E Street Band Gitarrist Little Steven van Zandt veröffentlichte am 19. Mai 2017 ein neues Studioalbum. Das Werk trägt den Namen "Soulfire" und beinhaltet
10 Eigenkompositionen sowie zwei Coversongs von James Brown und Etta
James.
"Soulfire" wurde in Little Stevens eigenem "Renegade Studio" in New York City aufgenommen und abgemischt. Mitgewirkt haben
unter anderem Marc Ribler (Gitarre), Rich Mercurio (Schlagzeug), Jack
Daley (Bass), Andy Burton (Klavier, Orgel), Danny Sadownick (Percussion),
Clifford Carter (Klavier), Steven Salcedo (Saxophon), Steven Jankowski
(Trompete), Kent Smith (Trompete), John Martin (Trompete), Dan
Nissenbaum (Trompete), Michael Davis (Posaune), Ian Gray (Posaune),
Jonathan Dinklage (Violine), Tawatha Agee, Elain Caswell, Cindy
Mizelle, Lajuan Carter, Martha Redbone, Audrey Martells, The
Persuasions (Background Vocals), die Asbury Jukes Bläser Eddie Manion und Stan
Harrison sowie die preisgekrönten Toningenieure Bob Clearmountain sowie Bob
Ludwig.
Die offizielle Pressemeldung vom 7. April 2017:
- Little Steven Is Back With SOULFIRE
„I have very little interest in the modern world and I’m not in any way conflicted about that. I grew up in a renaissance period, a very lucky time when the greatest music ever made was also the most commercial. We’ll never see that again so for me, there’s only one criteria, which is greatness. That’s all I care about. Is what I’m doing reaching for greatness? Whether I achieve it or not, that is one hundred percent of my criteria.“ – Stevie Van Zandt
SOULFIRE will be available on CD, digitally and on vinyl as a double LP. Pre-order begins today, April 7 and will be accompanied by an instant grat download of the recently unveiled album track, „Saint Valentine’s Day.“ Additional instant grat downloads will be unveiled in the coming weeks, including the blazing title track, „Soulfire.“
SOULFIRE is Stevie Van Zandt’s first solo album in close to two decades and without question his purest and most uniquely personal artistic statement thus far. The album sees the Rock & Roll Hall of Famer revisiting songs that span the length of his career as artist, performer, producer, arranger, and songwriter, focusing directly on the hugely influential „soul horns-meet-rock ’n‘ roll guitars“ approach he first pioneered on Southside Johnny and the Asbury Jukes‘ classic first three albums.
„I’ve always been very thematic with my work, very conceptual,“ Van Zandt says. „I need a big picture, I can’t just do a collection of songs, that doesn’t work for me. In this case, the concept became me. Who am I? I’m kind of my own genre at this point. So I tried to pick material that when you added it all up, really represented me. So there are a couple of covers, a couple of new songs, and some of what I feel are the best songs I’ve written and co-written over the years. This record is me doing me.“
Little Steven and The Disciples of Soul made their long awaited return last October, prompted by a friend’s request to perform at London’s BluesFest 2016. Van Zandt had only just returned home from The E Street Band’s summer stadium run but as luck would have it, his autumn plans already included a trip to the UK to celebrate both his wife’s birthday and his friend Bill Wyman’s 80th.
„It was perfect circumstances coming together,“ says Van Zandt.
Little Steven quickly put together a Disciples of Soul for the 21st century, an „ever-changing group of misfits, rogues, and roustabouts“ complete with three backing vocalists and a full horn section currently featuring original Asbury Jukes/Miami Horns saxophonists Stan Harrison (tenor) and Eddie Manion (baritone). Stevie and his 15-piece big band crossed the Atlantic and blew the roof off London’s indigo at The O2 with what was supposed to be just a „one-night-only“ performance highlighted by classic hits like „I Don’t Want To Go Home,“ solo favorites, songs written for other artists, and inventive covers of tracks made famous by Etta James, James Brown, and The Electric Flag.
„I thought, well, we’ve already learned 22 songs,“ Van Zandt says. „Maybe we should make an album.“
With his usually packed schedule clear until The E Street Band’s „Summer ’17“ tour of Australia/New Zealand, Van Zandt decided to strike while the iron – and his big band – was hot. SOULFIRE was arranged and produced by Van Zandt at his own Renegade Studios in New York City, co-produced and recorded by GRAMMY® Award-winner Geoff Sanoff (Fountains of Wayne, Stephen Colbert) and co-produced and music directed by guitarist Marc Ribler – the latter musician recruited by Stevie as Darlene Love’s music director for Love’s 2015 Van Zandt-produced INTRODUCING DARLENE LOVE and then „borrowed back“ to serve that same role with The Disciples of Soul. Background vocals on „I Don’t Want To Go Home“ and „The City Weeps Tonight“ come courtesy of renowned a cappella group, The Persuasions. SOULFIRE was mixed and mastered by Van Zandt’s career-long collaborators and friends Bob Clearmountain (Rolling Stones, David Bowie, The Who, Bryan Adams), and Bob Ludwig (Led Zeppelin, Nirvana, The Band, Sly and the Family Stone).
„This was the most fun I’ve ever had making a record,“ Van Zandt says. „We did it quickly, while we still had the fire and energy from the London show. We just took it into the studio and banged it out, six weeks from start to mix. It’s one of those strange things, it really seems like it was meant to be.“
Each of Van Zandt’s prior five solo albums had seen him expressing his utterly personal songwriting through a changing variety of sounds and approaches, an ambitious adventurousness that has fueled much of his creative output these past two decades. He expanded his parameters, as an actor on The Sopranos and Lilyhammer, as host, historian, and rock ’n‘ roll advocate on Sirius XM’s one-and-only „Little Steven’s Underground Garage“ (not to mention creator of Sirius XM’s long-running „Outlaw Country“ format). Van Zandt kept his skills sharp by composing the score for all three seasons of Lilyhammer and continued to work as producer and songwriter, lending his distinctive craft to records from an array of international garage rockers, but couldn’t kick a lingering sense of unfinished business.
„I felt a bit guilty about having walked away from Little Steven the artist,“ he says. „I left that part of myself behind and I shouldn’t have done that. I let the material down by not continuing to perform it,“ he says. „I betrayed the work and I want to fix that. I didn’t give up on the material – there were a lot of other factors – but I do have a sense of wanting some redemption for it.“
Van Zandt – who will remain a touring and recording member of The E Street Band – is now looking forward to hitting the road with his own big band. Little Steven and the Disciples of Soul will celebrate SOULFIRE with an epic international tour schedule, set to begin April 22nd with an eagerly anticipated return to Asbury Park, NJ’s historic Paramount Theatre and then continue with headline gigs and festival dates around the world. A full-scale North American headline tour will be announced soon – for regular updates and ticket information, please visit http://littlesteven.com/index.php/tour-dates.
„I want to take this band to every place that wants to see us,“ Van Zandt says. „It’s tricky with a 15-piece band, but I’m just trying to achieve my lifelong goal of breaking even!“
Six solo albums and countless milestones in, Stevie Van Zandt has fully captured the singular vision he has refined and pushed forward for the length and breadth of his life and already brilliant career. SOULFIRE marks the much-needed return of a truly great artist, reenergized and unstoppable.
„I’m back into it,“ Little Steven says. „And this time I’m going to stay back.“
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Die Songs auf "Soulfire":
- "Soulfire" (co-written with Anders Bruus of The Breakers) "Doing the radio show keeps you very much in tune with what's going on in the world of rock 'n' roll. It's not the real world, we live in a completely parallel universe, but we've broadcast over 700 new bands in the past 14 years. A lot of them we signed to my Wicked Cool label, like The Breakers, who are a very good band from Denmark. This was a way of exercising my songwriting muscles at that time. I try to live with purpose, and that includes songwriting. I don't get up every day and write a song just to write a song, I have to have a specific reason for it. So if I'm producing a band and I feel they need a little something extra or something specific, I'll write it for them, or in his case, with them. To some extent, that's what kept my songwriting alive over these past years."
"I'm Coming Back" (Originally found on Southside Johnny and The Asbury Jukes' 1991 LP, BETTER DAYS) "I did their first three albums in 1976, 1977, and 1978 but then we didn't work together for another 15 years. The lyrics were perfect for Southside at that point and they work for me, at this point. It's one of my favorite lyrics that I've ever written."
"The Blues Is My Business" (Written by Kevin Bowe and Todd Cerney, recorded by Etta James in 2003) "I've never recorded a real urban Southside-of-Chicago blues thing before. I went though a blues period growing up but by the time I got to the recording studio, I'd kind of gone in a different direction. We worked it out for BluesFest and I liked the arrangement so much, we recorded it for the album."
"I Saw The Light" "I had half-written it for Richie Sambora & Orianthi but the next time I talked to him he had already written 40 songs so I didn't bother finishing it. I came across it as we were making my album and thought, I like this, maybe I'll finish it for me."
"Some Things Just Don't Change" (Originally found on Southside Johnny and The Asbury Jukes' 1977 LP, THIS TIME IT'S FOR REAL) "One of my favorites. I wrote it with David Ruffin and The Temptations in mind. I was basically trying to write a classic Motown song. It can be an interesting artistic challenge writing for other people. As third generation rock 'n' rollers we grew up post-show business. It was art form by then, very autobiographical. That's one of the reasons for its success as an art form, people relate to rock 'n' roll in a personal way. So part of you wants to write something traditional, something classic, but part of you always wants to keep it very personal."
"Love On The Wrong Side of Town" (Co-written with Bruce Springsteen and originally found on Southside Johnny and The Asbury Jukes' 1977 LP, THIS TIME IT'S FOR REAL) "Bruce had the riff and I did the rest. When you wrote, arranged, and produced the original versions, it's not always easy to redo them. They become definitive. You did it that first way for a reason. I found it difficult to do much with this one but when we got to the end of the song I found an opportunity to change it up a little bit. I changed little things here and there on all the songs on the album but it definitely took a minute."
"The City Weeps Tonight" – "It was going to be the first song on my first solo album. I was going to do a chronological history of rock 'n' roll with my own records but the concept changed and I got political. It remained three-quarters finished all these years, but I always liked it. I love doo-wop so this was a great way to get that onto the record."
"Down and Out in New York City" (Written by Bodie Chandler and Barry De Vorzon and originally recorded on James Brown's 1973 Black Caesar soundtrack) "I love the blaxploitation genre – we do a special on the radio show every year, the day after Thanksgiving, we call it 'Blaxploitation Friday.' My favorite has always been James Brown's theme from Black Caesar. It has the immediate common ground for me of being about New York City. We did it for BluesFest, came up with a really cool groove and a new horn line and made it our own. It has a bit of a jazzy element, which I explored with my Lilyhammer score, but like the blues song, it's unlike anything I've ever recorded before on a solo album so it was nice to get those genres onto a record."
"Standing in the Line of Fire" (Co-written with Gary U.S. Bonds and (L.) Anderson and originally found on Gary U.S. Bonds' 1984 STANDING IN THE LINE OF FIRE) "Gary U.S. Bonds is somebody you don't want to mess with. The records I did with him are so damn good, I thought, I can't really beat this, I need to really change it somehow. So I added a piece of music I did for Lilyhammer – now it's like Gary U.S. Bonds-meets-Ennio Morricone."
"Saint Valentine's Day" (Originally found on The Cocktail Slippers' 2009 LP, SAINT VALENTINE'S DAY MASSACRE) "I wrote it for Nancy Sinatra but unfortunately never did the session. I recorded it with The Cocktail Slippers, similar to the way I was going to do it with Nancy, and then David Chase liked it so we did a more rock 'n' rolly guys' version of it for his movie, Not Fade Away. For my version, I added a horn line that I think changes the whole complexion of the song, makes it more of a soul thing."
"I Don't Want To Go Home" (Originally found on Southside Johnny and The Asbury Jukes' 1976 debut LP, I DON'T WANT TO GO HOME) "It's the first song I ever wrote and I wanted to do it the way I'd originally imagined it. I'd spent five or six years trying to write songs but I was never really happy with them. I decided to go back and really study the roots of rock 'n' roll. To me, the beginning of rock 'n' roll songwriting was Leiber & Stoller, so I decided I'd write a Drifters song. I was on the oldies circuit at the time, playing with The Dovells, and I got to meet all of my fifties and sixties early rock 'n' roll heroes, spend some time with them. I wrote it for Ben E. King but then didn't have the courage to give it to him."
"Ride The Night Away" (Co-written with Steve Jordan and originally found on Jimmy Barnes' 1985 LP, FOR THE WORKING CLASS MAN; later recorded for Southside Johnny and The Asbury Jukes' 1991 LP, BETTER DAYS) "Steve Jordan came over to my house one day and said, 'I've got a Jimmy Barnes session, I promised him a song and I don't have one so I'm not leaving until we write one.' That kind of songwriting-on-a-deadline goes back to Leiber & Stoller as well – I love that whole Brill Building thing, I wish I'd been around for that period."
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SOULFIRE
Stop the world for a minute
Is that a tear i see in your eye?
This is your chance,
This is your moment baby,
Spread your wings, if't time to fly.
I've seen 'em all come and go,
And each one takes a piece of your heart,
But I know what your dreams are made of,
I wait patiently,
Ready to play my part
If your soul cries out in desperation,
And you're helpless from your own fear,
When there's noboby left to depend on,
I'll be here, right here,
Lighting the Soulfire
Lighting the Soulfire
Look outside the world is changing,
Mean spirited and insincere,
The skey may tumble,
And the gods might stumble,
But I'll still be standing right here
We're all introduced as strangers,
But there's a mystery that connects us inside,
There's an adventure that's forever,
Waiting for you,
But only if your spirit is ready to take that ride
When you've lost your way in the wilderness
Scared, confused, on your owen,
Feeling betrayed,
Feeling abandoned
You're not alone, we'll find your way home
We'll follow the Soulfire
We'll follow the Soulfire
As you mourn the ceremony of your innocent
Take my hand, there's a place that i know,
The price of salvation is your loneliness,
And cou can call me
When you're ready
When you're ready
When you're ready, to go
Look outside the world is chancing,
And not for the better no no,
I know we're stranger together that we are apart,
The rest we'll figure out as we go
Come help me light the Soulfire,
Come help me light the Soulfire.
I'M COMING BACK
I still remember, baby
Those wild, desperate times
Making love in crazy places
While the town around us died
I played on broken stages
I watched the lonely cry
You danced in iron cages
For the boys with hungry eyes
All those wasted lives
Little by little, baby
We were going down
I swore I'd come back for you
Come back and buy this town
I'm coming back
Back for what's mine
I ain't gonna let nobody
Stop me this time
No more running, baby
I paid for my crime
I'm coming back, baby
Back for what's mine
You were standing at the station
That rainy night I left
You looked so fine, baby
I couldn't catch my breath
Once I started running
I never asked the cost
Too many years and miles
To find out what I'd lost
Some things can't be bought
Everybody's colder now
It's everywhere I go
I'm getting tired of living
In a world that's got no soul
I'm coming back
Back for what's mine
I ain't gonna let nobody
Stop me this time
No more running, baby
I paid for my crime
I'm coming back, baby
Back for what's mine
Oh, yeah
I got to get back home
I don't want to confuse you
If you found something else
But I don't want to lose you
Just when I found myself
Everybody's colder now
Let's everywhere I go
I just don't want to live
In a world that's got no soul
I'm coming back
Back for what's mine
I ain't gonna let nobody
Stop me this time
No more running, baby
I paid for my crime
I'm coming back, baby
Back for what's mine
Now I'm coming, baby
I'm coming, baby
You know, I'm coming home, baby
I'm coming back home
I'm coming, baby
Oh, I'm coming, baby
I'm coming, baby
I got to get back home
BLUES IS MY BUSINESS
I got a heart full of trouble, a house full of sin.
And things are bad as they ever been.
If trouble were money,
I'd have more money than any man should.
I'm open for business in your neighborhood,
The blues is my business, and business is good.
If I had a dollar for every broken heart,
I'd be drinkin' fine wine and eatin' caviar.
If trouble were money,
I'd have more money than any man should.
I'm open for business in your neighborhood,
The blues is my business, and business is good.
Well business, the business is good.
The blues is my business, and business is good.
The blues is my business, the blues is my business.
I'm open for business in your neighborhood,
The blues is my business, and business is good.
It's a world full of trouble and a world full of pain,
I'll take the problem, but I won't take no blame.
If trouble were money,
I'd have more money than any man should.
I'm open for business in your neighborhood,
The blues is my business, and business is good.
The blues is my business, and business is good.
The blues is my business, and business is good.
The blues is my business, the blues is my business.
I'm open for business in your neighborhood,
The blues is my business, and business is good.
The blues is my business, the blues is my business
The blues is my business, the blues is my business
And business is good.
I SAW THE LIGHT
Baby I ain't never learned to say I'm sorry,
And baby this cold, cruel world don't owe nothin' to me
Faithlessness all around me,
Tastelessness trying to drown me,
I look around baby and don't recognize a thing that I see,
I tought the only way to be a real man,
Was to spend all my time running through quicksand
I was stumbling blind in the darkness,
The suddenly,
Right in front of me,
I saw the light,
I saw the light,
I saw the light in you baby.
Too many distractions posing as obligations,
Too many choices undercided wasting my time,
I was living a self-made hoax,
Now I feel born again in a kaleidoscope,
I realized I got last somewhere back in my prime,
If memory serves me well,
I turned down the banquets for seasons in hell,
I was stumbling blind in the darkness,
No charity,
No idolatry,
I saw the light,
I saw the light,
I saw the light in you baby.
SOME THINGS JUST DON'T CHANGE
After the wind dried my eyes
Baby, I knew I'd have to make it without you
I was up all night telling myself lies that I didn't need you
Oh you know I need you baby
Blinded by pride I sent you away
Spend all my time just thinking about you
And all the words that I'd like to say
Stayed inside me, wish you were here beside me
All that fills my life is emptiness and trouble
How could I be so wrong?
Just as long as the sun rises in the morning
Long as the stars shine at night
Just as long as the river's flowin'
My love's gonna keep on growing
Babe, it's all the same
Some things just don't change
Got home today and I got your letter
Cried all night long
Thought by this time I'd be feeling better
Come on home, I've been so lonely
Through my tears I see your face
How could I be so wrong?
Just as long as the sun rises in the morning
Long as the stars shine at night
Just as long as the river's flowin'
My love's gonna keep on growing
Some things just don't change
They just don't change, baby
And I'm gonna love you
Long as the sun rises
Long as the stars shine at night
And always, and always
I'm gonna keep on lovin' you, baby
I can't help myself
No matter where you go
You're still my baby
No matter where you are
You're still my little girl
Always
Come on home
The door is always open
LOVE ON THE WRONG SIDE OF TOWN
I was there when you needed someone
Look now, baby, see what you have undone
I did most of the talking
But you were the one who lied
Bye-bye, baby, our love is tumblin' down
I can't be hangin' around
Love on the wrong side of town
You were gone when I needed you by my side
There was no one to dry the tears from my eyes
You were the one who cheated
But I was the one who cried
Bye-bye, baby, our love is tumblin' down
I can't be hangin' around
Love on the wrong side of town
Love on the wrong side of town
Bye-bye, baby, love on the wrong side of town
THE CITY WEEPS TONIGHT
I gave my heart to you,
You told me you loved me,
You told me you loved me,
The city weeps tonight.
The days drag endlessly,
You told me you'd wait for me,
You told me you'd wait for me,
The city weeps tonight
The promise of love is so beautiful,
Your soul born again the the eyes of a girl,
But now I know why,
The Skiy hat to cry,
It's because of all the heartbreak in the world.
Forever is a long, long time,
You told me you'd pray for me,
You told me you'd pray for me,
The city weeps tonight,
The world may be crying tomorrow,
But the city weeps tonight,
The city weeps tonight.
DOWN AND OUT IN NEW YORK CITY
Say brother, can I borrow a thin brother
You know, a dime?
Say it, say it, say it sis
I'd sure like to have this little dime for me
So I can get this cup of coffee
Cop me a snack, somethin'
I guess I better quit tryin' to be hip and get on down
Yea man, like, you know
I was born in New York City on a Monday
It seems I was out shinin' shoes 'bout two to noon
All the fat cats, in the bad hats doing me a real big favor
Got the fat cats, in the bad hats laying it on real good
Here's a dime boy, give me a shine boy
When the cold wind comes, it live at New York City
And the street's no place to be but there you are
So you try hard, or you die hard
No one really gives a good damn
You try hard, and you die hard
No one gives a damn
Here's a dime boy, give me a shine boy in New York City
Ain't no way to be, but where can you go?
When you're down and out in New York City
I'm never, never, never gonna get that way again, ow
When you need a friend
When you want a friend
Gonna get myself together 'til the mornin'
Gonna leave it all and a one bad dream
All the fat cats, in the bad hats doing me a real big favor
Got the fat cats, in the bad hats, laying it on real good
Here's a dime boy, give me a shine boy, wow, ow, yeah
Give me a shine boy
STANDING IN THE LINE OF FIRE
Tired my best baby,
Gave all that I had inside,
Now I'm standing in the shadow,
The place where dreams come to die.
For just one moment baby,
I had it all in my hand,
I think it's time I discovered,
Just what's left of this man.
Baby I'm standing in the line of fire,
I ain't running from the fight this time,
Standing in the line of fire
There ain't nothing gonna change my mind.
Slowly I,
Fing that my friends are all gone,
Feels linke I'm starting all over,
And it hurts after working so long,
Looking at your face baby,
Make me thinks about everything I wanted,
It's something I can't get used to,
I wanted it so badly for you.
Baby I'm standing in the line of fire,
I ain't running from the fight this time,
Standing in the line of fire
There ain't nothing gonna change my mind.
Hold me girl,
A little bit tighter now,
Maybe if we try together baby,
We can get off this merry-go-round
I've learned something baby,
What a lucky man I am,
There'll be good times,
There'll be bad times,
You count your friends on one hand.
Baby I'm standing in the line of fire,
I ain't running from the fight this time,
Standing in the line of fire
There ain't nothing gonna change my mind,
I ain't running from the fight this time,
Standing in the line of fire
There ain't nothing gonna change my mind.
SAINT VALENTINE'S DAY
It's no news that I can trust you with my secrets
Your reputation for discretion is well-known
and I appreciate a glimpse into your misery
Tell me just one thing and then you're on your own
Am I still pencilled in on your calendar
Am I still the late night call when you got nothing to say
I know it's Thanksgiving Night and you say you love me
But who'll be the last lover standing come Saint Valentine's Day
Was it adventure, was it fear of sanctuary
That was a trip a bit far out, even for you
I know you're busy directing your lifelong documentary
Documenting was all you wanted me to do
Am I still pencilled in on your calendar,
Am I still the late night call when you got nothing to say
I know it's Christmas Morning and you say you love me
But who'll be the last lover standing come Saint Valentines Day
I had my cards close to my chest when the table got kicked over
It's what you wanted but you got nothing instead even less
now even your gallery of pigeons has been picked up by the vultures
there's only one thing left for you to confess
Am I still pencilled in on your calendar
Am I still the late night call when you got nothing to say
I know it's New Years Eve and you say you love me
But who'll be the last lover standing,
who'll be the last lover standing
who'll be the last lover standing
Come Saint Valentine's Day
I DON'T WANT TO GO HOME
I know that it's getting late
But I don't want to go home
I am in no hurry baby time can wait
I don't want to go home
Listen to the man sing his song
I don't want to go home
I don't mind baby to stay alnight long
Cause I don't want to go home
Listen baby
I know we had to try
To reach up and touch the sky baby
What ever happened to you and I
That I don't want to go home
Look at all the people staying
Saying I don't want to go home
In the night
I don't want to go home
I know the words to the song I feel
I don't want to go home
I know it's talking about the way I feel
I don't want to go home
Listen baby
I know we had to try
To reach up and touch the sky baby
What ever happened to you and I
That I don't want to go home
I want to hear people laughing
And having a good time
I want to know why she told me she had to go
Why did she leave me lonely
I know it's time to go
But I don't want to go home
You don't play the blues soft and low
Cause I don't want to go home
Listen baby
I know we had to try
To reach up and touch the sky baby
What ever happened to you and I
That I don't want to go home
RIDE THE NIGHT AWAY
I I got somethin' baby on my mind
It's tearin' me up inside
And I got to let loose tonight baby now
I know you, can see what I'm goin through
Everybody telling me what to do,
Well I need somebody to talk to
Well I'm different I can feel the changes
But I can't turn back the pages
And our hearts are all we have to save us
Come on save me tonight
We're gonna ride the night away
Yeah babe we're gonna ride the night away
Well there ain't no time left to borrow
I guess I'll have to think about it tomorrow
We're gonna ride, ride the night away, yeah baby.
I, got a gun pointed at my head
I put it there by myself
I can't ask ya but I need some help, baby now
Let me tell ya hunny
I got a fire burnin' in my soul
Well I'm dangerous and out of control
And tonight I got to let it go.
I can't look back baby I've tried
It's too late for me to compromise
Well I need somebody by my side
Come on save me tonight.
We're gonna ride the night away
Yeah babe we're gonna ride the night away
Well there aint no time left to borrow
I guess I'll have to think about it tomorrow
We're gonna ride, ride the night away.
I can't look back baby I tried
It's too late for me to compromise
Well I need somebody by my side
Come on save me tonight
We're gonna ride the night away
Yeah babe we're gonna ride the night away
Well there ain't no time left to borrow
I guess I'll have to think about it tomorrow
We're gonna ride, ride the night away.
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