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 & Nico
- 1967 -

Sunday Morning
I'm Waiting For The Man
Femme Fatale
Venus In Furs
Run Run Run
All Tomorrows Parties
Heroin
There She Goes Again
I'll Be Your mirror
The Black Angel's Death Song
European Son

 
White Light / White Heat
- 1967 -

White Light White Heat
The Gift
Lady Godiva's Operation
Here She Comes Now
I Heard Her Call My Name
Sister Ray


Sweet Jane ( Live Version )

The Velvet Underground
- 1969 -

Candy Says
What Goes On
Some Kinda Love
Pale Blue Eyes
Jesus
Beginning To See The Light
I'm Set Free
That's The Story Of My Life
The Murder mystery
After Hours
Loaded
- 1970 -

Who Loves The Sun
Sweet Jane
Rock & Roll
Cool It Down
New Age
Head Held High
Lonesome Cowboy Bill
I Found A Reason
Train Round The Bend
Oh! Sweet Nuthin'
V.U
- 1985 -

I Can't Stand It
Stephanie Says
She's My Best Friend
Lisa Says
The Ocean
Foggy Notion
Temptation Inside Your Heart
One of these Days
Andy's Chest
I'm Sticking With You
Another View
- 1986 -

We're Gonna Have A Good Time Together
I'm Gonna Move Right In
Hey Mr.Rain (version 1)
Ride Into The Sun
Coney Island Steeplechase
Guess I'm Falling In Love (instrumental version)
Hey Mr.Rain (version 2)
Ferryboat Bill
Rock And Roll (original version)

Add some NEW lyrics (B-sides, live tracks, Cover), want to CORRECT some of them or found a BUG ? Just send a little EMAIL or simply post a message on the FORUM. Thanx !

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.


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


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

Left Voice (Morrison, Tucker) Right Voice (Reed, Yule)
candy screen wrappers of silkscreen fantastic, requiring memories, both lovely and guiltfree, lurid and lovely with twilight of ages, luscious and lovely and filthy with laughter, laconic giggles, ennui fort the passions, in order to justify most spurious desires, rectify moments, most serious and urgent, to hail upon the face of most odious time, requiring replies most facile and vacuous, with words nearly singed, with the heartbeat of passions, spew forth with the grace of a tart going under, subject of great concern, noble origin denigrate obtuse and active verbs pronouns, skewer the sieve of optical sewer, release the handle that holds all the gates up, puncture the eyeballls, that seep all the muck up, read all the books and he people worth reading and still see the muck on the sky of the ceiling
please raise the flag rosy red carpet envy english used here is messenger is nervous it's no fun at all out here in the hall mister moonlight succulent smooth and gorgeous. Isn't it nice? We're number One and so forth. Isn't it sweet being unique?
for screeching and yelling and various offenses, lower the queen and bend her over the tub, against the state, the country, the committe, hold her head under the water please for an hour, for groveling and spewing and various offenses, puncture the bloat with the wing of a sparrow, the inverse, the obverse, the converse,the reverse, the sharpening wing of the edge of a sparrow, for suitable reckonings too numerous to mention, as the queen is fat she is devoured by rats there is one way to skin a cat or poison a rat it is hetero four hear to three forthirightly stated. relent and obverse and inverse and perverse and reverse the inverse of perverse and reverse and reverse an reverse and reverse and reverse and chop it and pluck it and cut it and spit it and sew it to joy on the edge of a cyclop and spinet it to rage on the edge of a cylindrical minute.
put down that rag simpering, callow and morose who let you in? if I knew, then I could get out the murder you see is a mystery to me dear Mister Muse fellow of wit and gentry medieval ruse filling the shallow and empty, fools that duel duel in pools.
to Rembrandt and Oswald, to peanuts and ketchup, sanctimonious sycophants stir in the bushes, up to the stand with your foot on the bible as king I must order and constantly arouse, if you swear to catch up and throw up and up up, a king full of virgin kiss me and spin it, excuse to willow and wander dark wonders divest me of robes-sutures Harry and pig meat, the fate of a nation, rests hard on your bosoms, the king on his throne, puts his hand down his robe, the torture of inverse and silk screen and Harry, and set the tongue squealing the reverse and inverse tantalize poets with visions of grandeur, their faces turn blue with the reek of the compost, as the livig try hard to retain what the dead lost, with double dead sickness from writing at what cost and business and business and reverse and reverse and set the brain reeling the inverse and perverse
objections suffice apelike and tactile bassoon oboeing me cordon the virus' section off to the left is what is not right English arcane tantamount here to frenzy passing for me lascivious elder passion corpulent filth disguised as silk
contempt, contempt and contempt for the boredom, I shall poison the city and sink it with fire, for Cordless and Harry and Apepig and Scissor, the messenger's wig seems fraught with desire, for blueberry picnics and pince-nez and magpies, the mseenger's skirt, would you plaese hook it higher, for children and adults all thos under ninety, how truly disgusting. Would you please put it down? a stray in this fray is no condom worth saving, as king I'm quite just, but it's just quite impossible, a robe and a robe and a robe and a bat, no double class inverse could make lying worth dying with cheap simian melodies, hillbilly outgush, for illiterate ramblings for cheap understanding the simple the inverse, the compost, the reverse, the obtuse and stupid, and business, and business, and cheap, stupid lyrics, and simple mass reverse while the real thing is dying
accept the pig, enter the Owl and Gorgeous, King on the left, it on the right and primping adjusting his nose as he reads from his scroll folksy knockwurst peel back the skin of French and what do you find? follicles intertwinning, succulent prose wrapped up in robes
off with his head, take his head from his neck off, requiring memories both lovely and guiltfree, put out his eyes, then cut his nose off, sanctimonious sycophants stir in the bushes, scoop out his brain, put a string where his ears were, all the king's horses and all the king's men, swing the whole mess at the end of the wire, scratch out his eyes with the tip of a razor, let the wire extend from the tip of a rose, Caroline, Caroline, Caroline, Oh! but retains the remnants of what once was a nose, pass me my robe, fill my bath up with water jumpsuit and pig meat and making his fortune, while making them happy with the inverse and obverse and making them happy and making them happy with the coy and the stupid, just another dumb lackey, who puts out one thing, while singing the other, but the real thing's alone and it is no man's brother
no one knows no nose is good news and senseless extend the wine drink here toast to selfless ten year old port is perfect in court safety is nice not an unwise word spoken scary, bad dreams made safe in lovely songs no doom or gloom allowed in this room
Casbah and Cascade and Rosehip and Feeling, Cascade and Cyanide, Rachaminoff, Beethoven skull silly wagon and justice and perverse and reverse the inverse and inverse and inverse, blueberry catalog, questionable earnings, hustler's lament and the rest will in due cry, to battle and scramble and browbeat and hurt while chewing on minstrels and choking on dirt, disease please seems the order of the day, please the king, please the king, please the king day, Casbah and Cascade and Rosehip and Feeling, point of order return the king here to the ceiling oh, not to be whistled or studied or hummed or remembered at nights, when the I is alone, but to skewer and ravage and savage and split with the grace of a diamond, bellicose wit, to stun and to stagger with words as such stone, that those who do hear cannot again return home
razzamatazz, there's nothing on my shoulder, lust is a must, shaving my head's made me bolder, will you kindly read what it was I brought thee hello to Ray, hello to Godiva and Angel, who let you in? isn't it nice the party? aren't the lights pretty at night?
sick leaf and sorrow and pincers net-scissors, regard and refrain from the daughters of marriage, regards for the elders and youngest in carriage, regard and regard for the inverse and perverse and obverse, and diverse, of reverse and reverse, regard from the sick, the dumb, and the camel from pump's storing water, like brain is too marrow to x-ray and filthy and cutting and peeling to skin and to skin and to bone and to structure to livid and pallid and turgid and structured and structured and structured and structured and structured and regard and refrain, the sick and the dumb, inverse, reverse and perverse contempt, contempt, and contempt for the seething for writhing and reeling and two-bit reportage, for sick with the body and sinister holy, the drown burst blue babies now dead on the seashore, the valorous horseman, who hang from the ceiling, the pig on the carpet, the dusty pale jissom, that has no effect for the sick with the see-saw, the inverse, obverse converse, reverse of reverse the diverse and converse of reverse and perverse and sweet pyrotechnics, and let's have another of inverse, converse, diverse, perverse and reverse, hell's graveyard is damned as they chew on their brains, the slick and the scum, reverse, inverse and perverse
plowing while it's done away dumb and ready pig meat sick upon the carpet climb into the casket safe within the parapet sack is in the parapet pigs are out and growling slaughter by the seashore see the lifeguard drowning sea is full of fishes fish's full of china china plates are falling all fall down sick and shiny carpet lie before my eyes eyes lead me to the ceiling walk upon the wall wall tender as the green grass drink the whisky horror see the young girls dancing flies upon the beaches beaches are for sailors nuns across the sea-wall black hood horseman raging swordsman eating fire sick upon the staircase sick upon the staircase blood upon the pillow climb into the parapet see the church bells gleaming knife that scrapes a sick plates of dentures full of air holes the tailor couldn't mend straight shoot her full of air holes climbing up the casket take me to the casket teeth upon her red throat screw me in the daisies rip apart her holler snip the seas fantastic treat her like a sailor full and free and nervous out to make his fortune either this or that way sickly or in good health piss upon a building like a dog in training teach to heel or holler yodel on a sing song down upon the carpet
fire on the carpet set the house ablazing seize and bring it flaming gently to the ground ground Dizzy Bell Miss Fortune fat and full of love-juice drip it on the carpet down below the fire hose weep and whisky fortune sail me to the moon, dear drunken dungeon sailors headless Roman horsemen the king and queen are empty their heads are in the outhouse fish upon the water bowl upon the saviour tooothless wigged Laureate plain and full of fancy name upon a letterhead impressing all wheatgerm love you for a nickel ball you for a quarter set the casket flaming do not go gentle blazing tickle polyester sick within the parapet screwing for a dollar sucking on a fire-hose chewing on a rubber line tied to chairs and rare bits pay another player oh you're such a good lad here's another dollar tie him to the bedpost sick with witches' covens craving for a raw meat bones upon the metal sick upon the circle down upon the carpet down upon the carpet down below the parapet waiting for your bidding pig upon the carpet tumescent railroad neuro-anaesthesia analog ready for a good look drooling at the birches swinging from the birches succulent Nebraska

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


Standin' on a corner
Suitcase in my hand
Jack's in his corset, Jane is in her vest
and me I'm in a rock 'n' roll band. Huh.
Riding a Stutz Bear Cat, Jim
ya know, those were different times
all the poets studied rules of verse
and those ladies they rolled their eyes
Sweet Jane
Sweet Jane
Sweet Jane
Now Jack, he is a banker
and Jane, she's a clerk
and both of them save their monies
when they get home from work
sittin downby the fire
Ooo, the radio does play
the classical music there, Jim
The March of the Wooden Soldiers
All you protest kids
you can hear Jack say
Sweet Jane
Sweet Jane
Sweet Jane
Some people they like to go out dancin
and other people they have to work. Just watch me now
and there's even some evil mothers
Well there gonna tell you that everthing is just dirt
you know that women never really faint
and that villians always blink their eyes
that children are the only ones who blush
and that life is just to die
But anyone who ever had a heart
they wouldn't turn around and break it
and anyone who ever played a part
They wouldn't turn around and hate it
Sweet Jane, Sweet Sweet Jane

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,.......

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