room
You heard me in my tune
When I just heard confusion

All because of you
All because of you
All because of you
I am...I am

I like the sound of my own voice
I didn't give anyone else a choice
An intellectual tortoise
Racing with your bullet train

Some people get squashed crossing the tracks
Some people got high rises on their backs
I'm not broke but you can see the cracks
You can make me perfect again

All because of you
All because of you
All because of you
I am...I am

I'm alive
I'm being born
I just arrived, I'm at the door
Of the place I started out from
And I want back inside

All because of you
All because of you
All because of you
I am


A Man And A Woman

Little sister don't you worry about a thing today
Take the heat from the sun
Little sister
I know that everything is not ok
But you're like honey on my tongue

True love never can be rent
But only true love can keep beauty innocent

I could never take a chance
Of losing love to find romance
In the mysterious distance
Between a man and a woman
No I could never take a chance
'Cause I could never understand
The mysterious distance
Between a man and a woman

You can run from love
And if it's really love it will find you
Catch you by the heel
But you can't be numb for love
The only pain is to feel nothing at all
How can I hurt when I'm holding you?

I could never take a chance
Of losing love to find romance
In the mysterious distance
Between a man and a woman

And you're the one, there's no-one else
who makes me want to lose myself
In the mysterious distance
Between a man and a woman

Brown eyed girl across the street
On rue Saint Divine
I thought this is the one for me
But she was already mine
You were already mine...

Little sister
I've been sleeping in the street again
Like a stray dog
Little sister
I've been trying to feel complete again
But you're gone and so is God

The soul needs beauty for a soul mate
When the soul wants...the soul waits ...

No I could never take a chance
Of losing love to find romance
In the mysterious distance
Between a man and a woman

For love and FAITH AND SEX and fear
And all the things that keep us here
In the mysterious distance
Between a man and a woman

How can I hurt when I'm holding you?


Crumbs From Your Table

From the brightest star
Comes the blackest hole
You had so much to offer
Why did you offer your soul?
I was there for you baby
When you needed my help
Would you deny for others
What you demand for yourself?

Cool down mama, cool off
Cool down mama, cool off

You speak of signs and wonders
I need something other
I would believe if I was able
But I'm waiting on the crumbs from your table

You were pretty as a picture
It was all there to see
Then your face caught up with your psychology
With a mouth full of teeth
You ate all your friends
And you broke every heart thinking every heart mends

You speak of signs and wonders
But I need something other
I would believe if I was able
But I'm waiting on the crumbs from your table

Where you live should not decide
Whether you live or whether you die
Three to a bed
Sister Ann, she said
Dignity passes by

And you speak of signs and wonders
But I need something other
I would believe if I was able
I'm waiting on the crumbs from your table


One Step Closer

I'm 'round the corner from anything that's real
I'm across the road from hope
I'm under a bridge in a rip tide
That's taken everything I call my own

One step closer to knowing
One step closer to knowing
One step closer to knowing
Knowing, knowing

I'm on an island at a busy intersection
I can't go forward, I can't turn back
Can't see the future
It's getting away from me
I just watch the tail lights glowing

One step closer to knowing
One step closer to knowing
One step closer to knowing
Knowing, knowing

I'm hanging out to dry
With my old clothes
Finger still red with the prick of an old rose
Well the heart that hurts
Is a heart that beats
Can you hear the drummer slowing?

One step closer to knowing
One step closer to knowing
One step closer to knowing
To knowing, to knowing, to knowing


Original of the Species

Baby slow down
The end is not as fun as the start
Please stay a child somewhere in your heart

I'll give you everything you want
Except the thing that you want
You are the first one of your kind

And you feel like no-one before
You steal right under my door
I kneel 'cause I want you some more
I want the lot of what you got
And I want nothing that you're not

Everywhere you go you shout it
You don't have to be shy about it

Some things you shouldn't get too good at
Like smiling, crying and celebrity
Some people got way too much confidence baby..baby

I'll give you everything you want
Except the thing that you want
You are the first one of your kind

And you feel like no-one before
You steal right under my door
I kneel 'cause I want you some more
I want the lot of what you got
And I want nothing that you're not

Everywhere you go you shout it
You don't have to be shy about it, no....
Sugar come on, show your soul
You've been keeping your love under control

Everywhere you go you shout it
You don't have to be shy about it
Everywhere you go you shout goodbye
Oh my my

And you feel like no-one before
You steal right under my door
I kneel 'cause I want you some more
I want you some more, I want you some more...
Oh no.....


Yahweh

Take these shoes
Click clacking down some dead end street
Take these shoes
And make them fit
Take this shirt
Polyester white trash made in nowhere
Take this shirt
And make it clean, clean
Take this soul
Stranded in some skin and bones
Take this soul
And make it sing

Yahweh, Yahweh
Always pain before a child is born
Yahweh, Yahweh
Still I'm waiting for the dawn

Take these hands
Teach them what to carry
Take these hands
Don't make a fist no
Take this mouth
So quick to criticise
Take this mouth
Give it a kiss

Yahweh, Yahweh
Always pain before a child is born
Yahweh, Yahweh
Still I'm waiting for the dawn

Still waiting for the dawn, the sun is coming up
The sun is coming up on the ocean
This love is like a drop in the ocean
This love is like a drop in the ocean

Yahweh, Yahweh
Always pain before a child is born
Yahweh, tell me now
Why the dark before the dawn?

Take this city
A city should be shining on a hill
Take this city
If it be your will
What no man can own, no man can take
Take this heart
Take this heart
Take this heart
And let it break
 

 M P 3   S a m p l e s


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