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5:14 | 
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from MBC 대학가요제 - 제1회 '77 MBC 대학가요제 2집 [omnibus, live] (1978)
나는 가난한 소년
내 신세 타령은 별로 안하지마는 한참 투덜거리면 내 마음 후련해 세상 사람들 모두 거짓말과 익살만을 듣고 싶어해 내가 고향집을 떠나서 낯선 사람들과 무서워 떨 때까지도 나는 아직 어린 소년이었었다네 가난하고 초라한 사람들 세계 속에 생활하면서 내 자신은 방황하였었다네 부모 형제 떠난 나의 처량한 이 신세를 반겨 줄 이 없는 이 세상에 나의 친구 또한 없다네 난 울었네 샌드백 두드리며 외로움 달랠거라고 외로움에 잠 못 이루면서 나의 고향집 생각에 추운 이 겨울도 포근한 고향집에 가고파 음 가고파 나는 지금 권투선수되어 링 위에 서서 날리는 주먹마다에 울분과 집념을 불 태우며 분노와 수치 속에 온 몸을 떨면서 링을 떠날 그 복서를 찾아 오늘도 뛰네 |
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| from Paul Simon - The Paul Simon Songbook (1965) | |||||
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2:28 |
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| from Paul Simon - Paul Simon & Friends [project] (1994) | |||||
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4:28 |
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from Paul Simon - You'Re The One (2000)
May twelve angels guard you
While you sleep Maybe that’s a waste of angels I don’t know I’d do anything to keep you safe From the danger that surrounds us Little by little Bit by bit Little bit by little bit Now you got it that’s it What’re you thinking Things’ll go sour? Check its temperature every hour Nervous when you own it Nervous when it’s gone What do you think has been going on For so long? You are the air Inside my chest You’re the one You broke my heart You made me cry You’re the one You broke my heart You made me cry You’re the one You broke my heart You made me cry You’re the one But when I hear it from the other side It’s a completely different song I’m the one who made you cry And I’m the one who’s wrong In my dream you spoke to me And you said You’re the one You broke my heart You made me cry You’re the one You broke my heart You made me cry You’re the one You broke my heart You made me cry You’re the one Nature gives us shapeless shapes Clouds and waves and flame But human expectation Is that love remains the same And when it doesn’t We point our fingers And blame blame blame You’re the one You broke my heart You made me cry And I’m the one I broke your heart I made you cry And you’re the one You broke my heart You made me cry We’re the ones |
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4:28 |
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from Paul Simon - You'Re The One (2000)
May twelve angels guard you
While you sleep Maybe that?s a waste of Angels I don?t know I?d do anything to keep you safe From the Danger that surrounds us Little by little Bit by bit Little bit by little bit Now you got it that?s it What?re you thinking Things?ll go sour? Check its temperature every hour Nervous when you own it Nervous when it?s gone What do you think has been going on For so long? You are the air Inside my chest You?re the one You broke my heart You made me cry You?re the one You broke my heart You made me cry You?re the one You broke my heart You made me cry You?re the one But when I hear it from the other side It?s a completely different song I?m the one who made you cry And I?m the one who?s wrong In my dream you spoke to me Any you said You?re the one You broke my heart You made me cry You?re the one You broke my heart You made me cry You?re the one You broke my heart You made me cry You?re the one Nature gives us shapeless shapes Clouds and waves and flame But human expectation Is that love remains the same And when it doesn?t We point our fingers And blame blame blame You?re the one You broke my heart You made me cry And I?m the one I broke your heart I made you cry And you?re the one You broke my heart You made me cry We?re the ones |
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from Paul Simon - Still Crazy After All These Years (2006)
You're kind
You're so kind You rescued me when I was blind And you put me on your pillow When I was on the wall You're so kind So kind So kind And you're good You're so good You introduced me to your neighborhood Seems like I ain't never had so many friends before That's because you're good You're so good Why you don't treat me like the other humans do Is just a mystery to me It gets me agitated when I think that You're gonna love me now indefinitely So goodbye, goodbye I'm gonna leave you now And here's the reason why I like to sleep with the window open And you keep the window closed So goodbye Goodbye Goodbye |
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3:20 |
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from Paul Simon - Still Crazy After All These Years (2006)
You're kind
You're so kind You rescued me when I was blind And you put me on your pillow When I was on the wall You're so kind So kind So kind And you're good You're so good You introduced me to your neighborhood Seems like I ain't never had so many friends before That's because you're good You're so good Why you don't treat me like the other humans do Is just a mystery to me It gets me agitated when I think that You're gonna love me now indefinitely So goodbye, goodbye I'm gonna leave you now And here's the reason why I like to sleep with the window open And you keep the window closed So goodbye Goodbye Goodbye |
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3:20 |
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from Paul Simon - Still Crazy After All These Years (2006)
You're kind
You're so kind You rescued me when I was blind And you put me on your pillow When I was on the wall You're so kind So kind So kind And you're good You're so good You introduced me to your neighborhood Seems like I ain't never had so many friends before That's because you're good You're so good Why you don't treat me like the other humans do Is just a mystery to me It gets me agitated when I think that You're gonna love me now indefinitely So goodbye, goodbye I'm gonna leave you now And here's the reason why I like to sleep with the window open And you keep the window closed So goodbye Goodbye Goodbye |
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| from Paul Simon - The Complete Albums Collection (2013) | |||||
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| from Paul Simon - The Complete Albums Collection (2013) | |||||
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2:17 |
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from Simon & Garfunkel - Bookends (1968)
You don't know that you love me You don't know but I know that you do You may think that you're above me, yeah What you think isn't always true Don't try to debate me, You should know that I'm womanly wise Still you try to manipulate me You don't know where your interest lies No, you don't know where your interest lies You don't begin to comprehend You're just a game I like to play You may think that we're friends all right But I won't let friendship get in my way, No, I won't let friendship get in my way, Indications indicate running the same riff will turn you around Obviously you're going to blow it, But you don't know it You don't know that you love me You don't know but I know that you do You may think that you're above me, yeah What you think isn't always true Don't try to debate me, You should know that I'm womanly wise Still you try to manipulate me You don't know where your interest lies No, you don't know where your interest |
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2:44 |
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from Simon & Garfunkel - Wednesday Morning 3 A.M. (1964)
Well you can tell the world about this
You can tell the nation about that Tell'em what the master has done Tell'em that the gospel has come Tell'em that the victory's been won He brought joy,joy,joy,joy,joy,joy, Into my heart Well my Lord spoke, he spoke so well Yes he did, yes he did Talked about the flames that burn in hell Yes he did, yes he did Now my Lord spoke, he spoke so well Yes he did, yes he did Talked about the children of Israel Yes he did, yes he did He brought joy,joy,joy into my heart Well my Lord spoke, he spoke to me Yes he did, yes he did Talkin' about a man from Galilee Yes he did, yes he did My Lord spoke, he spoke to me Yes he did, yes he did Talkin' about a man from Galilee Yes he did, yes he did He brought joy joy, joy into my heart Well I don't know but I've been told Yes he did, yes he did Streets of heaven are paved with gold Yes he did, yes he did Now the Jordan River is chilly and wide Yes he did, yes he did I got a home on the other side Yes he did, yes he did He brought joy,joy,joy into my heart - |
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from Simon & Garfunkel - Wednesday Morning, 3 A.M. (Exciting New Sounds In The Folk Tradition) (1989)
Well you can tell the world about this
You can tell the nation about that Tell'em what the master has done Tell'em that the gospel has come Tell'em that the victory's been won He brought joy,joy,joy,joy,joy,joy, Into my heart Well my Lord spoke, he spoke so well Yes he did, yes he did Talked about the flames that burn in hell Yes he did, yes he did Now my Lord spoke, he spoke so well Yes he did, yes he did Talked about the children of Israel Yes he did, yes he did He brought joy,joy,joy into my heart Well my Lord spoke, he spoke to me Yes he did, yes he did Talkin' about a man from Galilee Yes he did, yes he did My Lord spoke, he spoke to me Yes he did, yes he did Talkin' about a man from Galilee Yes he did, yes he did He brought joy joy, joy into my heart Well I don't know but I've been told Yes he did, yes he did Streets of heaven are paved with gold Yes he did, yes he did Now the Jordan River is chilly and wide Yes he did, yes he did I got a home on the other side Yes he did, yes he did He brought joy,joy,joy into my heart - |
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2:44 |
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from Simon & Garfunkel - Collected Works (1992)
Well, you can tell the world about this You can tell the nation about that Tell them what the master has done Tell them that the gospel has come Tell them that the victory's been won He brought joy, joy, joy, joy, joy, joy into my heart Well, my Lord spoke, he spoke so well Yes, he did, yes, he did Talked about the flames burning in hell Yes, he did, yes, he did Now my Lord spoke, he spoke so well Yes, he did, yes, he did Talked about the child of Israel Yes, he did, yes, he did He brought joy, joy, joy into my heart Well, you can tell the world about this You can tell the nation about that Tell them what the master has done Tell them that the gospel has come Tell them that the victory's been won He brought joy, joy, joy, joy, joy, joy into my heart Well, my Lord spoke, he spoke to me Yes, he did, yes, he did Talked about the man from Galilee Yes, he did, yes, he did My Lord spoke, he spoke to me Yes, he did, yes, he did Talked about the man from Galilee Yes, he did, yes, he did He brought joy, joy, joy into my heart Well, you can tell the world about this You can tell the nation about that Tell them what the master has done Tell them that the gospel has come Tell them that the victory's been won He brought joy, joy, joy, joy, joy, joy into my heart Well, I don't know but I've been told Yes, he did, yes, he did Streets of heaven are painted with gold Yes, he did, yes, he did Now the Jordan river is chilly and wide Yes, he did, yes, he did I got home on the other side Yes, he did, yes, he did He brought joy, joy, joy into my heart Well, you can tell the world about this You can tell the nation about that Tell them what the master has done Tell them that the gospel has come Tell them that the victory's been won He brought joy, joy, joy, joy, joy, joy into my heart |
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| from Paul Simon - The Complete Albums Collection (2013) | |||||
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| from Paul Simon - The Complete Albums Collection (2013) | |||||
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4:43 |
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from Grammy Winning Collection Vol. 2 (0000)
A man walks down the street,
He says, Why am I soft in the middle now? Why am I soft in the middle? The rest of my life is so hard! I need a photo-opportunity, I want a shot at redemption! Don't want to end up a cartoon, In a cartoon graveyard ..... Bonedigger, Bonedigger, Dogs in the moonlight. Far away, my well-lit door. Mr. Beerbelly, Beerbelly, Get these mutts away from me! You know, I don't find this stuff amusing anymore .... If you'll be my bodyguard, I can be your long lost pal! I can call you Betty, And Betty, when you call me, You can call me Al! A man walks down the street, He says, Why am I short of attention? Got a short little span of attention, And whoa, my nights are so long! Where's my wife and family? What if I die here? Who'll be my role-model? Now that my role-model is .... Gone ...... gone, He ducked back down the alley, With some roly-poly, little bat-faced girl. All along .... along .... There were incidents and accidents, There were hints and allegations ..... If you'll be my bodyguard, I can be your long lost pal! I can call you Betty, And Betty, when you call me, You can call me Al! Call me Al ...... A man walks down the street, It's a street in a strange world. Maybe it's the Third World. Maybe it's his first time around. He doesn't speak the language, He holds no currency. He is a foreign man, He is surrounded by the sound, sound .... Cattle in the marketplace. Scatterlings and orphanages. He looks around, around ..... He sees angels in the architecture, Spinning in infinity, He says, Amen! and Hallelujah! If you'll be my bodyguard, I can be your long lost pal! I can call you Betty, And Betty, when you call me, You can call me Al! You can call me Al ...... More Lyrics |
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4:40 |
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from Paul Simon - Graceland (1986)
A man walks down the street,
He says, Why am I soft in the middle now? Why am I soft in the middle? The rest of my life is so hard! I need a photo-opportunity, I want a shot at redemption! Don't want to end up a cartoon, In a cartoon graveyard ..... Bonedigger, Bonedigger, Dogs in the moonlight. Far away, my well-lit door. Mr. Beerbelly, Beerbelly, Get these mutts away from me! You know, I don't find this stuff amusing anymore .... If you'll be my bodyguard, I can be your long lost pal! I can call you Betty, And Betty, when you call me, You can call me Al! A man walks down the street, He says, Why am I short of attention? Got a short little span of attention, And whoa, my nights are so long! Where's my wife and family? What if I die here? Who'll be my role-model? Now that my role-model is .... Gone ...... gone, He ducked back down the alley, With some roly-poly, little bat-faced girl. All along .... along .... There were incidents and accidents, There were hints and allegations ..... If you'll be my bodyguard, I can be your long lost pal! I can call you Betty, And Betty, when you call me, You can call me Al! Call me Al ...... A man walks down the street, It's a street in a strange world. Maybe it's the Third World. Maybe it's his first time around. He doesn't speak the language, He holds no currency. He is a foreign man, He is surrounded by the sound, sound .... Cattle in the marketplace. Scatterlings and orphanages. He looks around, around ..... He sees angels in the architecture, Spinning in infinity, He says, Amen! and Hallelujah! If you'll be my bodyguard, I can be your long lost pal! I can call you Betty, And Betty, when you call me, You can call me Al! You can call me Al ...... More Lyrics |
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4:41 |
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from Paul Simon - Graceland (1986)
A man walks down the street,
He says, Why am I soft in the middle now? Why am I soft in the middle? The rest of my life is so hard! I need a photo-opportunity, I want a shot at redemption! Don't want to end up a cartoon, In a cartoon graveyard ..... Bonedigger, Bonedigger, Dogs in the moonlight. Far away, my well-lit door. Mr. Beerbelly, Beerbelly, Get these mutts away from me! You know, I don't find this stuff amusing anymore .... If you'll be my bodyguard, I can be your long lost pal! I can call you Betty, And Betty, when you call me, You can call me Al! A man walks down the street, He says, Why am I short of attention? Got a short little span of attention, And whoa, my nights are so long! Where's my wife and family? What if I die here? Who'll be my role-model? Now that my role-model is .... Gone ...... gone, He ducked back down the alley, With some roly-poly, little bat-faced girl. All along .... along .... There were incidents and accidents, There were hints and allegations ..... If you'll be my bodyguard, I can be your long lost pal! I can call you Betty, And Betty, when you call me, You can call me Al! Call me Al ...... A man walks down the street, It's a street in a strange world. Maybe it's the Third World. Maybe it's his first time around. He doesn't speak the language, He holds no currency. He is a foreign man, He is surrounded by the sound, sound .... Cattle in the marketplace. Scatterlings and orphanages. He looks around, around ..... He sees angels in the architecture, Spinning in infinity, He says, Amen! and Hallelujah! If you'll be my bodyguard, I can be your long lost pal! I can call you Betty, And Betty, when you call me, You can call me Al! You can call me Al ...... More Lyrics |
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4:40 |
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from Paul Simon - Negotiations And Love Songs 1971-1986 (1988)
A man walks down the street,
He says, Why am I soft in the middle now? Why am I soft in the middle? The rest of my life is so hard! I need a photo-opportunity, I want a shot at redemption! Don't want to end up a cartoon, In a cartoon graveyard ..... Bonedigger, Bonedigger, Dogs in the moonlight. Far away, my well-lit door. Mr. Beerbelly, Beerbelly, Get these mutts away from me! You know, I don't find this stuff amusing anymore .... If you'll be my bodyguard, I can be your long lost pal! I can call you Betty, And Betty, when you call me, You can call me Al! A man walks down the street, He says, Why am I short of attention? Got a short little span of attention, And whoa, my nights are so long! Where's my wife and family? What if I die here? Who'll be my role-model? Now that my role-model is .... Gone ...... gone, He ducked back down the alley, With some roly-poly, little bat-faced girl. All along .... along .... There were incidents and accidents, There were hints and allegations ..... If you'll be my bodyguard, I can be your long lost pal! I can call you Betty, And Betty, when you call me, You can call me Al! Call me Al ...... A man walks down the street, It's a street in a strange world. Maybe it's the Third World. Maybe it's his first time around. He doesn't speak the language, He holds no currency. He is a foreign man, He is surrounded by the sound, sound .... Cattle in the marketplace. Scatterlings and orphanages. He looks around, around ..... He sees angels in the architecture, Spinning in infinity, He says, Amen! and Hallelujah! If you'll be my bodyguard, I can be your long lost pal! I can call you Betty, And Betty, when you call me, You can call me Al! You can call me Al ...... More Lyrics |
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from Paul Simon - Anthology (2001)
A man walks down the street,
He says, Why am I soft in the middle now? Why am I soft in the middle? The rest of my life is so hard! I need a photo-opportunity, I want a shot at redemption! Don't want to end up a cartoon, In a cartoon graveyard ..... Bonedigger, Bonedigger, Dogs in the moonlight. Far away, my well-lit door. Mr. Beerbelly, Beerbelly, Get these mutts away from me! You know, I don't find this stuff amusing anymore .... If you'll be my bodyguard, I can be your long lost pal! I can call you Betty, And Betty, when you call me, You can call me Al! A man walks down the street, He says, Why am I short of attention? Got a short little span of attention, And whoa, my nights are so long! Where's my wife and family? What if I die here? Who'll be my role-model? Now that my role-model is .... Gone ...... gone, He ducked back down the alley, With some roly-poly, little bat-faced girl. All along .... along .... There were incidents and accidents, There were hints and allegations ..... If you'll be my bodyguard, I can be your long lost pal! I can call you Betty, And Betty, when you call me, You can call me Al! Call me Al ...... A man walks down the street, It's a street in a strange world. Maybe it's the Third World. Maybe it's his first time around. He doesn't speak the language, He holds no currency. He is a foreign man, He is surrounded by the sound, sound .... Cattle in the marketplace. Scatterlings and orphanages. He looks around, around ..... He sees angels in the architecture, Spinning in infinity, He says, Amen! and Hallelujah! If you'll be my bodyguard, I can be your long lost pal! I can call you Betty, And Betty, when you call me, You can call me Al! You can call me Al ...... More Lyrics |
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from Paul Simon - Concert In The Park (2002)
A man walks down the street,
He says, Why am I soft in the middle now? Why am I soft in the middle? The rest of my life is so hard! I need a photo-opportunity, I want a shot at redemption! Don't want to end up a cartoon, In a cartoon graveyard ..... Bonedigger, Bonedigger, Dogs in the moonlight. Far away, my well-lit door. Mr. Beerbelly, Beerbelly, Get these mutts away from me! You know, I don't find this stuff amusing anymore .... If you'll be my bodyguard, I can be your long lost pal! I can call you Betty, And Betty, when you call me, You can call me Al! A man walks down the street, He says, Why am I short of attention? Got a short little span of attention, And whoa, my nights are so long! Where's my wife and family? What if I die here? Who'll be my role-model? Now that my role-model is .... Gone ...... gone, He ducked back down the alley, With some roly-poly, little bat-faced girl. All along .... along .... There were incidents and accidents, There were hints and allegations ..... If you'll be my bodyguard, I can be your long lost pal! I can call you Betty, And Betty, when you call me, You can call me Al! Call me Al ...... A man walks down the street, It's a street in a strange world. Maybe it's the Third World. Maybe it's his first time around. He doesn't speak the language, He holds no currency. He is a foreign man, He is surrounded by the sound, sound .... Cattle in the marketplace. Scatterlings and orphanages. He looks around, around ..... He sees angels in the architecture, Spinning in infinity, He says, Amen! and Hallelujah! If you'll be my bodyguard, I can be your long lost pal! I can call you Betty, And Betty, when you call me, You can call me Al! You can call me Al ...... More Lyrics |
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4:40 |
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from Paul Simon - That's Me (2006)
A man walks down the street,
He says, Why am I soft in the middle now? Why am I soft in the middle? The rest of my life is so hard! I need a photo-opportunity, I want a shot at redemption! Don't want to end up a cartoon, In a cartoon graveyard ..... Bonedigger, Bonedigger, Dogs in the moonlight. Far away, my well-lit door. Mr. Beerbelly, Beerbelly, Get these mutts away from me! You know, I don't find this stuff amusing anymore .... If you'll be my bodyguard, I can be your long lost pal! I can call you Betty, And Betty, when you call me, You can call me Al! A man walks down the street, He says, Why am I short of attention? Got a short little span of attention, And whoa, my nights are so long! Where's my wife and family? What if I die here? Who'll be my role-model? Now that my role-model is .... Gone ...... gone, He ducked back down the alley, With some roly-poly, little bat-faced girl. All along .... along .... There were incidents and accidents, There were hints and allegations ..... If you'll be my bodyguard, I can be your long lost pal! I can call you Betty, And Betty, when you call me, You can call me Al! Call me Al ...... A man walks down the street, It's a street in a strange world. Maybe it's the Third World. Maybe it's his first time around. He doesn't speak the language, He holds no currency. He is a foreign man, He is surrounded by the sound, sound .... Cattle in the marketplace. Scatterlings and orphanages. He looks around, around ..... He sees angels in the architecture, Spinning in infinity, He says, Amen! and Hallelujah! If you'll be my bodyguard, I can be your long lost pal! I can call you Betty, And Betty, when you call me, You can call me Al! You can call me Al ...... More Lyrics |
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4:40 |
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from Paul Simon - 1964-1993 (2008)
A man walks down the street,
He says, Why am I soft in the middle now? Why am I soft in the middle? The rest of my life is so hard! I need a photo-opportunity, I want a shot at redemption! Don't want to end up a cartoon, In a cartoon graveyard ..... Bonedigger, Bonedigger, Dogs in the moonlight. Far away, my well-lit door. Mr. Beerbelly, Beerbelly, Get these mutts away from me! You know, I don't find this stuff amusing anymore .... If you'll be my bodyguard, I can be your long lost pal! I can call you Betty, And Betty, when you call me, You can call me Al! A man walks down the street, He says, Why am I short of attention? Got a short little span of attention, And whoa, my nights are so long! Where's my wife and family? What if I die here? Who'll be my role-model? Now that my role-model is .... Gone ...... gone, He ducked back down the alley, With some roly-poly, little bat-faced girl. All along .... along .... There were incidents and accidents, There were hints and allegations ..... If you'll be my bodyguard, I can be your long lost pal! I can call you Betty, And Betty, when you call me, You can call me Al! Call me Al ...... A man walks down the street, It's a street in a strange world. Maybe it's the Third World. Maybe it's his first time around. He doesn't speak the language, He holds no currency. He is a foreign man, He is surrounded by the sound, sound .... Cattle in the marketplace. Scatterlings and orphanages. He looks around, around ..... He sees angels in the architecture, Spinning in infinity, He says, Amen! and Hallelujah! If you'll be my bodyguard, I can be your long lost pal! I can call you Betty, And Betty, when you call me, You can call me Al! You can call me Al ...... More Lyrics |
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| from Paul Simon - The Complete Albums Collection (2013) | |||||
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| from Paul Simon - Over The Bridge Of Time : A Paul Simon Retrospective (1964-2011) (2013) | |||||
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| from This Is Us (Music From The Series) (디스 이즈 어스) [ost] (2017) | |||||
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2:46 |
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from Simon & Garfunkel - Bridge Over Troulbed Water (1970)
Why don't you write me
I'm out in the jungle I'm hungry to hear you Send me a card I am waiting so hard To be near you Why don't you write? Something is wrong And I know I got to be there Maybe I'm lost But I can't make the cost Of the airfare Tell me why, why, why Tell me why, why, why Why don't you write me A letter would brighten My loneliest evening Mail it today If it's only to say That you're leaving me Monday morning, sitting in the sun Hoping and wishing for the mail to come Tuesday, never got a word Wednesday, Thursday, ain't no sign Drank half a bottle of iodine Friday, woe is me Gonna hang my body from the highest tree Why don't you write me? |
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2:46 |
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from Simon & Garfunkel - Collected Works (1992)
Why don't you write me
I'm out in the jungle I'm hungry to hear you Send me a card I am waiting so hard To be near you Why don't you write? Something is wrong And I know I got to be there Maybe I'm lost But I can't make the cost Of the airfare Tell me why, why, why Tell me why, why, why Why don't you write me A letter would brighten My loneliest evening Mail it today If it's only to say That you're leaving me Monday morning, sitting in the sun Hoping and wishing for the mail to come Tuesday, never got a word Wednesday, Thursday, ain't no sign Drank half a bottle of iodine Friday, woe is me Gonna hang my body from the highest tree Why don't you write me? |
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2:46 |
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from Simon & Garfunkel - Bridge Over Troubled Water [40th Anniversary Edition] (2011)
Why don't you write me
I'm out in the jungle I'm hungry to hear you Send me a card I am waiting so hard To be near you Why don't you write? Something is wrong And I know I got to be there Maybe I'm lost But I can't make the cost Of the airfare Tell me why, why, why Tell me why, why, why Why don't you write me A letter would brighten My loneliest evening Mail it today If it's only to say That you're leaving me Monday morning, sitting in the sun Hoping and wishing for the mail to come Tuesday, never got a word Wednesday, Thursday, ain't no sign Drank half a bottle of iodine Friday, woe is me Gonna hang my body from the highest tree Why don't you write me? |
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2:20 |
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| from Paul Simon - Paul Simon & Friends [project] (1994) | |||||
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3:26 |
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from Paul Simon - Hearts And Bones (2006)
I have a number in my head
Though I don't know why it's there When numbers get serious You see their shape everywhere Dividing and multiplying Exchanging with ease When times are mysterious Serious numbers are easy to please Take my address Take my phone Call me if you can Here's my address Here's my phone Please don't give it to some madman Hey hey, whoa whoa Complicated life Numbers swirling thick and curious You can cut them with a knife You can cut them with a knife Two times two is twenty-two Four times four is forty-four When numbers get serious They leave a mark on your door Urgent. Urgent. A telephone is ringing in the hallways When times are mysterious Serious numbers will speak to us always That is why a man with numbers Can put your mind at ease We've got numbers by the trillions Here and overseas Hey hey, whoa whoa Look at the stink about Japan All those numbers waiting patiently Don't you understand? Don't you understand? So wrap me Wrap me Wrap me do In the shelter of your arms I am ever your volunteer I won't do you any harm I will love innumerably You can count on my word When times are mysterious Serious numbers Will always be heard When times are mysterious Serious numbers will always be heard And after all is said and done And the numbers all come home The four rolls into three The three turns into two And the two becomes a One |
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| from Paul Simon - The Complete Albums Collection (2013) | |||||
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2:13 |
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from Simon & Garfunkel - Wednesday Morning 3 A.M. (1964)
I can hear the soft breathing of the girl that I love
as she lies here beside me asleep with the night and her hair in a fine mist floats on my pillow reflecting the glow of the winter moonlight she is soft, she is warm, but my heart remains heavy and I watch as her breasts, gently rise, gently fall for I know with the first line of dawn I'll be leaving and tonight will be all I have left to recall oh what have I done, why have I done it? I've committed a crime, I've broken the law for 25 dollars and pieces of silver I held up and robbed a hard liquor store my life seems unreal, my crime an illusion a scene badly written in which I must play yet I know as I gaze at my young love beside me the morning is just a few hours away |
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2:15 |
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from Simon & Garfunkel - Collected Works (1992)
I can hear the soft breathing of the girl that I love
as she lies here beside me asleep with the night and her hair in a fine mist floats on my pillow reflecting the glow of the winter moonlight she is soft, she is warm, but my heart remains heavy and I watch as her breasts, gently rise, gently fall for I know with the first line of dawn I'll be leaving and tonight will be all I have left to recall oh what have I done, why have I done it? I've committed a crime, I've broken the law for 25 dollars and pieces of silver I held up and robbed a hard liquor store my life seems unreal, my crime an illusion a scene badly written in which I must play yet I know as I gaze at my young love beside me the morning is just a few hours away |
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2:12 |
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from Simon & Garfunkel - Wednesday Morning, 3 A.M. (Exciting New Sounds In The Folk Tradition) (1989)
I can hear the soft breathing of the girl that I love
as she lies here beside me asleep with the night and her hair in a fine mist floats on my pillow reflecting the glow of the winter moonlight she is soft, she is warm, but my heart remains heavy and I watch as her breasts, gently rise, gently fall for I know with the first line of dawn I'll be leaving and tonight will be all I have left to recall oh what have I done, why have I done it? I've committed a crime, I've broken the law for 25 dollars and pieces of silver I held up and robbed a hard liquor store my life seems unreal, my crime an illusion a scene badly written in which I must play yet I know as I gaze at my young love beside me the morning is just a few hours away |
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1:57 |
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| from Simon & Garfunkel - Collected Works (1992) | |||||
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1:57 |
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| from Simon & Garfunkel - Sounds Of Silence (1966) | |||||
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1:57 |
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from Simon & Garfunkel - Sounds Of Silence (1966)
Bad news, bad news!
I heard you're packing to leave! I come arunning right over; I just couldn't believe it, I just couldn't believe it. Oh, baby, baby You must be out of your mind. Do you know what you're kicking away? We've got a groovy thing goin', baby, We've got a groovy thing. I never done you no wrong, I never hit you when you're down, I always gave you good loving, I never ran around, I never ran around. Oh, baby, baby You must be out of your mind. Do you know what you're kicking away? We've got a groovy thing goin', baby, We've got a groovy thing. There's something you ought to know If you're fixing to go, I can't make it without you; No no no no, no, no, no, no, No no no no, no, no, no. Oh, baby, baby You must be out of your mind. Do you know what you're kicking away? We've got a groovy thing goin', baby, We've got a groovy thing. We've got a groovy thing goin', baby, We've got a groovy thing. |
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3:44 |
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from Paul Simon - There Goes Rhymin' Simon (2006)
Was a sunny day
Not a cloud was in the sky Not a negative word was heard >From the people passing by Was a sunny day All the birdies in the trees And the radio's singing song All the favorite melodies He was a navy man Stationed in Newport News She was a high school queen With nothing left to lose CHORUS Her name was Lorelei She was his only girl She called him speedoo But his Chistian name Was Mr. Earl CHORUS |
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3:44 |
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from Paul Simon - There Goes Rhymin' Simon (2006)
Was a sunny day
Not a cloud was in the sky Not a negative word was heard >From the people passing by Was a sunny day All the birdies in the trees And the radio's singing song All the favorite melodies He was a navy man Stationed in Newport News She was a high school queen With nothing left to lose CHORUS Her name was Lorelei She was his only girl She called him speedoo But his Chistian name Was Mr. Earl CHORUS |
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| from Paul Simon - The Complete Albums Collection (2013) | |||||
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4:50 |
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from Paul Simon - Surprise (2006)
Prayers offered in times of peace are silent conversations,
Appeals for love or loves release, in private invocations. But all that is changed now, Gone like a memory from the day before the fires. People hungry for the voice of God Hear lunatics and liars Wartime prayers, wartime prayers In every language spoken, For every family scattered and broken. Because you cannot walk with the holy, If you're just a halfway decent man. But I don't pretend that I'm a mastermind With a genious marketing plan. I'm trying to tap into some wisdom, Even a little drop would do. I want to rid my heart of envy And cleanse my soul of rage Before I feel. Times are hard, hard times, But everybody knows all about hard times. The thing is, what are you gonna do? Will you cry? And try to muscle through? And try to rearrange your stuff? But when the wounds are deep enough, And it's all that we can bear, We wrap ourselves in prayer. Because you cannot walk with the holy, If you're just a halfway decent man. But I don't pretend that I'm a mastermind With a genious marketing plan. I'm trying to tap into some wisdom, Even a little drop would do. I want to rid my heart of envy And cleanse my soul of rage Before I'm through. A mother murmurs in twilight sleep And draws her babies closer. With hush-a-bies for sleepy eyes, And kisses on the shoulder. To drive away despair She sends a wartime prayer. |
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| from Paul Simon - The Complete Albums Collection (2013) | |||||
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from Simon & Garfunkel - The Concert In Central Park (1982)
Wake up, little Susie, wake up
Wake up, little Susie, wake up We've both been sound asleep, wake up, little Susie, and weep The movie's over, it's four o'clock, and we're in trouble deep Wake up little Susie Wake up little Susie, well Whatta we gonna tell your mama Whatta we gonna tell your pa Whatta we gonna tell our friends when they say 창??ooh-la-la창?? Wake up little Susie Wake up little Susie, well I told your mama that you'd be in by ten Well Susie baby looks like we goofed again Wake up little Susie Wake up little Susie, we gotta go home Wake up, little Susie, wake up Wake up, little Susie, wake up The movie wasn't so hot, it didn't have much of a plot We fell asleep, our goose is cooked, our reputation is shot Wake up little Susie Wake up little Susie, well Whatta we gonna tell your mama Whatta we gonna tell your pa Whatta we gonna tell our friends when they say 창??ooh-la-la창?? Wake up little Susie Wake up little Susie Wake up little Susie |
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2:19 |
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from Simon & Garfunkel - The Concert In Central Park (1982)
Wake up, little Susie, wake up
Wake up, little Susie, wake up We both fell sound asleep Wake up, little Susie, and weep The movie's over, it's four o'clock and we're in trouble deep Wake up, little Susie Wake up, little Susie Well, what are we gonna tell your Mama? What are we gonna tell your Pop? What are we gonna tell our friends when they say "Ooh la la"? Wake up, little Susie Wake up, little Susie Well, I told your Mama that you'd be in by ten Well, Susie baby, looks like we goofed again Wake up, little Susie Wake up, little Susie We gotta go home Wake up, little Susie, wake up Wake up, little Susie, wake up The movie wasn't so hot It didn't have much of a plot We fell asleep, our goose is cooked our reputation is shot Wake up, little Susie Wake up, little Susie Well, what are we gonna tell your Mama? What are we gonna tell your Pop? What are we gonna tell our friends when they say "Ooh la la"? Wake up, little Susie Wake up, little Susie Wake up, little Susie |
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from Simon & Garfunkel - Panpipes Play (2000)
Wake up, little Susie, wake up
Wake up, little Susie, wake up We've both been sound asleep, wake up, little Susie, and weep The movie's over, it's four o'clock, and we're in trouble deep Wake up little Susie Wake up little Susie, well Whatta we gonna tell your mama Whatta we gonna tell your pa Whatta we gonna tell our friends when they say 창??ooh-la-la창?? Wake up little Susie Wake up little Susie, well I told your mama that you'd be in by ten Well Susie baby looks like we goofed again Wake up little Susie Wake up little Susie, we gotta go home Wake up, little Susie, wake up Wake up, little Susie, wake up The movie wasn't so hot, it didn't have much of a plot We fell asleep, our goose is cooked, our reputation is shot Wake up little Susie Wake up little Susie, well Whatta we gonna tell your mama Whatta we gonna tell your pa Whatta we gonna tell our friends when they say 창??ooh-la-la창?? Wake up little Susie Wake up little Susie Wake up little Susie |
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2:12 |
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from Simon & Garfunkel - Bookends (1968)
Man 1: I got little in this world. I give honesty without regret. One hundred dollars for that picture. I remember taking a picture with... Woman 1: Ooh! Let me show you. Let me show you our picture. This was me and my husband when we were first married. Woman 2: I always slept on one side, left room for my husband. Woman 1: And that's me when we were sixteen. Woman 2: But this, this, this, this is not the case. I still do it. I still lay on the half of the bed. (pause) We used to sneak in... Man 2: Still haven't seen the doctor I was seein'; there's been blood for the last, eh, forty-eight hours, and I can't get up the mucus for the last, eh, two, three months... oh yes, and I maintain, I maintain strongly, to this minute, I don't think it's an ordinary cold. Woman 3: God forgive me, but an old person without money is pathetic. Woman 4: Children, and mothers, that's the way we have it. A mother-- they are [mumbling I can't make out]. Woman 5: 'Cause mothers do too much. Woman 4: That is mother's life, to live for your child. (pause) Yes, my dear. Man 3: I couldn't get younger. I have to be an old man. That's all. Well... Woman 6: Are you happy here, honey? Are you happy living with us? Man 3: So anytime I walk with Lou and... that's all. Woman 6: Mr. Singer? Are you happy living with us here? Woman 7: But we don't do that, dear. Woman 6: But are you happy? Woman 7: If you mean, if, if you could say, yes, and I thought, and I was so happy, and everybody, "What is this? What is it?" Woman 8: It just is, beautiful. Like, just a room. Your own room, in your own home. |
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2:07 |
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from Simon & Garfunkel - Collected Works (1992)
Man 1: I got little in this world. I give honesty without regret. One hundred dollars for that picture. I remember taking a picture with... Woman 1: Ooh! Let me show you. Let me show you our picture. This was me and my husband when we were first married. Woman 2: I always slept on one side, left room for my husband. Woman 1: And that's me when we were sixteen. Woman 2: But this, this, this, this is not the case. I still do it. I still lay on the half of the bed. (pause) We used to sneak in... Man 2: Still haven't seen the doctor I was seein'; there's been blood for the last, eh, forty-eight hours, and I can't get up the mucus for the last, eh, two, three months... oh yes, and I maintain, I maintain strongly, to this minute, I don't think it's an ordinary cold. Woman 3: God forgive me, but an old person without money is pathetic. Woman 4: Children, and mothers, that's the way we have it. A mother-- they are [mumbling I can't make out]. Woman 5: 'Cause mothers do too much. Woman 4: That is mother's life, to live for your child. (pause) Yes, my dear. Man 3: I couldn't get younger. I have to be an old man. That's all. Well... Woman 6: Are you happy here, honey? Are you happy living with us? Man 3: So anytime I walk with Lou and... that's all. Woman 6: Mr. Singer? Are you happy living with us here? Woman 7: But we don't do that, dear. Woman 6: But are you happy? Woman 7: If you mean, if, if you could say, yes, and I thought, and I was so happy, and everybody, "What is this? What is it?" Woman 8: It just is, beautiful. Like, just a room. Your own room, in your own home. |
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2:50 |
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from Paul Simon - Songs From The Capeman (1997)
I've got a wife, four grown children I can't afford their education I been a prison guard for fourteen years That ain't exactly a vacation WARDEN Since he's been here he's followed every rule Well I told you my position The law says he's got the right to go to school, We abide by the court's decision VIRGIL I got a Winchester 243 I like that gun for deer Upstate November when the air is free Smells like hunting season's here He's the one to keep your eyes on He's smart yeah and he's quiet A troublemaker if I ever seen one Next thing you know it's Attica And we got a prison riot There ain't no way that punk gets his degree And hides behind the Constitution No way in hell that smart ass spic goes free Not while I'm in this institution Lead Vocal, Acoustic Guitar-Paul Simon Guitar-Harper Simon Bass-Tony Garnier Guitar-Arlen Roth Drums-Shannon Ford |
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2:50 |
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from Paul Simon - Songs From The Capeman (1997)
I've got a wife, four grown children I can't afford their education I been a prison guard for fourteen years That ain't exactly a vacation WARDEN Since he's been here he's followed every rule Well I told you my position The law says he's got the right to go to school, We abide by the court's decision VIRGIL I got a Winchester 243 I like that gun for deer Upstate November when the air is free Smells like hunting season's here He's the one to keep your eyes on He's smart yeah and he's quiet A troublemaker if I ever seen one Next thing you know it's Attica And we got a prison riot There ain't no way that punk gets his degree And hides behind the Constitution No way in hell that smart ass spic goes free Not while I'm in this institution Lead Vocal, Acoustic Guitar-Paul Simon Guitar-Harper Simon Bass-Tony Garnier Guitar-Arlen Roth Drums-Shannon Ford |
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- |
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| from Paul Simon - The Complete Albums Collection (2013) | |||||
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| from Latin Broadway [omnibus, ost] (2000) | |||||
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3:37 |
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from Paul Simon - Graceland (1986)
Joseph's face was black as night The pale yellow moon shone in his eyes His path was marked By the stars in the Southern Hemisphere And he walked his days Under African skies This is the story of how we begin to remember This is the powerful pulsing of love in the vein After the dream of falling and calling your name out These are the roots of rhythm And the roots of rhythm remain In early memory Mission music Was ringing 'round my nursery door I said take this child, Lord From Tucson Arizona Give her the wings to fly through harmony And she won't bother you no more This is the story of how we begin to remember This is the powerful pulsing of love in the vein After the dream of falling and calling your name out These are the roots of rhythm And the roots of rhythm remain Joseph's face was black as night And the pale yellow moon shone in his eyes His path was marked By the stars in the Southern Hemisphere And he walked the length of his days Under African skies |
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3:37 |
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from Paul Simon - Graceland (1986)
Joseph's face was black as night The pale yellow moon shone in his eyes His path was marked By the stars in the Southern Hemisphere And he walked his days Under African skies This is the story of how we begin to remember This is the powerful pulsing of love in the vein After the dream of falling and calling your name out These are the roots of rhythm And the roots of rhythm remain In early memory Mission music Was ringing 'round my nursery door I said take this child, Lord From Tucson Arizona Give her the wings to fly through harmony And she won't bother you no more This is the story of how we begin to remember This is the powerful pulsing of love in the vein After the dream of falling and calling your name out These are the roots of rhythm And the roots of rhythm remain Joseph's face was black as night And the pale yellow moon shone in his eyes His path was marked By the stars in the Southern Hemisphere And he walked the length of his days Under African skies |
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from Paul Simon - Anthology (2001)
Joseph's face was black as night The pale yellow moon shone in his eyes His path was marked By the stars in the Southern Hemisphere And he walked his days Under African skies This is the story of how we begin to remember This is the powerful pulsing of love in the vein After the dream of falling and calling your name out These are the roots of rhythm And the roots of rhythm remain In early memory Mission music Was ringing 'round my nursery door I said take this child, Lord From Tucson Arizona Give her the wings to fly through harmony And she won't bother you no more This is the story of how we begin to remember This is the powerful pulsing of love in the vein After the dream of falling and calling your name out These are the roots of rhythm And the roots of rhythm remain Joseph's face was black as night And the pale yellow moon shone in his eyes His path was marked By the stars in the Southern Hemisphere And he walked the length of his days Under African skies |
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3:37 |
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from Paul Simon - 1964-1993 (2008)
Joseph's face was black as night The pale yellow moon shone in his eyes His path was marked By the stars in the Southern Hemisphere And he walked his days Under African skies This is the story of how we begin to remember This is the powerful pulsing of love in the vein After the dream of falling and calling your name out These are the roots of rhythm And the roots of rhythm remain In early memory Mission music Was ringing 'round my nursery door I said take this child, Lord From Tucson Arizona Give her the wings to fly through harmony And she won't bother you no more This is the story of how we begin to remember This is the powerful pulsing of love in the vein After the dream of falling and calling your name out These are the roots of rhythm And the roots of rhythm remain Joseph's face was black as night And the pale yellow moon shone in his eyes His path was marked By the stars in the Southern Hemisphere And he walked the length of his days Under African skies |
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| from Paul Simon - The Complete Albums Collection (2013) | |||||
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| from Simon & Garfunkel - Two Can Dream Alone (2001) | |||||
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| from Simon & Garfunkel - Two Can Dream Alone (2001) | |||||
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3:11 |
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from Paul Simon - Hearts And Bones (2006)
She was beautiful as southern skies
The night he met her She was married to someone He was doggedly determined that he would get her He was old, he was young From time to time he'd tip his heart But each time she withdrew Everybody loves the sound of a train in the distance Everybody thinks it's true Well eventually the boy and the girl get married Sure enough they have a son And though they both were occupied With the child she carried Disagreements had begun And in a while they fell apart It wasn't hard to do Everybody loves the sound of a train in the distance Everybody thinks it's true Two disappointed believers Two people playing the game Negotiations and love songs Are often mistaken for one and the same Now the man and the woman Remain in contact Let us say it's for the child With disagreements about the meaning Of a marriage contract Conversations hard and wild But from time to time He makes her laugh She cooks a meal or two Everybody loves the sound of a train in the distance Everybody thinks it's true Everybody loves the sound of a train in the distance Everybody thinks it's true What is the point of this story What information pertains The thought that life could be better Is woven indelibly Into our hearts And our brains |
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- |
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| from Paul Simon - The Complete Albums Collection (2013) | |||||
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| from Paul Simon - The Complete Albums Collection (2013) | |||||
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4:22 |
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from Paul Simon - Negotiations And Love Songs 1971-1986 (1988)
She was beautiful as southern skies
The night he met her She was married to someone He was doggedly determined that he would get her He was old, he was young From time to time he'd tip his heart But each time she withdrew Everybody loves the sound of a train in the distance Everybody thinks it's true Well eventually the boy and the girl get married Sure enough they have a son And though they both were occupied With the child she carried Disagreements had begun And in a while they fell apart It wasn't hard to do Everybody loves the sound of a train in the distance Everybody thinks it's true Two disappointed believers Two people playing the game Negotiations and love songs Are often mistaken for one and the same Now the man and the woman Remain in contact Let us say it's for the child With disagreements about the meaning Of a marriage contract Conversations hard and wild But from time to time He makes her laugh She cooks a meal or two Everybody loves the sound of a train in the distance Everybody thinks it's true Everybody loves the sound of a train in the distance Everybody thinks it's true What is the point of this story What information pertains The thought that life could be better Is woven indelibly Into our hearts And our brains |
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from Paul Simon - Concert In The Park (2002)
She was beautiful as southern skies
The night he met her She was married to someone He was doggedly determined that he would get her He was old, he was young From time to time he'd tip his heart But each time she withdrew Everybody loves the sound of a train in the distance Everybody thinks it's true Well eventually the boy and the girl get married Sure enough they have a son And though they both were occupied With the child she carried Disagreements had begun And in a while they fell apart It wasn't hard to do Everybody loves the sound of a train in the distance Everybody thinks it's true Two disappointed believers Two people playing the game Negotiations and love songs Are often mistaken for one and the same Now the man and the woman Remain in contact Let us say it's for the child With disagreements about the meaning Of a marriage contract Conversations hard and wild But from time to time He makes her laugh She cooks a meal or two Everybody loves the sound of a train in the distance Everybody thinks it's true Everybody loves the sound of a train in the distance Everybody thinks it's true What is the point of this story What information pertains The thought that life could be better Is woven indelibly Into our hearts And our brains |
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5:13 |
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from Paul Simon - Hearts And Bones (2006)
She was beautiful as southern skies
The night he met her She was married to someone He was doggedly determined that he would get her He was old, he was young From time to time he'd tip his heart But each time she withdrew Everybody loves the sound of a train in the distance Everybody thinks it's true Well eventually the boy and the girl get married Sure enough they have a son And though they both were occupied With the child she carried Disagreements had begun And in a while they fell apart It wasn't hard to do Everybody loves the sound of a train in the distance Everybody thinks it's true Two disappointed believers Two people playing the game Negotiations and love songs Are often mistaken for one and the same Now the man and the woman Remain in contact Let us say it's for the child With disagreements about the meaning Of a marriage contract Conversations hard and wild But from time to time He makes her laugh She cooks a meal or two Everybody loves the sound of a train in the distance Everybody thinks it's true Everybody loves the sound of a train in the distance Everybody thinks it's true What is the point of this story What information pertains The thought that life could be better Is woven indelibly Into our hearts And our brains |
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| from Paul Simon - The Complete Albums Collection (2013) | |||||
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5:15 |
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from Paul Simon - Songs From The Capeman (1997)
A passenger traveling quietly conceals himself With a magazine and a sleepless pillow Over the crest of the mountain the moon begins its climb And he wakes to find he's in rolling farmland The farmer sleeps against his wife He wonders what their life must be A Trailways bus is heading south Into Washington, D.C. A mother and child, the baby maybe two months old Prepare themselves for sleep and feeding. The shadow of the Capitol dome slides across his face And his heart is racing with the urge to freedom. The father motionless as stone, A shepherd resting with his flock, The Trailways bus is turning west- Dallas via Little Rock. WAHZINAK O my darling, darling Sal The desert moon is my witness. I've no money to come East, But I know you'll soon be here LAZARUS We pull into downtown Dallas by the side of the Grassy Knoll Where the leader fell and a town was broken. Away from the feel and flow of life for so many years He hears music playing and Spanish spoken The border patrol outside of Tucson boarded the bus BORDER PATROLMAN Any aliens here? You better check with us, How about you son? You look like you got Spanish blood. Do you 'Habla Ingles,' am I understood? SAL Yes, I am an alien, from Mars. I come to earth from outer space. And if I traveled my whole life You guys would still be on my case You guys would still be on my case LAZARUS But he can't leave his fears behind, He recalls each fatal thrust The screams carried by the wind, Phantom figures in the dust Phantom figures in the dust Phantom figures in the dust. Lead Vocal, Acoustic Guitar-Paul Simon Vocal-Sara Ramirez Guitar-Vincent Nguini Guitar, Acoustic Guitar Solo-Arlen Roth Pedal Steel-Robby Turner Bass-Bakithi Kumalo Trumpet-Bill Holloman Accordion-Mike Ramos Fender Rhodes-Oriente Lopez Shaker-Crusher Bennett Drums-Shannon Ford |
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5:16 |
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from Paul Simon - Songs From The Capeman (1997)
A passenger traveling quietly conceals himself With a magazine and a sleepless pillow Over the crest of the mountain the moon begins its climb And he wakes to find he's in rolling farmland The farmer sleeps against his wife He wonders what their life must be A Trailways bus is heading south Into Washington, D.C. A mother and child, the baby maybe two months old Prepare themselves for sleep and feeding. The shadow of the Capitol dome slides across his face And his heart is racing with the urge to freedom. The father motionless as stone, A shepherd resting with his flock, The Trailways bus is turning west- Dallas via Little Rock. WAHZINAK O my darling, darling Sal The desert moon is my witness. I've no money to come East, But I know you'll soon be here LAZARUS We pull into downtown Dallas by the side of the Grassy Knoll Where the leader fell and a town was broken. Away from the feel and flow of life for so many years He hears music playing and Spanish spoken The border patrol outside of Tucson boarded the bus BORDER PATROLMAN Any aliens here? You better check with us, How about you son? You look like you got Spanish blood. Do you 'Habla Ingles,' am I understood? SAL Yes, I am an alien, from Mars. I come to earth from outer space. And if I traveled my whole life You guys would still be on my case You guys would still be on my case LAZARUS But he can't leave his fears behind, He recalls each fatal thrust The screams carried by the wind, Phantom figures in the dust Phantom figures in the dust Phantom figures in the dust. Lead Vocal, Acoustic Guitar-Paul Simon Vocal-Sara Ramirez Guitar-Vincent Nguini Guitar, Acoustic Guitar Solo-Arlen Roth Pedal Steel-Robby Turner Bass-Bakithi Kumalo Trumpet-Bill Holloman Accordion-Mike Ramos Fender Rhodes-Oriente Lopez Shaker-Crusher Bennett Drums-Shannon Ford |
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| from Paul Simon - The Complete Albums Collection (2013) | |||||
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2:14 |
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| from Simon & Garfunkel - Old Friends: Live On Stage [live] (2004) | |||||
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| from Simon & Garfunkel - Collected Works (1992) | |||||
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5:24 |
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from Paul Simon - Songs From The Capeman (1997)
I speak to you in Jesus's name As Jesus speaks through me, The evil we do can't be blamed upon our destiny I have walked through the valley of death-row to the shore I have stumbled through silvery water to my savior, my Salvador! SALVADOR It took me four years to learn I was in prison not in church. And two more to begin the book of my soul's search. SAL & SALVADOR Time is an ocean of endless tears SAL A wild boy from the streets of El Barrio An orphan from the hills of Mayag?z SALVADOR And when I wrote my story The words flew from the page And my soul in solitary Escaped its iron cage. SAL & SALVADOR Time is an ocean of endless tears SAL Mama, I got your letter today The next time that you write I'll be transferred far away. I'm leaving Greenhaven's towers of stone Where the Latin population will soon be minus one. SALVADOR Time is an ocean of endless tears. SAL I know how hard it's been for you these many years, You say the Aguinaldo makes you dream of home Where once we strolled the beach at El Malecon Go back don't you worry, I am your grown-up son. SALVADOR The politics of prison are a mirror of the street. The poor endure oppression The police control the state. Correctional facility That's what they call this place But look around and you will see The politics of race. SAL A forest and a prison Where the snow and guards are white SALVADOR If you want to keep your sanity You'll teach yourself to write. You were a child of sixteen With a twelve-year-old mind You came here numb and battered By the streets I left behind SAL I'll take the evil in me And turn it into good, Though all your institutions Never thought I could So now I'll turn to say goodbye SALVADOR I'll keep your image in my eye SAL & SALVADOR I turn around to say goodbye SALVADOR I'll keep your image with me till the day I die SAL & SALVADOR Time is an ocean of endless tears Lead Vocal-Marc Anthony Lead Vocal-Ruben Blades Acoustic Guitar-Paul Simon Piano-Oscar Hernandez Guitar-Steve Cropper Guitar-Vincent Nguini Bass-Ruben Rodriguez Conga, Guira-Milton Cardona Drums-Robby Ameen Soprano Saxophone-Bobby Franceschini Flute-Oriente Lopez Bass Clarinet-Pablo Calogero Trumpet-David Rodriguez Flugel-Barry Danielian Trombone-Ozzie Melendez Violin-Krista Feeney Violin-Paul Peabody Viola-Juliet Hafner Cello-Laura Bontrager Horn Arrangement-Oriente Lopez Orchestration-Stanley Silverman |
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5:24 |
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from Paul Simon - Songs From The Capeman (1997)
I speak to you in Jesus's name As Jesus speaks through me, The evil we do can't be blamed upon our destiny I have walked through the valley of death-row to the shore I have stumbled through silvery water to my savior, my Salvador! SALVADOR It took me four years to learn I was in prison not in church. And two more to begin the book of my soul's search. SAL & SALVADOR Time is an ocean of endless tears SAL A wild boy from the streets of El Barrio An orphan from the hills of Mayag?z SALVADOR And when I wrote my story The words flew from the page And my soul in solitary Escaped its iron cage. SAL & SALVADOR Time is an ocean of endless tears SAL Mama, I got your letter today The next time that you write I'll be transferred far away. I'm leaving Greenhaven's towers of stone Where the Latin population will soon be minus one. SALVADOR Time is an ocean of endless tears. SAL I know how hard it's been for you these many years, You say the Aguinaldo makes you dream of home Where once we strolled the beach at El Malecon Go back don't you worry, I am your grown-up son. SALVADOR The politics of prison are a mirror of the street. The poor endure oppression The police control the state. Correctional facility That's what they call this place But look around and you will see The politics of race. SAL A forest and a prison Where the snow and guards are white SALVADOR If you want to keep your sanity You'll teach yourself to write. You were a child of sixteen With a twelve-year-old mind You came here numb and battered By the streets I left behind SAL I'll take the evil in me And turn it into good, Though all your institutions Never thought I could So now I'll turn to say goodbye SALVADOR I'll keep your image in my eye SAL & SALVADOR I turn around to say goodbye SALVADOR I'll keep your image with me till the day I die SAL & SALVADOR Time is an ocean of endless tears Lead Vocal-Marc Anthony Lead Vocal-Ruben Blades Acoustic Guitar-Paul Simon Piano-Oscar Hernandez Guitar-Steve Cropper Guitar-Vincent Nguini Bass-Ruben Rodriguez Conga, Guira-Milton Cardona Drums-Robby Ameen Soprano Saxophone-Bobby Franceschini Flute-Oriente Lopez Bass Clarinet-Pablo Calogero Trumpet-David Rodriguez Flugel-Barry Danielian Trombone-Ozzie Melendez Violin-Krista Feeney Violin-Paul Peabody Viola-Juliet Hafner Cello-Laura Bontrager Horn Arrangement-Oriente Lopez Orchestration-Stanley Silverman |
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- |
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| from Paul Simon - The Complete Albums Collection (2013) | |||||
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- |
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| from Simon & Garfunkel - Two Can Dream Alone (2001) | |||||
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1:56 |
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| from Paul Simon - Paul Simon & Friends [project] (1994) | |||||
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2:45 |
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| from Paul Simon - Hearts And Bones (2006) | |||||
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- |
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| from Paul Simon - The Complete Albums Collection (2013) | |||||
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3:05 |
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| from Paul Simon - Hearts And Bones (2006) | |||||
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- |
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| from Paul Simon - The Complete Albums Collection (2013) | |||||
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4:15 |
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from Paul Simon - The Rhythm Of The Saints (1990)
If a feeling's born and no one complains
Well that's good luck Running through young veins And if life is a blessing That brushes the tops of the trees Well it's a short walk In a sweet breeze I will need you, feed you, seed you, plead with you All for the taste of your sweet love thelma If a heart is an open memory book That was the chance I took The more I searched, the more shook with thelma Last night I slept on a rented pillow A silver moon above my head A thirsty dreamless sleep released me And I reached for the phone By the side of the bed Now the first time that I saw you I thought "she's beautiful, but she's too young to be caught" People aware of my history Trying to steer you away from me I left a message at your hotel Don't let management poison the well I will need you, feed you, seed you, plead with you All for the taste of your sweet love thelma The phone is ringing and I realize We are timezones and oceans apart The words I speak in the middle of my night They fall on your yesterday scars If the sun don't shine, the wind don't break The clock don't jump off the wall Thelma, my darling, I will cushion your fall I will need you, feed you, seed you, plead with you Without the taste of your sweet love thelma I am only a man who has skirted the edge of despair For a long time now, and I don't care I watch you sleeping a the hospital bed The baby curled up in a ball Winter sunlight hits the family tree And everything else becomes nothing at all |
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- |
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| from Paul Simon - The Complete Albums Collection (2013) | |||||
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- |
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from Paul Simon - Anthology (2001)
If a feeling's born and no one complains
Well that's good luck Running through young veins And if life is a blessing That brushes the tops of the trees Well it's a short walk In a sweet breeze I will need you, feed you, seed you, plead with you All for the taste of your sweet love thelma If a heart is an open memory book That was the chance I took The more I searched, the more shook with thelma Last night I slept on a rented pillow A silver moon above my head A thirsty dreamless sleep released me And I reached for the phone By the side of the bed Now the first time that I saw you I thought "she's beautiful, but she's too young to be caught" People aware of my history Trying to steer you away from me I left a message at your hotel Don't let management poison the well I will need you, feed you, seed you, plead with you All for the taste of your sweet love thelma The phone is ringing and I realize We are timezones and oceans apart The words I speak in the middle of my night They fall on your yesterday scars If the sun don't shine, the wind don't break The clock don't jump off the wall Thelma, my darling, I will cushion your fall I will need you, feed you, seed you, plead with you Without the taste of your sweet love thelma I am only a man who has skirted the edge of despair For a long time now, and I don't care I watch you sleeping a the hospital bed The baby curled up in a ball Winter sunlight hits the family tree And everything else becomes nothing at all |
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4:16 |
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from Paul Simon - 1964-1993 (2008)
If a feeling's born and no one complains
Well that's good luck Running through young veins And if life is a blessing That brushes the tops of the trees Well it's a short walk In a sweet breeze I will need you, feed you, seed you, plead with you All for the taste of your sweet love thelma If a heart is an open memory book That was the chance I took The more I searched, the more shook with thelma Last night I slept on a rented pillow A silver moon above my head A thirsty dreamless sleep released me And I reached for the phone By the side of the bed Now the first time that I saw you I thought "she's beautiful, but she's too young to be caught" People aware of my history Trying to steer you away from me I left a message at your hotel Don't let management poison the well I will need you, feed you, seed you, plead with you All for the taste of your sweet love thelma The phone is ringing and I realize We are timezones and oceans apart The words I speak in the middle of my night They fall on your yesterday scars If the sun don't shine, the wind don't break The clock don't jump off the wall Thelma, my darling, I will cushion your fall I will need you, feed you, seed you, plead with you Without the taste of your sweet love thelma I am only a man who has skirted the edge of despair For a long time now, and I don't care I watch you sleeping a the hospital bed The baby curled up in a ball Winter sunlight hits the family tree And everything else becomes nothing at all |
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5:15 |
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from Paul Simon - Songs From The Capeman (1997)
Well, did you bring me my money, My cab fare My new shoes? I got expenses, you know Where's my weekly dues? SAL I ain't giving you my fucking money. HERNANDEZ Oye, mother fucker, where's this jibaro from? You go when I say. I call, you come. You know it takes a strong man to survive. It ain't no accident that you're still alive. HERNANDEZ & THE VAMPIRES We stand for the neighborhood HERNANDEZ He still lives with his mami, but he sneaks down, A coolie in the shadow of the playground You want to fight for your people, don't you, Sal? SAL Well, yeah, if I got to. HERNANDEZ Oh, you got to. Come here, I want to show you something. This is the cave of The Vampires, Count Dracula's castle, The very sight could turn a white man grey. Made in the shade, use my umbrella Black like the night we fly in. That blade is all you need to keep the dogs away. So, you want to be a vampire, man! That's good. We always looking for young blood in the neighborhood now Carlos Apache collect the dues So you bring us something that we can use HERNANDEZ & THE VAMPIRES If you got the balls, then come on, mette mano, If you got the balls, then come on, mette mano, HERNANDEZ Frenchy Cordero goes down the Hell's Kitchen To sell the Irish some weed So this Paddy boy's mother on the stoop starts bitchin' 'Bout spics is a mongrel breed Now here comes her son He looks like a ton of corned beef Floating in beer He says 'Fucking Puerto Rican dope-dealing punk Get your shit-brown ass out of here'. HERNANDEZ & THE VAMPIRES 'Fucking Puerto Rican dope-dealing punk Get your shit-brown ass out of here'. We stand for the neighborhood. HERNANDEZ So the shanty-town Irish they kicked his ass good. Fractured his collar bone Co?, all I was thinging is, 'What home of the brave? This a fucking war zone' THE VAMPIRES If you got the balls, then come on, mette mano, We stand for the neighborhood. If you got cojones, come on, mette mano, We stand for the neighborhood. If you got the balls, then come on, mette mano, We stand for the neighborhood. If you got cojones, come on, mette mano |
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5:06 |
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from Paul Simon - Songs From The Capeman (1997)
Well, did you bring me my money, My cab fare My new shoes? I got expenses, you know Where's my weekly dues? SAL I ain't giving you my fucking money. HERNANDEZ Oye, mother fucker, where's this jibaro from? You go when I say. I call, you come. You know it takes a strong man to survive. It ain't no accident that you're still alive. HERNANDEZ & THE VAMPIRES We stand for the neighborhood HERNANDEZ He still lives with his mami, but he sneaks down, A coolie in the shadow of the playground You want to fight for your people, don't you, Sal? SAL Well, yeah, if I got to. HERNANDEZ Oh, you got to. Come here, I want to show you something. This is the cave of The Vampires, Count Dracula's castle, The very sight could turn a white man grey. Made in the shade, use my umbrella Black like the night we fly in. That blade is all you need to keep the dogs away. So, you want to be a vampire, man! That's good. We always looking for young blood in the neighborhood now Carlos Apache collect the dues So you bring us something that we can use HERNANDEZ & THE VAMPIRES If you got the balls, then come on, mette mano, If you got the balls, then come on, mette mano, HERNANDEZ Frenchy Cordero goes down the Hell's Kitchen To sell the Irish some weed So this Paddy boy's mother on the stoop starts bitchin' 'Bout spics is a mongrel breed Now here comes her son He looks like a ton of corned beef Floating in beer He says 'Fucking Puerto Rican dope-dealing punk Get your shit-brown ass out of here'. HERNANDEZ & THE VAMPIRES 'Fucking Puerto Rican dope-dealing punk Get your shit-brown ass out of here'. We stand for the neighborhood. HERNANDEZ So the shanty-town Irish they kicked his ass good. Fractured his collar bone Co?, all I was thinging is, 'What home of the brave? This a fucking war zone' THE VAMPIRES If you got the balls, then come on, mette mano, We stand for the neighborhood. If you got cojones, come on, mette mano, We stand for the neighborhood. If you got the balls, then come on, mette mano, We stand for the neighborhood. If you got cojones, come on, mette mano |
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| from Paul Simon - The Complete Albums Collection (2013) | |||||
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2:50 |
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from Simon & Garfunkel - Wednesday Morning 3 A.M. (1964)
Come gather 'round people
Wherever you roam And admit that the waters Around you have grown And accept it that soon You'll be drenched to the bone. If your time to you Is worth savin' Then you better start Swimmin' Or you'll sink like a stone For the times they are a-changin'. Come writers and critics Who prophesise with your pen And keep your eyes wide The chance won't come again And don't speak too soon For the wheel's still in spin And there's no tellin' who That it's namin'. For the loser now Will be later to win For the times they are a-changin'. Come senators, Congressmen Please heed the call Don't stand in the doorway Don't block up the hall For he that gets hurt Will be he who has stalled There's a battle outside And it is ragin'. It'll soon shake your windows And rattle your walls For the times they are a-changin'. Come mothers and fathers Throughout the land And don't criticize What you can't understand Your sons and your daughters Are beyond your command Your old road is Rapidly agin'. Please get out of the new one If you can't lend your hand For the times they are a-changin'. The line it is drawn The curse it is cast The slow one now Will later be fast As the present now Will later be past The order is Rapidly fadin'. And the first one now Will later be last For the times they are a-changin'. |
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from Simon & Garfunkel - Wednesday Morning, 3 A.M. (Exciting New Sounds In The Folk Tradition) (1989)
Come gather 'round people
Wherever you roam And admit that the waters Around you have grown And accept it that soon You'll be drenched to the bone. If your time to you Is worth savin' Then you better start Swimmin' Or you'll sink like a stone For the times they are a-changin'. Come writers and critics Who prophesise with your pen And keep your eyes wide The chance won't come again And don't speak too soon For the wheel's still in spin And there's no tellin' who That it's namin'. For the loser now Will be later to win For the times they are a-changin'. Come senators, Congressmen Please heed the call Don't stand in the doorway Don't block up the hall For he that gets hurt Will be he who has stalled There's a battle outside And it is ragin'. It'll soon shake your windows And rattle your walls For the times they are a-changin'. Come mothers and fathers Throughout the land And don't criticize What you can't understand Your sons and your daughters Are beyond your command Your old road is Rapidly agin'. Please get out of the new one If you can't lend your hand For the times they are a-changin'. The line it is drawn The curse it is cast The slow one now Will later be fast As the present now Will later be past The order is Rapidly fadin'. And the first one now Will later be last For the times they are a-changin'. |
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3:36 |
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from Paul Simon - You'Re The One (2000)
There once was a teacher of great renown
Whose words were like the tablets of stone Because it's easier to learn than unlearn Because we've passed the point of no return Gather your goods and follow me Or you will surely die Verse: I was only a child of the city My parents were children of immigrant stock So we followed as followers go Over a mountain with a napkin of snow And ate the berries and roots That grow along the timberline Deeper and deeper the dreamer of love sleeps on a quilt of stars Bridge: It's cold Sometimes you can't catch your breath It's cold Verse: Time and abundance thickened his step So the teacher divided in two One half ate the forests and fields The other half sucked all the moisture from the clouds And we, we were amazed at the power of his appetite Deeper and deeper the dreamer of love sleeps on a quilt of stars Verse: Sometimes we don't know who we are Sometimes force overpowers us and we cry My teacher carry me home Carry me home my teacher Carry me home Carry me home my teacher Carry me home |
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3:36 |
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from Paul Simon - You'Re The One (2000)
There once was a teacher of great renown
Whose words were like the tablets of stone Because it?s easier to learn than unlearn Because we?ve passed the point of no return Gather your goods and follow me Or you will surely die I was only a child of the city My parents were children of immigrant stock So we followed as followers go Over a mountain with a napkin of snow And ate the berries and roots That grown along the timberline Deeper and deeper the dreamer of love Sleep on a quilt of stars It?s cold Sometimes you can?t catch your breath It?s so cold Time and abundance thickened his step So the teacher divided in two One half ate the forest and fields The other half sucked all the moisture from the clouds And we, we were amazed at the power of his appetite Deeper and deeper the dreamer of love Sleeps on a quilt of stars Sometimes we don?t know who we are Sometimes force overpowers us and we cry My teacher carry me home Carry me home my teacher Carry me home Carry me home my teacher Carry me home |
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- |
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| from Paul Simon - The Complete Albums Collection (2013) | |||||
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2:46 |
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from Simon & Garfunkel - Wednesday Morning 3 A.M. (1964)
The sun is burning in the sky
Strands of clouds go slowly drifting by In the park the lazy bees Are joining in the flowers, among the trees And the sun burns in the sky Now the sun is in the west Little kids go home to take their rest And the couples in the park Are holdin' hands and waitin' for the dark And the sun is in the west Now the sun is sinking low Children playin' know it's time to go High above a spot appears A little blossom blooms and then draws near And the sun is sinking low Now the sun has come to Earth Shrouded in a mushroom cloud of death Death comes in a blinding flash Of hellish heat and leaves a smear of ash And the sun has come to Earth Now the sun has disappeared All is darkness, anger, pain, and fear Twisted, sightless wrecks of men Go groping on the knees and cry in pain And the sun has disappeared |
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- |
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from Simon & Garfunkel - Wednesday Morning, 3 A.M. (Exciting New Sounds In The Folk Tradition) (1989)
The sun is burning in the sky
Strands of clouds go slowly drifting by In the park the lazy bees Are joining in the flowers, among the trees And the sun burns in the sky Now the sun is in the west Little kids go home to take their rest And the couples in the park Are holdin' hands and waitin' for the dark And the sun is in the west Now the sun is sinking low Children playin' know it's time to go High above a spot appears A little blossom blooms and then draws near And the sun is sinking low Now the sun has come to Earth Shrouded in a mushroom cloud of death Death comes in a blinding flash Of hellish heat and leaves a smear of ash And the sun has come to Earth Now the sun has disappeared All is darkness, anger, pain, and fear Twisted, sightless wrecks of men Go groping on the knees and cry in pain And the sun has disappeared |
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- |
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from Simon & Garfunkel - Collected Works (1992)
The sun is burning in the sky
Strands of clouds go slowly drifting by In the park the lazy bees Are joining in the flowers, among the trees And the sun burns in the sky Now the sun is in the west Little kids go home to take their rest And the couples in the park Are holdin' hands and waitin' for the dark And the sun is in the west Now the sun is sinking low Children playin' know it's time to go High above a spot appears A little blossom blooms and then draws near And the sun is sinking low Now the sun has come to Earth Shrouded in a mushroom cloud of death Death comes in a blinding flash Of hellish heat and leaves a smear of ash And the sun has come to Earth Now the sun has disappeared All is darkness, anger, pain, and fear Twisted, sightless wrecks of men Go groping on the knees and cry in pain And the sun has disappeared |
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- |
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| from Paul Simon - The Complete Albums Collection (2013) | |||||
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3:04 |
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from Simon & Garfunkel - Wednesday Morning 3 A.M. (1964)
Hello darkness my old friend
I've come to talk with you again Because a vision softly creeping left its seeds while I was sleeping And the vision that was planted in my brain still remains within the sound of silence In restless dreams I walked alone narrow streets of cobblestone 'Neath the halo of a street lamp I turned my collar to the cold and damp When my eyes were stabbed by the flash of a neon light that split the night and touched the sound of silence And in the naked light I saw ten thousand people maybe more People talking without speaking people hearing without listening people writing songs that voices never share And no one dare disturb the sound of silence Fools said I You do not know silence like a cancer grows Hear my words that I might teach you Take my arms that I might reach you But my words like silent raindrops fell echoed in the wells of silence And the people bowed and prayed to the neon god they made And the sign flashed out its warning in the words that it was forming And the sign said The words of the prophets are written on the subway walls and tenement halls And whispered in the sounds of silence |
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4:02 |
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from Simon & Garfunkel - The Concert In Central Park (1982)
Hello darkness, my old friend
잘 있었니, 내 오랜 친구 어둠아 I've come to talk with you again 너와 다시 얘기하려고 왔어 Because a vision softly creeping 어떤 환영이 살며시 다가와 Left its seeds while I was sleeping 내가 잠든 사이 씨를 뿌리고 갔거든 And the vision that was planted in my brain 내 머리 속에 심어진 그 환영은 still remains within the sound of silence 침묵의 소리 속에 아직도 남아있어 In restless dreams I walked alone 불안한 꿈속에서 난 홀로 걸었어 Narrow streets of cobblestone 자갈이 깔린 좁은 골목길을 말이야 Beneath the halo of a street lamp 가로등 불빛의 원광 아래서 I turned my collar to the cold and damp 추위와 습기를 막으려 옷깃을 올려 세웠지 when my eyes were stabbed by the flash of a neon light that split the night 그 때 내 눈은 밤을 가르는 네온 불빛에 찌르는 듯 했고 and touched the sound of silence 그 불빛은 침묵의 소리를 깨뜨렸어 And in the naked light I saw ten thousand people maybe more 적나라한 불빛 속에서 난 보았어 만 명 어쩌면 더 많은 사람들을 말이야 People talking without speaking 그 사람들은 대화가 아닌 말을 지껄이고 People hearing without listening 귀기울이지 않은 채 흘려 듣고 People writing songs that voices never share 목소리로는 표현할 수 없는 노래를 지어 내고 있었어 No one dare disturb the sound of silence 그리고 아무도 감히 그 침묵의 소리를 깨뜨리지 못했지 "Fools" said I, "You do not know 내가 이렇게 말했어 "바보들, silence like a cancer grows. 당신들은 암처럼 퍼져 나가는 침묵이 뭔지 모르나요 Hear my words that I might teach you. 내가 알려 줄테니 잘 들어요 Take my arms that I might reach you." 내 손을 잡아 봐요. 내가 다가갈께요." But my words like silent raindrops fell 하지만 내 말은 소리없이 내리는 비처럼 and echoed in the wells of silence 침묵의 샘 안에 떨어져 메아리 쳤어 And the people bowed and prayed to the neon god they made 사람들은 자신이 만들어 낸 네온 신에게 절하고 기도하지 And the sign flashed out its warning in the words that it was forming 그리고 그 네온이 만들어 낸 구에 경고의 메시지가 빛났어 And the sign said "The words of the prophets are written on the" 이렇게 쓰여 있었지 예언자의 말씀은 subway walls and tenement halls" 지하철 벽이나 빈민가 건물 현관에 적혀 있다" 고 말이야 And whispered in the sounds of silence 그리고 침묵의 소리로 속삭였어 |
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3:05 |
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from Folk, Gospel & Blues: Will The Circle Be Unbroken (1999)
Hello darkness my old friend
I've come to talk with you again Because a vision softly creeping left its seeds while I was sleeping And the vision that was planted in my brain still remains within the sound of silence In restless dreams I walked alone narrow streets of cobblestone 'Neath the halo of a street lamp I turned my collar to the cold and damp When my eyes were stabbed by the flash of a neon light that split the night and touched the sound of silence And in the naked light I saw ten thousand people maybe more People talking without speaking people hearing without listening people writing songs that voices never share And no one dare disturb the sound of silence Fools said I You do not know silence like a cancer grows Hear my words that I might teach you Take my arms that I might reach you But my words like silent raindrops fell echoed in the wells of silence And the people bowed and prayed to the neon god they made And the sign flashed out its warning in the words that it was forming And the sign said The words of the prophets are written on the subway walls and tenement halls And whispered in the sounds of silence |
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