OOC: Are we allowed to plug our albums in here? If not I'll delete this. If so, then heres something to consider pre voting :)
Album Title: Raindrops, Caffeine, and Other Liquid Stimulants
Genre: Folk/indie/pop
Recorded: Abbey Road Studios, London, UK
Release: May 19th 2011
Produced by: Katie Coyle, Abbey RoadTracklisting (updated daily)1. It's Only My Eyes (3:58)
2. Lust and Cigarettes (feat Scott Armstrong) (4:16)
3. Breakthrough (feat Will.Rocca) (3:46)
4. Sunrise In Suburbia (feat Jack Straw) (3:16)
5. Intravenous (feat Jenny Hudson) (5:58)
6. Naked on Paper (feat Eric Quillington) (4:11)
7. Invanity (feat Eric Quillington) (6:11)
PersonnelKatie Coyle: Vocals and guitar
Eric Quillington: Guitar
Will.Rocca: Guitar
Scott Armstrong: Guitar
Jenny Hudson: Vocals and Guitar
Jack Straw: Guitar1. It's Only My Eyes (3:58)
Katie's commentsThere was a few schools of thought on this song when we sat down to arrange the album. Most people will have heard the song before, because it was the debut single which I first brought out in November and it charted quite highly.
When we first talked about the album, this wasn't going to make the cut at all. To a few of the people around the table, and perhaps even me, to an extent, the song was weaker than the rest of the material that I had started to write. However, when I started to think of it like a story, it seemed appropriate to have this one back in again at the start, as a, sort of, "Well world, this was where it all began for Katie!" you know?
So, the decision at that point was to re-record it, but then when the incident where I lost the use of my arm occurred, I was keen to keep the original recording on the album. The reason being that, although it may have sounded better recorded in better surroundings, we'd have had to use a guest guitarist. The way it is now, the original recording, means that there is still a song on my debut album with my guitar playing in it, and that means a lot to me. I also think it sounds cool, when you take the story and progression themes into account, how much more raw and rough and ready this sounds compared to all the other, higher quality recordings. It was also the first thing I ever wrote, by myself, for acoustic guitar, having been taught electric guitar, and getting used to finger picking had taken a while! I'm not even sure I like the lyrics now!
The song itself, is about a boy. Which, after the last month or so, is just so gorgeously ironic. I was 15, and this boy at school told me that he loved me. At the time, I knew that he didn't, and for some reason (which I figured out a short time later), I had never felt that in touch with him.
This song documents the break up of that relationship, and how I had to pretend to be upset when he finally realised the truth and finished it with me. I don't know if that sounds like an immature theme? But even if it does, as I say, I like how that fits the story!
KC xoxTrack descriptionThe track begins with a quiet, ambient and moody single strum on an acoustic guitar. The chord resonates for a few seconds before a hand taps out 1,2,3,4 on the hollow body of the instrument, and Katie strums a few gentle minor chords in a semi-quick paced progression, and hums along, her voice sounding sad, gentle, haunting and sort of distant. The humming slowly fades, and is replaced by a striking louder, sharply struck chord, which leads into another brief pause.
Verse(1) is preceded by a slow finger picking section (I'm thinking Radiohead "Street Spirit" style here), the tone is still sad, and Katie's soft, London accented voice drifts in, effortlessly, over the instrument's dulcet tones. Verse(1) is sung very softly, and slowly, and the voice kind of slips through the words.
A few seconds of an accelerated guitar finger picking section comes in between verse (1) and (2), before slowing down into the same section as previous.
Verse(2)is sung louder than (1) and has more of an attitude behind it, to signify her growing resentment. There is also a pondering pause left at the end of lines 2 and 3 in the verse, as the guitar even stops, as if to invite the listener into Katie's mind. At the end of verse (2), the word "tell" hangs in the air for a few seconds, and echoes as Katie strums a repeated, jumpy, deliberate chord, building to a crescendo, which is one sharp chord, and then a quick silence.
(.C) comes in during the quick silence, and "It's only my" is sung without a musical accompaniment, which rejoins, in a much faster, slightly more upbeat chord progression for the second half of the first line, and continues throughout the chorus. There are also drums during the chorus, just a simple snare and hi-hat beat, but it helps add to a pleasant change in the ambience.
The chorus (.c) finishes, and the chords are replaced by the slower finger picking again for (3), this time with the subtle drums ticking along softly in the background. As Katie's voice comes in, a second guitar plays some very soft, very sad and amazingly slow chords in the distant background.
(.c) as above
(4) epitomises the frustration and anger pent up inside Katie, and so the chords from the chorus continue here. However, they are played in a biting, deliberate way, with venom, and sound really sharp. Her voice is a lot louder through this verse, and punches the words out, as opposed to the soft, waving voice evident earlier.
(.c) as above but with a triumphant sounding key change. The chords are now major chords, and this brings about the happiness that Katie feels being free from the guy. Th drums are also much louder, and the whole thing feels light and airy.
(.c) as above, still very cheery and upbeat, but this time, the last line is sung very, very slowly, and the guitar dies away completely as it does. As Katie's haunting tones fade completely away, they are replaced by the same finger picking section which started the song. This section slowly and gradually slows to nothing, as it fades away at the same time.
Lyrics(1)I was all alone when you called
You said we needed...to be alone
To feel what we were going to
You quoted love...with all the world
(2)I never knew that it could be so hard
To see so much
To be so fond
Of knowing...what you couldn't tell
(.c)It's only my..eyes that cry
I knew you wanted me to go
It's just outside I weep
And never really felt so low
If you could just see that this was all a mask
You'd feel so red, embarrassed
I know you're scared to ask.
(3)I sat there with you in the sun
Staring deep into those dead-brown-eyes
I couldn't believe you were not aware
That to you, I was not the one
(.c)It's only my..eyes that cry
I knew you wanted me to go
It's just outside I weep
And never really felt so low
If you could just see that this was all a mask
You'd feel so red, embarrassed
I know you're scared to ask.
(4)You told me we were through
And then you looked into my eyes
I knew you still could not tell,
and so I took a deep breath, (and I told you.......)
(.c)It's only my..eyes that cry
I knew you wanted me to go
It's just outside I weep
And never really felt so low
If you could just see that this was all a mask
You'd feel so red, embarrassed
I know you're scared to ask.
(.c)It was only my..eyes that cried
I knew you wanted me to go
It was outside I wept
And never really felt so low
You couldn't just see-ee that it was all a mask
I watched you red, and embarrassed
But...you...still...could...not...just....aaasssskkkk
Sounds like
2. Lust And Cigarettes (feat Scott Amrstrong) (4:16)
Katie’s CommentsThe second track on my album is called “Lust and Cigarettes”, and it’s a bit more up to date, in terms of following the story theme than the first song was. The song documents my struggle to break into the industry as a professional musician, and focuses specifically on what was a very hard part of my development.
The title refers to the attitude and physical conditions I had to endure whilst I tried to get myself a reputation.
From the time I turned 18 in early 2010, I decided that I had to get myself noticed, and so I started playing a lot of open mic nights or just acoustic evenings all around London to get my name out there. Sometimes it was great, especially when I got to play in coffee houses and wine bars in the West End, and in those places I felt really appreciated, and warm. However, most of the nights I’m talking about were held in working men’s clubs, or just these seedy little bars, and that’s what the song focuses on.
It’s quite a poppy tune, still folk based, but a lot faster, and more upbeat than the first track on the album. There are feminist overtones here in abundance as well. Go girls! The reason for that is simple. The environments I always found myself in in those days meant that I was always finding myself being ogled at by all these middle aged, fat guys. I mean, they weren’t used to having a young blonde in their bars, so they always looked at me with these horrible, old man stares. Yuck! No one there gave two hoots about my music you know? And that’s what this song is chiefly about. The first verse, for example, is about when I used to drive up in my old battered VW, and all the men gathered outside smoking would be looking, and even just walking into the pub with my guitar was a nightmare, I had to try and get past whilst ignoring all the lewd comments.
I really like the line “Look at what’s in, and not on my chest” because it is so true. All they’d see on the stage was a singing set of boobs, whilst I wanted them to see my feelings, and see what I had written in my heart. It really hits home to me whenever I hear that line.
I also have to thank Scott Armstrong. He was a dream to work with on this track, he really was. He played both guitar parts, and he knew exactly what I wanted to do with it, so it was just so easy to get along with him.
Track descriptionThis track is a hell of a lot more upbeat than the previous one, so it begins with a foot tapping, catchy guitar chord riff. Quite upbeat, and accompanied by drums, which are being played with brushes, mostly cymbal work. The intro finishes with one deliberate guitar chord, and a crash cymbal is hit with a stick rather than a brush.
Verse (1) is sung with a very confident, and very much more aggressive voice from Katie, there is no haunting melody here like in the previous track. Each line begins at the same time as a sharp, short single chord, as the first word is sung, and then the remainder of the line is vocals only. The verse is sung very quickly, and the shorter lines (2 and 3/5 and 6) flow into each other as if they were only one (although the guitar chord still comes in at the beginning of each).
Before (.c) begins there is a guitar chord, repeated eight times, and accompanied by a bass drum playing eight beats, to build up to the chorus, where the acoustic guitar plays a very pop/rock style riff . Despite the nature of the song, it is very upbeat, and very happy, and is accompanied by a full drum section for the first time in a song by Katie. All of the shorter lines are sung in a sort of choppy fashion, whilst the longer ones are sung smoother, and a lot less angrily. The drums stop at the word “words” so that only Katie and the acoustic can be heard on “are not why you came”.
Verse (2) is different from (1). The same chords are used as in (1) but they are played for the whole verse this time, rather than just at the start of each line.
(.c) as above
Verse (3) harks back to (1), but not before there is a short bridge of finger picking from a second guitar, which sounds a bit distant, and lost behind the drums and chords as if to signify Katie being lost behind the wall of cigarette smoke and lustful eyes at this period of her life.
(.c) as above)
Verse (4) uses the same chord progression as the chorus, and flows straight from the chorus, right up until the second last line, where all the music stops and Katie’s voice resonates loud and clear “sad runner up to fags and beer”, without anything getting between her message and its target.
(.c) as above
Bridge (.b) comes after another period with some finger picking, but this time the picking is solo, as there is no chords or drums in the way. The bridge is sung very very quickly, and all the lines flow together as if they are one, without pause. Each line has a guitar chord, short and sharp at the beginning and end, as if to signal where the line breaks should be.
(.c) comes in after a increasing volume of guitar and bass drum builds up, and then as above.
(.c) Sung without musical accompaniment, and in a more haunting voice. The agression and attitude has gone, and Katie’s tone is beautiful and meaningful, right to the last line, where she sings very slowly.
A short piano outro, very slow and deliberate, and moody, ends the song.
Lyrics(1)Pulling into the car park
It’s another dark hole
For another bright spark
The doorway’s but a smoky haze
A lustful twisting
wolf whistling maze
(.c)Lust and cigarettes
I’m on the stage to give my best
But all they see is me
Look at what’s in, and not on my chest
Expressions all in vain
And I try to not be the same
No bimbo in a chain
Though my words are not why you came
(2)Never changes every night
At the end of the tunnel
There fades a light
I had a dream for me one day
I’d top the world
When I paid my way
(.c)Lust and cigarettes
I’m on the stage to give my best
But all they see is me
Look at what’s in, and not on my chest
Expressions all in vain
And I try to not be the same
No bimbo in a chain
Though my words are not why you came
(3)But it all seems a hopeless wish
Viewed through a glass
Just like a fish
Feels like I’m always on show
Like a prized cow
And I can’t say no
(.c)Lust and cigarettes
I’m on the stage to give my best
But all they see is me
Look at what’s in, and not on my chest
Expressions all in vain
And I try to not be the same
No bimbo in a chain
Though my words are not why you came
(4)Punters look and they see meat
I view them like
They’re dogs on heat
I’m not appreciated here
Sad runner up
To fags and beer
(.c)Lust and cigarettes
I’m on the stage to give my best
But all they see is me
Look at what’s in, not on my chest
Expressions all in vain
And I try to not be the same
No bimbo in a chain
Though my words are not why you came
(.b)And when I think about my nights
In pubs and clubs I feel alright
I gritted my teeth and I waited
It took a while but I graduated
Now I can look back and laugh
At where I honed and toned my craft
I look up at the bright night stars
It all once seemed a stretch too far
(.c)Lust and cigarettes
I’m on the stage to give my best
But all they see is me
Look at what’s in, and not on my chest
Expressions all in vain
And I try to not be the same
No bimbo in a chain
Though my words are not why you came
(.c)Lust and cigarettes
I’m on the stage to give my best
But all they see is me
Look at what’s in, and not on my chest
Expressions all in vain
And I try to not be the same
No bimbo in a chain
Though my words are not why you came
Similar to
3. Breakthrough (feat Will.Rocca) (3:46)
Katie’s CommentsSo this is the third track from my album. It’s called “Breakthrough”, and once again, it helps in following the “story” I was trying to build. This song is about when a rep from Studio60 came to one of my pub gigs, it was another horrible night, and I didn’t know anyone was there to watchme for that purpose. In fact, I still don’t know what had inspired them to come!
Anyway, at the end of my show, the guy came up, and invited me in to talk contracts. This is about the immediate aftermath of that. At first, this song was going to be about being signed, and how my life had actually changed since, but when I sat down and started to write it, that didn’t flow out at all. So I ended up instead with a song about how my expectations and dreams changed in the immediate aftermath of that realisation that I had a chance to make it.
As you’ll hear, the resentment for the clubs and pubs scene is still a bit evident here. It’s not as obvious as in the last track, but I do refer to it a few times. The line “I’m going now, and I won’t look Back At Orchards Gold and Bulls of Black”, actually refers to two of the actual pubs I used to have to play in a lot, The Black Bull and the Golden Orchard. They were absolute hell holes, and I used to have to face a lot of “get them out love” and all that crap when I played in those places.
In saying that though, most of this track is actually positive. I liked going into my own memory and digging out my emotions again. It was really fun to see what I had felt back then, and I think I managed to convey it accurately. I was dreaming big, and I still am!
The song itself is a really poppy song. We used electric guitars in this one, which was a first for me, but was really refreshing! I have to thank Will.Rocca as well, he was wonderful to work with, he really was. I had such a fun time in the studio with Will. Yeah, so I hope you like it!
Track descriptionThis is the poppiest song ever from Katie, and as such, it begins in surprising fashion, with a very upbeat, “happy” synth playing a quick beat, which dies away, but is still playing in the background, as the acoustic guitar comes in, playing a quick guitar chord, fast strumming riff.
Verse (1) is sung to the backing of the acoustic guitar only, it is quite fast in terms of how the lyrics sound. Lines 1 and 3 are sung in a lower key, and Katie’s pitch changes to slightly higher for lines 2 and 4, which adds a nice bit of variety, and also helps to add to the illusion of growth, a new beginning and a change in attitude.
There is a slight gap between verse (1) and (2) which is filled with just guitar, before it takes the slightest of gaps, almost un-noticeable, and is joined by drums, which herald their arrival with a quick rap on the hi-hat.
Verse (2) is sung similarly to verse (1) but with a lot more confidence and attitude. The drums play throughout alongside guitar, and the synth can still be heard playing softly in the background. As Katie sings the last three words of the verse, the guitar and drums punch in time, as she says each word, adding a strength to what she says (“Got It Made”).
There is the slightest of gaps between (2) and the chorus (.c) in which the drums play a quick drum fill, and then an electric guitar joins to replace the acoustic, playing the sort of reasonably heavy riff that we would never expect to hear from Katie.
(.c) is sung in an almost pop-rock fashion. Line 1 and 3 are sung a bit slower, with a punch packed in each word to give a sense of determination. These lines flow directly into 2 and 4, which are sung a lot faster, and in a slightly lower key. Lines 5 and 6 are in a higher pitch again and reasonably slow, before the last lines are very slow, and she holds the last “Breakthrough” for a good few seconds.
The electric guitar continues through verse (3) as it lends a tad more groove to it, and you can feel Katie getting right into the lyrics, spitting them out with an attitude like Hayley Williams of Paramore. (4) is the same as (3)
(.c) as above
Verse (5) is sung accompanied by just the synth. Katie goes back to the haunting meolodies of her sadder songs, as guitar and drums remain silent.
After the last line of the verse, the guitar and drums return, playing a sort of “dun dun dun dun” riff building to a crescendo, as the chorus kicks back in, rockier than ever.
(.c) as above
For the bridge (.b) the guitar and drums remain, but play a very soft version of the chorus riff, undistorted, and sounding very clean. Katie sings softly over the sound of the synth and the quiet of the other instruments.
Then the chorus build up (as before) comes in again, longer this time, and going to a higher crescendo
(.c) as above
The last chorus plays without a break from the one before, and this time has a key change. It has gone up an octave, signalling triumph, and moving up and on.
The song ends with just the lone sound of Katie whistling the rhythm of the chorus, which gradually slows and fades away towards the end.
Lyrics(1)Obscurity was once my friend
But now it seems it’ll come to an end
No longer will I sense the fear
That my dreams are never really near
(2)I’m done with this infernal place
The pub scene is a grim rat race
For young girls to earn their trade
But now it seems I got it made
(.c)This is not the last time you’ll see me
I’ll go up in the world
And I’m smashing through the barriers
To an all knew kind of girl
Racing to the pinnacle
My Everest new
This is my
Breakthrough
This is
Breeeaaak-throough
(3)I’m going now, and I won’t look back
At Orchards Gold and Bulls of Black
I see the light I’m dreaming large
Big things for Katie and my guitar
(4)Success is addictive, and it’s coming for me
But all I want is just to live and a chance to break free
From the lust and all the prying eyes and every fight
To the screaming of thousands every night
(.c)This is not the last time you’ll see me
I’ll go up in the world
And I’m smashing through the barriers
To an all knew kind of girl
Racing to the pinnacle
My Everest new
This is my
Breakthrough
This is
Breeeaaak-throough
(5)The sky is the limit or so they say
But I won’t stop there, oh I’m on my way
Look at me soar higher as my confidence grows
And the memories of self hate start to decompose
(.c)This is not the last time you’ll see me
I’ll go up in the world
And I’m smashing through the barriers
To an all knew kind of girl
Racing to the pinnacle
My Everest new
This is my
Breakthrough
This is
Breeeaaak-throough
(.b)And my dreams will all come true
It will be because of you
All my life I worked so hard
For the chance to see what I can become
And my dreams will all come true
It will be because of you
You believed that I could make it okay
And I promise I will be there someday
Some…day
(.c)This is not the last time you’ll see me
I’ll go up in the world
And I’m smashing through the barriers
To an all knew kind of girl
Racing to the pinnacle
My Everest new
This is my
Breakthrough
This is
Breeeaaak-throough
(.c)This is not the last time you’ll see me
I’ll go up in the world
And I’m smashing through the barriers
To an all knew kind of girl
Racing to the pinnacle
My Everest new
This is my
Breakthrough
This is
Breeeaaak-throough
Similar to (in the chorus only really)
4. Sunrise in Suburbia (feat. Jack Straw) (3:16)
Katie’s CommentsTrack four is called "Sunrise in Suburbia". It's like, a double whammy hehe. On one hand, it continues the story that I have been trying to portray, but it also acts as a thank you, a testimonial, and an homage to the band who made it all happen for me, and I'll address that first.
After I had just been signed, obviously I still had nowhere really to go. I was just Katie on my own as always. But then a band came along, and said that they had seen some of what I could do online, and they were impressed. That band was called Suburban Sunrise, hence the title of the track, and they added me to the bill of their UK tour right there and then. Whilst being signed was obviously a massive step towards where I wanted to be in the industry, I honestly believe that this band, and the fact that they took me on my first tour, was the stepping stone to me being able to be where I am today, and I will always be grateful to them for that. So I raise a glass to Suburban Sunrise!
In terms of the story aspect, this is a simple step. Although the lyrics don't actually mention being on tour specifically, they do allude to it, and so it continues the step by step notion that I'm trying to put across. I've now moved from "where it all began" to being on tour, visiting obscurity and discovery en route. And I'm pleased with the story up until this point. I can also say though that I'm pleased that, in my mind, each song stands on its own rather well too. I didn't want it to be one of those albums with a concept that always has to be played from start to finish you know?
The song itself, is a metaphor as I've said. It's a thank you metaphor, and a metaphor to being on tour through ideas of freedom, discovery, and just being accepted. It makes me feel so warm inside, and it really brings back the memories when I hear it. The song is actually one of the shortest on the album, and it has the most obscure structure of all of them I think. But because of how it fits together, I liked it. It's back to Katie being Katie, there's no pop in it really, we just went for acoustic guitar, and some banjo...yeah, banjo hahaha. I hope you all like it.
Obviously I had another guest on this track, and I'd like to thank Jack Straw! When i heard he was coming in, I have to admit I questioned it, because I knew he was a bassist in his own band. But he totally proved me wrong, and he was a delight to work with!
Track descriptionBack to basics for Katie here, in a song which loses the pop influence that we have seen from her lately, and this song starts with a straight up acoustic intro. The acoustic guitar strums for a while some gentle chords, before it changes to a mixture of medium paced picking and fast paced, major strumming.
Verse (1) comes in with a slow first line, sung over a bouncy, but quite slow, simple guitar chord progression. It appears to be more about the voice than the music in this track. Katie's haunting voice sings line 1 quite slowly, before line 2 picks up the pace, in order to make the longer line still seem "in place", although she does pause for a second mid line. Line 3 is slower again, before the pace of her vocals picks up again for the final line, which is sung with a much choppier guitar chord progression.
Between verse (1) and (.b) the banjo comes in to replace the strumming of the guitar, with its typically tinny sound being very distinctive and allowing the guitar to play the simple but effective picking it was before for around 10 seconds.
The music changes again for (.b) as the pace pace picks up slightly, but it changes to a slightly minor tone. Both guitar and banjo now play the same strumming chords, as Katie sings the slow first line, followed by a slightly uplifting tone, and a much higher note throughout the second line. This change is repeated through lines 3 and 4. The banjo and guitar break very suddenly, as Katie sings the single last word, "you" before rejoining almost instantly, with the banjo strumming and the guitar finger picking again.
The pace during verse (2) is a lot faster than (1), and the guitar and banjo continue to strum and pick respectively, with Katie's vocals overpowering both rather convincingly, she sings this verse more powerfully, but still with that haunting tone.
(.b) as above
(.c) comes in after a harmonica plays a short interlude following the bridge. Guitar and banjo stay on the same riffs as the harmonica plays. Then (.c)comes in with guitar and banjo both playing chords again. Katie sings much louder and with a lot more exuberance than the rest of the song, and the music packs more of a punch as well, almost as if she really wants the name of the band she is thanking to jump out at people.
(.c) as above
Verse (3) is a return to verse (1) style with just guitar and Katie, but it packs more of a jumpy attitude than the first verse did, and is slightly more pacey.
(.b) as above
Harmonica interlude again
(.c) as above
Verse (4) comes in with all instruments now playing the same, single chords, without a repeated strumming pattern. Even the harmonica is playing softly in the background, as Katie sings quietly, but confidently.
(.b) as above
(.c) as above, but the final two lines are sung without music, before the harmonica comes in to play a nice, happy outro.
The final line (o) is sung, with one guitar chord played the start and finish, before the banjo plays a little, low key flourish.
Lyrics(1)You believed what I said
Although I ran out of ways….to tell you what I meant
You had the faith in my style
Because of what I did, you said we’d go for miles and miles and miles
(.b)This must be what it’s like to win
Goosebumps run deeply through my skin
But god bless you, you alleviate my loneliness
You bring a smile to my heart when I’m with
You
(2)You took me far from this place
Lifted out of a rut and to a new time and new space
My bones were filling up with doubt
But now I’m here I see what life must be about
(.b)This must be what it’s like to win
Goosebumps run deeply through my skin
But god bless you, you alleviate my loneliness
You bring a smile to my heart when I’m with
You
(.c)Sunrise in Suburbia bright
You take me to the day from dust
And blow away the night
Sunrise in Suburbia swell
My new life on the road
Is so so far apart from hell
(.c)Sunrise in Suburbia bright
You take me to the day from dust
And blow away the night
Sunrise in Suburbia swell
My new life on the road
Is so so far apart from hell
(3)Took me under your wing
We soared together, sipping on a T and gin
There’s still screaming every night
Now there’s adulation and applause and bright white light
(.b)This must be what it’s like to win
Goosebumps run deeply through my skin
But god bless you, you alleviate my loneliness
You bring a smile to my heart when I’m with
You
(.c)Sunrise in Suburbia bright
You take me to the day from dust
And blow away the night
Sunrise in Suburbia swell
My new life on the road
Is so so far apart from hell
(4)I waited all of my days
Then someone plucked me from a dark and lonesome maze
I feel on top of the earth
Suddenly there’s someone who can see just what I’m worth
(.b)This must be what it’s like to win
Goosebumps run deeply through my skin
But god bless you, you alleviate my loneliness
You bring a smile to my heart when I’m with
You
(.c)Sunrise in Suburbia bright
You take me to the day from dust
And blow away the night
Sunrise in Suburbia swell
My new life on the road
Is so so far apart from hell
(o)This must be what it’s like to win
Similar to
Edited by user 31 May 2011 03:24:13(UTC)
| Reason: Not specified
