"Shadows and Dust" lyrics

Except where noted, all lyrics by Lene Lovich (music by Lene Lovich and Les Chappell; all saxophone lines by Lene Lovich).

"Ghost Story"
"Sanctuary"
"Shapeshifter" - album version; single mixes

"Remember"
"Gothica"
"Craze"
"The Insect Eater"
"Little Rivers"
"The Wicked Witch" - "Shadows and Dust" recording; Latz versions

"Light"


"Ghost Story"

through a mirror shattered I see someone who looks something like me, like me like me

sudden silence, altered state, losing touch, isolate
let the fragments of the soul come together [x2]
you're dead, they said, how can that be? does my heart beat? am I just a memory?

cold confusion, no escape, broken spirit, re-create
the ghost in me speaks to the ghost in you, the story lives and every word is true, the ghost in me speaks to the ghost in you

if I could see the light, I could be the light
let the fragments of the soul come together [x2], don't be afraid
the ghost in me speaks to the ghost in you, the story lives and every word is true, don't be afraid, the ghost in me speaks to the ghost in you

(See "Other lyrics" page for intro story "Little Margaret" (from the song's first live performance).)

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"Sanctuary"

sanctuary

run, run away, don't look back, run to a place where it's safe to be, sanctuary

your wounds are deep, you cannot sleep, the overwhelming pain beneath, the twisted soul keeps saying you're the victim, it's getting tough, you've had enough, why can't it be the way you want, now everything is going out of order

run, run away, don't look back, run to a place where it's safe to be, sanctuary

so sad inside, you wanna die, but it's a hollow sacrifice, the bitter ending to a tragic story

sanctuary
nobody's perfect in this imperfect world, if the message is important, let the message be heard, if the mission is impossible, do your best to survive, we can fight again tomorrow

sanctuary
a change of scene is what you need, somewhere to mend your broken dreams, let's hide away until the war is over, let's deviate, open the gate, release the pressure on the brain, you know it doesn't matter

run away, sanctuary [x3]

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"Shapeshifter"

Music by Lene Lovich and Les Chappell, original loop by Max & Simo (Comical Brothers); lyrics by Lene Lovich.

album version

shapeshifter

how would you like to spend some time inside somebody else's mind? would you like to spend some time inside somebody else's mind?
I could be you and you could be me, we could understand the reasons why we be the way we be, if I could be you, I could be you and you could be me we could understand, I could be you, you could be me

how would you like to spend some time inside somebody else's mind? satisfy your curiosity, how do you know you don't want to be me? ah ee ah ee, I could be you, you could be me, ah ee ah ee

let's take a holiday into an unknown territory, let's take a holiday into an unknown identity

I could be you, be you, I'm tired of the game that we always play, the same old game every night and day, I could be you, be you, this life is done, the time has come, you could be me, to shift into another one, ah ee ah ee, I could be you, ah ee ah ee, I could be you, you could be me

I could be you and you could be me, we could understand the reasons why we be the way we be, if I could be you, I could be you and you could be me, we could understand

let's take a holiday into an unknow territory, let's take a holiday into an unknown identity

ah ee ah ee, I could be you, ah ee ah ee, you could be me, shapeshifter
maybe there's a way we can share a synchronicity

shapeshifter, shapeshifter, if I could be you and you could be me, we could understand, I could be you, you could be me, we could understand the reasons why we be the way we be, how would you like to spend some time inside somebody else's mind?

Comicals Mix (mixed by Comical Brothers)

go!

listen, shapeshifter, come with me into an unknown territory, shapeshifter

listen to me, listen [x3], shapeshifter, listen to me, shapeshifter

I, I, I, I'm tired of the game

listen to me, shapeshifter

reality, listen to me, a new reality, shapeshifter, you could be me

I'm tired of the game

I Could Be You Mix (mixed by Lene Lovich and Les Chappell)

shapeshifter

how would you like to spend some time inside somebody else's mind? would you like to spend some time inside somebody else's mind?

shapeshifter, I could be you, interesting

I could be you, I could be you, you could be me, ah ee ah ee [x2]

let's take a holiday into an unknown territory

I could be you, you could be me, I could be you, you could be me, ah ee ah ee [x2]

how would you like to spend some time inside somebody else's mind? would you like to spend some time inside somebody else's mind?

shapeshifter, I could be you, shapeshifter, ah ee ah ee [x4], I could be you, you could be me

would you like to spend some time, how would you like to spend some time, inside someboy else's mind?

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"Remember"

in the rush of the crowd on the steps leading out to the market place, where two lovers could meet hidden deep by the swell of the mob, we agreed to dissolve, disappear, to risk all for the sake of love, I only know you didn't show
remember, life goes on
"no-one's in," said the monstrous grin through the crack in the frozen door, from the hall I could hear the familiar song that was ours, then laughter rang out and the sound cut me down like an avalanche, I only know I lost control
remember
[chorus] life goes on and circumstances change, we live and learn 'til time runs up, and given chance we two will meet again to play once more the game of love
days go by in empty isolation, cold, immobile like a stone, I wait submerged 'til some familiar presence stirs, my static world begins to race, I look up and see your face
eye to eye we perceive something more than a casual interest, there's a feeling inside that our hearts cannot easy deny, so we stop and we stare as our memories gallop the centuries, I only know I love you so
remember
[chorus]

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"Gothica"

gothica [x3]

in a forest dark and deep, night has fallen, but I'm too afraid, too afraid to sleep, I close my eyes and then I see the light come shining down
gothica
in a house upon a hill, something stirring on the stairway disturbs my senses, still I take the candle and I climb, the stairs begin to shake
gothica
[chorus] everybody needs a refuge from the ordinary, everybody needs to breathe, it's a necessary dip into the unknown ocean, it's essential fantasy

gothica [x2]
it's a place I cannot see, only sometimes, when I recollect my dreams

gothica [x3]
in a howling hurricane, hidden by a rock I shelter from the storm, the driving rain pounds a message in my ear, I have nothing more to fear, and the stranger at the gate seems to know my name

[chorus], it's a necessary dip into unknown ocean, it's essential fantasy

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"Craze"

I'm aware of something buzzing in the air, rash ideas, nothing but a fad, it's nothing serious they say, just a passing phase
craze, new craze [x2]
I'm aware of everyday insanity on someone's street, nevermind the madness, it's not happening right here, just ignore the heat
craze, new craze [x2]
[chorus] tear away the skin, the danger lurks inside, take another look, we wear a thin disguise
craze, new craze
I'm aware of gathering infection, a slow disease, we don't feel the pain, but we are hurting anyway, it's a deadly game
craze, new craze
[chorus], and everything we see is of our own design
craze, new craze [x2], new craze

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"The Insect Eater"

Music by Heathcote Williams, Julian Standen, Max Reinsch, with musical adaption by Lene Lovich and Les Chappell; lyrics by Heathcote Williams.

earwigs in my fridge at midnight put me in a dancing mood, earwigs [x2], earwigs in my fridge at midnight put me in a dancing mood
I climb up to the window sill and watch the neighbours in the nude, voyeuristis, cataclysmis! they think I'm frightfully rude
then, my master's voice comes through, "Renfield, where are you? whatever I say you must do"
sallow girls drained of blood, he leaves them in his trail, 'tis my job for him to find victims, victims to assail
"London is my larder, Renfield, please try harder"

earwigs in my fridge at midnight put me in a dancing mood, earwigs [x2], earwigs in my fridge at midnight put me in a dancing mood
I'm bouncing down the high street now, shopping for new clothes, I buy a pair of gothic shoes, showing off my toes, once more down Oxford Street, I shop for a Mac and fries, looking for a toothsome girl to soften with my lies
I hear the master calling me, "that one, with big brown eyes and creamy, luscious, juicy thighs, come into my parlour," said the spider to the fly, "let me sink my teeth into your neck, it'll make you feel so high"
he throws his cape around her, a hiss and a suck and a hiss, then Dracula releases her, another pallid gothic miss, as he wipes the blood from off his lips he says with a simpering purr, "that look of rigor mortis will soon be de rigeur"
"Renfield, you just gave me an exquisite surprise, so eat your fill of bedbug soup and ladybirds and flies, cockroaches and millipedes and a million spider's eyes"
earwigs in my fridge at midnight put me in a dancing mood, earwigs [x2], earwigs in my fridge at midnight put me in a dancing mood, but it's not my night for insects, what's required is human food

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"Little Rivers"

not a cloud in the sky, no clouds, not a cloud in the sky, warm thoughts and sunny smiles, it's a wonderful life, bright enough for you and I
but somehow, somehow we lost the light, isn't it strange, isn't it, isn't it strange? the weather's changed
red rose, I cry little rivers inside, can you read my mind? red rose, I cry little rivers inside, 'cause I can't explain, it's a crying shame
we're two of a kind, we are, we're two of a kind, in shock we don't revive, well maybe you're right, what's dead deserved to die
but somehow, somehow we should have tried, tried to believe in life, isn't it strange, isn't it? isn't it strange? the colours fade

red rose, I cry little rivers inside, can you read my mind? red rose, I cry, red rose, I cry little rivers inside, can you read my mind, red rose, I cry, red rose, I cry little rivers inside, can you read my mind? 'cause I can't explain, it's a crying shame, it's a crying shame, it's a crying shame, it's a crying shame, can we start again?

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"The Wicked Witch"

Music by Michael Bulgrin and Achim Mennicken (Latz), with "additional construction" by Lene Lovich and Les Chappell; song title by Latz (inspired by "The Wizard of Oz"), lyrics by Lene Lovich.

 

the wicked witch

[chorus] oh, oh, the wicked witch, what a wicked thing she is, hey-oh, better run [x2], look out now 'cause here she comes
welcome to my world
take care, beware [x2]
devastating seeds I know, dancing demons I control, horror scenes that spike your sleep are just a little part of me, endless, dreadful, freaky vibes terrorize your feeble minds

[chorus], antithesis, apocalypse

her wish is your command

take care, beware
run, run, but you cannot hide, none could escape the wicked witch

[chorus], antithesis, apocalypse

her wish is your command

take care, beware
evil entities I know freeze the heart and eat the soul, morbid tears will not suffice, I'll do more than make you cry, endless, dreadful, freaky vibes terrorize your feeble minds
[chorus], antithesis, apocalypse, ah wicked, wicked witch

Latz versions

the spell is spoken, the curse is cast, one by one my deadly charms advance, all that I desire shall come to pass, none could escape the shadowmaker, never in your wildest dreams have you experienced the likes of me

the wicked witch*

oh, oh, the wicked witch, what a wicked thing she is, hey-oh, better run [x2], look out now 'cause here she comes

for a few dollars you can, you can hire a woman**

welcome to my world

take care, beware

devastating seeds I know, dancing demons I control, horror scenes that spike your sleep are just a little part of me, endless, dreadful, freaky vibes terrorize your feeble minds, antithesis, apocalypse

for a, for a few dollars you can hire a woman**

her wish is your command

oh, oh, the wicked witch, what a wicked thing she is, hey-oh, better run [x2], look out now 'cause here she comes, [Monitor Mix: antithesis, apocalypse]

her wish is your command

take care, beware

evil entities I know freeze the heart and eat the soul, morbid tears will not suffice, I'll do more than make you cry, endless dreadful, freaky vibes terrorize your feeble minds

[album mix: hey-oh, hey-oh, better run], oh, oh, the wicked witch, what a wicked thing she is, hey-oh, better run [Monitor Mix: x2] [album mix: x3], look out now 'cause here she comes, antithesis, apocalypse, ah wicked, wicked witch

(* sampled from movie "The Wizard of Oz" (1939))

(** spoken by actress Beverly Garland, sampled from movie "It Conquered the World" (1956))

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"Light"

in the dark there is light [x3], there is light
in the midst of the dark there is light, forget the dread that preys on your mind, a special friend will you defend, who is always on your side
in your deepest despair it's all right, a helping hand will hold back the fright, one hope in hell to break the spell, who could save you from yourself, save you from yourself
light, there is light [x2]

there is light

in a dangerous world we abide, confusion clouds the wrong and the right, and you I fear might disappear, lost and lonely in the night, lonely in the night

light, there is light [x2]
out of sight but you're not out of mind, concern for you cannot be denied, when shadows fall I heed the call, now our destinies entwine, our destinies entwine
out of love comes a good cause to fight, the vow to stand by you never dies, so take my hand and we shall dance, dance until the end of time, until the end of time
light, there is light [x4], light

"No Man's Land" lyrics

Except where noted, all lyrics by Lene Lovich (music by Lene Lovich and Les Chappell; all saxophone and trumpet lines by Lene Lovich).

"It's You, Only You (Mein Schmerz)" - album mix; single mix
"Blue Hotel"
"Faces"
"Walking Low"
"Special Star"
"Sister Video"
"Maria"
"Savages" - album version; EP version

"Rocky Road"

"No Man's Land" (poem)

"It's You, Only You (Mein Schmerz)"

Music and lyrics by The Meteors (Dutch band); lyrics slightly adapted by Lene Lovich.

album mix

let's say goodbye to our friends of the night, night night night, there's nothing for us here, always been longing for a moment like this, don't want to waste it here
isn't it strange how sure you can be when you find the one you want, isn't it strange how crazy you go when you finally won the one that you want
a moment like this, maybe, baby, we can make it
[chorus] it's you, it's you, only you, well I know what I want and I'm sure I can get it [x2]
I'm losing my heart for you, and I'm prepared to lose my life, mein Schmerz
maybe we can make it, maybe, maybe we can make it
[chorus], it's you
it's you, it's you, only you [x2], but it's you, it's you, only you, well I know what I want and I'm sure I can get it
it's you, it's you, mein Schmerz, only you, mein Schmerz, only you, it's you, only you, it's you, only you, only only only you, only you, only you, mein Schmerz, it's you, only you only you, it's you it's you it's you it's you


single mix

let's say goodbye to our friends of the night, night night night, there's nothing for us here, always been longing for a moment like this, don't want to waste it here

isn't it strange how sure you can be when you find the one you want? isn't it strange how crazy you go when you finally won the one that you want

a moment like this, maybe, baby, we can make it

[chorus] it's you, it's you, only you, well I know what I want and I'm sure I can get it, but it's you, it's you, only you, well I know what I want and I'm sure I can get it

I'm losing my heart for you, and I'm prepared to lose my life, mein Schmerz

maybe we can make it, maybe, maybe we can make it

it's you, it's you, mein Schmerz

maybe we can make it, maybe, maybe we can make it

it's you, it's you, only you [x3], well I know what I want and I'm sure I can get it
it's you, only you, it's you, only you, only only only you, only you, only you, mein Schmerz, it's you, only you, only you

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"Blue Hotel"

Music and original lyrics by Mauro Goldsand, with musical adaption by Lene Lovich and Les Chappell; lyrics by Lene Lovich (unrelated to original lyrics; see upcoming song details page for original lyrics).

See also "Other lyrics" page for "Blue Hotel" (single recording).

hello!
the sky I scan for you, radiate, encounter, communicate, my world waits for you, anticipate, possibilities await
[chorus] stay awhile at the blue hotel, play awhile at the blue hotel, there's a million things we could do, spend time at the blue hotel, excite your mind, me and you at the Hotel Blue
so secret, so lonely, please relate, why remain so isolate?
[chorus]
hello!
new stranger, come closer, associate, make contact, don't hesitate
[chorus]
ooh, stay awhile at the blue hotel, play awhile at the blue hotel, there's a million things we could do, do, spend time at the blue hotel, excite your mind, me and you at the Hotel Blue

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"Faces"

this face is so cold, it chills right to the bone, the message is clear, you want to be alone, my dear, eyes of ice
face to face, get a move on, let's go, getting nowhere like so, face to face
this face is so hot, it almost eats me up, the message is plain, you want to be my friend again, again and again, eyes of fire
laughing like babies, so beautiful are we, smiling radiates soul energy
get a move on, let's go, getting nowhere, oh oh oh oh oh
changing faces facing changes, face to face [x3], changing faces, face it!

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"Walking Low"

see the pretty bodies fly, closer to the ground am I, the weight of time heavy on my mind
walking low
step by step I realise the sky is also mine, all can shine, share the light
walking low no more

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"Special Star"

oh special star, shine down on us like you did before [x3]*
see these dark ages blinding us still, since you've been gone where is the thrill? many false idols, making a kill, easy make, easy take imitation
time separates us, bodies are weak, how can you fight lost in this sleep? silent night stories hard to believe, was it right, was it real, was it only a dream?
shine down on me, happy feeling
don't you remember, bright blazing power burning our minds, one special star, one light forever, one light for all, do you hear, do you hear, do you read me? I'm still waiting
shine down on me, special star, I am standing at the crossroads far too long, and time is running out now, would you shine down? I'll be waiting
shine down on me, happy feeling, shine down on me, energy [x2]
shine down on me [x4], would you shine down?

(* not included on "New Toy" EP version)

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"Sister Video"

Music and lyrics by Jimmie O'Neill.

I get the picture, action in mind's eye, I get the picture, lights that fight and kill and die
[chorus] sister video, sister video, love you, love your movie movie world
I get the picture, sight and sound, action now, I get the picture, a little Mr. Nippon know how
[chorus], love you, love your movie movie world
I get the picture, action in my mind's eye, I get the picture, lights that laugh and love and shine
[chorus], love you, love your movie movie world [x2]
sister video [x6]

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"Maria"

little Maria, good as gold, always doing what she's told, so sweet, obediant, and no-one want to see her suffering
hey Maria, one day, Maria
nice Maria works so hard, everyone is very proud, what a heavy load she's carrying, and no-one want to know her suffering
Maria, hey Maria, wake up, Maria
bad Maria's talking back, ah, shit!, making everybody mad, mad mad mad mad, she wants to see equality, same for them, same for me
hey Maria, hey Maria, hey Maria, maybe, Maria, today, Maria
Maria, good luck!

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"Savages"

album version

lights go out, nobody knows what it's all about, scared of air, we gulp and run, got to get away from the burning front

savvay

hotfoot out the underground, nobody lives in the dark for long, it's time to do what must be done, one for all and all for one

radio boys and radio girls tune into this radio world
savvay

radio boys and radio girls tune into this radio world

what say, what say you savages today? [x2]

savvay [x4], sava-sava-sava-hey-hey-hey-hey, sava-hey-hey-hey, sava-sava-hey

EP version (released on "New Toy" EP)

one, two, three, four

sava-sava-sava, we're running running, I'm scared scared, air air, gulp run gulp run, got to get a- get away-ay-ay

savvay savvay

bye bye bye bye, say it say it say it, can't can't can't, why why why?, in the dark dark dark, I say!

savvay savvay

radio boys and radio girls tune into this radio world

savvay savvay

what say what say, what say what say, what say you savages today? [x2], savvay [x13], sava-sava-hey [x3]

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"Rocky Road"

one badly beaten body, one broken soul, in search of sanctuary, long way to go
[chorus] there's a land I've seen in a dream, the home of the brave and free, where peace of mind is easy to find, forever guaranteed

too many useless martyrs suffer in vain, too many greedy brothers cheating the game
this rocky road is twisted, so many lose their way, the bitter wind is whistling, confusion reigns
[chorus]
I see the distant glory, I feel the shaky ground, a thousand voices raise a welcome sound

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________________________________________________________________________________________________


poem by Lene (printed on the album's rear cover)


No Man's Land

There's a wall between us - dividing feelings
Confusing meanings
Keeping us ignorant - pseudo safe
Bottled emotions
Breakable jam jars of hate
Ready for action - poised to attack
Should any trespass
Our forbidden zones
But there's a place between the wall and us
A no-man's-land of love and trust
An open space - long forgot
Respect for all
Uncorrupt
Where honesty can still survive
Fresh face smiles
And friendly eyes
So I accept you - if you accept me
At least agree we both exist
And maybe when the wounds have healed
When the pain no longer rips
You might see me
Like a flickering flame
Waving to you
Thru the crack in the wall

"Flex" lyrics

Except where noted, all lyrics by Lene Lovich (music by Lene Lovich and Les Chappell; all saxophone lines by Lene Lovich).

"Bird Song"
"What Will I Do Without You"
"Angels"
"The Night"
"You Can't Kill Me"
"Egghead"
"Wonderful One"
"Monkey Talk"
"Joan"
"The Freeze"


"Bird Song"

a little bird told me you were untrue, even though I had faith in you, I believed the lying words of the sly little bird

so with the bird one day you flew away, I woke up too late, you had gone, fading on with the song of the hurting little bird
[chorus] still I watch the sky, still I wonder why, still I hope that I can carry on, if I can be strong, if you hear my song, you'll know that it was wrong to say goodbye
such a cold bird so hard captured your heart, does it matter I am falling apart? breaking fast as the flesh of a dead little bird
[chorus x2]

________________________________________________________________________________________________


"What Will I Do Without You"

Music and lyrics by Judge Smith.

I take disasters in my stride, they don't upset me, and those that mean me harm are sorry that they met me
[chorus] but what will I do without you, what will I, what will I do without you, hey, what will I do without you, what will I, what will I do without you, do without you?
if time and tide and life conspire to defeat me, I smile and carry on, I never let them beat me
[chorus]
and if my seven senses one by one should leave me, in the silent darkness I would be alright, believe me
[chorus]
if that dark angel raises bony hands to clutch me, I will not fear his sting if he decides to touch me
[chorus], oh no, but what will I without you, what will I, what will I do without you [x2], hey, what will I do without you, what will I, what will I do without you?

________________________________________________________________________________________________

"Angels"

[chorus] the angels are watching over me constantly they say, the angels are always close to me in every game I play, and if I win or lose, I know they'll see me through, the angels watch my every move
what?
confused and lost like there's no way out 'til I see a light shining from above, so I raise my head to salute the sky and I feel that light take my spirit high
[chorus]
I could close my mind to a lot of things, but tonight's a night for remembering, there's a place for me on the other side when they call my name for that final ride
[chorus]

________________________________________________________________________________________________

"The Night"

Music by Bob Gaudio; lyrics by Al Ruzicka, slightly adapted by Lene Lovich.

beware of their promise, believe what I say, before I go forever, be sure of what you say
so they paint a pretty picture, and they tell you that they need you, and they cover you with flowers, and they always keep you dreaming, they always keep you dreaming you won't have a lonely hour, if the day could last forever you might like your ivory tower
but the night begins to turn your head around and you know you're going to lose more than you found, yes, the night begins to turn head around, around
beware of their promise, believe what I say, before I, I go forever, be sure of what you say
for the words may come too easy if you don't believe I'm leaving, and goodbye may come too quickly if you really think they love you, if you really thought they loved you, you would give your love so sweetly, if the day could last forever you might fall in love completely
but the night begins to turn your head around and you know you're going to lose more than you found, yes, the night begins to turn head around, around

but the night begins to turn your head around and you know you're going to lose more than you found, yes, the night begins to turn head around

________________________________________________________________________________________________

"You Can't Kill Me"

Music and lyrics by Judge Smith.

you can't kill me [x4], you can blow me up with an atom bomb, but I'll be right back and it won't take long
I can't kill you [x4], if I shoot you down as a mean old man, you'll become a little baby in Japan, mou ichido
you can't kill me [x3]
the driver of a flesh machine is what you really are really bopshoowah*, and you can't stop a driver just by smashing up his car
we can't kill we [x4], since we'll both be here again dies irae*, we might as well try being friends, we can't kill we

(gobbledygook part, mixed with "la 'illaha 'illallah Muhammad rasulu-llah" ("There is no god but God, and Muhammed is the messenger of God."))

(* words hardly discernible but they are correct, as Lene has written down these lyrics for the booklet of a 2001 Japanese CD re-release)

(-"mou ichido" (already there in Judge Smith's original demo recording): Japanese for "once again", "one more time"

-"bopshoowah": ??? (probably some sort of in-joke)

-"dies irae" (Latin for "day of wrath"): title of a different Judge Smith song, added by Lene in reference to him

-final part of the song: mixture of gobbledygook (the same words are already there in Judge Smith's original demo recording) and quote from the Quran (added by Lene; meaning: any kind of religious faith that leads to nowhere))

________________________________________________________________________________________________

"Egghead"

big wheels turning in my head oh, growing up is a deadly business, my head was light and airy, now my head is heavy as lead
getting older night and day, dear, wonder if we'll ever make it, I feel so insecure but my mind is activated
[chorus] counting fingers, don't be slow, paper heroes, we must know, looking smarter every day, ay egghead ayayay
idea eating intellect oh, can you hope to make the distance? I thought I knew quite a lot, but what an uphill climate this is
egghead [x4]
[chorus]

________________________________________________________________________________________________


"Wonderful One"

wonderful one, who are you, so perfect and precious to me, beauty in body and soul, all that I wish I could be
what do you say, time slips away, I am just floating from nowhere to nowhere it seems, hold back the pain, try to explain, you are the light in the [my*] darkness, the light that I need
life is a struggle for one, make it double and two can survive, lean on me lovely, my shoulder is strong as my feeling inside
what do you say, time slips away, I am devoted and totally programmed to please, hold back the pain, try to explain, you are the reason for all this emotion I feel
[chorus] wonderful one, you're the song I sing, here is the home where my heart belongs
fate is unkind and at times we seem to be all out of place, yesterday's image has passed, but yet we may still find a trace
what do you say, time slips away, I am still hoping to unlock [open*] the door to my dreams, hold back the pain, try to explain, you are the key to that ultimate answer I seek [you must believe me that moment of freedom is here*]
[chorus x4]

(* alternative lyrics partly used in live performances)

________________________________________________________________________________________________


"Monkey Talk"

monkey see, monkey do, monkey want to talk to you, monkey got a lot to say, monkey must communicate

day is night, night is day, everything is cross-connected, it's a crazy cuckoo race, I am almost glad it's ending, men and monkeys all are we, swinging through eternity
monkey see, monkey do, monkey want to talk to you, monkey got a lot to say, monkey must communicate

played so hard* all the way, broken bodies soon will mend, there's no need for you to cry, this is just a game, my friend, men and monkeys all are we, swinging through eternity
[chorus] oh when the stars come tumbling down and we find our feet once more upon the ground, there's no time to mess around, oh there's such a lot to do, me and you

men and monkeys all are we, swinging through eternity

[chorus x2]

(* "live so hard" on first version (released on "Can't Start Dancin'" promo sampler album))

________________________________________________________________________________________________

"Joan"

Joan, are you listening to my voice, you can't escape, you have no choice, it's just as real as anything said outside your head, the voice inside you bites your mind, you can't ignore the words this time are twice as loud as the jealous crowd that makes you cry
[chorus] like Joan of Arc you must be brave and listen to your heart, imagination is essential to creative art, so look into your mind and use what you may find, the answer lies behind your eyes, it's not that far
Maria, Maria
Joan, it appears you've seen the light, you must allow a light to shine, ignore the normal boundary lines that keep you tied, the world is full of hate and fear, you must expect to shed some tears, but precious are the eyes that see the new ideas
[chorus]

________________________________________________________________________________________________


"The Freeze"

the icicles are forming in our eyes as we go, as we go, the lucky ducks are waving us goodbye, what a show, as we go
don't forget your name or the place from which you came, and the rest who still remain below
the best of us are taken by surprise, even so, even so, we can't avoid the ultimate device, what a blow, even so
high and higher, how far do we go? we can't expect to always see the sun shine, frozen, silent, waiting in the cold, this is the longest night of all
the instruments are beating with a sigh, yes, we know, yes, we know, it's time to close the door and say good night, time to go, yes, we know
all is cold tonight but the stars are shining bright, and one day we'll see the light I know
we can't expect to always see the sun shine, this is the longest night of all

"Stateless" lyrics

Except where noted, all lyrics by Lene Lovich (music by Lene Lovich and Les Chappell; all saxophone lines by Lene Lovich).

"Home"
"Sleeping Beauty"
"Lucky Number"
"Too Tender (To Touch)"
"Say When"
"Writing on the Wall"
"Telepathy"
"Momentary Breakdown"
"I Think We're Alone Now"
"One in a 1,000,000"
"Tonight"


"Home"

home is where the heart is, home is so remote, home is just emotion sticking in my throat
let's go to your place [x2]
home is where the heart is, home is so remote, home is just emotion sticking in my throat, home is hard to swallow, home is like a rock, home is good clean living, home is... I forgot
let's go to your place [x4]
home is so suspicious, home is close control, home is "will you miss us?", home is "I don't know..."
let's go to your place [x4]
home is aggravation, home is so much fuss, home is "mind your business", thank you very much
let's go to your place [x4]
I don't wanna go back, I don't wanna go back, I don't wanna go back anymore [x6 to fade]

________________________________________________________________________________________________

"Sleeping Beauty"

take me, make me, mould me, fold me, shape my body, you can improve me, rebuild a new me, heat up or cool me, but don't forget to wake me in time, you know I had a lot on my mind, these tired old eyes await a surprise, I wonder what the future will bring
fix me, mix me, re-arrange me, change my body, make it so pretty they can't resist me, queue up to kiss me, but don't forget to wake me in time, you know I got to be first in line, this sensitive child is changing her style, the ugly duck is starting to smile
[chorus] open up your eyes, you sleeping beauties must arise, you're shaping up just fine, so climb inside a brand new life
this twilight seems like an eternity, the changes I go through are hurting me, do we become what we deserve to be?
[chorus x2]*

(* original mix: chorus x4)

________________________________________________________________________________________________

"Lucky Number"

I never used to cry 'cause I was all alone, for me, myself and I is all I've ever known, I never felt the need to have a hand to hold, in everything I do I take complete control, that's where I'm coming from, my lucky number's one
I've everything I need to keep me satisfied, there's nothing you can do to make me change my mind, I'm having so much fun, my lucky number's one, ah ooh ah ooh, I, I, I-yI-yI*
I now detect an alien vibration here, there's something in the air besides the atmosphere, the object of the action is becoming clear, an imminent attack upon my heart I fear, the evidence is strong, my lucky number's wrong*, ah ooh ah ooh
something tells me my lucky number's gonna be changing soon, something tells me my lucky number's gonna be you
you certainly do have a strange effect on me, I never thought that I could feel the way I feel, now something in your eyes gives me a wild idea, I never want to be apart from you, my dear, I guess it must be true, my lucky number's two

this re-arrangement suits me, now I must confess the number one was dull and number two is best, I wanna stay with you, my lucky number's two, ah ooh ah ooh, number two [x5]

(* not on original recording (released on b-side of "I Think We're Alone Now" single))

________________________________________________________________________________________________

"Too Tender (To Touch)"

[chorus] too tender to touch, too fragile to lust, these misty eyes are just enough, a little sigh to guide the way, we don't need so very much
you and I together now, forever after only us, a staring smile, a frozen face, a photograph of lasting love that never knew a nicer place than tucked inside my pillowcase
[chorus]
my desire, all I need, romance until the end of time, the taste of love is bittersweet, my hungry heart is satisfied, to give myself to only you and be nobody else's fool
[chorus x2]

________________________________________________________________________________________________

"Say When"

Music and lyrics by Jimmie O'Neill.

well I'm all revved up and ready baby, you're a man, I'm a lady, better turn your eyes from this body of mine, I don't want you to be ahead of our time
[chorus] I'll say when to stop, hey I call the shots baby, I say when, say when [x2]
well you look plenty of good to me, yeah you got plenty of energy, and I know that you're big and strong, but I'll be the boss, so don't go wrong
[chorus]
one, two, three, four, five, six, seven, eight, nine, ten
well I'm all revved up and ready baby, baby baby baby baby*, you're a man, I'm a lady, lady lady lady lady*, better turn your eyes from this body of mine, mine mine mine mine*, I don't want you to be ahead of our time, time time time time*

[chorus]

un, deux, trois, quat', cinq, sechs, sieben, acht, neun, zehn

(* no repeats on original mix)

________________________________________________________________________________________________

"Writing on the Wall"

the writing's on the subway wall, I'm sorry that I never called, I never phoned or wrote to you, it's silly 'cause I wanted to, oh yes, the subway wall sadly seems to say it all, it's my mistake, I know that now, a bit too late to cry
you're somewhere else with someone else, and here am I, all by myself, an empty wall, an empty me, I'll write the things that should've been
I'll tell the world how much I care, and miss the one that isn't there
oh, the writing on the wall [x4]
the writing's on the subway wall, and give or take a year or so someone will come and rub it out, delete the words that hurt my heart, oh yes, there will remain a little hurt, a little stain, the memory can still be read upon the wall inside my head
oh, the writing on the wall, write on!, oh, the writing on the wall [x4 to fade]

________________________________________________________________________________________________

"Telepathy"

Music and lyrics by Jimmie O'Neill.

I know what you done, I saw you in my crystal, I saw you making love, I'm gonna get my pistol
telepathy's gonna be the death of me [x2]
I know what you done, before you even do it, don't tell me your story, I can see through it
telepathy's gonna be the death of me [x2]
love is really mutual trust, respect and understanding is a must, but my baby's mind is like a TV and everything I see makes a fool of me
I know what you done, yeah, you think I don't know, you been playing round with Mrs So-and-So
telepathy's gonna be the death of me [x2]
oh, those little lies right behind your eyes, I don't need no spies, with my ESP you're not fooling me, but oh, the jealousy
love is really mutual trust, respect and understanding is a must, but my baby's mind is like a TV, and everything I see makes a fool of me
I know what you done, I saw you in my crystal, I saw you making love, I'm gonna get my pistol
telepathy's gonna be the death of me [x4]
telepathy [x3]

________________________________________________________________________________________________

"Momentary Breakdown"

two strangers meet on a crowded street, eye to eye and their hearts skip a beat, within their minds they don't know what to say, so they just smile and go their separate ways
it's only a momentary breakdown, only a momentary breakdown
but as they walk they feel a glow inside, a blinding light invades their sterile lives, and suddenly their world begins to spin, they can't suppress the feelings deep within
it's more than a momentary breakdown, more than a momentary breakdown
and now the circuit is complete, at last there's someone just like me, I know that we were meant to be in everlasting harmony
so silently the crowd began to move, one by one 'til there was only two, and darkness fell upon the rebel pair, they close their eyes and there is no-one there

________________________________________________________________________________________________

"I Think We're Alone Now"

Music and lyrics by Ritchie Cordell.

"children behave", that's what they say when we're together, and "watch how you play", they don't understand and so we're
running just as fast as we can, holding on to one another's hand, trying to get away into the night and then you put your arms around me and we tumble to the ground and then you say

[chorus] I think we're alone now, there doesn't seem to be anyone around, I think we're alone now, the beating of our hearts is the only sound
look at the way we got to hide what we're doing, 'cause what would they say if they ever knew and so we're
running just as fast as we can, holding on to one another's hand, trying to get away into the night and then you put your arms around me and we tumble to the ground and then you say

[chorus]

I think we're alone now, alone now, there doesn't seem to be anyone around, I think we're alone now, alone now, the beating of our hearts is the only sound [x3]

________________________________________________________________________________________________

"One in a 1,000,000"

[chorus] there's just one in a million people who can make me feel so fine, there's just one in a million people who can fascinate my mind, there's just one in a million people who can wind me up inside, there's just one in a million people who can do it every time
tried to find a right connection, tried to find the one for me, I was looking for perfection, they could never guarantee, few of them could fit my plan, I could count them on my hand
[chorus]
stop and think about statistics, chances are we'd never meet, still I lived in hope that one day I would find the missing link, you're the one I've waited for, you're the one I can't ignore
[chorus]
we have something very special, we have something quite unique, it's a mutual vibration, we don't even have to speak, shh, now that I have found the best, how can I control myself?
[chorus]
oh, one in a million people who can make me feel so fine, there's just one in a million people who can fascinate my mind, there's just one in a million people who can wind me up inside, there's just one in a million people who can do it, do it, do it, do it, do it every time

________________________________________________________________________________________________

"Tonight"

Music and lyrics by Nick Lowe; lyrics slightly adapted by Lene Lovich.

what a fabulous night, look at the moon and stars all shining bright, it's a wonderful night alright, oh it's so heavenly, I could almost believe you could fall in love with me tonight
there's a place that I know, a secret place where I sometimes go, if you wanna know where we'll go there, so don't hesitate, 'cause although it ain't late we still can't afford to wait
[chorus] tonight, tonight there will be no sorrow, tonight tonight don't think about tomorrow, tonight we'll do what must be done, so we won't be the lonely ones, tonight, tonight how can we fail to fall, tonight, tonight is really magical, tonight we're just a boy and girl, the only people in the world

tonight
oh well, [chorus x3 to fade]

(original mix: no background vocals on first chorus)

Mudkiss (UK; 3/2013)

LENE LOVICH: THERE’S BEEN SOMETHING MISSING IN MY LIFE FOR A LONG TIME

Lene Lovich is a true original. Who could ever forget catching the first glimpse of her and her plaits as thick as a man’s wrist on Top of the Pops? Or seeing her live as part of the ultra-hip Stiff Records Tour with Wreckless Eric and Jona Lewie?
Famed for the quirky hit ‘Lucky Number’ back in 1979, Lene’s career has spawned five albums although it’s true that Lene never regained the momentum that came with that early success. However that could all be about to change now that she’s decided to slip back into her stage shoes and take herself on tour. The jewel in the crown is a headlining spot at the world’s premier punk rock festival, Rebellion in Blackpool which should, if the sea breezes are blowing in the right direction, introduce her to a whole new generation of fans. Before that happens though, Lene Lovich and her band are about to play the Dry Live in Manchester this coming Saturday 23rd March, and it’d be great if you could participate in the adventure – I know Mudkiss will be there!

-What made you want to become a performer?
LL: I don't really know, something inside me made me different from most people around me. Once the aliens told me they weren't coming back for me, I had to find a place to be where I could live and be happy which is what most of us try to do. I always believed that if I lived long enough I would find it. After a lot of trial and error, I ended up being a performer.

-Who or what do you consider to be your major influences?
LL: Soundwise - We had three records in our house, 'March Slav' by Tchaikovsky, 'Molasses' by Spike Jones and the soundtrack to the film 'South Pacific'. I played them countless times, especially when no one was around. Visually - There was no censorship, so I saw a lot of scary films as a child in Detroit. They fed my imagination. Later on, the list grows...

-What was working for Stiff Records like?
LL: Great fun at the beginning - total freedom, nobody told me what to do or how to look. It was pure joy after having had such a hard time at art school. I felt like I had finally found a place to be where people thought you were good and let you get on with it. I'm very grateful for those early days. It was hard work; everyone was pushed to the limit. Things happened fast. It was exciting to see that there could be success against all odds, thanks to the super talented people that worked there.

-What are your most and least favourite memories of those days?
LL: I loved being a part of the Be Stiff Tour 78. We travelled the UK by train, going to places most tours don't. It was an education and crazy fun. Sadly, the good times didn't last. The pressure to have a hit record was unbearable. They wanted to make all the artists cover a Motown song. I didn't see the point, as I didn't think I could do it better than the original recording. So I got locked in the Stiff dungeon. I wasn't the only one.

-You're best remembered for the huge hit single 'Lucky Number'. Do you feel that all your subsequent work is judged against it?
LL: Having a hit record is a blessing and a curse. It's a wonderful feeling to get recognition for a song that you created and performed in a totally original way, but there is always the need from the record company to do it again. And once you're in the public eye, the media and to some degree the audience think they know you and expect more of the same. I only know this with hindsight. I never planned a career; there was never a master plan, so I didn't really know where I was going. I still don't. It's unknown territory and that's what makes it interesting. I don't like being judged, especially by those who like to be negative. Lucky Number is still special, but it was only the beginning.

-Which of your work are you most proud of?
LL: My second album, Flex, is probably the most significant indicator of what I could achieve as an artist. I was unaware of forces gathering against me and just indulged myself in my creativity with wonderful contributions from my partner, Les Chappell and all the other great musicians around me. I couldn't say if it was the best album I'd ever made, I don't analyse my work. But it was more the realisation that I could do this.

-Your career has spanned four decades, in your opinion how has the music industry changed in that time?
LL: The music industry doesn't really interest me. It can sink or swim and it wouldn't make much difference to me. I am thankful that I was given a great deal of publicity in the old days, I think that's something that new artists struggle with. I have to admit that I'm not aware of what's happening now or what's been happening. I'd like to think that the developments in technology, the internet etc. might help people flesh out their ideas, but really, it's the ideas that matter and the opportunity to see if they work or not in the real world. You can only test your passion, your energy and your performance skills if you play live. I regret that there's not enough places left to play and not many new ones being created.

-As an artist that sells her music, what are your thoughts on illegal downloading?
LL: I'm in favour of people having access to music for free; it's educational and sometimes inspiring, but everything comes at a price. Technology is moving faster than we can deal with the effects. The way our society works is that you need to get paid in order to live. Until we figure out how to live a different way, it's going to mean that some people just won't be able to afford to spend the time trying to create music. I believe that it's not totally a bad thing for that to happen, and it may mean that fewer people will do it.

-Do you think it's easier or harder for women artists to work and be successful on their own terms in the music industry?
LL: I don't think anyone should be judged by what sex they are, artists are attractive for all kinds of reasons. I don't dwell on thinking of myself as a woman. I believe that you are what you are so just get on with it. It's more important to develop all the skills you can. Work hard and you might get somewhere.

-After a long period of dowdiness do you think it's time for pop stars to be more flamboyant?
LL: You have to do what is natural and what feels good. I believe in style more than fashion. You can get attention by wearing a costume, but it's superficial. It's more important for me to see what I can create for myself.

-How did the current band come together?
LL: I did a weird free jazz show with Jude Rawlins from Subterraneans in the spring of 2012. Shortly after we decided to work together. Jude plays guitar and is the driving force in the band. It wasn't really our kind of music, but we were both curious to see what might happen. We had a hard time finding any space for our voices amongst the constant throng of notes. And shortly after, probably out of disappointment and frustration, we decided to work together. The band is made up of great players and great personalities. Morgan King on drums, Lydia Fischer on bass, Kirsten Morrison on keyboards, and Jude on guitar of course.

-Are you excited to be playing your music on stage again?
LL: There's been something missing in my life for a long time. You can get satisfaction from writing a song, but until you play on stage, it doesn't really live. I've been waiting for a chance to feel that power of performance again.

-What are your thoughts and feeling about playing the Rebellion Punk Festival in Blackpool this coming August?
LL: It definitely sounds like our kind of event! I'm expecting it to be a lot of fun. Can't wait!

-How do you feel about the current political climate?
LL: I've stopped watching the news and only occasionally read a newspaper. I fear that a general depression is happening and we need to find a way out of it. There's a constant bombardment of negative messages that make us feel weak and hopeless. Time for a revolution I would say.

-What got you involved in animal rights?
LL: I had always been sympathetic, but couldn't make any changes in my life till I had enough information. It was Nina Hagen who helped me focus all my random thoughts into action. We wrote "Don't Kill the Animals" together and it changed my life.

-And finally what is your biggest hope for the future?
LL: I want the world to be a fair and fun place to be.

You can catch Lene Lovich live on the following dates and venues:
22nd March Brudenell Social Club, Leeds
23rd March Dry Live, Manchester
24th March Roadhouse, Birmingham
25th March Cavern, Exeter
19th April Star & Shadow Cinema, Newcastle
20th April Broadcast, Glasgow
21st April Voodoo Rooms, Edinburgh
24th April Cargo, London
11th May Wild At Heart, Germany
11th August Rebellion Festival, Blackpool

Interview by Phil King

Rock 'n Reel (UK; 2013)

"Probably the activity I'm most proud of was my collaboration with Nina Hagen on the song Don't Kill the Animals. We toured extensively in Europe and had a great time. It was the start of my dedication to animal rights and my firm belief that it's the next step in human evolution. I travelled across America to spread the word with PETA people and was glad to help raise the awareness.

"It took a while for old music-business wounds to heal; to recharge and regain confidence and for the 'brick walls' to become invisible again. My children have grown up and I feel it's time to connect with the other reasons for being in this world. I wasn't sure it could be done until I met Jude Rawlins, who convinced me to do it and do it now.

"Jude is the founder member of Subterraneans, and has taken time from his own projects to help me present my music. We put a great band together last July - Jude on guitar, Lydia Fischer on bass, Kirsten Morrison on keyboards, and Morgan King on drums. We're working together really well and having fun.

"People find it hard to believe, but I don't think too much about the way I look. It's something that's evolved through experiences, circumstances and necessity. Early influences were from the fantasy, science fiction, horror, and Western movies I saw as a child at the local cinema in Detroit. You could mix up images of the Gorgon Medusa, the Bride of Frankenstein and any of the Native American women from the Westerns - I always related more to the Indians than the cowboys - and it might resemble me on stage. And you can add a bit of Dusty Springfield for the eye make-up.

As well as planning a comeback tour, Lene says that she's "on a mission to prevent as many suicides as possible. I'm not talking about the terminally ill. It's those who are finding life impossible for emotional reasons that concern me. The world needs sensitive people. Somehow we have to find a way to survive amid the mountains of negativity that surround us."

No Man's Land Rumours and Mysteries

UPDATE COMING SOON

There are many rumours circulating around Lene's third album. One of these rumours is that Lene has remixed the album or re-recorded songs at the wish of her record company in order to make the recordings more commercial,

or that the tracks on the "New Toy" EP reflect what Lene had in mind for the album, while the album itself does not.

All of this is incorrect.

These misunderstandings mainly go back to liner notes of CD re-releases, which did not tell all the details but only some part of this complicated story but not the complete information, and have been taken too literally by many people.

In addition to this, liner notes or news items often tend to get elaborated by those who write them.

Also, these misunderstandings partly originate in the fact that Lene did not always tell every single detail about the story to interviewers, or because not everything that she said was actually printed.

The above-mentioned unfounded statements about remixing or re-recording have also been made in an article on an early-1980s Stiff Records fanzine sheet, written by somebody who was not well informed for the same reasons.

The following is based on various interviews (mainly from 1981-1983).

The first part of this writing is an attempt to rectify the above-mentioned incomplete facts around "No Man's Land" and "New Toy"; the second part is the story of Lene's third album in general.

Lene and her partner Les Chappell had started to record their third album at Sound-Suite Studios (Islington Road, Camden, London) in late autumn 1980. These sessions were continued in early 1981 (not confirmed). "New Toy", the first single from the album sessions, was released in February 1981. According to a Stiff Records press announcement, "No Man's Land" was given a catalogue number, scheduled for release in late March 1981.

Stiff Records decided to prevent further work on the album after "New Toy" had become only a minor hit. Having become a more commercially orientated record company since Lene's last album "Flex", they could not see much hit potential in Lene's newest recordings. The postponed album, now with a new catalogue number, was expected to be out around September 1981.

However, it was the fault of Stiff Records that "New Toy" did not sell better, despite massive radio airplay, as the promotional release of the single has been played frequently on the radio, but it was released two weeks before the single would be commercially available, by which time radio stations had already started to play the song less frequently.

After work on the album had been stopped by Stiff Records, Lene became ill and stopped working for awhile at doctor's advice. She used that time for introspection, of which she came out strong and confident, finding that there was nothing wrong about what she was doing. She was very determined not to compromise at all.

Stiff Records wanted Lene to change and record songs that were not recognisable as being hers, even down to taking on an anonymous singing style. Also, Dave Robinson (boss of Stiff Records) started to develop the idea that Lene should record a cover of a Motown song in order to have a hit record. Their policy would have been to force Lene to change by stopping her from recording.

Lene pointed out that she intended to stay true to herself and was having none of this.

To record the remaining songs and to do mixing work, Lene had to try and grab studio time whenever Dave Robinson was in good mood, which is why it had to be done at scattered sessions in different studios (1981).

It was in some ways an "acceptable compromise" how the album was finished and released.

Lene made clear in interviews that these compromises were "acceptable" only in that she used them as means for everything to turn out the way she wanted it to be, that she would compromise only in terms of how to get there.

The way how she could persuade Dave Robinson to let her go to the studios was by working with his producers of the time.

However, Lene has pointed out (source: 1983 interview for Québec Rock magazine, plus other interviews) that she had used these producers just as engineers (assignated studio times were brief, and Dave Robinson was not aware - or interested - what exactly was going on there in the studios).

It is the reason why they are not credited as "producers" on the album's rear sleeve, but listed under "Recorded with ...".

Also, Lene had sent the finished tapes to Stiff Records, to no response; so she turned to Epic Records in America.

Epic Records pointed out that having recorded in different studios with different engineers resulted in an overall uneven sound for the album as a whole, so they wanted this to be fixed in order to make a release possible.

Lene was not aware there was a commitment for Stiff Records to finance this, as there was a contract between the two record companies that if Epic Records decided to release something, Stiff Records were obliged to finance the finishing of the product.

When Stiff Records sent Lene to New York to remix the album at Bob Clearmountain's studio, the record company were hoping that he would take out all the "craziness".

Lene was worried about this at first, but when she and Les Chappell got to New York with their multi-track in late September 1982, working with Bob Clearmountain and his engineer Dick Wingate turned out very well.

Bob Clearmountain did not remove or add anything; the album is just as Lene had recorded it in England (source: 1983 interview for Music Sound Output magazine, plus other interviews).

He only provided better sound balance in order to make it appear as "one" record, so that it would not be noticeable that the songs have been recorded in different studios with different engineers.

Lene has mentioned that she did not want the album to sound patchy; she wanted it to appear like "one positive impact".

She was so happy to work with Bob Clearmountain that she said he would use him again in the future.

As for the rumours that Dave Robinson wanted Lene to re-record tracks to make them sound more commercial:

"Savages" and "Special Star" were released on both the "New Toy" EP and the album. "Savages" on the EP was more experimental with its fragmented lyrics. There is no doubt that Stiff Records were happy about not having a sort of semi-instrumental track on the album.

Still, this was not the reason why the complete lyrics have been used for the album release (which has the same backing track as the EP release, while "Special Star" is a re-recording).

The different versions of these two songs were made because America, Canada and Australia (where the EP had been released) were important markets for Lene's records, so it would not make sense to release exactly the same recordings again on the album.

"Savages" was recorded with complete lyrics for an early 1981 BBC radio session (see below), and was played live always with complete lyrics (first time in 1981).

When Lene plays "Special Star" live, it was never played like the original recording from the "New Toy" EP, but always like the album re-recording.

Lene has explained that the album versions of these two songs are not superior to the initial EP releases but rather took them into different directions, while the EP versions reflect how they were originally conceived.

(When listening to the album re-recording of "Special Star", it is incomprehensible why some people make it out to be "more commercially appealing" than the original recording. Both versions are haunting and spacey in their own right.

What is actually more commercially appealing about the album recording is the hi-fi sound quality.)

In addition to this, people unsurprisingly tend to make up their own stories. About the fact that Lene has recorded a cover of "It's You, Only You (Mein Schmerz)" by Dutch band The Meteors (not the British band of the same name), they think she "somehow" must have done this because Dave Robinson wanted her to do a Motown cover.

Apart from the fact that the Meteors' songs are totally different to the Motown sound,

this particular song was already around at the above-mentioned initial recording sessions for "No Man's Land" (before they got stopped). Lene had asked the Meteors for letting her do a cover of the song when she invited them to be one of the opening acts for her autumn 1979 tour (when "Flex" was already recorded, but prior to its release).

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Lene and Les Chappell did not have very much time to work on the songs for the first two albums. When recording sessions for "Flex" started, they had only three original songs ready ("Monkey Talk", "Joan", "Bird Song"), plus unfinished tracks and tapes with many home-recorded little bits of ideas, which would be shaped to complete songs only at the recording studio.

They decided to take more time for the third album, which they did after Lene came back from an extended visit at her family's place in America in the summer of 1980.

They visited producer Conny Plank's recording studio near Cologne in 1980. Contrary to what was written in the media, Lene did not go to Japan in 1980 to check out Japanese recording technology (her only visit to Japan was during her 1983 tour).

At one point in 1980 Lene wanted Ennio Morricone as (co-)producer for "No Man's Land", because of the different slant from which he would have taken everything into, but he was already booked well into the future.

Lene was very put off when she learned that The Cars' producer Roy Thomas Baker has claimed in some 1980 music paper that he's going to produce Lene's next album.

When further work on the work-in-progress album had been basically stopped by Stiff Records after the relatively poor sales of "New Toy" and Lene had to grab studio time for scattered recording sessions (see above), Epic Records intended to release the song "New Toy" in America (where up to then it was available as an import).

The US release of the single was eventually withdrawn because Epic came to the conclusion that an extended release with more tracks would make more sense commercially.

It was decided to put out the "New Toy" six-track 12" EP with recordings from the "No Man's Land" sessions: "New Toy", "Savages", "Special Star", "Never Never Land", "Cats Away", "Details". The EP was released in America in July 1981 (see albums discography). It also came out in Canada, and in Australia later in 1981.

(The Japanese "New Toy" six-track 12" EP (released in spring 1981) and two other 12" EP releases of the same title (released in Australia in spring 1981, and in France in late 1982 or 1983) are NOT releated to the actual "New Toy" EP. Also, these three releases are unrelated to one another. See specifications at singles discography.)

Epic Records may have financed mixing these tracks for the upcoming EP release. This is unconfirmed though; Lene may have finished mixing previously, before it was decided to release the EP. It is not unlikely that mixing these tracks just took place at the same occasion when "New Toy" and "Cats Away" have been mixed for their upcoming release on the "New Toy" single (February 1981).

The mix of "Cats Away" on the EP (different to the "New Toy" single b-side's mix) might be an up-till-then unused mix from these sessions.

The release of the "New Toy" EP made room for more tracks on the upcoming album itself. Obviously it would not make sense to release an album with mostly the same songs that were already available on the EP.

The songs that would be released on the "New Toy" EP, plus "Faces", "Walking Low", "Blue" (which became a single b-side), and "Savages" (the album version has the same backing track as the EP version) have been recorded during the initial album sessions at Sound-Suite Studios (late 1980, perhaps continuing into early 1981).

Most of the other tracks on the album have been around for the initial sessions, but have not yet been recorded by the time these sessions were stopped by Stiff Records.

The songs "Savages", "Rocky Road", "Maria" (along with "Details") were first heard as special radio session recordings for BBC host Richard Skinner's programme in March 1981. "Savages" from that radio session stands out with its haunting double-tracked vocals on the verses.

The decision to cover "It's You, Only You (Mein Schmerz)" was made in 1979.

Whether "Sister Video" has been around for the initial sessions is unconfirmed, but likely.

Both "Blue Hotel" and "O Seasons O Castles" did not yet exist during the initial sessions.

The album version of "Blue Hotel" was recorded around autumn 1981, in order to be performed at Sanremo song contest festival (Italy, late January 1982). The original song was a demo recording by the writer of the song, with dreadful English lyrics.

When the contest jury remarked that Lene had changed the original song too much for the performance at the festival , she recorded a different version that was musically closer to the songwriter's original demo.

This new recording, which became virtually a different song, was performed half-playback (vocals live) twice at the festival, and released on single in Italy in early 1982. It was also released in Germany in 1983.

"O Seasons O Castles" was recorded around early 1982, specially for the French television film "Rock", in which Lene plays a leading part.

It is unknown if Lene had considered this song to go on the album at some point. It became a single b-side in Australia and Germany in 1983.

(See upcoming page with information on all songs.)

Justin Hildreth, Lene's drummer since the recording sessions for "Flex", played drums on the songs from the initial sessions for "No Man's Land", and also at the above-mentioned BBC radio session.

He was not available for later recording sessions, which is why Fingerprintz drummer Bogdan Wiczling was playing drums for "It's You, Only You (Mein Schmerz)" and "Rocky Road".

Lene and Les Chappell preferred the sound of a drum machine for "Special Star", "Sister Video", "Maria" and "Blue Hotel".

Stiff Records were concerned that the word "no" in the album's title might put the audience off, so they asked Lene to explain the title on the sleeve, which is the reason why she would write the poem that is printed on the rear sleeve.

A concert in New York in September 1981 (part of a brief East Coast tour) was filmed for television by the production company of American band The Osmonds (they were the only people who wanted to put money into this).

Lene and Les Chappell took photos for the album cover at the Great Salt Lake Desert when going to the Osmonds' place in Utah to do editing work of the New York concert's filming.

Some film footage they had shot at the same occasion in the desert was used for brief scenes of the video for "Blue Hotel" in 1983.

The following credits are taken from the inner sleeve of the album's Japanese release. See albums discography for more "No Man's Land" credits.

Recording engineers:
"Faces", "Walking Low", "Savages", "Blue", "New Toy", "Cats Away", "Special Star" (from "New Toy" EP), "Never Never Land", "Details": Alvin Clarke, Peter Rackham (Sound-Suite)
"Special Star" (from "No Man's Land"), "Maria": Martin Rushent (Genetic)

"It's You, Only You (Mein Schmerz)", "Sister Video", "Rocky Road": Steve Nye

"Blue Hotel": Gordon Fordyce

Mixing engineers:
"Faces", "Walking Low", "Special Star" (from "No Man's Land"): John Walls
"It's You, Only You (Mein Schmerz)", "Sister Video": Bryan Evans
"Blue Hotel", "Maria", "Savages", "Rocky Road": Damian Korner

Spinach Fizz (recipe by Lene from vegetarian cookbook)

-about a half to one pound of good fresh spinach (depending on how much you like it and the size of your pan)

-1 large onion - chopped

-1-2 cloves of garlic - chopped (optional)

-2 tablespoons oil (enough to cover the bottom of the pan)

-a little lemon juice (optional)

-pepper

You'll need a large diameter frying pan, as deep as possible, with a lid.

Wash the spinach well and pick out any dodgy bits, breaking up any extra large leaves - let it drain in a colander while you do the rest.

Put oil in the pan and let it get very hot. Test by flicking a drop of water off the end of your finger; it should sizzle immediately. Add chopped onions and keep stirring so they don't burn - when they begin to go soft add the garlic and cook until they start to become transparent.

Now comes the tricky bit. Transfer the semi drained spinach to the pan and cover immediately. You will hear a big 'FIZZ' which will then go quiet.

Cook one minute more and then serve with a squeeze of lemon.

Transcript for "The Collector"

"The Collector", a futuristic opera by Cerrone, with all lyrics by Lene Lovich, is based on an unpublished short story by Lene of the same title. The lyrics were written after Cerrone's music.

Cerrone first released an album called "The Collector" in 1985 (vinyl only at the time; CD release 2009), recorded in 1984. The tracks from that album's side 2 are not related to "The Collector" story.

A different album also called "The Collector" (released in 1988; CD and vinyl) contains the piece in its entirety. 

The side-long title track of the 1985 release is called "Evolution" on the 1988 album (different recording than the 1985 release).

Scroll down to the bottom of this page for the lyrics of the 1985 album's title track, which contains some extra lines that were not used for "Evolution".

After "The Collector" had been performed at the Trocadero esplanade in Paris in September 1988, a live recording of this performance was released later in 1988 (this release, titled "The Collector - Live Opera Futuriste" (CD only; also released on video cassette), has the same cover and artwork as the 1988 studio album).

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THE COLLECTOR


CHARACTERS

The Witness
I am the independant observer who verifies all. I put forward some philosophies and questions and recognize the constant search for truth, yet I am not affected by the quest. I am interested to watch and make comment, but do not seek to play the game.

Earthalien Chorus
We are "Earthaliens" from the planet "Earthalia". Those of us who took refuge here, called this planet "Earth" to remind them of home. As centuries pass, they still refer to all strangers and newcomers as "Aliens", for they themselves were once strange and new. We have come to announce a time of enlightenment and change. The dawn of a "New Age".

The Collector
I am the voice of Earthalia. I have been invested with all knowledge and power to show our earthbound people their true identity and realize their potential. I come to help them break their chains and guide them through the dark. When they are ready, I will take them home.

Woman
I represent all Earth women. The Collector takes me back in time. Through a series of flashbacks, I recall our true history. Although I still have many questions, I begin to realize who I really am.

Man
I represent all Earth men. I am filled with doubt and confusion. The Collector reveals to me the wonder of the real world, and I begin to sense a positive change.

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THE COLLECTOR PHILOSOPHY

A super race of alien beings is in peril, their precious world is dying. A new world must be found in order to survive. They search the universe for a new home, finally reaching Earth, their resources almost exhausted. It is far from ideal, but the only choice under the circumstances.

A few volunteer to carry on the search for a more suitable planet. The majority must wait on earth -stranded - until a better world can be found. As time goes by, the waiting aliens concentrate hard on survival. Many compromises must be made. The Future is more important than the past.

Centuries go by without communication from the search party, while generations here re-cycle and evolve. Life before Earth has been long forgotten. History has become based only on our Earthly experiences as we become more and more chained to this world. Even so, something of our original alien self still remains. Maybe that essence is what some people mean when they talk about the soul.

Now, at this stage of our evolution, natural and man-made disasters strike again and again. Many have become discontent with life on Earth. How ironic it is, that during our own restless generation the search-party has returned. The Collector has come to take us Home.

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THE WITNESS

The Witness
Every generation asks itself - who am I ?
Where did I come from ? Why am I here ?

Are we just skin and bone ?
Where is this thing called the Soul ?
Has anyone ever seen it ?

When we die - we're dead. That's it. Or is it not ?
How can something as full and complex as us, suddenly become nothing ?

What happens to all that energy and emotion ?

Did man evolve from the apes ?
Did life begin in the sea ?
Or have we always been here - just as we are today ?

So many questions. So much mystery.
It's about time we had some answers.

Don't you agree ?

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A NEW AGE
Part 1

Earthalien Chorus
A new age is dawning
The glory unfolds
A new world is calling
The voice of ........

The greatest world of all

The music within us
Is echoing strong
The future is singing
The song of .........

The greatest world of all

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EVOLUTION
Part 2

The Collector
Be calm - you will come to no harm - I am "The Collector". When our ancient world was dying some of us took refuge on this primitive earth, others scanned the stars in search of the ideal.
That journey was long and confused.
But now - I have returned - to take you home

Woman
Out of a world of chaos and turmoil we arrive
Hard as it seems we must try to keep alive
Hungry to breathe we struggle to reach
the atmosphere
Hoping at least - the future is on our side

Until the day - we fly away
There's no escape - in the game of life

Few search the sky for a new way of life while we abide
Waiting for rescue, waiting to see the light
Eyes turn aside as each day becomes a memory
Best to forget the past - the future looks bright

Until the day - we fly away
There's no escape - in the game of life
Excite your mind - time after time

Move on - sing a new song
Let the music change your life
Take a new song - turn the world round
Let the energy revive

Make something happen
Don't get upset
If the goal is out of reach

Never give over - keep moving on
Never give up on the dream

The Collector
Your stories of evolution amuse us
Do not think that mankind has descended from the apes
For the apes are still apes and always will be so
The harsh conditions of earth have dulled your senses
When you are re-united you will remember your true self

Woman
Centuries flash in curious dances we design
Strange how we change our style as time goes by
Only the soul remains, the rest we win or lose
Better to start again - the future looks fine

Until the day - we fly away
There's no escape - in the game of life
Excite your mind - time after time

The Collector
You are not the first
And you will not be the last...

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THE CIRCLE
Part 3

Woman
Starry eyes are open wide
As what you say
Turns the mind

Man
Is it real or fantasy
Can we believe
So much confusion

Together
Could it be we used to fly
The sky above
Looks very bright
Tonight

Earthalien Chorus
Somewhere in the dark there
Is a candle that wants to glow
In the heart there is a burning
As the memories start to flow

The Collector
It is our nature to move in circles
But the circle is not small in this great world
Make something great of all things and understand your own greatness
Do not accept your fate but learn to accept yourself
Think not of escape - but of freedom

Woman
Many minds have tried to find
A way to break
The chains of life

Man
Are you sure we can be free
Would man survive
A world of changes

Together
Suddenly we realize
The sky above
Is yours and mine
Tonight

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EARTHALIA
Part 4

Far away stars seem so familiar, as memories of home return

Earthalia glows, wonderful and radiant

Peace and contentment rest for a time with Man and Woman,
While they enjoy the vision of a perfect world.

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BREAK THE WALL
Part 5

Man
Wild are the dreams of a child

Earthalien Chorus
The channel - is open

Man
Soaring high

Earthalien Chorus
So precious - the moment

Man
Why do the dreams disappear from our lives

Earthalien Chorus
The channel - is closing

Man
Out of sight and mind

The Collector
From the day these earthly forms were borrowed
You have built around you a wall of pain and loss
Regain your vision - break down the wall

Man
Trying so hard to erase all the pain
from inside

Earthalien Chorus
The pressure - gets heavy

Man
Hold on tight

Earthalien Chorus
Remember - the message

Man
Finally leaving the tension and stress behind

Earthalien Chorus
Forever - and ever

Man
Out of sight and mind

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THE REAL WORLD
Part 6

Through the crack they have made in the wall, Man and Woman now see a very different world

A marvellous place of happiness and excitement

They watch, wide-eyed,
as The Collector shows
them all the thrills and
delights of the real world.

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LIGHT OF LOVE
Part 7

Man
Feelings so deep have entered my life
Taken control - they have opened up my eyes
Helped me to see a way through the dark
Made me believe how great we really are

The moment you found me something was changed
Inside and outside - they will never be the same
A new kind of love I now understand
Seems for me the first time I know who I am

Forever and always we hold in our heart
The beat of a dream - no one can stop

Light of love come into me
And make my life so clear to see
Fill me up so all can see
The light of love that shines in me.

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TRANSFORMATION
Part 8

Man has entered the light and the light has entered Man

He is surrounded by the welcoming spirit of Earthalia

All things seem possible

How good it feels, to be part of this great world

Life on Earth will never be the same

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THE DECISION
Part 9

Man
High are the stars in the sky
Overhead
One day we'll really be able to fly
Home again at last

The Collector
Many have called out to me
I have always answered that call

Man
There is no doubt in my mind
No regrets
One day the world will begin to return to the light
Home again at last

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UNITY, POWER AND THE PROMISE
Part 10

The Collector
Some are ready to receive
Others will take time
Even the most enlightened are trapped
I have come to release you

One by one
You have lost the sense of unity
And become slaves to your isolation
You have made yourselves seem weak

Each part is essential to the whole
Search your far memory
Recall that power
Sleeping within you all

I have kept the promise
And will continue to do so
When you have heard and understood
You will decide

I am "The Collector"

... "The Collector"

I will return

... return...

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THE GREATEST WORLD OF ALL
Part 11

Earthalien Chorus
A new age is dawning
The glory unfolds
A new world is calling
The voice of ....

The greatest world of all

The music within us
Is echoing strong
The future is singing
The song of ...

The greatest world of all


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MUSICIENS

Marc Cerrone - Charly Olins:
Synthetizer
(Emulator III - Emulator II + CD ROM - Dynacord Addone + Sampler - Sequenceur Macintosh + Performer 2.2 et 2.3 -Roland D 50 + PG 1 000 -Roland MKS 80 - PPG Wave 2 -Roland Jupiter 8 -OBXa -Minimoog -Akai 5 900 - DX 7 -Alesis HR 16)

Instruments acoustiques
(Timbales - Cymbales - Tubular Bells -Piano Steinway -Celesta -Drums and Percussions)

Steve Croes:
Synclavier

JJ "Art of Noise":
Courtesy of Chrysalis Records
FAIRLIGHT Serie 3

Paul Jackson:
Guitar

Jérémy Cerrone:
Sound Effect


INTERPRÈTES

Created, composed and produced by Marc Cerrone
Lyrics: Lene Lovich

The Collector: Bill Mitchell
Woman: Mary Hopkins
Man: Steve Overland
Earthalien Chorus: Choeurs de l'Opera de Paris

Arranged by Charly Olins

Based on a story by Lene Lovich

Opera de Paris Coral Arranged by Michel Ganot

Production and Publishing: N.A.C.
Collector - Earthalia - Trade Marks

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THE COLLECTOR (as released in 1985)

(spoken)-Be calm, you will come to no harm, I am The Collector
When your ancient world was dying
Some of us took refuge on this primitive earth
Others scanned the stars in search of the ideal
That journey was long and confused
But now I have returned to take you home!

Out of a world of chaos and turmoil we arrive
Hard as it seems we must try to keep alive
Hungry to breathe we struggle to reach the atmosphere
Hoping at least the future is on our side

Until the day we fly away there's no escape in the game of life

Few search the sky for a new way of life while we abide
Waiting for rescue, waiting to see the light
Eyes turn aside as each day becomes a memory
Best to forget the past, the future looks bright

chorus: Night falls on the planet when I take you to the flight
On the turning of the light years and the future's looking fine
There is no danger, only the mystery of the light you get to see
This is your moment, take it too hard, we are ready for the key ...hold on

Until the day we fly away there's no escape in the game of life
Excite your mind, time after time

chorus

(spoken)-As you see, your story of revolution amuses us...
Do not think that mankind has descended from the apes
For the apes are still apes and always will be so
The harsh conditions on earth have dulled your senses
When you are reunited you will remember your true self

Centuries flash in curious dances we design
Strange how we change or style as time goes by
Only the soul remains, the rest we win or lose
Better to start again, the future looks fine

Until the day we fly away there's no escape in the game of life
Excite your mind, time after time

chorus
-are you ready -excite your mind, time after time

(spoken) -you are no the first and you will not be the last
Those you call missing persons are among the collected, I accept you all
Many have called out to me, I have always answered that call
Do not be concerned, there is never need for force, the choice is yours
I am The Collector... The Collector... I will return...