What they gave to the world and why .....

ALONE (1997)
BARRY GIBB: What the song's really about is that little child inside. It's that abstract feeling we all have that no matter how close or how many relatives we have or how many people around us we love, we still feel alone. There's an aloneness about all of us. That "How do I, why is it always end up alone?" Well, I'm not alone, but I might feel alone, that no one really thinks the way I do. I guess that's because everybody's unique in their own way. We all do feel the same way about most things, but why is it that nobody feels the same way I do about everything? So you're alone. You have that feeling sometimes.

BLUE ISLAND (1993)

BARRY GIBB: The other side, what we call heaven, in fact is blue and it's an island. And from there we are processed before we move on to our next reality. Good or bad, this is where we all end up. So we wrote 'Blue Island' and dedicated it for the children of Yugoslavia, because even though they may not survive, the hope is that they, as well as us, are all going to this beautiful place.

EDGE OF THE UNIVERSE (1976)

BARRY GIBB: A humorous flight of fancy about an alien and his pet dog. Baffling really.

FIRST OF MAY (1969)

BARRY GIBB: 'First of May,' that was my dog's birthday. When Linda and I first moved into an apartment near St Paul's Cathedral, we got ourselves a Pyranian mountain dog and named him Barnaby. The idea came from then. Sad to say, Barnaby's gone but the song lives on.

HOW CAN YOU MEND A BROKEN HEART (1971)

BARRY GIBB: Fifteen months after we broke up, Robin dropped into my place in Kensington. It was a cold, wet day and this song was born. We finished it with Mo, and the Bee Gees were reborn.

HOW DEEP IS YOUR LOVE (1977)

ROBIN GIBB: Personalities are examined in this tune, but female or male aren't even mentioned. It has universal connotations and it clicks with everyone. Before we cut the song we knew we could fuse some of our own personalities into the track. Love is the anchor, it's a foundation.

I STARTED A JOKE (1968)

ROBIN GIBB: The idea for the song came when I was sitting on a plane over Germany, and I heard a melody in the droning of the engine. As soon as I got on the ground that night I completed the song with Barry and Maurice. To me, that was a very spiritual song, about faith and survival in life. It wasn't a love song, it was one of the first songs we wrote about struggling to survive emotionally alone in the world.
You can read an interpretation of this song at Pat Wong's site.

IRRESISTIBLE FORCE (1997)

BARRY GIBB: An irresistible force meeting an immovable object. That is life, isn't it? That is really a way of saying that life just never really is a good, clear, luck-filled path. There's an obstacle at every turn. It's a like a fantastic video game. And there's always going to be an immovable object.

I'VE GOTTA GET A MESSAGE TO YOU (1968)

BARRY GIBB: It's about a person who is about to die. He's going to his death because he has committed a murder.
ROBIN GIBB: He is talking to a preacher and he wants to get a message to his girlfriend or wife that he is sorry and wants to apologise. He's killed a man who's been carrying on with his wife, and he wants to get a message to her before he dies.

I WILL (1997)

BARRY GIBB: This is a three-person song. A triangle is also a lot of fun to write about. If this person doesn't stand by you, then I will. I'll be there. And you can reject me, and that's okay. And I'll go away, but I'll come back because I don't believe the guy you love is really the right person for you. I believe am, and I'll come back if he disappears. I can take it. You can have a two-person song, three or four personalities which maybe you don't want to write about.

JULIET (1983)

ROBIN GIBB: The story is about a man really having his fantasies. It's a love fantasy and she doesn't really exist in the song.

JUMBO (1968)

BARRY GIBB: Mo playing the Beatles mellotron, a very experimental period. I think it's about a child's fantasy elephant, but when I listen again there are some very phallic overtones.

MASSACHUSETTS (1967)

BARRY GIBB: It's basically antiflower power... Don't go to San Francisco, come home... We wanted to write the opposite of what it's like to lose somebody who went to San Francisco. The lights all went out in Massachusetts because everybody went to San Francisco, because they left.
ROBIN GIBB: It is not talking about people going back to Massachusetts. It represents all the people who want to go back to somewhere or something. It is all about people who want to escape.

MY THING (1969)

A song dedicated to Maurice's Pyrenean mountain dog Aston.

NEW YORK MINING DISASTER 1941 (1967)

BARRY GIBB: It's about some people trapped in a mine. The song itself was really about the Aberfan mining disaster in Wales, killing over two hundred children. Quite sad really.
ROBIN GIBB: It was written at Polydor Records on a staircase.
BARRY GIBB: We couldn't see each other. We were just sitting in the dark and that's where the idea sprang from. What would it be like trapped in a mine and you can't see each other.

ORDINARY LIVES (1989)

BARRY GIBB: It's a reflection about ourselves before we became famous –our way of saying we're just ordinary people. The lines 'Say goodbye cruel world / No pity no gain tonight / Whatever the cost all is lost' is also a reflection on Andy... that's what he did.
ROBIN GIBB: Even if unintentionally.
MAURICE GIBB: He was just an ordinary guy, really.
BARRY GIBB: Losing a member of the family who was that close changes you spiritually. A lot of the album [One] results from this new insight. You can find sentences here and there throughout the album that apply to Andy. 'Goodbye cruel world,' again, can mean how cruel the world can be when you're not doing well, especially in this business. You go two years without a hit, and they can treat you like you never had one to begin with. No one wanted to talk about Orbison for ten years before his induction into the Hall of Fame and the Wilburys. Of course, the thing's happened to us -- three times.

PAYING THE PRICE OF LOVE (1993)

BARRY GIBB: It's about a wonderful relationship that's gone wrong, and the person singing the song is, as always, paying the price... the person who's most in love.

SAVED BY THE BELL (1969)

ROBIN GIBB: It was a song about sacrifice, about really giving yourself to somebody, almost completely. The relationship was about to come to an end and he was rescued by his own awareness on whether the relationship is working, or by the other person, and you hear that line, 'Saved by the bell'

SINCERE RELATION (1970)

Robin Gibb's tribute to George Hullis, his first wife's father, who died when they were recording the album 2 Years On.

SMOKE AND MIRRORS (1995)

BARRY GIBB: I think this is a really important statement. The world of illusion, the idea that none of us are really what we seem to be. All of these songs are not just songs as such. There's a lot of examination of yourself in these songs. We write from life observation. So, we'll go away and just observe the culture. And just for me, the one phrase that epitomizes the whole of last year [1995] is 'Smoke & Mirrors.' The way we sort of sit and around and talk about, 'What do we do about starvation in Zaire?' We all sit down and talk. And you see all these people around big tables talking about starvation in Zaire instead of actually doing something. And meanwhile, thousands more children have died within the last hour, and no one really gives it that kind of level of thought. To me, that's the way this last year has been on a world level. You observe the culture, you take it in and things ferment and ideas come from that. And I kept hearing this phrase all year, and that is really how life is today, it's all smoke and mirrors. That's what the song is.

TOO MUCH HEAVEN (1978)

ROBIN GIBB: The starving children of the world was the genesis of this song. 1979, early in the evolution of music charity efforts, we donated this one to Unicef and its worldwide work which we felt strongly about.
'I can see a new tomorrow' does demonstrate a positive aspect about moving forward, even though bad things do happen.

TRAFALGAR (1971)

MAURICE GIBB: It's a song about a very lonely guy who lives in London and spends a lot of his time feeding the pigeons in Trafalgar Square.

STAYIN' ALIVE (1977)

BARRY GIBB: Everybody struggles against the world, fighting all the bullshit and things that can drag you down. And it really is a victory just to survive.
ROBIN GIBB: The lyrics state the scenario of survival in the city.

THIS IS WHERE I CAME IN (2001)

BARRY GIBB: The title is a sardonic remark about ourselves. It's our way of saying that nothing ever really changes. It's very honest and it reflects our feelings about everything that's happened to us in the past 30 years.
MAURICE GIBB: It's just the simplicity of it that I love. The guitars were used on it are very old guitars - two of the guitars I used belonged to The Beatles. It just came out that way.

WEDDING DAY (2001)

BARRY GIBB: That was one of our titles, and we thought, let's write a song about people getting married... Nobody really does that anymore, and I thought it would be nice to have a nice song on the album so that everyone may sing it or any couple may dance to it on their wedding day.

WISH YOU WERE HERE (1988)

BARRY GIBB: A song written for Andy, unconciously, a week after he died.
ROBIN GIBB: It happened naturally. We didn't want anything artificial with a title like 'Andy's Song'.
MAURICE GIBB: It's something that everybody can identify with. We came up with the title at a hotel, sort of like a belated postcard 'wishing you were here.' We realized we were writing about Andy without having thought about it.

WITH MY EYES CLOSED (1997)

BARRY GIBB: The song is basically about love at great distance. When you can't be with the person you love. And you want to tell them, and you want to send a message. When I was a kid, I would lie in bed at night, and I had a crush on this girl, and I would talk to her going to sleep. I would always make believe that she could hear what I was saying. And she used to say the same thing to me. So that little thing, that little relationship that I had when I was fourteen years old has always sort of stuck with me. I guess we all did that, you know, the first time you fall in love. But to me, that's what the song means. I can touch you. You don't have to be bad. Sex isn't just it. There's all kinds of feelings. [reciting the lyrics] 'I can touch you with my eyes closed. I can feel you when you're near me. I can see you with my eyes closed. I can touch you with my hands tied' And all of those feelings are really what goes through your head when you're really in love, and the person you love is very far away.

WORLD (1967)

BARRY GIBB: It goes 'Now I've found that the world is round and of course it rains everyday.' What we are saying is that you can't live in your own little world, because somewhere there's trouble -rain- and you must face up to it. It may be sun, flowers and beauty in England today, but it's rain and misery somewhere else. It's always raining somewhere in the world for somebody.

WORDS (1968)

ROBIN GIBB: It reflects a mood. It was written after an argument. Barry had been arguing with someone, I had been arguing with someone and happened to be in the same mood. The arguments were about absolutely nothing. They were just words. That is what the song is all about, words can make you happy or words can make you sad.

YOU SHOULD BE DANCING (1976)

BARRY GIBB: You can't take songs like this too seriously. It was actually a very exhilarating time, settling in Miami. We had a great band and this song came from that

Maurice Gibb: "Contrary to popular belief, we have no leader. We call it a democratic dictatorship." (Daily Express, 2001)

Barry Gibb: "We now own all of our own work, we own all our publishing, we own all of our record masters. Today, times are extremely good and we are in control of ourselves." (Mojo, 2001)

Barry Gibb: "The three of us don't spend time together when we're not working. That keeps our minds fresh." (Performing Songwriter, 1998)

Maurice Gibb: "We'll keep doing what we love to do until we get to the point where we don't love it anymore. If people still want to hear us then we'll continue." (OK On Air, 2001)

Robin Gibb: "We're not a nostalgia act. We're still making contemporary music.'' (USA Today, 1997)

Robin Gibb: "We're a proper band more in the Beatles sense rather than the boy band sense." (Reuters, 2001)

Maurice Gibb: "[We see ourselves as] three brothers trying to be bigger than Beatles." (In Conversation, 2001) Barry Gibb: "We are brothers first, a pop group second" (1997)

Maurice Gibb: "We all have our separate friends and families. If we don't call each other for a couple of months it doesn't mean anything. We've always done it. When we see each other again we just pick right back up." (Daily Express, 2001)

Maurice Gibb: "We're persistent little buggers. We keep on trying and trying and trying. We've had pitfalls, we've had valleys, we've had mountains. And if you didn't have the valleys you wouldn't know about the mountains." (In Conversation, 2001)

Barry Gibb: "It's hard to be an individual. We don't really hang out except when we're working. But we work so much that that's social for us, too. So we don't need to go to each other' s houses.'' (Denver Rocky Mountains News, 1997)

Robin Gibb: "I'm very proud of being a Bee Gee and am always aware that I'll be identified as a Bee Gee. All my solo projects have been 'along with' Bee Gee commitments, rather than 'instead of'." (Top of the Pops, 2003)

Barry Gibb: "My tendency is not to listen to too much of our old stuff. I don't know why. I guess I want to keep moving on and if I keep listening to things from the past, it might influence me in the wrong direction." (Performing Sonwriter, 1998)

Barry Gibb: "We’re all boss of this band at one time or another. If I get really dogged about something and I don’t want to do it and everyone else does, my wife Linda will turn ‘round and say, ‘Get your pants on and go and bloody do it and shut up moaning.’ In fact, all the Bee Gee wives are good like that. They have no time for our egos. They’ll say, ‘This is that showbiz ego thing – get rid of it, act your age.’ So we’re like that with each other, as brothers. We drive each other." (Mojo, 2001)

Robin Gibb: "We didn't really live in each other's pockets. We were only together when we were writing or talking about our career and things. I don't think we were ever like other family-orientated artists where you're part of a family structure. We never had that. We were songwriters first and foremost and he (Maurice) had the same interests and goals in writing, which has kept us together. More so than being brothers." (Saturday Magazine, 2003)

Alone

I was a midnight rider on a cloud of smoke
I could make a woman hang on every single stroke
I was an iron man, I had a master plan
But I was alone

I could hear you breathing with a sigh of the wind
I remember how your body started tremblin'
Oh what a night it's been!
And for the state I'm in, I'm still alone

And all the wonders made for the Earth
And all the hearts in all creation
Somehow I always end up alone
Always end up alone

So I play, I'll wait 'cause you know that love takes time
We came so far, just the beat of a lonely heart
And it's mine
And I don't wanna be alone

Well since I got no message on your answer phone
Since you're busy every minute, I just stay at home
I make believe you care, I feel you everywhere
But I'm still alone

I'm on a wheel of fortune with a twist of fate
'Cause I know it isn't heaven, is it love or hate?
Am I the subject of the pain?
Am I the stranger in the rain?
I am alone

And is there glory there to behold?
Maybe it's my imagination
Another story there
To be told

So I play, I'll wait and I pray it's not too late
We came so far, just the beat of a lonely heart
And it's mine
And I don't wanna be alone

And all the wonders made for the Earth
And all the hearts in all creation
Another story there
To be told

So I play, I'll wait and I pray it's not too late
We came so far, just the beat of a lonely heart
And it's mine
And I don't wanna be alone

Gone but not out of sight
I'm caught in the rain and there's no one home
Face the heat of the night
The one that you love's got a heart that's made of stone

Shine and search for the light
And sooner or later you'll be cruising on your ocean
And clean out of sight
I'm caught in the rain and there's no one home

Gone but not out of sight...(repeat to fade)

Closer to Close

She'll read your mind
She's smart as a whip
She'll suck you dry
But look at how much I drip
At the point of ecstasy
I write a symphony
Of poetry in motion
And leavin' me there to die

I tell myself
Let no one take her place
To confide in someone
And look at how much I paid
I want you next to me
Call it telepathy
We drifted into vision
And look at how much we see
Ah...
Ah...

I just wanna get closer than close to you
To the moment you discover
What the best of my love can do
And lovers fall for lover's friends
We make each other cry
Living in each others lives
And tryin' to make the fantasy come true
But I just wanna get closer than close to you, baby
I just wanna get closer than close, to you

Your soul is naked
It tells you what you want
I read your letter
And look at how close I've come
There's more for us to see
In this philosophy
We both end up in heaven
And look at how close we'd be
Ah...
Ah...

I just wanna get closer than close to you
I know that one way or the other
Any test of my faith will do
I give my heart for you to break
I give my final breath
When nothing last forever see
What we can turn eternity into
And I just wanna get closer than close to you, baby
I just wanna get closer than close, to you

Deja vu

This is my dedication
This is my dedication

I'm not a saint but stand accused
You're with someone who thinks love's the same as being used
And now suspicious minds may say it's over
Over
Whether I live or die, you are my saviour
You're my saviour

It's my deja vu, sweet deja vu
Through the feast or famine I'll be with you
Sheltering arms reach out to you
This is my dedication
This is my dedication
This is my dedication
This is my dedication

The silent nights, I cry your name
You're with someone who says
They can get you through your pain
These golden years keep on returning
It's hurting
Precious and few
You're my saviour, you're my saviour

It's my deja vu, sweet deja vu
Through the feast or famine I'll be with you
Sheltering arms reach out to you
This is my dedication
This is my dedication
This is my dedication

And cherish what they've lost
When often it's too late

It's my deja vu (memories of you)
Sweet deja vu (keep coming through)
Through the feast or famine
I'll be with you (all that is true)
Sheltering arms reach out to you
Oh baby
This is my dedication
This is my dedication
This is my dedication
This is my dedication

How deep is your love

I know your eyes in the morning sun
I feel you touch me in the pouring rain
And the moment that you wander far from me
I wanna feel you in my arms again

And you come to me on a summer breeze
Keep me warm in your love and then softly leave
And it’s me you need to show

Chorus:
How deep is your love
I really need to learn
’cause we’re living in a world of fools
Breaking us down
When they all should let us be
We belong to you and me

I believe in you
You know the door to my very soul
You’re the light in my deepest darkest hour
You’re my saviour when I fall
And you may not think
I care for you
When you know down inside
That I really do
And it’s me you need to show

Chorus
Repeat and fade

E.S.P

Dark is the night
High is the fire
Touches the sky
Love with no shape or form
I am in your mind's eye
Just let your dreams run wild

Somewhere, out across the nation
Someone, waiting in the shadows
Listen, I don't wanna hear
Return to, sender
Calling, I can see the future
Someday, signal with a single motion
Show me you believe in someone, somewhere

Oh baby you, you give, me
You give me the runaround
Just another night, with, you
You're on my mind
And we got love
And love'll take you higher and higher and higher
Higher and higher

(CHORUS)
E.S.P
I communicate with you
Tell me what it means to feel
What am I supposed to do
E.S.P
Nothing any words can say
Nothing that we know is real
But it'll take your breath away
Your breath away

Danger, suddenly an early warning
Suddenly the soul is burning
But I still believe in someone, somewhere

Baby you, give, me
You give me the runaround
Just another night with you
I'm in your mind
And we got love
And love'll take you higher and higher and higher
Higher and higher

E.S.P
I communicate with you
Tell me what it means to feel
What am I supposed to do
E.S.P
And love'll take you higher and higher and higher
Higher and higher

Be prepared to make your sacrifice, tonight
Far beyond the point of no return, oh no

And we got love
And love'll take you higher and higher and higher
Higher and higher, higher and higher

(Repeat Chorus)

Sacred Trust

I meant to fight it to the finish but you made me forget
And though it's possible I'm dreaming, don't wake me yet
You know I love you
I can't see the day for night

You know I twist around and turn around and then I give in
You end up in control of me it's really a sin
I don't know what you're doing to me
But I know it's a crime

And baby I can't last another night
And every moment is eternity
And from the depth of my soul
Can't let another day go by

I follow my heart right up to the end
As far as the eye can see
I'm faithful and true and living up to
Your sacred trust in me
I'll never give out to somebody else
I know where my arms should be
I'm faithful and true and making it through
Your sacred trust in me
Your sacred trust in me

You take me and you break me and you do what you please
I stumble and I tremble and I'm weak at the knees
The vision that lies before me is not reality

I tell you I can't wait another night
For every secret that your soul reveals
And you and I may get to know
That it's real, that it's real

I follow my heart that leads me to you
And all that my love should be (You know I'm talking to you)
And you can be sure I'm doing it for
Your sacred trust in me
I'll never give out to somebody else
There's nowhere my heart should be (You know I'm calling to you)
I'm faithful and true and living up to
Your sacred trust in me
Your sacred trust in me

I follow my heart right up to the end
As far as the eye can see
I'm faithful and true and living up to
Your sacred trust in me
I'll never give out to somebody else
I know where my arms should be
I'm faithful and true and making it through
Your sacred trust in me
Your sacred trust

I follow my heart that leads me to you
And all that my love should be (You know I'm calling to you)
And you can be sure I'm doing it for
Your sacred trust in me
I'll never give out to somebody else
There's nowhere my heart should be (You know I'm calling to you)
I'm faithful and true and living up to
Your sacred trust in me
Your sacred trust

She keeps on coming back

Front and centre
I don't know how it happened then
I can't explain it
What was she thinking of when
Mother Nature
She put us both together, and
The way she touched me
And I ran that red light and so I
Said I love her
She tell me I don't matter
I try to kiss her
But every dream is shattered
No early warning
Except the morning after
Look in the mirror like a rabbit in the headlights

She keeps on coming back for more
She keeps on coming back for more
She keeps on coming back for more
Champagne and roses
Breakfast in bed
Wrapped in each other
And out of my head
She keeps on coming back for more
She keeps on coming back for more

Oh no
Oh no
Yeah
Oh no

She ain't no Cleopatra
I ain't no Julius Caesar
I ain't no Casanova
She ain't no Mona Lisa
She charm a nation
She send you out to die
And we were flying when she ran that red light
I ain't no Valentino
She ain't no Greta Garbo
No Aphrodite
I'll never be Apollo
But when we come together
There's no one else can follow
There's no tomorrow when we run that red light

She keeps on coming back for more
She keeps on coming back for more
She keeps on knocking at the door
Drunk on desire
Erotic delights
Sooner or later, she'll kiss you goodnight
She keeps on coming back for more
She keeps on coming back for more

Oh no
Oh no
Oh no
Oh no

Midnight
Die in the arms of a lover
Hold tight
I close my eyes and she's gone
Dream time
She's mine
Always here
Small town
Daytime
Disappear

She keeps on coming back for more
She keeps on coming back for more
She keeps on coming back for more
Drunk on desire
Erotic delights
Sooner or later, she'll kiss you goodnight
But she keeps on coming back for more
She keeps on coming back for more
She keeps on knocking at the door
She keeps on coming back for more
She keeps on coming back for more

Staying Alive

Well, you can tell by the way I use my walk,
I’m a woman’s man: no time to talk.
Music loud and women warm, I’ve been kicked around
Since I was born.
And now it’s all right. it’s ok.
And you may look the other way.
We can try to understand
The new york times’ effect on man.

Whether you’re a brother or whether you’re a mother,
You’re stayin’ alive, stayin’ alive.
Feel the city breakin’ and everybody shakin’,
And we’re stayin’ alive, stayin’ alive.
Ah, ha, ha, ha, stayin’ alive, stayin’ alive.
Ah, ha, ha, ha, stayin’ alive.

Well now, I get low and I get high,
And if I can’t get either, I really try.
Got the wings of heaven on my shoes.
I’m a dancin’ man and I just can’t lose.
You know it’s all right. it’s ok.
I’ll live to see another day.
We can try to understand
The new york times’ effect on man.

Whether you’re a brother or whether you’re a mother,
You’re stayin’ alive, stayin’ alive.
Feel the city breakin’ and everybody shakin’,
And we’re stayin’ alive, stayin’ alive.
Ah, ha, ha, ha, stayin’ alive, stayin’ alive.
Ah, ha, ha, ha, stayin’ alive.

Life goin’ nowhere. somebody help me.
Somebody help me, yeah.
Life goin’ nowhere. somebody help me.
Somebody help me, yeah. stayin’ alive.

Well, you can tell by the way I use my walk,
I’m a woman’s man: no time to talk.
Music loud and women warm,
I’ve been kicked around since I was born.
And now it’s all right. it’s ok.
And you may look the other way.
We can try to understand
The new york times’ effect on man.

Whether you’re a brother or whether you’re a mother,
You’re stayin’ alive, stayin’ alive.
Feel the city breakin’ and everybody shakin’,
And we’re stayin’ alive, stayin’ alive.
Ah, ha, ha, ha, stayin’ alive, stayin’ alive.
Ah, ha, ha, ha, stayin’ alive.

Life goin’ nowhere. somebody help me.
Somebody help me, yeah.
Life goin’ nowhere. somebody help me, yeah.
I’m stayin’ alive.

Voice in the Wilderness

It's another woman
Hey, it could be me, it could be anyone
Yeah, she got the energy to blind the sun
And she make me glow
She sparkle and I see the light
I miss her every moment she is out of sight
She's a necessity
My baby keeps rolling me

Watch her glide
This girl is bonafide
She's got what causes chaos

She's got the power that I can't explain
Blowing through each other like a hurricane
Look at me, I'm twenty-seven stories high
There may be somebody else and,

I don't want to live like that
No, I don't want to live like that
Don't want to live like that
No, I don't want to live like that, live like that
Just another voice in the wilderness

Stick with me forever
Cross my heart and hope to die
You should give me everything and so will I
And the world will know
I say I will not lie
You know more lovers than one for some become a necessity
My baby keeps rolling me

Live on stage
Exposing my jealous rage
Life can be complicated

I give you something you can talk about
Love is like a prison and you can't get out
These things are hard to find
You say the world is flat but

I don't want to live like that
No, I don't want to live like that
Don't want to live like that
No, I don't want to live like that, live like that
Just another voice in the wilderness

Walking through the fire
Running like a river 'til the race is won
I'm risking everything to be someone
I will stick by you
We know but we will not fail
Lifting of the spirit and the flesh prevails
And the fight is on
This love, it keeps rolling on

Watch me fly
Into the clear blue sky
This is the age of wonder
I am the one

I don't want to live like that
No, I don't want to live like that
I don't want to live like that, live like that
Just another voice in the wilderness