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Yes: Magnification

 A l b u m   D e t a i l s


Label: Eagle Records
Released: 2001.09.11
Time:
 60:33
Category: Pop/Rock
Producer(s): See Artists ...
Rating: *******... (7/10)
Media type: CD
Web address: yesworld.com
Appears with: Jon Anderson, Steve Howe, Rick Wakeman, Chris Squire
Purchase date: 2001.12.04
Price in €: 15,99



 S o n g s ,   T r a c k s


[1] Magnification (Anderson/Howe/Squire/White) - 7:15
[2] Spirit Of Survival (Anderson/Howe/Squire/White) - 6:01
[3] Don't Go (Anderson/Howe/Squire/White) - 4:26
[4] Give Love Each Day (Anderson/Howe/Squire/White) - 7:43
[5] Can You Imagine (Anderson/Howe/Squire/White) - 2:58
[6] We Agree (Anderson/Howe/Squire/White) - 6:30
[7] Soft as a Dove (Anderson/Howe/Squire/White) - 2:17
[8] Dreamtime (Anderson/Howe/Squire/White) - 10:45
[9] In The Presence of (Anderson/Howe/Squire/White) - 10:24
     I. Deeper
     II. Death Of Ego
     III. True Beginner
     IV. Turn Around And Remember
[10] Time is Time (Anderson/Howe/Squire/White) - 2:08

 A r t i s t s ,   P e r s o n n e l


JON ANDERSON - Lead Vocals, MIDI guitar, Acoustic Guitar, Producer
STEVE HOWE - Acoustic & Electric Guitars, Steel, Mandolin, Backing Vocals, Producer
CHRIS SQUIRE - Bass Guitars, Backing Vocals, Producer
ALAN WHITE - Drums, Percussion, Backing Vocals, Piano, Producer

SAN DIEGO SYMPHONY ORCHESTRA - Symphonic Ochestra
LARRY GROUPÉ - Orchestrations, Conductor, Orchestral Music Composer
BRUCE DONNELLY - Orchestrations
FRANK MACCHIA - Orchestrations

TIM WEIDNER - Producer, Engineer, Mixing
JORDAN BERLIANT - Executive Producer
NICK SEVILLA - Additional Enigeering
JOHN ELDER - Additional Enigeering
STEVE MCMILLAN - Mixing
KRIS SOLEM - Mastering
LARRY CZOKA - Copyist
CHARLIE BOUIST - Orchestral recording
BOB CESCA - Artwork, Design, CG Models
ROGER DEAN - Original YES logo design

 C o m m e n t s ,   N o t e s


2001 CD Beyond 578205

Recorded at Sound Design Studio, Santa Barbara, California, CA.



Many call Yes' brand of progressive rock "symphonic rock." The term means that the group produces arrangements in the vein of a symphony using typical rock instrumentation. With Magnification, Yes has taken that a step further, adding a symphony orchestra. The orchestra is not simply thrown over the top, though; the songs were written for this particular grouping. Yes has flirted with this type of thing before. Released in 1969, the Time and a Word album featured a string section, but the complete integration is what makes Magnification a superior work. The material on the CD is pretty standard modern Yes fare, but the addition of that symphony really does create a whole new texture. It also seems as if it inspired the band, and some members put in performances that are head and shoulders above their recent work. The album does have its weak moments and gets just a little over the top at times, but there are a lot more moments that shine than dull ones.

Gary Hill, All-Music Guide, © 1992 - 2001 AEC One Stop Group, Inc.



Who'd have thought it? Magnification is the strongest, freshest set of new Yes material in living memory and fundamentally different to anything the veteran prog-rock unit has ever recorded before. Having thoroughly exhausted the world's supply of classically inclined rock keyboard players (Tony Kaye, Rick Wakeman, Patrick Moraz, Geoff Downes and Igor Khorosev) the four remaining--and possibly exasperated - members of Yes have taken the fantastically brave decision to dispense with that perennially bothersome ivory-tickling slot altogether. And so Messrs Anderson, White, Squire and Howe have enlisted the temporary services of Emmy-award-winning television and movie score composer Larry Groupe, whose cinematic orchestrations - dancing flutes, Bond theme brass, tsunami-like strings--lend a whole new and thoroughly modern aura to the band's sonic palette. Anyone expecting smugly complacent, stagnant, stuck-in-the-1970s prog-rock (and the keyboards were always the giveaway) will be thoroughly disappointed by the emotionally engaging ambition, revised logic and sensibly-channelled instrumental prowess of the material on offer. "We Agree", "Dreamtime" and - particularly - the impressively widescreen and superbly melodicised "Give Love Each Day" are all stand-out tracks on an album which--as the title suggests - really does hold up well to close scrutiny.

Kevin Maidment - Amazon.co.uk



Wer hätte das gedacht? Magnification ist das stärkste und lebendigste neue Material von Yes seit ewigen Zeiten, und es ist fundamental verschieden von allem anderen, was diese Veteranen der Progressive-Rock-Szene jemals aufgenommen haben. Sie haben den weltweiten Vorrat an Rock-Keyboard-Spielern mit klassischen Neigungen aufgebraucht (Tony Kaye, Rick Wakeman, Patrick Moraz, Geoff Downes und Igor Khorosev) und die vier verbleibenden -- wahrscheinlich total verzweifelten -- Mitglieder von Yes haben die unglaublich tapfere Entscheidung getroffen, sich von den ständig so lästigen Tastenquälern ein für allemal zu trennen.

Und so haben die Herren Anderson, White, Squire und Howe die zeitlich befristeten Dienste des Fernseh- und Filmmusikkomponisten Larry Groupe, Gewinner eines Emmy-Awards, in Anspruch genommen, dessen filmreife Orchestrierungen -- Flöten mit tänzerischen Klängen, Bläser im Stil von Bond-Themen, Tsunami-ähnliche Streicherklänge -- der Klangpalette der Band eine völlig neue und absolut moderne Aura verleihen.

Wer einen selbstgefälligen, herablassenden, in den 70er-Jahren steckengebliebenen Prog-Rock erwartet(und die Keyboards waren immer ein Hinweis in diese Richtung) wird restlos überrascht von dem emotional mitreißenden Anspruch sein, aber ebenso auch von der revidierten Logik und der mit Einfühlungsvermögen gekoppelten Waghalsigkeit des hier gebotenen Materials. "We Agree", "Dreamtime" und ganz besonders ihr eindrucksvolles, breit angelegtes und wunderschön melodisch präsentiertes "Give Love Each Day" sind alle hervorragende Tracks auf einem Album, das -- wie der Titel (Magnification = Vergrößerung) andeutet -- tatsächlich einer näheren Betrachtung standhält . Gut gemacht!

Kevin Maidment - Amazon.de



If you're a Yes fan, one question about this album is probably foremost in your mind: Is it progressive? I'm happy to report that Magnification is most definitely a progressive work. However, it may not be progressive in the way Yes listeners expect. We're not talking about Close To The Edge here or even Fragile; we're talking about an entirely new direction for the band, one not only intriguing, but also entirely successful.

For sure, all the Yes trademarks are here. The tracks overflow with terrific vocal harmonies, wondrous guitar melodies, and soaring bass lines. But what is missing are keyboards. Except for a piano here and there (played by drummer Alan White, of all people), no keyboards appear on this album. Instead, a full orchestra plays all keyboard parts. Do you see what I mean by intriguing?

Magnification offers very little of the poppy sound that Yes has been dabbling with lately. Sure, plenty of pleasant melodies adorn the songs and a moment here and there borders on sentimentality (the closing track "Time Is Time" comes to mind). Echoes of the very commercial Trevor Rabin Yes even pop up here and there. Nothing on this album, however, has a remote chance of radio air play, which is great news (in a perverse sort of way) for progressive fans. This is Yes like we've never heard them before, yet somehow still familiar.

The original hype proclaimed that the album is a 60-minute composition divided into ten subtracks. The truth, however, is that, while each of the ten songs here segue one into the other, they are still distinct songs, with no musical ties between them (except the orchestra). So, if you were expecting a 60-minute opus, you're going to be disappointed. When you get over that, however, you won't be disappointed in the songs here. While the compositions on this album are not as complex as 70s-style Yes, they are magnificent, some of the best stuff Yes has turned out in a long time. Count me among the impressed.

Reviewed by: Clayton Walnum, October 2001
© Copyright 2001 © Copyright 1999, 2001 Progressive World



11th September 2001. This date was marked as the official launch for the 32nd Yes album Magnification. Instead this date will reach the history books as one of the saddest days in American history due to the horror that took place at the World Trade Centre in New York and the Pentagon in Washington DC. YES suddenly became NO as in "NO more," "never again." Gladly, the magic of music can take our minds off these tragedies and guide us through an imaginary world of love and peace as only Jon Anderson can sing about, as only Roger Dean can design.

More than thirty years before, on March 21st 1970 to be precise, Yes delivered one of the highlights of its career by combining their symphonic rock with a real classical orchestra. The Queen Elizabeth Hall therefore remains unique and has given the band the idea to once again combine their creative skills with the talent of a huge orchestra. This time around though the orchestra’s conductor has been involved in the writing, arranging, and producing of the actual album. None other than Emmy award-winning composer/conductor Larry Groupé raises his baton to steer the original Yes music through cascades of violins, violas and cellos. But can Yes' music really work without a keyboard player? Has Groupé been able to replace the important, vacant spot of the keyboard player by means of lush arrangements? Has the fact that Alan White leaves his drum kit to play some piano been part of the solution to solve the difficulties regarding the situation of the keyboard player? Accompany us into exploring this brand new outing by one of the most important bands in prog history.

First of all let’s go back to 9th November 1966, to London’s Indica Gallery to be precise. It’s there and then that John Lennon meets Yoko Ono for the first time during one of her exhibitions. Called "one woman show or unfinished paintings and objects," one of the installations is a white ladder leading towards a magnifying-glass which dangles from the ceiling (see pic). In order to live the experience, visitors have to climb the ladder, get hold of the magnifying glass, and then read the small word that has been written on the ceiling. When you reach the top of the ladder the word suddenly reads YES! That simple yet direct statement is exactly what Magnification is all about, going back to the acoustic simplicity of the composition, yet embraced by the power of the orchestra. Jon’s explanation sees Magnification as magnifying the good in people instead of the media magnifying everything that’s bad and evil (which, in case of the recent US tragedies, surely is no "magnification"!).

[This story can now be heard, told by John Lennon, as part of the interview that is on the remastered edition of Milk And Honey; his final interview recorded five hours before his death on December 8th, 1980 - JB]

It’s a miracle hearing how Jon Anderson’s voice sounds still as fresh and innocent, as if it were his very first recording. Whilst the new material on both Keys To Ascension sets showed great promise, the collaboration with the late Bruce Fairbairn on The Ladder certainly proved that Yes still had some good compositions inside of them. Whilst tracks like "Close To The Edge" and even "Ritual" became firm favourites during the new tours, it became obvious that Yes wanted to go back to its roots, delivering interesting, surprising music with a slight complex touch. Upon listening to Magnification one has to say it is one of the better Yes albums, yet for my liking I would have loved to hear the orchestra more prominently in the mix. The title track already holds all of the favourite ingredients, what with Jon’s unique voice blending with Steve’s stunning guitar sound and Squire’s murdering bass. Only Alan White chooses a more commercial beat. Steve is as his very best during the swinging "Spirit Of Survival," which has the orchestra add extra power in those segments which really benefit from its inclusion. One of the focal points in "Don’t Go" is certainly the vocal harmonies, resulting in the kind of music which could easily have been recorded during the band’s peak in the seventies. About halfway through the song Jon switches his singing by means of studio magic, which has us think of the Trevor Horn period (he is even thanked in the credits!). We have to wait until "Give Love Each Day" before we really hear the orchestra shine in a solo spot. Because of the trumpet, it comes across as a film soundtrack mixed with After Crying. Once Jon integrates his singing into this song, it switches to some of the best Yes we have heard in years. In fact the spirit of the song takes you back to the Time And A Word period. The French horns of the orchestra really deliver the exclamation mark to an outstanding track.

Throughout this recording I get the feeling that the four remaining Yes men really enjoy the new direction they are taking, hence the fact they all lend their voices in order to deliver an even more diverse sounding album. "Can You Imagine" heavily features Chris Squire, yet it is in no way the kind of material that was delivered for the Squire/Sherwood project. Steve’s acoustic guitar in "We Agree" still has that same magic as during the Fragile days, delivering its distinctive sound as the ideal backing for Jon’s great voice. The violins really underline the majestic chorus, whilst the acoustic elements filter in and out of the song like the washing of the sea. With certain songs one could ask whether they are indeed Yes songs or Anderson solo compositions? "Soft As A Dove" is the best example of this, a joyful acoustic song adorned with harp and flute that would have fit perfectly on Song Of Seven. It even has some Celtic elements woven into it, referring to the band’s origins. Based around tribal drumming, "Dreamtime" maybe is the best example of incorporating contemporary music with the classical formula. There’s an outstanding part here that incorporates Mellotron in a very modern way, as opposed to approaching it as the obvious vintage "prog" instrument. Chris’s bass blends well with the powerful horns of the orchestra, whilst Alan injects the necessary rhythmic fuel. At the end of the song the orchestra gets a solo spot, reminding me of Deep Purple’s Concerto For Group And Orchestra. We are still waiting for some strong melodies though, and with "In The Presence" we get none other than just that. "If we were flowers, we would worship the sun" sings Jon, merging his romantic soul with an outstanding chorus, which is repeated towards the end by the orchestra, interspersed by Steve’s guitar playing. The album closes with "Time Is Time," a song that could also have been sung by John Lennon, and with Alan White having been a member of the famous Plastic Ono Band, it perfectly closes the cycle Magnification has made.

With the new album, Yes has firmly re-established itself as one of the most important rock bands in the world. Nevertheless it doesn’t reach the quality of Close To The Edge, but then again it will never be the intention of the band to write a sequel to that epic anyway. Personally I think there are some very strong songs, but sadly a couple of weaker ones, too, and yes, I would’ve loved to hear the orchestra more prominent in the mix. I am however very pleased to hear Jon, Steve, Chris and Alan perform so well together, as it’s that "togetherness" that has always been the key to the band’s success. You can only produce the true Yes sound if you sit in the same room at the same time and compose from scratch, as opposed to the "jigsaw" technique that has been used so often over the years. Sadly, because Yes has always been THE band that featured loads of keyboards, there is no way the orchestral arrangement can compensate for the lack of keyboards. After all, which orchestra is able to reproduce the true identity of the Moog synthesizer or the holy sound of the Mellotron, even when the latter was, in fact, the world’s very first sampler based on classical instruments. The new album will certainly grow on you each time you listen to it, magnifying the name Yes into YES once again!

Reviewed by: John "Bo Bo" Bollenberg, September 2001
© Copyright 2001 © Copyright 1999, 2001 Progressive World



Erinnert ihr euch noch an die britischen Artrocker Yes, die Anfang bis Mitte der 70er Jahre letzten Jahrhunderts von der musikalischen Fachwelt als eine der innovativsten Bands aller Zeiten gefeiert wurden? An Alben wie "Tales From Topographic Oceans", "Relayer", oder an eines der besten Live-Dokumente der Rockgeschichte, "Yessongs" aus dem Jahre 1973?

Nein? Zu jung dazu? Glück gehabt!

Denn diese Unkenntnis ist die einzige Chance, sich dem mittlerweile 31. Album von Yes ohne Erwartungshaltung nähern zu können. Mir fällt es zugegebenermaßen schwer, das neue Werk dieser Band, die einst zu Größen wie Genesis und King Crimson zählte, unvoreingenommen anzuhören, denn die letzte innovative Veröffentlichung der Band liegt nun schon 18 Jahre zurück. 1983 erschien das Album "90125" mit dem legendären und noch vielen Leuten bekannten Song "Owner Of A Lonely Heart", dem wohl größten Single-Erfolg von Yes. Es folgten noch einige Live-Alben, die immer wieder unmissverständlich deutlich machten, dass sie zu den großen Stars der Rockmusik zählen, die Studioaufnahmen jedoch zeichneten sich immer mehr durch zunehmenden Mangel an Innovation und Kreativität aus.

Also höre ich mit gemischten Gefühlen ins neue Album rein: "Magnification", zu deutsch Vergrößerung - das klingt erst mal nach alten gewohnten Konzept, nach der gewissen spirituellen, mittlerweile bibelfesten Haltung des Sängers Jon Anderson. Ein Titel, der gut gewählt ist, denn die Thematik seiner Texte ist über all die Jahre so gleich geblieben, wie der Geschmack von Nutella. Es könnte aber auch eine Andeutung auf die Vergrößerung der Band sein, denn erstmals legen Yes nun ein Album vor, dass auf opulente Keyboardeinlagen wie man sie von Rick Wakeman her kennt gänzlich verzichtet und statt dessen ein komplettes Orchester einsetzt, das sich teils in Filmmusikmanier teils bescheiden im Hintergrund präsentiert. Es gab in den letzten Jahren immer wieder Gruppen wie Metallica oder Portishead, die sich mit orchestralem Sound schmückten. Doch keiner dieser Bands ist es meines Erachtens überzeugend gelungen, zwischen Band und Orchester ein wirklich homogenes Klangbild zu erzeugen.

Gleich im ersten Track wird deutlich, dass Yes diese Hürde mit Bravour genommen haben, sie verstehen einfach ihr Handwerk. Sie sind eben schon über 30 Jahre im Geschäft. Doch wie schon auf den letzten Alben vermisse ich auch bei "Magnification" den einst so großen musikalischen Geist, der die Band so beeindruckend und stark gemacht hat. Das gesamte Album plätschert im Mainstream des Artrock-Genres dahin, so als wäre es den Herren auf ihre alten Tage hin zu mühselig, die Katze noch einmal aus dem Sack zu lassen und flirrende Sounds und Rhythmen zu produzieren, oder den Stücken Zeit zu geben, sich über einen längeren Zeitraum als sechs Minuten zu entwickeln. Von künstlerischem Ehrgeiz also kaum eine Spur, lediglich der Song "In The Presence of" deutet an, dass da irgendwann mal mehr gewesen sein muss. Wer sich "The Gates Of Delirium" auf dem Album "Relayer" von 1974 einmal anhört, der wird verstehen, was ich seit Jahren bei dieser Band schmerzlich vermisse.

"Magnification" vergrößert allenfalls das Archiv ewig treuer Yes Fans.

Bert Lier - Laut.de
© 1998-2001 SEITENBAU online agentur. Alle Rechte vorbehalten.



Who'd have thought it? Magnification is the strongest, freshest set of new Yes material in a long time. Having thoroughly exhausted the world's supply of classically inclined rock keyboard players, the four remaining members of Yes have dispensed with that perennially bothersome ivory-tickling slot altogether. And so Messrs Jon Anderson, Alan White, Chris Squire, and Steve Howe have enlisted the temporary services of soundtrack composer Larry Groupe, whose cinematic orchestrations lend a thoroughly modern aura to the band's sonic palette. Anyone expecting smugly complacent, stagnant, stuck-in-the-1970s prog rock will be thoroughly disappointed by the emotionally engaging ambition, revised logic, and sensibly channeled material. "We Agree," "Dreamtime," and, particularly, the melodic "Give Love Each Day" are standout tracks on an album that--as the title suggests--really does hold up well to close scrutiny.

© 1999-2001 Copyright Musiciansnews.com All rights reserved



The latest album from Yes finds them throwing themselves headlong into an orchestrated project. This is not the easiest of undertakings and some bands have come unstuck with this approach in the past. 'Magnification' works incredibly well for a number of reasons. First of all, the material was written and arranged with the participation of an orchestra in mind. How many times have we heard orchestras used to simply pad out overblown arrangements? With this album, band and orchestra are totally integrated, a credit not least to Larry Groupe for his incredible arrangements.

The title track is an incredible song that builds to a crescendo at the end, rather like The Beatles 'Day In The Life', but the highlight for me is track 4 'Give Love Each Day' arguably one of the best Yes pieces for years.

There are two longer tracks which will satisfy Yes fan's thirst for the epic: 'Dreamtime' opens with Steve Howe's almost Spanish-sounding acouistic work and runs the full range from hardrock through to acoustic and with the band's tradmenark shifting time signatures and harmonies. 'In the Presence Of' is more like Classic Yes of the seventies.

This is the first Yes album to fully utilise an orchestra since 'Time And A Word' in 1970. You wonder why it has taken so long to repeat the exercise. The live gigs will be much-anticipated and I am sure will confirm the excellence of this album.

www.themusicindex.com



Yes und Orchester ? Na und, noch so ein Trittbrettfahrer, wird jetzt so mancher denken. Stimmt aber nur bedingt, schließlich sind Yes, neben Deep Purple, die einzigen, die so etwas, im Gegensatz zu den Metallicas, Scorpions und Grönemeyers, bereits vor 31 Jahren, genauer am 21.03.1970, bei Ihrem gefeierten Konzert in der Londoner Queen Elizabeth Hall, praktiziert haben und deswegen auch für mich als einzige Band, neben eben Deep Purple, auf diesem Sektor ernst zu nehmen sind.

Darüber hinaus wurde für das neue Album der bekannte Dirigent und Komponist Larry Groupé, übrigens ein bekennender Yes Fan, von Beginn an in den Prozess des Komponierens, Arrangierens und Produzierens involviert, anstatt erst im Nachhinein auf ein fertiges Werk ein Orchester draufzusetzen, was als absolute Innovation bezeichnet werden muss.

Das Ergebnis ist phänomenal und klingt wie aus einem Guss. Das Orchester übernimmt quasi den Part von Rick Wakeman an den Keyboards und hält sich bis auf wenige Ausnahmen merklich zurück, so dass man manchmal schon genau hinhören muss, um es als solches wahrzunehmen. Gerade aber im Zusammenspiel mit Ausnahmegitarrist Steve Howe kommt es zu einer magischen Harmonie, welche der exzentrische Wakeman möglicherweise nie zugelassen hätte.

Das Songmaterial lässt Erinnerungen an die klassischen Zeiten der "Yessongs" aufkommen und das Herz eines jeden Fans höher schlagen, der in den letzten Jahren mit nicht wirklich guten Alben vorlieb nehmen musste. Überragend z.B. "Spirit of Survival" oder "Dreamtime", bei denen sich das Orchester auch einmal so richtig Freispielen kann, aber auch ruhigeres, folkloristisches wie auf "Soft as a Dove", nur mit Akustikgitarre und keltischer Flöte eingespielt.

Jon Anderson singt wie immer wie ein junger Gott, muss live jedoch beweisen, dass er die Studioklasse auch halten kann, alle anderen Musiker sind eh über alle Zweifel erhaben.

"Magnification" spannt einen Bogen quer über alle Schaffensperioden einer der kreativsten Bands der progressiven Rockgeschichte und findet seinen Höhepunkt in der laufenden Welttournee, die im November auch deutsche Hallen und Ohren erklingen lassen wird. Sollte man nicht verpassen.

Ralf Frank - Bloom.de



Es hätte sooo schön sein können. Die Art-Rock-Echsen Yes nach 21 Jahren wieder gemeinsam mit einem Orchester. Nicht, dass in den vergangenen Jahren keiner versucht hätte, Rockmusik und Orchester zusammenzubringen. Aber Yes bringen, zumindest theoretisch, die Voraussetzungen mit, um daraus eine interessante CD werden zu lassen. Direkt beim Opener "Magnification" kommt die totale Ernüchterung: Warum spielt man mit einem Orchester, wenn die Streicher klingen, als wären sie aus Plastik und obendrein das Schlagzeug abgemischt ist, als würde einer auf eine mit Pergament bespannte Ariel-Trommel hauen? Das Orchester wird zwar im Laufe der CD besser in Szene gesetzt, setzt dann aber auch nur klangliche Highlights, weil das Songmaterial komplett hinter den Erwartungen zurück bleibt. In der Besetzung Jon Anderson, Steve Howe, Chris Squire und Alan White sind Yes 2001 mit ihrem neuen Album dermaßen flügellahm, dass es beim Hören richtig weh tut. Versteht mich nicht falsch, das Hören ist keineswegs schrecklich und das Album läuft gut durch, es bleibt aber völlig spannungsarm und Highlights-frei. Es ist mir ein komplettes Rätsel, wie es eine altgediente Band gemeinsam mit einem Orchester schafft, so im Mittelmaß zu bleiben. Während andere alte Hasen wie Pendragon oder IQ auch mit der neuen Prog-Garde zu kämpfen haben, liefern diese wenigstens noch überzeugende Songs ab. Das kann man von Yes im Moment nicht sagen.

(dmm) - hinternet.de
 

 L y r i c s


MAGNIFICATION

Days that we speak
I believe that you are right
Shouldn't chase the demons and the phantoms of the night

Some treat as lovers
Some treat as slaves
This fusion of insight is all that we imagine

Speak to me clearly
You're the magnet to my soul
I get so distracted trying to reason with it all
Like the faithful
I'm clinging to the edge of every world
Spinning in creation
So afraid to let my feelings really show

Teach me to teach me
How the key unlocks the door
As we open we surrender, holding hands with many more
There's a feeling that's coming
There's a feeling so real
To justify, to magnify, to realize that
Everything is love

Now, after all the love you have
You can always get it back
Knowing how you really see
Knowing it will come to you
Knowing it can really be

Magnificate, magnification
Magnificate, magnification
First you're smaller being alive
Growing taller learn to survive
Magnificate, magnification
Magnificate, magnification
First you're smaller being alive
Listen to your heart
Growing taller learn to survive

Perception of living
I realize I'm not alone
The rings that divide
Break again on solid stone
I will show you a necklace
Where the pearls would all be lost
Without the thread between together
This would be the golden thread of trust

Speak to me, teach me
Magnify the truth you are
Waiting for the rebeginning birth of every star

A symbol is planted
On the brow of every child
To justify, to magnify
To realize that everything is love

Now giving all the love you have
You will always get it back
Giving all the love you have
You can always get it back
Giving all the love you have
Giving all the love

Magnificate, magnification
Magnificate, magnification
First you're smaller being alive
Growing taller learn to survive


SPIRIT OF SURVIVAL

In this world the gods have lost their way

Can't keep this picture from out of my mind
This fear hand in hand crossing innocence, time
Surrounding creation they caught in a trap
The youngest offenders will witness confusion

They drive him so fast not a care in the end
Escaping collision every twist every bend
When you're young invincible nothing to lose
Keep seeing this picture standing in a circle
The gods have forgotten to switch on the light
Who's lost in the dark will crash in the night

These lessons we're living the lies of the day
Expect them to honor and never disobey
Yet greed is controlling the elders display
No wonder the younger look at them in shame

The spirit of survival
Who's teaching the hatred
The spirit of survival
Or the class of your school
The spirit of survival
The color of your money
We're standing in a circle
We don't understand at all

They don't understand at all
In this world I truly do believe there is a safer place
In this world I truly do believe there is a safer place

The younger the older the wiser become
Recover misfortune this true life as one
Our genius is shining the past has all gone
What's left is the clearest perception of one
The spirit of survival
To magnify the power
The spirit of survival
To magnify the soul
The spirit of survival
To magnify the love
We're standing in a circle
We don't understand at all
We don't understand at all
In this world


DON'T GO

Don't be so cruel hurting yourself
Don't be so greedy making it bad
Don't be so dark echoing out
Don't spend the day waiting for me

After all you didn't have to do it
You broke your own heart; it hurt you so bad
Why don't you take your defense down a little
Or you won't understand at all

Don't go, don't go let it
Don't go, don't go let it
Don't take love for granted

We were supposed to be together forever
Don't take love
We were supposed to be together forever, yeah yeah
Don't take love

Don't be so sad scream at the moon
Don't let your words come out too soon
You beat yourself up
So don't spend a day, hey, waiting for me
I can see you had to be your own father
I know he walked out on you
Hey, but that's in the past
You see you don't have a leg to stand on
You're just fooling yourself again

Don't go take it out
Don't go let it
Don't go take it out
Don't go let it
Don't take love
We were supposed to be friends forever, yeah yeah
Don't go take it out
Don't go let it in
We were supposed to be friends forever, yeah yeah
Don't go take it out
We were supposed to be friends forever?

So he booked himself a trip, extended holiday
None of this always working late
The porter took him to his room; he headed for the bar
To get another drink
She got a phone call saying her lover had ran away
Just another phone call, another bad day
She packed her keys got out of town
Stole her best friend's car
Promised he would bring it back
That's what friends are for

Hey do me a favor call me sometime
Do a good deed
Don't waste a minute waiting for me
Don't take love, take take take it in
For granted, take take take it out
Don't go, don't go let it in
We were supposed to be together forever, forever.
Don't take love, take take take it in
For granted, take take take it out
Don't take love, take take take it in
For granted, take take take it out
We were supposed to be together forever, yeah yeah
Don't take love for granted
Don't take love for granted
We were supposed to be together forever, yeah yeah
Don't go take it out
Don't go let it in


GIVE LOVE EACH DAY

Standing here on sacred ground
Some days it's a mad world let it be
Words of promise fill the air, empty voices
How long have we waited?

And every time I hold your hand
You bring to me this promised land
I live for you this promised land

Take me there and back again
Some days it's a sad world let it be
What's the point of looking for this power divine?
It's already in my changes
And every time I hear your voice
I realize I have a choice
To live again
I deserve this choice
To live again

Our heaven will be now
You are the song from the book of time
To realize what is yours is mine
We are meant to be
All because our love has always been
You are the center of my day
You are my guide in every way
We were meant to be
All because our love has always been there
Giving me the light, yes it's been there giving me the light
Second nature sings to me
Some days it's a dark world let it be
I define my right to be
I can't follow those who've lost their vision
And every time I hold your hand
You redesign my promised land
I live for you, this promised land
I live for you

You are the song from the book of time
To realize what is yours is mine
We are meant to be
All because our love has always been
You are the center of my day
You are my guide in every way
We were meant to be
All because our love has always been there
Giving me the light, giving me the light
Yes it's been there giving me the light

You are the song from the book of time
To realize what is yours is mine
We are meant to be
All because our love has always been
You are the center of my day
You are my guide in every way
We were meant to be
All because our love has always been there
Giving me the light, yes it's been there giving me the light

Give love each day
Give love each day


CAN YOU IMAGINE

Can you imagine what it's like seeing life
From the other side
Do you imagine darkened light, starless night?
You might need a guide

And will the illusion confuse you, play with your thoughts
And alter your mind
Or become a delusion, exclude you
Change your existence
For another kind

See what you see for yourself, 'til your heart
Is open wide
Wish what you wish for yourself, and you find it there
And you believe it
And you believe it

Can you imagine what it's like, seeing life
From the other side
Do you imagine light darkened, starless night
You might need a guide

And will the illusion confuse you, play with your thoughts
And alter your mind
Or become a delusion, excuse you
Change your existence
For another kind

See what you see for yourself, till your heart
Is open wide
Wish what you wish for yourself, and you find it here
And you believe it
And you believe it


WE AGREE

Answers never clear again
This turning of the page
This turning look away

There I took a left turn
Before I came of age
I agreed to let it out
I agreed to let it go
I agreed to turn around
I agreed to turn my face away

Danger is the most important
Fear you'll ever know
The transporting of refugees
The silent night is cold

And all the time
We looked around
As we were never told

But we agreed to let it out
We agreed to let it go
We agreed to turn our backs
We agreed to turn our face away, away

Thousands to the million
Sisters, grandmothers and more
It's not the feast we throw away
It's the way we close the door

Their silence deafens every sound
We try just to ignore
To waste their future freedom
We'll regret forever more

I believe in
I believe in
These are the days that we will talk about
I believe in
I believe in
One understanding what is real

If we are one
Then we are refugees
We are the prisoners of our own design
If we are one
Seen through the eyes of a child
We will perpetuate this song of love
If we are one
Seen through the eyes of a child
We will perpetuate this song of love
If we are one
Seen through the eyes of a child
We will perpetuate this song
Perpetuate this song of love

Now we build the bridges
That we walk upon together
At the last count many lonely souls
The sadness always kills

Each breaking point is waiting
For the promise to fulfill

When we agree to turn the page
When we agree to help them free
When we agree to let it out
When we agree to let it shine
When we agree to let it run
When we agree to let it change our lives

I believe in, our lives
I believe in, our lives
These are the days we will talk about

When we are one
Seen through the eyes of child
We will perpetuate this song of love

When we are one
Seen through the eyes of child
We will perpetuate this song of love
Song of love

Yeah, yeah, perpetuate this song of love

Seeing through the eyes of child
Seeing through the eyes of child


SOFT AS A DOVE

Soft as a dove
Touching the hand that lays next to me
Innocent light
Leading us through a moment in time

Then you came home
I let you cry like a father should do
Innocent light
Leading us to a moment in time

Soft as a dove
Touching the hand that lays next to me
Innocent light
Leading us through this moment in time
Thoughts run away
You're overcome by a flood of believing

Just like a dove you're flying away
Everything beautiful coming your way
Everything beautiful coming your way


DREAMTIME

Dreamtime begins
Where every song is the perfect place
Words never spoken
Are the strongest resounding

Life force is meant for us
To remember the stars, the earth
Still we forget
So asleep in this dreamtime
Lost in this dreamtime day

Take me up into that freedom place and justify
Electrify the senses sharpen than the soul intensify
Nominate that we can break out take, take, take together
Hesitate and you will dance on this earth, to forever

You are the choice forever trying
Give you wings forever flying
You can fly, you can glide, you can dream
You can see through this interactive vision streaming

You've got the faith
So busy trying
So let it go
Fovever flying

To the sky, to the earth, to the moon, to the sea
To the sun, to the stars, to the dream you become

Nothing left to lose
Nothing more to prove
With wings of gold
You'll fly away

Talk among the prophets
Give you something
Talk among the teachers
Tell you something
Talk among your one true self now
Forever, forever, forever, forever

Dreamtime begins
Where every song is the perfect place
Words never spoken
Are the strongest resounding

Life force is meant for us
To remember the stars, the earth
Still we forget
So asleep in this dreamtime
Lost in this dreamtime day

Take me up into that freedom place and justify
On the silent wings of gold my soul intensify
Nominate that we can take, take, take, take, take, together
Demonstrate that we can break it out and take it forever

Here's what you know
Here's what you're asking
The soul is everlasting

You can fly, you can glide, you can dream, you can see
Through this interactive vision streaming

You've got the faith
So busy trying
So let it go
Fovever flying

To the sky, to the earth, to the moon, to the sea
To the sun, to the stars, to the dream you become

Nothing left to lose, nothing more to prove
When wings of gold will fly away

Talk among the prophets
Give you something
Talk among the teachers
Tell you something
Talk among your one true self now
Forever, forever, forever, forever


IN THE PRESENCE OF

Deeper than every ocean
Deeper than every river
That's what your presence brings to me

Revealing the words I listen
Seeing you in my silence
Learning I'm with you constantly
As I was before

If we were flowers
We would worship the sun
So why not now?
This high is shining brightly
Brighter than before

As the door was open wide
There inside was a diamond chair
Where I sat when I was young
I wrote down the words

Only when the young at heart
Can enter the real world
This chance I've waited for
For you to see

If I had chances I would spend them with you
To hold you close and let your love surround me
Deeper than before

(Deeper than every ocean)
And I know this love is real
(Deeper than every river)
Realize this is meant to be
That's what your eyes they say to me
You are listening to how I feel
So expectedly
(Brighter than every morning)
From the ocean to the sky
(Beautiful as the sunset)
Every river to the sea
Nature surrounds me constantly
We can hear love constantly
This is for you and me

Turn around and come deeper now
So what happens when I touch you there
You feel the words roll over you
Thinking of the better scenes
The memories
As everybody else just
Hasn't got the time
To help you anymore

'Cause if the reason for
The things that pleasure us
To please ourselves
Not pressure us
To give our ego
Some pleasure time

Can you imagine
Any reason
To know you're only fooling yourself
And then you'll understand why
You'll understand why

So if we choose to realize
All existence is a dream
This perfect resume to you
From me

Just had a tough time with magic
The death of ego
The moon
It was just coming through

Send me such a good time
In a letter form, tell me
The pleasure, no pressure
Pure imagination in a metaphoric dream

I get amazed like a true beginner
I get amazed like a true believer
I get amazed when I see you there
And I come alive

I believe I'm a true beginner
I believe I'm a true beginner
In your arms I can see it all
I can see it all

If we were flowers
We would worship the sun
So why not now?
This light is burning brightly
This light is burning brightly
Brighter than before
Brighter than before
Brighter than before
Brighter than before

Turn around and remember that
When it gets so low
As you finally hit the ground

Turn around and remember that
Now I'm standing tall
Standing on my sacred ground

Turn around and remember that
When it gets so low
As you finally hit the ground

Turn around and remember that
Now you're standing tall
Standing on sacred ground
Standing on sacred ground
Standing on sacred ground


TIME IS TIME

Time has saved as time has moved
Night has come at last to shine on you

Last night I looked inside the moon
And I knew you were real

So every time I look at you
You know exactly how I feel

Time has saved us time has moved
Night has come at last to shine on you

Take the time to know how you will fill my life
Revolving in my heart

Time has saved us, time has moved us
Night has come at last to shine on you again

 M P 3   S a m p l e s


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