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6:02 | 
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from John Cale - Hobosapiens (2003)
It's midnight
and our silver tongued obsessions come at us out of the dark Scrambling to be recognised before tearing themselves apart It's zen and the art of Bollywood Heroes turning on a spit The lovers unable to resolve a pre-historic bitch We don't know the half of it Clever is as clever does His drawn lights sparkling on a merry-go-round Hypnotising everyone on it In zen and the art of forgery we're losing control of light DeLorian, Picasso, Mondre and El Greco some one's gonna pay the price If I didn't know you better than that I'd never let you outta my sight Where is the art of sorcery We wanna be fooled again Staggered by deception charmed into submission Helpless as a deck of cards. It's now the art of reality Calling a spade a spade Facing the obvious A monkey and his grinder But on a different plain. I see you clearly from day to day As clearly as I see tonite. Keep talking said the slow-eyed Mandarin "I've got nothing to say" Meet me on the staircase on your way down We'll see if there's been a mistake In zen and the art of algebra There is no value for time Whatever thrives inside the dark Decays on the outside. |
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2:43 |
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from American Psycho (아메리칸 사이코) by John Cale [ost] (2000)
I dont want to know your name
And I, dont want your private number, baby All I know is that to me You look like you're lots of fun Open up your loving arms I want some,want some I set my sights on you (and no one else will do) And I I I I, I've got to have my way now, baby All I know is that to me You look like you're having fun Open up your loving arms Watch,out here I come *You spin me right round, baby Right round like a record, baby Right round round round You spin me right round, baby right round like a record, baby Right round round round I dont want to be your servant, baby And I would like to move in a little bit closer ** All I know is that to me You look like you're lots of fun Open up your loving arms Watch out, here I come *You spin me right round, baby Right round like a record, baby Right round round round You spin me right round, baby right round like a record, baby Right round round round |
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3:36 | 
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| from John Cale - The Island Years (2000) | |||||
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2:53 |
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| from John Cale - The Island Years (2000) | |||||
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5:07 |
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| from Velvet Underground - The Velvet Underground & Nico (1969) | |||||
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2:37 |
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from Lou Reed / John Cale - Songs For Drella (1990)
Andy was a catholic, the ethic ran through his bones
He lived alone with his mother, collecting gossip and toys Every sunday when he went to church He'd kneel in his pew and say, "it's just work, All that matters is work." He was a lot of things, what I remember most He'd say, "I've got to bring home the bacon, someone's got to bring home the roast." He'd get to the factory early If you'd ask him he'd tell you straight out It's just work, the most important thing is work No matter what I did it never seemed enough He said I was lazy, I said I was young He said, "how many songs did you write?" I'd written zero, I'd lied and said, "ten." "You won't be young forever You should have written fifteen." It's work, the most important thing is work It's work, the most important thing is work "you ought to make things big People like it that way And the songs with the dirty words ? record them that way" Andy liked to stir up trouble, he was funny that way He said, "it's just work, all that matters is work" Andy sat down to talk one day He said decide what you want Do you want to expand your parameters Or play museums like some dilettante I fired him on the spot, he got red and called me a rat It was the worst word that he could think of And I've never seen him like that It's just work, I thought he said it's just work Work, he said it's just work Andy said a lot of things, I stored them all away in my head Sometimes when I can't decide what I should do I think what would andy have said He'd probably say you think too much That's 'cause there's work that you don't want to do It's work, the most important thing is work Work, the most important thing is work |
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5:05 |
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from John Cale - Black Acetate (2005)
You're ignorant, you're cool
You never learnt to say you're sorry A woman in my past is living on pins and needles Oh, oh Oh, oh Its all my fault Oh, oh Oh, oh What's a fool to do A woman in my past A woman in my present A woman in my past A woman in my present I know your style Smile when you're angry that's no way To get my attention Oh, oh Oh, oh Laughing at me Oh, oh Oh, oh All those memories A woman in my past A woman in the present A woman in my past A woman in the present (repeat to fade) |
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3:22 |
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| from Velvet Underground - The Velvet Underground & Nico (1969) | |||||
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- |
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from John Cale - An Introduction To John Cale (2001)
She was so afraid of everything she said
Since her mother told her why once upon a time There was no rhyme Before the clock slammed another door Of the weary hours we were facing a second hand shylock Shylocked in, in on us I saw what it had taken Playing back that old brigade of mine Everything was dirty, everything was without rhyme Everything was dirty, everything was without rhyme Cause me and nigger marched Yes, me and nigger blasted our way out Of here just like yesterday Yesterday's streets were burnt down into shells Mothers weep while children sleep Like ancestors in the ground The misery of nuns lie together like sons Who do not have the taste for the battle We are shuffled like a pack of cards in the dead of night Like lovers below Bataan, below the senses Cause the senses smell of tears While we and nigger marched Blasted our way out of here Close the door and let's have some private life |
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- |
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| from John Cale - 5 Tracks (2003) | |||||
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- |
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from Velvet Underground - Loaded (1998)
Who Loves The Sun
Who loves the sun Who cares that it makes plants grow Who cares what it does Since you broke my heart Who loves the wind Who cares that it makes breezes Who cares what it does Since you broke my heart Pa Pa Pa Pa Who loves the sun Pa Pa Pa Pa Who loves the sun Pa Pa Pa Pa Not everyone Pa Pa Pa Pa Who loves the sun Who loves the rain Who cares that it makes flowers Who cares that it makes showers Since you broke my heart Who loves the sun Who cares that it is shining Who cares what it does Since you broke my heart Pa Pa Pa Pa Who loves the sun Pa Pa Pa Pa Who loves the sun Pa Pa Pa Pa Not everyone Pa Pa Pa Pa Who loves the sun Sun Sun Sun Pa Pa Pa Pa Who loves the sun Pa Pa Pa Pa Who loves the sun Pa Pa Pa Pa Not everyone Pa Pa Pa Pa Who loves the sun |
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2:46 |
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from Velvet Underground - Loaded (1998)
Who Loves The Sun
Who loves the sun Who cares that it makes plants grow Who cares what it does Since you broke my heart Who loves the wind Who cares that it makes breezes Who cares what it does Since you broke my heart Pa Pa Pa Pa Who loves the sun Pa Pa Pa Pa Who loves the sun Pa Pa Pa Pa Not everyone Pa Pa Pa Pa Who loves the sun Who loves the rain Who cares that it makes flowers Who cares that it makes showers Since you broke my heart Who loves the sun Who cares that it is shining Who cares what it does Since you broke my heart Pa Pa Pa Pa Who loves the sun Pa Pa Pa Pa Who loves the sun Pa Pa Pa Pa Not everyone Pa Pa Pa Pa Who loves the sun Sun Sun Sun Pa Pa Pa Pa Who loves the sun Pa Pa Pa Pa Who loves the sun Pa Pa Pa Pa Not everyone Pa Pa Pa Pa Who loves the sun |
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2:46 |
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from High Fidelity (2000)
Who loves the sun
Who cares that it makes plants grow Who cares what it does Since you broke my heart Who loves the wind Who cares that it makes breezes Who cares what it does Since you broke my heart Pa Pa Pa Pa Who loves the sun Pa Pa Pa Pa Who loves the sun Pa Pa Pa Pa Not everyone Pa Pa Pa Pa Who loves the sun Who loves the rain Who cares that it makes flowers Who cares that it makes showers Since you broke my heart Who loves the sun Who cares that it is shining Who cares what it does Since you broke my heart Pa Pa Pa Pa Who loves the sun Pa Pa Pa Pa Not everyone Pa Pa Pa Pa Who loves the sun Pa Pa Pa Pa Who loves the sun Pa Pa Pa Pa Who loves the sun Pa Pa Pa Pa Not just anyone Pa Pa Pa Pa Who loves the sun |
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4:54 |
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| from American Psycho (아메리칸 사이코) by John Cale [ost] (2000) | |||||
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4:28 |
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from Basquiat (바스키아) by John Cale [ost] (1996)
> Baby don't you do it, don't do it babe
Don't break my heart, don't do it babe Don't break my heart, please don't do it babe Don't you break my heart 'Cause I sacrifice to make you happy Get nothin' for myself Now you wanna leave me For the love of someone else My pride is all gone, whether right or wrong I believe, baby, you'd better keep on keepin' on Girl, I try to do my best Girl, I try to do my best, don't do it babe Don't break my heart, oh don't do it baby Don't break my heart My biggest mistake was lovin' you too much And lettin' you know 'Cause now you've got me where you want me And you're gonna let me go My heart was made glad when you strolled, you see Heartaches and misery you've been causin' me Girl, I try to do my best Girl, I try to do my best Don't you do it, don't break my heart Go down to the river and there I'll be I'm gonna jump in, baby, if you don't see by me Open up your eyes; can't you see I love you? Open up your heart; can't you see I need you? I'm no good without you, can't go on without you Life's no good without you, what'm I gonna do without you? Baby don't do it, don't you break my heart Don't you do it, baby, don't you break my heart What'm I gonna do without you? Got to go on, baby Baby don't you do it |
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2:45 |
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| from Velvet Underground - Chronicles (2005) | |||||
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2:47 |
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| from Velvet Underground - White Light / White Heat (2006) | |||||
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2:46 |
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| from The Velvet Underground - The Velvet Underground Hit Pac - 5 Series [ep] (2009) | |||||
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- |
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| from The Velvet Underground - Bootleg Series Vol.1/ The Quine Tapes (2001) | |||||
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- |
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| from The Velvet Underground - Rock & Roll/ An Introduction To... (2002) | |||||
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8:38 |
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| from Velvet Underground - Live With Lou Reed Vol.2 [live] (1988) | |||||
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- |
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| from The Velvet Underground - Rock Legends (2007) | |||||
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2:47 |
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| from The Velvet Underground - Universal Masters Collection (2010) | |||||
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4:36 |
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from American Psycho (아메리칸 사이코) by John Cale [ost] (2000)
I wanna know
What you're thinking. There are some things you can't hide. I wanna know What you're feeling. Tell me what's on you mind. Here i am in silence, Looking round without a clue. I find myself along again. All alone with you. I can see behind your eyes, The things that i don't know. If you hide away from me, How can our love grow? I wanna know What you're thinking. There are some things you can't hide. I wanna know What you're feeling. Tell me what's on your mind. I know I could break you down, But what good would it do? I could surely never know That what you say is true. Here i am in silence, It's a game i have to play. You and i in silence. With nothing else to say. I wanna know What you're thinking. There are some things you can't hide. I wanna know What you're feeling. Tell me what's on your mind. I wanna know What you're thinking. There are some things you can't hide. I wanna know What you're feeling. Tell me what's on your mind. I wanna know What you'er thinking. There are some things you can't hide. I wanna know What you're feeling. Tell me what's on your mind. |
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4:55 |
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from Velvet Underground - The Velvet Underground (1996)
What goes on in your mind?
I think that I am falling down. What goes on in your mind? I think that I am upside down. Baby, be good, do what you should, you know it will work alright. Baby, be good, do what you should, you know it will be alright. I'm going up, and I'm going down. I'm going from side to side. See the bells, up in the sky, Somebody's cut their string in two. Baby, be good, do what you should, you know it will work alright. Baby, be good, do what you should, you know it will be alright. One minute born, one minute doomed, One minute up, one minute down. What goes on in your mind? I think that I am falling down. Baby, be good, do what you should, you know it will work alright. Baby, be good, do what you should, you know it will be alright. |
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8:58 |
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from Velvet Underground - Live With Lou Reed, Vol.1 [live] (1999)
What goes on in your mind? I think that I am falling down. What goes on in your mind? I think that I am upside down. Baby, be good, do what you should, you know it will work alright. Baby, be good, do what you should, you know it will be alright. I'm going up, and I'm going down. I'm going from side to side. See the bells, up in the sky, Somebody's cut their string in two. Baby, be good, do what you should, you know it will work alright. Baby, be good, do what you should, you know it will be alright. One minute born, one minute doomed, One minute up, one minute down. What goes on in your mind? I think that I am falling down. Baby, be good, do what you should, you know it will work alright. Baby, be good, do what you should, you know it will be alright. |
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- |
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| from The Velvet Underground - Bootleg Series Vol.1/ The Quine Tapes (2001) | |||||
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- |
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| from The Velvet Underground - Rock & Roll/ An Introduction To... (2002) | |||||
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4:55 |
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from Velvet Underground - Chronicles (2005)
What goes on in your mind?
I think that I am falling down. What goes on in your mind? I think that I am upside down. Baby, be good, do what you should, you know it will work alright. Baby, be good, do what you should, you know it will be alright. I'm going up, and I'm going down. I'm going from side to side. See the bells, up in the sky, Somebody's cut their string in two. Baby, be good, do what you should, you know it will work alright. Baby, be good, do what you should, you know it will be alright. One minute born, one minute doomed, One minute up, one minute down. What goes on in your mind? I think that I am falling down. Baby, be good, do what you should, you know it will work alright. Baby, be good, do what you should, you know it will be alright. |
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- |
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from The Velvet Underground - Rock Legends (2007)
What goes on in your mind?
I think that I am falling down. What goes on in your mind? I think that I am upside down. Baby, be good, do what you should, you know it will work alright. Baby, be good, do what you should, you know it will be alright. I'm going up, and I'm going down. I'm going from side to side. See the bells, up in the sky, Somebody's cut their string in two. Baby, be good, do what you should, you know it will work alright. Baby, be good, do what you should, you know it will be alright. One minute born, one minute doomed, One minute up, one minute down. What goes on in your mind? I think that I am falling down. Baby, be good, do what you should, you know it will work alright. Baby, be good, do what you should, you know it will be alright. |
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4:33 |
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from The Velvet Underground - Universal Masters Collection (2010)
What goes on in your mind?
I think that I am falling down. What goes on in your mind? I think that I am upside down. Baby, be good, do what you should, you know it will work alright. Baby, be good, do what you should, you know it will be alright. I'm going up, and I'm going down. I'm going from side to side. See the bells, up in the sky, Somebody's cut their string in two. Baby, be good, do what you should, you know it will work alright. Baby, be good, do what you should, you know it will be alright. One minute born, one minute doomed, One minute up, one minute down. What goes on in your mind? I think that I am falling down. Baby, be good, do what you should, you know it will work alright. Baby, be good, do what you should, you know it will be alright. |
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2:56 |
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| from Velvet Underground - Another VIew (1986) | |||||
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7:45 |
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from American Psycho (아메리칸 사이코) by John Cale [ost] (2000)
i've been watching me fall for it seems like years
watching me grow small, i watch me disappear slipping out my ordinary world, out my ordinary eyes yeah slipping out the ordinary me into someone else's life into someone else's life... there's a thin white cold new moon and the snow is coming down and the neon bright tokyo lights flicker through the crowd i've been drifting around for hours and i'm lost and i'm tired when a whisper in my ear insatiable breathes "why don't you follow me inside?..." yeah the room is small, the room is bright her hair is black, the bed is white and the night is always young is always young... always young the night is always young... yeah i've been seeing them strip to the bone in the mirror on the wall seeing her swallow him whole like it's not me at all she holds out her hands and i follow her down to my knees and the sucking inside insatiable smiles "you will forget yourself in me..." yeah the room is small, the room is bright her eyes are black, the bed is white and the night is always young and the night goes on and on and the night is always young and the night is never over and over and over and over and over... and this it's gone and this it's gone yeah then it's gone yeah it's a cruel mean cold new day and outside the snow is still coming down and in the blood red tokyo bed i watch me coming round she pulled him down for hours deeper than i've ever been and as i fall in the mirror on the wall i'm watching me scream i'm watching me scream i'm watching me scream i'm watching me scream yeah i've been watching me go for it must be years watching me get slow, i watch me disappear and one day, yeah i know, i won't come back at all... and always over and over in his ordinary eyes i'm watching me fall i'm watching me fall i'm watching me fall i'm watching me fall |
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4:09 |
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from John Cale - Black Acetate (2005)
We're living in
a wasteland The soil is cold and damp Volcanoes in the distance Riverbeds run dry You comfort me hold me in the dark A black sea a wind blows The dinosaurs are gone Gave up the ghost of yesteryear Nothing could be done you comfort me hold me in the dark |
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6:07 |
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| from John Cale - Vintage Violence (1970) | |||||
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- |
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| from Velvet Underground - Loaded (1998) | |||||
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- |
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from John Cale - 5 Tracks (2003)
I'm gonna write a play -
many minutes long - about a man on the A-train - selling things (for pain) - this is what he said: 'I am a very good business man - Good morning ladies and gentlemen! - I have for you today............. double-A batteries , triple-A batteries and the mighty C-battery............. 4.95 - 3.95 - 2.95............. I am a very good business man............. you have a good day............. and remember - As you're waiting for blonde..... you are New Yorkers........... as you're waiting for blonde you are the very best............. (yes I have change for a 20 how many you need brother)............. you are New Yorkers you are the very best............. Your skin is crawling............. your tongue is in a trance............. remember you are New Yorkers ........... and this is your last chance. Good morning ladies and gentlemen............. Good morning............. Step away from the closing doors. ..... This is Canal St............. last chance for the express train north............. the C train............. next stop Port Authority the Path train............. and all stations to Atlantis.............' |
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4:28 |
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from John Cale - Artifial Intelligence (2000)
Oh you think you got a gypsy smile
But it won't get you out of trouble this time All you ever had is the memory And the rose that you keep for company Anyone could have cracked the code Anybody could have cracked that code So touch up your makeup And save up all your pride You once made everyone your lover And I bet you felt just like a bride While they were talking in some foreign tongue You were parading around like a beggar in an iron lung Cause something must be breaking your heart Yes something is breaking your heart That I loved like a vigilante lover That I loved like a vigilante fool The air was heavy over the village square It's not everyday they auction off despair There were voices floating in that country air And secret policemen watching everywhere Anyone could have cracked the code Anyone could have cracked that code I drive a stolen car I got a monkey jar That makes the blood run cold And I see through windows And I hear through walls But nothing you can do can touch me at all But I wouldn't feel so forlorn There must be some saving grace I hear the Rosy Christians have just hit town And they're all heading for your place Cause something is breaking your heart Something is breaking your heart I hope something is I loved you like a vigilante lover I loved you like a vigilante fool |
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- |
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| from John Cale - 5 Tracks (2003) | |||||
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5:09 |
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| from The Velvet Underground - The Velvet Underground Hit Pac - 5 Series [ep] (2009) | |||||
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5:13 |
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from Velvet Underground - The Velvet Underground & Nico (1969)
Shiny, shiny, shiny boots of leather
Whiplash girlchild in the dark Comes in bells, your servant, don't forsake him Strike, dear mistress, and cure his heart Downy sins of streetlight fancies Chase the costumes she shall wear Ermine furs adorn the imperious Severin, Severin awaits you there I am tired, I am weary I could sleep for a thousand years A thousand dreams that would awake me Different colors made of tears Kiss the boot of shiny, shiny leather Shiny leather in the dark Tongue of thongs, the belt that does await you Strike, dear mistress, and cure his heart Severin, Severin, speak so slightly Severin, down on your bended knee Taste the whip, in love not given lightly Taste the whip, now plead for me I am tired, I am weary I could sleep for a thousand years A thousand dreams that would awake me Different colors made of tears Shiny, shiny, shiny boots of leather Whiplash girlchild in the dark Severin, your servant comes in bells, please don't forsake him Strike, dear mistress, and cure his heart |
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- |
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from Velvet Underground - The Velvet Underground & Nico (1969)
Shiny, shiny, shiny boots of leather
Whiplash girlchild in the dark Comes in bells, your servant, don't forsake him Strike, dear mistress, and cure his heart Downy sins of streetlight fancies Chase the costumes she shall wear Ermine furs adorn the imperious Severin, Severin awaits you there I am tired, I am weary I could sleep for a thousand years A thousand dreams that would awake me Different colors made of tears Kiss the boot of shiny, shiny leather Shiny leather in the dark Tongue of thongs, the belt that does await you Strike, dear mistress, and cure his heart Severin, Severin, speak so slightly Severin, down on your bended knee Taste the whip, in love not given lightly Taste the whip, now plead for me I am tired, I am weary I could sleep for a thousand years A thousand dreams that would awake me Different colors made of tears Shiny, shiny, shiny boots of leather Whiplash girlchild in the dark Severin, your servant comes in bells, please don't forsake him Strike, dear mistress, and cure his heart |
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- |
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| from The Velvet Underground - Bootleg Series Vol.1/ The Quine Tapes (2001) | |||||
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- |
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| from The Velvet Underground - Rock & Roll/ An Introduction To... (2002) | |||||
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5:10 |
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from The Velvet Underground - The Velvet Underground & Nico [Original Album (Rarities Edition)] (2012)
Shiny, shiny, shiny boots of leather
Whiplash girlchild in the dark Comes in bells, your servant, don't forsake him Strike dear mistress, and cure his heart Downy sins of streetlight fancies Chase the costumes she shall wear Ermine furs adorn the imperious Severin, severin awaits you there I am tired, I am weary I could sleep for a thousand years A thousand dreams that would awake me Different colors made of tears Kiss the boot of shiny, shiny leather Shiny leather in the dark Tongue of thongs, the belt that does await you Strike dear mistress, and cure his heart Severin, severin, speak so slightly Severin, down on your bended knee Taste the whip, in love not given lightly Taste the whip, now bleed for me I am tired, I am weary I could sleep for a thousand years A thousand dreams that would awake me Different colors made of tears Shiny, shiny, shiny boots of leather Whiplash girlchild in the dark Severin, your servant comes in bells, please don't forsake him Strike dear mistress, and cure his heart |
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0:10 |
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| from Basquiat (바스키아) by John Cale [ost] (1996) | |||||
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3:47 |
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from John Cale - Hobosapiens (2003)
Hanging with dictators in the south of France
Checking shipments to le Monde Arabe Obsession with detail precision with terms Remember you're speaking from the TZ Your reputation precedes you now you're getting bored No longer into the story of the antique road The milk of human kindness has curdled in your cup You see me staring at it and tell me to shut up Chaucer was to Canterbury what you were to the zone Instead of trying to solve it you left it alone A hangout you could call home Now you're out things aren't going to be the same Now you're out of the Twilight Zone You're feeling unreliable you don't like the same things Manifestly different from where you chose to begin The turnaround is brilliant the execution sublime You found a way to move on leaving nothing behind Now you're out things aren't going to be the same Now you're out of the Twilight Zone |
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3:45 |
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from John Cale - Black Acetate (2005)
A shadow
Living in between the me you A gambler Betting we'll be fine in the end Once in a while you'd be wrong Putting your feelings across Freaking me out in the dark Turn the lights on When you see me coming Turn the lights on When you see me coming Dreaming Seeing things appear in my head Sleeping Listening to what's there in stead Make sure the reason for that isn't the same as the last Foolish thing thing sent from the past Turn the lights on When you see me coming Turn the lights on When you see me coming Turn the lights on Turn the lights on Turn the lights on… When you see me coming… When you see me coming… |
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5:54 |
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from American Psycho (아메리칸 사이코) by John Cale [ost] (2000)
I feel so extraordinary
Something's got a hold on me I get this feeling I'm in motion A sudden sense of liberty I don't care 'cause I'm not there And I don't care if I'm here tomorrow Again and again I've taken too much Of the things that cost you too much I used to think that the day would never come I'd see delight in the shade of the morning sun My morning sun is the drug that brings me near To the childhood I lost, replaced by fear I used to think that the day would never come That my life would depend on the morning sun... When I was a very small boy, Very small boys talked to me Now that we've grown up together They're afraid of what they see That's the price that we all pay And the value of destiny comes to nothing I can't tell you where we're going I guess there was just no way of knowing I used to think that the day would never come I'd see delight in the shade of the morning sun My morning sun is the drug that brings me near To the childhood I lost, replaced by fear I used to think that the day would never come That my life would depend on the morning sun... I feel so extraordinary Something's got a hold on me I get this feeling I'm in motion A sudden sense of liberty The chances are we've gone too far You took my time and you took my money Now I fear you've left me standing In a world that's so demanding I used to think that the day would never come I'd see delight in the shade of the morning sun My morning sun is the drug that brings me near To the childhood I lost, replaced by fear I used to think that the day would never come That my life would depend on the morning sun... |
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3:41 |
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from Lou Reed / John Cale - Songs For Drella (1990)
The trouble with a classicist he looks at a tree
That's all he sees, he paints a tree The trouble with a classicist he looks at the sky He doesn't ask why, he just paints a sky The trouble with an impressionist, he looks at a log And he doesn't know who he is, standing, staring, at this log And surrealist memories are too amorphous and proud While those downtown macho painters are just alcoholic The trouble with impressionist is The trouble with impressionist is The trouble with personalities, they're too wrapped up in style It's too personal, they're in love with their own guile They're like illegal aliens trying to make a buck They're driving gypsy cabs but they're thinking like a truck The trouble with personalities is The trouble with personalities is I like the druggy downtown kids who spray paint walls and trains I like their lack of training, their primitive technique I think sometimes it hurts you when you stay too long in school I think sometimes it hurts you when you're afraid to be called a fool The trouble with classicists is The trouble with classicists is |
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3:41 |
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from American Psycho (아메리칸 사이코) by John Cale [ost] (2000)
Some girls got worries
so disconnect me mind and soul tormented there so disconnected but my kind of trouble is you but my kind of trouble is you Some boys got trouble it's money they need others got nothing to live for but I'm so free How well they know heartache They're so disillusioned but my kind of trouble is you but my kind of trouble is you My black angel death's come it's singing for me |
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from Velvet Underground - Loaded (1998)
Train Round The Bend
Train round the bend Takin me away from my country I'm sick of the trees Take me to the city Train comin' round the bend Oh train comin' round the bend Been in the country Oh much too long Trying to be a farmer But nothing that I planted never seems to grow Train comin' round the bend Train comin' round the bend Hey I am just a city boy And really not the country kind Oh I need the city streets and I need your light To see bend comin' round the bend The train comin' round the bend Allright Ooh Ohh Once She's going twice She's going to the loop up and down She's going twice She's going the train comin round the bend You know the train comin round the bend And I'm out of nowhere Takin' me back where I belong I've been here once and I don't take it tonight For the train comin round the bend The train comin round the bend OOOh Allright! |
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3:23 |
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from Velvet Underground - Loaded (1998)
Train Round The Bend
Train round the bend Takin me away from my country I'm sick of the trees Take me to the city Train comin' round the bend Oh train comin' round the bend Been in the country Oh much too long Trying to be a farmer But nothing that I planted never seems to grow Train comin' round the bend Train comin' round the bend Hey I am just a city boy And really not the country kind Oh I need the city streets and I need your light To see bend comin' round the bend The train comin' round the bend Allright Ooh Ohh Once She's going twice She's going to the loop up and down She's going twice She's going the train comin round the bend You know the train comin round the bend And I'm out of nowhere Takin' me back where I belong I've been here once and I don't take it tonight For the train comin round the bend The train comin round the bend OOOh Allright! |
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6:28 |
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from Basquiat (바스키아) by John Cale [ost] (1996)
Wasted and wounded, it ain't what the moon did
Got what I paid for now See ya tomorrow, hey Frank can I borrow A couple of bucks from you? To go waltzing Mathilda, waltzing Mathilda You'll go a-waltzing Mathilda with me I'm an innocent victim of a blinded alley And tired of all these soldiers here No one speaks English and everything's broken And my Stacys are soaking wet To go waltzing Mathilda, waltzing Mathilda You'll go a-waltzing Mathilda with me Now the dogs are barking and the taxi cab's parking A lot they can do for me I begged you to stab me, you tore my shirt open And I'm down on my knees tonight Old Bushmill's I staggered, you buried the dagger Your silhouette window light To go waltzing Mathilda, waltzing Mathilda You'll go a-waltzing Mathilda with me Now I lost my Saint Christopher now that I've kissed her And the one-armed bandit knows And the maverick Chinaman and the cold-blooded signs And the girls down by the strip-tease shows Go, waltzing Mathilda, waltzing Mathilda You'll go a-waltzing Mathilda with me No, I don't want your sympathy The fugitives say that the streets aren't for dreaming now Manslaughter dragnets and the ghosts that sell memories They want a piece of the action anyhow Go, waltzing Mathilda, waltzing Mathilda You'll go a-waltzing Mathilda with me And you can ask any sailor and the keys from the jailor And the old men in wheelchairs know That Mathilda's the defendant, she killed about a hundred And she follows wherever you may go Waltzing Mathilda, waltzing Mathilda You'll go a-waltzing Mathilda with me And it's a battered old suitcase to a hotel someplace And a wound that will never heal No prima donna, the perfume is on An old shirt that is stained with blood and whiskey And goodnight to the street sweepers The night watchman flame keepers and goodnight, Mathilda too |
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2:40 |
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from John Cale - Fragments Of A Rainy Season (2000)
If you grow tired of the friends you make
In case you mean to say something else Say they were the best of times you ever had The best of times with the thoughtless kind We dress conservatively at the best of times Prefer the shadows to the bright lights in the eyes Of the ones we love, the bright lights in the eyes of the ones we love What we see, what we imagine the eyes tell us nothing The bright lights in the eyes of the one we love will tell you Nothing except that you're the thoughtless kind If you grow tired of the friends you make Never ever turn your back on them Say they were the best of times you ever had The best of times with the thoughtless kind |
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4:47 |
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from John Cale - Hobosapiens (2003)
Elsewhere in the Temple the llamas are gearing up
To assault Tiger Mountain when the sun comes up We sat around whispering in the candlelight Trying to get a game plan for the night Talked about the difference between North and South Keep your gun in your pocket and your tongue in your mouth and you'll be doing it ? the thing you do in Denver when you're dead. A month is a Saturday ? Wednesday's a week I saw the way you looked at her Charlie Brown ? good grief She pulled you into the shadows and taught you how to love Patted you on the head and gave you a shove and you were doing it ? the thing… The sexual exuberance of a concubine Checks my carburettor one more time With the passion of a thoroughbred and the Sensitivity of a moose I rarely make a move Unless I've got some proof that we'll be doing it ? the thing you do in Denver when you're dead. You live in Paris I live in France things are expensive When you live first class ? you learn Latin I'll learn Greek And when you've got a minute we'll meet in Crete And we'll be doing it ? the thing… |
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from John Cale - Things [2 Track] [single] (2003)
Elsewhere in the Temple the llamas are gearing up
To assault Tiger Mountain when the sun comes up We sat around whispering in the candlelight Trying to get a game plan for the night Talked about the difference between North and South Keep your gun in your pocket and your tongue in your mouth and you'll be doing it ? the thing you do in Denver when you're dead. A month is a Saturday ? Wednesday's a week I saw the way you looked at her Charlie Brown ? good grief She pulled you into the shadows and taught you how to love Patted you on the head and gave you a shove and you were doing it ? the thing… The sexual exuberance of a concubine Checks my carburettor one more time With the passion of a thoroughbred and the Sensitivity of a moose I rarely make a move Unless I've got some proof that we'll be doing it ? the thing you do in Denver when you're dead. You live in Paris I live in France things are expensive When you live first class ? you learn Latin I'll learn Greek And when you've got a minute we'll meet in Crete And we'll be doing it ? the thing… |
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from John Cale - Things [single] (2003)
Elsewhere in the Temple the llamas are gearing up
To assault Tiger Mountain when the sun comes up We sat around whispering in the candlelight Trying to get a game plan for the night Talked about the difference between North and South Keep your gun in your pocket and your tongue in your mouth And you'll be doing it Doing the things Doing it Doing the things The thing you do in Denver when you're dead A month is a Saturday ? Wednesday's a week I saw the way you looked at her Charlie Brown ? good grief She pulled you into the shadows and taught you how to love Patted you on the head and gave you a shove And you were doing it Doing the things Doing it Doing the things Doing it Doing the things The thing you do in Denver when you're dead The sexual exuberance of a concubine Checks my carburettor one more time With the passion of a thoroughbred and the sensitivity of a moose I rarely make a move unless I've got some proof That we'll be doing it Doing the things Doing it Doing the things Doing it Doing the things The thing you do in Denver when you're dead You live in Paris I live in France Things are expensive when you live first class You learn Latin I'll learn Greek And when you've got a minute we'll meet in Crete And we'll be doing it Doing the things Doing it Doing the things Doing it Doing the things The thing you do in Denver when you're dead The thing you do in Denver when you're dead Doing it in Denver when you're dead Doing it in Denver when you're dead Doing it in Denver when you're dead |
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3:35 |
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from John Cale - Hobosapiens (2003)
Elsewhere in the Temple the llamas are gearing up
To assault Tiger Mountain when the sun comes up We sat around whispering in the candlelight Trying to get a game plan for the night Talked about the difference between North and South Keep your gun in your pocket and your tongue in your mouth And you'll be doing it Doing the things Doing it Doing the things The thing you do in Denver when you're dead A month is a Saturday ? Wednesday's a week I saw the way you looked at her Charlie Brown ? good grief She pulled you into the shadows and taught you how to love Patted you on the head and gave you a shove And you were doing it Doing the things Doing it Doing the things Doing it Doing the things The thing you do in Denver when you're dead The sexual exuberance of a concubine Checks my carburettor one more time With the passion of a thoroughbred and the sensitivity of a moose I rarely make a move unless I've got some proof That we'll be doing it Doing the things Doing it Doing the things Doing it Doing the things The thing you do in Denver when you're dead You live in Paris I live in France Things are expensive when you live first class You learn Latin I'll learn Greek And when you've got a minute we'll meet in Crete And we'll be doing it Doing the things Doing it Doing the things Doing it Doing the things The thing you do in Denver when you're dead The thing you do in Denver when you're dead Doing it in Denver when you're dead Doing it in Denver when you're dead Doing it in Denver when you're dead |
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from John Cale - Things [2 Track] [single] (2003)
Elsewhere in the Temple the llamas are gearing up
To assault Tiger Mountain when the sun comes up We sat around whispering in the candlelight Trying to get a game plan for the night Talked about the difference between North and South Keep your gun in your pocket and your tongue in your mouth And you'll be doing it Doing the things Doing it Doing the things The thing you do in Denver when you're dead A month is a Saturday ? Wednesday's a week I saw the way you looked at her Charlie Brown ? good grief She pulled you into the shadows and taught you how to love Patted you on the head and gave you a shove And you were doing it Doing the things Doing it Doing the things Doing it Doing the things The thing you do in Denver when you're dead The sexual exuberance of a concubine Checks my carburettor one more time With the passion of a thoroughbred and the sensitivity of a moose I rarely make a move unless I've got some proof That we'll be doing it Doing the things Doing it Doing the things Doing it Doing the things The thing you do in Denver when you're dead You live in Paris I live in France Things are expensive when you live first class You learn Latin I'll learn Greek And when you've got a minute we'll meet in Crete And we'll be doing it Doing the things Doing it Doing the things Doing it Doing the things The thing you do in Denver when you're dead The thing you do in Denver when you're dead Doing it in Denver when you're dead Doing it in Denver when you're dead Doing it in Denver when you're dead |
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3:28 |
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from Basquiat (바스키아) by John Cale [ost] (1996)
Won't someone give me a gun?
Oh, well, it's for my brother Well, he writes the line, wrote right down my spine It says, "Oh, do you believe in love there?" So slow down, slow down, you're taking me over And so we drown, sir, we drown, stop taking me over Won't someone give me some fun? As the skin flies all around us We kiss in his room to a popular tune Oh, real drowners So slow down, slow down, you're taking me over And so we drown, sir, we drown, stop taking me over Slow down, slow down, you're taking me over And so we drown, sir, we drown, stop taking me over You're taking me over You're taking me over You're taking me over You're taking me over Stop taking me over You're taking me over You're taking me over You're taking me over |
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9:36 |
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| from John Cale - Words For The Dying (2006) | |||||
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from Velvet Underground - The Velvet Underground & Nico (1969)
There she goes again
She's out on the streets again She's down on her knees, my friend But you know she'll never ask you please again Now take a look, there's no tears in her eyes She won't take it from just any guy, what can you do You see her walkin' on down the street Look at all your friends she's gonna meet You better hit her There she goes again She's knocked out on her feet again She's down on her knees, my friend But you know she'll never ask you please again Now take a look, there's no tears in her eyes Like a bird, you know she would fly, what can you do You see her walkin' on down the street Look at all your friends that she's gonna meet You better hit her Now take a look, there's no tears in her eyes Like a bird, you know she will fly, fly, fly away See her walking on down the street Look at all your friends that she's gonna meet She's gonna bawl and shout She's gonna work it She's gonna work it out, bye bye Bye bye baby All right |
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2:43 |
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from Velvet Underground - The Velvet Underground & Nico (1969)
There she goes again
She's out on the streets again She's down on her knees, my friend But you know she'll never ask you please again Now take a look, there's no tears in her eyes She won't take it from just any guy, what can you do You see her walkin' on down the street Look at all your friends she's gonna meet You better hit her There she goes again She's knocked out on her feet again She's down on her knees, my friend But you know she'll never ask you please again Now take a look, there's no tears in her eyes Like a bird, you know she would fly, what can you do You see her walkin' on down the street Look at all your friends that she's gonna meet You better hit her Now take a look, there's no tears in her eyes Like a bird, you know she will fly, fly, fly away See her walking on down the street Look at all your friends that she's gonna meet She's gonna bawl and shout She's gonna work it She's gonna work it out, bye bye Bye bye baby All right |
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| from The Velvet Underground - Rock & Roll/ An Introduction To... (2002) | |||||
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from The Velvet Underground - Rock Legends (2007)
There she goes again
She's out on the streets again She's down on her knees, my friend But you know she'll never ask you please again Now take a look, there's no tears in her eyes She won't take it from just any guy, what can you do You see her walkin' on down the street Look at all your friends she's gonna meet You better hit her There she goes again She's knocked out on her feet again She's down on her knees, my friend But you know she'll never ask you please again Now take a look, there's no tears in her eyes Like a bird, you know she would fly, what can you do You see her walkin' on down the street Look at all your friends that she's gonna meet You better hit her Now take a look, there's no tears in her eyes Like a bird, you know she will fly, fly, fly away See her walking on down the street Look at all your friends that she's gonna meet She's gonna bawl and shout She's gonna work it She's gonna work it out, bye bye Bye bye baby All right |
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2:39 |
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| from The Velvet Underground - The Velvet Underground & Nico [Original Album (Rarities Edition)] (2012) | |||||
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3:24 |
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from John Cale - Words For The Dying (2006)
Since the soul of Carmen Miranda had captured the mind of man
Dismissed with her generation for the price of a can-can Consigned to the sideshows of history, with the patronized orphans of film She seeded the bait and offered the faint hope of chance to innocent men In love with the trance of her dances And abandoned by them And abandoned by them She called in the boys She remembered their names, and the sorry condition they came in The dances were soiled, they spun and recoiled From the master tapdancer inside them, beside them The soul of Carmen Miranda had captured the mind of man Dismissed with her generation for the price of a can-can The soul of Carmen Miranda for the price of a can-can The soul of Carmen Miranda for the price of a can-can |
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5:54 |
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from John Cale - Artifial Intelligence (2000)
Your mailbox is always empty
And your landlord always complains And you try to forget your past But it's just adding to your pain And it's time for one more cigarette Yes, I slept on your satin pillows They felt like a second skin You needn't have looked so helpless there I was the moth stuck on your pin Sleeping, I am the sleeper Sleeping, I am the sleeper Oh it used to feel so right Everything seemed new I haven't changed It isn't me that's what's wrong with you Sleeping, I am the sleeper The sun came up and you'd come back The door was open wide I should have slammed it in your face I should have shot you in the back That's what Jesus would have done If Satan had come And looked him in the eye and said "You're my kind of guy, why don't you come away with me? Come away with me" Cause I love you, I love ya, I love ya - that's what she said I love ya, love ya I'd rather speak to Satan himself I love you, I love you, I love you I love you, I'm the sleeper |
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10:38 |
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| from John Cale - Sun Blindness Music (2007) | |||||
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| from John Cale - The Academy In Peril (2007) | |||||
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8:56 |
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from Velvet Underground - The Velvet Underground (1996)
Left Voice (Morrison, Tucker)
candy screen wrappers of silkscreen fantastic, requiring memories, both lovely and guiltfree, lurid and lovely with twilight of ages, luscious and lovely and filthy with laghter, laconic giggles, ennui fort the passions, in order to justify most spurious desires, rectify moments, most serious and urgent, to hail upon the face of most odious time, requiring replies most facile and vacuous, with words nearly singed, with the heartbeat of passions, spew forth with the grace of a tart going under, subject of great concern, noble origin Right Voice (Reed, Yule) denigrate obtuse and active verbs pronouns, skewer the sieve of optical sewer, release the handle that holds all the gates up, puncture the eyeballls, that seep all the muck up, read all the books and he people worth reading and still see the muck on the sky of the ceiling Left Voice (Morrison, Tucker) please raise the flag rosy red carpet envy english used here is messenger is nervous it's no fun at all out here in the hall Right Voice (Reed, Yule) mister moonlight succulent smooth and gorgeous. Isn't it nice? We're number One and so forth. Isn't it sweet being unique? Left Voice (Morrison, Tucker) for screeching and yelling and various offenses, lower the queen and bend her over the tub, against the state, the country, the committe, hold her head under the water please for an hour, for groveling and spewing and various offenses, puncture the bloat with the wing of a sparrow, the inverse, the obverse, the converse,the reverse, the sharpening wing of the edge of a sparrow, for suitable reckonings too numerous to mention, as the queen is fat she is devoured by rats there is one way to skin a cat or poison a rat it is hetero four hear to three forthirightly stated. Right Voice (Reed, Yule) relent and obverse and inverse and perverse and reverse the inverse of perverse and reverse and reverse an reverse and reverse and reverse and chop it and pluck it and cut it and spit it and sew it to joy on the edge of a cyclop and spinet it to rage on the edge of a cylindrical minute. Left Voice (Morrison, Tucker) put down that rag simpering, callow and morose who let you in? if I knew, then I could get out the murder you see is a mystery to me Right Voice (Reed, Yule) dear Mister Muse fellow of wit and gentry medieval ruse filling the shallow and empty, fools that duel duel in pools. Left Voice (Morrison, Tucker) to Rembrandt and Oswald, to peanuts and ketchup, sanctimonious sycophants stir in the bushes, up to the stand with your foot on the bible as king I must order and constantly arouse, if you swear to catch up and throw up and up up, a king full of virgin kiss me and spin it, excuse to willow and wander dark wonders divest me of robes-sutures Harry and pig meat, the fate of a nation, rests hard on your bosoms, the king on his throne, puts his hand down his robe, the torture of inverse and silk screen and Harry, and set the tongue squealing the reverse and inverse Right Voice (Reed, Yule) tantalize poets with visions of grandeur, their faces turn blue with the reek of the compost, as the livig try hard to retain what the dead lost, with double dead sickness from writing at what cost and business and business and reverse and reverse and set the brain reeling the inverse and perverse Left Voice (Morrison, Tucker) objections suffice apelike and tactile bassoon oboeing me cordon the virus' section off to the left is what is not right Right Voice (Reed, Yule) English arcane tantamount here to frenzy passing for me lascivious elder passion corpulent filth disguised as silk Left Voice (Morrison, Tucker) contempt, contempt and contempt for the boredom, I shall poison the city and sink it with fire, for Cordless and Harry and Apepig and Scissor, the messenger's wig seems fraught with desire, for blueberry picnics and pince-nez and magpies, the mseenger's skirt, would you plaese hook it higher, for children and adults all thos under ninety, how truly disgusting. Would you please put it down? a stray in this fray is no condom worth saving, as king I'm quite just, but it's just quite impossible, a robe and a robe and a robe and a bat, no double class inverse could make lying worth dying Right Voice (Reed, Yule) with cheap simian melodies, hillbilly outgush, for illiterate ramblings for cheap understanding the simple the inverse, the compost, the reverse, the obtuse and stupid, and business, and business, and cheap, stupid lyrics, and simple mass reverse while the real thing is dying Left Voice (Morrison, Tucker) accept the pig, enter the Owl and Gorgeous, King on the left, it on the right and primping adjusting his nose as he reads from his scroll folksy knockwurst peel back the skin of French and what do you find? follicles intertwinning, succulent prose wrapped up in robes Left Voice (Morrison, Tucker) off with his head, take his head from his neck off, requiring memories both lovely and guiltfree, put out his eyes, then cut his nose off, sanctimonious sycophants stir in the bushes, scoop out his brain, put a string where his ears were, all the king's horses and all the king's men, swing the whole mess at the end of the wire, scratch out his eyes with the tip of a razor, let the wire extend from the tip of a rose, Caroline, Caroline, Caroline, Oh! but retains the remnants of what once was a nose, pass me my robe, fill my bath up with water Right Voice (Reed, Yule) jumpsuit and pig meat and making his fortune, while making them happy with the inverse and obverse and making them happy and making them happy with the coy and the stupid, just another dumb lackey, who puts out one thing, while singing the other, but the real thing's alone and it is no man's brother Left Voice (Morrison, Tucker) no one knows no nose is good news and senseless extend the wine drink here toast to selfless ten year old port is perfect in court Right Voice (Reed, Yule) safety is nice not an unwise word spoken scary, bad dreams made safe in lovely songs no doom or gloom allowed in this room Left Voice (Morrison, Tucker) Casbah and Cascade and Rosehip and Feeling, Cascade and Cyanide, Rachaminoff, Beethoven skull silly wagon and justice and perverse and reverse the inverse and inverse and inverse, blueberry catalog, questionable earnings, hustler's lament and the rest will in due cry, to battle and scramble and browbeat and hurt while chewing on minstrels and choking on dirt, disease please seems the order of the day, please the king, please the king, please the king day, Casbah and Cascade and Rosehip and Feeling, point of order return the king here to the ceiling Right Voice (Reed, Yule) oh, not to be whistled or studied or hummed or remembered at nights, when the I is alone, but to skewer and ravage and savage and split with the grace of a diamond, bellicose wit, to stun and to stagger with words as such stone, that those who do hear cannot again return home Left Voice (Morrison, Tucker) razzamatazz, there's nothing on my shoulder, lust is a must, shaving my head's made me bolder, will you kindly read what it was I brought thee Right Voice (Reed, Yule) hello to Ray, hello to Godiva and Angel, who let you in? isn't it nice the party? aren't the lights pretty at night? Left Voice (Morrison, Tucker) sick leaf and sorrow and pincers net-scissors, regard and refrain from the daughters of marriage, regards for the elders and youngest in carriage, regard and regard for the inverse and perverse and obverse, and diverse, of reverse and reverse, regard from the sick, the dumb, and the camel from pump's storing water, like brain is too marrow to x-ray and filthy and cutting and peeling to skin and to skin and to bone and to structure to livid and pallid and turgid and structured and structured and structured and structured and structured and regard and refrain, the sick and the dumb, inverse, reverse and perverse Right Voice (Reed, Yule) contempt, contempt, and contempt for the seething for writhing and reeling and two-bit reportage, for sick with the body and sinister holy, the drown burst blue babies now dead on the seashore, the valorous horseman, who hang from the ceiling, the pig on the carpet, the dusty pale jissom, that has no effect for the sick with the see-saw, the inverse, obverse converse, reverse of reverse the diverse and converse of reverse and perverse and sweet pyrotechnics, and let's have another of inverse, converse, diverse, perverse and reverse, hell's graveyard is damned as they chew on their brains, the slick and the scum, reverse, inverse and perverse Left Voice (Morrison, Tucker) plowing while it's done away dumb and ready pig meat sick upon the carpet climb into the casket safe within the parapet sack is in the parapet pigs are out and growling slaughter by the seashore see the lifeguard drowning sea is full of fishes fish's full of china china plates are falling all fall down sick and shiny carpet lie before my eyes eyes lead me to the ceiling walk upon the wall wall tender as the green grass drink the whisky horror see the young girls dancing flies upon the beaches beaches are for sailors nuns across the sea-wall black hood horseman raging swordsman eating fire Right Voice (Reed, Yule) sick upon the staircase sick upon the staircase blood upon the pillow climb into the parapet see the church bells gleaming knife that scrapes a sick plates of dentures full of air holes the tailor couldn't mend straight shoot her full of air holes climbing up the casket take me to the casket teeth upon her red throat screw me in the daisies rip apart her holler snip the seas fantastic treat her like a sailor full and free and nervous out to make his fortune either this or that way sickly or in good health piss upon a building like a dog in training teach to heel or holler yodel on a sing song down upon the carpet Left Voice (Morrison, Tucker) fire on the carpet set the house ablazing seize and bring it flaming gently to the ground ground Dizzy Bell Miss Fortune fat and full of love-juice drip it on the carpet down below the fire hose weep and whisky fortune sail me to the moon, dear drunken dungeon sailors headless Roman horsemen the king and queen are empty their heads are in the outhouse fish upon the water bowl upon the saviour tooothless wigged Laureate plain and full of fancy name upon a letterhead impressing all wheatgerm love you for a nickel ball you for a quarter set the casket flaming do not go gentle blazing Right Voice (Reed, Yule) tickle polyester sick within the parapet screwing for a dollar sucking on a fire-hose chewing on a rubber line tied to chairs and rare bits pay another player oh you're such a good lad here's another dollar tie him to the bedpost sick with witches' covens craving for a raw meat bones upon the metal sick upon the circle down upon the carpet down upon the carpet down below the parapet waiting for your bidding pig upon the carpet tumescent railroad neuro-anaesthesia analog ready for a good look drooling at the birches swinging from the birches succulent Nebraska |
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8:56 |
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from Velvet Underground - Chronicles (2005)
Left Voice (Morrison, Tucker)
candy screen wrappers of silkscreen fantastic, requiring memories, both lovely and guiltfree, lurid and lovely with twilight of ages, luscious and lovely and filthy with laghter, laconic giggles, ennui fort the passions, in order to justify most spurious desires, rectify moments, most serious and urgent, to hail upon the face of most odious time, requiring replies most facile and vacuous, with words nearly singed, with the heartbeat of passions, spew forth with the grace of a tart going under, subject of great concern, noble origin Right Voice (Reed, Yule) denigrate obtuse and active verbs pronouns, skewer the sieve of optical sewer, release the handle that holds all the gates up, puncture the eyeballls, that seep all the muck up, read all the books and he people worth reading and still see the muck on the sky of the ceiling Left Voice (Morrison, Tucker) please raise the flag rosy red carpet envy english used here is messenger is nervous it's no fun at all out here in the hall Right Voice (Reed, Yule) mister moonlight succulent smooth and gorgeous. Isn't it nice? We're number One and so forth. Isn't it sweet being unique? Left Voice (Morrison, Tucker) for screeching and yelling and various offenses, lower the queen and bend her over the tub, against the state, the country, the committe, hold her head under the water please for an hour, for groveling and spewing and various offenses, puncture the bloat with the wing of a sparrow, the inverse, the obverse, the converse,the reverse, the sharpening wing of the edge of a sparrow, for suitable reckonings too numerous to mention, as the queen is fat she is devoured by rats there is one way to skin a cat or poison a rat it is hetero four hear to three forthirightly stated. Right Voice (Reed, Yule) relent and obverse and inverse and perverse and reverse the inverse of perverse and reverse and reverse an reverse and reverse and reverse and chop it and pluck it and cut it and spit it and sew it to joy on the edge of a cyclop and spinet it to rage on the edge of a cylindrical minute. Left Voice (Morrison, Tucker) put down that rag simpering, callow and morose who let you in? if I knew, then I could get out the murder you see is a mystery to me Right Voice (Reed, Yule) dear Mister Muse fellow of wit and gentry medieval ruse filling the shallow and empty, fools that duel duel in pools. Left Voice (Morrison, Tucker) to Rembrandt and Oswald, to peanuts and ketchup, sanctimonious sycophants stir in the bushes, up to the stand with your foot on the bible as king I must order and constantly arouse, if you swear to catch up and throw up and up up, a king full of virgin kiss me and spin it, excuse to willow and wander dark wonders divest me of robes-sutures Harry and pig meat, the fate of a nation, rests hard on your bosoms, the king on his throne, puts his hand down his robe, the torture of inverse and silk screen and Harry, and set the tongue squealing the reverse and inverse Right Voice (Reed, Yule) tantalize poets with visions of grandeur, their faces turn blue with the reek of the compost, as the livig try hard to retain what the dead lost, with double dead sickness from writing at what cost and business and business and reverse and reverse and set the brain reeling the inverse and perverse Left Voice (Morrison, Tucker) objections suffice apelike and tactile bassoon oboeing me cordon the virus' section off to the left is what is not right Right Voice (Reed, Yule) English arcane tantamount here to frenzy passing for me lascivious elder passion corpulent filth disguised as silk Left Voice (Morrison, Tucker) contempt, contempt and contempt for the boredom, I shall poison the city and sink it with fire, for Cordless and Harry and Apepig and Scissor, the messenger's wig seems fraught with desire, for blueberry picnics and pince-nez and magpies, the mseenger's skirt, would you plaese hook it higher, for children and adults all thos under ninety, how truly disgusting. Would you please put it down? a stray in this fray is no condom worth saving, as king I'm quite just, but it's just quite impossible, a robe and a robe and a robe and a bat, no double class inverse could make lying worth dying Right Voice (Reed, Yule) with cheap simian melodies, hillbilly outgush, for illiterate ramblings for cheap understanding the simple the inverse, the compost, the reverse, the obtuse and stupid, and business, and business, and cheap, stupid lyrics, and simple mass reverse while the real thing is dying Left Voice (Morrison, Tucker) accept the pig, enter the Owl and Gorgeous, King on the left, it on the right and primping adjusting his nose as he reads from his scroll folksy knockwurst peel back the skin of French and what do you find? follicles intertwinning, succulent prose wrapped up in robes Left Voice (Morrison, Tucker) off with his head, take his head from his neck off, requiring memories both lovely and guiltfree, put out his eyes, then cut his nose off, sanctimonious sycophants stir in the bushes, scoop out his brain, put a string where his ears were, all the king's horses and all the king's men, swing the whole mess at the end of the wire, scratch out his eyes with the tip of a razor, let the wire extend from the tip of a rose, Caroline, Caroline, Caroline, Oh! but retains the remnants of what once was a nose, pass me my robe, fill my bath up with water Right Voice (Reed, Yule) jumpsuit and pig meat and making his fortune, while making them happy with the inverse and obverse and making them happy and making them happy with the coy and the stupid, just another dumb lackey, who puts out one thing, while singing the other, but the real thing's alone and it is no man's brother Left Voice (Morrison, Tucker) no one knows no nose is good news and senseless extend the wine drink here toast to selfless ten year old port is perfect in court Right Voice (Reed, Yule) safety is nice not an unwise word spoken scary, bad dreams made safe in lovely songs no doom or gloom allowed in this room Left Voice (Morrison, Tucker) Casbah and Cascade and Rosehip and Feeling, Cascade and Cyanide, Rachaminoff, Beethoven skull silly wagon and justice and perverse and reverse the inverse and inverse and inverse, blueberry catalog, questionable earnings, hustler's lament and the rest will in due cry, to battle and scramble and browbeat and hurt while chewing on minstrels and choking on dirt, disease please seems the order of the day, please the king, please the king, please the king day, Casbah and Cascade and Rosehip and Feeling, point of order return the king here to the ceiling Right Voice (Reed, Yule) oh, not to be whistled or studied or hummed or remembered at nights, when the I is alone, but to skewer and ravage and savage and split with the grace of a diamond, bellicose wit, to stun and to stagger with words as such stone, that those who do hear cannot again return home Left Voice (Morrison, Tucker) razzamatazz, there's nothing on my shoulder, lust is a must, shaving my head's made me bolder, will you kindly read what it was I brought thee Right Voice (Reed, Yule) hello to Ray, hello to Godiva and Angel, who let you in? isn't it nice the party? aren't the lights pretty at night? Left Voice (Morrison, Tucker) sick leaf and sorrow and pincers net-scissors, regard and refrain from the daughters of marriage, regards for the elders and youngest in carriage, regard and regard for the inverse and perverse and obverse, and diverse, of reverse and reverse, regard from the sick, the dumb, and the camel from pump's storing water, like brain is too marrow to x-ray and filthy and cutting and peeling to skin and to skin and to bone and to structure to livid and pallid and turgid and structured and structured and structured and structured and structured and regard and refrain, the sick and the dumb, inverse, reverse and perverse Right Voice (Reed, Yule) contempt, contempt, and contempt for the seething for writhing and reeling and two-bit reportage, for sick with the body and sinister holy, the drown burst blue babies now dead on the seashore, the valorous horseman, who hang from the ceiling, the pig on the carpet, the dusty pale jissom, that has no effect for the sick with the see-saw, the inverse, obverse converse, reverse of reverse the diverse and converse of reverse and perverse and sweet pyrotechnics, and let's have another of inverse, converse, diverse, perverse and reverse, hell's graveyard is damned as they chew on their brains, the slick and the scum, reverse, inverse and perverse Left Voice (Morrison, Tucker) plowing while it's done away dumb and ready pig meat sick upon the carpet climb into the casket safe within the parapet sack is in the parapet pigs are out and growling slaughter by the seashore see the lifeguard drowning sea is full of fishes fish's full of china china plates are falling all fall down sick and shiny carpet lie before my eyes eyes lead me to the ceiling walk upon the wall wall tender as the green grass drink the whisky horror see the young girls dancing flies upon the beaches beaches are for sailors nuns across the sea-wall black hood horseman raging swordsman eating fire Right Voice (Reed, Yule) sick upon the staircase sick upon the staircase blood upon the pillow climb into the parapet see the church bells gleaming knife that scrapes a sick plates of dentures full of air holes the tailor couldn't mend straight shoot her full of air holes climbing up the casket take me to the casket teeth upon her red throat screw me in the daisies rip apart her holler snip the seas fantastic treat her like a sailor full and free and nervous out to make his fortune either this or that way sickly or in good health piss upon a building like a dog in training teach to heel or holler yodel on a sing song down upon the carpet Left Voice (Morrison, Tucker) fire on the carpet set the house ablazing seize and bring it flaming gently to the ground ground Dizzy Bell Miss Fortune fat and full of love-juice drip it on the carpet down below the fire hose weep and whisky fortune sail me to the moon, dear drunken dungeon sailors headless Roman horsemen the king and queen are empty their heads are in the outhouse fish upon the water bowl upon the saviour tooothless wigged Laureate plain and full of fancy name upon a letterhead impressing all wheatgerm love you for a nickel ball you for a quarter set the casket flaming do not go gentle blazing Right Voice (Reed, Yule) tickle polyester sick within the parapet screwing for a dollar sucking on a fire-hose chewing on a rubber line tied to chairs and rare bits pay another player oh you're such a good lad here's another dollar tie him to the bedpost sick with witches' covens craving for a raw meat bones upon the metal sick upon the circle down upon the carpet down upon the carpet down below the parapet waiting for your bidding pig upon the carpet tumescent railroad neuro-anaesthesia analog ready for a good look drooling at the birches swinging from the birches succulent Nebraska |
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| from Jack Kerouac - Kerouac - Kicks Joy Darkness (1997) | |||||
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4:34 |
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from John Cale - The Island Years (2000)
Pity the poor man, pity the sad man
Pity the green man who couldn't afford to orgy Pity the policeman, pity the snowman Pity the woman who couldn't afford to orgy "Say, Johnny, you're a little lonesome? Oh, come on big boy, let me show you. Mmm, don't you wanna good time?" Good for the postman, good for the con man Good for the milkman, they can afford to orgy Good for the butcher, good for the astronaut Good for the curate, they can afford to orgy "Come on, honey, keep breaking my heart. Ooh, you're breaking my heart." If it's a problem getting together Leave it alone, it's the easiest way Great while it lasts, but it don't last forever Nothing like living real dangerously "Ooh, come on, give yourself a break. Oh, don't worry, baby, you'll get over it. Mmm, you'll get over it." Sorry to hear it, sorry to see it Sorry to mention I couldn't afford to orgy Seems such a bother, one thing, another Tempting and teasing, just for an orgy "Oh no, you have to take a chance. Ah, you've gotta give me one chance anyway. Mmm, you can sure do it. Ah, mmm. C'mon. Mmm." |
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3:51 |
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from Basquiat (바스키아) by John Cale [ost] (1996)
I'm inviting you to my vaudeville
"Oui encore" you say, "And on with the show" Ladies, gentlemen, before I sing to you The light that shines twice as bright Burns half as long Come let me entertain you all Leave your troubles big and small Life's a ball, life's a ball Hitch a ride on my crooked merry-go-round Hear the clinking-clanking sound Of the song that I bring Take my song, take my hand, never let me down, Like love let me down, like love pushed me around So long, goodbye, I lost, did try This is the last song I'll ever sing The last song I'll sing I played in the cabaret of love I wore heart, fist and glove. Push and shove, push and shove... And all for love Take my song, take my hand, never let me down, Like love let me down, like love pushed me around So long, goodbye, I lost, did try This is the last song I'll ever sing The last song I'll sing This is the last song I'll ever sing The last song I'll sing Here, with words that can't be said We take songs to our bed Sing-a-long, sing-a-long... to my last song |
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4:13 |
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from John Cale - The Island Years (2000)
Very slowly he sipped his tea, not shifting his glance from the thick double spaced printing he read with his jeweller's eye
Engrossed in his corner, he passed onto the other inhabitants of the room a scrawled insularity of time and space For both passed him by with the speed of light, not unlike the flow of substance, however varied, into that lysergic entity known as the black hole He was hardly ugly for his time, and conversation was certainly not lost on him Drastic measures were called for, and as in antiquity the lonely man was blessed with wisdom to the point of desperation But there in his corner, developing around him like a sun, was a climate of such rare beauty that sight and sound could no longer be considered sufficient food for the senses And he had begun to notice, as his hearing failed, that mind and matter were in no way connected to one other, as if in fact the one could not propose and prove its erotic existence in terms of the other "What does this word mean?" he enquired of the solemn waiter hopefully "Nothing for desert sir", came the reply, "perhaps a cocktail, demitasse or a herbal essence, it helps the breathing you know sometimes". "The bill, if you don't mind", quickly he shot back And as the patter of the feet faded in the room, for he barely heard them now, his eye slowly began to close, and by the time he emerged on the sunny street he was forced to rely entirely on the other eye for help, but happily it continued its many functions, blinking gently for lubrication, and registering images It was rush hour, in Hawaii only 10am So, turning into his street, he stopped at the drug store and bought an eye patch that soon covered the reluctant eye Climbing the stairs he pondered what to do next, he would call a doctor and have tests made, eat nourishing food and if necessary consent to surgery, the last resort of the gambling man And at 1am he awoke from a dream and after fumbling his way in the obolescent light of his room he peered into the rusty veins of his mirror and lifted away the patch What he saw astonished him. Where once was tremulous tissue and membrane was now a follicle and perfectly formed vagina with vulva, overgrown and mysterious, unrevealing and still to the untrained eye But in the deep dark recesses of that sticky occlusion lay the unclosing watchful eye of disgust in its closing moments, lunging forward and hungry for the cold light of days |
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| from Trash Palace - Positions (2003) | |||||
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8:16 |
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| from Velvet Underground - Chronicles (2005) | |||||
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8:19 |
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| from Velvet Underground - White Light / White Heat (2006) | |||||
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from John Cale - Paris 1919 (2006)
Old Taylor said
Old Taylor meant to cry -- oh my Field Marshall meant Field Marshall went away again Watch out below; the tides Lean heavily like wine We are all innocent in spite of you and me Then Martha went Yes Martha went away again Down in Transvaal Where Crocodiles and men fight on They would have played all night Even with loaded dice It's gold that eats the heart away and leaves The bones -- to dry Segovia watched Gendarmerie and all that's all The radio man Amanda did you choose your tune She walked away in time She walked a crooked line So gracefully she turned her head And smiled -- away |
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from John Cale - Paris 1919 (2006)
Old Taylor said
Old Taylor meant to cry -- oh my Field Marshall meant Field Marshall went away again Watch out below; the tides Lean heavily like wine We are all innocent in spite of you and me Then Martha went Yes Martha went away again Down in Transvaal Where Crocodiles and men fight on They would have played all night Even with loaded dice It's gold that eats the heart away and leaves The bones -- to dry Segovia watched Gendarmerie and all that's all The radio man Amanda did you choose your tune She walked away in time She walked a crooked line So gracefully she turned her head And smiled -- away |
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| from The Velvet Underground - Bootleg Series Vol.1/ The Quine Tapes (2001) | |||||
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from Velvet Underground - The Velvet Underground & Nico (1969)
The myriad choices of his fate
Set themselves out upon a plate For him to choose What had he to lose Not a ghost bloodied country All covered with sleep Where the black angel did weep Not an old city street in the east Gone to choose And wandering's brother Walked on through the night With his hair in his face On a long splintered cut from the knife of G.T. The rally man's patter ran on through the dawn Until we said so long To his skull-shrill yell Shining brightly red-rimmed and Red-lined with the time Infused with the choice of the mind On ice skates scraping chunks From the bells Cut mouth bleeding razor's Forgetting the pain Antiseptic remains cool goodbye So you fly To the cozy brown snow of the east Gone to choose, choose again Sacrificials remains make it hard to forget Where you come from The stools of your eyes Serve to realize fame, choose again And roverman's refrain of the sacrilege recluse For the loss of a horse Went the bowels and a tail of a rat Come again, choose to go And if Epiphany's terror reduced you to shame Have your head bobbed and weaved Choose a side to be on If the stone glances off Split didactics in two Leave the colors of the mouse trails Don't scream, try between If you choose, if you choose, try to lose For the loss of remain come and start Start the game I che che che che I Che che ka tak koh Choose to choose Choose to choose, choose to go |
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2:57 |
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| from John Cale - Fragments Of A Rainy Season (2000) | |||||
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| from John Cale - The Academy In Peril (2007) | |||||
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2:00 |
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from Velvet Underground - The Velvet Underground (1996)
That's the story of my life
That's the difference between wrong and right But, Billy said, Both those words are dead That's the story of my life |
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2:05 |
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from Velvet Underground - Chronicles (2005)
That's the story of my life
That's the difference between wrong and right But billy said, both those words are dead That's the story of my life |
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8:22 |
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| from John Cale - Stainless Gamelan: Inside The Dream Syndicate Vol. III (2007) | |||||
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2:30 |
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from Velvet Underground - V.U. (1999)
Temptation inside Your Heart
Somebody shut the door I know where temptation lies Inside of you heart You can talk during this I know where the evil lies Inside of your heart Well get out of here If you're gonna try to make it right You're surely gonna end up wrong Wrong wrong wrong wrong Ah! That's the only chord I know I know where the mirror's edge Is inside of your heart Motown It's no even within five feet Well if you're gonna make it right You're surely gonna end up wrong You don't look like Martha and the Vandellas I'm just gonna start it all over again Somebody get her out of here Electricity comes from other planets (It's not that a bad solo. Four times is pretty together) (You can stay here) I know where temptation lies Inside of your heart Yes he's ready I know where the evil lies Inside of your heart Is he ready Well if you're gonna make it right You're surely gonna end up wrong Oh the whole mess start again Well New York buildings are very hight And not all offensive Lock the door Gonna carry on at infinite leght, my dear The Pope in the silver castle Was that awful Hey, that's fine. That's it |
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from The Velvet Underground - Rock Legends (2007)
Temptation inside Your Heart
Somebody shut the door I know where temptation lies Inside of you heart You can talk during this I know where the evil lies Inside of your heart Well get out of here If you're gonna try to make it right You're surely gonna end up wrong Wrong wrong wrong wrong Ah! That's the only chord I know I know where the mirror's edge Is inside of your heart Motown It's no even within five feet Well if you're gonna make it right You're surely gonna end up wrong You don't look like Martha and the Vandellas I'm just gonna start it all over again Somebody get her out of here Electricity comes from other planets (It's not that a bad solo. Four times is pretty together) (You can stay here) I know where temptation lies Inside of your heart Yes he's ready I know where the evil lies Inside of your heart Is he ready Well if you're gonna make it right You're surely gonna end up wrong Oh the whole mess start again Well New York buildings are very hight And not all offensive Lock the door Gonna carry on at infinite leght, my dear The Pope in the silver castle Was that awful Hey, that's fine. That's it |
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| from The Velvet Underground - Rock & Roll/ An Introduction To... (2002) | |||||
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from John Cale - Walking On Locusts (1998)
There's an end to the road that takes you home
There's a way of life you knew before At the end of the day you will have your rest You'll find a way You'll find a way Don't resist the morning calm It will keep you safe from harm The time will come when help is found You leave behind the things form the past Though the road is long and hard and the path is wide We climb it still and seize the skies It's only a matter of time It's only a matter of time The landscape has changed and the mood has gone Along with the rest we carry on If you take me back in space in time I'll let the journey begin and keep it with mine On this coat of many colours there's a lot of room for others I see in your face the reason why You fell from grace and you cannot find The way from here that leads you back To the place that you know the best And its distance from the rest You tell me why there's a saviour looking on with the weak and the strong, taking us to higher ground |
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2:59 |
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from John Cale - The Island Years (2000)
Oh, you sentimental fool Yes, you sentimental fool Love, those broken veins made you so afraid of that wishful wishing well Well now you're in misery and in pain Well now you're in misery and in pain So she broke your heart And you let her die Well that's your name and that's the game 'Cause they're taking it all away They're taking it all away They're taking it all away 'Cause they're taking it all away They're taking it all away They're taking it all away They're taking it all away |
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4:10 |
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from John Cale - The Island Years (2000)
Wish I could sail in a big black boat
With a big white sail over me And once in a while I'd pull into port Drink some wine with a girl But Sylvia said Come to bed It's so good to have you here Some time ago When time passed so slow Too weak to know where to go But now thinking back On what strikes me the most Is I've made up my mind long before And Sylvia said Come to bed It's so good to have you here So I'll cope with you Don't cope at all So let's leave it all to the chef Please send my regrets In case I forget To PO Box Nobody Home So Sylvia said Come to bed It's so good to have you here |
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4:09 |
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from Velvet Underground - Loaded (1998)
Sweet Jane
Standin' on a corner Suitcase in my hand Jack's in his corset, Jane is in her vest and me I'm in a rock 'n' roll band. Huh. Riding a Stutz Bear Cat, Jim ya know, those were different times all the poets studied rules of verse and those ladies they rolled their eyes Sweet Jane Sweet Jane Sweet Jane Now Jack, he is a banker and Jane, she's a clerk and both of them save their monies when they get home from work sittin downby the fire Ooo, the radio does play the classical music there, Jim The March of the Wooden Soldiers All you protest kids you can hear Jack say Sweet Jane Sweet Jane Sweet Jane Some people they like to go out dancin and other people they have to work. Just watch me now and there's even some evil mothers Well there gonna tell you that everthing is just dirt you know that women never really faint and that villians always blink their eyes that children are the only ones who blush and that life is just to die But anyone who ever had a heart they wouldn't turn around and break it and anyone who ever played a part They wouldn't turn around and hate it Sweet Jane, Sweet Sweet Jane.. |
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from Velvet Underground - Loaded (1998)
Sweet Jane
Standin' on a corner Suitcase in my hand Jack's in his corset, Jane is in her vest and me I'm in a rock 'n' roll band. Huh. Riding a Stutz Bear Cat, Jim ya know, those were different times all the poets studied rules of verse and those ladies they rolled their eyes Sweet Jane Sweet Jane Sweet Jane Now Jack, he is a banker and Jane, she's a clerk and both of them save their monies when they get home from work sittin downby the fire Ooo, the radio does play the classical music there, Jim The March of the Wooden Soldiers All you protest kids you can hear Jack say Sweet Jane Sweet Jane Sweet Jane Some people they like to go out dancin and other people they have to work. Just watch me now and there's even some evil mothers Well there gonna tell you that everthing is just dirt you know that women never really faint and that villians always blink their eyes that children are the only ones who blush and that life is just to die But anyone who ever had a heart they wouldn't turn around and break it and anyone who ever played a part They wouldn't turn around and hate it Sweet Jane, Sweet Sweet Jane.. |
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4:04 |
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from Velvet Underground - Live With Lou Reed, Vol.1 [live] (1999)
the Peel Slowly and See! boxset, as well as The Fully Loaded Special Edition Standing on the corner, suitcase in my hand, Jack is in his corset, and Jane is her vest, and, me, I'm in a rock'n'roll band. Huh! Ridin' in a Stutz-Bearcat, Jim Y'know, those were different times! Oh, all the poet, they studied rules of verse, And the ladies, they rolled their eyes. Sweet Jane! Whoa! Sweet Jane, oh-oh-a! Sweet Jane! I'll tell you something, Jack, he is a banker, And Jane, she is a clerk. Both of them save their monies, ha, And when, when they come home from work! Ooh! Sittin' down by the fire, oh! The radio does play, The classical music there, Jim. "The March of the Wooden Soldiers". All you protest kids. You can hear Jack say, get ready, ah, Sweet Jane! Come on baby now! Sweet Jane! Oh-oh-a! Sweet Jane! Some people, they like to go out dancing, And other peoples, they have to work. Just watch me now! And there's even some evil mothers, Well they're gonna tell you that everything is just dirt. Y'know that, women, never really faint, And that villains always blink their eyes, woo! And that, y'know, children are the only ones who blush! And that, life is, just to die! And, everyone who ever had a heart, oh, That wouldn't turn around and break it. And anyone who ever played a part, whoa, And wouldn't turn around and hate it! Sweet Jane! Whoa-oh-oh! Sweet Jane! Sweet Jane. Sweet Jane. Sweet Jane. Sweet Jane. Heavenly wine and roses, Seems to whisper to her when he smiles. ah, Heavenly wine and roses, Seems to whisper to her when he smiles. hey! la-la-la-la-la-la, la-la-la-la-la-la, la-la-la-la-la-la, la-la-la-la-la-la, oh Sweet Jane! Sweet Jane! Sweet Jane! Sweet Jane! Sweet Jane! |
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from The Velvet Underground - Rock & Roll/ An Introduction To... (2002)
Standin' on a corner
Suitcase in my hand Jack's in his corset, Jane is in her vest and me I'm in a rock 'n' roll band. Huh. Riding a Stutz Bear Cat, Jim ya know, those were different times all the poets studied rules of verse and those ladies they rolled their eyes Sweet Jane Sweet Jane Sweet Jane Now Jack, he is a banker and Jane, she's a clerk and both of them save their monies when they get home from work sittin downby the fire Ooo, the radio does play the classical music there, Jim The March of the Wooden Soldiers All you protest kids you can hear Jack say Sweet Jane Sweet Jane Sweet Jane Some people they like to go out dancin and other people they have to work. Just watch me now and there's even some evil mothers Well there gonna tell you that everthing is just dirt you know that women never really faint and that villians always blink their eyes that children are the only ones who blush and that life is just to die But anyone who ever had a heart they wouldn't turn around and break it and anyone who ever played a part They wouldn't turn around and hate it Sweet Jane, Sweet Sweet Jane |
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4:01 |
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from The Velvet Underground - Universal Masters Collection (2010)
Standin' on a corner
Suitcase in my hand Jack's in his corset, Jane is in her vest and me I'm in a rock 'n' roll band. Huh. Riding a Stutz Bear Cat, Jim ya know, those were different times all the poets studied rules of verse and those ladies they rolled their eyes Sweet Jane Sweet Jane Sweet Jane Now Jack, he is a banker and Jane, she's a clerk and both of them save their monies when they get home from work sittin downby the fire Ooo, the radio does play the classical music there, Jim The March of the Wooden Soldiers All you protest kids you can hear Jack say Sweet Jane Sweet Jane Sweet Jane Some people they like to go out dancin and other people they have to work. Just watch me now and there's even some evil mothers Well there gonna tell you that everthing is just dirt you know that women never really faint and that villians always blink their eyes that children are the only ones who blush and that life is just to die But anyone who ever had a heart they wouldn't turn around and break it and anyone who ever played a part They wouldn't turn around and hate it Sweet Jane, Sweet Sweet Jane |
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Trackback from :: 미중년박씨... (^ㅠ^) :: 2008-12-25 15:12:38
Subject : OST Basquiat
