|Julian Lennon Profile This portion of the CD is an edit of
the 'Answers' section mixed with songs on the album.. the songs include
and "Maybe I Was Wrong."
Station Liners This portion has liners for the station to
play to promote Help Yourself. They are
quite corny... and Julian seems quite bored doing them.. oh
the things the record company made Julian do...
- "Hi this is Julian Lennon, it's time to Help Yourself
to a cut from my latest album."
- "Hi this is Julian Lennon inviting you to Help Yourself
here on your favorite radio station."
- "Hi this is Julian Lennon and this disc jockey is the Rebel
King of radio."
- "Hello this is Julian Lennon and you're listening to the
most exciting, dynamic, provocative, impassioned, awe inspiring
morning show on the radio. There, I've said it, now will you play
something from my new album?"
- "Hello this is Julian Lennon, have a great time during the
holidays but please don't drink and drive."
- "Hi this is Julian Lennon with my personal antidote for loneliness,
Take Me Home."
- "Hi this is Julian Lennon, in today's Science class we're
going to learn the New Physics Rant."
- "Hi this is Julian Lennon here. Hey, Get A Life."
- "Hi this is Julian Lennon. If you want to Help Yourself
to the best music in town then you're listening to the right station."
Answers Only A question and answer section.. the questions
are in the CD inlet and I have transcribed the answers...
do you feel about your latest album Help Yourself?
I really felt this time around that I had to be completely and
honestly true to myself. Not that there was anything wrong with
the work in the past that I've done, but I'd sort of strayed away
from certain things like being too Beatlesque and this time
around I just felt, 'Listen if I'm going to be happy anything, at
least one thing, I've got to be happy about my career and that means
being totally true to myself. So, you know, this time I felt
that I let my influences show a little more apparent on my sleeve
than before, you know. I'm really not afraid anymore of critics
or what they say because I've just, as far I'm concerned, done it
for myself, in pleasing myself about my songwriting and music and
I am overjoyed about the final results.
Why did you use such a variety of co-writers for the album?
You know, I had a certain way of writing before and I felt there
was so much inside me that I needed to bring out and I needed people
to work with me to get that out of me and the other side of it is
that I needed to see how other people worked. How they did that
themselves. And I was really getting tired of saying the same thing,
you know, most of, in fact, pretty much all of the material beforehand,
had been love songs. You know. And I think this is the first real
departure from that - more observing. I mean, still relationships,
but in a different light and observing life around oneself a little
more instead of being so closed off, and just thinking about you
and your relationship, you know, which I was so tired of. And that's
why, you know, it was a conscious effort to go out there and find
a couple of people to work with this time that I thought would do
that for me, help me along in that sense, and I think we found the
right combination, you know, to ah - it has opened a new door for
me and I mean, you know, I've only just finished this album, but
now I definitely look forward to the next and the one after that
and the one after that. It's gonna be, it's gonna be a real pleasure.
How did you come to choose Bob Ezrin as your producer?
In looking for producers I really wanted to find someone that could
- take out of me what I believed I had in me. I mean, there were
certain things I was trying to say that I felt never really came
out before. Maybe it was because I was still too shy about things
or insecure about certain things and I'd met several producers,
all of which I liked, all of whom I'd liked. I met Jeff Lynne who
I thought was fantastic, very sweet, lovely man, but I think Jeff
would have been perfect if I'd have had the songs fully prepared
and ready and ready to roll. But I was still at a stage of writing,
you know, starting to write for the next album and I met Bob and
he's - I won't say an aggressive man, but he's, he's - he likes
to put himself forward and let people know exactly what he's about,
which is a very tough, very straightforward, knows exactly what
he wants and also likes to have a battle once in awhile, you know.
And after sitting and sitting and thinking over things, we had chats
about how we were going to do this. And finally, after several weeks,
we said, 'Alright, let's give it a shot' and we both agreed
in which way we were going to approach the album and the writing
of the album and the pre-production and the production itself and
we took it from there.
How did the album title Help Yourself come about?
Well there's a tiny bit of a story behind the title of the album
which is that ah - Bob Ezrin and I, who produced the album, were
sitting around and we were trying to think what the title could
be. I was looking for something that - was catchy, was warm though,
was honest and I really, after working on the album for over 6 months,
really was unsure of what I should call it and, funny enough, this
guy who used to work with Bob Ezrin years and years ago, maybe 15-20
years ago, called Arian Zero, called him up. And they hadn't spoken
up until this point. Called him up about 3 in the morning and Bob
says, 'Hello, who is this calling me up at this time?' He
says, 'This is Arian Zero. Do you remember me? You know, we used
to work together. I used to be in this band years and years ago'
and he said, 'Vaguely yeah, why? What are you calling me for?'
He said, 'Well, I just had a dream. You're working on Julian
Lennon's album aren't you?' and he said 'Yeah, yeah, why?'
He said, 'Well, I had a dream that it should be called Help Yourself'
and Bob said, Bob thought nothing of it and said, 'Well, thank
you very much' and went back to sleep and then in the morning
when I came into the studio he said, 'Listen, this guy called
me up last night and says the album should be called 'Help Yourself,'
came to him in a dream.' So I sat and thought about it and said,
'Yeah, that's brilliant. That's just what I'm looking for'
so that's what we went with and it sort of captured everything that
was trying to be said in the album.
Your voice seems to be very versatile on Help Yourself.
I'd always loved singing falsetto stuff, you know, but, you know,
I'd always been slammed by the critics for, you know, well, you
know, 'He's doing his dad's falsetto stuff.' I said, 'What?
What? Because dad does falsetto I'm not allowed to do falsetto?'
so I got really angry at that and I thought, you know, enough of
that and I'd always sort of sang in one sort of register before.
I never really wandered and ah it always appealed to me that, you
know, 'Well, maybe I can run my voice up and down the scales a little
bit' and I think this album afforded me the opportunity to do that.
Help Yourself took 18 months to make. What was that like?
I went absolutely crazy. I mean, I locked myself in a little gray
room for 8 months, you know, 8 months of hell, but it was an understanding
between Bob Ezrin and I that, you know, if - if anything's gonna
to go out on this album it has got to be great, every piece, every
word, every piece of music has to be the best I can do at this point
in time in my life and so it was a constant battle, you know. I
thought I had something great, Bob would walk in and say, 'You can
do much better than that' and I thought, 'Oh, c'mon, no, I can't'
and then I go, 'Alright. I can, I can'. So there was
a a lot of back and forth, a lot of back and forth for that whole
8 months before we went into pre-production which ah, with Scott
Humphrey, which lasted another 4 months or so which, at that point
in time, we were still rearranging songs until the very very last
minute, you know, I mean, we really were trying to better everything
we had rather than settling for things.
Tell us about the musicians who played on the album.
Scott Humphrey was the guy that um, Bob Ezrin brought in from Canada,
who was this young keyboard genius.
Steve Hunter was just incredible um he - unfortunately, he didn't
have anything to do with the songwriting side but, Steve Hunter
used to play with Lou Reed and Alice Cooper, and is just an incredible
John McCurry, as usual, did some great stuff with me on this I
felt. We didn't actually have that much time together to write this
time 'cause he was working on other projects. But we did manage
to come up with "Help Yourself."
Justin Clayton, again, I felt that he'd definitely matured in his
writing. I think he's, we've grown up well together as far as writing
Now, let me see, Lou.. Lou.. well I call him Lou, Louis Molino
was a drummer that Bob introduced me to that had great potential
in the past but, due to management and things like that, sort of
unfortunately got lost in the haze of other drummers and he came
along and we had this song called "Would You,"
which we had already finished and put together and at the last minute
Bob said 'Well, you know, I think it would be nice to introduce
some live drums on the track' and we'd had a couple of people
sort of give it a shot but because of the flow of the song many
of them had difficulty really keeping it together and after Lou
played on it, I mean, we fell in love with it even more and were
just amazed by the fact that he could pull it off because it was
not an easy song to just sit back and sort of lay back and play
and after that, you know, we said, 'Okay, I think there's a couple
more tracks on the album, here you go' and he surprised us all
and I think he did a great job, fantastic.
Matt Bissonette was another guy that Bob brought in who we had
a lot of fun with and who is again just a great bass player and
threw in several ideas on the bass end of things.
And as far as percussion was involved, you know, we'd, with Bobbye
Hall who is, has an incredible sense of feel percussively and, I
mean, we just went in and all played together. Stuff that we couldn't
play obviously Bobbye would play because she knew how to do it properly
but there was occasions when Bob and I would get in there with her
and rattle a few things.
Alan Schwartzberg was another brilliant drummer who is an old friend
of John McCurry's, who'd known John in the past.
Tell us about Blue Nile vocalist Paul Buchanan and the song "Other
Side of Town."
One major band artist that I absolutely fell in love with was a
band called "Blue Nile" and someone played it to
me for the first time and it touched me so emotionally. I thought,
'This man and his lyrics and his voice are so incredible.'
It just moved me beyond belief and I thought, 'Well, this is
how I feel. How come I can't write like this. Why can't I get those
emotions out or that feeling when I feel that inside?' and finally
I worked at it and I set up a little studio at home in my living
room and my manager gave me a call, said, 'Hi, this is Patty
here. Listen, Paul Buchanan, the lead singer and writer, you know,
of the Blue Nile, is in town. He's here just two weeks. Do you fancy
meeting him?' I said, 'Are you kidding? C'mon, please!'
and so he came by and it was very strange because it was like a
long lost brother vibe about it. He walked into the door and it
was like we'd known each other in a whatever life, you know, past
life or whatever and it was just fantastic, it really was. We had
such communication without even speaking to each other which was
very strange and we sat down and basically came up with most of
"Other Side of Town" in one afternoon. Actually,
when it was brought up, you know, about the two of us singing the
song I thought, 'Well, isn't that a bit strange.two men singing
a ballad?' (laughs) I thought it was a bit peculiar but
then, when we worked it out lyrically, it made sense that it was
just two men who have the same emotions about life and relationships
and what happened to them.
How difficult was it to put the songs in sequence?
Because of the amount of time we'd spent on all the songs on the
album and trying to perfect them, you know, as much as possible,
and having such a selection, 12 songs of what we felt was fantastic
stuff, it was very difficult the whole way to find out what should
go in front of what, what should go behind what, does it matter?
You know. And, we had to juggle the sequence around so many times
so - because all the pieces individually were very special to us
emotionally as far as what was going on and we had to find a flow,
you know. It had to - although everything was, the subjects in each
song were quite different. We had to find a way of joining it and
keeping it together so it made some sort of sense. And, I think
how we did that was basically taking you on some sort of emotional
trip. So the way in which you hear the album, first you can be angry
about a situation or interested in a situation and it'll take you
through the muse of being happy, upset, sad, angry. you know,
pretty much I try to attack every emotion to some degree and I found,
well, Bob Ezrin and I found, that that was the only way in which
you could sit down and listen, be able to listen to that much music
was to be totally sucked in and drawn into this album and for you
to go on a little trip or ride, you know, through emotions and I
- we felt that, well, "Rebel King" was a good eye
Tell us about "Rebel King."
'Rebel King,' 'Rebel King,' 'Rebel King'. the story behind
this, first of all, how it came together was Anthony Moore basically
had pretty much all the lyrics together and what he was saying,
although it was complete madness in some respects, appealed to me.
But he'd thrown a demo tape together but it didn't have any music
at all. There was a rhythm to it, but there was no keyboards, no
guitars, no nothing, so basically, I did this after we'd met and
he'd gone back to England and I sat with the words and the groove
and came up with the music behind it basically and we slammed it
together and after he heard it he was very pleased with it. I mean,
the basic story behind "Rebel King" is initially
sort of shooting down the rebel inside oneself, the devil inside,
that a - that is capable of wrecking a lot of happy situations in
your life, you know. And so, I mean people can obviously - the listener
can take it for what it is or take it somewhere else but initially
that was the thought behind it was, trying to stay happy and keep
the devil down.
Tell us about "Saltwater."
'Saltwater' was co-written by a guy called Mark Spiro and
his wife and I. In fact, how it all came about was pretty interesting.
I'd never really thought about using outside material at all originally
on this album and Mark sent me a tape and there were some things
I liked about it but there were things I was unsure about and so
I sat around and played with it for awhile and Mark came over and
I played it to him and he was extremely happy about it. I mean,
I have to credit Mark with doing most of the work on this and his
wife but I think my input was very important too and it is definitely,
for me, a goose bump song, you know. I feel that, I mean, just lyrically
it's so beautiful, you know, and I think it's not complicated and
it shows a lot of emotion and I think touches everybody because
whether people care about things or situations or not, I- you can't
help but be drawn into what the song is about, you know. And basically
it's about reflections on one's life and what's happening around
you in your life and very straightforward but so honest that it
Tell us about "Get A Life."
Glen Tilbrook from 'Squeeze' and I got together one afternoon
very briefly because he was only in town for a week. And it was
a little awkward. We didn't, you know, I mean, we got on very well
but we didn't really know how to approach writing a great song together
in an afternoon. So basically we came up with the verse musically,
no lyrics as such, no real idea of where we were going, and he actually
came up with the chorus which had the word "listen"
in it so I felt that was a little awkward seeing as we had a song
called "Listen" on it, on the album already, and
I loved the groove and the feeling behind it but - and I thought
it should be a sort of Dylanesque rap and I pretty much wrote the
lyrics maybe a week or so after he'd gone back to England. But just
could not come up with the rest of the song and I'd made several
attempts with Bob to try and make some sort of sense of this or
put it in some sort of order and nothing came together and then
just at the last minute before we'd finished all the album, I went
into the studio and said, 'There's got to be a way of getting
this song a life' and so I just sat there in the studio with
Scott Humphrey and an acoustic guitar and it just came, you know,
(snaps fingers) just like that and an hour later we had the finished
product and I, you know, sent the tape to Glen. He was very excited
about the fact that something came of it, you know, because we were
very uncertain while we were trying to get it together, but it's,
you know, it's one of the most sort of upbeat songs on the album
so I was very fortunate that it came together otherwise we'd be
in ballad hell really.
Tell us about "Would You."
Blue Nile basically inspired this for me, this song, musically
anyway. The chords that were played in Blue Nile and the
way they were put together were something that I'd had always done
at home. Very similar style, very strange bizarre chords that seemed
to match and not always go together but I had these chords for years
and I said to Anthony Moore - I said, 'Listen I've got these
chords and I want to use them but I don't know how or where' and
he said, 'Well, I've got these words and I want to use them but
I don't know how or where' and I was able to write, record,
and finish the song within a day or two.
The reason why that lyrically it appealed to me was because at
that point in time, I mean, I've been going through a lot of different
emotions and feelings over the past year, year and a half, dealing
with this album and relationships and just friends and just this
and that and lyrically speaking, you know, when I first heard Anthony
read this to me, 'Would you rather the feeling of no feeling
at all,' you know, the feeling of being numb, it was pretty
much how I felt quite often while trying to put this whole thing
together and then I considered the fact that wouldn't it be nice
to be able to not have pressures in life, to be able to just float
through life and although it's simplistic in what it says, it does
tell a story of how people think or how things affect you.
Tell us about the song "Maybe I Was Wrong" that you
wrote with guitarist Justin Clayton.
The thing that attracted me to "Maybe I Was Wrong"
was the fact that it's not a happy story. It's, you know, it's a
bit of confusion and it's not saying, 'Yes, I love you' or
this or that. It's actually a sort of giving in to yourself or understanding
what's true about a relationship, whether it is right or wrong,
you know. It's actually saying "Maybe I was wrong, maybe
I am wrong about this relationship" instead of just winging
it and hoping for the best.
Tell us about the title track "Help Yourself"
I believe it's absolutely true that if you want to get on in life
then you really do have to help yourself and to push forward. John
McCurry and I sat around thinking, 'Well, where are we going
to go with this' and I'd already had part of the music there
and then John came in and said, 'Alright, try this' and it
was a back and forth thing and we didn't have any lyrics and John
again had to, like everybody else I write with, had to disappear
back to New York. And I sat around writing and he'd sort of mentioned
a couple of ideas and it came together in about two days.
This was at a period where we'd pretty much finished the album
and I asked Bob to come around because I thought we had something
special here. And I put the headphones on his head and said, 'Have
a listen to this' and he knew I was completely nervous about this
because John McCurry and I really liked this song and he knew I
was particularly nervous about him listening to it for the first
time. And so I sat opposite him in the room and throughout the song
he would be leaning forward shaking his head from side to side as
if to say, 'What the hell is this? This is terrible' and
so I'm going, 'Oh my God. This isn't going to go anywhere. How
am I going to beat him on this one?' and he took the headphones
off and he said, 'Listen, I'm only kidding. It's great. Let's
go and take it in the studio and work on it' and that was that
and everybody was happy after that.
"Listen" is the only song you wrote alone. Tell us about
'Listen' was a song that I'd basically had in me for a long
time lyrically about just how I felt about things, how I felt about
what critics or people thought they knew about me and also it was
about relationships that I'd had, you know. It was pretty much sort
of saying, 'Well, you know, I've had enough of what you have
to say about me, you know. I don't think you know me as a person.
You're just judging me from what other people have said about me
or what you take for surface value, you know. I don't think you
know me at all and, basically, I just don't want to have to listen
anymore to what you have to say about me or your opinions' so
that was one of the first songs I'd wrote. A little aggressive at
the time and felt I needed to get something off my chest.
Tell us about "Take Me Home."
I basically wrote "Take Me Home" with Justin several
years ago and I had the idea in my head, a melody in my head, and
I asked him to try and sort of to transcribe it to guitar and we'd
take it from there and basically what you're hearing is what it
used to be plus a couple of things added. When we took it into the
studio we felt that lyrically it could've been a little stronger.
I still like the idea that it should remain a little folky in a
sense, very simple, no drums, no nothing, just to the point. And
the original lyrical concept came up with the thought that - well
basically I was feeling very insecure and alone at the time of the
writing of this and it was just- I was just thinking about things
and the original idea came from the thought, I don't know why it
was set in Ireland, the thought of two people meeting at a dinner
or a party and thinking that that could be the last night on this
earth and rather than be alone on that night, to be with somebody
who you could just hold and feel you were loved or love them and
that's basically where the idea came from. And it's, you know, it's
not necessarily a happy song by any means but it's - I think it's
a song that provokes your thoughts about relationships and how you
deal with people and how people deal with you and how they love
you and vice versa.
Where did "New Physics Rant" come from?
'New Physics Rant' was originally something musically that
I'd put together several years ago before the Mr. Jordan
album. I always keep everything so I just had bits of music here
and there and I was running through old demo tapes and Bob said,
'What's that?' and I said, 'That's just, you know, jibberish'
and he said, 'No, no, no, no, no. I think we can do something
with that' and then Anthony Moore came along and, of course,
had the craziest lyrics I'd ever seen in my life which was basically
a very interesting look at the universe, life and everything else
in it. And, and I didn't quite know how to approach this. Bob said
it should be like a rap and I said, 'Well, I don't really want
to fall into that category' but he said, 'No, you've got
to understand. It's a guy talking about the universe and life and
everything else, but I think he should be a guy that's trying to
demonstrate something but obviously people are not listening to
him so he tends to get a little outraged at the end and wants you
to definitely understand what he's talking about although it's almost
impossible.' And so lyrically it's very deep and twisted and
the idea of calling it a rap sort of annoyed me because everything
else was a rap at the time and still is at the moment. Not that
I don't like rap, it's just that I didn't wanna, you know, appear
to sort of jump on any old band wagon, you know, so the British
are famous for ranting on and being overly boring and terrible sometimes
and just waffle waffle and so, I mean, New Physics Waffle wouldn't
quite of worked but Rant did.
Tell us about "Imaginary Lines."
There's a great story behind 'Imaginary Lines'. Musically,
Justin had written most of the material and we didn't really have
anything to talk or sing about. We'd sort of been banging out heads
against the wall. And a friend of mine had a little condo down in
Mexico. So we decided to drive down there for the weekend, just
to get away from this little gray room and we both were sort of
observing, you know, the barriers that have been put up between
the Mexicans and Americans and the border lines. And, it really
hit me a lot but, I mean, it really took Anthony by surprise. I
mean, it really upset him. You could see all these people just lining
up against, you know, fences, being stuck there, not being allowed
to go where they wanted to go, you know. When we got down there
he disappeared for quite some time and then came down to us and
said, 'You know, I have an idea for the song now. It's all about
the people we just saw'. I said, 'What, you mean on the border?'
He said, 'Yeah, yeah.' He said, 'I feel we should talk
about the fact that people are not free anymore. They're confined
to borders which other people with more power have put up and it's
a very unfortunate situation and especially seeing as the land was
originally theirs, that it's very unfair how this has all worked
out and, you know, while the Americans are living it up rich in
California, you know, the Mexicans are, you know, hanging around
on the back streets in poverty.' It's very, it was really sad
to see. I mean, it wasn't - It was originally, the concept was from
that border but it was generally talking about the borders around
the world that we're confronted with and how unfair it is these
days and the people aren't really as free as they think they are.
What is "Keep The People Working" about?
Lyrically what it says about is pretty straightforward, you know.
You've got to keep the people working to make the bombs to kill
other people and in the end probably kill all of us, you know, and
it's - I think a lot of the stuff is a little cynical on the album
and this is definitely a nice little piece to finish it off with.
Do you think your father would have been proud of this record?
Well, of course, that's impossible for me to know but, I think
he'd be proud in the sense that I went through a lot of realization
with this album in sort of getting a little closer to who I am in
a sense and just what I'm singing about and what I've written about
and the people I've worked with, who've been so dear, so kind and
wonderful. It's definitely, as far as I'm concerned, a more mature
look at life and it does definitely speak from my heart. You know,
there isn't any bull about it, you know. I, again, I think, again,
he would be proud of the fact that it's not - I'm not trying to
please anybody, you know. I'm just writing down what I feel and
hoping everybody else enjoys it, which I think he would obviously
understand and appreciate.
Is it hard for you being the son of John Lennon?
I find the problem that I do have about any sort of situation dealing
with any people is that just as, for an instance, if I'm meeting
someone, now, when - if I was Jack the Lad, you know, or someone
other than myself meeting someone for the first time, they wouldn't
have any history on me. You know, you start a conversation saying,
'Well, Hi, what do you do, you know.' 'This.' First of all,
I have my background to contend with as far as people knowing me
before I even know them at all and, I mean, this still works as
far as a live situation as well. Not only do I have that but I have
dad's history too so that's where - I mean, it really does get tiresome.
It really does but, I mean, these days I don't dwell too much on
stuff about Dad, you know.
Do you think the critics are unfair towards you?
Well, I think on Mr. Jordan they did give me a bit of a
hard time. I don't particularly know why, but I felt that I've always
had a bit of a hard time with the critics, you know, and that's
why, especially this time, I really have sort of got to that point
where I really don't care what anybody says anymore.
Like many people you've had your problems with drinking and drugs.
What stopped you from going off the rails altogether?
The thing that really pulled me together through that time of drugs
and drinking and everything was I mean, literally waking up one
morning and feeling like I was on the doorstep of death and walking
into the bathroom and looking at the mirror, looking at myself in
the mirror and basically seeing someone I didn't recognize, you
know, someone so green, so out of shape, so overweight, so - just
disgusting really and I wanted much more from life than what I was
doing to myself and I basically sort of - it was more like a cold
turkey sort of thing. I said, 'That's got to be it, you know.
I'm either going to live or die' and from that point on I also
believe it was who I was hanging out with, where I was going. I
think your surroundings have a lot to do with what happens to you
as a person. I mean, that period was when I lived in New York and
the second album hadn't done well and I just felt really down on
my luck and, you know, especially after the first album doing so
well and I just got involved with all these very strange characters
down in some very dark and dingy clubs and after hour clubs and
it lasted for about two years, you know, and I scared the hell out
of myself. I still, you know, once in awhile under pressure have
those feelings of, 'Well, you know, I could be - just go down
the road, have a couple of drinks, you know, see what happens'
and it's a constant battle always but I have seen the lighter and
better side of life that I should know better by these days, which
I do, it's just that once in awhile the back of your mind goes,
'Remember partying?' because there's some parts of it obviously
you remember as being fun. But after the fun, you know, it's not
fun anymore and that's when I moved, you know. I came out to Los
Angeles and actually bought a little house and sort of started fresh
Do you have a sense of what sort of person you are?
All I know is that everyday is a new experience, everyday I'm learning,
getting a little older, a little wiser, and I think that's the only
thing that keeps me together is looking at what I've done in the
past and how I've dealt with things or approached things and that
I feel, is the only sort of guidance I have in finding out where
I'm going or who I'm becoming. So, I still don't know as yet, you
know. I've got so much more to learn, so many things I want to do
that'll probably tell - it'll tell myself what sort of person I'm
going to be. I mean, I don't really know truly, you know, who I
am to a certain degree. I mean, I know where I've come from, I know
who my family are, but I still think there's a lot I've got to find
out about myself.
Copyright © 1991 Atlantic Records
Transcription by CJ Burianek