B i o g r a p h y (by Richie Unterberger)
Few rock groups can claim to have broken so much new territory, and maintain such consistent brilliance on record, as the Velvet Underground during their brief lifespan. It was the group's lot to be ahead of, or at least out of step with, their time. The mid- to late '60s was an era of explosive growth and experimentation in rock, but the Velvets' innovations � which blended the energy of rock with the sonic adventurism of the avant-garde, and introduced a new degree of social realism and sexual kinkiness into rock lyrics � were too abrasive for the mainstream to handle. During their time, the group experienced little commercial success; though they were hugely appreciated by a cult audience and some critics, the larger public treated them with indifference or, occasionally, scorn. The Velvets' music was too important to languish in obscurity, though; their cult only grew larger and larger in the years following their demise, and continued to mushroom through the years. By the 1980s, they were acknowledged not just as one of the most important rock bands of the '60s, but one of the best of all time, and one whose immense significance cannot be measured by their relatively modest sales. Historians often hail the group for their incalculable influence upon the punk and new wave of subsequent years, and while the Velvets were undoubtedly a key touchstone of the movements, to focus upon these elements of their vision is to only get part of the story. The group was uncompromising in their music and lyrics, to be sure, sometimes espousing a bleakness and primitivism that would inspire alienated singers and songwriters of future generations. But their colorful and oft-grim soundscapes were firmly grounded in strong, well-constructed songs that could be as humanistic and compassionate as they were outrageous and confrontational. The member most responsible for these qualities was guitarist, singer, and songwriter Lou Reed, whose sing-speak vocals and gripping narratives have come to define street-savvy rock & roll. Reed loved rock & roll from an early age, and even recorded a doo-wop type single as a Long Island teenager in the late '50s (as a member of the Shades). By the early '60s, he was also getting into avant-garde jazz and serious poetry, coming under the influence of author Delmore Schwartz while studying at Syracuse University.
After graduation, he set his sights considerably lower, churning out tunes for exploitation rock albums as a staff songwriter for Pickwick Records in New York City. Reed did learn some useful things about production at Pickwick, and it was while working there that he met John Cale, a classically-trained Welshman who had moved to America to study and perform "serious" music. Cale, who had performed with John Cage and LaMonte Young, found himself increasingly attracted to rock & roll; Reed, for his part, was interested in the avant-garde as well as pop. Reed and Cale were both interested in fusing the avant-garde with rock & roll, and had found the ideal partners for making the vision (a very radical one for the mid-'60s) work; their synergy would be the crucial axis of the Velvet Underground's early work. Reed and Cale (who would play bass, viola, and organ) would need to assemble a full band, making tentative steps along this direction by performing together in the Primitives (which also included experimental filmmaker Tony Conrad and avant-garde sculptor Walter DeMaria) to promote a bizarre Reed-penned Pickwick single ("The Ostrich"). By 1965, the group was a quartet called the Velvet Underground, including Reed, Cale, guitarist Sterling Morrison (an old friend of Reed's), and drummer Angus MacLise. MacLise quit before the band's first paying gig, claiming that accepting money for art was a sellout; the Velvets quickly recruited drummer Maureen Tucker, a sister of one of Morrison's friends. Even at this point, the Velvets were well on their way to developing something quite different. Their original material, principally penned and sung by Reed, dealt with the hard urban realities of Manhattan, describing drug use, sadomasochism, and decadence in cool, unapologetic detail in "Heroin," "I'm Waiting for the Man," "Venus in Furs," and "All Tomorrow's Parties." These were wedded to basic, hard-nosed rock riffs, toughened by Tucker's metronome beats; the oddly tuned, rumbling guitars; and Cale's occasional viola scrapes. It was an uncommercial blend to say the least, but the Velvets got an unexpected benefactor when artist and all-around pop-art icon Andy Warhol caught the band at a club around the end of 1965. Warhol quickly assumed management of the group, incorporating them into his mixed-media/performance art ensemble, the Exploding Plastic Inevitable. By spring 1966, Warhol was producing their debut album. Warhol was also responsible for embellishing the quartet with Nico, a mysterious European model/chanteuse with a deep voice whom the band accepted rather reluctantly, viewing her spectral presence as rather ornamental. Reed remained the principal lead vocalist, but Nico did sing three of the best songs on the group's debut, often known as "the banana album" because of its distinctive Warhol-designed cover. Recognized today as one of the core classic albums of rock, it featured an extraordinarily strong set of songs, highlighted by "Heroin," "All Tomorrow's Parties," "Venus in Furs," "I'll Be Your Mirror," "Femme Fatale," "Black Angel's Death Song," and "Sunday Morning."
The sensational drug-and-sex items (especially "Heroin") got most of the ink, but the more conventional numbers showed Reed to be a songwriter capable of considerable melodicism, sensitivity, and almost naked introspection. The album's release was not without complications, though. First, it wasn't issued until nearly a year after it was finished, due to record-company politics and other factors. The group's association with Warhol and the Exploding Plastic Inevitable had already assured them of a high (if notorious media) profile, but the music was simply too daring to fit onto commercial radio; "underground" rock radio was barely getting started at this point, and in any case may well have overlooked the record at a time when psychedelic music was approaching its peak. The album only reached number 171 in the charts, and that's as high as any of their LPs would get upon original release. Those who heard it, however, were often mightily impressed; Brian Eno once said that even though hardly anyone bought the Velvets records at the time they appeared, almost everyone who did formed their own bands. A cult reputation wasn't enough to guarantee a stable livelihood for a band in the '60s, and by 1967 the Velvets were fighting problems within their own ranks. Nico, never considered an essential member by the rest of the band, left or was fired sometime during the year, going on to a fascinating career of her own. The association with Warhol weakened, as the artist was unable to devote as much attention to the band as he had the previous year. Embittered by the lukewarm reception of their album in their native New York, the Velvets concentrated on touring cities throughout the rest of the country. Amidst this tense atmosphere, the second album, White Light/White Heat, was recorded in late 1967. Each of the albums the group released while Reed led the band was an unexpected departure from all of their other LPs. White Light/White Heat was probably the most radical, focusing almost exclusively on their noisiest arrangements, over-amped guitars, and most willfully abrasive songs. The 17-minute "Sister Ray" was their most extreme (and successful) effort in this vein. Unsurprisingly, the album failed to catch on commercially, topping out at number 199. By the summer of 1968, the band had a much graver problem on its hands than commercial success (or the lack of it). A rift developed between Reed and Cale, the most creative forces in the band and, as one could expect, two temperamental egos. Reed presented the rest of the band with an ultimatum, declaring that he would leave the group unless Cale was sacked. Morrison and Tucker reluctantly sided with Lou, and Doug Yule was recruited to take Cale's place. The group's self-titled third album (1969) was an even more radical left turn than White Light/White Heat. The volume and violence had nearly vanished; the record featured far more conventional rock arrangements that were sometimes so restrained it seems as though they were making an almost deliberate attempt to avoid waking the neighbors.
Yet the sound was nonetheless effective for that; the record contains some of Reed's most personal and striking compositions, numbers like "Pale Blue Eyes" and "Candy Says" ranking among his most romantic, although cuts like "What Goes On" proved they could still rock out convincingly (though in a less experimental fashion than they had with Cale). The approach may have confused listeners and critics, but by this time their label (MGM/Verve) was putting little promotional resources behind the band anyway. Even in the absence of Cale, the Velvets were still capable of generating compelling heat on-stage, as 1969: Velvet Underground Live (not released until the mid-'70s) confirms. MGM was by now in the midst of an infamous "purge" of its supposedly drug-related rock acts, and the Velvets were setting their sights elsewhere. Nevertheless, they recorded about an album's worth of additional material for the label after the third LP, although it remains unclear whether this was intended for a fourth album or not. Many of the songs, though, were excellent, serving as a bridge between The Velvet Underground and 1970's Loaded; a lot of it was officially released in the 1980s and 1990s. The beginning of the 1970s seemed to herald considerable promise for the group, as they signed to Atlantic, but at this point the personnel problems that had always dogged them finally became overwhelming. Tucker had to sit out Loaded due to pregnancy, replaced by Yule's brother Billy. Doug Yule, according to some accounts, began angling for more power in the band. Unexpectedly, after a lengthy residency at New York's famous Max's Kansas City club, Reed quit the band near the end of the summer of 1970, moving back to his parents' Long Island home for several months before beginning his solo career, just before the release of Loaded, his final studio album with the Velvets. Loaded was by far the group's most conventional rock album, and the most accessible one for mainstream listeners. "Rock and Roll" and "Sweet Jane" in particular were two of Reed's most anthemic, jubilant tunes, and ones that became rock standards in the '70s. But the group's power was somewhat diluted by the absence of Tucker, and by the decision to have Doug Yule handle some of the lead vocals. Due to Reed's departure, though, the group couldn't capitalize on any momentum it might have generated. Unwisely, the band decided to continue, though Morrison and Tucker left shortly afterward. That left Doug Yule at the helm of an act that was the Velvet Underground in name only, and the 1973 album that was billed to the group (Squeeze) is best forgotten, and not considered as a true Velvets release. With Reed, Cale, and Nico establishing important solo careers of their own, and such important figures as David Bowie, Brian Eno, and Patti Smith making no bones about their debts to the band, the Velvet Underground simply became more and more popular as the years passed. In the 1980s, the original albums were reissued, along with a couple of important collections of outtakes. Hoping to rewrite the rules one last time, Reed, Cale, Morrison, and Tucker attempted to defy the odds against successful rock reunions by re-forming in the early '90s (Nico had died in 1988). A European tour, and a live album, was completed in 1993 to mixed reviews; before a planned American jaunt could start, Reed and Cale (who have feuded constantly over the past few decades) fell out yet again, bringing the reunion to a sad close. Sterling Morrison's death from illness in 1995 seems to have permanently iced any prospect of more projects under the Velvet Underground name, although a few of the surviving members played together when they were inducted into the Rock and Roll Hall of Fame. By that time, an impressive five-CD box set (containing all four of the studio albums issued when Reed was in the band, as well as a lot of other material) was available to enshrine the group's legacy for the ages.
The Velvet Underground and Nico Sunday Morning Sunday morning, praise the dawning It's just a restless feeling by my side Early dawning, Sunday morning It's just the wasted years so close behind Watch out, the world's behind you There's always someone around you who will call It's nothing at all Sunday morning and I'm falling I've got a feeling I don't want to know Early dawning, Sunday morning It's all the streets you crossed, not so long ago Watch out, the world's behind you There's always someone around you who will call It's nothing at all Watch out, the world's behind you There's always someone around you who will call It's nothing at all Sunday morning Sunday morning Sunday morning I'm Waiting For The Man I'm waiting for my man Twenty-six dollars in my hand Up to Lexington, 125 Feel sick and dirty, more dead than alive I'm waiting for my man Hey, white boy, what you doin' uptown? Hey, white boy, you chasin' our women around? Oh pardon me sir, it's the furthest from my mind I'm just lookin' for a dear, dear friend of mine I'm waiting for my man Here he comes, he's all dressed in black Beat up shoes and a big straw hat He's never early, he's always late First thing you learn is you always gotta wait I'm waiting for my man Up to a Brownstone, up three flights of stairs Everybody's pinned you, but nobody cares He's got the works, gives you sweet taste Ah then you gotta split because you got no time to waste I'm waiting for my man Baby don't you holler, darlin' don't you bawl and shout I'm feeling good, you know I'm gonna work it on out I'm feeling good, I'm feeling oh so fine Until tomorrow, but that's just some other time I'm waiting for my man Femme Fatale Here she comes You'd better watch your step She's going to break your heart in two It's true It's not so hard to realize Just look into her false-colored eyes She'll build you up to just put you down What a clown 'Cause everybody knows (She's a femme fatale) The things she does to please (She's a femme fatale) She's just a little tease (She's a femme fatale) See the way she walks Hear the way she talks You're even in her book You're number 37 have a look She's going to smile to make you frown What a clown Little boy, she's from the street Before you start you're already beat She's going to play you for a fool 'Cause everybody knows (She's a femme fatale) The things she does to please (She's a femme fatale) She's just a little tease (She's a femme fatale) See the way she walks Hear the way she talks 'Cause everybody knows (She's a femme fatale) The things she does to please (She's a femme fatale) She's just a little tease (She's a femme fatale) Oh, oh, oh (She's a femme fatale) Oh, oh, oh (She's a femme fatale) Oh, oh, oh (She's a femme fatale) Venus In Furs Shiny, shiny, shiny boots of leather Whiplash girlchild in the dark Comes in bells, your servant, don't forsake him Strike, dear mistress, and cure his heart Downy sins of streetlight fancies Chase the costumes she shall wear Ermine furs adorn the imperious Severin, Severin awaits you there I am tired, I am weary I could sleep for a thousand years A thousand dreams that would awake me Different colors made of tears Kiss the boot of shiny, shiny leather Shiny leather in the dark Tongue of thongs, the belt that does await you Strike, dear mistress, and cure his heart Severin, Severin, speak so slightly Severin, down on your bended knee Taste the whip, in love not given lightly Taste the whip, now plead for me I am tired, I am weary I could sleep for a thousand years A thousand dreams that would awake me Different colors made of tears Shiny, shiny, shiny boots of leather Whiplash girlchild in the dark Severin, your servant comes in bells, please don't forsake him Strike, dear mistress, and cure his heart Run Run Run Teenage Mary said to Uncle Dave I sold my soul, must be saved Gonna take a walk down to Union Square You never know who you're gonna find there You gotta run, run, run, run, run Take a drag or two Run, run, run, run, run Gypsy Death and you Tell you whatcha do Marguerita Passion had to get her fix She wasn't well, she was getting sick Went to sell her soul, she wasn't high Didn't know, thinks she could buy it And she would run, run, run, run, run Take a drag or two Run, run, run, run, run Gypsy Death and you Tell you whatcha do Seasick Sarah had a golden nose Hobnail boots wrapped around her toes When she turned blue, all the angels screamed They didn't know, they couldn't make the scene She had to run, run, run, run, run Take a drag or two Run, run, run, run, run Gypsy Death and you Tell you whatcha do Beardless Harry, what a waste Couldn't even get a small-town taste Rode the trolleys down to forty-seven Figured he was good to get himself to heaven 'Cause he had to run, run, run, run, run Take a drag or two Run, run, run, run, run Gypsy Death and you Tell you whatcha do All Tomorrows Parties And what costume shall the poor girl wear To all tomorrow's parties A hand-me-down dress from who knows where To all tomorrow's parties And where will she go and what shall she do When midnight comes around She'll turn once more to Sunday's clown And cry behind the door And what costume shall the poor girl wear To all tomorrow's parties Why silks and linens of yesterday's gowns To all tomorrow's parties And what will she do with Thursday's rags When Monday comes around She'll turn once more to Sunday's clown And cry behind the door And what costume shall the poor girl wear To all tomorrow's parties For Thursday's child is Sunday's clown For whom none will go mourning A blackened shroud, a hand-me-down gown Of rags and silks, a costume Fit for one who sits and cries For all tomorrow's parties Heroin I don't know just where I'm going But I'm gonna try for the kingdom, if I can 'Cause it makes me feel like I'm a man When I put a spike into my vein And I'll tell ya, things aren't quite the same When I'm rushing on my run And I feel just like Jesus' son And I guess that I just don't know And I guess that I just don't know I have made the big decision I'm gonna try to nullify my life 'Cause when the blood begins to flow When it shoots up the dropper's neck When I'm closing in on death And you can't help me now, you guys And all you sweet girls with all your sweet talk You can all go take a walk And I guess that I just don't know And I guess that I just don't know I wish that I was born a thousand years ago I wish that I'd sail the darkened seas On a great big clipper ship Going from this land here to that In a sailor's suit and cap Away from the big city Where a man can not be free Of all of the evils of this town And of himself, and those around Oh, and I guess that I just don't know Oh, and I guess that I just don't know Heroin, be the death of me Heroin, it's my wife and it's my life Because a mainer to my vein Leads to a center in my head And then I'm better off and dead Because when the smack begins to flow I really don't care anymore About all the Jim-Jim's in this town And all the politicians makin' busy sounds And everybody puttin' everybody else down And all the dead bodies piled up in mounds 'Cause when the smack begins to flow Then I really don't care anymore Ah, when the heroin is in my blood And that blood is in my head Then thank God that I'm as good as dead Then thank your God that I'm not aware And thank God that I just don't care And I guess I just don't know And I guess I just don't know There She Goes Again There she goes again She's out on the streets again She's down on her knees, my friend But you know she'll never ask you please again Now take a look, there's no tears in her eyes She won't take it from just any guy, what can you do You see her walkin' on down the street Look at all your friends she's gonna meet You better hit her There she goes again She's knocked out on her feet again She's down on her knees, my friend But you know she'll never ask you please again Now take a look, there's no tears in her eyes Like a bird, you know she would fly, what can you do You see her walkin' on down the street Look at all your friends that she's gonna meet You better hit her Now take a look, there's no tears in her eyes Like a bird, you know she will fly, fly, fly away See her walking on down the street Look at all your friends that she's gonna meet She's gonna bawl and shout She's gonna work it She's gonna work it out, bye bye Bye bye baby All right I'll Be Your mirror I'll be your mirror Reflect what you are, in case you don't know I'll be the wind, the rain and the sunset The light on your door to show that you're home When you think the night has seen your mind That inside you're twisted and unkind Let me stand to show that you are blind Please put down your hands 'Cause I see you I find it hard to believe you don't know The beauty that you are But if you don't let me be your eyes A hand in your darkness, so you won't be afraid When you think the night has seen your mind That inside you're twisted and unkind Let me stand to show that you are blind Please put down your hands 'Cause I see you I'll be your mirror The Black Angel's Death Song The myriad choices of his fate Set themselves out upon a plate For him to choose What had he to lose Not a ghost bloodied country All covered with sleep Where the black angel did weep Not an old city street in the east Gone to choose And wandering's brother Walked on through the night With his hair in his face On a long splintered cut from the knife of G.T. The rally man's patter ran on through the dawn Until we said so long To his skull-shrill yell Shining brightly red-rimmed and Red-lined with the time Infused with the choice of the mind On ice skates scraping chunks From the bells Cut mouth bleeding razor's Forgetting the pain Antiseptic remains cool goodbye So you fly To the cozy brown snow of the east Gone to choose, choose again Sacrificials remains make it hard to forget Where you come from The stools of your eyes Serve to realize fame, choose again And roverman's refrain of the sacrilege recluse For the loss of a horse Went the bowels and a tail of a rat Come again, choose to go And if Epiphany's terror reduced you to shame Have your head bobbed and weaved Choose a side to be on If the stone glances off Split didactics in two Leave the colors of the mouse trails Don't scream, try between If you choose, if you choose, try to lose For the loss of remain come and start Start the game I che che che che I Che che ka tak koh Choose to choose Choose to choose, choose to go European Son You killed your European son You spit on those under twenty-one But now your blue clouds have gone You better say so long Hey hey, bye bye bye You made your wallpapers green You want to make love to the scene Your European son is gone You'd better say so long Your clouds driftin' goodbye
*** Thanx a lot to Jennifer who corrected a few mistakes ***
White Light / White Heat White Light White Heat White light, White light goin' messin' up my mind White light, and don't you know its gonna make me go blind White heat, aww white heat it tickle me down to my toes White light, Ooo have mercy white light have it goodness knows White light, White light goin' messin' up my brain White light, Aww white light its gonna drive me insane White heat, Aww white heat it tickle me down to my toes White light, Aww white light I said now goodness knows, do it Hmm hmm, White light Aww I surely do love to watch that stuff tip itself in Hmm hmm, White light Watch that side, watch that side don't you know it gonna be dead in the drive Hmm hmm, White heat Hey foxy mama watchin' her walk down the street Hmm hmm, White light Come up side your head gonna make a deadend on your street White light, White light moved in me through my brain White light, White light goin' makin' you go insane White heat, Aww white heat it tickle me down to my toes White light, Aww white light I said now goodness knows White light, Aww white light it lighten up my eyes White light, don't you know it fills me up with suprise White light, Aww white heat tickle me down to my toes White light, Aww white light I tell you now goodness knows, now work it Hmm hmm, White light Aww she surely do moves me Hmm hmm, White light Watch that speed freak, watch that speed freak everybody gonna go and make it every week Hmm hmm, White heat Aww sputter mutter everybody gonna go kill their mother Hmm hmm, White light Here she comes, here she comes, everybody get 'n gone make me run to her
*** Thanx to Ron who updated this one *** The Gift Waldo Jeffers had reached his limit. It was now mid-August which meant that he had been separated from Marsha for more than two months. Two months, and all he had to show were three dog-eared letters and two very expensive long-distance phone calls. True, when school had ended and she'd returned to Wisconsin and he to Locust, Pennsylvania she had sworn to maintain a certain fidelity. She would date occasionally, but merely as amusement. She would remain faithful. But lately Waldo had begun to worry. He had trouble sleeping at night and when he did, he had horrible dreams. He lay awake at night, tossing and turning underneath his printed quilt protector, tears welling in his eyes, As he pictured Marsha, her sworn vows overcome by liquor and the smooth soothings of some Neanderthal, Finally submitting to the final caresses of sexual oblivion. It was more than the human mind could bear. Visions of Marsha's faithlessness haunted him. Daytime fantasies of sexual abandon permeated his thoughts. And the thing was, they wouldn't understand who she really was. He, Waldo, alone, understood this. He had intuitively grasped every nook and cranny of her psyche. He had made her smile, and she needed him, and he wasn't there. (Awww.) The idea came to him on the Thursday before the Mummers Parade was scheduled to appear. He had just finished mowing and edging the Edelsons lawn for a dollar-fifty And had checked the mailbox to see if there was at least a word from Marsha. There was nothing more than a circular form the Amalgamated Aluminum Company of America inquiring into his awning needs. At least they cared enough to write. It was a New York company. You could go anywhere in the mails. Then it struck him: he didn't have enough money to go to Wisconsin in the accepted fashion, true, but why not mail himself? It was absurdly simple. He would ship himself parcel post special delivery. The next day Waldo went to the supermarket to purchase the necessary equipment. He bought masking tape, a staple gun and a medium sized cardboard box, just right for a person of his build. He judged that with a minimum of jostling he could ride quite comfortably. A few airholes, some water, a selection of midnight snacks, and it would probably be as good as going tourist. By Friday afternoon, Waldo was set. He was thoroughly packed and the post office had agreed to pick him up at three o'clock. He'd marked the package "FRAGILE" and as he sat curled up inside, resting in the foam rubber cushioning he'd thoughtfully included, he tried to picture the look of awe and happiness on Marsha's face as she opened the door, saw the package, tipped the deliverer, and then opened it to see her Waldo finally there in person. She would kiss him, and then maybe they could see a movie. If he'd only thought of this before. Suddenly rough hands gripped his package and he felt himself borne up. He landed with a thud in a truck and then he was off. Marsha Bronson had just finished setting her hair. It had been a very rough weekend. She had to remember not to drink like that. Bill had been nice about it though. After it was over he'd said that he still respected her and, after all, it was certainly the way of nature and even though no, he didn't love her, he did feel an affection for her. And after all, they were grown adults. Oh, what Bill could teach Waldo -- but that seemed many years ago. Sheila Klein, her very, very best friend walked in through the porch screen door into the kitchen. "Oh God, it's absolutely maudlin outside." "Ugh, I know what you mean, I feel all icky." Marsha tightened the belt on her cotton robe with the silk outer edge. Sheila ran her finger over some salt grains on the kitchen table, licked her finger and made a face. "I'm supposed to be taking these salt pills, but," she wrinkled her nose, "they make me feel like throwing up." Marsha started to pat herself under the chin, an exercise she'd seen on television. "God, don't even talk about that." She got up from the table and went to the sink where she picked up a bottle of pink and blue vitamins. "Want one? Supposed to be better than steak." And attempted to touch her knees. "I don't think I'll ever touch a daiquiri again." She gave up and sat down, this time nearer the small table that supported the telephone. "Maybe Bill'll call," she said to Sheila's glance. Sheila nibbled on a cuticle. "After last night, I thought maybe you'd be through with him." "I know what you mean. My God, he was like an octopus. Hands all over the place." She gestured, raising her arms upward in defense. "The thing is after a while, you get tired of fighting with him, you know, and after all he didn't really do anything Friday and Saturday so I kind of owed it to him, you know what I mean." She started to scratch. Sheila was giggling with her hand over her mouth. "I'll tell you, I felt the same way, and even after a while," she bent forward in a whisper, "I wanted to," and now she was laughing very loudly. It was at this point that Mr. Jameson of the Clarence Darrow Post Office rang the door bell of the large stucco colored frame house. When Marsha Bronson opened the door, he helped her carry the package in. He had his yellow and his green slips of paper signed and left with a fifteen-cent tip that Marsha had gotten out of her mothers small beige pocket book in the den. "What do you think it is?" Sheila asked. Marsha stood with her arms folded behind her back. S he stared at the brown cardboard carton that sat in the middle of the living room. "I don't know." Inside the package Waldo quivered with excitement as he listened to the muffled voices. Sheila ran her fingernail over the masking tape that ran down the center of the carton. "Why don't you look at the return address and see who it is from?" Waldo felt his heart beating. He could feel the vibrating footsteps. It would be soon. Marsha walked around the carton and read the ink-scratched label. "Ugh, God, it's from Waldo!" "That schmuck," said Sheila. Waldo trembled with expectation. "Well, you might as well open it," said Sheila. Both of them tried to lift the stapled flap. "Ahh, shit," said Marsha groaning. "He must have nailed it shut." They tugged at the flap again. "My God, you need a power drill to get this thing opened." They pulled again. "You can't get a grip!" They both stood still, breathing heavily. "Why don't you get the scissors," said Sheila. Marsha ran into the kitchen, but all she could find was a little sewing scissor. Then she remembered that her father kept a collection of tools in the basement. She ran downstairs and when she came back, she had a large sheet-metal cutter in her hand. "This is the best I could find." She was very out of breath. "Here, you do it. I'm gonna die." She sank into a large fluffy couch and exhaled noisily. Sheila tried to make a slit between the masking tape and the end of the cardboard, but the blade was too big and there wasn't enough room. "Godamn this thing!" she said feeling very exasperated. Then, smiling, "I got an idea." "What?" said Marsha. "Just watch," said Sheila touching her finger to her head. Inside the package, Waldo was so transfixed with excitement that he could barely breathe. His skin felt prickly from the heat and he could feel his heart beating in his throat. It would be soon. Sheila stood quite upright and walked around to the other side of the package. Then she sank down to her knees, grasped the cutter by both handles, took a deep breath and plunged the long blade through the middle of the package, through the middle of the masking tape, through the cardboard, through the cushioning and (thud) right through the center of Waldo Jeffers head, which split slightly and caused little rhythmic arcs of red to pulsate gently in the morning sun.
*** Thanx a lot to Joey for this one *** Lady Godiva's Operation Lady Godiva here dressed so demurely Pats the head of another curly haired boy, just another toy Sick with silence she weps sincerely saying word that have oh so clearly been said so long ago Draperies wrapped gently 'round her shoulder Life has made her that much bolder now that she's found out how Dressed in silk, latin lace and envy Pride and joy of the latest penny faire pretty passing care Hair today now dipped in the water Making love to every poor daughter's son isn't it fun Now today propping grace with envy Lady Godiva peers to see if anyone's there and hasn't a care Doctor is coming the nurse thinks SWEETLY Turning on the machines that NEATLY pump air the body lies bare Shaved and hairless what once was SCREAMING now lies silent and almost SLEEPING the brain must have gone away Straped securly to the white table ether caused the body to wither and writhe underneath the white light Doctor arrives with knife and baggage sees the growth as just so much cabbage that now must be cut away Now come the moment of Great! Great! Decision! The doctor is making his first incision One goes here--one goes there The ether tube's leaking says someone who's sloppy the patient it seems is not so well sleeping The screams echo up the hall Don't panic someone give him pentathol instantly Doctor removes his blade cagily slow from the brain By my count of ten-- the head won't move Here She Comes Now Now, if she ever comes now, now If she ever comes now, now If she ever comes now... Now, if she ever comes now, now If she ever comes now, now If she ever comes now... Ah oh, it looks so good Ah oh, she's made out of wood Just look and see Oh, it's made out of wood Just look and see now She ever comes, she ever comes now Now, now, now, now She ever, ever, ever comes n-n-n-now... I Heard Her Call My Name Here she comes now, now Gone, gone, gone Ready, ready, ready, ready, ready Got my eyes wide open Ever since I was on cripples Monday Got my eyeballs on my knees, Aww my baby walkin' After hours with Mad Mary Williams Said she never understood a word from me, because... I know that she cares about me I heard her call my name And I know that she's long dead and gone Still she ain't the same When I wake up in the morning mama I heard her call my name I know that she's gone, gone, gone I heard her call my name And then my mind split open... Sister Ray Duck and Sally inside They're cooking for the down five Who're staring at Miss Rayon Who's busy licking up her big man I'm searching for my mainline I said I couldn't hit it sideways I said I couldn't hit it sideways Ah, it's just like Sister Ray says Rosy and Miss Rayon They're busy waiting for her booster Who just got back from Carolina She said she didn't like the weather They're busy waiting for her Sailor Who said he's just as big as ever He's just here from Alabama He wants to know a way to earn a dollar I'm searching for my mainline I couldn't hit it sideways Ah, just like Sister Ray said Cecil's got his new piece He cocks and shoots between three and four He aims it at the Sailor Shoots him down dead on the floor Oh, you shouldn't do that Don't you know you'll stain the carpet Don't you know you'll stain the carpet And by the way man, have you got a dollar Oh no man, I haven't got the time time Too busy sucking on a ding dong She's too busy sucking on my ding dong Oh, she does it just like Sister Ray said I'm searching for my mainline I said I couldn't hit it sideways I couldn't hit it sideways Oh, just like, just like Sister Ray says Now, who's that knocking Who's that knocking on my chamber door Now could it be the police They've come to take me for a ride ride Oh, but I haven't got the time time Too busy sucking on my ding dong She's too busy sucking on my ding dong Oh, now, just like Sister Ray said I'm searching on my line I couldn't hit it sideways I couldn't hit it sideways Oh now, just like, just like, just like..... Sister Ray says.
The Velvet Underground Candy Says Candy says I've come to hate my body and all that it requires in this world Candy says I'd like to know completely what others so discretely talk about Candy says I hate the quiet places that cause the smallest taste of what will be Candy says I hate the big decisions that cause endless revisions in my mind I'm gonna watch the blue birds fly over my shoulder I'm gonna watch them pass me by Maybe when I'm older What do you think I'd see If I could walk away from me What Goes On What goes on in your mind? I think that I am falling down. What goes on in your mind? I think that I am upside down. Baby, be good, do what you should, you know it will work alright. Baby, be good, do what you should, you know it will be alright. I'm going up, and I'm going down. I'm going from side to side. See the bells, up in the sky, Somebody's cut their string in two. Baby, be good, do what you should, you know it will work alright. Baby, be good, do what you should, you know it will be alright. One minute born, one minute doomed, One minute up, one minute down. What goes on in your mind? I think that I am falling down. Baby, be good, do what you should, you know it will work alright. Baby, be good, do what you should, you know it will be alright. Some Kinda Love Some kinds of love Marguerita told Tom Between thought and expression lies a lifetime Situations arise because of the weather and no kinds of love are better than others Some kinds of love Margueirta told Tom like a dirty French novel the absured courts the vulgar and some kinds of love the possibilites are endless and for me to miss one would seem to be groundless I head what you said Margueritat told Tom And of course you're a bore But at that you're not charmless for a bore is a straight line that finds a wealth in division and some kinds of love are mistaken for vision Put jelly on your shoulder Let us do what you fear most That from which you recoil but which still makes your eyes moist Put jelly on your shoulder lie down upon the carpet between thought and expression let us now kiss the culprit I don't know just what it's all about Put on your red pajamas and find out. Pale Blue Eyes Sometimes I feel so happy, Sometimes I feel so sad. Sometimes I feel so happy, But mostly you just make me mad. Baby, you just make me mad. Linger on, your pale blue eyes. Linger on, your pale blue eyes. Thought of you as my mountain top, Thought of you as my peak. Thought of you as everything, I've had but couldn't keep. I've had but couldn't keep. Linger on, your pale blue eyes. Linger on, your pale blue eyes. If I could make the world as pure and strange as what I see, I'd put you in the mirror, I put in front of me. I put in front of me. Linger on, your pale blue eyes. Linger on, your pale blue eyes. Skip a life completely. Stuff it in a cup. She said, Money is like us in time, It lies, but can't stand up. Down for you is up." Linger on, your pale blue eyes. Linger on, your pale blue eyes. It was good what we did yesterday. And I'd do it once again. The fact that you are married, Only proves, you're my best friend. But it's truly, truly a sin. Linger on, your pale blue eyes. Linger on, your pale blue eyes. Jesus Jesus, help me find my proper place Jesus, help me find my proper place Help me in my weakness 'Cos I'm falling out of grace Jesus Jesus Beginning To See The Light Well, I'm beginning to see the light. Well, I'm beginning to see the light. Some people work very hard, but still they never get it right. Well, I'm beginning to see the light. I wanna tell all you people, now. Now, now, baby, I'm beginning to see the light. Hey, now, baby, I'm beginning to see the light. Wine in the mornin', and some breakfast at night. Well, I'm beginning to see the light. Here we go again, playing the fool again. Here we go again, acting hard again. All right! Well, I'm beginning to see the light! I wanna tell you, ooh-oh-oh! Hey, now, baby, I'm beginning to see the light! It comes very softly now. I wore my teeth in my hands so I could miss the hell of a night. Hey! Well, I'm beginning to see the light! Now, now, now, now, now, now, now, now, now, baby, I'm beginning to see the light, now! It comes softer! Hey, now, baby, I'm beginning to see the light. I met myself in a dream, and I just want to tell you, Everything was alright. Hey, now, baby, I'm beginning to see the light. Here comes two of you. Which one will you choose? One is black and one is blue, Don't know just, what to do. Alright! Well, I'm beginning to see the light, oh, now, here she comes! Hey, yeah, baby, I'm beginning to see the light! Oh-ahhhh! Some people work very hard, But still they never get it right. Well, I'm begiing to see the light. Ah, it's getting a little softer, maybe, in there. Now, now, baby, I'm beginning to see the light. Ah, it's coming around again, Hey, now, now, now, baby, I'm beginning to see the light. One more time. There are problems in these times, But, woo!, none of them are mine! Oh, baby, I'm beginning to see the light. Here we go again, I thought that you were my friend. Here we go again, I thought that you were my friend. How does it feel, to be loved? How does it feel, to be loved? I'm Set Free I've been set free and I've been bound To the memories of yesterday's clouds I've been set free and I've been bound And now I'm set free I'm set free I'm set free to find a new illusion I've been blinded but Now I can see What in the world has happened to me The prince of stories who walk right by me And now I'm set free I'm set free I'm set free to find a new illusion I've been set free and I've been bound Let me tell you people what I found I saw my head laughing rolling on the ground And now I'm set free I'm set free I'm set free to find a new illusion That's The Story Of My Life That's the story of my life That's the difference between wrong and right But, Billy said, Both those words are dead That's the story of my life The Murder mystery
After Hours 1-2-3 If you close the door, the night could last forever Keep the sunshine out and say hello to never All the people are dancing and they're havin such fun I wish it could happen to me But if you close the door, I'd never have to see the day again. If you close the door, the night could last forever, Leave the wineglass out and drink a toast to never Oh, someday I know someone will look into my eyes And say hello -- you're my very special one-- But if you close the door, I'd never have to see the day again. Dark cloudy bars Shiny Cadillac cars And the people on subways and trains Looking gray in the rain as they stand disarrayed All the people look well in the dark And if you close the door, the night could last forever. Leave the sunshine out and say hello to never All the people are dancing and they're having such fun I wish it could happen to me 'Cause if you close the door, I'd never have to see the day again. I'd never have to see the day again. (once more) I'd never have to see the day again.
*** Thanx a lot to Sophie who corrected some mistakes ***
Loaded Who Loves The Sun Who loves the sun Who cares that it makes plants grow Who cares what it does Since you broke my heart Who loves the wind Who cares that it makes breezes Who cares what it does Since you broke my heart Pa Pa Pa Pa Who loves the sun Pa Pa Pa Pa Who loves the sun Pa Pa Pa Pa Not everyone Pa Pa Pa Pa Who loves the sun Who loves the rain Who cares that it makes flowers Who cares that it makes showers Since you broke my heart Who loves the sun Who cares that it is shining Who cares what it does Since you broke my heart Pa Pa Pa Pa Who loves the sun Pa Pa Pa Pa Who loves the sun Pa Pa Pa Pa Not everyone Pa Pa Pa Pa Who loves the sun Sun Sun Sun Pa Pa Pa Pa Who loves the sun Pa Pa Pa Pa Who loves the sun Pa Pa Pa Pa Not everyone Pa Pa Pa Pa Who loves the sun
Sweet Jane ( 1969 Live version ) Anyone who ever had a heart Wouldn't turn around and break it And anyone who's ever played a part Wouldn't turn around and hate it Sweet Jane, sweet Jane, oh, sweet, sweet Jane Waiting for Jimmy down by the alley Waiting there for him to came home Waiting down there on the corner Thinking ways to get back home Sweet Jane, sweet Jane, oh, sweet, sweet Jane Anyone who's ever had a dream Anyone who's ever played a part Anyone who's gonna live lonely Anyone who's ever stood apart Sweet Jane, sweet Jane, oh, sweet, sweet Jane Heavenly wine and roses Seem to whisper to me, when you smile nananana... Sweet Jane, sweet Jane, oh, sweet, sweet Jane
Rock & Roll Jenny said when she was just five years old You know there's nothing happening at all Every time she puts on the radio There was nothing goin' down at all Then one fine mornin' she puts on a New York station She couldn't believe what she heard at all She started dancin' to that fine fine music You know her life was saved by Rock 'n' Roll Despite all the amputations You could just dance to a rock 'n' roll station Jenny said when she was just five years old My parents are gonna be the death of us all Two TV sets and two Cadillac cars-- Ain't gonna help us at all Then one fine mornin' she puts on a New York station She don't believe what she heard at all She started dancin' to that fine fine music You know her life was saved by Rock 'n' Roll Despite all the computations You could just dance to a rock 'n ' roll station And it was alright. Cool It Down Somebody took the papers And somebody's got the key And somebody nailed the door shut That says hey what you think that you see But me l'm down around the corner You know I'm lookin' for Miss Linda Lee Because she's got the power to love me by the hour Gives me double you L-O-V-E Hey baby if you want it so fast Don't you know that it ain't gonna last Of course you know it makes no difference to me Somebody's got the time time Somebody's got the right All of the other people Tryin' to use up the night But now me l'm out on the corner You know I'm lookin' for Miss Linda Lee Because she's got the power to love me by the hour Gives me double you L-O-V-E Ooh if you want it so fast Don't you know honey you can get it so fast But of course you know it makes no difference to me Oh oh oh you'd better cool it down You know you'd better cool it down You know you'd better cool it down You know you'd better cool it down Oh hey if you want it so fast Now lookie baby don't you want it to last But of course you know that it makes no difference to me Oh you'd better cool it down You know you'd better cool it down You know you'd better cool it down New Age Can I have your autograph? he said to the fat blond actress You know, I've seen every movie you've been in from "Pass of Pain" to "Duels of Glory" And when you kissed Robert Mitchum Gee, but I thought you'd never catch him You're over the hill right now, and you're looking for love You're over the hill right now, and you're looking for love I'll come running to you, honey, when you want me I'll come running to you, honey, when you want me Can I have your autograph? he said to the fat blond actress You know, I know everything you've done Anyway, I hate divorces To the left is a marble shower It was fun even for an hour, but You're over the hill right now, and you're looking for love You're over the hill right now, and you're looking for love I'll come running to you, honey, when you want me I'll come running to you, honey, when you want me Something's got a hold on me and I don't know what Something's got a hold on me and I don't know what It's the beginning of a new age... Head Held High My mama told me, ever since I was seven, Hold your head up high. My parents toldmy ever since I was eleven, "Hold your head up high." They said the answer was to become a dancer, Hold your head high. Oh, just like I figured, they're always disfigured With their heads up high. Now I'm older, I'm getting so much bolder With my head up high Oh, as I figured, just like I figured Since your head's up high, baby. Oh, just like I figured, You know, they was disfigured Hold your head up high. You know, they says the answer was to become a dancer Hold your head high, boy. Ever since I was a baby on my mama's knee, Oh, just listened to what everybody told me, Oh yes I did. But still the answer was to become a dancer, And hold your head high, But, just like I figured, they're always disfigured, They hold their heads up high, Watch out! Do the dog! Oh, watch out! And now I'm older, they say I'm so much bolder Got your head up high. Oh, and the answer was, hey, to become a dancer, Head up high. Well, but just like I figured, they're always disfigured They got their heads up high. But the answer was, now, boy, to become a dancer With your head up high Head up high, Head up high... Lonesome Cowboy Bill Lonesome Cowboy Bill Rides the rodeo. Lonesome Cowboy Bill, You got to see him yodel "Ay-hee-ho!" Lonesome Cowboy Bill Rides the rodeo. Ever since he was a little lad, Loves the rodeo. Bucking broncs, yeah, sipping wine, You got to see him go, And all the ten-gallon girls Love to hear him yodel "Ay-hee-ho!" Because Lonesome Cowboy Bill Rides the rodeo. Lonesome Cowboy Bill, You got to see him yodel "Ay-hee-ho!" Oh, Lonesome Cowboy Bill, You still ride the rodeo. Up 'round the Colorado shore, Down by the Ohio. Sometimes even New Orleans, Down by the Mardi Gras, And all the ten-gallon girls Love to hear him yodel "Ay-hee-ho!" He's Lonesome Cowboy Bill, He rides the rodeo. Just a Lonesome Cowboy Bill, You got to see him yodel "Ay-hee-ho!" You got to see him in the rodeo When he's ridin', goin' too darn fast. You got to hear the people scream and shout They call him, Lonesome Cowboy Bill He's a Lonesome Cowboy Bill He goes... Lonesome Cowboy Bill Rides the rodeo. Lonesome Cowboy Bill, You got to see him yodel "Ay-hee-ho!" I said, You got to see him yodel "Ay-hee-ho!" Oh he's a Lonesome Cowboy Bill, Lonesome Cowboy Bill... I Found A Reason Pa papa papa papa Pa papa papa papa Pa papa papa papa Pa papa papa papa I found a reason to keep living Oh and the reason, dear, is you I found a reason to keep singing Oh and the reason, dear, is you Oh I do believe If you don't like things you live For some place you never gone before Pa papa papa papa Pa papa papa papa Pa papa papa papa Pa papa papa papa Honey, I found a reason to keep living And you know the reason, dear it's you And I've walked down life's lonely highways Hand in hand with myself And I realized how many paths have crossed between us Oh I do believe You're all what you perceive What come is better that what came before Oh I do believe You're all what you perceive What come is better that what came before Pa papa papa papa Pa papa papa papa Pa papa papa papa Pa papa papa papa And you'd better come, come come, come to me Come come, come to me pa papa papa pa Train Round The Bend Train round the bend Takin me away from my country I'm sick of the trees Take me to the city Train comin' round the bend Oh train comin' round the bend Been in the country Oh much too long Trying to be a farmer But nothing that I planted never seems to grow Train comin' round the bend Train comin' round the bend Hey I am just a city boy And really not the country kind Oh I need the city streets and I need your light To see bend comin' round the bend The train comin' round the bend Allright Ooh Ohh Once She's going twice She's going to the loop up and down She's going twice She's going the train comin round the bend You know the train comin round the bend And I'm out of nowhere Takin' me back where I belong I've been here once and I don't take it tonight For the train comin round the bend The train comin round the bend OOOh Allright! Oh! Sweet Nuthin' Say a word for Jimmy Brown He ain't got nothing at all Not a shirt right of his back He ain't got nothing at all And say a word for Ginger Brown Walks with his head down to the ground Took the shoes right of his feet To poor boy right out in the street And this is what he said Oh sweet nuthin' She ain't got nothing at all Oh sweet nutin' She ain't got nothing at all Say a word for Polly May She can't tell the night from the day They threw her out in the street But just like a cat she landed on her feet And say a word for Joanna Love She ain't got nothing at all 'Cos everyday she falls in love And everynight she falls when she does She said Oh sweet nuthin' You know she ain't got nothing at all Oh sweet nutin' She ain't got nothing at all Oh let me hear you! Say a word for Jimmy Brown He ain't got nothing at all Not a shirt right of his back He ain't got nothing at all And say a word for Ginger Brown Walks with his head down to the ground Took the shoes right of his feet To poor boy right out in the street And this is what he said Oh sweet nuthin' She ain't got nothing at all Oh sweet nutin' She ain't got nothing at all She ain't got nothing at all Oh sweet nutin' She ain't got nothing at all She ain't got nothing at all She ain't got nothing at all
V.U I Can't Stand It Before being a man Livin' in a garbage pail My landlady call me up She tried to hit me with a mop I can't stand it anymore more I can't stand it anymore more I can't stand it anymore more But if Shelly she would just come back It'll be allright But if Shelly she would just come back It'll be allright I live with thirteen dead cats A purple who hear spats They're all livin in a hall And I can't stand it anymore I can't stand it anymore more I can't stand it anymore more I can't stand it anymore more But if Shelly she would just come back It'll be allright But if Shelly she would just come back It'll be allright Before being a man Livin' in a garbage pail My landlady call me up She tried to hit me with a mop I can't stand it anymore more I can't stand it anymore more I can't stand it anymore more But if Shelly she would just come back It'll be allright But if Shelly she would just come back It'll be allright Be allright, be allright.... Stephanie Says Stephanie says That she wants to know Why she's givin' half her life To people she hates now Stephanie says (Stephanie says) When answering the phone (Answering the phone) What country shall I say is calling From across the world But she's not afraid to die The people all call her Alaska Between worlds so the people ask her 'Cause it's all in her mind It's all in her mind Stephanie says (Stephanie says) That she wants to know (She wants to know) Why it is though she's the door She can't be the room Stephanie says (Stephanie says) But doesn't hang up the phone (Hang up the phone) What sea shell sea is calling From across the world But she's not afraid to die The people all call her Alaska Between worlds so the people ask her 'Cause it's all in her mind It's all in her mind They're asking 'Is it good or bad?' It's such an icy feeling It's so cold in Alaska (Stephanie says) X3 She's My Best Friend She's my best friend, certainly not the average girl She's my best friend, understands me when I'm falling down Oh, it hurts to be that way Oh, it hurts to know that you're that kinda fellow Here's to Newspaper Joe, dropped his teeth on the floor Caught his hand in the door Guess that's the way the news goes If you want to see me Sorry, but I 'm not around If you want to be me Turn around, I'm by the window where the light is She' my best friend, better than a dog or cat She's my best friend, understands me when I'm falling down Oh, it hurts to be that way Oh, it hurts to know that you're that kinda fellow Here's to Mullberry Jane, She made jam when she came Somebody cut off her feet, now jelly rolls in the street If you want to see me Sorry, but I 'm not around If you want to feel me Turn around, I'm by the window where the light is She's my best friend, certainly not the average girl She's my best friend, understands me when I'm falling Falling down, Falling down, ...
*** Thanx a lot to Mark who corrected some mistakes *** Lisa Says Lisa says that it's allright When she meets me alone at night Lisa says that she has a fun And she'll do it with just about anyone. Lisa says, Lisa says, Lisa says, Lisa says Lisa says that she's on the run Looking for a special one Lisa says that every time she makes his trip She knows her heart will beat Lisa says, Lisa says, Lisa says, Lisa says Looking for a part and some action Going to make it feel okay But what do you find When the time has come on, now Look at it run Lisa says, Lisa says, Lisa says, Lisa says Lisa says, Lisa says, Lisa says... The Ocean (1969, Live version) Here comes the ocean and the waves Down by the shore Here comes the ocean and the waves Dawn by the sea birthes a hollow hair Part of a figure head It nearly drive me crazy I am a lazy son My death would get things done Mostly they ho-ho-ho But here comes the waves Down by the shore Washing the eye of the land That has been Down by the sea, down by the sea Down by the sea, down by the sea Here comes the ocean and the waves Down by the shore Here comes the ocean and the waves Dawn by the sea Insects are evil thoughts Fought off by selfish men It nearly drives me crazy I am a lazy son I never get things done Mostly they ho-ho-holler But here comes the waves Down by the shore Washing the eye of the land That has been Dawn by the sea ... Here comes... Foggy Notion She's over by the corner Got her hands by her sides They hit her harder harder harder Till they thought she might die Well I got a foggy notion, do it again Over by the corner, do it again I got my calomine lotion baby, do it again I got a foggy notion, do it again She made me do something that I never did before I rushed right down to a flower store I bought her a boundle a beautiful batch Dont't you know something, she sent 'em right back Sally Mae, Sally Mae, Sally Mae, Sally Mae Sally Mae, Sally Mae, Sally Mae, Sally Mae Temptation Inside Your Heart Somebody shut the door I know where temptation lies Inside of you heart You can talk during this I know where the evil lies Inside of your heart Well get out of here If you're gonna try to make it right You're surely gonna end up wrong Wrong wrong wrong wrong Oh, shut the door! Ah! That's the only chord I know I know where the mirror's edge Is inside of your heart I know where the razor's edge Ha ha ha ha! Is inside of your heart Motown It's not even five feet Well if you're gonna make it right You're surely gonna end up wrong You don't look like Martha and the Vandellas Oh it's just gonna start all over again Somebody get her out of here Electricity comes from other planets It's not that a bad solo Four times is pretty together You can't stay here Yes I can! I can talk to myself this way Lock the door this time I know where temptation lies Inside of your heart Yes he's ready I know where the evil lies Inside of your heart Is he ready Well if you're gonna make it right You're surely gonna end up wrong Oh the whole mess start again Well New York buildings are very hight And not all offensive Lock the door Gonna carry on at infinite leght, my dear The Pope in the silver castle Was that awful Hey, that's fine. That's it. And that's it.
*** Thanx a lot to Mark who corrected some mistakes *** One of these Days One of these days Ain't it peculiar Gonna look for me And baby I'll be gone One of these days And it won't be long You gonna call my name And I'll be far gone I'm gonna tell you something That I ain't told no one before That is if I can't stop dancing And get my poor self off this bar room floor One of these days Ain't it peculiar Babe you're gonna call my name You now that I'll be gonne (bye bye baby) I'm gonna tell you something That I ain't told no one before That is if I can't stop dancing And get my poor self off this bar room floor One of these days And it won't be long You gonna call my name And I'll be gone You gonna call my name And I'll be gone You gonna call my name And I'll be gone
*** Thanx a lot to Mark who corrected some mistakes *** Andy's Chest If I could be anything in the world that flew I would be a bat and come swooping after you And if the last time you were here things were a bit askew Well you know what happens after dark When rattlesnakes lose their skins and their hearts And all the missionaries lose their bark Oh, all the trees are calling after you And all the venom snipers after you Are all the mountains bolder after you? If I could be anyone of the things in this world that bite Instead of an ocelot on a leash, I'd rather be a kite And be tied to the end of your string And flying in the air, babe, at night Cause ou know what they say about honey bears When you shave off all their baby hair You have a hairy minded pink bare bear And all the balls are rolling out for you And stones are all erupting out for you And all the cheap bloodsuckers are flying after you Yesterday, Daisy Mae and Biff were grooving on the street And just like in a movie, her hands became her feet Her belly button was her mouth Wich meant she tasted what she'd speak But the funny thing is what happened to her nose It grew until it reached all of her toes Now when people say her feet they mean her nose And curtains laced with diamonds dear for you And all the Roman Noblemen for you And kingdom's Christian Soldiers dear for you And melting ice cap mountain tops for you And knights in flamming silver robes for you And bats that with a kiss turn prince for you Swoop, Swoop oh baby, Rock Rock Swoop, Swoop, Rock, Rock I'm Sticking With You I'm sticking with you 'Cos I'm made out of glue Anything that you might do I'm gonna do too You held up a stagecoach in the rain And I'm doing the same So you're hanging from a tree And I made believe it was me I'm sticking with you 'Cos I'm made out of glue Anything that you might do I'm gonna do too There're people going into the stratosphere Soldiers fighting with the Cong But with you by my side I can do anything When we swing, babe, we hang past right and wrong I'll do anything for you Anything you want me too I'll do anything for you Oohoh I'm sticking with you Oohoh I'm sticking with you Oohoh I'm sticking with you
*** Thanx a lot to Mark who corrected some mistakes ***
Another View We're Gonna Have A Good Time Together We're gonna have a real good time together We're gonna have a real good time together We're gonna have a real good time together We're gonna dance and bawl and shout together Sha-na-na-na-na -na-na-na-na-na ... I'm gonna move right in Well she's straight and look like a lot of fun The bar's open I'm gonna go have a drink with everyone Walking downtown skies can't get any greater Haven't got no money and I haven't got a prayer I'm gonna move right in (x3) After we hang a little we're gonna have a little fun Gonna go shoot and kill and go knife everyone The bar looks like haven gonna have myself a drink Hey man don't you know I fell right in to the swing I'm Gonna move right in (x3) Yeah Gonna go uptown so I can get myself straight Gonna go see my mama see if I got myself a date Time is runnin' out I'm comin' right down to the wire Gotta go do something to get myself higher I'm gonna move right in (x3) Hey Hey Mr.Rain (version 1) Three, four Hey Mr. Rain Ain't you follow me down Hey Mr. Rain Ain't you follow me down I've been working baby Oh! so hard Starin' up in the sky Hey Mr. Rain Ain't you follow me down Hey Mr. Rain Ain't you come on down I've been working baby Oh! so hard Starin' up in the sky Hey Mr. Rain Ain't you going from down Hey Mr. Rain Won't you follow me down I've been working baby Oh! so hard Starin' up in the sky Hey Mr. Rain Won't you follow me down Hey Mr. Rain Ain't you follow me down Hey Mr. Rain Ain't you follow me down I've been working baby Oh! so hard Starin' up in the sky Ride Into The Sun Looking for another place Somewhere else to be Looking for another chance To ride into the sun Ride into the sun Ride into the sun Ride into the sun Ride into the sun Where everything seems so pretty When you're lonely and tired of the city Remember it's a flower made out of clay To the city Where everything seems so ugly When your sitting at home in self pitty Remember you're just one more person Who's living there It's hard to live in the city It's hard to live in the city It's hard to live in the city Coney Island Steeplechase Would you like to go on the Coney Island Steeple Go and have a good time We'll take the subway right down to King's Highway Gonna have a good time If it's all right it would be so nice If you come and go with me The roller-coaster you and me Just try Would you like to go on the Coney Island Steeple Go and have a good time Like a sister and brother we'll cling to each other When they find out their parents aren't there Oh it'd be so nice Like choco with ice Oh if you come and go with me How nice it would be Don't be so shy Monday, Tuesday, Wednesday, Thursday Maybe not Friday Saturday, Sunday Coney Island, Coney Island, Coney Island ... Ferryboat Bill Ferryboat Bill, won't you please come home? You know your wife has married a midget's son And that's the short and long of it. Rock And Roll (original version) Jenny said, when she was just five years old There was nothin' happening at all Every time she puts on the radio There was nothin' goin' down at all, not at all Then, one fine mornin', she puts on a New York station You know, she couldn't believe what she heard at all She started shakin' to that fine, fine music You know, her life was saved by rock'n'roll Despite all the imputations You know, you could just go out And dance to a rock'n'roll station And it was all right, hey baby, You know, it was all right Jenny said, when she was just about five years old `You know, my parents are gonna be the death of us all Two TV sets and two Cadillac cars Well, you know, ain't gonna help me at all` Then, one fine morning, she turns on a New York station She doesn't believe what she hears at all Ooh, she started dancin' to that fine, fine music You know, her life was saved by rock'n'roll Yeah, rock'n'roll Despite all the computations You could just dance to that rock'n'roll station And baby, it was all right, yeah Hey, it was all right Hey, here she comes now Jenny said, when she was just about five years old 'Hey, you know, there's nothin' happening at all, not at all Every time I put on the radio You know, there's nothin' goin' down at all, not at all But, one fine morning, she hears a New York station She couldn't believe what she heard at all, hey, not at all She started dancing to that fine, fine music You know, her life was saved by rock'n'roll Yes, rock'n'roll Despite all the computations You know, you could just dance to the rock'n'roll station All right All right, all right, and it was all right Oh, listen to me now, it was all right Come on now, believe me, it was all right it was all right Hey, it's all right now,.......