Producer’s Notes and Lyrics PRODUCER NOTES & L YRICS

Enclosed you will find notes on what inspired the songs from our album “Sll Looking For The An- swers”, how we went about recording the al- bum, as well as lyrics for all songs. Sit back, put on the headphones, crank it up, grab a beverage of your choice and enjoy with our compliments! Signed, The Nerds of Norcal Aka 41POINT9 BOB MADSEN’S PRODUCER NOTES & L YRICS

The Bullet’s in the Barrel Lyrics by Bob Madsen, Music by Bob Madsen, Brian Cline, and Kenny Steel

This song was actually the third song wrien for the album. Like most of my songs it be- gan as a set of lyrics. I remember that I had been listening to a lot of Kip Winger’s solo material at that me, parcularly “Songs from the Ocean Floor” and his arrangement ideas were forefront in my mind. I was driving to a Sacramento suburb known as Elk Grove for work, when I came up with the idea of using ballisc terms to describe a breakup. I had wanted to write a song in the vein of “Punch and Judy” by Marillion for a really long me, but had never found quite the right vehicle for the idea. I quickly real- ized this theme might work. I remember coming up with the first few lines and had to keep repeang them over and over to myself in order not to forget unl I could stop the car and write them down. Eventually I pulled over in a Wal-Mart parking lot and quickly scribbled the first verse while sing in my car. The rest of the lyrics followed shortly over the next day or so. The idea of combining a Kip Winger-esque arrangement with Fish lyrics really intrigued me. A few days later I showed Kenny the song lyrics while in the studio. We started working on some ideas together and I showed him the songs that had inspired the idea. We started trying out some chord progressions but nothing really felt right, unl we joked about this video that had been running round the ‘net regarding the overuse of the first half of Pachelbel’s Canon in D Minor and how many hit songs had been wrien us- ing these exact chord intervals. I sarcascally joked, “I’d really like to have a hit song too so let’s just use those chords!” When we stopped laughing, we realized, “Hey, this could work!” Using those chords, the rest of the song came together quickly. Now we just have to wait and see whether it be- comes a hit or not…. Chuckle chuckle. Kenny and I worked over a series of weekends to record the basic tracks. Due to the somber tone of the song I decided to use my six string fretless bass and give it some dark and slippery lines. Kenny layered track a er track of thick guitars. Once we had built up a prey good bed of ideas we sent it to Nick for him to work his magic on drums. His drumming on this song is for me one of the highlights of the album. BOB MADSEN’S PRODUCER NOTES & L YRICS

The Bullet’s in the Barrel - Connued

At this point, I wasn’t quite happy with the inial way the song started. So I sat down at the computer and started messing with Kenny’s guitar tracks (one of my favorite pasmes by the way) and came up with the intro part using bits and pieces from the song. But there was something sll missing. That’s when I realized that we could put a bit of dialogue in the intro that would sound like a cheesy soap opera with a plot line similar to the song’s. All fired up for this idea, I enlisted the help of a good friend with a voice like a North Carolina version of Demi Moore (and yeah guys she’s cute too!) and Kenny to act out the parts. Amidst a lot of giggling and goofing off, I wrote some dialogue and the two acted the part of the quarreling couple. I remember Jen- nifer even punched Kenny a few mes to “get into character.” A great me was had by all…except perhaps for Kenny’s shoulder. An- yway, with the dramac opening segment of the song, the band thought this song would be a perfect album opener. Next up was Brian’s vocal tracks. We sent him a mix of the song, the lyrics and laughingly wished him luck in trying to fit the lyrics to the music. I, for one, had no idea how he was going to do it. But as usual Brian rose to the challenge and with a bit of adept eding and shoehorning, delivered a brilliant vocal performance. We added a bit of icing on the cake with extra harmonies and the wedding vow’s secon and the song was done.

Artillery in the living room, the children run for cover Questioning all I knew now that it’s finally over Emining the evidence In the murder of a family dream Forensic evaluation of the deadly scene

Till death do us part The Bullet’s in the Barrel It used to be a promise Now its gone too far

Fait accompli, the deed is done Did you even know his name In his bed you loaded the gun My god, did you feel no shame

Hollow point words full metal jack et lies Love lies bleeding, love dies Was such a cliché…Until today The bullet’s in the ba rrel the finger is on the trigger Ready set aim shoot for the heart

Fire in the hole to a hole that’s in my heart This shot gun wedding has fallen apart

I have to stand and look you in the eyes And say goodbye, we’re past the point of reasons why

Chorus out……. BOB MADSEN’S

PRODUCER NOTES & L YRICS

Living in Hard Times Lyrics by Bob Madsen , Music by Bob Madsen, Kenny Steel, and Brian Cline

This song was actually wrien when I was 17 years old and in high school. I had just read “The Grapes of Wrath” by Steinbeck and had wrien a song about the me period. The song had languished in an old binder and had never really been given the chance to breathe. I decided to dust off the cobwebs on it and start developing it for the album. Kenny read the lyrics one day in the studio and really like the idea. I sang him the melody line I had wrien way back when and we pieced together a rough skele- ton for the song. At that point, Kenny told me about this idea that he had always wanted to try for a song intro. The idea was to use the cycle of fi hs (a musical and mathemacal concept) and playing only certain parts of the cycle work your way around the formula. Ad- miedly, I was very skepcal of the idea, as I know next to nothing about music theory and the whole idea sounded very cold and clinical to my mind. He told me to have faith and he would surprise me. Well, two weeks later he did. Kenny had taken what I had presumed to be a cold, mathemacal formula and developed it into one of the most beauful, passionate and dynamic pieces of music I have ever been involved with. So what if the song had bal- looned to almost 8 minutes in length. This was prog baby! Full speed ahead! Once again, the basic tracks winged their way down to Southern California where at Casa D’Virgilio, amazing drum tracks were recorded. The song then sat for a while unl Brian could make his way north to my studio to hear the song and lay some scratch vocals. Right before Xmas 2009, Brian and his family came to visit my family up in the Sierras. A er going out to a Cornish Christmas cel- ebraon and having a great me (and yes there may have been some alcohol involved), we came back to the studio and played with vocal ideas. Brian got all inspired about the modern day parallels to this story about the great depression and laughed about the banker references as he and I both have been in banking related careers outside our musical endeavors. Brian took these ideas home and polished his performances and did the final vocal recording, while sober this me, at his studio. We laid on some harmony tracks graciously recorded by Molly Roth and the track was complete. The result is the “opus” for the album. It came out much beer than anything I had ancipated and I’m so glad this old song has finally seen the light of day. Living in Hard Times Wheels turn on a dusty road, a road that leads out west A cloud of dust hanging in the air, you know we gave our best Papa stares at the road ahead as the past runs through his mind The dust came and we had to move on, Now we don’t know what we will find

The banker man said, son if I can, I’ll do my best for you Please understand, I hate to take your land But what am I supposed to do? We’re living in hard times

Chorus

When the bank man came and took our land, you know he took our pride We can’t fight what we can’t see and you know it hurts inside We will survive we’ll hold our own, we’ll get by in a strange new place . We lived and died fighting for this land, Dad said with pride showing on his face

Chorus

Grandma cried as we drove away in our 27 tee, As we drove up over the rise, Grandma turned and said to me Now be a big boy and sit next to me, please don’t ask me why Just give me your hand and help me to stand, I want to wave goodbye

Chorus

Were living in hard times. What am I suppose to do? BOB MADSEN’S

PRODUCER NOTES & L YRICS

Building Blocks Lyrics by Bob Madsen & Brian Cline , Music by Bob Madsen, Kenny Steel, Tom Wetzel and Brian Cline

Building Blocks was the second song recorded for the album. Interesngly, Kenny wasn’t even part of the band yet at this point. He was more of a “hired gun” really. Although by the end of the recording of this tune, his value as a guitar player and songwring partner were evident and an offer to join Brian and I was made. (thankfully, he said yes) The song was wrien back when I was 19 or so a er a parcularly confusing breakup. (ah ….young love) and borrows heavily from Maril- lion’s “Kayleigh”.. well lyrically at least. I just about wore that record out I listened to it so o en. The song had gone through several ar- rangements over the years but it was never quite right The song features keyboard performances by an old friend Tom Wetzel, that I on- ly recently discovered had past away. To the best of my knowledge this is the only recording of him to be released on a major recording. I think of him fondly when I listen to this track. Originally the song’s arrangement had been heavily influenced by Icehouse’s Measure for Measure album. But a er consideraon that just didn’t seem to work for where I saw the album going. I decided to beef up the rhythm secon, add a bassline for the verses and bridges consisng of a two hand tap fretless six string technique and give the song a bit more edge in the intro using a distorted piccolo bass tuned an octave and a fourth above standard bass tuning. Yes that instrument you hear in the beginning playing that oh-so- blistering lead line (snicker snicker) is actually a four string bass! (eat your heart out guitar players!) Speaking of which, there had been several guitar players on the song over the years, Billy Connally, Chad Quist and even smooth jazz guitarist (and closet prog-o-phile) Steve Oliver. I gave Kenny a tape of a solo based on Chad’s interpretaon from several years back and asked him to learn it note for note. About a week later he came into the studio to lay the track. However, unbeknownst to him or to me, the chord progression for the solo secon had been truncated in the song file with the first chord being dropped off. This resulted in a change of the underlying chords for the solo that he had just learned! Once we realized what had happened and stopped laughing, un- fazed, Kenny adapted Chad’s solo style to the new progression and voila, a burning guitar solo was born. Over the course of the next month or so, Brian laid his vocals and we hired Leah Hume to record the angelic background harmonies. The song was then shipped off to long me friend and mentor Tom Size (Engineer extraordinaire for Mr. Big, Y&T, Journey, etc) who translat- ed our rough recordings into a polished final track. What I find fascinang is that this track has kind of risen to being the first single off the album.

Building Blocks

I can see the pen that’s held so tightly in my hand. I remember I just couldn’t say what you wanted to hear I can see all the words that keep running around my head I remember when it felt so good to hold you near

Past and present combine together to make up all a man He reaches out and builds on experience, to become all he can You may have stopped the flow, why did you have to go, With the piece you took away, how do you know it’ll work that way

I can see you playing on the swings down at the park I can see the moonlight shining in your hair I can see the smiles and laughter of two hearts in love I can see if I had a choice I’d always be there

Chorus Pieces make up the whole, Like a child and his building blocks, Memories make up the soul, Step by step till we reach the top

Chorus BOB MADSEN’S

PRODUCER NOTES & L YRICS

The Feather Lyrics by Bob Madsen , Music by Bob Madsen and Brian Cline The Feather was the first song wrien for this project and came about as a result of really tragic circumstances. The story follows, but bear with me folks its kind of a long one: Approximately 4 years ago while promong my jazz album (The WorldMachine, “Above and Beyond the Call of Beauty”) I came across a Myspace page where a lady had wrien a blog entled "Why I Collect Feathers". In this essay, she recounted how she had lost her 10 year old son to cancer. A few days a er the funeral she returned to work but wasn't really able to concentrate. Her boss told her to take some me and go for a walk to clear her head. (cool boss eh?) On the way down the elevator she looked down and saw a penny. She picked it up to discover the date on the penny was the same year her son had been born. Smiling, she put the penny in her pocket. Once downstairs she went for a walk, reminiscing of all the good mes she had with her son; all the things that made her smile when thinking of him. About an hour or so later, upon returning from her walk she went to put her coat in her car. She happened to look down and see a feather. Now, she had never really paid much aenon to stray feathers but for some reason she picked it up to examine it closer. She noced that the base of the feather formed a perfect white heart. At that moment, she knew that feather had been put there by her son. That it was his way of telling her that he was okay now and that in me she too, would be okay. From that me forward she has been collecng feathers as a reminder of her son. Having a son the same age, this story really affected me. The story stayed with me for the next few days unl in a fit of creavity I wrote a song called "The Feather". The song literally wrote itself. (you songwriters will know exactly what I'm talking about) This was actually before 41POINT9 had been formed. I recorded a rough bass track on my five string bass that uses tapped notes and harmonics heavily. I then sent the track to my old friend Brian Cline to see what he thought and would he be interested in singing on it. He loved the idea and sent back a fantasc vocal performance about three weeks later. At that point I hired a local player Kenny Steel to come in and help me finish the guitar and keyboard parts. We then contacted Nick D’Virgilio of Spock’s Beard/Tears for Fears/Kevin Gilbert fame to provide drums and percussion at his studio in Southern California. The inial sessions went so well and we all had such a good me with it, that I asked Brian if he would be interested in doing a whole album of such material. The answer was a resounding “yes”. And so, 41POINT9 was born. We then hired Jackie Guyton to sing harmonies for Brian’s lead tracks and sent the song to Tom Size for mixing. To this day, my sister’s can’t listen to the song without handkerchief in hand cuz they are certain to cry by the end of it. I’m really proud of the way the song turned out and the way it deals with a very scary and emoonal topic for a parent without making it schmaltzy too. The Feather

It was the first day back after losing you. I could barely stay in control. Everything hurt and I could not work. A friend said, “Go take a walk”

As I walked I kept remembering you and things we used to do; Like mud-pies and comic books, castles made of sand, The imprint of your hand, Bed time stories, jokes that made us laugh. That’s all gone now, and I don’t know what to do

So take this little one under your wings And bring him to the light Please take this little one under your wings Protect him through the night, Give him hope. Give him strength, Show him he is loved, and bring him home tonight , Take this little one under your wings and bring him home safe tonight

It’s not supposed to work this way, to outlive your son. It’s no wonder I feel this way. I just don’t know what to do

As I walked I kept remembering you and things we used to do; Like mud-pies and comic books, castles made of sand, The imprint of your hand . As I walked I saw on the ground a feather and I knew that it was you. Watching over me

Pre-Chorus and Chorus to fade BOB MADSEN’S

PRODUCER NOTES & L YRICS

One in a Bar Lyrics by Bob Madsen and Brian Cline , Music by Kenny Steel, Bob Madsen and Brian Cline

This song actually has a kind of funny beginning despite being sort of depressing in the lyrics. One that I hope my kid doesn ’t read because I’m always telling him to pay aenon in class and not goof around and that’s exactly how this song came about. At the age of 18 or so I took a music theory course at a local community college. (barely passed too!) While the instructor was explaining the use of whole notes, she stated that somemes holding a note over a whole bar was called “one in a bar”. At this point in the lecture I had start ed to glaze over but that phrase “one in a bar” permeated my post pubescent brain and I thought, “Wow what a cool name for a song!” So while e veryone else was being illuminated on the proper use of longer note values, I was furiously scribbling lyrics in the back of the clas s. In retrospect, I suppose it’s no wonder I barely passed the class. Like so many of my songs, this one sat in a binder for a few decades unl I decided to brush it off and see if it could be a dapted to 41POINT9 uses. I showed Kenny the lyrics one Sunday a ernoon and asked if he would like to take a stab at wring some music for it. He quickly agreed and one week later came back to the studio, acousc guitar in hand, and played me a rough arrangement that I immediately fell in love with. He told me that one evening the previous week, he had walked out on his deck with the lyrics, an acousc guitar and an ice -cold brew and wrote the music in about 15-20 minutes. It’s amazing when music kind of writes itself. We further refined the arrange- ments over the following weeks and Kenny added that beauful 5/8 string secon and haunng solo secon of the song. The o utro secon came about from a bit of le over songwring from a previous band of Kenny’s and we had our completed song arrangement. Some me later - Brian added his vocals the same weekend that he recorded Living In Hard Times at my studio and took this song home as well, to polish over the coming weeks. Brian’s vocal sessions had to be strategically scheduled for when he had enough down  me with his cover band to allow at least a couple days rest in order to come up with tracks that he was willing to consider final. This w as usually accom- plished via my threats to him that unless he got the tracks completed we would use the previously recorded scratch tracks on the final product. Next up we had to find a drummer to play the song since Nick was out on tour with Cirque Du Soleil and wouldn’t be available again for another 12 months. A er trying several local players with mixed results, Jimmy Keegan - Spock’s Beard’s second drummer - took pity on us and agreed to play drums on the track. A er a few more finishing harmony vocals by Molly Roth the song was ready to mix. There was so much going on in the mix that at mes I felt like a one legged man in a bu kicking contest, but with the help (and snide com- ments) of the band I persevered and got a fairly respectable mix out of the mess. All as a result of not paying aenon in class over 25 years ago,…. Sheesh. One in a Bar A young man kept company by an empty glass, Worries over lost loves. His thoughts keep racing through memories Searching for lost loves . The barmaid casts him a sidelong glance Remembering lost loves, The jukebox drones out a classic melody A song about lost loves

One in a bar, with nowhere to go One in a bar, without a home One in a bar, a man so alone

A young man, writes a name in the water left on the bar, He smiles, remembering all the times He’s had at the bar She turns to him and thinks of all the faces She’s seen at the bar She turns to him and tells him “Not to feel that way”

One in a bar, with nowhere to go One in a bar, with nobody home One in a bar, with nowhere to go One in a bar, a man so alone

Na na na na na na na na na (ad nauseum) BOB MADSEN’S

PRODUCER NOTES & L YRICS

Surface Tension (A Drive Thru the City) Music by Bob Madsen and Kenny Steel

Surface Tension is the instrumental song for the album. Honestly it is somewhere between a proper song and an athlec event. It came about as a result of bits and pieces of bass noodling that had been kicking about in my brain pan for a few years - stuff that was le over from the jazz album I menoned earlier. I had been thinking of the concept of balance in recent months and was fascinated by the noon of opposing forces keeping a central item or behavior in balance. I felt the apparent dichotomy of the jazz based rythms and the aggressive bass chording techniques (with heavy influence by my buddies Michael Manring and Trip Wamsley) versus the overlaid, legato, distoron guitars sort of gave an aural interpretaon of the concept of opposing forces working in harmo- ny. (Hey it sounded good at the me. And yes, there might have been cough syrup involved) A er the song was recorded and mixed, Kenny called and said, “I was listening to Surface Tension and ya know…. Its sounds like a musical drive through a big city; with the different secons corresponding to different neighbor- hoods. Ya know, like, Manhaan or Queens or the Bronx and such.” I thought about it and realized he was right. Now, by this me we prey much knew we had a Prog album on our hands. We also realized that with any proper Progressive Rock album, one absolutely must have at least one song with a parenthecal sub-tle. So, wham-o!... one prog prerequisite was crossed off the list. Surface Tension (A Drive Thru the City) BOB MADSEN’S

PRODUCER NOTES & L YRICS

Promise The Moon Music and Lyrics by Bob Madsen

This song occupies a very special place in my heart. I wrote it for my wife and it was performed by my best buds, vocalist Kenny Byars and guitarist Chad Quist at our wedding. It was originally released in 2006 on my jazz album, but the song was too good and fit in too well with the current material not to include it here. One problem is that due to an oversight on my part, the list of credits for the musicians that played on the recording was inadvertently le out of this album’s cd liner notes. I wish to remedy that right now: Drums: Dave Weckl String arrangements: Rich Hubbard Percussion: Dave Weckl and Gary Minadeo 1st violin: Carlos Reyes Bass: Bob Madsen 2nd violin: Andrea Young Piano: Phil Benne and Rich Hubbard Vocals: Brian Cline Guitar: Stef Burns Background vocals: Kenny Byars Parts of this song were recorded at my old studio in the Bay Area of California, on digital tape with others being recorded onto computer at my new studio in the Sierras. Trying to get all the tracks to play nicely with one another felt, at mes, like herding cats. Eventually everyone seled into their respecve places and I was able to mix the song. I really love the song and can’t wait to see if we can pull it off live. Promise The Moon

Here’s my broken heart, won’t you mend it if you can Safe in your arms, I am once again a man If all the walls should fall and you let me walk inside

Picture us on a snow white charger, riding free t hrough the hills of Rivendell Picture us in a tropical storm, making love in the falling rain Picture us on a quiet beach somewhere, hand in ha nd we walk along the shore Picture us in each other’s arms, something in your ey e’s always ask s for mor e

I’d promise you the moon and all of the stars above With all my love

There have been times when I’d ask myself why? Is this really the one, is it worth one more try? We’ve come a long way since this road began Through all the ups and downs, we’ll make it hand in hand

Pre-chorus and Chorus out BOB MADSEN’S

PRODUCER NOTES & L YRICS

Sll Looking for the Answers Lyrics by Bob Madsen and Brian Cline, Music by Bob Madsen, Kenny Steel and Brian Cline

I think this song was the fourth song recorded for the album. This song started out a bit different in that I didn’t write the lyrics first. I came up with an interesng arpeggio line on my five string acousc piccolo bass and built the song around that. The acousc guitar sounding part on this song is actually that instrument, not a guitar at all. I remember I had been listening to a bunch of Linkin Park at that me and was interested in their use of heavy guitars juxtaposed with hypnoc loops. Using that mixture, I arranged the song and wrote the lyrics. Kenny then laid down some heavy guitars and I added some more guitar parts to the mix. (yeah I play a wee lile bit of guitar but the strings are so damn close!) We had Nick add drums in the choruses. Brian took rough mixes and wrote most of the melodies while listening to the music with headphones, riding on the ferry into San Francisco. Brian laid his vocals at his studio. We then brought in Molly Roth to sing layer a er layer of background vocals in arrangements worked out between Kenny and I. The result is haunngly hypnoc and remains one of my favorite parts of the record. A few weeks later Kenny recorded his guitar solo including an impromptu salute to Ace Frehley….. (snicker snicker) I mixed it a few months later as work schedules would allow and voila, we had our tle track for the album. If you listen to the outro you may noce that it’s the same progression as the piccolo parts just played on a regularly tuned six string bass. The fun thing about this song is how it es to the name of the band- 41POINT9. Our name comes from an insider’s joking reference to Douglas Adam’s “Hitchhiker’s Guide to the Galaxy” books. In the books the reader learns that the answer to “the meaning of life, the universe and everything” is the number 42. Long ago, I realized I don’t have all the answers but I sarcascally think I am prey darn close. Hence the name 41POINT9 was born. I also thought it would be funny to entle the debut album of this band “Sll Looking For The Answers” This song was my aempt to provide a tle song for the album. Still Looking for the Answers

Never been one to count the cards They say, Or read from a deck of tarot They say, A mystic’s work cut out so hard They say, To know what’s in store for me So they say

I’m still looking for answers

I’ve never been one to play my part They say, To live on the straight and narrow They say, I’m looking for the place to start They say, To do what’s best for me So they say,

I’m still looking for answers (repeat)

I’m still looking for the answers Trying to find truth Searching for my saving grace Trying to find truth I’m still looking for the answers I’m trying to find you I’m still looking for answers (repeat) BOB MADSEN’S

PRODUCER NOTES & L YRICS

The Torch Lyrics by Brian Cline, Music by Brian Cline, Bob Madsen, and Kenny Steel

This is the only song on the albu m for which I didn’t write lyrics. Brian brought this one to the table and we all love it. It was wrien approximately 12 years ago for his lile girl as a lullaby when she was a toddler. Lyrically, the whole con cept was perfect as a lulla- by. It is basically the lion-king circle of life concept and very simply and beaufully stated. Over the years , he has recorded a few versions of it and performs it in his solo acousc shows, but he says this is his favorite arrangement of the song, by far and you wouldn't believe how proud that makes me. When I received the inial tracks of acousc guitars and vocals it was supposed to be just that, an acousc guitar and vocal song. The band members went on and on in conversaons about how it would be the perfect “palate cleanser” and we wouldn’t add an- ything to it, and how nice it would be to put in the middle of the album to let everyone’s ears recover from all the notes and layers of instruments……... Shyeah , that didn’t last long…… Something about Bri an’s acousc guitar track intrigued me and I thought, what would happen if we combined Prog with Alterna- ve and even a lile Hip Hop style producon techniques. I started playing with drum loops and Kenny and I recorded some new electric guitar noo dling and chords and, rather sheepishly I admit, gave it back to Brian for his review. Well almost as expected, it was like pung a bunch of needles in front of a junkie who is trying to quit, Brian just couldn’t resist. We all loved the direcon in which it was heading . Brian connued the madness by adding even more electric guitar layers at his studio and now there were some cool delay-loopy-”Edge” type guitar in the choruses and the spacey solo a er the first verse. Now, I have always loved the bass work of Mark King of Level42 and wanted to put something of that style somewhere on the al- bum but just couldn’t find the right way to sneak it in to any of the songs. Well, here was my chance. The hypnoc rhythm and clean gui tars le lots of room for some funky blue-eyed soul stylings on Bass. I channeled my inner thumb monster and laid down a funky groove that somehow just seemed to fit. Again I got lucky, and the guys liked it although I admit, they made me turn it down a bit . This song was the fastest and possibly one of the funnest to record. We are all very pleased with the results and can’t wait to hear how the world takes to it. I think Brian’s lile girl, Hannah, will be proud. The Torch I was all that I ever had All I ever knew Words Brian Cline, Music Brian Cline and Bob Madsen You were always a fairytale Now I know you’re true

Can you see it in my eyes See it all so clearly See it in my eyes See it in my eyes

I picked up a dandelion I whispered and I blew You’re all I ever wished for Now my wish is true

Chorus

And as the years go by You’ll never be the same That’s the way it is There’s no one you can blame I’ll pass the torch to you Just like it came to me And when you pass it on Your life will be complete

A thousand years of memories Repackaged and made new You have the fire in my eyes Now it’s up to you

I see it in your eyes See it all so clearly See it in your eyes See it in my eyes Repeat.