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Fleetwood Mac: Rumors

 A l b u m   D e t a i l s


Label: Warner Bros. Records Inc.
Released: 1977.02.04
Time:
 39:03
Category: Pop/Rock
Producer(s): See Artists...
Rating: *********. (9/10)
Media type: CD
Web address: www.fleetwoodmac.net
Appears with: Stevie Nicks
Purchase date: 2001.04.02
Price in €: 10,99



 S o n g s ,   T r a c k s


[1] Second Hand News (L.Buckingham) - 2:43
[2] Dreams (S.Nicks) - 4:14
[3] Never Going Back Again (L.Buckingham) - 2:02
[49 Don't Stop (Ch.McVie) - 3:11
[5] Go Your Own Way (L.Buckingham) - 3:38
[6] Songbird (Ch.McVie) - 3:20
[7] The Chain (L.Buckingham/M.Fleetwood/Ch.McVie/J.McVie/S.Nicks) - 4:28
[8] You Make Loving Fun (Ch.McVie) - 3:31
[9] I Don't Want To Know (S.Nicks) - 3:11
[10] Oh Daddy (Ch.McVie) - 3:54
[11] Gold Dust Woman (S.Nicks) - 4:51

 A r t i s t s ,   P e r s o n n e l


LINDSEY BUCKINGHAM - Guitar, Vocals
MICK FLEETWOOD - Drums, Percussion
CHRISTINE MCVIE - Keyboards, Synthesizer, Vocals
JOHN MCVIE - Bass
STEVIE NICKS - Vocals

KEN CAILLAT - Engineer
RICHARD DASHUT - Engineer

 C o m m e n t s ,   N o t e s


1977 CD Reprise 3010
1980 LP Nautilus NR-8
1980 CD Reprise PRO-652
1990 CS Reprise 3010
2001 DVA Warner Brothers 48083

Charts Peak : US #1 (Apr 1977), UK #1 (Jan 1978)
RIAA Certification : Album - Multi-Platinum (18 million, 4/06/98)
Third-highest certified single-disc U.S. album.



By now, you must have heard the rumors.

Not "Rumours," the album that made Fleetwood Mac a '70s megaband, but rumors that Stevie Nicks and Christine McVie are leaving the group. "It's not a rumor anymore," drummer Mick Fleetwood says. "It's offical. The girls will play the rest of the [U.S.] tour. But the last night of the tour, Dec. 7, will be their last performance as members of Fleetwood Mac." That might be offical, but the why of it is the subject of rumors, too. Officially, Mr. Fleetwood, 43, is on a tour to plug his new book, "Fleetwood: My Life and Adventures in Fleetwood Mac" (Morrow, $17.95). Unofficially, he is responding to speculation that Ms. Nicks's departure was precipitated by his account of their past love affair. "That is nothing but tommyrot," he says. "At the time that Stevie decided to quit, she hadn't read it. I think she and Christine just decided that it was time for them to leave. "Stevie has a very successful career of her own, and she wanted to devote more time to it...Christine recently bought a farmhouse in England, and she wants to settle down and pursue her music and painting." "As far as what I wrote about me and Stevie, I don't think she had a problem," he says. "We were very much in love. I think she wished that I had written more." Sensational aspects aside, "Fleetwood" is a stirring account, not only of Fleetwood Mac's considerable role in pop history, but of the durability of its founders and namesakes, Mr. Fleetwood and bassist John McVie. In its 23 years, the group has endured numerous scandals, setbacks and successes, all of which Mr. Fleetwood writes about with good-natured aplomb. There were the late '60s when the group was in the vanguard of the British blues boom. Then there were the directionless early '70s when Ms. Nicks and Lindsey Buckingham hooked up and the group produced the mega-platinum "Fleetwood Mac" album and its 1977 successor, "Rumours," the top-selling album of all time to that point, eventually selling more than 20 million copies. (Michael Jackson's "Thriller" since has topped 40 million in sales.) On the darker side, there were the marital breakups of John and Christine McVie, and Mick and his first wife Jenny Boyd (he now lives with his wife, Sara, in Malibu), and the split of Ms. Nicks and Mr. Buckingham.

San Francisco, Burnish.Net - 10/1990



FLEETWOOD: FACT OR RUMOR

This year, FM find themselves in what is for them a unique position. Time was, only the hard-core cared much about new Fleetwood releases, and half of them only looked forward to cataloguing the inevitable personnel shifts. But once those cash registers start ringing, things change fast. Record execs who used to yawn at the very mention of FM throw huge parties for their new stars and smile expansively when the weekly sales figures appear. Disc jockeys actually get excited about the latest single. Record store clerks hear daily inquiries as to just when the new album (which SHIPPED platinum) will be released. Random Notes gets all hot and bothered every time Stevie Nicks' puppy dog farts. A lot of idiotic speculation about this band has focused on their romantic problems and how the music would be affected by them. Would Nicks' love songs really be thinly disguised odes to Paul Kantner, Don Henley and certain unnatural acts with barnyard animals? Would there be muffled sounds of furniture breaking as John and Christine McVie went at each other in the studio? Would it be, as McVie himself described it, "Mary Hartman on wax"? Pack it in, you Rona Barretts of rock. (Rona Barrett was a gossip columnist at the time) Fact is, FM's alleged soap operatics have made their music stronger. Songwriting is an obvious but effective means of dealing with a broken relationship, so the Nicks/Lindsey Buckingham and McVie splits ARE apparent. Buckingham's frame of mind progresses from the initial reactions of "Second Hand News" to the bitter "GYOW" (Shacking up is all you wanna do) to the resigned "Never Going Back Again." Nicks counters with "Dreams" ("Now here you go again, you say you want your freedom"). Chris McVie, perhaps the best of the three writers at putting things in proper perspective ("Don't Stop"), would rather celebrate new love (Songbird, You Make Loving Fun) than mourn the old. Rumors is a group effort all the way---the backing vocals, for instance, are vastly improved. And when one considers what making the album must have been like at times---four-fifths of the band going through romantic withdrawal and having to deal with each other on that emotional/irrational level as well as with the required objectivity of cooperating musicians --- coming through with more unity than at any point in the last two years becomes a feat.

The veteran rhythm section of bassist McVie and drummer Mick Fleetwood, playing like the proverbial gloved hand, are the guts of FM. Unlike, say, Kim Simmonds or Roger McGuinn, founding members who held groups together for years, Fleetwood and McVie don't write, sing, or play the solos, but still exert a huge influence on the sound. Fleetwood especially defines the flow with his little shifts in emphasis (GYOW is a perfect example). Together they embody the band's ten-year ethic of solid, honest simplicity. And with Buckingham, Nicks and Christine McVie added, all the bases are covered in style. Guitarist Buckingham really comes into his own on Rumours. His "Second Hand News" opens the album much the way "Monday Morning" launched "Fleetwood Mac", with a touch of Buddy Holly on the hard stuff. Those who thought the latter tune could have been a hit single should be more than just satisfied by GYOW, a tract so hot it makes you sweat just thinking about it. The combination of his ringing 12-string acoustic and spare electric is a good indication of why Buckingham fits so neatly into the long line of FM string-men. While not as outstanding a soloist as the long-departed Peter Green or Danny Kirwan (THEY said that, not me, Ledgies!) he's more versatile. As George Harrison used to do with you-know-who, Buckingham plays in the right style for each song. His acoustic work is a constant joy, as the music-box picking of "Never Going Back Again" attests.

Before B/N signed on, Chris McVie was the most accessible writer in the Mac, consistently coming up with catchy love songs. Rumours is no exception. "Don't Stop" continues in the rollicking style first heard on "Dissatisfied" from Penguin a few years back, while "You Make Loving Fun" (a good bet for their next single) matches one of her most lyrical choruses ever with angelic background vocals. Her two ballads, "Oh Daddy" and "Songbird" are lovely and expressive. And McVie is another instrumentalist who knows just what should go where; her organ on "Dreams", clavinet on "You Make Loving Fun" and piano on "Don't Stop" reveal an intuitive feel for texture. Stevie Nicks completes the impressive triple-edged approach. "Dreams" and "Gold Dust Woman" preserve the hypnotic drive that made "Rhiannon" such a winner; both could easily develop into similar concert tours de force. As well as being the best lyricist, Nicks specializes in taking a simple repeated pattern and building it into a fever pitch, and she's got the right voice for it, emotive and just raw enough. The variety and quality of ALL the singing, from the countryish "I Don't Want to Know" to the haunting "The Chain" (a bit of editing wizardry sown from the seeds of several songs), is one of the keys to FM's remarkable resurgence.

And this is just the beginning: watch the charts when FLEETWOOD COMES ALIVE debuts this summer.

By Samuel Graham
Crawdaddy Magazine, April 1977



with photo of SN with hair all curled up with the caption: Nick Comes Alive? Frampton running around in silk granny dresses singing "Rhiannon"? (That's because Peter Frampton had long blond hair that curled like hers at the time) "Vivacious thrush Stevie Nicks is currently nested in a house in L.A. that used to belong to silent screen star Vilma Banky, a foreign beauty who was married to another early idol, Rol LaRoque. Said Stevie: 'You can tell the house once belonged to someone glamorous. It has a real presence about it."

"Creem" magazine - "Rock'n'Roll News", September 1977



Rock & roll has this bad habit of being unpredictable. You never can tell when a band will undergo that alchemic transmigration from lead to gold. The medium of transformation is almost always a hit single, but such turnarounds often swamp a band in notoriety it can't live up to. But in Fleetwood Mac's case the departure of guitarist Bob Welch -- who'd reduced the band to recutting pointless and pretentious versions of old standards -- amounted to the biggest break they ever had. With that and the addition of Lindsey Buckingham and Stevie Nicks, Fleetwood Mac suddenly became a California pop group; instead of laborious blues/rock jams they started turning out bright little three-minute singles with a hook in every chorus. Christine McVie now leads a classic vocal group working out of the oldest popular tradition, love songs. Vocal harmonies are the meat and potatoes of California's pop identity, and Fleetwood Mac is now one of the genre's main proponents, with three lead singers of comparable range. Taken individually, only McVie's voice has much character, but she anchors their vocal arrangements, since Nicks' low range and Buckingham's high range approximate here dulcet, evenhanded timbre. Despite the interminable delay in finishing the record, _Rumours_ proves that the success of _Fleetwood Mac_ was no fluke. Christine McVie sounds particularly vital on "You Make Loving Fun", which works for the same reason "Over My Head" was a smash. The formula is vintage Byrds: Christine sings the verse simply, with sparse instrumental background, and the chorus comes on like an angelic choir -- high harmonies soaring behind her with 12-string electric guitar counterpoint ringing against the vocals.

The Byrds touch is Lindsey Buckingham's province, and it's used most successfully on the single, "Go Your Own Way", which employs acoustic guitar backing throughout, with best effect of the choruses. Mick Fleetwood's drumming adds a new dimension to this style. Fleetwood is swinging away, but not in the fluid roll pattern most rock drummers use. Instead of pushing the rhythm (Buckingham's acoustic guitar and John McVie's bass playing take care of that) he's punctuating it, playing against the grain. A touch like that can turn a good song into a classic. Buckingham's contribution is the major surprise, since it appeared at first that Nicks was the stronger half of the team. But Nicks has nothing on _Rumours_ to compare with "Rhiannon", here smash from the last album. "Dreams" is a nice but fairly lightweight tune, and her nasal singing is the only weak vocal on the record. "I Don 't Want to Know", which is pure post-Buffalo Springfield country-rock formula, could easily be confused with any number of Richie Furay songs. Buckingham's other two songs here are almost as good as "Go Your Own Way". "Second Hand News", ostensibly about the breakup of his relationship with Nicks, is anything but morose, and completely outdoes the Eagles in the kiss-off genre. Again the chunking acoustic guitar rhythm carries the song to a joyful chorus that turns average voices into timeless pop harmony. It may be gloss, but it's the best gloss to come along in a long time. "Never Going Back Again", the prettiest thing on the album, is just acoustic picking against a delightful vocal that once again belies the bad-news subject matter.

Fleetwood Mac's change from British blues to California folk-rock is not as outlandish as some might think. The early Sixties blues scene in England had as much to do with rural American fold music as the urban blues sound, which was predominantly a guitarist's passion anyway. Christine McVie is much closer to a singer like Fairport Convention's Sandy Denny than to any of England's blues shouters. Without altering her basic sensibility McVie moves easily into the thematic trappings of the California rock myth. She's always written love songs, and sings here ballads with halting emotion. "Songbird", her solo keyboard spot on _Rumours_, is elevated by its context from what would have been referred to as a devotional blues into a pantheistic celebration of love and nature. So Fleetwood Mac has finally realized the apotheosis of that early-Sixties blues crusade to get back to the roots. It's just that it took a couple of Californians and a few lessons from the Byrds, Buffalo Springfield and the Eagles to get there.

John Swenson, Rolling Stone, 4-21-77.



"RUMOURS" -- FLEETWOOD MAC (WARNER BROS.)

You could look it up. After 10 years and a like number of frequently boring albums (some great stuff in there, too), these penguin fanciers were starting to look like small beer. Meanwhile, Stevie Nicks was waiting tables, while her partner Lindsey Buckingham worked scams from home. It was L.A., and it was the tar pits. Well, in what's become the "auteur" theory on Mick Fleetwood, it was getting time for a new voice-guitar module. Let Lindsey Buckingham tell it in that pithy, laconic way an interview in "Guitar Player" magazine always inspires: "About two weeks before we ended up cutting "Fleetwood Mac", Mick was looking for a studio to use. Someone haphazardly turned him on to this place in the San Fernando Valley called Sound City. So he talked to (engineer) Keith Olsen out there, and Keith put on "Frozen Love" from the "Buckingham/Nicks" album to show him what the studio was like and what his work sounded like. He wasn't trying to showcase us, because Bob Welch was already in the band at that time. A week later, Bob decided to leave the group, and Mick just acted intuitively and called up Keith to get in touch with us. We rehearsed for about two weeks and then just cut the LP." The used-car capital of the world! They drove that cream puff right out of the lot and onto the charts, apparently forever. I played the shit out of my copy, too. Then, got a little tired of it. (My copy of 1970's "Kiln House" looks like somebody held a roach race with figure skates on it, but I still play the record all the time.)

But before we get into silly disquisitions about why "Go Your Own Way" is a great single off an entirely up-to-snuff new album, let's rip off another one of those "Guitar Player" quotes, the kind that put you right in the blind cosmic hum of the brood chamber of the rock & roll ant farm: "Then I got an Ampeg 4-track and started using the Sony 2-track for slap echo and effects like that with the preamp output of the deck into an amp. It's just an amazing fuzz device. Since then I've taken the guts out of the preamp and put them in a little box, and that's what I use onstage and in the studio. I also use a Roland Space Echo and a Cry Baby wah-wah sometimes. My strings are Ernie Ball Regular Slinky..." What? Is that what's getting under my skin in "Go Your Own Way?" You gotta remember that the formation of this group broke up three happy couples: that fact might bear on the title of this single, which opens with a Ventures strum that lifts out of the dashboard and says, "Hush your mouth." Then comes a trebly, ringing acoustic guitar line. "Loving you/Isn't the right thing to do," twangs Buckingham in his best Danny Kirwan, heart broke dither, as Fleetwood's drums spring in to help: "How can I/Ever change things that I feel?" As Buckingham finishes the verse, Christine McVie and Stevie Nicks haul in for a full-voiced chorus, and the next stanza is underscored by a tense, curling tail of feedback. If you aren't hooked by now, you better check your pulse. Just in time, too, because from the bridge on, they let Buckingham nudge the refrain aside and take the song out.

Given the vigor of that cut, plus "Second Hand News" and the previous album's shoving "Monday Morning" (not to mention the exuberant finger-picking of "Never Going Back Again"), Lindsey Buckingham shows up as a saltier cowboy than most any of those other canyon-roaming L.A. smog-eaters. ot to sell Fleetwood and the McVies short -- they're steady punchers -- the band was also lucky to bring in Stevie Nicks' talents. The mesh was very smooth: folding "Rhiannon" into a loping backbeat, she let a few lines catch in her throat, then warded off coyness by belting the odd phrase through her cheekbones, while lazy Byrds progressions linked the verses hypnotically together. Stevie's "Crystal", sung by Buckingham both on "Buckingham/Nicks" and "Fleetwood Mac" in a timbre oddly like Christine McVie's, turned, in a span of three years, from a picker's minuet into an organ dirge. And the vocal that Nicks rode so hard in 1973 faded back. All of her vocals on the first group album were nice but a little cakey, so it's good to hear the power come back on this new disc.

Both "Dreams" and "Gold Dust Woman" (the latter is about groupies) offer confident, nearly seamless singing. "Gold Dust Woman," with its breathiness and whip-cracking phrasing, owes no small debt to Bonnie Raitt's style. And Ken Emerson has pointed out that Nicks employs Melanie- and Lulu-like trills. "Dreams" shows all that, but Stevie Nicks gains appeal through her slack elocution. That insolently foxy upper lip flutters the tone like a mute in a trumpet. Nicks' "I Don't Want to Know" is folk harmony over Merseybeat, complete with handclaps. The next step back in time is skiffle. Then maybe we can start the whole adventure, with Christine McVie in Chicken Shack, all over again. Christine McVie's "Oh, Daddy" and "Songbird," like "Warm Ways" on the previous LP, are riskily close to the solemn bleating on the so-called "Legendary Christine Perfect Album." Her chief virtue on slow songs is simple honesty, but it takes the gentle propulsion of "Over My Head", "Say You Love Me," and "Sugar Daddy" (or her new, cranked-up "Don't Stop") to make McVie a real asset.

Since this album's a product of California, I subjected it, finally, to the rock perfessors [sic] test for non-verbal epistemological coherence. It sank like a bad egg in a glass of Jim Beam. And that's despite the, uh, cosmic circumstances of the group's chemical collaboration on "The Chain." The harmonies just pelt out over a determinedly walloping drum. Sounds like fervor for its own sake, but, like the Welsh witch howls that close the record, the song might lead you to think that Fleetwood Mac aspire to a station higher than that of a singles band. Fine --- but as things stand, I'm happy to take my dose over the airways for another year or so.

BY FRED SCHRUERS
Circus Magazine -- April, 1977



The new lineup that Fleetwood Mac successfully unveiled with their eponymous 1975 album became even more successful with the multi-platinum Rumours, which was the band's most celebrated album and one of the best-selling albums of all time. To be sure, this was a very different-sounding Fleetwood Mac than the blues-rock outfit of the late '60s-- and this edition of the band generally wasn't well received by rock critics, who tend to be critical of all things commercial. But as commercial and slick as Rumours is, the music has a lot of heart, and never comes across as insincere. From Christine McVie's optimistic "Don't Stop" (which President Bill Clinton used as his campaign theme song in 1992) to Lindsey Buckingham's remorseful "Go Your Own Way," Rumours is conistently memorable. In fact, the folk-ish "Gold Dust Woman" (covered by Courtney Love and Hole in 1996) and the melancholy hit "Dreams" made it quite clear just how much depth and substance Stevie Nicks was capable of.

Alex Henderson, All-Music Guide



Mit den jetzigen Bandleadern Lindsey Buckingham und Stevie Nicks und deren Gefühl für Pop-Musik ist Fleetwood Mac komplett vom Blues abgekommen und hat diese Hommage an die Liebe im südkalifornischen Stil herausgebracht. Jeder der Songschreiber meldet sich zu Wort: Nicks mit ihren mystischen Tagträumen, ("Dreams," "Gold Dust Woman"); Christine McVie mit ihren eingängigen Slogans ("Don't Stop") und Buckingham mit seinen -- nur vordergründig -- einfachen Pop-Songs ("Second Hand News," "Go Your Own Way"). In dem gemeinsam geschriebenen Stück "The Chain" zeigen sich die Macs von ihrer dramatischsten Seite. Doch erst das Zusammenspiel, die elastischen Rhythmen und die üppigen Harmonien machen aus dem Material eine klassische FM-Tour.

Rob O'Connor, Amazon.de



With the pop sense of Lindsey Buckingham and Stevie Nicks now leading the band, Fleetwood Mac moved completely away from blues and created this homage to love, Southern California-style. Each songwriter makes his or her presence known: Nicks for her dreamy, mystical reveries ("Dreams," "Gold Dust Woman:); Christine McVie for her ultra-catchy slogans ("Don't Stop"); and Buckingham for his deceptively simple pop songs ("Second Hand News," "Go Your Own Way"). "The Chain," written collectively, is the Mac at their most dramatic. But it's the ensemble playing, the elastic rhythms, and lush harmonies that transform the material into classic FM fare.

Rob O'Connor, Amazon.com



Fleetwood Macs Meisterwerk wurde nicht umsonst zu einem der meistverkauften Alben der Rockgeschichte: Abwechslungsreiche Rocksongs wie Don't Stop machen jeden Stau erträglich.

© Audio



The 100 Greatest Albums in the Universe. Rumours appears at number 25. That such sublime music was borne out of songs chronicling the despair of lovers falling apart remains one of rock's great paradoxes. The ease with which Lindsay (their misspelling, not mine) Buckingham's guitar inventions butterfly around the band's soothing vocals disguises a snakepit of seething emotions as a featherbed of contentment. Perhaps it's those conflicting signals which make the bitterness of Go Your Own Way or the aching resignation of Dreams so easy to take. "It was a good album," said Buckingham in retrospect, "but it wasn't a classic." Ooops! Rumours is proof that multi-platinum sales can be achieved without compromising integrity or peddl ing vocal histrionics in place of real emotion. They also list Pet Sounds by The Beach Boys at number 31 and in one portion write that, "The legacy of this timelessly gorgeous music is unmistakable in the work of Fleetwood Mac." Q picked the number one greatest album in the universe as 'Radiohead with OK Computer'. Huh???

Q Magazine, February 1998 edition



Fleetwood Mac's multimillion-selling Rumours was recorded by the band in Sausalito and Los Angeles in 1977, at a time of intense inner turmoil. Rumours eventually went on to sell 15 million copies worldwide, spending a staggering total of 443 weeks on the U.K. charts and 130 weeks on the U.S. Billboard album chart. It was also voted "Album of the Year" at the 20th annual Grammy Awards in 1978... Fleetwood Mac had already been in existence for over a decade by the time Rumors came out. After several personnel changes, Mick Fleetwood, John McVie, and Christine McVie were joined by Lindsey Buckingham and Stevie Nicks. It was 1974, and the stage was set for a new chapter in the band's career. The eponymously titled Fleetwood Mac, the first album with the new lineup, went platinum in 1976 and gave birth to hits like Rhiannon and Say You Love Me. However, its success was soon overshadowed by that of Rumors. Released in February 1977, Rumors reached #1 in the U.S. album chart in April of that year and found equal success in the U.K. In January 1978, its hit singles included "Go Your Own Way", "Don't Stop", "Dreams" (which reached #1 in the Billboard Hot 100), and "You Make Loving Fun". Ironically, Rumors was recorded during a period when John and Christine McVie were separating, and Stevie Nicks and Lindsey Buckingham's relationship was also breaking up. It was the album that almost never made it.. This is the definitive story of the making of Fleetwood Mac's Rumors, an album that has truly earned its place in the pantheon of rock music history.. Also featured are specially recorded versions of Christine McVie's haunting "Songbird" and Lindsey Buckingham's wonderful new acoustic version of "Never Going Back Again", along with "You Make Loving Fun", "Rhiannon", "Dreams", "Don't Stop", and "Gold Dust Woman".
 

 L y r i c s


SECOND HAND NEWS

I know there's nothing to say
Someone has taken my place
When times go bad
When times go rough
Won't you lay me down in tall grass
And let me do my stuff

I know I got nothin' on you
I know there's nothing to do
When times go bad
And you can't get enough
Won't you lay me down in the tall grass
And let me do my stuff

One thing I think you should know
I ain't gonna miss you when you go
Been down so long
I've been tossed around enough
Couldn't you just
Let me go down and do my stuff

I know you're hopin' to find
Someone who's gonna give you piece of mind
When times go bad
When times go rough
Won't you lay me down in tall grass
And let me do my stuff

I'm just second hand news
I'm just second hand news


DREAMS

Now here you go again
You say you want your freedom
Well who am I to keep you down
It's only right that you should
Play the way you feel it
But listen carefully to the sound
Of your loneliness
Like a heartbeat.. drives you mad
In the stillness of remembering what you had
And what you lost...
And what you had...
And what you lost

Thunder only happens when it's raining
Players only love you when they're playing
Say... Women... they will come and they will go
When the rain washes you clean... you'll know

Now here I go again, I see the crystal visions
I keep my visions to myself
It's only me
Who wants to wrap around your dreams and...
Have you any dreams you'd like to sell?
Dreams of loneliness...
Like a heartbeat... drives you mad...
In the stillness of remembering what you had...
And what you lost...
And what you had...
And what you lost

Thunder only happens when it's raining
Players only love you when they're playing
Say... Women... they will come and they will go
When the rain washes you clean... you'll know


NEVER GOING BACK AGAIN

She broke down and let me in
Made me see where I've been

Been down one time
Been down two times
I'm never going back again

You don't know what it means to win
Come down and see me again

Been down one time
Been down two times
I'm never going back again


DON'T STOP

If you wake up and don't want to smile,
If it takes just a little while,
Open your eyes and look at the day,
You'll see things in a different way.

Don't stop, thinking about tomorrow,
Don't stop, it'll soon be here,
It'll be, better than before,
Yesterday's gone, yesterday's gone.

Why not think about times to come,
And not about the things that you've done,
If your life was bad to you,
Just think what tomorrow will do.

Don't stop, thinking about tomorrow,
Don't stop, it'll soon be here,
It'll be, better than before,
Yesterday's gone, yesterday's gone.

All I want is to see you smile,
If it takes just a little while,
I know you don't believe that it's true,
I never meant any harm to you.

Don't stop, thinking about tomorrow,
Don't stop, it'll soon be here,
It'll be, better than before,
Yesterday's gone, yesterday's gone.

Don't you look back,
Don't you look back.


GO YOUR OWN WAY

Loving you
Isn't the right thing to do
How can I ever change things
That I feel

If I could
Maybe I'd give you my world
How can I
When you won't take it from me

You can go your own way
Go your own way
You an call it
Another lonely day
You can go your own way
Go your own way

Tell me why
Everything turned around
Packing up
Shacking up is all you wanna do

If I could
Baby I'd give you my world
Open up
Everything's waiting for you

You can go your own way
Go your own way
You an call it
Another lonely day
You can go your own way
go your own way


SONGBIRD

For you, there'll be no more crying,
For you, the sun will be shining,
And I feel that when I'm with you,
It's alright, I know it's right

To you, I'll give the world
to you, I'll never be cold
'Cause I feel that when I'm with you,
It's alright, I know it's right.

And the songbirds are singing,
Like they know the score,
And I love you, I love you, I love you,
Like never before.

And I wish you all the love in the world,
But most of all, I wish it from myself.

And the songbirds keep singing,
Like they know the score,
And I love you, I love you, I love you,
Like never before, like never before.


THE CHAIN

Listen to the wind blow
Watch the sun rise

Run in the shadows
Damn your love
Damn your lies

And if
You don't love me now
You will never love me again
I can still hear you saying
You would never break the chain.

Listen to the wind blow
Down comes the night

Run in the shadows
Damn your love
Damn your lies

Break the silence
Damn the dark
Damn the light

And if
You don't love me now
You will never love me again
I can still hear you saying
You would never break the chain.


YOU MAKE LOVING FUN

Sweet wonderful you,
You make me happy with the things you do,
Oh, can it be so,
This feeling follows me wherever I go.

I never did believe in miracles,
But I've a feeling it's time to try.
I never did believe in the ways of magic,
But I'm beginning to wonder why.

Don't, don't break the spell,
It would be different and you know it will,
You, you make loving fun,
And I don't have to tell you you're the only one.

You make loving fun.
You make loving fun.


I DON'T WANT TO KNOW

I don't want to know the reasons why
Love keeps right on walking down the line
I don't want to stand between you and love
Honey, I just want you to feel fine

Finally baby
The truth has come down now
Take a listen to your spirit
It's crying out loud.
Try to believe
You say you love me, but you don't know
You got me rocking and a-reeling
Oh

I don't want to know the reasons why
Love keeps right on walking down the line
I don't want to stand between you and love
Honey, I just want you to feel fine

Finally baby
The truth has been told
Now you tell me that I'm crazy
That's nothing that I didn't know
Trying to survive
You say you love me, but you don't know
You got me rocking and a-reeling

I don't want to know the reasons why
Love keeps right on walking down the line
I don't want to stand between you and love
Honey, take a little time.


OH DADDY

Oh Daddy,
You know you make me cry,
How can you love me,
I don't understand why.

Oh Daddy,
If I can make you see,
If there's been a fool around,
It's got to be me.

Oh Daddy,
You soothe me with your smile,
You're letting me know,
You're the best thing in my life.

Oh Daddy,
If I can make you see,
If there's been a fool around,
It's got to be me.

Why are you right when I'm so wrong,
I'm so weak but you're so strong,
Everything you do is just alright,
And I can't walk away from you, baby
If I tried.


GOLD DUST WOMAN

Rock on- gold dust woman
Take your silver spoon
And dig your grave

Heartless challenge
Pick your path and I'll pray

Wake up in the morning
See your sunrise- loves- to go down
Lousy lovers- pick their prey
But they never cry out loud

Did she make you cry
Make you break down
Shatter your illusions of love
Is it over now- do you know how
Pick up the pieces and go home.

Rock on- ancient woman
Follow those who pale
In your shadow

Rulers make bad lovers
You better put your kingdom up for sale

Did she make you cry
Make you break down
Shatter your illusions of love
Is it over now- do you know how
Pickup the pieces and go home.

 M P 3   S a m p l e s


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