Like A Muse: The Remix Journey of Paul Andrews (Madonna Remixes Culture)

0:01 Listened to by thousands, climbing the podcast charts in multiple countries, across the globe, on every continent. And now nominated for a 50 over 50 podcast award. This is Like A Muse, the podcast about Madonna Remix's culture. Featuring producers, remasters, and artists with the Queen as their muse. My name is Kerry John Pointer. your producer and host. This episode, our featured muse, is recording artist and remixer, Paul Andrews. The episode contains my conversation with Paul. He takes us behind the remix of Ghost Town, his officially commissioned remix for Madonna, and how she inspired him to write his own music and believe in his sound.

0:55 We also delve into his other remixes of Madonna and other artists like Adele, Seal, and someone named Kylie. You The interview is interspersed between sections of a DJ continuous mix, heavy on his Madonna remixes, plus four of what he considers his essential remixes, and of course my personal faves. This episode is sponsored by the Vythen Music Visualizer App by MK Games Art and Visuals. The Vythen App is an important part of the production process for the episode video visualizers on YouTube. Now you can create your own unique visuals on the fly as you listen to my episodes. US listeners use the special discount link for 50 % off the first year.

1:47 A generous percentage of your subscription directly supports my podcast. Make sure to use the link in the show notes or on the Like A Muse page or the Club Carry NYC Sponsors page. The Vivid Music Visualizer App for iOS, Android and Mac. introducing our muse, Paul Andrews. He has written songs for documentaries and produced remixes for Dolly Parton, Gloria Estefan, Robert Basha, Wing Chung and Madonna. And of course many underground remixes of various artists, some of which you will hear today in this episode. Paul is now his own recording artist. and has written, arranged, performed, and produced two full-length albums, Light and Dust in 2019 and From the Distance in 2022. So Mr. Paul Andrews, welcome to Like a Muse.

2:34 Thank you for having me. I'm so glad you're here and I've had a really good time getting to know you in the pre-production for this interview. I have a number of questions for you as you know, this is a Madonna podcast after all. And this is a question I ask everyone. Can you share a story of your first Madonna related memory? It can be anything, perhaps a song or an image or a video, anything, anything at all. I encourage you to go way back. Okay. Well, I grew up in the 80s. So MTV, all of that stuff. I remember seeing her videos, but it wasn't until Borderline came out. I remember her spray painting the walls and I think a car or something. I'm like, oh, this is good song. think Reggie Lucas wrote that. I'm like, oh. Yes, Reggie. That's when I started noticing Madonna with that song. OK. But it wasn't until True Blue when I really got into her because she wants to be an artist. She was growing, you know? Becoming more mature artists in her lyrics and in the writing. It was Pat Leonard she was working with. A little Stephen Bray still. Yeah, Stephen Bray. Like A Prayer 2, those two. Oh gosh, from True Blue to Like A Prayer, huge artistic jumps, most definitely.

3:45 And I tell them that we're getting off of a busy road. I'm always going to go back and think about that time. Her critics never wanted to give her anything. Think about those songs that came out like that, Live To Tell and Like A Prayer and... Yeah, they were like really good pop songs. Major pop songs and just good songwriting. They should have had Grammy Awards. She got nothing. It wasn't until Ray of Light that she got it. Almost 20 years later. That's good to hear about your memory, but can you talk a little bit about how you might have been inspired by her? Again, the more of her, where she was getting mature with her writing, I thought, you know what? She's actually doing the writing. She's writing about interesting topics. She has a real knack for melody too, which is one reason why I wanted to remix her stuff is because there's an actual melody there. A lot of songs nowadays just repeat notes and stuff, but She had a way to write where you wanted to sing along with her. For me, that's good writing. Let's dive into your Madonna remixes. Your Ghost Town remix was an official commissioned remix approved by Madonna herself. Can you take us behind the remix and tell us the story and how did this opportunity affect you personally or professionally? There is a story around Ghost Town. I was heading back from work and I got a call from my friend Michael who said, hey, one of Madonna's remix A &R guys Orlando Puerta is really interested in having you remix Madonna's next single Ghost Town. I was on the train and I was like what?

5:18 He said is it okay to give him your number and all the stuff and I said yes of course. So a few minutes later I did get a call from Orlando. He had heard my Living for Love remix. and wanted me to do a spec remix. They would see if they could use it or not. So I started thinking of ideas immediately for the mix. The other thing about this, I only had two days to work on the mix because I was leaving for vacation. Send it over to him and I wouldn't know anything about it after that. I started to arrange the remix in my head on the train.

6:13 I knew the tempo was one of those tricky tempos where you could speed it up, you could slow it down. Didn't know what to do with it. Every time I was coming up with ideas it was more of an expansion of what the original was to make it more orchestral sounding. So I reached out to Orlando and I asked what is she looking for? And he said, we want you to do what you think would be best for the song. And I said, well, I'm hearing this sort of slower and not necessarily a dance mix. And he said, then go for it. Like if that's what you're hearing. So I went with my gut and I did something slow and somehow I came up with everything in the two days, not even during work. I still had to go into work the next day. So everything happened after work. I mixed it down. Tom listened to it. My husband, he got emotional. At the same points that I did and I knew that's like a good sign, I hit the right tone for it. And I sent it off. I didn't hear anything from it. until I was actually at volleyball practice I don't know how many weeks later could have been a month Orlando called and he said that they want to use my mix Madonna approved mine specifically that she loved it but it would be a title exclusive remix of course I was over the moon I took that as a sign for me as an artist to start going with my gut Like there was something behind the fact that Madonna appreciated my work and wanted it the way it was that made me believe in myself a little bit more. That's when I decided I wanted to be my own artist after that. It was basically

7:49 because of Madonna's approval that I became my own recording artist. And it goes You're On to each other Two souls in a ghost town Thank you for sharing a little about. I've been inspired by her and where he began in terms of Madonna. We're gonna talk a little bit about more Madonna in terms of your remixes, but also some other artists as well. And I've been listening to your remixes as well as your original productions as a recording artist. And I think I want to talk about your sound. I'm gonna ask you to describe it. Let me try to describe it a little bit. And we'll see how well I do. And then I'd love to hear you in some detail, your sound.

8:53 And then we'll also talk about a little bit your production style. So your style, your sound, I would call it try to describe it as something about physically retro but it a vintage sound to it. The sound is definitely modern in terms of its production style. A little bit of soul. not exactly retro, but vintage in style. And when I think about, I'm thinking about your remixes, when people hear about a song that's being remixed, they oftentimes, I think, think of it as a upbeat, high tempo dance song. That's what they expect it's gonna be. And although I think your songs definitely have a groove to them, for sure, and I could say you could move to them. It's not necessarily a high energy dance. There's where I am with your sound. Let's keep talking about it little bit. How would you describe it? You know what?

9:34 I tend to be more traditional, I guess, with arrangements. I like taking a song and reinventing it. I don't necessarily just want to add a beat to it. a song or remix has sort of like a journey to it. Where you hear something and then, oh, this is something a little different. And then it sort of takes you, oh, like I didn't expect that. But I want... you to still move to it, you know? So I tend to be, I like bigger arrangements. I like using sometimes like orchestra sounds and sometimes synths. And I like that experience because I'm comfortable with it. I'm not going to do this club slamming track because other people do it a lot better than I do. Yeah, I'm having fun doing it. And part of the fun is how you get like the creative part of you out. It's just playing around with. These remixes so being creative about it. I hear you saying you're trying to reinvent the sound Take the listener on a bit of a journey musically I really understand what you're trying to say and I part of reason why I wanted to have you and one of many reasons I wanted to have you on this podcast and have the listeners hear from you because I Want them to be exposed to how a remix can be reinvented? Let's talk about a Madonna remix of yours, and I have a little bit of a story I've come across your stuff before over the years last few years, but I was reminded of you friend of mine, were just playing around on YouTube and posing each other to different remixes, but they weren't at the time. he have you heard of Paul Andrews? I'm like, I can't remember. I'll be honest,

11:07 I couldn't remember. he said, oh my favorite Vogue remixes is by Paul Andrews. So we started listening to it. was like, oh, this is really freaking good. And then we just started listening to all of your remixes. You've got know, on YouTube and you've got some webpages where you've got them all listed. And then we just started downloading, I started downloading like crazy, because you make that available. And it's like, oh, the sound, he has a sound to himself. But that Vogue remix, you say you don't have high energy, then I wouldn't call it high energy. But if there was one, this is it.

11:52 You know it, you know There's a couple other. There's a Whitney remix of yours that think is a higher-end. Yeah, that one's just okay. Talk about this Vogue remix. How did this come about? It seems to me there might be a story there. There is a story. Okay. Actually, there's so many little things about it. My friends were Chef Petty Bone and I would try to coax a few stories out from him, like, you know, oh, how is it working in the studio with this person and that person? had so many stories, he's great with those stories I get a message one day, hey, here's a link he sent me the vocals for Vogue I'm like, my god how lucky are you? and then he said I know and he said, you know my birthday's next week and I'm like, you want me to do a whole remix by next week? which sounds more like a record label than a friend I'm like, let me see what I can do and then I started, I mean flew the vocals in and first of all just hearing what the original was like how all the parts work is like that's more like oh my god you know like nerding out to it I wanted to approach Vogue with respect because it's such a classic song and it had it had elements of elegance already to it with the strings and stuff like that and I thought oh let me concentrate on that side of it I liked the idea of starting on something that everyone was familiar with and then like hinting, oh,

13:24 it's going to go somewhere else. And the further along it get, the further away it got from the original mix. I mean, I remember when I played it for my husband, that one part at the end, I call it beautiful. Oh yeah, right, right, right. Because I sort of created a new chorus with the background vocals and I started tearing up with it and I turned around and Tom was crying and I'm like, yes! I got it. That's awesome. What a great feeling. What an awesome feeling that must have been. Yeah, I was so happy with how it came out and Shep loved it. He said it was one of his best birthday gifts ever. And then someone did a video for it. He edited old Hollywood stuff and B roll from the Vogue video. Did a really good job. I was really happy with how it turned out. I didn't change the tempo. I kept it. I think it's 114 or something.

14:25 Because again, I wanted to respect the original. In some way, it just really does. You're right. If you think about the sound that you created with that remix, and once again, you reconstructed it, reinvented it as a term Madonna would use, it does take you on a bit of a journey before you realize it. I really loved hearing your story about you and your husband and how he hurt the first time and became emotional. More of my conversation with Paul later in the episode. Let's listen to some of his remixes. This is Mix 1, Reinvention. A mini continuous mix. It kicks off with Vogue. And includes more Madonna. Paul's lucky star and living through love. Plus Adele, Fleetwood Mac, and Sylvia Dionne.

15:10 you Right?

16:13 Everywhere you turn is heartache It's everywhere that you go Everything you can to escape the pain of life that you know, life that you love When all else fails and you long to be something better than you are today You can get away, it's It's what's so Use your own imagination, so use it, that's what it's for Your finest inspiration Your dreamful

18:06 Beauty's where you find it Not just where you bump and grind it Soul is in the music, come, that's where I'll I'm fine, Beauty's where you find me Go, wait for flow! Reddit Garble and Monroe Dietrich and DiMaggio Marlon Brando, Jimmy Dean on the cover of a magazine Grace Kelly, Harlow Jean, picture of a beauty queen Jean Kelly, Fred Astaire, Ginger Rogers, dance on air They had style,

19:36 they had grace Rita Hayworth, Gabe Goodface, Lauren Kaplan, Manitou Betty Davis, We Love You, ladies with an attitude Fellas that were in the mood Don't just stand there, let's get to it Strike a pose, there's nothing to invoke You gotta just let your body go, make it To you you

21:17 Don't you remember? Sure! Bringing it down Show She is half your age But I'm guessing that's the reason that you stay You've been telling people

23:24 Cause you shine on me wherever you are I just think of you and I start to glow And I need your you So far Shine your heavenly body tonight I know you're gonna make everything alright Shine your heavenly body tonight Cause I know you're gonna make everything alright

24:56 And you me a lucky star Yeah Shine your heavenly body tonight Shine your heavenly body tonight And we'll make everything alright

26:33 It's all around that you should play the way you feel it But listen carefully to the Still, I still remember what you had And what you lost And what you had And what you lost you Here I go again, I see the crystal vision I keep my visions to myself So let me know what's

28:19 to wrap around your dreams and Dreams you like to sell Dreams of loneliness like a heartbeat Still as I remember And what you To love you Yes, you're free

29:52 Watch me stomp Let's get caught up in better not dwelling on this crazy mess I found freedom in the ugly truths I deserve the best and it's not you You're broken my heart but you can't break it down Now falling apart, this was lost now I'm coming Hit up my crown, put it back on my head I can't move you but I will never forget Please don't I'm gonna carry on

31:34 Let's go!

33:16 Woke me up one touch and I felt alive You locked me back to life, back to life, thought I'd die But voices inside were so quiet Strong hands, thick skin, and an open heart You saw through the pain, saw through the mass You'll never give up on me

35:50 if you could talk about how you producing these remixes and your original music. Talk a little bit about the secret sauce that you're into. Well, every time I approach a new remix, sometimes something just hits me with it and I go with it. Like I did Kylie Minogue's Slow. Remember that song? you Yeah, yeah, oh, sky Keep the feeling low to the body, yeah, let's go And all of a sudden like a bossa nova thing came out from there and so I did it like a live band sort of like the frozen I did for Madonna and I'm like, wow, this really works and I was just having fun doing it I didn't care if it did anything or not, but I mean I get positive feedback on it But again the play aspect when you work is the most important part of it because that's where ideas come from I mean you do learn from copying other people, you learn from reading tutorials online, but you don't get to who you are unless you start playing. I love the idea of playing with melody and new harmony, with new rhythms,

37:25 with textures, combining different sounds. just, for me, that makes it interesting. I don't want to, like I mentioned before, I don't want to have a song just to hear the beat. I want to have an experience where I put it on the headphones. And then you can appreciate the experience. So my production, I want it to be an experience. Trevor Horn is a huge influence for me. I can see that actually. can, I can hear that. He, he provides an experience. And that's why people go to him and like, hey, I need a classic album. And he delivers it. does that though translate to some, I'm going to talk about some of your other remixes. You have a couple of Adele remixes, I think that are fantastic. I think you're fan as well of her. Yeah, I am a fan. And I suspect there'll be a lot of fans of her on this podcast as well, on this podcast and listen to this podcast. So you interpreted those remixes and what went into the production of those? Anything you can share? So picking a song by a vocalist, like if you're gonna remix, automatically it's gonna make it sound better because their voice is just so good. It doesn't matter what's in the background as much. But with that, actually set fire to the rain.

38:54 sit bored as I touch your face When it burns, will I cry? Cause I heard it screaming out your name, your name I remember buying a sample pack and it had that Princess Sam, your number one, Simmonds snare drum on it and I thought, hmm, I wonder what the song would sound like in that same arrangement. So I started doing Sam, your number one, but different chords. didn't copy the original. And it turned out I was really happy with it. And then my friend Larry Flick at Sirius, He's like, oh my God, I love this. And he started playing it on his channel. Then he started playing all these other remixes I had. That was really nice to hear that. With the, what's the other one? Rumor has it? That one, I just had a groove going and I did this thing with the bass. I'm like, oh, that sounds like a low down by Boss Gags. And then I'm like, oh my God, can I work in that middle section into the song? fit perfectly and oh my god I was so happy with that and it was something different because all the other remixes were the dance remixes for it and I had my own thing going. you've done this one a few of the remixes I noticed not just Adele but a few other ones I'm trying to remember the names now but suddenly

40:26 I realized that wait a minute I'm hearing something that is reminiscent of a different song he's recreated it here I'm trying to remember was it a seal song? Yeah, see how I did paradise by charday? I'm hearing a little charday. We're never gonna survive unless we get a little crazy No, never gonna survive unless we are a little I really love that. It's probably going to be in the mix.

41:15 You do that surprisingly well in a few other places too. It's not a mashup. It's something new. Yeah, it's not exactly a mashup. Harkens back to another song like, alright. Because I do play all the parts, I don't take the original. But you know what? This is good for people who want to get into remixing. Sometimes I pick a song and I said, okay, I'm going to challenge myself and do it in this style. Do it in And then you learn about that style by doing it. Yeah, like I learned, oh, okay, there's space in this mix. That's the important part. Or, oh, this has the bass is moving it along. And then I mean just by challenging yourself you learn. So a lot of that was learning production. Yeah, you did it really well there.

42:03 And if you do release it, why not? Like putting it out there like this is what I did. Right. And then you get feedback. Absolutely. I want to also say that you bring a point that I find interesting. Sometimes I hear from people like, these unofficial remixes or underground remixes are sometimes not so good. I'm like, well actually, know, think about it. They're taking a huge leap and a huge risk by putting their work out there on the internet to share with the public worldwide. That's a huge risk. I respect that for one. And that's one of the part of the many reasons why I do this podcast is a bit of an uplift people and remasters that I'm listening to. And there's a risk there. I wonder what that's been like for you. You need some people that I'm familiar with, but what's it been like for you to get feedback from the populace? What's it been like? Has it been challenging? It's been great. I'm sure there's been some really great feedback, but What's it been like for you? I have been very fortunate that people involved with the original productions of the songs have reached out to me. I don't know the word. It's not vindicated. But I feel seen that I understand the musicality there, or that they understand that I understand it. Does that make sense? It sounds like you feel a bit supported and encouraged. Yeah, like, oh, this is... Like I did that remix, the Donna Summer remix, and the songwriter who wrote it with her contacted me and said, you know, this is how we actually wrote it. It didn't end up like this on the album, but she would have

43:36 loved this because this is how we wrote it. And that made me... I didn't care if anyone else liked it. Cause that for me, made my day. Sweet vindication. I like vindication. Definitely. But that has the connotation. I didn't want it to sound like that. More of an understanding. Yeah, understanding is good. Support understanding. The only way you get better at something is by actually doing the work. Yeah. So you can't shortcut. I mean, to Madonna's old stuff. Like her vocals early on. You know, I mean they had soul to it. It was a little rough. It was her own thing. But we'll heard how she developed, you know, and she didn't care.

44:18 She released everything. She went with it and, you know, I look at her. So kind of lead me to some of my final questions. Why did you pick Madonna to remix of all people? First of all, I found vocals. Yeah, right. No, but again, it goes back to the songwriting where there's a melody that you want to sing along to and like, okay, let me change it up a bit, but there's something familiar to it still. I mean, they still play her music. That's how great the melodies were, you know? So it's definitely how strong her melodies, even her word choice, her coming up with these hooks, you know? She's a master, absolute master at that. Just doesn't get the credit for it, don't think. No, she doesn't. Her songwriting is severely overlooked.

45:15 Coming up, the final part of our conversation about his original songwriting and his productions. And he gives some blunt advice. This is Continuous Mix 2 Cruising for Bruising. It includes Baja, Robin, With a Taste of Journey, Someone named Kylie, Frankie goes to Hollywood, Paul Andrews' original song, Dream State, and Adele. you Come to me and cry I know, I know, I know it's not easy Your heart is aching But so is mine, oh so is mine Can I tell you why? It's so long, so long, so long I've been thinking Now I know I can live a lie can live a life that's true and last forever if we want it there we'll be waiting a second chance baby but now meantime time to learn time to understand where we belong Life is too strong, we are

46:50 cruising, we're cruising from baby, the second child Baby, but now we will die in time to learn time to understand Where we were born Life is too strong, we are cruising, we're from Let you go Don't stop, don't stop Poisons spread and now we're Wasted love, you don't say goodbye Don't say goodbye They say true love lasts forever If we wanted, there would be waiting I'm like I'm a child, but where be the power? We need time, time to learn, time to understand. I know it's stupid, but just gotta see it for myself. I'm in the corner, watching you kiss her.

48:08 I'm right over here. Can't you see me? Oh, oh I'm giving it my all But I'm not the guy you're taking home Ooh, ooh, I keep dancing on my own I'm just gonna dance all night I'm all messed up, I'm so out of line Stilettos and broken bottles I'm spending the found in I'm in the corner watching you kiss her I'm right over here, why can't you see me?

49:22 I'm giving it my all I keep dancing on my own Far away I put my best dress on, boy I was so right Our eyes connected Now nothing's how it used to be Don't second guess it Tracking on this feeling Full focus, close up, you and me Nobody's leaving Got me So electric Slow down

51:52 do it, relax, don't do it, when you wanna come. Relax, don't do it, when you wanna suck it to it. Relax, don't do it, when you wanna Don't do it Don't do it when you wanna come, Don't do it when you wanna suck to it, relax You

53:59 Don't do it when you wanna go to it relax don't do Don't do it when you wanna suck it to it Relax, don't Tell the songs, world the stories

56:00 limitations I feel like Sounds of songs, world and story

57:52 you You me But my knees will fall to you you I set fire to the rain Watch it pour as I dash to face When it burn will I cry cause I heard it screaming out your name you

59:44 I heard it scream in the gym name I must be waiting for her Even Something One more talk, a little more question about remixes, then I want talk a little bit about your own original productions. I've noticed that there hasn't been anything new recently

1:01:18 in last... Are you still remixing? No, not really. I do special projects where I... How do I answer this? Well, it is a lot of work to put in to do a remix. It is. But the shelf life isn't like it used to be. Sure. And like after two weeks, people just aren't interested in it as much. They'll move on, right? Yeah. I mean, and that's our society now with TikTok and all that stuff where people want something quick and then they're onto the next thing. Right. So that gets a little frustrating. Also, I realized I was coming up with all these good ideas, but for someone else's work. So like, can't I do it for my, my own work?

1:02:04 And there's something, there's something. about creating everything on your own that is just so satisfying. And I know this podcast is, you know, a lot of people listening is because they want to get into remixing. And I bet a lot of people here when they hit a certain point, they're going to be, know what? I need to do my own thing. Absolutely. That doesn't mean they still can't remix, but they're going to hit that point where that creativity just takes over like, you know what? I could do my own thing here. my own thing here. And that's what I wanted. I wanted to do my own thing. I had two albums. Yes. My COVID album. Yes.

1:02:45 I had to do something during Yes. We all did. Yeah, there's something really satisfying about that. And I'm still learning it, you know. The only difference is that I'm putting it out there. You have to put it out. You can't just keep stuff for yourself. You've moved on to doing your own original production of the two albums now and I have been diving into them. We talked a little bit about your sound and I think you continue that to a degree with your original productions. Would you say that?

1:03:53 Yeah, definitely. I want the experience. I want it to be an experience. I mean, I have been since the last album heavily influenced on other types of music. I don't know how it's going to come out for me. I've been writing, I'm playing around, I don't have any definite I don't have a path and I'm okay with that because maybe I should just really singles maybe I should do an EP my friend Larry told me I should do an EP and I I want to keep on seeing what else I can do so who knows if I'll sound like Suzy and the Banshees next.

1:04:46 That's unlikely. love Suzy and the Banshees. But that's whole different influence if you know what I mean. It's not like the Pet Shop Boys influence they might have or ABC and stuff like that.

1:05:33 ABC, alright. I love ABC. Yes. A final question. You talked a lot about your sound. Artists that you enjoy, the vocalists that you enjoy, and the remixes that you've created. We've talked a few about them in depth. Some of the challenges you've had and how you've developed as a producer and a musician. Some of the friends that you have in the industry have learned a lot about you. There's a lot of history here. Is there any final thing that you'd like to say to the public? Whether they're listening here or not. they're listening here or not. Something that you want to send, a message you want to send, people you want to thank, I don't know. Just because someone else is successful doesn't mean that you're not going to be successful or it takes it away from you. And I feel like some people don't want to share like how they, like the secret sauce and what you were talking about. And the whole thing is about, this is your representation of yourself. It doesn't matter that you know how to use the quantize feature. Right? So I think it's helpful. I use it all the time. But I feel like sometimes people don't share in a community because they're thinking it's going to take away from their six months. Thank you for that. I really appreciate that. This is continuous mix three frozen crazy driving rain in a ghost town. Yes, that's the title. It has three remixes from Paul of Madonna. It starts with Frozen, then some Seal with a little taste of Charday, Everything But The Girl, then this remix of Rain, and Paul's official remix of Ghost Town.

1:07:28 You only see what your eyes want to see How can life be what you want it to be? You're frozen when your heart's not open You're so consumed with how much you get You waste your time with hate and regret You're broken When your heart's not You yourself to me You should know I suffer the same if I lose you

1:09:06 There's a bird she needs to fly Inside of you die, you're frozen to me If I could melt your

1:10:48 yourself to me. after 70 years that's it goes there for is to unlock the around and criticize and sleep Until on a breaking wall I see you my friend And touch your face again Miracles will happen as we dream We get a little

1:12:23 you You are You'll have my nights with me So

1:14:01 Another boy It's coming to you I you too well, and all of my lonely secrets to you I tell The highest of highs, the lowest of lows I'll come driving with I'll come down, I'll come down, I'll come come down, I'll I'll I'll I'll I'll I'll down, I'll

1:15:49 Feel it on life's coming down like rain Wash away my sorrow Take away my pain Your life's coming down like rain You're so burning mine and you take the time to tell me how you feel. you listen to my words and I know you heard, I know it's real rain. It's what this thunder brings for the first time. I can hear my heart sing.

1:16:38 Stand out here on the mountain top, till I feel your... Hearing all the window pane Your love's coming out like rain Wash away my sorrow Take away my pain Your love's coming out like rain When you looked through my eyes And you said goodbye Could you see my tears? Then I turned real away Did you hear me say I'd wait for all the dark clouds bursting in a perfect sky You promised me when you said goodbye That you'd return when the snow was done And now I wait for the light I'll wait for the sun And I feel your rain Feel it on love's coming down like rain Wash away my sorrow Take away my pain Your love's coming down like rain Here comes the sun

1:18:13 Stay with me Maybe it was all too much, too much for a man to take Everything's bound to break, sooner or later, sooner or later You're all that I can trust, facing the darkest days Everyone ran away We're gonna stay here, we're gonna stay here Ah, ah, I know you're scared tonight Ah, ah, I'll never leave your side When it all falls, when it all falls down I'll be your fire when the lights go out When there's no one, no one else around We'll be two souls in a ghost town When the world gets...

1:19:24 Just When it all falls, when it all falls down We'll be two souls in a ghost town Tell me how we got this far Every man for himself Everything's gone to hell We gotta stay strong We're gonna hold on This world has turned to dust All we've got left is love Might as well stop with us Singing a new song Something to build on When it all falls, when it all falls down To the souls in a Let's just hold on Two souls in a ghost town

1:21:02 This mad, mad world, even with no Shine like gold in this mad, in this mad, mad world When it all falls down I'll be your fire when the lights go out When there's no one going else around We'll be two souls in a ghost town Two souls in a ghost town You've been listening to Like Amuse, Madonna, Renas's culture, the podcast. I would like to thank my special guest, featured muse, Mr. Paul Andrews. My name is Kerry John Pointer. Thanks for listening.