I DON'T BELIEVE YOU ANYMORE

This song was recorded at Audio Recording, Inc. in Seattle by legendary engineer, Kearney Barton (who recorded The Kingsmen "Jolly Green Giant" of "Louie, Louie" fame, The Sonics "Psycho", The Frantics "Werewolf", "Angel Of The Morning" by Merrilee Rush and many others.) It was an 8 track analog studio, recorded onto 1 inch reel tape. 
Wayde Brown (me) on vocals, guitar, and bass; Nick Wilcox on backing vocal and bass; and Dan Penland on backing vocal and drums performed this song. We had two unfinished versions of this song, so I combined the two into one on the Audacity program, added a few more backing vocals, and then finished the tune. It's nice for this song to see light of day after sitting in the can for nearly two decades. 
To finish off this particular mix, I had to convert it from a cassette format (which was the only format I had this in) onto the Audacity program on my computer with a JVC TD-W254 Double Cassette Deck 3 motor Silent Mechanism. 

This is the 140th song I wrote. It's your basic "up yours" kind of tune. The basic riff is half of Black Sabbath's "Iron Man" and I also took part of The Beatles "Love You Too" lines and stuffed it in here. I wasn't being political or anything really. It just happened to come out the way it is and I like the late 60's feel to it. This song was originally written on 7-1-86.

ALL HAIL THE CHIEF

I TAKE WHAT I MAY PLEASE.
YOU FALL TO YOUR KNEES.
STEAL MY CAR AND MY CLOTHES!
LOVE IS NOTHING WHEN IT SHOWS.

I MAKE LOVE TO YOU
IF YOU WANT ME TO.
LIVE, DIE, WHAT DO I CARE?
I KNOW LIFE'S NOT FAIR.

ALL HAIL THE CHIEF,
HE'S JUST A THIEF (ALL HE IS IS A THIEF.)
HE STEALS YOUR MIND (HE STEALS YOUR MIND.)
THAT'S ALL YOU WILL FIND.
(SOLO)
YOU FALL TO THE GROUND.
KILL THE ONES I HAVE FOUND.
TAKE MY HEAD AS I SEE,
FOR MY LIFE'S NOT FOR ME.

ALL HAIL THE CHIEF,
HE'S JUST A THIEF (ALL HE IS IS A THIEF.)
HE STEALS YOUR MIND (HE STEALS YOUR MIND.)
THAT'S ALL YOU WILL FIND. OH!

Written and performed by Wayde K. Brown & The Santairs
Copyright 2010/2012—All Rights Reserved
Recorded at Audio Recording, Inc. in Seattle, WA. and MINE music Studio in Auburn, WA.

ALL HAIL THE CHIEF

This song was recorded at Mirror Sound Studio in Seattle, WA. by engineer Ken Fordyce. When Ken isn’t behind the controls, he was playing guitar with the group CRIME SCENE who recorded their entire first CD entitled, “1ST OFFENSE” in his studio back in 2004-2005. The group consisted of Wayde Brown (me) on guitar, vocals, and percussion; Nick Wilcox on bass, vocals, and keyboards; Mark Hasbrook on acoustic guitar and vocals; Jay Munger on lead guitar and vocals; and Paul Kollman on drums and vocals. 

 This is the 47th song I wrote and recorded it in 2004. The song was originally titled SHIRLEY. It would have been the 2nd song I had ever written with a girl’s name. Since that time, and with a bet from a friend to continue to write at least one album’s worth of girl’s names in songs, I got a bit tired of retreading the same old routine, so I changed the title. Actually, my wife, suggested the new title and I added the (I Need You So) at the end of the title. I was influenced by barber shop quartets and how they sang harmonies together and wanted to write and sing a song in much that way.
With this particular version, I reworked it in my home studio since I was never satisfied on how the tempo changed severely over the course of the song, so with the Audacity editor, I adjusted the problem.

SURELY (I NEED YOU SO)
 
SURELY, I NEED YOU SO!  SURELY, DON’T WANT YOU TO GO!
 
I NEED YOU SO BABE, CAN’T YOU SEE?
I LOVED YOU FROM THE START NOW, PLEASE LOVE ME!
I WOULD LIKE TO KNOW WHAT TO SAY.
I LA, LA, LA, LA LOVE YOU SO, SO SHOW ME THE WAY.
 
SURELY, I NEED YOU SO!  SURELY, I DON’T WANT YOU TO GO!
 
I’M POURIN’ MY HEART OUT… JUST FOR YOU.
NOW LET’S GET TOGETHER… AND SEE WHAT WE CAN DO.
I WAS YOUNG AND FOOLISH, BUT I WANT YOU STILL.
I WANT YOU FOR MY OWN, BUT DO YOU HAVE THE WILL?
 
SURELY, I NEED YOU SO.  SURELY…
 
SHE HAS THE NICEST SMILE.
I WANT TO GO OUT WITH HER FOR QUITE AWHILE.
THOUGH IT SEEMS THAT WE’RE MILES APART,
SHE’S A GIRL WITH A KIND, KIND HEART.
 
OH….SURELY, I NEED YOU SO!  SURELY, I DON’T WANT YOU TO GO!
 
I WENT TO WALK YOU HOME AND WE KISSED A LITTLE TOO.
I WANT YOU TO STAY WITH ME AND I HOPE THIS HAPPENS SOON.
I NEED TO TALK TO YOU BUT…WHAT WOULD I SAY?
I LA, LA, LA, LA, LOVE YOU GIRL IN OH SO MANY WAYS.
 
SURELY, I NEED YOU SO!  SURELY, I DON’T WANT YOU TO GO!

Written and performed by Wayde K. Brown & The Santairs (Crime Scene)
Copyright 2012—All Rights Reserved
Recorded at Mirror Sound Studios in Shoreline, WA.
For a copy of this song: http://www.cdbaby.com/cd/crimescene

SURELY (I NEED YOU SO)

I recorded this song at my home with Audacity, a free, open source software for recording and editing sounds on my 160GB, 3.2 GHZ Pentium IV HP computer made back in 2004. I did upgrade the memory to 2GB. Only 512 MB of memory originally came with the computer. This song was performed on basic equipment, from a first act guitar  for leads, a Fender Deluxe Stratocaster for rhythm (usually played through a Crate 120 Watt solid state amp), a small Peavey 50 watt bass amp, a Cameo bass guitar, a first act drum set, and a $10 computer microphone, all while capturing the sounds as I perform them live without any pre-amps, compressor or a mixer, making it quite the challenge to balance the entire sound.

I wrote the words to this song in high school within 45 minutes. I used the same chords and similar progression as the song I wrote prior called, "Keep A-Rockin' A Little More."  I think it's an interesting driving tune and has a catchy beat, though I consider this more of a throw away song.  This is song #14 that I wrote.

THAT’S THE BAD PART

WELL I FELL IN LOVE WITH YOU WHEN YOU CAME TO ME.
YOUR LOVE FOR ME IS REAL NOW, CAN’T YOU SEE?
I HATE IT WHEN YOU GO TO TALK WITH THAT MAN.
IT’S YOUR MONEY THAT HE WANTS AND YOU JUST DON’T UNDERSTAND.
AND THAT’S THE BAD PART.

NOW YOU’RE PUTTIN’ ME DOWN WHEN YOU HAVE NOTHIN’ TO LOSE.
IT’S NOT HIM THAT YOU WANT; IT’S ME YOU GOTTA CHOOSE.
THEN HE BUYS YOU DIAMOND RINGS TO TAKE YOU AWAY.
I WANT YOU FOR MY OWN BUT YOU JUST DON’T WANT TO STAY.
AND THAT’S THE BAD PART.

THAT’S THE BAD PART. THAT’S THE BAD PART.
		(SOLO)
NOW YOU’RE WITH THAT MAN AND HE’S NOT LOVING YOU TRUE.
IF YOU COME WITH ME, I’LL SHOW YOU WHAT TO DO.
I CAN’T COPE WITH THE FACT THAT YOU ARE REALLY GONE.
MY LIFE IS OVER AND I CAN’T GO ON.
AND I CAN’T GO ON.

THAT’S THE BAD PART. THAT’S THE BAD PART.
THAT’S THE BAD PART. THAT’S THE BAD PART.

Written and performed by Wayde K. Brown & The Santairs
Copyright 2012—All Rights Reserved
Recorded at MINE music Studio in Auburn, WA.


THAT'S THE BAD PART

This song was recorded at Audio Recording, Inc. in Seattle by legendary engineer, Kearney Barton (who recorded The Kingsmen “Jolly Green Giant” of “Louie, Louie” fame, The Sonics “Psycho”, The Frantics “Werewolf”, “Angel Of The Morning” by Merrilee Rush and many others.) It was an 8 track analog studio, recorded onto 1 inch reel tape. 
This song was recorded along with 13 other songs in a 12 hours session. It was the first session where I met Kearney Barton. I wanted to do this since I knew The Beatles recorded some of their best sounding stuff very much like this. To this day, I like the fast pace of music since it seems more lively to me. By taking too long on a song and second guessing yourself, you tend to bog down the creative process. I'd rather have a few rough areas and even mistakes in songs while having fun than spending months on a perfect recording that stifles creativity. This song features Wayde Brown (me) on guitar and vocals; my dad Clinton Brown on bass, and Bill Fletcher on drums. I believe a friend of Bill's named Sam Haylor came to the sessions to provide some backing vocal parts to help save time. I think he helped on this song (and maybe a few others like “She's A Girl” and “What To Do” and so on, but I can't remember every song he provided backing vocal overdubs. I do remember after the session was over, Kearney said he was very impressed at what we accomplished, especially since we never met before and had barely talked about a game plan. We kind of just went in and did it. The 12 hours included a quick, rough mix down as well. I only overdubbed the lead guitar and my backing vocals along with Sam's.
I did take the Audacity program and slowed the song down to a tempo I thought was more correct than what we originally performed it. It deserves to be a slow song, even slower than the current version I have now. (But one can't slow a song too far down, digitally, or else you'll start hearing things that doesn’t belong in there, where the program is forcing the song to do what it wasn't meant to do.) 
To finish off this particular mix, I had to convert it from a cassette format onto the Audacity program on my computer with a JVC TD-W254 Double Cassette Deck 3 motor Silent Mechanism. 

This is song # 181 on the list of songs I've written. This song has one of the most personal meanings for me, more so than any other song I've written. My father and mother were talking about separation due to certain circumstances. The agreement was for my father to leave and not come back. My dad told me that he had to leave since he didn't feel like he was part of the family anymore and that my mother wanted him gone. He told me that after he took a shower and got dressed, that he would be gone from our lives. This was a man who I adored as a father and I loved very much and have been a major part of my life, especially in music. Of course, I didn't want to see him go. So, while he was getting ready to leave, I wrote this song within 10 minutes or so. When he was dressed and ready to walk out the door, I asked him if I could play this song that I wrote for him. After I played it on acoustic guitar, we both broke down and he said he couldn't leave, and he asked me to play it again. It was this song that stopped my family from breaking apart. I was 16 years old at the time. I always imagined a female singing this song since the flow and words to the song would go better with a woman's voice. Perhaps one day, I'll get a chance to hear a woman singing it. John Lennon’s song, “Mother” was also in my mind when I wrote it. 

DADDY (PLEASE DON'T GO!)

DADDY, PLEASE DON'T GO CAUSE I'LL MISS YOU SO
INSIDE, A PAIN I CAN'T HIDE.

DADDY, PLEASE STAY, DON'T GO AWAY
OR I THINK I MIGHT DIE.

WHEN I THINK OF BROKEN HEARTS,
I HOPE YOU'LL SEE,
LOVE HAS BROKEN YOUR TENDER HEART.
BUT YOU'LL ALWAYS HAVE ME.

DADDY, DON'T CRY, CAUSE I
NEED YOU. YES I LOVE YOU.
(SOLO)
I AM YOUR AS YOU ARE MINE.
YOU KNOW I'LL BE
LOVING YOU ALL OF THE TIME,
AND YOU'LL ALWAYS HAVE ME.
AND YOU'LL ALWAYS HAVE ME.

DADDY, DON'T LEAVE, AND I BELIEVE
YOU'LL BE WITH MOMMY AND ME.

DADDY, PLEASE STAY, DON'T GO AWAY!

Written and performed by Wayde K. Brown & The Santairs
Copyright 1990/2012—All Rights Reserved
Recorded at Audio Recording, Inc. in Seattle, WA.

DADDY (PLEASE DON'T GO!)

This song was recorded at Audio Recording, Inc. in Seattle by legendary engineer, Kearney Barton (who recorded The Kingsmen “Jolly Green Giant” of “Louie, Louie” fame, The Sonics “Psycho”, The Frantics “Werewolf”, and many others.) It was an 8 track analog studio, recorded onto 1 inch reel tape. To finish off this particular mix, I had to convert it from a cassette format that was about 17 years old onto the Audacity music editor program on my computer with a Denon DRM-700 cassette tape deck. 
The Combined Players: Wayde Brown—guitar, lead and backing vocals, tambourine, maracas, wood block, bongos, flute, chimes/Sean Crain—bass, backing vocal, piano/Dan Penland—drums, backing vocal/Donna Austin and Jennifer L. Newman—Backing vocals.

This new mix of this song makes it the 495th song that I wrote.  There were originally two versions of this song done within a year of each other called, “Sleeping in Dreams (Carol Jeanne’s Theme) and “Sleeping in Dreams (Morning’s Theme).” After a few years, I removed the “Carol Jeanne’s Theme” reference since it truly didn’t hold any meaning to the song itself. I knew a Carol Jeanne and, if I remember correctly, she helped inspire the music to this song by her personality alone, but it’s not something that I consider relevant today. The first version of this song was very slow and melodic, though I felt it was missing something, but it remained my favorite version. The “Morning’s Theme” version had parts I liked to it as well, but not as much as the original version, plus it was much faster and recorded with one guitar, bass, and drums, all recorded live in a couple takes, including the lead and backing vocals. It was basically how we sounded when we performed live. Dan, the drummer, passed away in 2011 and I revisited this song again. With a little more engineering knowledge under my belt, I decided to a Beatles “Strawberry Fields Forever” concept by combining the two versions of the songs I had into one version that I liked. I partially sped the slower version up just a little while significantly slowing down the faster version to mesh it into one song. I added a few extra effects into the song, remixed and mastered it, and now have a final product that I truly like, albeit a bit psychedelic by nature, which actually was what I originally envisioned. It’s not supposed to be a pretty and perfect tune, but a slightly odd sensation, like being in-between the conscious and unconscious states of sleeping and waking. This version is so different than the other two that I consider this an almost entirely new song.  

SLEEPING IN DREAMS (SLEEPY MIX)

I REMEMBER THE DREAMS
THAT YOU LEFT FOR ME.
YOU TRIED TO HIDE YOUR SOUL,
BUT THAT WON’T WORK ANYMORE.

I’M SLEEPING IN DREAMS ALL NIGHT,
WISHING TO HOLD YOU TIGHT.
I’LL HELP YOU THROUGH THE PAIN
IF YOU GIVE ME THE CHANCE AGAIN.

ONLY IN MY DREAMS
ARE YOU REAL.
HELP ME TO FIND THE REASONS!

I REMEMBER THE DAYS
WHEN YOU WERE AWAY.
YOU GAVE ME HOPE AND PROMISE.
NOW WHAT CAN WE DO WITH THIS?

HARD TIMES WILL EXIST
EVERYWHERE,
SO FIGHT FOR YOUR FREEDOM TO BE WHO YOU ARE.

I’VE BEEN SLEEPING IN DREAMS OF YOU,
WISHING YOU’D LOVE ME TOO.
I’M HERE FOR YOU ALWAYS.
JUST COUNT ON ME TO SAY, “I LOVE YOU!”

Written and performed by Wayde K. Brown & The Santairs
Copyright 2012—All Rights Reserved
Recorded at Audio Recording, Inc. in Seattle, WA.

SLEEPING IN DREAMS (SLEEPY MIX)

This was one of the last songs I recorded on my two track recorder before it died or disappeared. It’s actually one of the better recordings I got out of it. I took this recording from the cassette tape and transferred it onto Audacity sound editor to do the rest of the overdubs. I liked the sound of the bass that I captured back then that I didn’t want to try and duplicate it since I don’t think I would have been successful. The bass sounded very much like how Paul McCartney’s bass sounded on The Beatles (White Album.) For some of those songs, I loved the sound he got out of that bass, while on others, I didn’t think it fit well. For my song, that sound was exactly what I was looking for, but I no longer have the same equipment (except the Cameo bass that I used to record it back in the mid to late 80’s.) I kept this recording very simple, trying to preserve the 3 instrument piece sound that I was going for. I pretty much just overdubbed some backing vocals and added drums. When I originally recorded it, I just played the guitar and vocals then overdubbed the bass. I made sure to try and match the bass kick drum as much as possible to what the bass itself was doing. I had to make a few adjustments but I think I achieved what I was going for. The song itself is just a simple little rock song and wasn’t meant to be anything except light and fluffy. 

This is song #274.

LOVEY DOVEY

LOVE, LOVE, LOVE, LOVEY DOVEY,
TELL ME YOU’LL BE MINE.
LOVE, LOVE, LOVE, LOVEY DOVEY,
I LOVE YOU ALL THE TIME
AND I AM THANKFUL TO BE WITH YOU.

TELL ME THAT YOU LOVE ME.
SAY THAT YOU DO CARE.
BE MY LOVE, LOVEY DOVEY,
AS LONG AS I AM HERE,
AND I’LL BE BACK TO STAY WITH YOU.

I KNOW THAT YOU NEED ME
AS MUCH AS I CAN CARE.
YOU WILL NEVER LEAVE ME
CAUSE LIFE’S NOT THAT UNFAIR.
(SOLO)
GIVE ME ONE MORE HUG
CAUSE I NEED IT SO BAD.
SORRY THAT YOU’RE ANGRY.
I DIDN’T MEAN TO MAKE YOU MAD,
AND I WILL GO HOME AND CRY ALONE.

LOVE, LOVE, LOVE, LOVEY DOVEY,
TELL ME YOU’LL BE MINE.
LOVE, LOVE, LOVE, LOVEY DOVEY,
I LOVE YOU ALL THE TIME
AND I AM THANKFUL TO BE WITH YOU.


Written and performed by Wayde K. Brown & The Santairs
Recorded at The CELL BLOCK Studio in Auburn, WA.
Copyright 2013—All Rights Reserved.

LOVEY DOVEY

This song was recorded at Mirror Sound Studio in Seattle, WA. by engineer Ken Fordyce. When Ken isn’t behind the controls, he played the lead guitar with the group CRIME SCENE periodically. who recorded their entire first CD entitled, “1ST OFFENSE”  back in 2004-2005. The group consisted of Wayde Brown (me) on guitar, vocals, and percussion; Nick Wilcox on bass, vocals, and keyboards; Mark Hasbrook on acoustic guitar and vocals; Jay Munger on lead guitar and vocals; and Paul Kollman on drums and vocals.
 
This song was written in the early 90’s for my grandparent’s 50th golden anniversary. My grandparents asked me if I could write a song for this special occasion, and this is what I came up with. The Everly Brothers were some of my favorite singers, and Nick and I harmonized well with each other, so it made sense for us to do this song as a duet. There are two versions of this song. This version was remixed by me in my home studio with the Audacity editor program. I made a second mix, and then blended the other mix by Ken to get this final mix. There’s some minor phase variation that I didn’t want, but it couldn’t be helped with the extra editing I had to accomplish to get the overall sound. Where I sacrificed one minor element, I feel I’ve gotten the best of both worlds. The CD version is more guitar heavy while my mix is more vocal based, like my father always wanted and envisioned it should be, alike The Everly Brothers. This is the 438th song I wrote, but because of this remix, it’s song #516. 

THESE GOLDEN YEARS (DAD’S MIX)

YOU SAID YOU’LL ALWAYS LOVE ME AND NEVER LEAVE.
OUR LOVE WAS ALWAYS TRUE AND WAS MEANT TO BE.
AT FIRST GLANCE THAT I SAW YOU, YOU LOOKED MY WAY.
I TOOK YOUR HAND IN MINE AND STARTED TO SAY,
 
“I LOVE YOU, I NEED YOU.  I KNEW IT FROM THE START,
FOR YOU WERE ALWAYS THERE, CAUSE YOU ARE IN MY HEART.
I TOLD YOU, I’D HOLD YOU THROUGH EVERY SINGLE DAY.”
AND I SAY, “I LOVE YOU, I LOVE YOU!”
 
WE WALKED ON DOWN THE AISLE AND WE SAID, “I DO!”
WE HAD GOOD TIMES AND BAD TIMES, AND I HAD YOU.
THROUGH THESE GOLDEN YEARS, OUR LOVE HAS NEVER DIED.
I WONDERED HOW WE GOT HERE BUT NEVER DOUBTED WHY
 
I LOVE YOU, I NEED YOU!  I FELT IT FROM THE START,
‘CAUSE YOU ARE ALWAYS THERE FOR YOU’RE WITHIN MY HEART.
I TOLD YOU, I’D HOLD YOU FOR EVERY SINGLE DAY,
THEN I SAY, “I LOVE YOU, I LOVE YOU!”
 
I LOVE YOU, I NEED YOU, I WANTED YOU FROM THE START,
FOR YOU ARE ALL MY DREAMS THAT STAYS INSIDE MY HEART.
I HAVE YOU; YOU HAVE ME FOR EVERY SINGLE DAY
WHEN YOU SAY, “I LOVE YOU, I LOVE YOU!  I LOVE YOU!”
 
I LOVE YOU (OO) I LOVE YOU…..I LOVE YOU (OO) I LOVE YOU…..
YES I LOVE YOU (OO) YOU KNOW I LOVE YOU……

Written by Wayde K. Brown & The Santairs (Nick Wilcox)
Copyright 2012—All Rights Reserved
Recorded at Mirror Sound Studios in Shoreline, WA. and MINE music Studio in Auburn, WA.

THESE GOLDEN YEARS (DAD'S MIX)

LOVELY GIRL, LOVING CHARMS.
LET ME HOLD YOU IN MY ARMS.
LET ME SAY WHAT I FEEL.
LET ME KNOW OUR LOVE IS REAL.

LOVELY GIRL, LOVING HEART.
LET US HOPE, NEVER PART.
I WANT YOU. HOLD ME TIGHT.
LET ME SQUEEZE YOU ALL THROUGH THE NIGHT.

LOVE IS A STRANGE THING.
IT MAKES ME LAUGH AND SING.
AT TIMES IT MAKES ME CRY,
THOUGH I KNOW IT WILL NEVER DIE. 

LOVELY GIRL, HOLD MY HAND.
LET ME KNOW YOU UNDERSTAND.
I LOVE YOU, CAN'T YOU SEE?
WILL YOU PLEASE MARRY ME?

LOVELY GIRL

IMAGES I SEE OF YOU AND ME,
EVERYTHING SO CLEAR, EVERYTHING SINCERE,
AND I LOVE YOU.

IMAGES OF YOU, WITHOUT US TWO.
THE THINGS WE HAD SHARED, I THOUGHT YOU CARED.
STILL I LOVE YOU.

OH MY LOVE IS TRUE.
ALL I WANT IS YOU.
BUT NOW YOU'VE GONE AWAY,
MY IMAGES ARE THROUGH.
(SOLO)
IMAGES I'VE HAD MADE ME SO SAD.
MY IMAGES HAVE DIED AND I CRIED.

IMAGES

I LIVE MY LIFE FOR YOU
THOUGH I KNOW YOU WON'T LOVE ME TOO.
WHAT ARE THE WAYS TO EXPRESS MY LOVE TO YOU?

WHY DO I FEEL I'M UNDER A SPELL
WHETHER YOU'RE NEAR OR AWAY?
I TREASURE THE TIME WE SPEND TOGETHER FOR ONE DAY.

I LIVE MY LIFE FOR YOU,
THOUGH I KNOW YOU WON'T LOVE ME TRUE.
WHAT ARE THE WORDS TO EXPRESS MY SOUL TO YOU?

I KNOW I CAN'T MAKE YOU MINE
WHEN YOU'RE NOT IN LOVE WITH ME.
I'LL KEEP DREAMIN' AND BELIEVIN' WE'LL BE.

I LIVE MY LIFE FOR YOU,
THOUGH I DON'T KNOW WHAT TO DO.
BUT FOR NOW MY TEARS ARE FALLIN' FOR YOU, FOR YOU.

I LIVE MY LIFE FOR YOU

EVERYBODY LOVES THE GIRL NEXT DOOR. 
EVERYBODY WANTS TO GIVE HER MORE. 
ANY WAY YOU WANT IT, ANY WAY YOU PLEASE, 
SHE’LL GO DOWN ON HANDS AND KNEES. 
ALL SHE WANTS IS A MAN LIKE YOU OR ME. 

EVERYBODY LOVES THE GIRL NEXT DOOR. 
ALL SHE DOES IS GIVE YOU MORE. 
SHE’LL GIVE YOU A NIGHT OF ENDLESS PLEASURE. 
SHE’LL DO ANYTHING FOR YOUR LEISURE. 
ALL SHE NEEDS IS A MAN THAT SHE CAN PLEASE. 
(SOLO) 
EVERYBODY WANTS TO GET AHEAD. 
THE GIRL NEXT DOOR THEY’LL TAKE INSTEAD. 
EVERY LITTLE BOY, EVERY GROWN MAN, 
THE GIRL NEXT DOOR THEY CAN’T UNDERSTAND. 
SHE’S THE BEST KIND OF GIRL FOR ALL WHO CAN.

EVERYBODY LOVES THE GIRL NEXT DOOR

This is a place where I'll try and upload one new, original song I wrote and performed for up to one year. Hope you enjoy the some of the sounds...

Brown Wayde

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