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Fleetwood Mac: Fleetwood Mac

 A l b u m   D e t a i l s


Label: Reprise Records
Released: 1975.07.11
Time:
 42:58
Category: Pop/Rock
Producer(s): See Artists...
Rating: *********. (9/10)
Media type: CD
Web address: www.fleetwoodmac.net
Appears with: Stevie Nicks
Purchase date: 2001.08.27
Price in €: 9,99



 S o n g s ,   T r a c k s


[1] Monday Morning (L.Buckingham) - 2:48
[2] Warm Ways (Ch.McVie) - 3:50
[3] Blue Letter (R.Curtis/M.Curtis) - 2:31
[4] Rhiannon (S.Nicks) - 4:12
[5] Over My Head (Ch.McVie) - 3:34
[6] Crystal (S.Nicks) - 5:12
[7] Say You Love Me (Ch.McVie) - 4:11
[8] Landslide (S.Nicks) - 3:05
[9] World Turning (Ch.McVie/L.Buckingham) - 4:25
[10] Sugar Daddy (Ch.McVie) - 4:09
[11] I'm So Afraid (L.Buckingham) - 4:15
 

 A r t i s t s ,   P e r s o n n e l


MICK FLEETWOOD - Percussion, Drums, Producer, Sleeve Concept
JOHN MCVIE - Bass, Producer, Sleeve Concept
CHRISTINE MCVIE - Synthesizer, Keyboards, Vocals, Producer, Sleeve Concept
LINDSEY BUCKINGHAM - Guitars, Vocals, Producer, Sleeve Concept
STEVIE NICKS - Vocals, Producer, Sleeve Concept

WADDY - Rhythm Guitar on [10]

KEITH OLSEN - Producer, Engineer
DAVID DEVORE - 2nd Engineer
HERBERT WORTHINGTON - Photography

 C o m m e n t s ,   N o t e s


1975 CD Reprise 2-2281
1975 LP Epic 26402
1975 LP Reprise 2225
1975 CS Reprise M5-2281
1980 LP Mobile Fidelity MFSL-1-012
1990 CD Warner Brothers 2281
1995 CD Columbia 477358
1999 CD Sony International 477358

Charts Peak : US #1 (Sep 1976), UK #23 (Nov 1976)
RIAA Certification : Album - Multi-Platinum (5 million, 10/13/86)
Recorded at Sound City, Los Angeles


Then we rehearsed, and after 5 minutes when they were singing together with Chris, it was like, whoa! It was obvious. It was like sparks were happening.
John

That was the very first song that we ever rehearsed with Stevie and Lindsey. I can remember playing the song and I said, 'Well, this is the chorus.' And I can remember Stevie coming in above me and Lindsey coming in beneath my voice. I got goosebumps I was going, this is great.
Chris on Say You Love Me

Landslide I wrote in Aspen 3 months before I joined Fleetwood Mac, along with Rhiannon. And uh, that's where the snow covered mountains came from. And I was definitely doing a lot of reflecting when I was up there. Lindsey was on the road with the Everly Brothers. I was very unhappy and lonely, and trying to figure out why he was out with the Everly Brothers, and I was in Aspen with $40 and my dog and my Toyota that went frozen the day we got there. And we thought he was going to make like lots of money. He didn't. He came back to Aspen and he was very angry with me. And left me. Took Jenny the poodle and the car and left me in Aspen the day that the Greyhound buses went on strike. I had a bus pass cause my dad was president of Greyhound. I had a bus pass, I could go anywhere, right. I said fine, take the car and the dog. I have a bus pass. I had a strep throat also. He drove away. I walk in, on the radio it says Greyhound buses on strike all over the United States. I'm going, oh no I'm stuck. So in order to get out of Colorodo I had to call my parents and they unwillingly sent me a plane ticket because they didn't understand what I was doing up there in the first place. So I followed him back to Los Angeles. That was like October, it was all around Halloween. Two months later, Fleetwood Mac called...on New Years Eve.
Stevie



"Monday Morning," a sunny slice of folk-rock with Beach Boys harmonies, opens Fleetwood Mac and makes it clear that the band is no longer a blues-rock outfit. Lindsey Buckingham and Stevie Nicks were the catalyst for Fleetwood Mac's successful re-emergence as a mainstream pop/rock band. While Buckingham only contributed three songs, he helped the band develop a coherent vision, providing crystal-clear backings for Nicks' hippie anthems and Christine McVie's remarkably improved pop-soul. McVie dominates the album, contributing some of her finest songs, including the sighing "Over My Head" and the bouncy "Say You Love Me." Nicks' songs function as folky counterpoints to McVie's sweet pop, and she rarely ever wrote songs as memorably affecting as "Rhiannon" or "Landslide." Remarkably, Fleetwood Mac is a blockbuster album that isn't dominated by its hit singles, and its album tracks ("World Turning," "Sugar Daddy," "Crystal") demonstrate a depth of both songwriting and musicality that would blossom fully on Rumours.

Stephen Thomas Erlewine
All-Music Guide, © 1992 - 2001 AEC One Stop Group, Inc.



With the "classic" Fleetwood Mac and departed guitarists Peter Green and Jeremy Spencer a fading memory, namesakes and rhythm section Mick Fleetwood (drums) and John McVie (bass), along with second generation survivor Christine McVie (vocals, keyboards), let go of their British blues heritage and linked with a failed Californian pop-rock duo, Lindsey Buckingham and Stevie Nicks. That move, born of desperation, yields this 1975 classic: unveiling a taut, well-oiled pop rock band boasting three distinctive singers and songwriters in Buckingham, Nicks, and Christine McVie; Buckingham's extraordinary arrangements and versatile acoustic and electric guitars; and the undeniable horsepower of the founding fathers' rock-solid rhythm work. Buckingham's rave-ups, Nicks's sultry rock ballads, and Christine McVie's soulful, sunny pop form the template for Rumours, which would follow two years later.

Sam Sutherland, Amazon.com



Hey, Mac!

Fleetwood Mac is the tortoise of rock 'n' roll. After nine years of respectable but unphenomenal success with records and concerts, this bluesy, basically British band has at last hit the top. Its latest album, "Fleetwood Mac," has reached platinum status and sold 1.5 million copies. The record has been on Bill-board's Top LP's chart (where it is currently No. 7) for 41 weeks and has spun off hit singles like the rhythmic love song "Over My Head" and "Rhiannon," an eerie ballad about a Welsh witch. Last week 115,000 fans filled California's Oakland Stadium when Fleetwood Mac shared a bill twice with Peter Frampton. "We're your everyday soap opera," chirps Christine McVie, one of two women vocalists in the five-member, Los Angeles-based band. Before its American debut in 1970, the group had racked up a string of hits in Britain. But after that it just plugged along in the face of a series of setbacks that would have split most rock groups, producing eight decent-selling albums in the U.S. but no hit singles and making several tours but only as the opening act for bigger-name headliners.

Groceries: Early on, one of the founding members quit, claiming that material gain conflicted with his religious convictions. Soon afterward, another one disappeared in the middle of a tour only to be found three days later with the Children of God. "He went out for groceries and ended up quoting the Bible," says John McVie, another founder. McVie and drummer Mick Fleetwood (the two gave the group its name) filled the breach with McVie's wife, Christine, and an American guitarist, Bob Welch. Then the group got embroiled in a lawsuit with a former manager who launched a band of unknowns with the same name. Welch quit and a new, new, new Fleetwood Mac regrouped with the addition of a struggling American duo, guitarist Lindsey Buckingham and a female singer named Stevie Nicks. The result is a surprisingly smooth blend of such influences as Steve Wonder, the Beatles and James Taylor that carries no message but is infectiously easy to listen to and understand. Fleetwood says he likes "music with earth in it, something basically simple and warm. I don't like something that is as cold as a lump of steel."

Buckingham, Nicks and Christine McVie write most of the songs - mellow, melodic, rhythmic, the rock sound a little harder than it was in the group's earlier days. McVie's are formula love songs like "Over My Head": "You can take me to paradise,/And then again you can be cold as ice./I'm over my head,/But it sure feels nice."* ("My words," she says, "don't bash away at your brain cells, but they're bouncy.") Buckingham's and Nick's are a little more freewheeling but equally straightforward, and onstage Nicks supplies a souped-up vivacity that transfixes audiences and nicely complements the reserve of the group's British members. Fleetwood Mac has not lost its ability to persevere in the face of adversity. Last year it survived the breakup of the McVies' marriage, and it also seems likely to withstand the breakup, two weeks ago, of Buckingham and Nicks's six-year relationship. The group is midway through recording a new album, and it feels the pressure to produce another best seller. Most of the songs are about the problematic relationships in the band. "It's going to be Mary Haryman on wax," says John McVie.

KATRINE AMES with JANET HUCK in Los Angeles
Newsweek, May 10, 1976



Not only is Fleetwood Mac no longer blues oriented, it isn't even really British: The two newest members, Lindsey Buckingham (guitar and vocals) and Stevie Nicks (vocals, acoustic guitar) are American, and all five members are now based in Los Angeles. The band began its spiritual journey to L.A. a half-dozen albums ago -- on Future Games - when it was led by the often dazzling guitarist/singer Danny Kirwan. Kirwan is long gone but his inspiration lingers in the songs and singing of Christine McVie (who's also developed into an effective keyboard player) and in the electric guitar playing of Buckingham, who likes to interpose aching, Kirwanesque leads and textured, Byrds-like rhythm lines. Thanks to their efforts, Fleetwood Mac is easily the group's best and most consistent album since Bare Trees, the last to feature Kirwan. The four songs written and sung by Christine McVie make it clearer than ever that she's one of the best female vocalists in pop, and a deft song craftswoman as well. "Say You Love Me", "Over My Head", "Sugar Daddy" and "Warm Ways" transform conventional pop-song structures into durably attractive and believably genuine pieces -- each sounds like an ideal radio song. McVie's singing - slightly husky, not beautiful but unaffected - is simply captivating; she does everything right.

But her contributions have been a strong point since she first appeared with the group on Kiln House; what makes this album a marked improvement over the last several are the efforts of Buckingham, who gives Fleetwood Mac a distinguished and fitting guitar and vocal presence, something the band has lacked since Kirwan's departure. Of the four tracks he dominates, "Monday Morning" has the most initial appeal, but the hard-edged guitar song, "World Turning" (a McVie/Buckingham collaboration) and the gorgeously somber "I'm So Afraid" stand out more and more as the album grows more familiar. Nicks, on the other hand, has yet to integrate herself into the group style. Compared to McVie's, her singing seems callow and mannered, especially on "Landslide", where she sounds lost and out of place - although to be fair, this is more a problem of context than of absolute quality. Her "Rhiannon", colored by Buckingham's Kirwan-style guitar, works a little better and "Crystal", on which Buckingham joins her on lead vocal, suggests that she may yet find a comfortable slot in this band. Thanks to the rapport that is evident between McVie and Buckingham, Fleetwood Mac adds up to an impressively smooth transitional album.

Bud Scoppa, Rolling Stone, 9-25-75



If you're one of those people like me who lost track of Fleetwood Mac in the post-Peter Green haze of erratic albums and perpetual personnel changes, brace yourself for the nicest musical surprise 1975 has sprung on us: Fleetwood Mac (the band) has produced "Fleetwood Mac" (the album), a record strong enough to demand immediate inclusion in any consideration of the year's best. Just prior to the recording of this new album, the band replaced the departing Bob Welch with two new members, vocalist Stephanie Nicks and guitarist/vocalist Lindsey Buckingham. As Buckingham Nicks they released one mildly promising album on a Polydor subsidiary in 1973, which sounds absolutely premature by comparison with their initial accomplishments as a part of Fleetwood Mac. They're both talented writers and singers, but their decisive contribution to the band is more in the realm of attitude; there's an aggressive energy at work here that even the original Fleetwood Mac might not've been able to match. Stephanie's songs are indicative of the diversity this new band is capable of. She can go soft and acoustic on "Landslide" and be equally effective at handling the electricity of "Rhiannon" (possibly the most powerful son in their live set.) And have them both rank amomg the album's highlights. Lindsey Buckingham is a solid guitarist, and his intelligent ideas about guitar tracking play a substantial part in the success of this album. It's not the blinding guitar virtuosity of previous Macs, but playing with taste and an almost impeccable sinse of what each song requires of his instrument. "Monday Morning" (featuring great Buddy Holly drumming from Mick Fleetwood) and "Blue Letter" are performances Nils Lofgren and the Eagles (respectively) would be proud to claim as their own, and Buckingham's musical personality would seem to be emerging in an attractive niche somewhere between the two. But where taste and restraint can occasionally border on strangulation, his big and brutal playing on "I'm So Afraid" suggests an explosive quality that this band has only begun to explore.

A lot of the old Fleetwood Mac was merely convenient conventional frames on which great and near-great guitarists could hang their most impressive licks. This album, however, crystalizes Fleetwood Mac as a SONG band, something they've been threatening for the last four years. The crucial element in the taking of this direction has been Christine McVie, who had the same blues roots everybody else did but countered with a pop sensibility that, until now, none of the band's guitarists truly shared. Her pop inclinations blossomed with the last album's "Come A Little Bit Closer," which may've been THE undiscovered pop gem of 1974 and remains eminently ripe for a smash coverjob. Her songs on this album, most notably "Forever" and "Say You Love Me" strike the most operative balance of her influences yet. The former is a smooth love ballad that DENNIS WILSON (my emphasis) could almost've written, while the latter shows off her developing mastery of a distinctively bouncey strain of good-time rock. And her keyboards mesh with Buckingham's guitar to give the overall sound more punch, bringing a band that has always been the sum of readily identifiable parts into a more unified perspective. The one son co-authored by McVie and Buckingham, a rave-up called "World turning" is not among the better tracks (being to my taste one of those live killers that never really translates to record), but the amount of radio exposure it's already gotten reflects an effectiveness at providing their audience with a relatable point of transition between old and new Fleetwood Macs.

Keith Olsen's main contribution as engineer and co-producer is that you can finally begin to get on record a consistent picture of how good a drummer Mick Fleetwood is, something you've always had to see the band live to fully appreciate. On the band's past studio efforts, it didn't necessarily matter WHAT he was playing because too often it sounded like he was beating on a piece of fruit with a mallet. This time around you really begin to feel the presence of his drums and, more importantly, what they mean to the construction of Fleetwood Mac's music. Though I feel a bit foolish waking up to the fact seven years on, the partnership of bassist John McVie and Mick Fleetwood is the best rhythm section in rock & roll. While this is one of the album's greatest assets, it simultaneously creates the album's only real problem. It almost seems as if Olsen achieved his drum presence not by making them bigger, but by making everything surrounding the drums smaller. What this album lacks, which you notice when you see the group live, is power, and it's down to the way the band was recorded. You're always aware that they're making the right instrumental moves, but the point is never driven home with the authority it should be. The greatness of the music is all here, but its real muscle is not always represented.

Such ultimately petty gripes aside, this album scores heavily for what it delivers but also for what it promises. Its three hit single possibilities ("Blue Letter," "Monday Morning," and "Say You Love Me") could very easily explode the dimensions of an already-substantial following, yet it's still just a beginning. The album was recorded before the band had ever played together live, which makes for a potential here that's nothing short of frightening. Far from being merely a good band with a distinguished past, Fleetwood Mac is a band with a future.

REVIEW OF THE ALBUM "FLEETWOOD MAC" BY BEN EDMONDS
PHONOGRAPH RECORD MAGAZINE - SEPTEMBER, 1975



Nachdem die "klassische" Formation von Fleetwood Mac und die früheren Gitarristen Peter Green und Jeremy Spencer allmählich aus dem Bewusstsein verschwanden, gaben der Namensgeber und Schlagzeuger Mick Fleetwood, John Mcvie (Bass)und die Überlebende der zweiten Generation Christine McVie (Gesang, Keyboard) ihr britisches Blues-Erbe auf und liierten sich mit einem erfolglosen kalifornischen Pop-Rock Duo, Lindsey Buckingham und Stevie Nicks. Aus diesem Schachzug, der aus der Not geboren wurde, entstand dieser Klassiker aus dem Jahre 1975 und zeigt eine straffe, gut geschmierte Pop Rock Band, die mit Buckingham, Nicks und Christine McVie drei versierte Sänger und Songschreiber vorweisen konnte. Dazu kommen Buckinghams außergewöhnliche Arrangements und sein vielseitiges Spiel auf der akustischen und elektrischen Gitarre sowie die unbestreitbare Kraft der beinharten, soliden Leistungen der Gründerväter in der Rhythmusgruppe. Buckinghams Rave-Ups, Nicks feurige Rockballaden und Christine McVies gefühlvolle, heitere Form der Popmusik sind bereits die Vorboten für Rumours, das zwei Jahre später folgen sollte.

Sam Sutherland, Amazon.de



The Blues has always been popular in England. Performers like Screamin' Jay Hawkins, Howlin' Wolf and even Freddie King and Bo Diddley were stars in England before making it big in their own country. When John Mayall formed the Bluesbreakers it was out of respect and admiration to those performers; and he's stayed with the blues, cultivating a number of fine young blues musicians including guitarists Eric Clapton and Peter Green. After Clapton left Mayall, moving on to form Cream, Peter Green replaced him. Now Green has formed his own group, Fleetwood Mac (along with another former Bluesbreaker, bassist John McVie). Whereas Clapton expanded onto new horizons with Cream, Green has chosen to remain dedicated to the blues, and on this, their first recorded effort, Fleetwood Mac have established themselves as another tight English blues band—joining Mayall's Bluesbreakers, Ten Years After and Savoy Brown as chief practitioners of blues in England. Green, like Mayall, has studied the records and performances of Howlin' Wolf, Memphis Slim, Junior Wells and Elmore James carefully. The piano riffs on "Hellbound on My Trail" are lifted directly from Slim's classic "If You See Kay," but it's done well, if perhaps a little too self-consciously. Fleetwood Mac (the name is a combination of the names of members of the group), know what they're doing, they dig the music they're playing and that's great—but the drawback here is that they don't put enough of themselves into it instead of what they've heard from the original artists.

Green is a more than competent guitar player, and the Mac's treatment of "Shake Your Moneymaker" is just as powerful as the first Butterfield version (on the Paul Butterfield Blues Band album). The harp work is proficient in most places but rather weak on "Got to Move," the old Sonny Boy Williamson song. Green's composition "Long Grey Mare" is one of the best cuts on the album, anchored by McVie's strong bass line. The record has a strange, prematurely vintage (if there can be such a thing) sound to it, like an old classic recording made in the late Forties or early Fifties. Like most modern white bluesmen, Fleetwood Mac try very hard to live the kind of music they play—not picking cotton in the Delta, but maintaining the hard-life blues tradition, gigging at small clubs in Northern England and in scruffy halls in the East End. Their music retains an unaffected rough quality. They play well, and if it sounds a little scratchy at times it's because that's the way they happen to feel at that particular moment. The licks they've copied from other performers are natural enough—it's more of a tribute than an imitation. The English continue to prove how well into the blues they really are, and know how to lay it down and shove it back across the Atlantic. Fleetwood Mac are representative of how far the blues has penetrated—far enough for a group of London East-Enders to have cut a record potent enough to make the South Side of Chicago take notice.

BARRY GIFFORD (RS 15)
© Copyright 2001 RollingStone.com
 

 L y r i c s


MONDAY MORNING

Monday morning you look so fine
Friday I got travelin on my mind
First you love me, then you fade away
I can't go on believin' this way
I got nothing but love for you
So tell me what you really wanna do
First you love me then you get on down the line
But I don't mind.
I dont't mind
I'll be there if you want me to
No one else that could ever do
Got to get some peace in my mind.

Monday morning you look so fine
Friday I got travelin on my mind
First you love me then you say it's wrong
I can't go on believing for long
But you know it's true
Uou only want me when I get over you
First you love me then you get on down the line
But I don't mind
I don't mind
I'll be there if you want me to
No one else that could ever do
Got to get some peace in my mind


WARM WAYS

Sleep easy by my side
Into gentle slumber you can hide
I, I'm waiting for the sun, to come up,
I can't sleep, with your warm ways,

Forever,
Forever love,
Together,
Together love -

You made me a woman tonight,
Sleep until the morning light,
I, I'm waiting for the sun, to come up,
I can't sleep, with your warm ways.

Forever,
Forever love,
Together,
Together love -


BLUE LETTER

It was a blue letter
She wrote to me
It's silver words she told
Wanna be on the road to paradise
I wanna lover who don't get old.

Do I read a message in your eyes
You wanna love to stay another night
Baby when your day goes down
I won't be waitin' around for you.

For every voice you ever heard
There's a thousand without a word
Redbird, don't say you told me so,
Just give me one more song to go.

Do I read a message in your eyes
You wanna love to stay another night
Baby when your day goes down
I won't be waitin' around for you.


RHIANNON

Rhiannon rings like a bell thru the night
And wouldn't you love to love her
She rules her life like a bird in flight
And who will be her lover...
And who will be her lover...

All your life you've never seen
A woman - taken by the wind
Would you stay if she promised you heaven
Will you ever win...

She is like a cat in the dark
And then she is the darkness
She rules her life like a fine skylark-
And when the sky is starless-

All your life you've never seen-
A woman - taken by the wind
Would you stay if she promised you heaven
Will you ever win...

Dreams unwind.
Love's a state of mind.


OVER MY HEAD

You can take me to paradise,
And then again you can be cold as ice
I'm over my head,
But it sure feels nice.

You can take me anytime you like,
I'll be around if you think you might love me baby,
And hold me tight.

Your mood is like a circus wheel,
You're changing all the time,
Sometimes I can't help but feel,
That I'm wasting all of my time.

Think I'm looking on the dark side,
But everyday you hurt my pride,
I'm over my head,
But it sure feels nice,
I'm over my head,
But it sure feels nice.


CRYSTAL

Do you always trust your first initial feeling
Special knowledge holds true, bears believing

I turned around and the water was closing all around like a glove
Like the love that finally found me
Then I knew in the crystaline knowledge of you
Drove me through the mountains
Through the crystal like and clear water fountain
Drove me like a magnet
To the sea
To the sea

How the faces of love have changed turning the pages
And I have changed, oh, but you, you remain ageless

Like the love that finally found me
Then I knew in the crystaline knowledge of you
Drove me through the mountains
Through the crystal like and clear water fountain
Drove me like a magnet
To the sea
To the sea


SAY YOU LOVE ME

Have mercy, baby on a poor girl like me,
You know I'm falling, falling, falling at your feet,
I'm tingling right from my head to my toes,
So help me, help me, help me make the feeling go.

'Cause when the loving starts, and the lights go down,
And there's not another living soul around,
Then you woo me until the sun comes up,
And you say that you love me.

Have pity baby,
Just when I thought it was over,
Now you got me running, running, running for cover.
I'm begging you for a little sympathy,
'Cause if you use me again it'll be the end of me.

'Cause when the loving starts, and the lights go down,
And there's not another living soul around,
Then you woo me until the sun comes up,
And you say that you love me.

Baby, baby, hope you're gonna stay away,
'Cause I'm getting weaker, weaker everyday,
I guess I'm not as strong as I used to be,
And if you use me again it'll be the end of me.

'Cause when the loving starts, and the lights go down,
And there's not another living soul around,
Then you woo me until the sun comes up,
And you say that you love me.

Fallin' fallin' fallin
Fallin' fallin' fallin


LANDSLIDE

I took my love, I took it down
Climbed a mountain and I turned around
I saw my reflection in the snow covered hills
'Till the landslide brought me down

Oh, mirror in the sky
What is love
Can the child within my heart rise above
Can I sail thru the changing ocean tides
Can I handle the seasons of my life

Well, I've been afraid of changing
'Cause I've built my life around you
But time makes you bolder
Even children get older
And I'm getting older too

Oh, take my love, take it down
Climb a mountain and turn around
If you see my reflection in the snow covered hills
Well the landslide will bring it down

If you see my reflection in the snow covered hills
Well the landslide will bring it down


WORLD TURNING

Everybody's trying to say I'm wrong
I just wanna be back where I belong

World turning
I gotta get my feet back on the ground
World turning
Everybody's got me down

Maybe I'm wrong but who's to say what's right
I need somebody to help me thru the night


SUGAR DADDY

Well I need a sugar daddy,
He could be my friend,
And if I needed money,
I know he would lend me a hand,

But when it comes to loving,
He'd better leave me alone,
'Cause i've got you baby,
And you give me all the love I need,
Yes you give me all the love I need -

And when I get a little hungry
He could give me all I could eat,
And if I needed whiskey,
He could serve it to me neat.

But when it comes to loving,
He'd better leave me alone,
'Cause i've got you baby,
And you give me all the love I need,
Yes you give me all the love I need -

All that I want is someone to take care of me,
I'm not asking for love,
Just a little sympathy.

And he could pick me up,
In a big fancy car.
Then I could pretend
I was a big movie star.

But when it comes to loving,
He'd better leave me alone,
'Cause i've got you baby,
And you give me all the love I need,
Yes you give me all the love I need -

All that I want is someone to take care of me,
I'm not asking for love,
Just a little sympathy.

I'm not asking for love

I'm not asking for love


I'M SO AFRAID

I been alone
All the years
So many ways to count the tears
I never change
I never will
I'm so afraid the way I feel

Days when the rain and the sun are gone
Black as night
Agony's torn at my heart too long
So afraid
Slip and I fall and I die

I been alone
Always down
No one cared to stay around
I never change
I never will
I'm so afraid the way I feel

Days when the rain and the sun are gone
Black as night
Agony's torn at my heart too long
So afraid
Slip and I fall and I die

 M P 3   S a m p l e s


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