The Collection of Songs: ‘Even Children Get Older’ 

Each of the songs has it's own reference points. So every song has it's own little world, so to say. Pretenses, reflects my feelings abut the rhetoric of dating, explaining who we are, meeting someone and stripping off the mask and makeup, the pretense. It's not always so easy. We're expect to play ourselves. Making room for others. Respecting the space people need to be themselves. In the song I ask, "Is this the stuff that love is built on? Hell no!! It's Sodom & Gomorrah!!' I tend to feel that submitting to materialism has reduced us to body parts we weight and measure, speculative, and often manipulative beings. Sadly, our pretenses become us! 

‘Sometimes’ reflects something about art itself, and sometime it reflects impressions that the artist is projecting with the song. I don't often talk about ‘love,’ as something I'm saying or singing to a particular person. It's more my experiences about love itself. Or life itself. Impressions. Like a Van Gogh or Renoir painting - not that I group myself with their brilliance - they attempt to capture a moment in time, and memorialize that moment -as a photo might. Here, we are forced to attempt that process of visualization by creating moods in the production of music and lyrics, and project those with our particular delivery.  I assume that's what all  musicians an singer-songwriters do. I am no exception. While it would have been ‘smart’ to have listed all the songs chronologically, I wasn't so smart. I just throw them in here when I remember to do so - for folks who like lyrics. If you want to find a particular lyric, you need to scroll and around and loo0k for it.  The latest, is a song called ‘Sometimes,’ so it's at the top. Please excuse the random order of it all. I don't profess to be either ‘smart,’ or structured. :)

TOO MUCH GROUND (Burr-Egekvist, Messenger Music, KODA)

You accuse me,

of taking too much

And forgetting,

that I have to give

Taking Too Much Ground

taking Too Much Ground

taking Too Much Ground

For others to live.

So, I turned around to face you

And to tell you, that

You might be right.

But you said, what's ours is for the taking

You make me wonder why

You make me wonder why

You make me wonder why

We ever see the light.

In the still of the night, 

I keep hearing you whispering,

In the still the still of the night

I keep hearing you calling me

You call my name

Taking Too Much Ground

taking Too Much Ground

taking Too Much Ground

For others to live.

So, I turned around to face you

And to tell you, that

You might be right.

But you said, what's ours is for the taking

You make me wonder why

You make me wonder why

You make me wonder IF

We'll ever see the light!

Together... together.

Lyrics: ‘SOMETIMES’  (Burr-Egekvist, Messenger Music, KODA)

Old times,early crimes

Seems so hard. just to walk a straight line

Turn my key, it opens the door

I've got to admit, I always want more

Just keep remind me

Tell m e until I can see…

Sometimes, I just lose control

I'm the last one to know

And, Sometimes, I just feel so scared

As if no one's there

And Sometimes, it seems so hard to begin

To say what I feel, and get over it

To say what I feel. And get over it…

So much baggage, so much distrust

Tell me the truth, if you think that you must

Call my name, and you'll knows my past

If we can hold onto love, we can make it last!

Just keep reminding me

Tell me until I can see…

Sometimes, This time around we'll know.

Just seems to hard to begin

To say what I feel, and get over it

To say what I feel, and get over it.

Turn off the TV!

Turn off the phone!

And, Tell them that we're not at home

There's something that we've got

And we've got to show it

And, we'll never be alone!

This time around we'll know

Just seems so hard to begin…

To say what I feel, Just get over it

To say what I feel, and get over it

‘WHERE ANGELS TREAD.’

This started as a task my producer brought me, from another composer. He had a composition he would present to a Finnish soprano singer, with a gig that was scheduled for the upcoming Xmas, to be played by the Vienna Philharmonic, and sung by that particular Finnish soprano singer. They needed a text for the composition. As a Jewish guy, I really couldn't understand why I was approached to write the lyrics.  My producer said they came to him, and he responded that there was only one guy in Denmark he felt could write what he saw as needed.  I think that was quite the overstatement, but I took the job anyway.  It was quite a challenge . I spent days wracking my brains to write something useful, and ‘appropriate’ for me to write.  If you'll notice, I only talk about a ‘time  of year, ’ attempting to address the atmosphere, the joy and anticipation, many feel, especially children. All of which could just as well be said and expressed about Hanukah - so I felt it worked. Some have  families and loved ones they share that time of year with. Other do not. I never mention Xmas once!!  Nor are any of the visuals in the video about Xmas, per se. More, a period of busy people, great anticipation, joy and reflection, but also sadness  and melancholia for other.s The composition was quite strict in cadence. Very Schubert inspired. Finally I had what I felt was worth presenting. Ultimately and sadly, the gig was canceled. The composer also that  I wasn't loyal enough to the composition and took too many liberties with the melody and cadence. So, we took my melody and lyrics I wrote, and Claus Kilpatrick re-wrote the composition to reflect a completely different chord structure,  mood and sound that he had in his head. The  results are what you can hear in the production found in my Music Store.   

Lyrics:  'Where Angels Tread'  (Melody & Lyrics: Brian Burr)

No leaves on trees, no bumble bees

A hand that warms, that you can squeeze.

'A cup of coffee, if you please'... (or, 'solace and solemnity...r)

This is that time of year.

The lights in darkness, someone calls.

A baby learns to walko and falls.

Anticipation... fills these walls.

This is that time of year, yes, 

This's that time of year... again.

You make me fly, sky high, and,

You took me where the angels tread.

You make me fly, sky high, and,

This's that time of year...

This's that time of year, again

Hills of gold turned white with snow.

The city streets, where we will go...

There’s so many things to buy you know.

‘Cause this's that time of year...

The sun goes down, and shadows long

Children's laughter, filled with song.

Smiling faces do no wrong.

Cause this is that time of year, yeah, .

This is that time of year, again.

You make me fly, sky high, and...

You took me where the angels tread.

You make me fly, sky high, and,

This is that time of year.

This is that time of year… again

 'Minnesota Winds’ (Burr-Egekvist, Messenger Music; KODA): 

All people, at some point in their lives, reflect on moments and images flashing through their minds. The older we get, the deeper the wellspring of experience becomes. We share those experiences with loved ones and friends from time to time, and perhaps, we even write about them. Triggered by chords that my co-writer, Regnar Egekvist, was playing one afternoon, I closed my eyes and allowed images to be conjured up. It's much like seeing a movie for me. Then, I write what I see. I found words to describe the vision before me, 'Like a vision stood before me, a beacon in the night!' Like so many when they are young, 'Sweet Loretta, she threw caution to the winds...' Most men can remember, 'talking with the boys, and breaking all the rules...' And, at some point, we all try to hold onto, 'the place from which we came.' Our memories are part of us. They’re whispering to us, in those 'Minnesota Winds.' 

Lyrics: 'Minnesota Winds' (Brian Burr, Messenger Music, KODA) 

On a night like this, I do recall 

'Minnesota Winds' were high on the rise. 

On the outskirts of the city lights, 

Like a vision stood before me, a beacon in the night... 

I spent my summers there, and I do recall, 

Talking with the boys, and breaking all the rules... 

Sweet Loretta, she threw caution to the winds 

Like a vision stood before me, a beacon in the night! 

Holding a place in time 

Counting out a verse in rhyme 

Got you running in the middle of the night... 

Holding a place in time, 

Clinging fast to what was mine 

Got you looking in the eye of a hurricane, 

Got you running, running on home, from the place you came… 

I spent my summers there, and I do recall 

Sweet Loretta she came running, with her friends after school... 

And like, a vision stood before me, a beacon in the night! 

Holding a place in time… 

Counting out a verse in rhyme 

Had me lookin’ in the eye of a hurricane 

Holding a place in time 

Clinging fast to what was mine, 

Got you running, in the middle of the night! 

Got you hanging, hanging on, hanging with all your might! 

[8 bar instrumental] 

Holding a place in time… 

Counting out a verse in rhyme. 

Got you running, in the middle of the night. 

Holding a place in time 

Clinging fast to what was mine, 

Got you looking, in the eye of a hurricane 

Got you thinking, thinking about 

The place from which you came… 

On a night like this, I do recall... 

'Minnesota Winds.' 

‘Crystalline’ (Burr-Egekvist, Messenger Music, KODA): 

I love the seasons. I love winter, snow and the beauty of it all. One night, in a thick snow storm, sitting beside my girlfriend in front of a crackling fireplace, I watched the firelight dancing on her face. So iconic. So lovely. She was so lovely. I felt, 'everyone should know'...It was so clear to me, it was 'Crystalline.' In my mind, *crystalline’ is every beautiful person who ever loved in front of a fireplace anywhere. I also love the innovative arrangement of Claus Kilpatrick in this number. 

Lyrics: 'Crystalline' (Burr-Egekvist, Messenger Music, KODA) 

On those snowy nights 

Amber lights 

Make their way about 

the fire light. 

It's the way I love, 

to see my love, 

It's the way we love 

On those winter nights. 

'Crystalline,' love between 

Everything 

Or so it seems... 

It's 'Crystalline,' love between 

Everything. 

By the firelight, you were shining! 

By the fireplace 

Dancing in your face, 

it's the time and place, 

It's 'Crystalline.' 

It's the way you show 

All the love you glow. 

Everyone should  know, 

On those winter nights... 

'Crystalline,' love between 

Everything 

Or so it seems... 

It's 'Crystalline,' love between 

Everything. 

By the firelight, you were shining! 

‘Higher Ground’ (Burr-Egekvist, Messenger Music, KODA): 

Again, a story line conjured up by chords played on a piano, and rearranged to create the song: A man loses his job, having worked on 'the Akron local.' Like so many others, working hard day and day out; It was no fault of his own. Just 'like my Daddy before me...' he followed in the footsteps of his father. Like so many blue-collar workers, he's a victim of decisions they are merely victims of. He tried to do all he can to secure the lives of his loves one, yet he finds the security he assumed was enduring, is just dispelled in a moment. Confused by events, despair and futility overtake him after 30 years of effort. So, he seeks hope and ‘Higher Ground.’ He's a protagonist in a play he did not write. Yet, we also recognize a strength and humility, rather than anger.  So, with no where else to turn, he prays that if God will finally hear his prayers, that he’ll find the right words, and ask for that which is worthy of being asked. 

Lyrics: ‘Higher Ground’ (Brian Burr, Messenger Music, KODA): 

Thirty years on a railroad, 

Day by day, wrench and track. 

From six in the morning ‘til late at night, 

But, I ain’t never going back. 

My foreman  told me late last month, 

Said, 'we’re shutting down. 

The Akron local came to halt, 

To make ends meet somehow'…   

Got to find ‘Higher Ground,’ 

But, I really don’t know just how. 

If there’s a God in heaven, I hope he’ll hear me, 

And, I hope I’ll know what to say. 

Mary Ann told me she had trouble sleeping, 

With house and the car back due. 

Thirty years, and nothing to show. 

Her boys are needing new shoes… 

I thought I was doing what I was supposed to, 

To make things turn out right. 

But, here I am, with nothing to show, 

Getting drunk again tonight, so I... 

Got to find ‘Higher Ground,’ 

But, I really don’t know just how. 

If there’s a God in heaven, I hope he’ll hear me, 

And, I hope I’ll know what to say. 

Like my Daddy before me when I was 10, 

Something came over me and left again, 

Took me by the hand and made me feel so strong. 

Seemed like forever, but now it’s gone! 

Now it’s gone, never coming back again.... 

 Got to find ‘Higher Ground,’ 

 But, I really don’t know just how. 

 If there’s a God in heaven, I hope he’ll hear me, 

 And, I hope I’ll know what to say. 

’Randy’ (Burr-Egekvist, Messenger Music, KODA): 

Randy is just fun rock, inspired by one of the cutest Swedish girls I had ever known and loved. No, her name wasn't Randy. But, it is all about the woman you cannot get enough of, and feel 'so glad to see again! Why? Because 'she looks so good, and she smells like candy...' 

Lyrics: 'Randy' (Brian Burr, Messenger Music,  KODA) 

She slipped on her blood red pumps 

Went into town to jam it in. 

And, having played the fool before, 

I had no trouble  jumping in. 

Now my back, against the wall, 

I can't show you what I feel anymore... 

Randy! 

Tastes  so good and she smells  like  candy 

Did she make you smile, let you forget, for a little while? 

It was like fighting war by remote control, 

She was cool. She was air-conditioned. 

Her smile it could stop you in your tracks 

And, she  could blow you off without regretting... 

But, now my back is against the wall, 

I can’t show you what I feel anymore! 

Randy! 

She looks  so good and she smells like candy 

Did she  make you scared, when she put her heart in your sleeping soul? 

Randy... 

Ooh, ooh, Randy 

Now my back is against the wall, 

I can't show you what I feel anymore! 

Randy 

Did she make you smile, let you forget, for a little while... 

Randy! 

So good to see you again, really... 

‘How Could You’ (Burr-Egekvist, Messenger Music, KODA): 

This is a song that comes from the searing, torn, darkness of wounded emotions, and rejection. Swirling in pain and confusion from losing the one we love, we're unable to sleep. And, we loath the thought of facing the coming morning:  A place everyone who has loved and lost must relate to. We always indict ourselves for having shared our innermost vulnerabilities and having dared to love. It seems as if our 'worth' has been questioned. So, we want to know why. Regardless what the reason might be, we just have to know. We are compelled. And, so I ask: 'How could you?' With self contempt, I wonder, 'how could I...?’ 

Lyrics: 'How Could You?' (Brian Burr, Messenger Music, KODA) 

How could I be so blind? 

How could I trust in you so  very much? 

How could this flower die? 

How could you, how could I...? 

How could you tell me, oh, so many times, 

How could you, let me suffer so? 

How could you, give me all the light of day? 

How could you, take it back so easily? 

 CHORUS:

No matter what I tried to say, 

No matter what I tried to do, oh... 

Nothing ever turns back the clock, 

Nothing seems to get through to you.... 

How could I be so blind? 

How could I, knowing better still believe? 

How could this flower die? 

How could you? How could I? 

How could a love that seemed so very pure, 

How could it be so cruel? 

How could you lead me on, just to take me down! 

How could you...how could you? 

No matter what I tried to say, 

No matter what I tried to do, oh... 

Nothing ever turns back the clock, 

Nothing seems to get through to you anymore… 

Anymore. 

'The Longest Time'  (Burr-Kilpatrick, Messenger Music. KODA, 2022)

If we're only stardust,

and thrown out into space

How is that compatible,

with the life that's in our faces?

If we're only stardust,

gliding on our way...

Like snowflakes when their falling,

They touch and seem to say:

Forever!

Or the Longest time!

Forever,

or the Longest Time...

Well, don't go blaming on my weaknesses,

Or the fact that your so damn strong!

It doesn't matter if you think I'm right,

When I know that I was wrong!

So, if we're only stardust,

and each person has their place.

Like lovers when they're calling,

they touch and seem to say:

Forever!

Or the Longest time! 

It's a place without a sound,

There is no up nor down,

I was lost and found, inside of you!

A hand that turns these pages,

A poet and the sages.

They opened up our cages long ago!

And it was...

Forever!

Or the Longest time! 

Forever,

or the Longest Time...

’I Believe (It's Somewhere)’ (Burr-Egekvist, Messenger Music, KODA): 

This could have be titled: Homs, Sarajevo, Soweto, Kiev or Jerusalem. We address the innate quality of man, falling to hatred, religious extremism, absolutism, greed, envy and violence. It's so often portrayed in far away places. And, finally, it is here...’in Hollywood.' The chorus is composed of children. This is an anthem from children, calling out to all of us, everyone, with a simple declaration: 

'I believe that somewhere, at the center of us all, where hands don't reach for guns and bombs don't fall. And we ask ourselves and we realize, exactly what we do: Muslim and Christian, and black and white, the Arab and the Jew. We've got to find a way to let some light shine through!' 

Lyrics: 'I Believe' (Brian Burr, Messenger Music, KODA) 

(Shortened MGP version text): 

It's nearly nightfall, 

Your ammunition  is  running low... 

Another ambush, 

And there's no where left to go! 

You're on the night guard, alone and hard. 

You dig in and get down low… 

It's just the way it was, in Hollywood! 

But, I believe that somewhere, at the center of us all. 

Where hands don't reach for guns and bombs don't fall. 

And, we ask ourselves if we realize, exactly what we do. 

We've got to find a way to let some light shine though... 

We've got to find a way to let some light shine through. 

He's a soldier, in the city streets. 

He's just a boy, he can't keep his weapon clean. 

He's only 14, can you tell me what he's seen...? 

  But I believe that somewhere, at the center of us all. 

  Where hands don't reach for guns and bombs don't fall. 

  And we ask ourselves if we realize, exactly what we do… 

  Muslim and Christian and black and white, 

  The Arab and the Jew. 

  We've got to find a way to let some light shine through... 

[8 bar guitar solo, continuing into last chorus…]  

  But I believe that somewhere, at the center of us all. 

  Where hands don't reach for guns and bombs don't fall. 

  And we ask ourselves if we realize, exactly what we do… 

  Muslim and Christian and black and white, 

  The Arab and the Jew. 

  We've got to find a way to let some light shine through... 

 Find a way.... 

'Broadway Bitch.’ (Burr-Werner, Messenger Music, KODA): 

This track was recorded with my band 'System,' on our 2nd album years ago. It’s a fun number with cheeky words, using the names of girls I've known, to make some utterly purposeless rock 'n roll! Some really driving guitar riffs by Alain Apayoo and Mikkel Toft! 

Lyrics: ‘Broadway Bitch!'  (Brian Burr, Messenger Music, KODA) 

I got a gal name of Suzi 

Ooh, the girl loves to use  me 

Put's me on the rack, and  whips  my back, 

And then has the nerve to accuse me...'Broadway bitch!' 

And, I got a gal named of Lone. 

Really didn't know if she was gonna... 

Then she opened her bag, and took out her keys 

And told me to go down on my knees.! 

Ooh yeah, ooh yeah, ooh it's alright with me! 

And I got a gal name of Minnie. 

My friends say she's kind of skinny. 

But she'll eat you up, right to the bone, 

Spit you back out ,and send you back home! 

Ooh yeah, Ooh yeah, Ooh, it's alright with me! 

It's alright, It's alright, Ooh it's alright with me. 

It's alright, it's alright, it's plain enough to see... 

Now, I got a boy name of Jimmy. 

The guy didn't know he could win me. 

So, he taught me to sing, and he taught me to dance, 

Took him about a year to get into my pants! 

Ooh yeah, Ooh yeah, Ooh, it's alright with me! 

It's alright, It's alright, Ooh it's alright with me. 

It's alright, it's alright, It's plain enough to see... 

Ooh yeah, Ooh yeah, Ooh, it's alright with me! 

It's alright, It's alright, Ooh it's alright with me. 

It's alright, it's alright, It's plain enough to see... 

'What Luck' (Burr-Egekvist, Messenger Music, KODA): 

 Lyrics: 'WHAT LUCK'  

I can’t believe this luck I found. 

To find you here, all alone in town. 

I made my fast approach, you didn’t turn me down… 

‘Really,’ you said, ‘Really, I don’t mind you’re coming ‘round!’ 

(Chorus)

What Luck, What Luck 

What Luck is this I found? 

Finder’s keepers, and loser’s weepers, ah 

What Luck, What Luck, 

What Luck is this I found? 

I tell you one thing, I will, 

I’ll keep you safe and sound! 

We talked of life ands losses, 

And love as a giving thing. 

And moments just like these, 

Make you feel like, saying anything! 

Didn’t take us all too long, 

Before we began to know… 

Just how far, our lady luck will go! 

What Luck, What Luck 

What Luck is this I found? 

Finder’s keepers, and loser’s weepers, ah 

What Luck, What Luck, 

What Luck is this I found? 

I tell you one thing, I will, 

I’ll keep you safe and sound! 

Didn’t take us all too long, 

Before we began to know… 

Just how far, our lady luck will go! 

What Luck, What Luck 

What Luck is this I found? 

Finder’s keepers, and loser’s weepers, ah 

What Luck, What Luck, 

What Luck is this I found? 

I tell you one thing, I will, 

I’ll keep you safe and sound!

'I promise...'

Insciptions’ (Burr-Egekvist, Messenger Music, KODA): 

Perhaps my favorite number. Regnar and I wrote it and Claus Kilpatrick produced. After no one could present me with a miux I liked, I decided to do the mix myself. I suprised myself. It worked!! In this song, I take a flashlight and explore life and the ways we try to express our identities - finding images, , descriptions, and questions. We paint Inscriptions on the wall, ‘with maps and charts in hand.' Finally, I shine that flashlight on my own life realizing, 'there seems to be no way to tell her.' So, we ask, 'can you see the winds of fate have changed? Another kind of plan has been arranged…' And, I ask myself: 'is there any writing here at all?' 

In this kaleidoscope of images, we recognize the woman who loves us and becomes our soulmate truly does make us a better person: 'She'll take you, re-make you, to the man you've never been!' Wondering what to do then, we also realize, 'Life will show you how.'  Inscriptions has a religious element to it as well, asking the listener: *Do you feel the winds of fate have changed. Another kind of plan has been arranged.' So, clearly, I want to express my humility in exprewssing my belief in something I'm accountable toward. Something greater than I. Something I honor and feel awe towards. Musically, I wanted to keep the core of 'Inscriptions' just 'piano and song' - the one that we initially recorded. Regnar was so on point, creating a sweeping feel on piano, to give the impression of full orchestration. It's a clear inspiration for the production. 

We use percussion and strings to gain a symphonic feel around that core. Built up of odd fragments and brush strokes of strings and percussive sounds, it all somehow it comes together and just seems to work for me! 

Lyrics: ‘Inscriptions'  (Burr-Egekvist, Messenger Music, KODA) 

Rushing through the sights  and sidelines, 

Standing on the ground. 

A heart that needs to find some shelter... 

Crashing through the good and bad times, 

Hoping to be found... 

There seems to be no way to tell  her. 

Can you see 'Inscriptions on the Wall?' 

Is there any writing here at all? 

I just see a shadow standing tall…standing  tall. 

 Hidden in the pages 

of the life  we try to lead, 

hoping there was love between the lines. 

Staring in the mirror blindly, 

Maps and charts in hand. 

We look ahead 

And, try to read  the signs... 

Do you feel the winds of fate have changed? 

Another kind of plan has been arranged. 

I only know, a heart will die in chains! 

She'll take you, and make you 

To the man you've never been,  ah huh… 

She’ll take you, re-make you, 

Life will show you how. 

….but, it’ll never be the same... 

Can you see 'Inscriptions on the Wall?' 

Is there any writing here at all? 

I just see a shadow standing  tall.. 

Standing tall... 

'Landslide' (S. Nicks) 

This classic Stevie Nicks number is my daughter Rebecca's favorite song. She always loved when we sang it together, and would make me sing it at snmall parties. I recorded it as a birthday present to her, with a tilt and tone that’s ..'my way.' From it, I take the title of my new album, 'Even Children Get Older.' 

Lyrics: 'Landslide' (S. Nicks,  WelshWitch Music) 

I took my love, I took it down 
climbed a mountain and I turned around 

And I saw my reflection in the snow-covered hills 

'Til the landslide brought me down 

Oh, mirror in the sky 
What is love? 
Can the child within my heart rise above? 
Can I sail through the changin' ocean tides? 
Can I handle the seasons of my life? 

Well, I've been afraid of changin' 
'Cause I've built my life around you 
But time makes you bolder 
Even children get older 
And I'm getting older too 

Well, I've been afraid of changin' 
'Cause I've built my life around you 
But time makes you bolder 
Even children get older 
And I'm getting older too 
Oh! I'm getting older too 

Oh-oh, take my love, take it down 
Oh-oh, climb a mountain and you turn around 
And if you see my reflection in the snow-covered hills 
Well, the landslide  bring it down 
And if you see my reflection in the snow-covered hills 
Well, the landslide  bring it down 
Oh-ohh, the landslide  bring it down

'Rosie' (Browne-Miller, Alfred Music) 

Here, too, is a classic from Jackson Browne (written with his roadie, Donald Miller). This is a song my son, Daniel, and I often sang together; it's great a capella number! So, again, when asked to do a number at parties, or just singing on the slopes of Courchevel or Schladming, I'd just break out and sing this one. Similar to the gift I made for my daughter, I made this for Daniel’s birthday. And, again, I tried to do it ...'my way. Here, Lars Brems engineered my vocals and found the right mic for it. 

Lyrics: 'Rosie' (J. Browne-D. Miller, Swallow Turn Music, Warner/chappell  Music, Inc. ) 

She was standing at the load-in 

When the trucks rolled up 

She was sniffing all around 

Like a half grown female pup 

She wasn't hard to talk to 

Looked like she had nowhere to go 

So I gave her a pass 

So she could get in and see the show 

But Rosie  you're all right -- you wear my ring 
When you hold me tight -- Rosie that's my thing 
When you turn out the light -- I got to hand it to me 
Looks like it's me and you again tonight, Rosie 

Well , I sat her down right next to me 
And I got her a beer 
While I mixed that sound on the stage 
So the band could hear 
The more I watched her watch them play 
The less I thought of to say 
And when they walked off stage 
The drummer swept that girl away 

But Rosie  you're all right -- you wear my ring 
When you hold me tight -- Rosie that's my thing 
When you turn out the light -- I got to hand it to me 
Looks like it's me and you again tonight, Rosie 

Well I guess I might have known from the start 
She'd come for a star 
Might have told my imagination not to run too far 
Of all the times that I've been burned 
By now you'd think I'd have learned 
That it's who you look like,  not who you are 

Rosie you're all right -- you wear my ring 
When you hold me tight -- Rosie that's my thing 
When you turn out the light -- I've got to hand it to me 
Looks like it's me and you again tonight, Rosie 

Looks like it's me and you again tonight... 

Looks like it's me and you again tonight, Rosie 
Rosie...