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Fleetwood Mac: Say you will

 A l b u m   D e t a i l s


Label: Warner Bros. Records Inc.
Released: 2003.04.15
Time:
 76:06
Category: Pop/Rock
Producer(s): See Artists...
Rating: ******.... (6/10)
Media type: CD
Web address: www.fleetwoodmac.net
Appears with: Stevie Nicks
Purchase date: 2004
Price in €: 13,99



 S o n g s ,   T r a c k s


[1] What's the World Coming To (L.Buckingham/J.Raymond) - 3:49
[2] Murrow Turning Over in His Grave (L.Buckingham) - 4:13
[3] Illume (S.Nicks) - 4:51
[4] Thrown Down (S.Nicks) - 4:02
[5] Miranda (L.Buckingham) - 4:19
[6] Red Rover (L.Buckingham) - 3:58
[7] Say You Will (S.Nicks) - 3:49
[8] Peacekeeper (L.Buckingham) - 4:12
[9] Come (l.Buckingham/N.Heywood) - 6:00
[10] Smile at You (S.Nicks) - 4:33
[11] Running Through the Garden (R.Kennedy/G.Nicholson/S.Nicks) - 4:35
[12] Silver Girl (S.Nicks) - 4:00
[13] Steal Your Heart Away (L.Buckingham) - 3:33
[14] Bleed to Love Her (L.Buckingham) - 4:07
[15] Everybody Finds Out (S.Nicks/R.Nowels) - 4:29
[16] Destiny Rules (S.Nicks) - 4:27
[17] Say Goodbye (L.Buckingham) - 3:26
[18] Goodbye Baby (S.Nicks) - 3:52

 A r t i s t s ,   P e r s o n n e l


LINDSEY BUCKINGHAM - Guitar, Percussion, Keyboards, Vocals, Producer, Engineer
STEVIE NICKS - Keyboards, Vocals
MICK FLEETWOOD - Percussion, Drums
JOHN MCVIE - Bass, Black Keys

SHERYL CROW - Additional Performer
CHRISTINE MCVIE - Additional Performer
JAMIE MUHOBERAC - Additional Performer
DAVE PALMER - Additional Performer
JOHN PIERCE - Additional Performer
JOHN SHANKS - Producer, Additional Performer

ROB CAVALLO - Producer, A&R
KEN ALLARDYCE - Engineer
KEN KOROSHETZ - Engineer
MARK NEEDHAM - Engineer, Mixing
CHRIS LORD-ALGE - Mixing
BERNIE GRUNDMAN - Mastering
MIKE FASANO - Band Technician
STEPHEN WALKER - Art Direction
NEAL PRESTON - Photography
HERBERT WORTHINGTON III - Photography
KAREN WILLIAMS JOHNSTON - Photography


 C o m m e n t s ,   N o t e s


2003 CD Reprise 48394
2003 CD Warner Brothers 48467
2003 DVA Warner Brothers 48394



Lindsey Buckingham hadn't recorded a studio album with Fleetwood Mac in 16 years when Say You Will was released in April 2003. His partner, Stevie Nicks, had been missing in action from the group since 1990, and while both joined the reunited group in 1997 for a tour and live album (The Dance), not to mention Bill Clinton's 1993 inauguration, it had been a long, long time since the two made new music for the Mac. They were lured back into the fold for...well, the specifics — whether money, prestige, status, publicity, or creativity — don't really matter, since the end result is the same, it's that Buckingham and Nicks have come home. This doesn't qualify as a full-fledged Fleetwood reunion, since Christine McVie isn't here, choosing to opt out of this high-profile return to the breach (although her playing is occasionally heard on the album). This results in a record that never quite sounds like Fleetwood Mac. Mick Fleetwood and John McVie are so grateful to have the two superstars back in the group that they cede ground to Buckingham and Nicks, who never collaborate as much as share space. Each singer/songwriter is given nine songs apiece, a move which, in itself, would not necessarily be a problem, but over the course of this lengthy, lengthy album, the evenhandedness starts to give the impression that this is two solo albums presented as a group effort. An assessment that's a little harsh, since the group can still conjure echoes of their classic sound, but the division of work is so deliberate and their work so dissimilar, it can't help but feel like two separate pieces pushed together to make the whole. Which is where Christine McVie becomes a critical factor. While never a star like Nicks, nor possessing the mad genius of Buckingham, McVie was a strong, likeable songwriter whose gently melodic works balanced the extremities of her bandmates while also forcing them to choose the best material to fit the record. Add to this that Fleetwood Mac have decided to run wild with the length of a CD, producing a record that is significantly longer than the messy, chaotic Tusk, but without its inspired insanity or depth of sound and character. Here, even if most songs are in the four-minute ballpark, they all feel longer, partially because the album clocks in at nearly 80 minutes and the sequencing flows as it was designed by committee. So, Say You Will winds up occupying a strange middle ground, often feeling as if it was Lindsey Buckingham and Stevie Nicks' albums bouncing around on shuffle play, but also occasionally flashing moments that are purely, satisfyingly Fleetwood Mac. Although there are occasional misguided attempts to modernize the songs — most notably drum loops on some of Nicks' songs — none of the songs sound as if the band were forcing themselves to sound contemporary. Sure, it sounds commercial, but that's the band's idiom — what's important is that it never sounds compromised, it sounds as if the band is at once trying too hard while being unwilling to sacrifice individual moments for the greater good. So, Say You Will straddles many lines at once. Nicks' material is better-realized than many of her recent albums, but Buckingham's always sounds as if it should be wilder than it is (it should all sound as unrestrained as his guitar, which is continually surprising throughout the record). It never sounds like classic Fleetwood Mac, nor does it sound modern. It often sounds like solo albums, but without the freedom that allows. Most of these problems derive merely from the length. Cut out half of the record — have it weigh in at nine or ten songs and run no longer than 45 minutes — and it would have been a good, solid comeback, perhaps even eclipsing the uneven Tango in the Night. But there are too many songs, simply too much to make Say You Will work, even if there is enough to admire to make you wish it did.

Stephen Thomas Erlewine, All-Music Guide, © 1992 - 2003 AEC One Stop Group, Inc.



Like the ever-growing legion of their peers in middle-aged rockdom, Fleetwood Mac can't stay away from the game. But unlike the bulk of the reunion-tour set, they're not merely coasting on fumes, as borne out by this much-anticipated comeback album. The key to Say You Will's success is Lindsey Buckingham, who's more involved in the songwriting and production process than he has been in ages. As ever, he manages to swaddle messages both angst-ridden ("Peacekeeper") and bittersweet ("Steal Your Heart Away") in melodies that float like cotton-candy clouds. He's also coaxed ex-partner Stevie Nicks into a couple more rounds of the lovelorn sparring that provided the Mac with some of their biggest hits in the '70s -- here, Buckingham and Nicks imbue duets bearing titles like "Say Goodbye" and "Goodbye Baby" with a sense of finality. Say You Will has its share of leaden moments -- the anti-media screed "Murrow Turning Over in his Grave" crosses the line separating commentary and crotchety whining. Likewise, the presence of the now-retired Christine McVie -- particularly the understated elegance of her keyboard arrangements -- is greatly missed. But when Nicks whirls, pixie-like, through the soft haze of "Silver Girl," the years melt away like frost on an early spring morning.

David Sprague, Barnes & Noble



When the parts come together... Say You Will soars like the Mac of old. (B)

Alan Light - Entertainment Weekly



Given their overarching history, Fleetwood Mac's 15-years-after studio reunion on Say You Will seems as unlikely as their initial, era-defining nova of success. Even cynics who suspect that it's just another cash-in by has-beens should find this stripped-down edition of the classic Mac (singer/songwriter/keyboardist Christine McVie opted out) bristling with a wealth of fresh, ambitious musical ideas. The responsibility for that creative renaissance rests squarely on the delicate shoulders of Lindsey Buckingham, more involved and motivated than he's been in any Mac project since the monumental Tusk. His crypto-folk structures and adventurous, Brian Wilson-inspired sonic textures are anything but predictable, illuminating "Miranda" "Red Rover" "Come" and even the mildly pedantic harangue "Murrow Turning Over in His Grave". With Christine McVie's poignant pop sense out of the mix, Stevie Nicks steps up with solid songcraft that rises beyond the expected folk-mysticism of "Ilume" to encompass other melancholy, age-defying feats such as "Silver Girl", "Smile at You", "Goodbye Baby" and the title track. That duet with Buckingham argues that their vaunted creative axis may have lost its personal friction only to spin ever freer. And, like firm ground beneath the feet, it's too easy to take for granted the legendary Mick Fleetwood/John McVie rhythm section that gave the band its very name. Cut to its core dozen tracks, it's an album that easily stands comparison to their mega-platinum past.

Jerry McCulley - Amazon.com



Fleetwood-Mac-Fans werden Purzelbäume schlagen! Nach dem Konzert-Reunion-Album The Dance von 1997 liegt nun seit dem letzten Studioalbum Tango In The Night von 1987 endlich ein neues Werk vor. Die Doppel-CD Say You Will mit 18 neuen Stücken -- wovon die eine Hälfte aus Stevie Nicks' Fundus stammt, die andere von Gitarrist Lindsey Buckinghams geplantem Soloalbum -- entstand jedoch ohne Christine McVie, dafür mit Unterstützung von Sheryl Crow. Sie fügt den aalglatt produzierten Kompositionen eine eigene, dynamische Grunge-Note bei (siehe "Come"), kann aber die Wärme und Herzlichkeit von Christines bluesigem Gesang und Orgelspiel nicht ersetzen. Ohne sie ersticken Fleetwood Mac bisweilen an ihrem Perfektionismus und gewissen Manierismen seitens der Gitarrenarbeit und dem Gesang. Musikalisch gibt es nichts zu bemängeln. Stücke wie das mysteriöse "Murrow Turning Over In His Grave", das perkussive "Illume" oder "Destiny Rules" sind rundum gelungene Pop- und Rocksongs mit abwechslungsreichen und ungewöhnlichen Arrangements und Harmoniechören. Das gilt auch für den lässigen Titelsong. Doch selten siegt das Gefühl über die Anstrengungen, besonders originell zu klingen -- etwa auf "Throwing Down", "Running Through The Garden" und dem Rocker "Everybody Finds Out". Sängerin Stevie Nicks klingt am besten bei der ruhigen, fast akustischen Schlussballade "Goodbye Baby". Melodiöser Poprock Marke Westcoast, der voll auf Sicherheit setzt und angenehm vor sich hin plätschert.

Ingeborg Schober - Amazon.de



Unterm Damokles-Schwert der eigenen Historie wirkt die einstige Megapop-Band Fleetwood Mac vor Verkrampftheit wie erstarrt. Kein Soundloch bleibt ungestopft. Alles klingt nach viel Geld und wenig Herz; nach harter Arbeit und kaum Gefühl. Je neun Songs von Lindsey Buckingham und Stevie Nicks formieren sich zum fast 80-minütigen Popmonster, das alles aufnehmen muss, was in 20 Jahren so anfiel. Einiges davon wäre besser in der Kiste geblieben, etwa der hibbelige Cyberfolk "Say goodbye". Klar, Mick Fleetwood peppt seinen schnurgeraden Drum-Stil geschickt mit Ethno-Schlenkern, und John McVie wird das Bass-Spielen nicht mehr verlernen. Doch Buckinghams eitler Gitarrenstil zwischen akustischen Blues-Splittern und Rock-Gegniedel nervt. Und Stevie Nicks hat nur noch selten Dates mit Frau Muse. Immerhin: "Running through the Garden" ist ein schöner Uptempo-Kracher mit pulsierendem Wave-Bass. Mitreißend dann "Everybody finds out", bei dem Perkussion und Stakkatogesang in turbulentem Wechselspiel verschmelzen. Auf die Hälfte zusammengestrichen wäre das Album ein mittelstarkes Comeback. So aber hangelt es sich höchstens hoch bis unter Schnitt.

(mw) Kulturnews



For those keeping score at home, the latest lineup of this endlessly regenerative California-rock legend goes Lindsey Buckingham, Stevie Nicks, Mick Fleetwood and John, but not Christine McVie. It's the first Mac album in sixteen years for which Buckingham has written songs; tracks such as "Peacekeeper" and "Steal Your Heart Away" prove that Mac's singular vibe -- a sunny, countrified lope against which urgent breakup lyrics blaze -- has always been his doing. Say You Will also proves that this is the only band that knows how to play his songs. The album is a randomly sequenced display of Fleetwood Mac's best instincts: Buckingham's bittersweet tunes about playing for keeps; Nicks' tough, swirly songs about fragile and wicked women; and the experiments the group can't stop indulging in (near-classical and metal-inclined guitar, teen pop, an incoherent number about the media). And when this accumulation of chops rallies for a single, the result is the perfectly mellow breeze of the title song. Not that this is a band that needs to be relevant -- in California, no one has to grow old.

ARION BERGER - From RS 921, May 1, 2003
© Copyright 2003 RollingStone.com
 

 L y r i c s


Currently no Lyrics available!

 M P 3   S a m p l e s


WHAT'S THE WORLD COMING TO

What's the world coming to?
What they say isn't true
You can't plant no seed
Where there's only greed

I can walk anywhere
I can walk anytime
But the long highway
Is the only way

What's the world coming to?
What's the world coming to?
Everyone's gone to the moon
What's the world coming to?

Every night, every day
In this house filled with shame
I can say I care
But there's no one there
There's no truth in my life
There's no light in my eyes
And it's all I guess
That I'll ever miss

Chorus

I can jump right off
Fall right in to the ocean
I can come right out
Mean just what I say
But if I don't call for a reservation
They'll just turn me down
Turn me inside out

I don't take what they want
I don't do what they say
So I'm on their list
So I'm gone I guess


MURROW TURNING OVER IN HIS GRAVE

All the sainted sinners
They pay handsomely
And eventually?
They make the weapons
And they run the prisons
And they sell the justice
Cause being guilty is
Just good business
And we'll be standing on
The borderline
Ain't no one there gonna
Stop it now

Murrow turning over in his grave
Murrow turning over in his grave
Murrow turning over in his grave
Murrow turning over in his grave
Better watch out
Murrow turning over in his grave
He's gonna turn wild
Murrow turning over in his grave
Murrow turning over in his grave
Murrow turning over in his grave
Murrow turning over in his grave
Better watch out
Murrow turning over in his grave
He's gonna run wild

Half-closed eyes
And the country's deadly
Do you feel the ooze as your brain drains out
From your pneumatic drills and sharpening knives
Blood in the sky
Are you dead or alive?
All the restless people and the bitter green
Well it fakes this gold, makes the spirit mean

Murrow turning over in his grave
Murrow turning over in his grave
Murrow turning over in his grave
Murrow turning over in his grave
Better watch out
Murrow turning over in his grave
He's gonna turn wild
Murrow turning over in his grave
Murrow turning over in his grave
Murrow turning over in his grave
Murrow turning over in his grave
Better watch out
Murrow turning over in his grave
He's gonna run wild


ILLUME

Illume says the candle that I burn
A reflection in the window
All the way to Point Dume
Illume-like it dances
I am a cliff dweller
From the old school

I like the coastal cities
I like the lights
I like the way the ocean blends
Into the city at night
It's like living on a working river
This coastline is glittering
Like a diamond snake
In a black sky

I am alone now
With my thoughts
Oh how we could make it
Of how we could get out
What we've been through
All of the trauma
The smell of Nag Champa
Shadow of a stranger

I will not take you for granted
I wouldn't trade it for jade
Or for diamonds
Not for a minute
Not for anything
I need you to be there
Just remember when I am haunted
That I was just scared

I am alone now...

What I saw on this journey
I saw history go down
I cannot pretend
That the heartache falls away
It's just like a river
Ooh, it's never ending
I cannot pretend
That the heartache falls away

Because I
It's just like a river
It's never ending
It's just like a river
It's never ending

I am alone now...
What I saw on this journey...
I am alone now....
What I saw on this journey...


THROWN DOWN

You fell for her again, she watched it happen
Every day, day by day
But more important, night by night
She watched it all come into play
He held her hands, she listened to what he had to say

Thrown down...like a barricade
Maybe now he could prove to her
That he could be good for her
And they should be together

You've shaken your faith in me, no
You've shaken the faith in everything else
A decision no one makes, and now you're going home
Faith is a hard thing to hold on to
Something inside you says I don't have to
You're not like other people, you do what you want to
You're not like other people, you do what you want to

Thrown down... like a barricade
Maybe now he could prove to her
That he could be good for her
And they should be together
(So overwhelming, baby)
(There's nothing left to say)
He fell for her again, she watched it happen
Every day, day by day
But more important, night by night
She watched it all come into play
He held her hands, she listened to what he had to say

Thrown down...like a barricade
Maybe now he could prove to her
(so overwhelming, baby...there's nothing left to say)
That he could be good for her
(he says he's sorry, baby...he should walk away)
And they should be together
(so overwhelming, baby...there's nothing left to say)
About just how much he never really told her
(he should walk away)
Thrown down (so overwhelming, baby...there's nothing left to say)
About how difficult it had been to be without her
(he should walk away...so overwhelming, baby)
Thrown down
(there's nothing left to say...he should walk away)


MIRANDA

At the end of the day
The end of the light
She remains of all of her foes
Miranda is dying with all of her might
She never comes
She always goes

She sticks the camera right into her arm
Anything to forget what the trouble's about
It causes her pain
That's part of the charm
She's down for the count
And finally out

Miranda is taking the stars down
A little something to call her own
By the light there still goes Miranda
And Miranda is always alone

She sees her face in another magazine
And the walls all close in
As the fancy takes flight
Can't stand to be loved
But she loves to be seen
She slips headlong into the night

Miranda is taking the stars down
A little something to call her own
By the light there still goes Miranda
And Miranda is always alone

And then all at once
The sun starts to rise
She sees her father holding her down
All the daylight is poison to her eyes
She slips down the shade
And lets herself drown

Miranda is taking the stars down
A little something to call her own
By the light there still goes Miranda
And Miranda is always alone

The lights shot down in the arena
All across the safety zone
Loneliness follows Miranda
And Miranda is always alone
Miranda is always alone
Miranda is always alone


RED ROVER

Why do you come around?
So very much
You know it just brings you down
It’s just something you can touch

You don’t belong here
I guess you never did
Whisper "Look up" in your ear
You just keep it so well hid

Anyone at all
Could see what was missin’
Could see you were dyin’
But no one was cryin’

And I did hear what you said
Now I can go home
All my days are blue
All my days are bright

Red Rover, Red Rover, Red Rover
We come, we come, we come, we come
To take you over
Take you over
Red rover
Take you over

One of the quiet ones
One of the few
Now fall down onto your knees
Show us all what you can do

We came around here
To see if you were well
And there’s nothing for you to fear
In Heaven or in Hell

Anyone at all
Could see what was missin’
Could see you were dyin’
But no one was cryin’

And I did hear what you said
Now time to drive home
All my days are blue
All my days are bright

Red Rover, Red Rover, Red Rover
We come, we come, we come, we come
To take you over
Take you over
Red rover
Take you over
Red rover
Take you over
Red rover
Take you over


SAY YOU WILL

Something in you brought out something in me that I've never been since
That part of me that was only for you, that kind of romance
Cause only once that kind of love, that kind of fever dance
That you love because you become someone else in an instant

Say you will, say you will
Give me one more chance
At least give me time to change your mind
That always seems to heal the wounds
If I can get you to dance

Something in you put a hold on my heart
Hard to believe now
Here is a place that will never be dark
I remember that place
That kind of touch
Electricity of love
That certain kind of grace
That you love because you become someone else in an instant

Chorus


PEACEKEEPER

We make all of our suns the same
Every one will suffer the fire we've made
They all explode just the same
And there's no going back on the plans we've made

Peacekeeper take your time
Wait for the dark of night
Soon all the suns will rise
Peacekeeper don't tell why
Don't be afraid to fight
Love is the sweet surprise

Only creatures who are on their way
Ever poison their own well
But we still have time to hate
And there's still something we can sell

Chorus

When the night is cold and still
When you thought you'd had your fill
Take all the time you will
This is not a test, it's not a drill
Take no prisoners, only kill

You know all of our friends are gods
And they all tell us how to paint our face
But there's only one brush we need
It's the one that never leaves a trace

Chorus
When the night is cold and still
When you thought you'd had your fill
This is not a test, it's not a drill
Take no prisoners, only kill


COME

Think of me, sweet darlin'
When everything is going bad
Think of me, sweet darlin'
Every time you're feeling sad
Think of me, sweet darlin'
Every time you don't come
Can you feel the fever?

Think of me, sweet darlin'
Every time things get rough
Think of me, sweet darlin'
When the best just isn't enough
Think of me, sweet darlin'
Every time you don't come
Can you feel the fever?

Cause nobody else is doing it oh
Nobody else is doing it oh no
Suffer how many ways [no clue, man]
Love was a little these days

Said I was going to put her away
She's been here a while
Living in the guest room
I guess she goes in style
I said I was going to put the girl away
But I just can't make her go
Can you feel the fever?

Now I lay me down to sleep
In this enemy bed
Tomorrow morning I will wake up
Hurtin' from the things we said
One thing leads to another
But I guess you know about that
Can you feel the fever?

Think of me, sweet darlin'
Every time you don't come


SMILE AT YOU

Go on save yourself
Leave the key here
Well, you love someone else
And I shouldn't be here
Well, don't ask me why
My walls are flamin'
She's so willing..little one
I won't be stayin'

I have come to know
This world of changing faces
But I can't change the world
And I can't face it
So be true to me
My walls are flamin'
If you're so willing little one
Then I can't be stayin'

What you did not need
Was a woman that was stronger
Well, you needed someone
To depend on you
Well, I could not be her..baby
I didn't not want to
But my first mistake was to smile at you
Oh...Yeah
Oh...Yeah

And now you feel the light
You run from the darkness
Well, you never saw the change
Well, that woman's softness
So you be true to me...yeah
What love was stolen
And there was nothing more
'Cause then the heart was broken
Oh-ho..I was flamin'
I could not see the light
I would not..yeah
Flamin'...flamin'...flamin'...flamin'

Yeah...yeah...
What you did not need
Was a lady who was stronger
Well, you needed someone
To depend on you
Well, I could not be her..baby
I didn't not want to
My first mistake was to smile at you

Oh..ah-ha...
Flame...
So be true to me
What love was stolen
And there was nothing more
'Cause my heart was broken
My heart was broken
Flame...well, to your castle in the sky
Ooh, don't see the change
Flamin'...flamin'...
Flaming...flaming...flaming
Yeah..ohhhh
Ooh..well..yeah..yeah..yeah..
Yeah..yeah..yeah..yeah..yeah
Don't ask me why
That love was stolen...
It's my heart...my heart was broken
My heart...my heart was broken
My heart...my heart...


RUNNING THROUGH THE GARDEN

Until she herself...
Became the deadliest poison
As she grew older
Until she herself
Became just as fatal
As her garden...

So you run toward...
What you know is wrong
But there are too many flowers...
To cut down
With all the love that I have for your life
With all the love that I have for your life

Never did I mean to imprison you
In my garden
Like I am imprisoned
Never did I mean to imprison you
In my garden
Like I am imprisoned

Until she herself
Became the deadliest poison
As she grew older
Until she herself
Became just as fatal
As the garden

So you run toward
What you know is wrong
But there are too many flowers...
To cut down
With all the love that I have for your life
With all the love that I have for your life
Don't trust me...
Never did I mean to imprison you
In my garden
Like I am imprisoned
Never did I mean to imprison you
In my garden
Like I am imprisoned

Never did I mean to imprison you
(Running though the garden)
In my garden
(Running through the garden)
Straight toward...
(Running through the garden)
There are too many flowers to cut down
(Brilliant colors)
With all the love that I have for your life...


SILVER GIRL

She was a silver girl
Lost in a high tech world
She was a golden girl
Immersed in a hard core world
She would have preferred
The last generation
But that's all right
She is on her way

She had the Midas touch
She was Lady Luck
She's got a million bucks
And she looks like it
She's had a few hard times
Sometimes it blows her mind
Those papers she never signed
Sometimes she remembers

Sometimes she was just an actress
But you'll never really know
A shadow moves across her face
You cannot see her soul
Unless she lets you
See her soul

She was a girlie girl
Caught in a man's world
And as her world turns
She feels old so alone

Still she's a danger girl
Insane far beyond her years
On some things she's very clear
She's a wild adventurer

Sometimes she was just an actress..


STEAL YOUR HEART AWAY

All alone we go on day after day
All alone we suffer
Oh, steal your heart away

It's the same old thing in the same old way
All alone we suffer
Oh, steal your heart away

But the lies goes creepin' down, down, down
But we were sleeping
Suddenly we hit the ground

So come on, lets go, lets run away
If that's all, all there is
Oh, steal your heart away

Steal your heart away
Steal your heart away

But the lie goes creepin' down, down, down
But we were sleeping
Suddenly we hit the ground

So come on, lets go, lets run away
If that's all, all there is
Oh, steal your heart away

The lonely suffer
Steal your heart away


BLEED TO LOVE HER

Once again she steals away
Then she reaches out to kiss me
And how she takes my breath away
Pretending that she don't miss me

Oh...I would bleed to love her
Ooooh...bleed to love her
Whoa...I would bleed to love her

And once again she calls to me
Then she vanishes in thin air
And how she takes my breath away
Pretending that she don't care

Oh...I would bleed to love her
Ooooh...bleed to love her
Whoa...I would bleed to love her

Somebody's got to see this through
All the world is laughing at you
Somebody's got to sacrifice
If this whole thing's gonna turn out right

Oh...I would bleed to love her
Ooooh...bleed to love her
Whoa...I would bleed to love her


EVERYBODY FINDS OUT

We see no change in sight
Watching her decline
She gets on a midnight plane
She's done it a thousand times

When love starts out in the darkness
It doesn't do well in the light
Affairs of the heart
Start out in the dark
Usually stay with the night

I know you don't agree
(everyday you tell me)
I know you don't agree

I know he loves me
Everyday he calls me
He says he adores me
What can I say

You can't love him
You can't have him
I do have him, most of the time

Anywhere we can
Anytime we can
Get away... get away

Maybe it's just something else
That you can't tell me
Maybe it's in the way that you
Look away from me

It's not like any words
Need to be said
Well you always know when something's wrong
My friend

I know you don't agree
(everyday you tell me)
I know you don't agree

I know he loves me
Everyday he calls me
He says he adores me
What can I say

We see no change in sight..
Watching her decline..
She gets on a midnight plane
She's done it a thousand times

When love starts out in the darkness
It doesn't do well in the light
Affairs of the heart
Start out in the dark
Usually stay with the night

When nobody sees them
At least, not together
She rarely goes out
She spends every day
Waiting for the day

When everybody finds out
Don't you know.... don't you know...


DESTINY RULES

Maybe we were together in another life
Maybe we are together in a parallel universe
Maybe our paths are not supposed to cross twice
Maybe your arms not supposed to go around me

I hear about you now and then
I wonder where you are and how you feel
Sometimes I walk by and I look up to your balcony
Just to make sure that you were real
Just to make sure that I can still feel you

When I see you again
As I always do
It appears to me that
Destiny rules
That the spirits are ruthless with the paths they choose
It's not being together
It's just following the rules
No one's a fool

Six weeks in a foreign country How the time flew
I didn't speak the language but somehow I knew
That that would be the only time that we could be alone and foolish
We said we'd never come home...


SAY GOODBYE

So you face yesterday
Thinking on the days of old
And the price that we paid
For a love we couldn't hold
I let you slip away
There was nothing I could do
That was so long ago, yeah
Still I often think of you

I fall down, I get up
And I've always had to fight
Everything that was wrong
For the things that were right
And now I've finally found my way
Now I know just what to do
Once you said goodbye to me, yeah
Now I say goodbye to you

It's so hard to find your way
When the lies come around
Still it happens every day
So don't let it get you down

Just a time within a time
Just a scheme within a scheme
A little world within a world
Is a dream just a dream?
And now I've finally found my way
Now I know just what to do
Once you said goodbye to me, yeah
Now I say goodbye to you
Now I'd best be on my way
Before the night turns blue
Once you said goodbye to me, yeah
And now I say goodbye to you
Once you said goodbye to me, yeah
Now I say goodbye to you


GOODBYE BABY

Don't take me to the tower
And take my child away
It was I who was the hourglass
And the sands of time like shattering glass went past me
Like a tunnel to the sea
And I who went to sleep as two
Woke up as one now only you remain
You'll close your eyes and travel back
To the time when the light went fading fast
And the words you'll never never forget, oh no
As you slipped away

Goodbye baby
I hope your heart's not broken
Don't forget me
Yes I was outspoken
You were with me all the time
I'll be with you one day

And I who went to sleep in tears
Woke up in tears
And I who never said goodbye
As I slipped away

Goodbye baby...