CHICAGO

XXXII: Stone Of Sisyphus

(2008)

1. Stone Of Sisyphus 4'11
(Lee Loughnane / Dawayne Bailey)
2. Bigger Than Elvis 4'32
(Jason Scheff / Peter Wolf / Ina Wolf)
3. All The Years 4'16
(Robert Lamm / Bruce Gaitsch)
4. Mah-Jong 4'43
(Jason Scheff / Brock Walsh / Aaron Zigman)
5. Sleeping In The Middle Of The Bed 4'45
(Robert Lamm / John McCurry)
6. Let's Take A Lifetime 4'57
(Jason Scheff / Brock Walsh / Aaron Zigman)
7. The Pull 4'18
(Robert Lamm / Jason Scheff / Peter Wolf)
8. Here With Me (A Candle For The Dark) 4'11
(James Pankow / Robert Lamm / Greg O'Connor)
9. Plaid 5'07
(Bill Champlin / Robert Lamm / Greg Mathieson)
10. Cry For The Lost 5'18
(Bill Champlin / Dennis Matkowsky)
11. The Show Must Go On 5'26
(Bill Champlin / Bruce Gaitsch)

Bonus Tracks

12. Love Is Forever (Demo) 4'15

(James Pankow / Robert Lamm)
13. Mah-Jong (Demo) 4'59
(Jason Scheff / Brock Walsh / Aaron Zigman)
14. Let's Take A Lifetime (Demo) 4'16
(Jason Scheff / Brock Walsh / Aaron Zigman)
15. Stone Of Sisyphus (No Rhythm Loop) 4'35
(Lee Loughnane / Dawayne Bailey)

Total Time: 69:42

  • Robert Lamm - Keyboards, Lead and Backing Vocals
  • Walter Parazaider - Woodwinds, Backing Vocals
  • Lee Loughnane - Trumpet, Flugelhorn, Backing Vocals
  • James Pankow - Trombone, Backing Vocals, Horn Arrangements, Horn Co-Arrangement on "Stone Of Sisyphus"
  • Bill Champlin - Keyboards, Rhythm Guitars, Lead and Backing Vocals
  • Jason Scheff - Bass, Lead and Backing Vocals
  • Dawayne Bailey - Rhythm Guitar, Lead Guitar (Tracks 2 & 3), Lead and Backing Vocals, Horn Co-Arrangement on "Stone Of Sisyphus"
  • Tris Imboden - Drums, Percussion, Harmonica

    Guests:

  • Bruce Gaitsch - Guitar
  • The Jordinaires - Backing Vocals on "Bigger Than Elvis"
  • Sheldon Reynolds - Guitar
  • Jerry Scheff - Bass on "Bigger Than Elvis"
  • Joseph Williams - Backing Vocals on "Let's Take A Lifetime"
  • Peter Wolf - Arranger, Keyboard Bass, Keyboards

    Produced by Peter Wolf (1993)
    Engineered by Paul Ericksen
    Mixed by Tom Lord-Alge at Encore Studios, Burbank, CA
    Remixed by Peter Wolf and Paul Ericksen
    A&R Supervision: Cheryl Pawelski
    Audio Supervision: Jeff Magid
    Remastering: David Donnelly at DNA Mastering: Studio City, CA
    Producion Manager: Mike Engstrom
    Art Direction & Design: MEAT And POTATOES, Inc.
    Photos: Paul Ericksen,
    Except facing page: Jimmy Katz
    Project Assistance: Sheryl Farber, Joe Halbardier, Sreve Woolard, Zach Cowie and Rob Ondarza
    Representation: HK MANAGEMENT - Pete Shivarelli

    Recorded at EMBASY STUDIOS, Simi Valley, CA Recorded in Nashville, TN

    THE LOST CHICAGO ALBUM

    In The Greatest Music Never Sold, author Dan LeRoy calls Chicago XXII: Stone Of Sisyphus "an authentic return to form" and bemoans the fact that one of America's most exciting and creative bands had been forced, for purely commercial reasons, to shelve such a daring, expressive set of songs.

    In the 15 years since its recording, Sisyphus has attained legendary status among rock critics, CHICAGO fans, those who've heard parts of it, and those who have only read about it. "Save for the songs that have seen official release on compilations", wrote LeRoy, "the disc remains merely grist for the rumor mill."

    THE MILL STOPS HERE

    It all began promisingly in the latter days of 1992. After hearing the first three completed tracks from the band's work-in-progress, WARNER Bros. RECORDS' head of A&R excitedly told producer Peter Wolf exactly what he wanted to hear: "CHICAGO's back, and in a big way!"

    Sisyphus was, by design, the group's departure from recording ballads provided by outside writers. Although it had kept them on the charts, they'd come to grow a bit weary of the formula.

    The sessions found the musicians on fire, with a rekindled enthusiasm that had been all but lost as CHICAGO's identity was progressively eroded away by the frustration and guilt that comes with creative soul-selling.

    "We wrote songs that were more experimental, songs that were more daring in terms of musical direction and chord construction, more than anything", remembers James Pankow, whose innovative horn charts had been an integral part of CHICAGO's distinctive sound from the start. "We got into really feeling our oats in terms of being the voice of CHICAGO again. It had been a long time since we had made a record like that."

    Indeed, CHICAGO's horn section — trombonist Pankow, trumpeter Lee Loughnane, and sax/flute player Walter Parazaider — was virtually reborn on Stone, giving the music the bite, power, and swing that had all but evaporated during the ballad period. So diminished had their roles become in the studio, the horn players had begun to feel like sidemen at their own sessions.

    "In those days", singer, keyboardist, and songwriter Robert Lamm says, "it had been all about survival, about staying on the radio."

    Lamm, in particular, was thrilled by producer Wolfs pronouncement that the band needed to return to what had made it great in the first place: collaborative songwriting, jamming and workshopping the songs, experimentation. Camaraderie.

    "There'd been talk of 'Well, once you guys get a really successful album, you can do whatever you want on the next album', says Lamm. "And it always seemed to be the next one, the next one. So we really felt like this was the album we'd been waiting to do, where we really can say who we are, right now."

    The members of CHICAGO gathered in Wolfs Simi Valley studio, each bringing fresh new ideas that would be tossed around like hot potatoes until they positively cooked. "Peter", Lamm recalls, "pulled me aside and said, 'You know, your lyric-writing is really crucial to this. You really gotta go deep, and you really gotta step up." And I felt like I did.

    "We really got excited about it. It became a crusade, if you will, for Peter and for the guys in the band."

    Wolf, the brilliant keyboard player, writer and producer who worked with Frank Zappa for years, says he had just one goal in mind. "I'm from the days where I tried to make every song into the best possible thing it could be", he explains. "I didn't do one or two songs for the record, and those are my hits, and the rest I couldn't care less about."

    WOLF HAD NEVER FORGOTTEN THE ILLUMINATIVE MUSICAL BOSH OF THE BAND'S EARLY, HORN-DRIVEN ALBUMS.

    Says Pankow: "This was a bit of a brass orgasm for me. I hadn't really been allowed to stretch my wings, other than a few spots here and there. Peter had the courage to trust me, and it was really a great feeling to go uncensored."

    Wolf and CHICAGO spent the early months of 1993 crafting Stone Of Sisyphus.

    "I'm the reed player", says Parazaider, "and Peter said to me, 'Bring all your flutes, bring all your saxes, bring the bass clarinet. We're going to use everything, like you used in the old days.' Now, when somebody says that to a player, you get the U-Haul out and put everything in it.

    "I'd go out, point the car in the direction of Simi Valley every day, and could hardly wait to get there. Just to see what was up with the rhythm section laying down a tune, or somebody singing a vocal, or the horns woodshedding something out."

    WARNER executives were not invited to the sessions; the cocooned band wanted to create Sisyphus with zero input (read: meddling) from the powers that be.

    When the album was finished, CHICAGO's manager proudly drove the label. What happened next still has heads shaking, all these year.

    "Suddenly there'd been a big shakeup in the hierarchy", says singer and multi-instrumentalist Bill Champlin, who'd delivered some of his most impassioned vocals on Sisyphus. "There were lawyers sitting in the chairs. And they went, 'This is the worst CHICAGO album yet. We can put it out, but we're not going to do anything with it, promotion-wise.'"

    Wolf and the band members were told that the executives — the new guys — hated their baby. "Sure, it had things that were not the expected pop mainstream thing, but that's what was good about it", says Pankow. "It had the element of surprise and exploration."

    Lamm was stunned. "We were completely dumbfounded", he recalls. "A couple of the songs, 'Here With Me' or 'Bigger Than Elvis', although they're bigger songs than some of the power ballads we'd been having success with, they still fall in that genre. So I don't know what the big whoop was. We were solidly together in saying 'No, this is the album.'"

    Sisyphus proved to be the final nail in the coffin of the band's relationship with WARNER Bros. Neither side blinked. CHICAGO left the label, taking the album with them. The sequential XXII was subsequently assigned to I995's Night & Day: Big Band; Sisyphus is now, officially, Chicago XXXII.

    The musicians look back on the experience with a mixture of regret (they all wish they'd put it out sooner) and intense pride (they'd defied conventional music business wisdom, emerging with integrity intact). "I think they wanted another album of rock ballads", Pankow says. "And they said, 'You guys went way outside.' We said, 'We're not going to be somebody we aren't anymore.'"

    - Bill DeYoung

    THE SONGS OF SISYPHUS

    In Greek mythology, Sisyphus was cursed to roll a huge stone up a hill, only to have it roll back down just before reaching the pinnacle. In many ways, the story parallels CHICAGO's career trajectory in the early 1990s. Stone Of Sisyphus was going to be a triumphant return to the top; instead of ascending, it rolled back down and knocked them flat.

    "You try to be as objective as you can about music," Walter Parazaider says, "but it's a pretty personal thing when you've just finished something that you've loved doing and get that kind of reaction. I don't think anybody that's creative digs that kind of rejection, unless you're a musical masochist."

    As it turned out, the defeat was only temporary. The band forged ahead with Night & Day, an album of big-band songs. CHICAGO entered its third decade wise, willing, and eager to scale new creative peaks.

    And over the years, the legend of Sisyphus grew.

    STONE OF SISYPHUS

    Lee Loughnane: Dawayne brought in a couple of ideas. Wbat is the chorus now was his verse. I listened to it a few times, we sat together, and I said, "I think this is your chorus. We should change this around." I was responsible for helping him put the song together, and arranged the song.

    It was the next step forward, creatively. There's less synthesizer on the other version. I think it breathes a little better. I always thought maybe Peter had put a few too many keyboards on the track.

    BIGGER THAN ELVIS

    Jason Scheff:I'd told Peter and Ina Wolf about seeing Elvis' Aloha From Hawaii on TV when I was a kid. Everybody was watching Elvis Presley, but I didn't even notice J him. I was just looking for my dad, who was the bass player. We brought him in to play on the song, but didn't tell him what it was about. We muted the vocals. And that Christmas he was over at my house, and I played him the finished song. He had headphones on, and I'll never forget it. He sobbed when he heard it.

    ALL THE YEARS

    Robert Lamm: It started out being about the band and my frustration about being stuck in a corner. Then it kind of morphed into a bigger subject, the political landscape of the early '90s- That in spite of all the revolution of the late '60s/early '70s, there didn't really seem to be much progress in terms of humanity in the politics of this country, much less the world.

    MAH-JONG

    Jason Scheff: Me and my buddy Aaron Zigman, and his friend Brock Walsh, we got together and said, "Let's come up with something funky." We came up with this real cool funk groove, nothing like what ended up on Stone Of Sisyphus. We brought Champlin in to sing on the demo, and that shows where it came from. Brock came up with the phrase Mah-Jong and painted that real pretty, smoky picture—the story of a guy who's falling for this girl who works in a Mah-Jongg parlor.

    SLEEPING IN THE MIDDLE OF THE BED

    Robert Lamm: When John McCurry and I were cutting the demo, I had the lyrics written, we had the track, and I never really sang a melody. I was just kind of riffing. The rhythm of the words was there, but the melody wasn't. I went out into the studio to do a rough vocal, and McCurry pushed the talkback button and said, "Why don't you rap it?" And we both started laughing: OK, let's try that.
    Bill Champlin: I think the record company heard that and went, "Wait a minute-white guys don't do this." Simple as that. I told Robert I thought it was an awesome piece, but you're running up against racial lines here. I think that's the first time Robert's crossed any of those lines in a good long while.
    Walter Parazaider: Robert was just exploring another genre, which we'd been doing since Day One. I think the only things we haven't covered are Dixieland and polkas, and give us long enough we'll probably do that too.

    LET'S TAKE A LIFETIME

    Jason Scheff: Peter spent a lot of time with Lamm, Champlin, and Pankow. I remember thinking toward the end of the album that we didn't really spend too much time working on stuff that I brought in. I always felt a little strange about saying, "What about me?" I hate that squeaky-wheel thing. But Peter said, "Oh, that's a great

    THE PULL

    Robert Lamm: A highly personal song about what I was going through in my private life at the time, just trying to be in two places at the same time. As much as we might desire it and need it, it's not possible. Peter Wolf asked me to write extraordinary lyrics for that song, and I feel like I delivered. I'm really proud of that song.
    Jason Scheff: There was such a great vibe. We were all supporting each other during each other's tracks. A lot of laughs, a lot of fun.

    HERE WITH ME (A CANDLE FOR THE DARK)

    James Pankow: A guy by the name of Greg O'Connor and myself wrote the song initially. We were trying to get to the hook, which is "Here With Me." And Robert jumped on board and fashioned the verse lyric, which kind of brings you to the hook, which is about a relationship that had ended but is still carried in the hearts of the people involved. Robert treated it very romantically, more so than I could have. And I think that song is a smash.
    Robert Lamm: Jimmy wrote the music, and we argued about the title of the song. I thought "Here With Me" was just banal and pedestrian, so I pushed to have it called "A Candle For The Dark."

    PLAID

    Bill Champlin: Peter said, "Let's go after corporate rock." And I thought, whoa, that's an easy target. That's pretty much a big, giant bull's-eye waiting there to get hit. It's not really about Chicago, more about the whole corporate posture. I think it was right on the money.

    CRY FOR THE LOST

    Bill Champlin: At the same time we had this anticorporate thing, we had this thought of, Let's make the commercial songs even more commercial. So they had me do a rewrite on "Proud Of Our Blindness" that turned into "Cry For The Lost." I personally like the songwriting on "Proud Of Our Blindness" better. But, hey, this is what the producer wanted. I didn't become an MVP singer/songwriter over the years by telling producers, "Nah, I don't want to do that." I've learned how to work in an assignment

    THE SHOW MUST GO ON

    Bill Champlin: Bruce Gaitsch and I wrote it. That's pretty much pointing the finger at management types. Do you think the suits at the label are going to get behind a record that calls them assholes? I think what Peter wanted was a record that talks about what's going on now, rather than love song, love song, love song, love song, love song.

    - Bill DeYoung

    www.chicagotheband.com

    www.ctaofficialfanclub.com

    ©2008 RHINO ENTERTAINMENT COMPANY, A WARNER MUSIC GROUP COMPANY




    1. Stone of Sisyphus

      Tomorrow is teasing me
      Time seems to run away from the future
      But this could be that lucky day

      A dream is make believe until
      Blood, sweat, and tears turn faith to will
      It's gonna take some miracle, man
      To show there's a way

      I'm gonna take the stone of Sisyphus
      I'm gonna roll it back to you
      Building a wall of stone

      Sometimes you know what's right
      Sometimes wrong is better than nothing
      They cast a stone so heavy to turn

      I believe in a love so true
      I believe you get what's coming to you
      We get so tired of living a dream
      For some other day

      I'm gonna take the stone of Sisyphus
      I'm gonna roll it back to you
      Wall of stone around the two of us
      That only angels can break through

      Looks like it's another of those lonely nights
      Will we always be alone
      That's never kept me from you
      That's never stopped me from the fight

      I'm gonna take the stone of Sisyphus
      I'm gonna roll it back to you
      I'll take the stone of Sisyphus
      Wall of stone around the two of us
      I'm gonna roll it back to you

    2. Bigger Than Elvis

      Come let's talk just you and me
      For once just let me be
      The little boy you used to know
      Relive that summer's bliss
      'Cause they came no more like this
      Those were the days
      The days when love was still in style

      All I ever dreamed I'd be
      Is what you are to me
      Bigger than Elvis
      And for all the missing years
      A memory reappears
      Bigger than Elvis

      I saw you on TV
      The king, you were to me
      Could you feel me watching you?
      At times my heart got mad
      Only heroes are allowed
      To run free that they could come back inside of me

      All I ever dreamed I'd be
      Is what you are to me
      Bigger than Elvis
      And for all the missing years
      A memory reappears
      Bigger than Elvis

      We know the saddest of goodbyes
      Must be the one that's bringing tears to your child's eyes

      Oh, from now on I'll walk with you
      Making music like you do
      Would you believe I always knew?

      You were never hard to take
      In some mysterious way
      Bigger than Elvis
      And for all the missing years
      Your memory reappears
      Bigger than Elvis

      Now I've found the missing years
      Forgotten all my tears
      I've found the missing years

    3. All The Years

      You ask me what I think
      I tell you, you ignore it
      The reasons for it make me crazy
      You ask me what is right
      Huh, you never hear it
      You're never nowhere near it baby
      I spent my life believing
      It would not end this way

      All the years we wasted
      All the years we tried
      All the restless hours
      All the times we cried

      You ask me what I want
      I got no answer
      I know I'm only dancing faster
      So now we're stuck with us
      With you and all your stories
      But who's the fool and who's the liar
      I spent my life believing
      it would not end this way

      All the years we wasted
      All the years we tried
      All the restless hours
      All the times we cried
      All the years we gambled
      All the years you lied
      All the hopeless dreamers
      All the dreams that died
    Repeat Chorus

    4. Mah-Jong

      Third floor walk-up
      One block east of Chinatown
      She walked by my window
      While the rain is pouring down
      Looking in she sees the easy money lying everywhere
      And it's clear she don't approve
      (And it's clear she don't approve)
      Through a cloud of smoke I shoot a little smile over there
      And I know what she's thinking

      She know Mah Jongg, Mah Jong she don't play
      She know Mah Jongg, waste your life away
      She know Mah Jongg, Mah Jong she don't play
      But she loves the player

      With the dark eyes burning
      I am opening the wall
      Can there be no other chance?
      I feel my fortune's turning
      And I wish for nothing else at all
      (Than to run to her)
      Looking up I see her signal with her fingers through her hair
      Telling me the hands are clean
      Understanding, well, I turn a dragon tail into a pair
      And the game is over

      She know Mah Jongg, Mah Jong she don't play
      She know Mah Jong, waste your life away
      She know Mah Jong, Mah Jong she don't play
      Though I don't obey her
      Still she loves the player
    Repeat Chorus
      Three floors up from where the lanterns light the parlors on the street
      There awaits another world
      And though there are not many things upon which she and I agree
      We enjoy the difference

      She know Mah Jongg, Mah Jong she don't play
    Repeat out

    5. Sleeping In The Middle Of The Bed

      Caught in a love storm
      Howlin' like a newborn
      Trying hard to stay warm
      My cover-up is torn up and tattered

      Addiction to apocalypse
      Looking for the big hit
      Tending to take trips
      The ship of love is beat up and battered

      Time after time
      I blow me away
      Sign on the streets now
      Brother let me pray now
      Winter's here I believe it's here to stay

      I read somewhere that religion is for people
      Who want to stay out of hell
      I was praying for a sign or a vision or a message
      Till you been there you won't get well
      I was sitting in a room I'd never recognize it
      With a picture before my eyes
      I've been sleeping in the middle of the bed again
      I'm not sure this qualifies

      Lost in a crosswalk
      Battle only half fought
      Crawling 'cause I can't talk
      Childhood finally caught up with me

      Flashing like a neon
      Noisy as an A-bomb
      Looking to the beyond
      Staring into the half-life of eternity

      Time after time
      I blow me away
      Sign on the street now
      Brother let me pray now
      Winter's here I believe it's here to stay

      I read somewhere that religion is for people
      Who want to stay out of hell
      I was praying for a sign or a vision or a message
      Till you been there you won't get well
      I was sitting in a room
      I'd never recognize it
      With a picture before my eyes
      I've been sleeping in the middle of the bed again
      I'm not sure this qualifies

      I read somewhere that religion is for people
      Who swear they need to be saved
      I've been sleeping in the middle of the bed again
      you can trust me I will be brave

    6. Let's Take A Lifetime

      Say no more
      If you want to kiss goodnight
      That's alright by me
      Close your door
      Make sure the latch is tight
      Fall gently to sleep

      We don't have to rush ahead
      Putting questions in your head
      And an ache in your heart

      Let's take a lifetime
      All that we desire
      Build it day by day into forever
      Let's take a lifetime
      All that you require
      Here and now and ever

      In these times
      Love is not some harmless game
      It's played strictly for keeps
      No, and it's no crime
      Wanting me to feel the same
      With water so deep
      Come tomorrow once again
      We'll be together and till then
      We've dreaming to do

      Let's take a lifetime
      All that you desire
      Build it day by day into forever
      Let's take a lifetime
      All that you require
      Here and now and lasting ever more

      So hard to leave you standing there in the night
      You look so lovely
      If we must wait
      No use tempting fate
    Repeat Chorus out

    7. The Pull

      Summertime came too soon
      Summers in Kansas often do
      And the air was still
      I felt the pull
      I recall the heat rising from the ground in a way
      And I knew I was the first to pass this way

      I believe I step across some line
      Or I stumble through the doorway to space and time
      Like a drunk who blacks out from the wine
      Never remembers his name

      I always feel so alone
      Wherever I am I feel the pull
      And the life I've left behind the pull
      And in case I have no future I've got the past
      There's no telling just how long this play will last

      I believe I step across some line
      Or I stumble through the doorway to space and time
      Like a drunk who blacks out from the wine
      Never remembers his name
      Never remembers

      I'm down, walking through a storm
      I hear a voice inside crying
      It calls my name like a judge accusing
      Black robe hanging down
      Oh, don't forget be brave about your love

      Well I walk across the murky room
      And there's flashes in my eyes
      I don't know what I'm doing
      Like a drunk who blacks out from the wine
      Never remembers his name
      Like a drunk who blacks out from the wine
      Never remembers his name
      Never remembers his name
      I never remember my name

    8. Here With Me (A Candle For The Dark)

      We rode the train
      From Paris to the cold Atlantic shore
      The winter rain
      Kept us in each others arms until the dawn
      Do you remember?

      Faster than the sun
      Flying higher than everyone
      Like a dream too good to last
      I won't regret the past

      Here with me
      Deep down in my soul now and forever
      A candle for the dark, I need you
      Here with Me
      A story with an unexpected end

      The morning plane
      Through empty doors a mountain in the sky
      Golden chain the autumn treetops cast a northern light
      Do you remember?
      We have no common ground
      Treasure lost will now be found
      We can blame our wildest heart
      From now and from the start

      Here with me
      Deep down in my soul now and forever
      A candle for the dark I need you
      Here with me
      A story with an unexpected end

      Remember feelings I have shown
      Chasing dreams I've never known
      We're losing let us walk away
      Hold me in your arms before you go
    Repeat Chorus
      Everywhere I go you're here with me

    9. Plaid

      Some will say it's too late
      So don't change the story
      There's too much at stake to grow
      Yesterday was so great
      Just bask in the glory
      Don't let your feelings show

      And I say, "Oh Yeah"
      Like a man with a condition, I wait for my heart to stop
      Oh, they say, "Stay down,
      Gotta plan hold that position.
      You can't afford a flop."

      Pack my suitcase
      With my game face
      Take the same place
      And put away the dreams I had
      Let my hair grow
      Find some old clothes
      Let the world know
      That my glory days were plaid

      I'm not asking for permission
      Are you ready for me to be me?
      Just pass the ammunition
      This prisoner's about to bust free from chains

      For so long you told me to keep it familiar
      Just play what they all would find
      I can wear this blindfold, stick to your story
      But I gotta ask myself why
      And I play those songs!
      For so many seasons
      Till I'm sure I'm losing my mind
      And I say, "Oh no,
      Gotta have a much better reason
      To leave all my dreams behind."

      Strangers
      Rearrange us
      Stay the same fate
      And become your favorite fad
      With the see through
      I gotta be true
      I can't be you
      While yes still comes in plaid

      I'm not asking for permission
      Are you ready for me to be me?
      Lord, pass some ammunition
      This prisoner's about to bust free from your chains
      I'm more than just excited
      Like a hundred pounds of monkey off my back
      (I got to find myself out)
      Now everybody's invited
      To ride this train till we run clean out of track
      Clean of track
    Repeat Chorus

    10. Cry For The Lost

      Something I forgot that I used to know
      Keeps on coming back around
      Somewhere in the dark right before the dawn
      Like a light from down the hall
      Suddenly some old familiar music
      Songs I know I've never heard before
      I gotta play along I can't refuse it
      I hear the call

      We've all been so proud of our blindness
      No kindness to share
      I used to cry for the lost
      Until I had to turn away
      Then I looked inside, past the fool
      And found some deeper words to say
      To bring us together
      We can make it better
      We can make it right

      We hide behind the veil of our own success
      While we're following the rules
      Our eyes refuse to see past our little hands
      To the never changing truth
      Freedom needs to speak a little louder
      Justice needs to try her other arm
      Some of us could push a little harder
      To sound the alarm
      And I see children marching
      And I hear the drums again

      I used to cry for the lost
      Until I had to turn away
      Then I looked inside, past the fool
      And found some deeper words to say
      If we hope and pray
      It will come, give it half a chance
      Everyone, understand
      In our hearts and our minds
      You know there's nothing left to hide
      We're already there

      I used to cry
      (Cry for the lost I was walking away)
      (I used to try to find a reason)
      Then I looked inside
      (I used my mind everytime I was walking away)
      (I gotta find what I'm feeling)
      To bring us together
    Repeat Chorus

    11. The Show Must Go On

      I've been trapped in the madness
      From the shadows of sadness
      I laugh it away
      I've been blind to the passion
      While the whole world is flashing
      I stash it away
      While I'm singing of freedom
      I'm trying to sell
      What I never had
      Hoping I'll be released from my own kind of hell
      'Cause I lost the key to my past

      The show must go on
      It seems like there's something I'm leaving behind
      The show must go on
      'Cause the dreams that I'm having
      I'm having all the time
      The show must go on

      There will be no confessions
      'Cause I'd only be guessing just where to begin
      There's only one thing I'm knowing
      This feeling ain't blowing
      Away with the wind
      And I'm tired of turning my back on myself
      Throwing truth away
      Let the fire burn down the front door to myself
      And give me a season of play

      The show must go on
      I just keep pretending to live for the game
      The show must go on
      I just keep on bending the rules to fit the pain
      It's time for collecting
      What I've been neglecting
      It's gonna be a little strange
      'Cause one day I'll be gone
      And I'll be back in town
      Nothing's gonna, nothing's gonna be the same

      The show must go on
      And I just keep pretending to live for your game
      The show must go on
      I just keep on bending the rules to fit the pain
      Put on the face
      Win every race
      I'm just so strong can't you see
      And I keep up the pace
      I won't leave a trace
      Of yearning for some room to breathe
      Still going on, still going on

      The show must go on
      The show must go on
    (fade out)

    12. Love Is Forever

      Not Available Yet