..:: audio-music dot info ::..


Main Page     The Desert Island     Copyright Notice
Aa Bb Cc Dd Ee Ff Gg Hh Ii Jj Kk Ll Mm Nn Oo Pp Qq Rr Ss Tt Uu Vv Ww Xx Yy Zz


The Verve: Forth

 A l b u m   D e t a i l s


Label: Parlophone Records
Released: 2008.08.19
Time:
 64:24
Category: Progressive Rock
Producer(s): See Artists ...
Rating: ********.. (8/10)
Media type: CD
Web address: www.theverve.co.uk
Appears with: Richard Ashcroft
Purchase date: 2008.08.29
Price in €: 13,99



 S o n g s ,   T r a c k s


[1] Sit and Wonder (Verve) - 6:52
[2] Love Is Noise ( R.Ashcroft/Verve) - 5:29
[3] Rather Be (R.Ashcroft) - 5:38
[4] Judas (Verve) - 6:18
[5] Numbness (Verve) - 6:34
[6] I See Houses (R.Ashcroft) - 5:37
[7] Noise Epic (Verve) - 8:13
[8] Valium Skies (R.Ashcroft) - 4:34
[9] Columbo (Verve) - 7:30
[10] Appalachian Springs (R.Ashcroft) - 7:33
 

 A r t i s t s ,   P e r s o n n e l


Richard Ashcroft - Acoustic Guitar, Keyboards, Vocals, Producer
Nick McCabe - Guitar, Autoharp, Keyboards, Vibraphone, Producer
Simon Jones - Bass Guitar, Producer
Peter Salisbury - Percussion, Drums, Producer

Davide Rossi - Violin, Electric Violin, String Arrangements

Chris Potter - Producer, Engineer, Mixing
Cameron Jenkins - Engineer, Mixing, Management
Tim Bran - Mixing, Management
Tim Parry - Management
Dean Chalkley - Portrait Photography
Jazz Summers - Management

 C o m m e n t s ,   N o t e s

2008 CD RED 01
2008 LP RED 01
2008 CD Mega Force 61252
2008 LP Mega Force 61252
2008 CD Parlophone 2355842

Widely regarded as one of the most important and influential bands in British music, this is the fourth album by Wigan's The Verve, and their first full set of original material since the career defining, 1997 commercial breakthrough, 'Urban Hymns'. 'Forth' is a strong and varied release, combiningguitarist Nick McCabe's sonic experiments with frontman Richard Ashcroft's Britpop-esque balladry. The anthemic single,'Love Is Noise' is included.

FORTH (2008) is the Verve's first album since 1997's URBAN HYMNS. Listening to the album, it not only seems that the 11 intervening years have passed in a blink, but that the old-school Verve of the NORTHERN SOUL-era--dark, surging, and hypnotic--is ... Full Descriptionback in full force. While the members of the Verve kept plenty busy during their hiatus--especially singer Richard Ashcroft, who embarked on a successful solo career--something uniquely thrilling is sparked when these four individuals play together. Opener "Sit and Wonder" thumps along with dancey insistence, offering energetic counterpoint to the album's more dreamy, downtempo moments. "Love is Noise," the album's lead-off single, is classic Verve, balancing Ashcroft's shamanistic croon with Nick McCabe's swirling universe of guitar. The rest of the album follows suit, and while it may not exceed their classic efforts, it is--with its sonic adventurousness, lush atmospheres, and distinctive sound--a welcome addition to their catalogue.



Something happens when the Verve are together that none of them experience when they are apart. Individually, the Verve are all highly-accomplished players. Singer Richard Ashcroft has been called the greatest singer in the world by no less a peer than Coldplay s Chris Martin. Liverpool-born Simon Jones s dub-informed bass takes the Verve s music far beyond rock and into space and dub; Peter Salisbury plays drums more like a jazz great than a conventional rock drummer and when the tag guitarist of his generation is thrown about it often lands at the feet of the hugely adventurous, psychedelic, exploratory Nick McCabe. However, when they are together a chemistry takes hold that transcends the four people onstage to blast the Verve somewhere else entirely and this chemistry and spontaneity has survived an absence of almost a decade. Already, since their typically unpredictable 2007 reunion, live shows have been running the gauntlet of everything from material so new that Ashcroft has been singing the words from scraps of paper to long-lost, hazy B-sides like Let The Damage Begin and A Man Called Sun, amid all manner of musical fireworks. When they take the stage, literally anything can happen. After an absence of almost a decade, these songs are again being played, as they should be by the Verve themselves. The individual members have not been slouches. Richard Ashcroft has enjoyed a successful and prolific solo career. Simon Jones formed a band, the Shining, who were not altogether dissimilar to the Verve, and has played with Damon Albarn s Gorillaz. Nick McCabe has been remixing and playing with everyone from the Beta Band to John Martyn while Peter Salisbury has been playing with Ashcroft, Black Rebel Motorcycle Club and has further diverted his musical obsessions into running a Stockport drum shop. However, all seem to have realized what their enormous fanbase has been telling them all along. That today, as much if not more than ever, music really needs the Verve. However, a band like the Verve would never settle for easy nostalgia. Even before they d set out on their initial comeback gigs last year, which sold out within an astonishing 20 minutes, they made public (via the NME website) the results of their very first jam session as a reformed band. The Thaw Sessions comprised 14 wondrous minutes of music, which signified their ability to spark off one another remained undimmed. Soon afterwards, the band debuted new song Sit And Wonder a tune trimmed from a 25-minute jam, just as they would in the early days, a taste of things to come. Those comeback dates proved so successful and were so enthusiastically received that the band immediately embarked on a full-scale tour of arenas in December of 2007, playing bigger gigs in many cases than the first time around. In 2008, they look set to up the ante even further, by appearing at many of the major festivals and, in a turnaround that would have seemed unthinkable even a year ago, releasing their enormously-anticipated fourth album. The results will certainly be worth the wait.

Dave Simpson - Amazon.com



Neun Jahre nach ihrer weltweit betrauerten Auflösung melden sich The Verve einem neuen Album zurück. Die Erwartungshaltung der Presse und der Fans war ihm Vorfeld entsprechend gigantisch. Doch davon lässt sich eine Band von dieser Klasse, die immer schon ihren eigenen Weg gegangen ist, nicht sonderlich beeindrucken. Mit Forth setzt die Gruppe um Sänger und Gitarrist Richard Ashcroft ihre Reise fort, ohne auf der Stelle zu treten. The Verve klingen auf Platte 2008 zwar nicht durchgehend anders als auf ihrem letzten Album Urban Hymns aus dem Jahr 1997. Trotz der langen Pause findet man sich im vertrauten Soundkosmos der zehn Songs sofort ohne Probleme wieder zurecht. Neben der wie gewohnt im Mittelpunkt stehenden Stimme von Ashcroft sorgt vor allem Gitarrist Nick McCabe mit seinem ausdrucksstarken, jedoch nie aufdringlichen Spiel dafür, das man bereits beim ersten Stück "Sit And Wonder" alle Vorbehalte gegen dieses Comeback aufgibt und ganz tief in die süchtig machenden Klangschichten eintaucht. Auch wenn The Verve auf Forth, das die vier Bandmitglieder selbst produziert haben, mit keinem unsterblichen Klassiker wie "Bitter Sweet Symphony" oder "Drugs Don't Work" aufwarten, schaffen sie es mühelos, die Spannung bis zum Schluss aufrecht zu erhalten. Selbst ruhigere Nummern wie "Judas" oder "Numbness" ziehen den Hörer sofort in ihren Bann, ganz zu Schweigen von den in epischen Harmonien schwelgenden Stücken "Valium Skies" und "Appalachian Springs", in denen sich das Quartett von seiner besten Seite präsentiert.

Norbert Schiegl - Amazon.de



Es gibt kreative Zeitgenossen, die sich nur weiterentwickeln können, wenn sie ihr Schaffen und sich selbst regelmäßig kritischen Bestandaufnahmen unterziehen. Mitunter sogar ohne Rücksicht auf den Verlust der eigenen Kreativbande. Und sei es auch nur, um anschließend auf höherem Niveau weiter zusammen arbeiten zu können. Die nordenglische Band The Verve löste sich erstmals 1995, knappe sechs Jahre nach ihrer Gründung auf. Aus der anschließenden Reunion resultierten zwei Jahre später, 1997, mit dem Album „Urban Hymns“ und der Single „Bitter Sweet Symphony“, die beiden bislang größten Erfolge der Band um Kreativkopf Richard Ashcroft. Weitere 24 Monate später, 1999, verkündeten die vier Musiker endgültig das Ende der Existenz von The Verve. Der Spaß am eignen Klangkörper war trotz massiv gestiegenen, weltweiten Zuspruchs auf der Strecke geblieben und statt weiter Öl in die heißgelaufene Hit-Maschine zu gießen, ging man musikalisch getrennte Wege. Was für die zahllosen Verve-Fans ein Grund zum Trauern war, erschien der Band nur logisch. Schließlich hatte man sich 1989 erstmals zusammen getan um rein nach dem Lustprinzip die Musik zu machen, die den perfekten Nährboden für Richard Ashcrofts öffentlich gemachte, bittersüße Skizzierungen des Lebens in der modernen Zivilisation bot.

Das alles schien zehn Jahre lang Geschichte gewesen zu sein. Zehn Jahre, die dem Pop-Mythos The Verve freilich keinen Abbruch taten. Umso größer und überraschender platzte in den Pop-Herbst 2007 die sensationelle Nachricht, dass The Verve erstmals seit mehr als einem Jahrzehnt wieder in Originalbesetzung ein Konzert in Glasgow geben wollten. Im November 2007 schloss sich zuerst eine komplette, binnen 20 Minuten ausverkaufte Tour durch englische Theater und später durch die großen Arenen des Landes an. Vor enthusiastischem Publikum testete das Quartett dabei sogar neues Songmaterial. Jetzt, neun Monate und etliche gespielte Festival-Gigs später, in denen die neuen Songs weiter Form annahmen, veröffentlichen die vier Engländer mit „Forth“ ein neues Studioalbum, das eindrucksvoll beweißt, zu welch brillanten kreativen Höhenflügen das strikte Folgen des Lustdiktats führt.

Schon das erste Hören der zehn neuen Songs stellt unmissverständlich klar, dass das Comeback von The Verve ein Ziel verfolgt, das weit über den vermeintlichen Wunsch, die Charts zu stürmen, hinaus reicht. Vielmehr ist „Forth“ das Testament einer Band, die ihrem eigenen künstlerischen Anspruch unbedingt gerecht wird. Mit der Gewissheit, ohnehin kein „Urban Hymns II“ abliefern zu wollen, schuf das Musiker-Kollektiv eine Songsammlung, die von der bisherigen Bandkarriere profitiert und das Hauptaugenmerk trotzdem auf eine viel versprechende, gemeinsame musikalische Zukunft richtet. So erstaunt es auch nicht, dass Bassist Simon Jones das selbstproduzierte „Forth“ für das beste Album der kollektiven, wie auch der individuellen Karrieren der Verve-Mitglieder hält. Nicht zuletzt, weil man ganz bewusst auf jegliche Nostalgie bei der Studioarbeit verzichtet hat. Dennoch werden sich langjährige Fans der Band beim Song „Sit And Wonder“ an die frühen Verve erinnert fühlen. Das Resultat einer halbstündigen Jam-Session eröffnet nach unzähligen Live-Tests nun in Form eines feinen Destillats das neue Album „Forth“. Die komplette Band präsentiert sich in diesem mehr als würdigen, energetischen Opener als hervorragend auf einander eingespielte Einheit, während Ashcrofts eindringliche Falsett-Einlagen fulminant klarstellen, dass die interne Verve-Welt zweifellos wieder ins Lot gebracht worden ist.

Die erste Single von „Forth“, „Love Is Noise“, wird in der Album-Version extensiviert und erhält durch die addierten Gitarren-Exkursionen von Nick McCabe geradezu epischen Charakter. Der Refrain „Love Is Noise, Love Is Pain, Love Is This Blues I’m Singing Again“, besitzt jenen monumentalen, sofort wieder erkennbaren Charakter, der „Bitter Sweet Symphony“ zum Soundtrack der ausklingenden Neunzigerjahre gemacht hatte. Überhaupt nimmt Chef-Texter Richard Ashcroft in den zehn neuen Songs von „Forth“ einmal mehr die Rolle der nach Wahrhaftigkeit suchenden Person ein, die die großen Fragen über den eigenen Mikrokosmos, das Universum und alles was dazwischen liegt, mit der ihr eigenen Sprachgewalt stellt. Wenngleich auch dringlicher als zuvor. Die Antwort auf die Frage, „Is There Anywhere Better Than Here?“, in der von Piano und Streichern getragenen Mid-Tempo-Nummer „Rather Be“, liefert er mit seinen drei Bandkollegen höchst selbst. Eine bessere musikalische Erfahrung als beim Hören von „Forth“ kann man zurzeit einfach nicht machen. Die perlenden Gitarren und der Upbeat-Rhythmus von „Judas“ führen zunächst mit ihrer, im besten Sinne, leichten Bekömmlichkeit, auf eine falsche Fährte, denn wenn das Tempo zum Ende hin anzieht, nehmen die Saiten-Hiebe von McCabe geradezu manische Züge an. Wessen Gemütszustand bis hierhin noch keinen euphorisierten Zustand angenommen hat, weil man dem neuen Verve-Album lauschen kann, wird spätestens von „Numbness“ mitgerissen. Die langsame sechseinhalb Minuten-Nummer mit der Gitarren-Jam in der Mitte, präsentiert Ashcroft und Co. in ihrem sphärischen Bestzustand. „I See Houses“ beginnt mit einer dramatischen Piano-Melodie, die in einem hymnenartigen Refrain mündet und klassische Ashcroft-Zeilen wie „How Many Lives Must I Waste, How Many Tears Must I Taste“ enthält. „Noise Epic“ gibt alleine schon im Titel die Route für den längsten und unvorhersehbarsten Song des Albums vor. Der Bass von Simon Jones übernimmt hier die Hauptrolle und präsentiert den Northern Soul, so wie The Verve ihn verstehen, in seiner bislang epischsten Form. In „Valium Skies“ bricht sich die Sonne ihren Weg durch dunkle Wolken und ebnet dem romantischsten Song des neuen Albums seinen Weg. „Columbo“ beginnt mit improvisierter Interaktion zwischen Bass und fast schon jazzartigen Drum-Beats im Can-Stil, ändert aber mittendrin sein Tempo und seine Struktur. „Appalachian Spring“ beendet das neue Album mit einer äußerst optimistischen Note und unterstreicht den Verdacht, dass die Hoffnung das allübergreifende Thema von „Forth“ ist. Wer es bis hierhin noch nicht festgestellt hat, wird spätestens bei diesem Song spüren, dass man es bei den wiedervereinten The Verve mit einer Band zu tun hat, der es im Jahr 2008 besser geht, als die meisten ihrer Fans zu hoffen gewagt hatten.

Folgerichtig, denn die vier Band-Charaktere haben ihre individuellen Befindlichkeiten, die der Langlebigkeit von The Verve in den Neunzigerjahren eher weniger zuträglich waren, längst via diverser Solo-Aktivitäten neutralisiert. Die Experimente mit psychedelischen Drogen gehören ganz offensichtlich der Vergangenheit an, aber die vier rastlosen Seelen kreieren im Kollektiv immer noch vor allem Musik, die ihre eigenen Gemüter und die ihrer Zuhörer mit einer gewissen Transzendenz aus dem Alltäglichen entführt. Ihre berühmt-turbulente Chemie ist nach wie vor intakt, wie die Qualität der neuen Songs beweist. Wohin sie ihr Folgen des Lustdiktats tragen wird, kann nicht mal die Band selbst sagen. Aber für den Moment zählt vor allem die Tatsache, dass es zurzeit kein aufregenderes Audioerzeugnis als das neue Verve-Album „Forth“ gibt.

Amazon.de



If ever a band seemed poised for a triumphant comeback it's the Verve, the space rock band that imploded just after the success of their third album, 1997's Urban Hymns. The Verve always acted as if their greatness was self-evident and preordained, that it was only a matter of time for the rest of the world to come around and acknowledge their majesty, so when they finally began to conquer the globe with Bitter Sweet Symphony it felt like a logical conclusion to their rise, which only meant their sudden implosion felt anti-climatic, as if the movie ended before the final reel unspooled. Unlike some bands, it seemed necessary for the Verve to re-form so they could complete their story, to prove that their success was no fluke - but it was equally true that for lead singer Richard Ashcroft, a reunion was also necessary as his solo career drifted aimlessly on murmured cryptic confessionals supported by listless acoustic guitars. He needed a jolt of energy from a real rock band, especially one powered by guitarist Nick McCabe, who wasn't really doing much of anything anyway, so it seemed natural for the group to set aside their differences -- differences that led to a split way back in the '90s, after the release of 1995's A Northern Soul - to reunite for 2008's Forth, a record that's just slightly sprightlier than the album's punning title.

Picking up precisely where Urban Hymns left off, Forth is stately and sweeping, an album where the rockers are as slow and deliberate as the ballads. Apart from the cacophonic wailing hook and glitzy club beat of the lead single "Love Is Noise," there is no dissonance or shock here, only familiarity, and this in turn leads to a surprise, as by delivering exactly what was expected Forth reveals that the Verve's story was pretty much complete already, with each of their records functioning as a fully realized act in their progression. Compared to the dramatic introduction of A Storm in Heaven, the escalation of A Northern Soul, and wistful conclusion of Urban Hymns, Forth is an extraneous epilogue, finding our characters ten years older but not all that wiser. Certainly, the only notable difference is that the songwriting isn't as sharp as it was on Urban Hymns, something that isn't a great surprise after Ashcroft's leaden solo albums, but at least here there's not an emphasis on hushed introspection, but rather the band in all its slow, roiling glory. This reliance on sighing waves of guitars - pulsating relentlessly like a sepia-toned lava lamp - might recall the heyday of A Northern Soul in its intent, but in practice this is like the trippier moments of Hymns, as the guitars don't rage, they glide, the rhythms don't push, they relax. This music is spacious yet earthbound, pretty but not wondrous, grounded by an Ashcroft who has lost his madness and a band who is finding their groove again, not moving forward. Forth adds nothing to the narrative - it doesn't expand on the past or suggest the future - yet it doesn't detract from the established story either. It's pleasant, even comforting, which makes Forth as pure a sequel as possible: it's an album that offers more of the same many years too late, which will be enough for the legions of faithful who have waited to hear all the old characters back together again, yet seems a little pointless for those who no longer remain quite so invested in the band.

Stephen Thomas Erlewine - All Music Guide



The songs skirt standard verse-chorus form; the best of them are just chord patterns that swirl and mutate with slow assurance.

David Fricke - Rolling Stone



Ashcroft and his bandmates continue the mission they abandoned on 1997’s Urban Hymns, wedding classic-rock swagger to dream-pop swoon in ten instantly recognizable tracks…. Are the Verve back? Maybe. Definitely.

Spin Magazine



Forth is further highlighted by the dreamy "Judas," arguably one of the most beautiful songs the band has yet penned, and the anthemic ballad "Valium Skies," a sure-fire future concert staple which is reminiscent of the hit "Lucky Man" from 1997's Urban Hymns. "I See Houses" muses on Ashcroft's everyday surroundings while pivoting between the eerie vibes of 1995's A Northern Soul and the elegant emoting of Urban Hymns.

Billboard



Forth is that rare comeback record—unafraid to show its age, and better for it.

Blender



Their new single is another anthem.

The Guardian



Two of the best psychedelic rock shows I've ever seen were by this British band, in London and New York, in the summer of 1993, and most of the Verve's fourth record — their first after a decade apart — is a return to that whirlpool-guitar, shaman-song form. "Sit and Wonder" is what they meant by their 1993 album title A Storm in Heaven: the trancelike gallop of bassist Simon Jones and drummer Peter Salisbury; guitarist Nick McCabe's creamy distortion and ascending rings of tremolo and feedback; singer Richard Ashcroft's drawling incantation, like Liam Gallagher in Lizard King leather. The songs skirt standard verse-chorus form; the best of them are just chord patterns that swirl and mutate with slow assurance. In "Judas," McCabe fires bird-cry bursts of twang and threads long, humming lines through Ashcroft's R&B whoops. "Love Is Noise" is smart acid-dance candy notched with a laughing-choir vocal hook. But "Appalachian Springs" gives the best afterglow. Built on the ballad-prayer model of "The Drugs Don't Work" (on 1997's Urban Hymns) and coated in McCabe's melting guitars and Ashcroft's higher-than-you bleating, it is Forth's final track — and most complete trip.

DAVID FRICKE - Sep 4, 2008
RollingStone.com
 

 L y r i c s

Sit And Wonder

I sit and wonder, I often wonder
I sit and wonder about the things she does
I sit and wonder, I often wonder,
Ive been waiting for this moment to come

And shes the teacher and im the pupil but i aint learning anything at all,
Now im falling into the black hole and i can barely feel the sun

Yeah i sit and wonder, I fall to pieces
Ive been waiting for her to come
A bed of roses, her cheeks like peaches,
Yeah i aint going to wait no more,

Give me some light, give the light, yeah give me some light, give me some light

Well writes a passage, we are mistaken yeah some are going to break into stone, the door is open and i am reaching, yeah it looks like a prodical son

Yeah give me some light, give the light, yeah give me some light, give me some light.

God give me the light, give me the light, yeah give me some light, give me some light

Ive been there doing it to my mind lord

Something is going on inside my head lord,
Something is going on inside my head lord


Love Is Noise

Will those feet in modern times
Walk on soles that are made in China?
Feel the bright prosaic malls
Through the corridors that go on and on and on

I was blind - didn't see
What was here in me
I was lost - insecure
Felt like the road was way too long, yeah
Cause love is noise and love is pain
Love is these blues that we're feeling again
Love is noise and love is pain
Love is these blues that I'm singing again, again, again

Will those feet in modern times
Understand this righteous anger
Recognise this world's addiction
Understand this world's affliction?

I was blind - didn't see
What was here in me
I was lost - insecure
I felt like the road was way too long, yeah
Cause love is noise and love is pain
Love is these blues that I'm feeling again
Love is noise and love is pain
Love is these blues that I'm feeling again
Love is noise, love is pain
Love is these blues that I'm singing again
Love is noise, love is pain
Love is these blues that I'm singing again, again, again, again, again, again

Cause love is noise, love is pain
Love is these blues that I'm feeling again
Love is noise, love is pain
Love is these blues that I'm feeling again
Love is noise, love is pain
Love is these blues that I'm feeling again
Love is noise, love is pain
Love is these blues that I'm feeling again
Come on, come on, ah come on, ah come on
Now come on, now come on, now come on
Now come on

Will those feet in modern times
Walk on soles made in China?
Will those feet in modern times
See the bright prosaic malls?
Will those feet in modern times
Forgive me all my sins
Love is noise
Come on


Rather Be

Yeah there`s no evil introductions
No doubt, corridors and failure
you`ll find your fortune
you`ll mind find some pain
i wanna lie lie together
feels like our last embrace
in a world full of confusion
yeah the human race

But i`d rather be here than be anywhere
is there anywhere better than here
you know these feelings i`ve found they are oh so rare
Is there anywhere better than here

sometimes life seems to tear us apart
i don`t wanna let you go
sometimes these feelings hidden
i start to cry
cause i won`t ever let you go

Mmmmmmmmm.... Multiplying

Oh We have just really heard this about
Always on the evil destruction
Making all them scream out loud
and as i watch......(burned souls?)
my life in which.......(i spawned?)
one moment while im still crying
Oh another day is coming

Cause i`d rather be than be anywhere
is there anywhere better than here
You know these feelings i`ve found they are also red
Is there anywhere better than here

Sometimes life seems to tear us apart
I don't wanna let you go
sometimes these feelings hidden
i start to cry
Cause i won`t ever let you go

But i'd rather be here than be anywhere
is there anywhere better than here
you know these feelings i`ve found they are also red
is there anywhere better than here.
(repeat)

Sometimes these feelings............(?)


Judas

Feelings
Only feelings
Just let 'em, let 'em go

Feelings
Only feelings
Just worthless, so I let 'em go

New York, I was Judas
She said 'A latte, double shot for Judas'
Cry for the things that happen, people need to know
And for a dream to happen
You gotta let it go, gotta let it go
Gotta let it go, gotta let it go aha
Gotta let it go

You let it go
You let it go

But there must be
Some answer
I keep seeking, cause I gotta know
We are numbered, and we are labeled
Do we ever, break our home

I knew it, before you said it
There's no need for, need to wait
Need to wait

You let it go
I'm running
In the sky
Slipping round
Hold me up high
I I I, high high high
High, high, high

Woohoo
Still holding on, you know the dreams have just begun
The dream's just begun
The dream's just begun
I know you're still holding on
Because the dream has just begun


Numbness

Not found yet.


I See Houses

I see houses
Rows and rows
Of red bricks
I see black cars
Some
Blood-stained exit
You got
A feeling that you
You've been
In here before
How many lives
Will you waste
How many tears
Must you taste

Before your freedom
Ah-ah-ah
Before your freedom
Ah-ah-ah

I see mountains
Blood-red sunsets
I see
A billion stars
Love deafened
And betrayed
You got
A feeling that you
You've been
In here before
How many lives
Will you waste
How many tears
Must you taste

Before your freedom
Ah-ah-ah
Before your freedom
Ah-ah-ah

Don't be late

You got
A feeling that you
You've been
In here before
How many lives
Will you waste
How many tears
Must you taste

Before your freedom
Ah-ah

You got a feeling
That you
You've been
Here before
How many lives
Will you waste
How many blood
Must you taste

Before your freedom
Oh

It's just
This murder
Trouble and strife
Turning me
Into another guy
It's just murder
Trouble and strife
Turning me
Into another guy

Oh

Don't be late
Don't be late
Don't be late
When I call you up

Oooh-oooh-ooh-ooh
Oooh-oooh-ooh-ooh
Oooh-oooh-ooh-ooh
Oooh-oooh-ooh-ooh

Ooh
Oh-my, my, my, my
My, my, my, aaah


Noise Epic

Not found yet.


Valium Skies

Can you keep yourself on for good
Seems like the whole world is losing
How do you stop yourself up
Even if seems like the whole world is crying

Aaaah Oooooh
Aaaah Oooooh
She got all I need
The air I breath
When it comes to my valium skies
She don't mind if I cry

How do you stop your love from crying
Even if you knew she was lying
How do you stop this world from loathing
Still no knocking with all these cards I'm holding

Aaaah Oooooh
Aaaah Oooooh
She got all I need
The air I breath
When it comes to my valium skies
She don't mind if I cry

She don't mind if I cry
She don't mind if I cry

Aaaah Oooooh
Aaaah Oooooh
She got all I need
The air I breath
When it comes to my valium skies
She don't mind if I cry

When it comes to my valium skies
She don't mind if I cry   


Columbo

Baby why you wasting time crying,
like its the only thing to do
baby don't you worry you're still crying
your instincts is all you've got in you


baby don't you worry your still crying
I can see the sadness in your eyes
baby why you wasting time crying
gotta find out the reasons why

baby don't believe it when they see it
love is just a feeling that you give
you're the universe again that i need
tell me all your secrets that I'll forgive.

ohhh yeah yeah
ohhh yeah yeah, yeah yeah

Just watch the lights go down over this town.
What makes me down while I swim around
Watch the city boys weep full of cluster
Take it easy but you just keep digging yourself, you're stuck.


Appalachian Springs

Does anybody know where we really gonna go
I was wondering if we've got that real soul
You know the thing you cannot trade, or ever own

Does anybody know where we really gonna go
I was wondering if we've got that real soul
You know the thing we cannot trade or ever own

'cause solitude, the sacred mood,
Appalachian springs, all my things
Took a step to the left
Took a step to the right
I saw myself..
..and it wasn't quite right ..are you?

Does anybody know where we really gonna go
I was looking for answers in the sun
Here are feelings that a man can't control
I let the fire burn bright in the dead of night
I supposed she'd get I told a lie
I said that I would never be on this side

Took a step to the left
Took a step to the right
And I saw myself and it wasn't quite right

I took a step to the left
I took a step to the right
And I keep it together

And I was waiting for my number come
Like a bingo calling singing in the sun
He said a number sixty-nine, I said ok

'cause solitude, my sacred mood,
Appalachian springs, all my things

Took a step to the left
Took a step to the right
And I keep it together
You know I'm not right

Took a step to the left
I Took a step to the right
I'm gonna keep it together

Does anybody know where we really gonna go
I was wondering if we've gotta have real soul
You know the thing we cannot trade, or ever own, or ever own, or ever own...

Lord, I'm coming home,
Feel so young,
I don't know where I've gone

I took a step to the left
I took a step to the right
And I saw myself
And it wasn't quite right
yeah, slip to the dreams
Slippin out, slippin in and out of the dream
 

 M P 3   S a m p l e s


Currently no Samples available!