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2:56 | 
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from The Truth About Cats & Dogs (고양이와 개에 관한 진실) by Howard Shore [ost] (1996)
It won't do
To dream of caramel, To think of cinnamon And long for you. It won't do To stir a deep desire, To fan a hidden fire That can never burn true. I know your name, I know your skin, I know the way These things begin But I don't know How I would live with myself, What I'd forgive of myself If you don't go. So goodbye, Sweet appetite No single bite could satisfy... I know your name, I know your skin, I know the way These things begin; But I don't know What I would give of myself, How I would live with myself, If you don't go. It won't do To dream of caramel, To think of cinnamon And long for you. |
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from Suzanne Vega - Solitude Standing (2004)
I am sitting
In the morning At the diner On the corner I am waiting At the counter For the man To pour the coffee And he fills it Only halfway And before I even argue He is looking Out the window At somebody Coming in "It is always Nice to see you" Says the man Behind the counter To the woman Who has come in She is shaking Her umbrella And I look The other way As they are kissing Their hellos I'm pretending Not to see them Instead I pour the milk I open Up the paper There's a story Of an actor Who had died While he was drinking It was no one I had heard of And I'm turning To the horoscope And looking For the funnies When I'm feeling Someone watching me And so I raise my head There's a woman On the outside Looking inside Does she see me? No she does not Really see me Cause she sees Her own reflection And I'm trying Not to notice That she's hitching Up her skirt And while she's Straightening her stockings Her hair Is getting wet Oh, this rain It will continue Through the morning As I'm listening To the bells Of the cathedral I am thinking Of your voice And of the midnight picnic Once upon a time Before the rain began I finish up my coffee It's time to catch the train |
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from Suzanne Vega - Solitude Standing (2004)
I came out of the darkness
Holding one thing A small white wooden horse I'd been holding inside And when I'm dead If you could tell them this That what was wood became alive What was wood became alive In the night the walls disappeared In the day they returned "I want to be a rider like my father" Were the only words I could say And when I'm dead If you could tell them this That what was wood became alive What was wood became alive Alive And I fell under A moving piece of sun Freedom I came out of the darkness Holding one thing I know I have a power I am afraid I may be killed But when I'm dead If you could tell them this That what was wood became alive What was wood became alive Alive |
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| from Suzanne Vega - Solitude Standing (2004) | |||||
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3:20 |
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from Suzanne Vega - Sessions At West 54Th (1998)
Even if I am in love with you All this to say, what's it to you? Of the fingerprints on me from you Observe the blood, the rose tattoo Other evidence has shown That you and I are still alone We skirt around the danger zone And don't talk about it later Marlene watches from the wall Her mocking smile says it all As the records the rise and fall Of every soldier passing I'm fighting things I cannot see But the only soldier now is me I think it's called my destiny That I am changing Marlene on the wall I walk to your house in the afternoon By the butcher shot with the sawdust strewn "Don't give away the goods too soon" And I tried so hard to resist Is what she might have told me And reminded me of the night we kissed And of why I should be leaving When you held me in your handsome fist Marlene watches from the wall Of every man who's been here Her mocking smile says it all As the records the rise and fall But the only one here now is me I think it's called my destiny I'm fighting things I cannot see That I am changing Marlene on the wall |
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4:32 |
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from Suzanne Vega - Sessions At West 54Th (1998)
You come from far away
In the blue and silent sunrise With pictures in your eyes Of coffeeshops and morning streets Where we recognized the sign But night is the cathedral We strangers know each other now As part of the whole design Curl me up inside you That will not fall asleep Oh, hold me like a baby And let me hear you through the heat You are the jester of this courtyard With a smile like a girl's With the dimples and the curls Distracted by the women By the pretty and the mischievous By the timid and the blessed By the blowing skirts of ladies Who promise to gather you to their breast Oh, hold me like a baby... You have hands of raining water And that earring in your ear The wisdom on your face Denies the number of your years With the fingers of the potter The arranger of disorder And the laughing tale of the fool With your strange and simple rules Yes now I've met me another spinner Of strange and gauzy threads With a long and slender body And a bump upon the head Oh, hold me like a baby... With a long and slender body And the sweetest softest hands And we'll blow away forever soon And go on to different lands And please do not ever look for me Blowing by one day But with me you will stay And you will hear yourself in song Oh, hold me like a baby |
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2:58 |
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from Suzanne Vega - Sessions At West 54Th (1998)
It won't do 소용 없어요 To dream of caramel 카라멜의 꿈을 꾸는 것도 To think of cinnamon 시나몬을 생각하는 것도 And long for you 그리고 당신을 원하는 것도 It won't do 소용 없어요 to stir a deep desire 깊은 욕망을 젓는 것도 To fan a hidden fire 숨겨진 불꽃에 부채질을 하는 것도 That can never burn true 절대 진실하게 타오를 수 없어요 I know your name 당신의 이름을 알아요 I know your skin 당신의 살결을 알아요 I know the way 이런것들이 어떻게 시작되는지 These things begin 난 알아요 But I don't know 하지만 난 몰라요 How I would live with myself 어떻게 내 자신을 견뎌내야 하는지 What I'd forgive of myself 스스로의 무엇을 용서해야 하는건지 If you don't go 만일 당신이 가지 않는다면.. So goodbye 그러니 잘 가요 Sweet appetite 달콤한 입맛이여 No single bite 단 한 번으론 Could satisfy 만족하지 못하겠죠 I know your name 당신의 이름을 알아요 I know your skin 당신의 살결을 알아요 I know the way 알아요 These things begin 이런 것들이 어떻게 시작되는지 But I don't know 하지만 난 몰라요 How I would live with myself 어떻게 나 자신을 붙들어야 하는지 What I would give of myself 스스로 무엇을 주어야 하는지 If you don't go 만일 당신이 가지 않는다면 It won't do 소용 없어요 To dream of caramel 캐러멜의 꿈을 꾸는 것도 To think of cinnamon 시나몬을 생각하는 것도 And long for you 그리고 당신을 원하는 것도
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4:11 |
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from Suzanne Vega - Sessions At West 54Th (1998)
Today I am
A small blue thing Or an eye Like a marble With my knees against my mouth I am cold against your skin I am perfectly round You are perfectly reflected I am watching you I am lost inside your pocket I am lost against I am falling down the stairs Your fingers I am thrown against the sky I am skipping on the sidewalk Scattering like light I am raining down in pieces Scattering like light Today I am I am scattering like light A small blue thing Made of glass Made of china I never blink I am cool and smooth and curious I am turning in your hand Turning in your hand Small blue thing |
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3:20 |
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from Suzanne Vega - Sessions At West 54Th (1998)
if your love were taken from me, it could be as flat as world before columbus every colour would be black and white all the tree would freeze in this cold ground if your life were taken from me that's the day that i lose half my sight it would be as cruel as world before columbus sail to the edge and i'd be there looking down those man who lust for land and for riches strange and new who love those trinkets of desire or the copper in your hair and they'll never know the gold oh they never will have you if your love were taken from me it would be as dark as the world before columbus how could they weigh the whort of you so rare every lights that bright would soon go dim those man who lust for land,and for riches strange and new down the waterfall and i'd swim over the brim who love those trinkets of desire,oh they will never have you |
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3:17 |
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from Suzanne Vega - Sessions At West 54Th (1998)
My name is Luka
제 이름은 루카에요 I live on the second floor 2층에 살지요 I live upstairs from you 당신 집 바로 윗층이요 Yes, I think you've seen me before 그래요, 전에 한번 본 적 있어요 If you hear something late at night 밤 늦게 말썽이 생긴것 같거나 Some kind of trouble, some kind of fight 누군가 싸우는 소리가 들려도 Just don't ask me what it was 무슨 일이 있었는지 묻지 말아주세요 Just don't ask me what it was 아무일도 아니니까 Just don't ask me what it was 제발 아무것도 묻지 말아주세요 I think it's because I'm clumsy 제가 서툴러서 그런거같아요 I try not to talk too loud 조용히 말하려고 애쓰기는 해요 Maybe it's because I'm crazy 아마 제가 좀 어리석었나봐요 I try not to act too proud 주눅든 표정을 지어야 하는데 They only hit until you cry 그들은 그냥 울때까지만 때려요 And after that you don't ask why 그러니까 왜냐고 묻지마세요 You just don't argue anymore 더이상 설득하려고 하지마세요 You just don't argue anymore 제가 잘못한 거니까 You just don't argue anymore 더 이상 설득하려고 하지 마세요 Yes, I think I'm O.K 네, 전 괜찮아요. I walked into the door again 다시 들어가봐야 해요 Well, if you ask that's what I'll say 다음에 또 내게 물어오시면 And it's not your business anyway 당신이 참견할 일이 아니라고 말할 거에요 I guess I'd like to be alone 이제 혼자 있고 싶어요 With nothing broken, 아무데도 부러지지 않았고 nothing thrown 삔 곳도 없어요. Just don't ask me how I am 단지, 제가 어떤지는 묻지 마세요 Just don't ask me how I am 아무렇지도 않으니 Just don't ask me how I am 제발 괜찮냐고 내게 묻지 마세요 |
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3:07 |
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from Suzanne Vega - Sessions At West 54Th (1998)
It's a one time thing It just happens A lot Walk with me What we have got And we will see Ah...My footsteps are ticking Like water dripping from a tree Walking a hairline And stepping very carefully Hearing muffled Soon it will hit the Deep Freeze Ah...My heart is broken It is worn out at the knees Seeing blind Ice on the sidewalk I don't know where And something is cracking The sun Brittle branches Wondering where the hell In the air Is blinding Dizzy golden, dancing green Through the park in the afternoon I have been Ah |
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from Suzanne Vega - Nine Objects Of Desire (1999)
one thing I know
this pain will go step through all that's left to feel I wait to meet my love made real don't move don't touch don't talk so much strip and find the place to kneel I wait to meet my love made real one thing I know this day will go don't touch don't talk crawl the wall she's the ticket to the future don't listen down the hall you can say your prayer to the head of this bed when it begins at your knees and goes right to your head birth-day strap me down from wrist to heel I wait to meet my love made real one thing I know this day will go shake all over like an old sick dog there's a needle here needle there tremble in the fog it's a tight squeeze vice grip ice and fire she's a hot little treasure and the wave goes higher birth-day birth-day |
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3:52 |
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from I Write The Songs: 36 Singer Songwriters Performing... (2005)
My name is Luka
제 이름은 루카예요 I live on the second floor 2층에 살지요 I live upstairs from you 당신 집 바로 위층이요 Yes I think you've seen me before 그래요, 전에 한번 본 적 있어요 If you hear something late at night 밤 늦게 말썽이 생긴것 같거나 Some kind of trouble. some kind of fight 누군가 싸우는 소리가 들려도 Just don't ask me what it was 무슨 일이 있었는지는 묻지 말아주세요 Just don't ask me what it was 별 일 아니니까 Just don't ask me what it was 아무것도 묻지 말아주세요 I think it's because I'm clumsy 제가 잘못한 일이거든요 I try not to talk too loud 조용히 말해야 하는데 Maybe it's because I'm crazy 아마 제가 좀 어리석었나봐요 I try not to act too proud 주눅든 표정을 지어야 하는데 They only hit until you cry 아래층에서 소리지르면 더이상 안때려요 And after that you don't ask why 무슨 일이었는진 묻지 마세요 You just don't argue anymore 더이상 설득하려고 하지마세요 You just don't argue anymore 제가 잘못한 거니까 You just don't argue anymore 아무것도 못들은척 해주세요 Yes I think I'm okay 네, 전 괜찮아요 I walked into the door again 다시 들어가봐야 해요 Well, if you ask that's what I'll say 만약 다음에 또 물어오시면 And it's not your business anyway 당신이 참견할일이 아니라고 말할 거예요 I guess I'd like to be alone 이제 혼자 있고 싶어요 With nothing broken, nothing thrown 부러지지도 않았고 삔곳도 없어요 Just don't ask me how I am ... 더이상 괜찮은지는 묻지 마세요 |
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3:12 |
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| from Suzanne Vega - - Beauty & Crime (2007) | |||||
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3:16 |
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from Suzanne Vega - - Beauty & Crime (2007)
Love is the only thing that matters
Love is the only thing that's real I know we hear this every day It's still the hardest thing to feel This time When I go back to Ludlow Street I find each stoop and doorway's incomplete Without you there Another generation's parties And it is still the same old scene I can recall each morning after Painted in nicotine This time When I go back to Ludlow Street I find each stoop and doorway's incomplete Without you there All of the people I once knew... All of the ones I was close to... Love is the only thing that matters Love the only thing that's real And when I think about you now Love is the only thing I feel This time When I go back to Ludlow Street I find each stoop and doorway's incomplete Without you there Tim, this time When I go back to Ludlow Street I find each stoop and doorway's incomplete Without you there |
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2:55 |
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from Suzanne Vega - - Beauty & Crime (2007)
New York City spread herself before you
With her bangles and her spangles and her stars You were impressed with a city so undressed You had to go out cruising all the bars Your business trip extended through the weekend Suburban boy here for your first time From the twenty-seventh floor above the midtown roar You were dazzled by her beauty and her crime And she's every girl you've seen in every movie Every dame you've ever known on late night TV In her steam and steel is the passion you feel Endlessly New York is a woman, she'll make you cry And to her you're just another guy Look down and see her ruined places Smoke and ash still rising to the sky She's happy that you're here, but when you disappear She won't know that you're gone to say goodbye New York is a woman, she'll make you cry And to her you're just another guy And she's every girl you've seen in every movie Every dame you've ever known on late night TV In her steam and steel is the passion you feel Desperately New York is a woman, she'll make you cry And to her you're just another guy |
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3:25 |
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from Suzanne Vega - - Beauty & Crime (2007)
she's a pornographer's dream: he said
I knew what he meant but it made me imagine: what kind of a dream he would have, that hadn't been spent? would he still dream of the thigh? of the flesh upon high? what he saw so much of? wouldn't he dream of the thing that he never could quite get the touch of? it's out of his hands, over his head out of his reach, under this real life hidden in veils, covered in silk he's dreaming of what might be (dreaming of mystery) Bettie Page is still the rage with her legs and leather she turns to tease the camera, and please us at home and we let her who's to know what she'll show of herself in what measure? if what she reveals, or what she conceals is the key to our pleasure? it's out of our hands, over our heads out of our reach, under this real life hidden in veils, covered in silk we're dreaming of what might be (dreaming of mystery) it's out of our hands, over our heads out of our reach, under this real life hidden in veils we're dreaming of mystery she's a pornographer's dream, he said I knew what he meant but it made me imagine: what kind of a dream he would have? |
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2:37 |
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| from Suzanne Vega - - Beauty & Crime (2007) | |||||
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2:23 |
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from Suzanne Vega - - Beauty & Crime (2007)
Edith wharton's lovely figurines
Still speak to me today From their mantlepiece in time Where they wrestle and they play With passions and with prudences Finances and fears Her face and what its worth to her In the passing of the years See the portrait come to life See the vanity behind Cause in the struggle for survival Love is never blind Now, olivia lies under anasthesia Her wit and wonder snuffed In a routine operation Her own beauty not enough, Her passions and her prudences Finances and fears Her face, what it was worth to her In the passing of the years See the portrait come to life See the vanity behind Cause in the struggle for survival Love is never blind Edith whartons lovely figurines Still speak to me today From their mantlepiece in time Where they wrestle and they play We lie under anesthesia Our wit and wonder snuffed In our routine operations Our own beauty not enough |
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4:44 |
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from Suzanne Vega - - Beauty & Crime (2007)
The way of the world
Has taken its toll Ravaged my body And bitten my soul I am ruined by rain Weathered by wind I've been invaded Without and within And I ask I am asking you Asking you if you Might still want me. Once you said I'm made of fine stuff. But I've been corrupted. And taken enough. Now you appear. Making your claim. Inside my heart Is the sign of your name. And I ask I am asking you Asking you if you Might still want me? All these words Like darling and angel and dear Crowd my mouth In a path to your ear. The way of the world Has taken it's toll Ravaged my body Bitten my soul And I ask I am asking you Asking you if you Might still want me? When I said: I am bound to you forever Here's what I meant: I am bound to you forever. |
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3:36 |
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from Suzanne Vega - - Beauty & Crime (2007)
I knew a plant
Whose roots were bound And then returned Into the ground Every day I watched it grow Every day It struggled so Roots were bound, the roots were bound The roots were bound into the ground Watched it grow, watched it grow Watched it as it struggled so I dug it up I cut the twine And so like this I made it mine I watched it drink And watched it feed And grow beyond Its simple need Cut the twine, I've cut the twine Cut the twine and made it mine Watched it feed, watched it feed Watched it feed the simple need Unbound, roots unbound Unbound into the ground Unbound, roots unbound Unbound into the ground I was once Tied at the root Confined with twine Both mind and foot I cut it loose And now am free As anything Alive can be At the root, bound at the root At the root both mind and foot Am free, now am free As anything alive can be Unbound, roots unbound Unbound into the ground Unbound, roots unbound Unbound into the ground Unbound, roots unbound Unbound into the ground Unbound, roots unbound Unbound into the ground |
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2:21 |
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from Suzanne Vega - - Beauty & Crime (2007)
I will take up all your tears
Salty tissues through the years Spread them in the sun to dry Diamonds from each time you cry I will treasure all your teeth Your laughter and the pearls beneath Keep them in a cardboard box Through the tickings and the tocks I will gather all your hair Floating in the sultry air We will make a braid of gold For you to keep when you are old Now I kiss your milky skin Sheet of silk and soul within Put this kiss upon your brow Treasure you as you are now |
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2:55 |
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from Suzanne Vega - - Beauty & Crime (2007)
Angel comes home
His clothes in a cloud Of the dust and the dirt and destruction She waits inside She knows he's arrived She feels this with no introduction At Angel's door You have to leave it on the floor Don't bring it in He can't show What she doesn't want to know Those things he's seen She knows the smell Of that life he can't tell Of the fires and the flesh and confusion Inside his brain It's never the same Though he tries to maintain the illusion At Angel's door You have to leave it on the floor Don't bring it in He can't show What she doesn't want to know Those things he's seen Angel comes home His clothes in a cloud Of the dust and the dirt and destruction |
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2:59 |
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from Suzanne Vega - - Beauty & Crime (2007)
Fall and all attendant memories
Crowd the day with unrelated histories Each year leaves its unresolving fantasies To hang around each corner Hang around each street Thick with ghosts, the wind whips round in circuitries Carrying words as strangers exchange pleasantries Do they intrude upon your private reveries? As they meet you on each corner Meet you on each street Watch for daily braveries Notice newfound courtesies Finger sudden legacies As they clean up every corner Wash down every street Mark the month and all its anniversaries Put away the draft of all your eulogies Clear the way for all your private memories As they meet you on each corner Meet you on each street Make the time for all your possibilities They live on every street |
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4:17 |
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from Suzanne Vega - Songs In Red And Gray (2001)
Once I stood alone so proud now i am low on the ground. held myself above the crowd From here i look around to see what avenues belong to me I can't tell what ive found. Now what would You have me do i ask you please? I wait to hear. The mother, and the matador, the mystic, all were here before, like me, to stare You down. disappear, but leave your trace, You appear without a face, i feel your unseen frown. Now what would you have me do i wait to hear I ask you please? the word, your voice, you say. i wait to see your sign would i I look for you in heathered moor, obey? the desert, and the ocean floor how low does one heart go. looking for your fingerprints i find them in coincidence, and make my faith to grow. Forgive me all my blindnesses my weakness and unkindnesses as yet unbending still. my fist against eternity struggling so hard to see and will you break my will? Now what would you have me do i wait to hear i ask you please? your voice, the word you say i wait to see your sign could i obey? |
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3:34 |
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from Suzanne Vega - Songs In Red And Gray (2001)
Consider me a widow, boys and I will tell you why. It's not the man, but it's the marriage that was drowned. and wait with watchful eye out to the sky, So I walk the walk Looking for a kind of vessel I have never found. Though I saw it splinter Like a dog with little sense, I keep looking out to sea, I did see the thing go down I keep returning, as if there's something at the site To the very area where I should be learning. We watch the wind and set the sail, That line is the horizon. point to fail. but save ourselves when all omens Though I grieve (and I believe If I tell the truth i feel it truly) then I will have to tell you this But I knew that ship was empty by the time it hit the rocks, we could not hold on when fate became unruly. So consider me a widow, boys, and I have told you why. a better day is nearing? Does the weather say and wait upon the Will It's clear that I need I'll set my house in order now better skill in steering... That line is the horizon. We watch the wind and set the sail, But save ourselves when all omens point to fail. |
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3:47 |
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from Suzanne Vega - Songs In Red And Gray (2001)
(I`ll Never Be) Your Maggie May
no capo December 2000 1. i'll never be your Maggie May the one you loved and left behind the face you see in light of day and then you cast away that isn't me in that bed you'll find 2. I'd rather take myself away be like those ladies in Japan rather paint myself a face conjure up some grace or be the eyes behind a fan And so you go no girl could say no to you 3. there's the way we may appear but that will change from day to night would you ever see within? underneath the skin? could I believe you had that sight? 4. instrumental And so you go no girl could say no to you 5. I'll never be your Maggie May the one you loved and then forgot I'll love you first and let you go because it must be so and you'll forgive or you will not 6. and so a woman leaves a man and so a world turns on it's end so I'll see your face in dreams where nothing's what it seems you still appear some kind of friend And so you go no girl could say no to you .. |
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4:00 |
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from Suzanne Vega - Songs In Red And Gray (2001)
1. the virgin mary on a chain has hit me in the mouth again as we explore the carnal score of sacred and profane 2. sulky boy won't drink his milk mothers breast beneath the silk remains untouched it's way too much reject all of that ilk ch; i have to say it makes me wonder if you are holding me to the same blue flame that you are under i feel you scolding me 3. your virgin mary's in the way hallucinate her face by day obscure the view in front of you it's me here made of clay 4. you're playing near that line so thin, austerity? or just give in to endless appetite, embrace that white oblivion? ch; and why so high the expectation? who could live up to this? well, there's no time now for explanation cold as an angel's kiss i have to say it makes me wonder if you were holding me to that cold blue flame that you are under when you were holding me |
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3:03 |
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from Suzanne Vega - Songs In Red And Gray (2001)
Soap and water take the day from my hand scrub the salt from my stinging skin slip me loose of this wedding band Soap and water hang my heart on the line scour it down in a wind of sand bleach it clean to a vinegar shine Daddy's a dark riddle Mama's a headful of bees you are my little kite carried away in the wayward breeze Soap and water wash the year from my life straighten all that we trampled and tore heal the cut we call husband and wife Daddy's a dark riddle Mama's a handful of thorns you are my little kite caught up again in the household storms Daddy's a dark riddle Mama's a headful of bees you are my little kite carried away in the wayward breeze |
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4:18 |
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from Suzanne Vega - Songs In Red And Gray (2001)
the reproach in your daughter's most beautiful face made me wonder just how she could know of that something that happened between you and me so much more than a long time ago her mother, I can see, lives within her still cause she looked at me with her eyes though I had only just met her right then I feel that she peeled back my guilty disguise did i break the thread, or did you break the thread? well at this point we could ask who cares as for the promises broken and frayed it's 19 years late for repairs the grey pewter vase held the deep red rose, one piece of coral shone white, by the brass candlestick near your red velvet coat, is everything I can recall of one night will you please tell me why I remember these things after all of this time, I don't know i must have left all those feelings inside cause that year I had no courage to show was i the name you could never pronounce? or did i even figure at all? all of this happened before she was born did i shadow her young pencil marks on the wall still i am sure i was only but one of a number who darkened that door of your home and your hearth and your family and wife who'd been darkened so often before oh, the red leaf looks to the hard gray stone to each other, they know what they mean somewhere, their future is still yet to come in ways that are yet as of now unforeseen |
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3:35 |
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from Suzanne Vega - Songs In Red And Gray (2001)
Last year's troubles are so old fashioned the robber on the highway the pirate on the seas maybe it's the clothing that's so entertaining the earrings and swashbuckling blouses that please here we have heroes of times that have passed now but nobody these days has that kind of chin over there the petticoats of ladies of virtue you can hardly tell them from the petticoats of sin last year's troubles look at all the waifs of Dickensian England why is it their suffering is more picturesque? must be cause their rags are so very Victorian the ones here at home just don't give it their best last years troubles they shine up so pretty they gleam with a luster they don't have today here it's just dirty and violent and troubling etc. last year's troubles but trouble is still trouble and evil still evil sometimes we wonder; is there more now, or less? if we had a tool or could tally the handfuls measure for measure it's the same would be my guess |
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4:14 |
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from Suzanne Vega - Songs In Red And Gray (2001)
1. she'd come to my house and dance in the hall with the music up loud against the light on the wall I danced beside her feeling no shame we were in costume and this was a game 2. she'd put on her skirt of layers of chiffon the top of the umbrella had come off so I put that on we'd dance together then an awkward ballet she was 20 years older than I was but still we did play 3. She was 20 years older than me and many times my size but it's her little feet I remember and the look in her eyes once when I saw her she made me a doll of ribbon and paper and ink and lace, I recall 4. I danced beside her feeling no shame we were in costume and this was a game I think of her now I'm older I still love to dance something will shine through the body if you give it a chance |
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2:46 |
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from Suzanne Vega - Songs In Red And Gray (2001)
oooh if I were a weapon you said I'd be a gun lethal at close range i guess with silencer and stun but I feel more like a needle always pulling on the thread always making the same point again and wondering if you heard what I just said if you were a weapon a hammer's what you'd be blunt and heavy at the end and coming down on me but i've concealed a weapon in a pocket knife attack all folded up inside until you see the shine and then you'll want it back oooh if I were a weapon you said i'd be a gun lethal at close range I guess w silencer and stun well, if I am that weapon I am pointing now at you so just put down the hostage and we'll talk it down until we see this through |
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4:19 |
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from Suzanne Vega - Songs In Red And Gray (2001)
i dreamed you were a rich man and that i had no place to go i came to you to see if you would take me in through golden curtains you told me you'd let me know. well, you drink for ten and you smoke for twenty and your fickle heart will never be true but still i feel the wind in from the harbor thats when i know the longing for you when i know the old longing for you. i saw you in my mind's eye you were laid out on your final day i stood in line to see that handsome face once more it had been so dear to me, and i kissed you as you lay you were so dear, i kissed you as you lay. now, whenever i do travel if to portugal, england, or spain as i do walk by the shipyards and the harbors i smell the salt, and the bay rum of your ghost again i know the salt, and the bay rum, you beside me again. |
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2:57 |
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from Suzanne Vega - Songs In Red And Gray (2001)
Am I an afternoon's pastime? a thing on a string to be thrown and retrieved like a phone call received on somebody's birthday to tease and delight and then say goodnight and then just say goodbye? Am I a toy on a tray ? a soft piece of clay queen or clown for the day machine ballerina soldier of tin standing so loyal while you sit so royal then I'm put away? Ch: For your approval, perusal, and your possible refusal, I'm amusing, I'm a puppet for your play. Am I your Mad Magazine? skin trampoline pin-up pinball machine your fantasy girl of puzzling parts but none fits or starts we match wits but not hearts I'm heard but never seen? Chorus again |
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2:11 |
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from Suzanne Vega - Songs In Red And Gray (2001)
1. Black on the red and the red on the black. It's a tic of a tired mind. Come and sit down, won't you try your luck. See if you unwind. 2. Never use your threes and twos. Follow superstition. Otherwise you are going to lose. Compulsion makes you listen. Take what's wrong, and make it go right. Weave it like a prayer. Wonder if you you'll spend the night? Playing solitaire? 3. Do it again, when you find you're all done. Like an idiot savant. Shuffle up your luck. You see, you almost won. Now wrestle down what you want. 4. Jack on the Queen, and the ten on the Jack. It's a happy repetition. You and your fate in a kind of check-mate. And you are your only competition. Take what's wrong, and make it go right. Weave it like a prayer. Wonder if you you'll spend the night? Playing solitaire? |
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2:30 |
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from Suzanne Vega - Songs In Red And Gray (2001)
call on that saint and the candle that burns keeping her safe until her return plaster and paint holding the fire a poor woman's saint holding all man's desire bold little bird fly away home could I but ride herd on the wind and the foam all of the souls that curl by the fire they never know all man's desire watercress clings to the banks of the stream in the first grip of spring when the snow melts to green barefoot and cold and holding a lyre by the side of the road holding all man's desire call on the saint when the white candle burns keeping her safe until her return |
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3:33 |
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from Suzanne Vega - 99.9f/Suzanne Vega (1999)
Excuse me
Turn your attention If I may My way One moment I won't plead It isn't much It's what I need And what's so small to you Is so large to me If it's the last thing I do You darken my sun I'll make you see If you turn from me You snap that thin thread I call my horizon And I'd like to remind you Of something small That the rock in this pocket Could cause your fall And what's so small to you If it's the last thing I do Is so large to me I'll make you see So small to you And so large to me If its the last thing I do I'll make you see But I'll hit my mark I might be out like a light Extinguished in the throw And you'll know Because I'm really well acquainted And if you didn't know me then With the span of your brow You'll know me now You'll know me now And what's so small to you I'll make you see Is so large to me If its the last thing I do So small to you And so large to me I'll make you see If it's the last thing I do Make you see Make you see |
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3:07 |
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from Suzanne Vega - 99.9f/Suzanne Vega (1999)
If you were in my movie Small black bag I'd have you as the doctor And a big black coat I'd have you make a house call You could lay your To the woman Diagnostic hand Upon her belly and her throat You could be the detective If you were in my movie With a question on your lip You could sit behind the desk Examine her for motive Investigate the scene In the ever present danger Keep the holster at your hip If you were in my movie If you were in my movie If you were in my movie If you were in my movie You could be the priest Long black frock You could come to the confession White collar at the neck Keep her body in check You could save her from her passion You could give a girl a thrill If you were in my movie If you were in my movie If you were in my movie If you were in my movie Double-breasted pinstriped You could be the gangster Go running down the alley Man with the cigarette With a double-crossing blond Explaining to the jury That you hadn't done anything yet If you were in my movie...
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2:20 |
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from Suzanne Vega - 99.9f/Suzanne Vega (1999)
Smile no smile
Jerk like a thing on a string And go join the parade On this face today It won't help to win friends Influence strangers Code will keep your privacy in Or otherwise be in the swim Mask will keep your features in check |
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3:38 |
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from Suzanne Vega - Nine Objects Of Desire (1999)
one thing I know this pain will go step through all that's left to feel I wait to meet my love made real don't move don't touch don't talk so much strip and find the place to kneel I wait to meet my love made real one thing I know this day will go don't touch don't talk crawl the wall she's the ticket to the future don't listen down the hall you can say your prayer to the head of this bed when it begins at your knees and goes right to your head birth-day strap me down from wrist to heel I wait to meet my love made real one thing I know this day will go shake all over like an old sick dog there's a needle here needle there tremble in the fog it's a tight squeeze vice grip ice and fire she's a hot little treasure and the wave goes higher birth-day birth-day |
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3:09 |
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from Suzanne Vega - Nine Objects Of Desire (1999)
The sign said "Headshots"
And that was all, A picture of a boy And a number you could call, Two eyes in the shade A mouth so sad and small, It's strange the way a shadow Can fall across the wall, And make the difference In what you see Ah... He's just a poster, but He's everywhere, A face under a street lamp Ripped and hanging in the air, Turn the corner And he's still there, Watching all the people Who are passing unaware, Is there a judgement In what he sees? Ah... On a day As cold And gray As today... The sign says "Headshots" It's all I see, A boy becomes a picture Of guilt and sympathy, And so I think of you In memory Of the days we were together, And I knew that you loved me That was the difference In what we see, But that's history... Ah... |
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2:53 |
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from Suzanne Vega - Nine Objects Of Desire (1999)
It won't do
To dream of caramel, To think of cinnamon And long for you. It won't do To stir a deep desire, To fan a hidden fire That can never burn true. I know your name, I know your skin, I know the way These things begin; But I don't know How I would live with myself, What I'd forgive of myself If you don't go. So goodbye, Sweet appetite No single bite could satisfy... I know your name, I know your skin, I know the way These things begin; But I don't know How I would live with myself What I would give of myself, If you don't go. It won't do To dream of caramel, To think of cinnamon And long for you. |
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3:31 |
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from Suzanne Vega - Nine Objects Of Desire (1999)
I don't care for tights, she says
and does not tell me why revealing one brown thigh She hikes her skirt above her knee I see, I say, and wonder at her slender little fingers the threads of recent slumbers How cleverly they pull upon and passion does begin? Do you know where friendship ends It's between the binding of her stockings and her skin. (oh yeah) She stayed up so late I thought she'd ask me to go dance told me I had no chance But something in the way she laughed The fiction in her family was that she was never nice I'd say she was very I just did not see the price Do you know where friendship ends and passion does begin? When the gin and tonic makes the room begin to spin. (oh yeah) There may be attraction here So I'm assigned to read her mind, now but it will never flower in this witching hour Here's no game for those who claim to be easily bruised But how can I complain when she's so easily amused? Do you know where friendship ends and passion does begin? (When she does not show you It's between the binding the way out on the way in) -- of her stockings and her skin. (oh yeah |
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3:10 |
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from Suzanne Vega - Nine Objects Of Desire (1999)
I only turned to see
What hand had set this inner field alight Against the flame I see The outline of a man against a night Take back your sympathy That bound us close, and say we called a bluff I'd rather break the thread I do not need to drink that bitter stuff A casual match In a very dry field What could be The season's yield? My eyes have gone to coal It's nothing I would be concerned about When the heat of love becomes the chill of doubt Observe the moment A casual match In a very dry field Fire and ash Is the season's yield We look for a sign But it is not revealed Fire and ash is the Season's yield |
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3:40 |
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from Suzanne Vega - Nine Objects Of Desire (1999)
He is not my friend, but he is with me
His hand is on my back when I step from the sidewalk Like a shadow is with a foot that falls Or when I'm walking down these darkened halls I don't know when it will be He's the Thin Man With a date for me To arrive at some point I can feel his eyes when I don't expect him In the back seat of a taxi down Vestry Street His arm is around my waist and he pulls me down to him He whispers things into my ear that sound so sweet With a date for me To arrive at some point He's the Thin Man He is not my friend, but he is with me I don't know when it will be And he promises a peace I never knew I cannot give in, no, I must refuse him With a date for me But could I really be the one to resist that kiss so true He's the Thin Man I don't know when it will beTo arrive at some point |
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3:10 |
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from Suzanne Vega - Nine Objects Of Desire (1999)
Ante up. And don't be shy.
Who is that man who is catching my eye? What's underneath all of the deadpan face? Sitting so pretty with a criminal grace? Lamebrain Pete wants to Spit in the Sea. He's got a cool hand but it isn't for me. Butcher Boy thinks he'll be splitting the pot. But I've seen what he's got and it isn't a lot. (When deuces are wild you can follow the queen. I'd go too except I know where she's been.) But it's no cheap thrill I'll see you, I'll call you, I'll raise you It will cost you, cost you, cost you Anything you have to pay. I limit the straddles, and you shuffle and deal. When will the dealer reveal how he feels? Is the lucky beginner just a five-card stud? Is this winning streak going to be nipped in the bud? I'll see you, I'll call you, I'll raise you It will cost you, cost you, cost you But it's no cheap thrill Anything you have to pay. I'll match you, I'll bet you, I'll play you, But it's no cheap thrill It will cost you, cost you, cost you Anything you have to pay |
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3:27 |
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from Suzanne Vega - Nine Objects Of Desire (1999)
If your love were taken from me
Every color would be black and white It would be as flat as the world before Columbus That's the day that I lose half my sight If your life were taken from me All the trees would freeze in this cold ground It would be as cruel as the world before Columbus Sail to the edge and I'd be there looking down Those men who lust for land And for riches strange and new Who love those trinkets of desire Oh they never will have you And they'll never know the gold Or the copper in your hair How could they weigh the worth Of you so rare If your love were taken from me Every light that's bright would soon go dim It would be as dark as the world before Columbus Down the waterfall and I'd swim over the brim Those men who lust for land And for riches strange and new Who love those trinkets of desire Oh they will never have you And they'll never know the gold Or the copper in your hair How could they weigh the worth Of you so rare |
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3:34 |
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from Suzanne Vega - Nine Objects Of Desire (1999)
Lolita
Almost grown Lolita Go on home Hey girl Don't be a dog all your life Don't beg for Some little crumb of affection Don't try To be somebody's wife So young You need a word of protection Lolita Almost grown Lolita Go on home Hey girl I've been where you are standing Leaning in the doorway In your mother's black dress So hungry For the one understanding Looking for a token of Blood or tenderness Lolita Almost grown Lolita Go on home Lolita |
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2:56 |
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from Suzanne Vega - Nine Objects Of Desire (1999)
the ceiling had a painting on it
in our room in France so we were living underneath some angels in a dance and so we went to bed my husband was not feeling well he woke up complaining of an aching in his head that one by one the old and young had come through our room that night he said a hundred people asked if he was all right one by one the old and young lined up to touch his hand he spent the night explaining they had come to the wrong man when we asked her the next day with coffee and a magazine the concierge was less than helpful we went to the desk to pay "what happened in that room?" he asked "a death or something strange?" and returned to him his change she smiled at him politely and this will be a mystery, why none appeared to me? well, what I'd like to know is with all the people in that room when we sleep so close together that our hair becomes entwined I must have missed that moment in the gateway to his mind |
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3:08 |
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from Suzanne Vega - Nine Objects Of Desire (1999)
I like a tombstone cause it
weathers well and if it stands or if it crumbles only time will tell there'll be no dancing on the gravestone you must cut it deep if you carve my name in marble you must let me sleep it burns away and time is burning burning burning famous men but I do try to see the kingdom I don't need to see the gates of every now and then and I know that to enter in the doorway humble map if you ask me where it is it's on a and time is burning burning burning show your handicap it burns away |
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2:48 |
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from Suzanne Vega - Nine Objects Of Desire (1999)
My favorite plum
hangs so far from me See how it sleeps and hear how it calls to me See how the flesh It must be bursting presses the skin, with secrets within, I've seen the rest, yes and that is the one for me See how it shines it will be so sweet I've been so dry See how it lays it would make my heart complete Never noticing me here below languid and slow I've seen the best, yes and that is the one for me Maybe a girl will take it Maybe a shake of the bough will wake it and make it fall My favorite plum Maybe a boy will steal it lies in wait for me I'll be right here You'll say that I'm longing endlessly foolish to trust But it will be mine cause I've had the rest, yes and I know that it must and that is the one for me and that is the one for meI've seen the best, yes |
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2:25 |
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from Music From And Inspired By The Motion Picture Dead Man Walking (데드맨 워킹) [ost] (1999)
Too hot. No air. Wait here. Steer clear. Loud fan and a big tin can. They've gone to get your man. Through gate 3 with picture ID. This old billfold 10 AM. Experiences security. I'll see your face through bar and guard. I hear the click. These men are hard. I see your fate. I'll see you You through. Ice within. You're new to me. I'm new to you. And it's all cement in the government. Approved? Then move To the plywood booth where the prisoner's sent. The letters on the door and you know what they're for. You read in red And the rattling chain's coming over the floor. You feel unreal. You're new to me. I'm new to you. I hear the clock. These walls are green. I see your face through tin and screen. I see your fate. I'll see you You through. Too hot. No air. Loud fan and a big tin can. Wait here. Steer clear. They've gone to get your man. |
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from Suzanne Vega - Days Of Open Hand (2000)
Oh Mum the dreams are not so bad
It's just that there's so much to do And I'm tired of sleepin Oh Mum the old man is telling me something His eyes are wide and his mouth is thin and I just can't hear what he's saying Oh Mum I wonder when I'll be wakened It's just that there's so much to do And I'm tired of sleeping Oh Mum I wonder when I'll be wakened It's just that there's so much to do And I'm tired of sleeping Oh Mum the kids are playing in pennies They're up to their knees in money And the dirt of the churchyard steps Oh Mum that man he ripped out his lining Tore out a piece of his body To show us his clean courted heart Oh Mum I wonder when I'll be wakened It's just that there's so much to do And I'm tired of sleeping Oh Mum I wonder when I'll be wakened It's just that there's so much to do And I'm tired of sleeping Oh Mum the bird on the string is hanging Bones are twisting and dancing She's fighting for her small life Oh Mum I wonder when I'll be wakened It's just that there's so much to do And I'm tired of sleeping Oh Mum I wonder when I'll be wakened It's just that there's so much to do And I'm tired of sleeping Oh Mum I wonder when I'll be wakened It's just that there's so much to do And I'm tired of sleeping |
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from Suzanne Vega - Days Of Open Hand (2000)
Men in a war
If they've lost a limb Still feel that limb As they did before He lay on a cot He was drenched in a sweat He was mute and staring But feeling the thing He had not I know how it is When something is gone A piece of your eyesight Or maybe your vision A corner of sense Goes blank on the screen A piece of the scan Gets filled in by hand You know that it was And now it is not So you just make do with Whatever you've got Men in a war If they've lost a limb Still feel that limb As they did before If your nerve is cut If you're kept on the stretch You don't feel your will You can't find your gut And she lay on her back She made sure she was hid She was mute and staring Not feeling the thing That she did I know how it is When something is gone A piece of your eyesight Or maybe your vision |
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from Suzanne Vega - Days Of Open Hand (2000)
Now the time has come to speak
I was not able And water through a rusted pipe Could make the sense that I do Gurgle, mutter Hiss, stutter Moan the words like water Rush and foam and choke Having waited This long of a winter I fear I only Croak and sigh Somewhere deep within Hear the creak That lets the tale begin Now the time has come to move I was not able Water through a rusted pipe Could make the moves that I do Stagger, stumble Trip, fumble I fear I only Slip and slide Somewhere deep within Hear the creak That lets the tale begin Somewhere deep within Hear the creak That lets the tale begin |
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from Suzanne Vega - Days Of Open Hand (2000)
Book Of Dreams
In my book of dreams In my book of dreams In my book of dreams I took your urgent whisper Stole the arc of a white wing Rode like foam on the river of pity Turned its tide to strength Healed the hole that ripped in living In my book of dreams In my book of dreams In my book of dreams The spine is bound to last a life Tough enough to take the pounding Pages made of days of open hand In my book of dreams In my book of dreams In my book of dreams Number every page in silver Underline in magic marker Take the name of every prisoner Yours is there my word of honor I took your urgent whisper Stole the arc of a white wing Rode like foam on the river of pity Healed the hole that ripped in living In my book of dreams In my book of dreams In my book of dreams |
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from Suzanne Vega - Days Of Open Hand (2000)
Institution green
The walls are cracked and dim And we are standing in a line Waiting for our faces to be seen Institution green Watch the floor and cound the hours None will meet my eyes Private people in this public place I wonder if they'll take a look Find my name inside that book Lose me on the printed page Where to point the aimless rage I cast my vote upon this earth Take my place for what it's worth Hunger for a pair of eyes To notice and to regognize Institution green A woman stands behind a table She will call my name After that I'll be admitted in I wonder if she'll take a look Find my name inside that book Lose me on the printed page Where to point the aimless rage I cast my vote upon this earth Take my place for what it's worth Hunger for a pair of eyes To notice and to regognize Institution green Teach me how to pull the lever Push the curtain closed Take what's needed then just Let me go |
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from Suzanne Vega - Days Of Open Hand (2000)
Those whole girls
Hurl down words Run in packs With bloom to spare They know health Know it well Skim the cream And fill the brim Drip with news Spin intact Blaze and stun And feel no lack Breathe with ease Need no mercy Move in light Run in grace Run in grace Run in grace Run in grace |
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from Suzanne Vega - Days Of Open Hand (2000)
Somewhere in a room
With a poster on a wall Of a man with his hand In a fist Is a woman who's drinking And her dress is so tight You can see every breath That she takes Every sigh, every sway You can hear everything that they say Something's begun like a war Or a family or a friendship Or a fast love affair The man on the wall Is his symbol of freedom It means he has brothers Who believe as he does She is moved by The thing that she sees in his face Whe he talks of The cause Every sigh, every sway You can hear everything that they say Something's begun like a war Or a family or a friendship Or a fast love affair She leans against him Her dress is so red They talk of the salt And the truth and the bread The night goes along The fan goes around In the room off the street At the end of the town Every sigh, every sway You can hear everything that they say Something's begun like a war Or a family or a friendship Or a fast love affair |
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from Suzanne Vega - Days Of Open Hand (2000)
He said you stand in your own shoes
I said I'd rather stand in someone else's He said you look from your direction I said I like to keep perspective Close to the middle of the network It seems we're looking for a center What if it turns out to be hollow? We could be fixing what is broken Between the pen and the paperwork There must be passion in the language Between the muscle and the brain work There must be feeling in the pipeline Beyond the duty and the discipline I know there's anger in a cold place All feelings fall into the big space Swept up like garbage on the week-end Between the pen and the paperwork There must be passion in the language Between the muscle and the brain work There must be feeling in the pipeline All feeling Falls into the big space All feeling Swept into the Avenues of angles Between the pen and the paperwork I'm sure there's passion in the language Between the muscle and the brain work I know there's feeling in the pipeline |
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from Suzanne Vega - Days Of Open Hand (2000)
Let's tell the future
Let's see how it's been done. By numbers. By mirrors. By water. By dots made at random on paper. By salt. By dice. By meal. By mice. By dough of cakes. By sacrificial fire. By fountains. By fishes. Writing in ashes. Birds. Herbs. Smoke from the altar. A suspended ring or the mode of laughing Pebbles drawn from a heap One of these things Will tell you something. Let's tell the future Let's see how it's been done. By dreams. By the features. By letters. By dropping hot wax into water. By nails reflecting the rays of the sun. By waling in a circle. By red hot iron. By passages in books. A balanced hatchet. A suspended ring or the mode of laughing Pebbles drawn from a heap One of these things Will tell you something. Let's tell the future Let's see how it's been done. How it's been done. |
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from Suzanne Vega - Days Of Open Hand (2000)
This line is burning
Turning to ash as it hits the air Every step is a day in the week It's a Sunday or Monday A march over months of the year This life is burning Turning to ash as it hits the air Every death is an end in the race It's a stopping and starting A march over millions of years Travel. Arrival Years of an inch and a step Toward a source I'm coming to you I'll be there in time This land is burning Turning to ash as it hits the air Every line is a place on a map It's a city or valley A mark on these miles of fields Travel. Arrival Years of an inch and a step Toward a source I'm coming to you I'll be there in time This line is burning Turning to ash as it hits the air Every step is a day in the week It's a Wednesday or Thursday A march over months of the year Travel. Arrival Years of an inch and a step Toward a source I'm coming to you I'll be there in time I'm coming to you I'll be there in time Take this Mute mouth Broken tongue. Now this Dark life Is shot through with light |
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3:33 |
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| from Suzanne Vega - 99.9f/Suzanne Vega (1999) | |||||
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2:28 |
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from Suzanne Vega - 99.9f/Suzanne Vega (1999)
i'd like to help you doctor yes, i really really would But blood makes noise but the din in my head it's too much and it's no good i'm standing in a windy tunnel,shoating trough the roar blood makes noise and i'd like to give the information you're asking for and i can't really hear you it's aringing in my ear in the thickening of fear the details and the facts i think that you might want to know denyes the memory of the acts but there's something in my blood but we'll have to try again after silence has returned cool that you're concerned cause blood makes noise so just forget it doc. i thinks it's really it's a ringing in my hear blood makes noise. |
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4:41 |
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from Suzanne Vega - 99.9f/Suzanne Vega (1999)
in liverpool on sunday, the light is pale and thin like you no traffic on the avenue no sound, down in this part of town he's crazy, he's throwing himself except for the boy in the belfry, down from the top of the tower like an unchback in heaven he is ringing the bells in the church for the last half an hour or someone that he knows he can't have now and if he isn't, i certainly am. he sound's like he's missing something if you lie on the ground, in somebody's arms homesick for a clock,that told the same time sometimes you made nosense to me you'll probably swallow some of their history and the boy in the belfry he's crazy,he's throwing himself like an unchback in heaven,he's ringing the bells in the church he sound like he's missing something down from the top of the tower, or someone that he knows he can't have now and if he isn't i certainly am. for the last half an hour i'll be the girl who sing for my supper you'll be the monk whose forehead is high he'll be the man who's already working in liverpool on sunday no reasons to even remember you now spreading a memory all trough the sky except for the boy in the belfry... |
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3:15 |
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from Suzanne Vega - 99.9f/Suzanne Vega (1999)
99.9 Fahrenheit degrees It could be normal but it isn't quite Stable now, with rising possibilities Could make you want to stay awake at night You seem to me Like a man 0n the verge of burning 99.9 Fahrenheit degrees Pale as a candle And your face is hot And if I touch you I might get what you've got You seem to me Like a man 99.9 Fahrenheit degrees On the verge of running Something cool Against the skin Is what you could be Against the skin Something cool Is what you 99.9 Fahrenheit degrees Could be needing You seem to me Like a man On the verge of burning 99.9 Fahrenheit degrees Against the skin Something cool Something cool Is what you could be Against your skin Could be needing Is what you 99.9 Fahrenheit degrees 99.9 Fahrenheit degrees |
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3:19 |
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from Suzanne Vega - 99.9f/Suzanne Vega (1999)
When blood sees blood of its own It sings to see itself again It sings to hear the voice it's known It sings to recognize the face One body split and passed along the line From the shoulder to the hip I know these bones as being mine And the curving of the lip And my question to you is: How did this come to pass? How did this one life fall so far and fast? Some are lean and some with grace, and some without; Tell the story that repeats Of a child who had been left alone at birth Left to fend and taught to fight See his eyes and how they start with light Getting colder as the pictures go Did he carry his bad luck upon his back? That bad luck we've all come to know And my question to you is: How did this come to pass? How did this one life fall so far and fast? When blood sees blood of its own It sings to see itself again It sings to hear the voice it's known It sings to recognize the face |
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2:18 |
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from Suzanne Vega - 99.9f/Suzanne Vega (1999)
I stand in a wide flat land No shadow or shade of a doubt Whore the megaphone man Met the girl with her hand that's Covering most of her mouth Fall in love with a bright idea Fat man and dancing girl And most of the show is concealed from view And the way a world is revealed to you I don't want to hear it Monkey in the middle Keeps singing that tune Get rid of it soon MC on the stage tonight Is a man named Billy Purl And he knows the worth of beautiful girl He's The International Fun Boy Stand on the tightrope Never dreamed I would fall Monkey in the middle It's making me nervous Keeps doing that trick Get rid of it quick I stand in a wide flat land No shadow or shade of a doubt That's covering most of her mouth Where the megaphone man Met the girl with her hand Does she say it so no one can know? Does she tell the truth? Does she hide the lie? Fat man and the dancing girl And it's all part of the show Never dreamed I could fall Stand on the tightrope Keeps singing that tune Monkey in the middle I don't want to hear it Get rid of it soon Monkey in the middle Keeps doing that trick It's making me nervous Get rid of it quick |
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3:07 |
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| from Suzanne Vega - 99.9f/Suzanne Vega (1999) | |||||
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2:56 |
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from Suzanne Vega - 99.9f/Suzanne Vega (1999)
As a child You see this doll You have a doll Sitting in her chair Her eyes of glass You watch her face Her knees apart She seems to In a secretive stare She seems to She seems to Have a life Dig up a crack Pick up a stick Dirt in the street Becomes a town All of the people Depend on you Not to hurt them Or bang the stick comes down And they seem to They seem to Have a life They seem to As a child You see yourself And wonder why You can't seem to move Hand on the doorknob One foot on the sidewalk Feel like a thing Too much to prove And you learn to You learn to You learn to Have a life |
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3:21 |
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from Suzanne Vega - 99.9f/Suzanne Vega (1999)
Mother the doctor knows something is wrong Cause my body has strange information He's looked in my eyes and knows I'm not a child But he doesn't dare ask the right question Mother my friends are no longer my friends I've gone serious and shy and they can't figure why And the games we once played have no meaning So they've left me to my own daydreaming For bad wisdom What price to pay Too young to know What price to pay For bad wisdom Too much too soon Bad wisdom Bad wisdom Mother you've taught me the laws are so fine If I'm good that I will be protected And I'll never trust whoever gets elected I've fallen through the crack and there's no getting back And it wasn't what I was expecting Mother your eyes have gone suddenly cold Once I did think that I'd find comfort there And instead you've gone hard and suspecting What price to pay For bad wisdom For bad wisdom What price to pay Too young to know Bad wisdom Too much too soon Bad wisdom Mother I'm cut at the root like a weed Cause there's no one to hear my small story Just like a woman who walks in the street I will pay for my life with my body What price to pay For bad wisdom For bad wisdom Too young to know What price to pay Too much too soon Bad wisdom Bad wisdom |
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1:57 |
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from Suzanne Vega - 99.9f/Suzanne Vega (1999)
When heroes go down They go down fast So don't expect any time to Equivocate the past When heroes go down They land in flame Settling of blame So don't expect any slow and careful I heard you say You look out for the feet of clay Without the chance That someone will be falling next For last respects You feel the disappointment When heroes go down Man or woman revealed On the battlefield You can't expect any kind of mercy I heard you say You look out for the feet of clay Without the chance for last respects That someone will be falling next You feel the disappointment When heroes go down Man or woman revealed Do you show any kind of mercy On the battlefield? When heroes go down When heroes go downWhen heroes go down |
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3:27 |
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from Suzanne Vega - 99.9f/Suzanne Vega (1999)
You make a really good girl As girls go Still kind of look like a guy I never thought to wonder why If I could pull this off The real situation Would I know for certain Behind the curtain So beautiful damsel in distress Not exactly natural Stunning none the less What happened to you? To make you more girl than girls are Would you ever show or tell Cause you're so good so far As girls go You make a really good girl As girls go As girls go As girls go As girls go The dark side of the life Let's chronicle Did you ever keep the date With the steel side of the knife Which side of the line Doesn't matter to me At any given time You happen to be You make a really good girl As girls go As girls go As girls go As girls goAs girls go |
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3:06 |
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from Suzanne Vega - 99.9f/Suzanne Vega (1999)
If sand waves were sound waves Could split this endless noon What song would be in the air now What stinging tune And make the sky swell with rain If war were a game that a man or a child And leave the land with no stainCould think of winning What kind of rule Can overthrow a fool |
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2:20 |
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from Suzanne Vega - 99.9f/Suzanne Vega (1999)
Smile no smile Jerk like a thing on a string And go join the parade On this face today It won't help to win friends Influence strangers Code will keep your privacy in Or otherwise be in the swim Mask will keep your features in check |
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from Suzanne Vega - 99.9f/Suzanne Vega (1999)
It's a one time thing
It just happens A lot Walk with me What we have got And we will see Ah...My footsteps are ticking Like water dripping from a tree Walking a hairline And stepping very carefully Hearing muffled Soon it will hit the Deep Freeze Ah...My |
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from Suzanne Vega - 99.9f/Suzanne Vega (1999)
We go to the playground
In the wintertime The sun is fading fast Upon the slides into the past Upon the swings of indecision In the wintertime |
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from Suzanne Vega - 99.9f/Suzanne Vega (1999)
Even if I am in love with you
All this to say, what's it to you? Observe the blood, the rose tattoo of the fingerprints on me from you Other evidence has shown that you and I are still alone We skirt around the danger zone and don't talk about it later Marlene watches from the wall her mocking smile says it all as she records the rise and fall of every soldier passing But the only soldier now is me I'm fighting things I cannot see I think it's called my destiny that I am changing Marlene on the wall I walk to your house in the afternoon by the butcher shop with the sawdust strewn "Don't give away the goods too soon" Is what she might have told me And I tried so hard to resist when you held me in your handsome fist and reminded me of the night we kissed and of why I should be leaving Marlene watches from the wall her mocking smile says it all as she records the rise and fall of every man who's been here But the only one here now is me I'm fighting things I cannot see I think it's called my destiny that I am changing Marlene on the wall |
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from Suzanne Vega - 99.9f/Suzanne Vega (1999)
Today I am
A small blue thing Like a marble Or an eye With my knees against my mouth I am perfectly round I am watching you I am cold against your skin You are perfectly reflected I am lost inside your pocket I am lost against Your fingers I am falling down the stairs I am skipping on the sidewalk I am thrown against the sky I am raining down in pieces I am scattering like light Scattering like light Scattering like light Today I am A small blue thing Made of china Made of glass I am cool and smooth and curious I never blink I am turning in your hand Turning in your hand Small blue thing |
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from Suzanne Vega - 99.9f/Suzanne Vega (1999)
There's a sound
Across the alley Touching skin Of cold metalAnd you can see That she has gone and cut If you look in her window Her hair again In straight lines Straight lines Those soft golden lights in the morningAre now on her wooden floor Any more The wind has swept them through the apartment She don't need them Any more... Any moreShe's cut down On her lovers Though she still dreams Of them at nightWhere once were flowers She's growing straight lines She is streamlined She is taking the shade down From the lightTo see the straight lines Straight linesShe wants to cut through the circles She wants to finally kill the delusions She won't need them That she has lived in before Any more Any more Any more... Across the alley But there's a sound Of cold metal Too close to the bone If you look in her window And you can see The face of a woman Finally aloneBehind straight lines Straight lines |
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from Suzanne Vega - 99.9f/Suzanne Vega (1999)
I believe right now if I could
I would swallow you whole I would leave only bones and teeth We could see what was underneath And you would be free then Once I thought only tears could make us free Like sand against the stone Salt wearing down to the bone Against the shoreline I am friend to the undertow And now I have you From the edge of a knife I take you in, I don't let go I wanted to learn all the secrets From the point of a needle From a diamond From a bullet in flight I would be free then I am friend to the undertow And now I have you I take you in, I don't let go To be that sleek I wanted to see how it would feel Made me weak And instead I find this hunger's I would swallow you whole I believe right now if I could I would leave only bones and teeth We could see what was underneath I am friend to the undertow And you would be free then I take you in, I don't let go I take you in, I don't let go I am friend to the undertow And now I have you And now I have you |
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from Suzanne Vega - 99.9f/Suzanne Vega (1999)
If we had met some eastbound train
Through some black sleeping town Would you have worn your silken robes All made of royal blue? Would I have dressed in smoke and fire For you to see through? If we had met in a darkened room Where people do not stay But shadows touch and pass right through And never see the day Would you have taken me upstairs And turned the lamplight low? Would I have shown my secret self And disappeared like the snow? Oh, I could have played your little girl Or I could have played your wife I could have played your mistress Running danger down through you life I could have played your lady fair All dressed in lace like the foam from the sea I could have been your woman of the road As long as you did not come back home to me But as it is, we live in the city And everything stays in place Instead we meet on the open sidewalk And it's well I know your face We talk and talk, we tell the truth There are no shadows here But when I look into your eyes I wonder what might have been here Because if I had met you on some journey Where would we be now? |
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from Suzanne Vega - 99.9f/Suzanne Vega (1999)
The soldier came knocking upon the queen's door
He said, "I am not fighting for you any more" The queen knew she'd seen his face someplace before And slowly she let him inside. He said, "I've watched your palace up here on the hill And I've wondered who's the woman for whom we all kill But I am leaving tomorrow and you can do what you will Only first I am asking you why." Down in the long narrow hall he was led And she never once took the crown from her head Into her rooms with her tapestries red She asked him there to sit down. He said, "I see you now, and you are so very young And I've got this intuition, says it's all for your fun But I've seen more battles lost than I have battles won And now will you tell me why?" The young queen, she fixed him with an arrogant eye She said, "You won't understand, and you may as well not try" But she closed herself up like a fan. It cuts me inside, and often I've bled" But her face was a child's, and he thought she would cry And she said, "I've swallowed a secret burning thread He laid his hand then on top of her head "Tell me how hungry are you? How weak you must feel And he bowed her down to the ground. As you are living here alone, and you are never revealed But I won't march again on your battlefield" And he took her to the window to see. And the sun, it was gold, though the sky, it was gray But she knew how it frightened her, and she turned away And she wanted more than she ever could say And he said, "I want to live as an honest man And would not look at his face again. To get all I deserve and to give all I can Your highness, your ways are very strange." And to love a young woman who I don't understand But the crown, it had fallen, and she thought she would break And she stood there, ashamed of the way her heart ached She took him to the doorstep and she asked him to wait She would only be a moment inside. Out in the distance her order was heard And while the queen went on strangeling in the solitude she preferred And the soldier was killed, still waiting for her word The battle continued on |
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from Suzanne Vega - 99.9f/Suzanne Vega (1999)
Watch while the queen
In one false move Turns herself into a pawn Sleepy and shaken And watching while the blurry night Turns into a very clear dawn Do you love any, do you love none, Do you love me? Do you love many, can you love one, Do you love any, do you love none, Do you love me? Do you love many, can you love one, One false move Well, if you hold it against her, And a secret prophecy First hold it up and see That it's one side stone Standing alone among all men's desire One side fire They want to know Do you love any, do you love none, Do you love me? Do you love many, can you love one, Do you love any, do you love none, Do you love many, can you love one, And if you wonder Do you love me? What I am doing As I am heading For the sink I am spitting out all the bitterness Along with half of my last drink I am thinking Of your woman Who is crying in the hall It's like drinking gasoline To quench a thirst Until there's nothing there left at all Do you love any, do you love none, Do you love many, can you love one, Do you love me? Do you love many, can you love one, Do you love any, do you love none, "Walk on the blind side"? Do you love me? Was the answer to the joke In her body It's said there isn't a political bone She would rather be a riddle With a profound lack of history But she keeps challenging the future Do you love many, can you love one, Do you love any, do you love none, Do you love me? Do you love any, do you love none, Do you love many, can you love one, Do you love me? And watch while the queen Turns herself into a pawn In one false move Sleepy and shaken And watching while the blurry night Turns into a very clear dawn Do you love me? Do you love me? Do you love me? Do you love me? Do you love me |
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from Suzanne Vega - 99.9f/Suzanne Vega (1999)
We had our Neighborhood girl, she
We just wonder where she's gone..." Used to hang out, in front of McKinsey's Bar, and we were Clientele... "Oh she's gone?" Interested in her, and her "Yes, she's gone, gone, gone." "I think you know your Neighborhood girl, she Lives on my street, now, with Eyes of ice Walking in the sun I've seen her in the morning, when she is And I always thought that she Looked kind of nice At a party, I think She spoke to me once That she had had too much to drink, because she And I thought at the time Said to me, "There's a backbone gone And I've got to get it back Before going on...' Seems to have resigned And your neighborhood girl She was looking out at people From the back of her mind And before she went off She spoke to me again She came up and said "You have the eyes of a friend And there's a razor's edge That I have lost somewhere And I would like it back So if you've seen it anywhere... I've been out for a while But I'll be back in a bit I am just walking through the smoke Because I've got this feeling Finding out if this is it That things are going grey And I'd like to hear a straight line To help me find my way...' I looked at her And I did not know what to say. She had long black hair." "Must be a different Neighborhood girl, cause Ours had blonde hair, in front of McKinsey's Bar And we were interested in her We just wonder where she's gone..." "Oh she's gone?" And her Clientele... "Yes, she's gone, gone, gone |
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| from My Sister's Keeper [ost] (2009) | |||||
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4:28 |
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| from Sony Classical - Great Performances, 1903-1998 (1999) | |||||
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3:28 |
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from va - Grammy's Greatest Moments Vol. Ⅲ (0000)
My name is Luka
제 이름은 루카예요 I live on the second floor 2층에 살지요 I live upstairs from you 당신 집 바로 위층이요 Yes I think you've seen me before 그래요, 전에 한번 본 적 있어요 If you hear something late at night 밤 늦게 말썽이 생긴것 같거나 Some kind of trouble. some kind of fight 누군가 싸우는 소리가 들려도 Just don't ask me what it was 무슨 일이 있었는지는 묻지 말아주세요 Just don't ask me what it was 별 일 아니니까 Just don't ask me what it was 아무것도 묻지 말아주세요 I think it's because I'm clumsy 제가 잘못한 일이거든요 I try not to talk too loud 조용히 말해야 하는데 Maybe it's because I'm crazy 아마 제가 좀 어리석었나봐요 I try not to act too proud 주눅든 표정을 지어야 하는데 They only hit until you cry 아래층에서 소리지르면 더이상 안때려요 And after that you don't ask why 무슨 일이었는진 묻지 마세요 You just don't argue anymore 더이상 설득하려고 하지마세요 You just don't argue anymore 제가 잘못한 거니까 You just don't argue anymore 아무것도 못들은척 해주세요 Yes I think I'm okay 네, 전 괜찮아요 I walked into the door again 다시 들어가봐야 해요 Well, if you ask that's what I'll say 만약 다음에 또 물어오시면 And it's not your business anyway 당신이 참견할일이 아니라고 말할 거예요 I guess I'd like to be alone 이제 혼자 있고 싶어요 With nothing broken, nothing thrown 부러지지도 않았고 삔곳도 없어요 Just don't ask me how I am ... 더이상 괜찮은지는 묻지 마세요 |
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| from Deadicated: A Tribute To The Grateful Dead [omnibus] (1991) | |||||
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| from Deadicated: A Tribute To The Grateful Dead [omnibus] (1991) | |||||
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| from Suzanne Vega - Tired And True (2000) | |||||
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| from Suzanne Vega - Tired And True (2000) | |||||
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| from Suzanne Vega - Tired And True (2000) | |||||
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3:52 |
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from Suzanne Vega - Tired And True (2000)
My name is Luka
제 이름은 루카예요 I live on the second floor 2층에 살지요 I live upstairs from you 당신 집 바로 위층이요 Yes I think you've seen me before 그래요, 전에 한번 본 적 있어요 If you hear something late at night 밤 늦게 말썽이 생긴것 같거나 Some kind of trouble. some kind of fight 누군가 싸우는 소리가 들려도 Just don't ask me what it was 무슨 일이 있었는지는 묻지 말아주세요 Just don't ask me what it was 별 일 아니니까 Just don't ask me what it was 아무것도 묻지 말아주세요 I think it's because I'm clumsy 제가 잘못한 일이거든요 I try not to talk too loud 조용히 말해야 하는데 Maybe it's because I'm crazy 아마 제가 좀 어리석었나봐요 I try not to act too proud 주눅든 표정을 지어야 하는데 They only hit until you cry 아래층에서 소리지르면 더이상 안때려요 And after that you don't ask why 무슨 일이었는진 묻지 마세요 You just don't argue anymore 더이상 설득하려고 하지마세요 You just don't argue anymore 제가 잘못한 거니까 You just don't argue anymore 아무것도 못들은척 해주세요 Yes I think I'm okay 네, 전 괜찮아요 I walked into the door again 다시 들어가봐야 해요 Well, if you ask that's what I'll say 만약 다음에 또 물어오시면 And it's not your business anyway 당신이 참견할일이 아니라고 말할 거예요 I guess I'd like to be alone 이제 혼자 있고 싶어요 With nothing broken, nothing thrown 부러지지도 않았고 삔곳도 없어요 Just don't ask me how I am ... 더이상 괜찮은지는 묻지 마세요 |
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3:48 |
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from Suzanne Vega - Tired And True (2000)
to moonn6pence from shootingstar(papayeverte)
Tom's Diner I am sitting in the morning At the diner on the corner I am waiting at the counter For the man to pour the coffee (아침에 길모퉁이에 있는 식당에 앉아 있어 식당 주인이 커피를 따라 주기를 기다리며 카운터에 있었지.) And he fills it only halfway And before I even argue He is looking out the window At somebody coming in (그가 커피를 반 잔밖에 따르지 않아서 따지려고 했지만^^* 그는 누군가가 들어 오는 것을 보고 그 쪽을 바라봤어.) Dee dee dee dee, dee dee dee dee Dee dee dee dee, dee dee dee dee Dee dee dee dee, dee dee dee dee Dee dee dee dee, dee dee dee dee "It is always nice to see you" Says the man behind the counter To the woman who has come in She is shaking her umbrella ("당신만 보면 기분이 좋아요" 방금 들어온 그 여인에게 카운터에서 그가 말했지. 그녀는 우산을 털고 있었어.) And I look the other way As they are kissing their hellos I'm pretending not to see them Instead, I pour the milk (그들이 서로에게 가벼운 키스로 인사를 나누고 있을 때 난 다른 쪽을 보고 있었어. 그 대신 우유를 부으면서 그들을 안 보고 있는 척 했어.) Dee dee dee dee, dee dee dee dee Dee dee dee dee, dee dee dee dee Dee dee dee dee, dee dee dee dee Dee dee dee dee, dee dee dee dee I open up the paper There's a story of an actor Who had died while he was drinking It was no one I had heard of (신문을 폈어.술 먹다가 죽은 배우에 관한 기사가 있었지. 한 번도 못 들어본 배우였어.) And I'm turning to the horoscope And looking for the funnies When I'm feeling someone watching me And so I raise my head (오늘의 운세를 보고 나서 재미있는 게 있을까 해서 뒤적거렸어. 그 때 누군가 날 보고 있는 것 같아 고개를 들었어.) Dee dee dee dee, dee dee dee dee Dee dee dee dee, dee dee dee dee Dee dee dee dee, dee dee dee dee Dee dee dee dee, dee dee dee dee Dee dee dee dee, dee dee dee dee Dee dee dee dee, dee dee dee dee Dee dee dee dee, dee dee dee dee Dee dee dee dee, dee dee dee dee There's a woman on the outside Looking inside, does she see me? No she does not really see me 'Cause she sees her own reflection (밖에서 어떤 여인이 안을 들여다 보고 있었어. 날 보고 있는 걸까? 아냐, 실제로는 날 보는 게 아니었어. 창에 비친 그녀의 모습을 보는 거였지.) And I'm trying not to notice That she's hitching up her skirt And while she's straightening her stockings Her hair is getting wet (그녀가 치마를 치켜 올리는 걸 안 보는 척 했지. 그녀가 스타킹을 반듯이 하는동안 그녀의 머리는 젖고 있었어.) Dee dee dee dee, dee dee dee dee Dee dee dee dee, dee dee dee dee Dee dee dee dee, dee dee dee dee Dee dee dee dee, dee dee dee dee Oh, this rain, it will continue Through the morning as I'm listening To the bells of the cathedral I am thinking of your voice (성당의 종소리가 들리는 이 오전 내내 비가 계속 될거야. ) And of the midnight picnic Once upon a time before the rain began I finish up my coffee It's time to catch the train (난 당신 목소리를 떠올려. 그리고, 비가 내리기 전에 했었던 그 예전 한 때의 야간 피크닉을 생각해. 커피를 다 마셨어. 이제 기차를 탈 시간이군...) |
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3:39 |
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from Suzanne Vega - Tired And True (2000)
Even if I am in love with you
All this to say, what's it to you? Observe the blood, the rose tattoo of the fingerprints on me from you Other evidence has shown that you and I are still alone We skirt around the danger zone and don't talk about it later Marlene watches from the wall her mocking smile says it all as she records the rise and fall of every soldier passing But the only soldier now is me I'm fighting things I cannot see I think it's called my destiny that I am changing Marlene on the wall I walk to your house in the afternoon by the butcher shop with the sawdust strewn "Don't give away the goods too soon" Is what she might have told me And I tried so hard to resist when you held me in your handsome fist and reminded me of the night we kissed and of why I should be leaving Marlene watches from the wall her mocking smile says it all as she records the rise and fall of every man who's been here But the only one here now is me I'm fighting things I cannot see I think it's called my destiny that I am changing Marlene on the wall |
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2:53 |
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from Suzanne Vega - Tired And True (2000)
It wont do to dream of caramel
to think of cinnamon and long for you. It wont do to stir a deep desire, to fan a hidden fire that can never burn true I know your name, I know your skin, I know the way these things begin But I dont know how I would live with myself, what Id forgive of myself if you dont go So goodbye, sweet appetite, no single bite could satisfy I know your name, I know your skin, I know the way these things begin But I dont know what I would give of myself, how I would live with myself if you dont go It wont do to dream of caramel to think of cinnamon and long for you |
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3:13 |
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from Suzanne Vega - Tired And True (2000)
99.9 Fahrenheit degrees
Stable now, with rising possibilities It could be normal but it isn't quite Could make you want to stay awake at night You seem to me Like a man 0n the verge of burning 99.9 Fahrenheit degrees Pale as a candle And your face is hot And if I touch you I might get what you've got You seem to me Like a man On the verge of running 99.9 Fahrenheit degrees Something cool Against the skin Is what you could be Something cool Against the skin Is what you Could be needing 99.9 Fahrenheit degrees You seem to me Like a man On the verge of burning 99.9 Fahrenheit degrees Something cool Against the skin Is what you could be Something cool Against your skin Is what you Could be needing 99.9 Fahrenheit degrees 99.9 Fahrenheit degrees |
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