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Emerson, Lake & Palmer - Tarkus

Emerson, Lake & Palmer - Tarkus Lyrics and Youtube Music Videos

Album: Tarkus
Released: 1971

Tarkus Lyrics

The wall
On which the prophets wrote
Is cracking
At the seams

Upon the
Instrument's object
The sunlight
Brightly gleams

Where every man
Is torn apart
With nightmares
And with dreams

Will no one lay
The laurel wreath
When silence
Drowns the screams

Confusion
Will be my epitaph
As I crawl
This cracked and broken path
If we make it
We can all
Sit back
And laugh

But I fear tomorrow
I'll be crying
Yes I fear tomorrow
I'll be crying
Yes I fear tomorrow
I'll be crying

Between the iron gates of fate
The seeds of time were sown
And watered by
The deeds of those
Who know
And who are known

Knowledge is
A deadly friend
If no one
Sets the rules

The fate of all
Mankind I see
Is in
The hands of fools

The wall
On which the prophets wrote
Is cracking
At the seams

Upon the
Instrument's object
The sunlight
Brightly gleams

Where every man
Is torn apart
With nightmares
And with dreams

Will no one lay
The laurel wreath
When silence
Drowns the screams

Confusion
Will be my epitaph
As I crawl
This cracked and broken path
If we make it
We can all
Sit back
And laugh

But I fear tomorrow
I'll be crying
Yes I fear tomorrow
I'll be crying
Yes I fear tomorrow
I'll be crying

Crying
Crying

Yes I fear tomorrow
I'll be crying
Yes I fear tomorrow
I'll be crying

Crying

Writer/s: GREG LAKE, IAN MCDONALD, MICHAEL REX GILES, PETER JOHN SINFIELD, ROBERT FRIPP
Publisher: Universal Music Publishing Group
Lyrics licensed and provided by LyricFind

Tarkus

This progressive epic runs 20:42 and takes up the entire first side of the album. The parts are:

Eruption
Stone of Years
Iconoclast
Mass
Manticore
Battlefield
Aquatarkus

This song describes the story of a war machine called Tarkus (a mixture between an armadillo and a tank). This creature emerges from an egg that is beside a volcanic crater that is making an eruption. Then a cybernetic creature that looks like a futuristic station, this creature is destroyed by Tarkus' turrets. After that comes a creature called Iconoclast, that is a mixture between pterodactyl and a war airplane. This creature battles, but can't compare to Tarkus and loses the battle.

Another creature appears named Mass (a mixture of lizard, lobster and a rocket launcher), and after a battle Mass loses the battle and Tarkus continues his bloody adventure. After three victories Tarkus faces a mythological creature called Manticore (this creature has a human face, lion's body and scorpion's tail). Tarkus faces Manticore and is stung in his eye. Manticore forces Tarkus to go back, and Manticore defeats Tarkus, whose body falls down to a river. But though Tarkus seems to be dead you can't be sure because his turrets are not damaged.

Greg Lake, who wrote the lyrics for this track, explains: "The initial inspiration for this record came from the music that Keith (Emerson) had written. Following on from this I wrote various songs and worked together with Keith and Carl (Palmer) as a producer to create the record you now hear. Tarkus has been the backbone performance piece for ELP and has certainly stood the test of time. It is one of the best examples of the musical genius of Keith Emerson as a composer and of the band ELP working and performing together at the very top of their game."

The album cover, created by the artist William Neal, shows a depiction of Tarkus. While most ELP albums were completed long before the cover art was done, in this case, it helped adhere the songs. Lake explains: "The album cover art lent a sort of visual concept to an album which didn't really have a bonding concept at all. Before the album sleeve was conceived the whole thing was just a string of various musical and lyrical concepts weaved together into one continuous arrangement."

Keith Emerson poured through Greek mythology looking for a name for this song, but came up empty. Inspiration struck when the word "Tarkus" popped into his head when the band was driving back from a gig. It conjured up visions of a tank, so the idea developed to make the new mythological creature an armadillo (because of its armor) with tank treads. Emerson says that the word is completely original, and the only thing he's heard close to it is "tukhus" - a Yiddish word for the rear end.

Always a very theatrical band, Emerson, Lake & Palmer at one point shared the stage with a model of the Tarkus creature, which would blast a foamy substance at key moments. This provided a Spinal Tap moment when during a show that Carl Palmer recalls being in Brighton, the creature was aimed in the wrong direction, and the foam went into Emerson's grand piano. "We had to stop the show and on came the roadies with the dustpans and the Hoover to clear it out," Palmer said.

In our interview with Carl Palmer , he said: "The greatest piece collectively as a band, which really was a blueprint for a lot of up-and-coming prog rock groups to follow, would have been 'Tarkus

.'
The music in 'Tarkus' was very, very simple. It was a 10/8 rhythm, which I played to Keith, and I said, 'We could count this in 5/4, this is where the accents are.' He wrote, then, a topline that went wherever the accents were, and we had the melody. This was a fantastic piece of music, unbelievable.

All that was wrong with 'Tarkus' was it probably wasn't as mature as a concept lyrically as what it should have been. It was just a group of songs nailed together, but the actual music itself was outstanding. It just didn't have the political overtones that something like Pink Floyd had with The Wall. It wasn't that in-depth. But the music was superior, was absolutely fantastic. We just never really carried it through far enough intellectually.

So great album, great, great music, just didn't cap it off completely. But very proud of it."

We Are Scientists - Make It Easy

We Are Scientists - Make It Easy Lyrics and Youtube Music Videos

Album: TV En Français
Released: 2014

Make It Easy Lyrics

Make It Easy

The song's music video features the We Are Scientists duo of Keith Murray and Chris Cain engaged in a low-budget space adventure. "It's a love song, but with plenty of ambivalence and frustration lurking around the edges," Murray explained to MTV News. "We figured a good way to illustrate that would be to use that old trope of a guy who gets involved with an alien woman on a foreign world after slaying all her friends. The seeds of disaster are planted right at the beginning for this young couple!"

"It's a video about misunderstanding, conflict, and the fact that beauty can't be defined using limited cultural signifiers," Cain added. "It is also, of course, the sort of martial-arts spectacular not seen since Bruce Lee's heyday."

The song is a track from We Are Scientists' fifth album TV En Français. Asked by HMV.com where the title came from, Murray replied: "We were in Miami doing photoshoots for the album artwork and we knew that one of the themes for the album was poor communication, the idea of being in a conversation and not really understanding what the other person was really saying. We saw this cheap motel on the beach in Miami that advertised that it had TV in French and we thought it was an interesting metaphor for poor communication between a couple."

"It's like you're talking to someone, but you're not really catching what it is they're really saying, it's a bit like watching TV in French," he added, "When you watch TV in French you kind of get the gist of what's going on, but you're missing a lot of the nuances and core meaning."

Led Zeppelin - The Battle Of Evermore

Led Zeppelin - The Battle Of Evermore Lyrics and Youtube Music Videos

Album: Led Zeppelin 4
Released: 1971

The Battle Of Evermore Lyrics

The Battle Of Evermore Song Chart

Robert Plant wrote the words to this acoustic song after reading a book on Scottish history. The lyrics are about the everlasting battle between night and day, which can also be interpreted as the battle between good and evil. (thanks, Graham - Atlanta, GA)

This is the only song Zeppelin ever recorded with a guest vocalist. Robert Plant felt he needed another voice to tell the story that plays out in the song, so Sandy Denny from Fairport Convention was brought in. Her vocals represent the people as the town crier, while Plant's voice is the narrator. Fairport Convention was a British folk group Zeppelin shared a bill with in 1970.

This collaboration with Sandy Denny marked the first time Robert Plant did a duet with a woman. In later years, he had tremendous success singing with Alison Krauss; their 2007 album Raising Sand won a Grammy award for Album of the Year.

Sandy Denny was given a symbol on the album sleeve - three pyramids - to thank her. The four members of Led Zeppelin each designed their own symbols for the album. Denny died in 1978 from a brain hemorrhage resulting from a fall down the stairs.

Jimmy Page wrote the music on a mandolin he borrowed from John Paul Jones. He explained to Guitar Player magazine in 1977: "On 'The Battle of Evermore,' a mandolin was lying around. It wasn't mine, it was Jonesey's. I just picked it up, got the chords, and it sort of started happening. I did it more or less straight off. But, you see, that's fingerpicking again, going back to the studio days and developing a certain amount of technique – at least enough to be adapted and used. My fingerpicking is a sort of cross between Pete Seeger, Earl Scruggs, and total incompetence."

Led Zeppelin rarely played this live, but when they did, John Paul Jones sang Sandy Denny's part.

Many J.R.R. Tolkien fans see the lyrics as a reference to his book Return Of The King, where the lyrics could describe the Battle of Pelennor ("The drums will shake the castle wall, The ring wraiths ride in black"). Plant is a huge Tolkien fan, and referred to his books in "Ramble On" and "Misty Mountain Hop." (thanks, Ollie C - Hampshire, England)

A lot of this fits the battle of the Pelennor fields: "At last the sun is shining, The clouds of blue roll by" - as Sauron's army and influence advanced the sky darkened and when he lost this battle it became light again. But a lot doesn't fit to that particular battle/book, including the part about the angels of Avalon, as Avalon was not from Tolkien's world but the legends of Merlin and King Arthur. The song is not completely about that battle but there are references to Lord Of The Rings things like Ringwraiths and most of the song can be interpreted to be about it if you choose. (thanks, Caleb - Christchurch, New Zealand)

The word "Avalon" is Latin for "place with apples," and here is the part of the song Avalon is mentioned - "I'm waiting for the angels of Avalon, waiting for the eastern glow. The apples of the valley hold the seeds of happiness," so it may just mean "I'm waiting for the angels of place with apples." (thanks, Geno - North Riverside, IL)

Sound engineer Andy Johns said of the recording: "The band was sitting next to the chimney in Headley, drinking tea, when Jimmy grabbed a mandolin and started playing. I gave him a microphone and stuck a Gibson echo on his mandolin. Jimmy had brought this stuff before and had asked me to take a look at it. Suddenly Robert started singing and this amazing track was born from nowhere." (thanks, Bertrand - Paris, France)

Emerson, Lake & Palmer - Karn Evil 9

Emerson, Lake & Palmer - Karn Evil 9 Lyrics and Youtube Music Videos

Album: Brain Salad Surgery
Released: 1973

Karn Evil 9 Lyrics

Karn Evil 9

This is ELP's most popular song from their most popular album. The song is most commonly interpreted as ELP's take on a shortened history of the world into a futuristic tale. The First Impression begins on the "Cold and misty morning" of the Earth's birth, through the ice age ("Where the seeds have withered, silent faces in the cold"), and to man's growing lust for money ("Now their faces captured in the lenses of the jackals for gold"), which leads to various wars. Afterwards, the world is described as a carnival, wherein various elements of humanity are reduced to circus sideshows ("A bomb inside a car," "Pull Jesus from a hat"), representing the human race's growing selfishness and indifference toward others. Even human misery is described as a "specialty" in the "show."

The second part of the First Impression focuses on the growing artificialization of the world, describing something as natural as "A real blade of grass" as some bizarre circus attraction. Despite the fact that the world is becoming more and more consumed by artificiality and given control to computers (see Third Impression), the human race insists that it is still in control, as it created all that the "Carnival" encompasses ("We would like it to be known the exhibits that were shown were exclusively our own.").

The Second Impression is an instrumental piece (mostly a piano solo), symbolizing the blissful ignorance of humanity towards the impending danger of the conquest of the computers, which culminates in the Third Impression. At this point, the "machines" have concluded their superiority to humanity and begin to take on mankind's necessity to prove their own superiority. The computers are represented by heavily distorted vocals, while the voice of the all-representative "Man" is clean and without effect. The computers finally wage a violent conquest of the Earth. Mankind is shocked that its own creation is fighting back against him ("Walls that no man thought would fall") and is unprepared for the conflict. Finally the machines determine that they are sentient beings and the new "Humans," or rather the new dominant species ("Load your program. I am yourself."), pushing humanity to the subservient status that they had once occupied. After their victory ("Rejoice! Glory is ours!"), they make sure not to wipe out the human race, but preserve it to demean humanity and gloat about their superiority.

The last stanza of the suite epitomizes the conquest and the arrogance of both the old and new masters of the earth, wherein man struggles to maintain his presence as the dominant species on Earth and the computers assert that they have surpassed their creators: "I am all there is." "Negative! Primitive! Limited! I let you live!" "But I gave you life!" "What else could you do?" "To do what is right." "I'm perfect! Are you?" (thanks, Mike - Long Island, NY)

"Roll up... see the show!" represents the carnival barker. "Roll Up" is a British term inviting people to come check something out - Paul McCartney said it at the beginning of The Beatles "Magical Mystery Tour."

When asked in 2009 if he knew how prophetic the lyrics, to this song would be, Greg Lake replied: "Yes we did. The reason for this was that Pete [Sinfield] and I had both written Schizoid Man some years before and could already see the writing on the wall."

Why #9? When we spoke with Greg Lake, we surmised it may have had something to do with John Lennon, who was a big influence on Lake and an affinity for the digit. Greg's response: "I have no f--king clue what number 9's got to do with anything, to be honest with you."

With that theory debunked, we can look to Keith Emerson, who says that he had an idea for lyrics about a planet called Ganton 9. Lyricist Pete Sinfield shot down the planet idea, but perhaps kept the number.

"Karn Evil" is a series of songs on the Brain Salad Surgery album which were conceived as one piece. "Karn Evil 9: 1st Impression, Pt. 1" runs 8:37 and closes the first side of the album. The second side begins with "Karn Evil 9: 1st Impression, Pt. 2," which is by far the most famous part of the movement. Running 4:45, it's the section that begins, "Welcome back my friends to the show that never ends." This is what radio stations typically play, as it works as a self contained song and is a practical length for airplay.

"Karn Evil 9: 2nd Impression" follows, running 7:07, and "Karn Evil 9: 3rd Impression" closes out the original album at 9:07.

No part of "Karn Evil" was ever released as a single, but it helped the album reach #2 in the UK and #11 in the US.

The title is a play on the word "Carnival." Pete Sinfield, who wrote some lyrics for the band, came up with the phrase after hearing some music Keith Emerson wrote for the piece - he thought it sounded like something you would hear at a carnival. Sinfield says that the work of the musician Tom Lehrer and the author Kurt Vonnegut were an influence on the words he wrote.

The "Karn Evil" suite was written with live performance in mind, and it served ELP well as a concert favorite. The band's previous album was Trilogy, which contained songs that required sound effects and other assistance to play live. In our interview with Greg Lake , he explained: "We decided that the next album we made, we would make sure that we could perform it live. And so, I know it sounds horribly extravagant, but this is what we did: We bought a cinema in London and we set up on the stage, and we wrote the album, performing it on the stage in the theatre. So as we created the album, we made sure that we could perform it live.

So it came about, this line, 'Welcome back, my friends, to the show that never ends.' It was a kind of live idea behind it."

Sky Ferreira - Night Time, My Time

Sky Ferreira - Night Time, My Time Lyrics and Youtube Music Videos

Album: Night Time, My Time
Released: 2013

Night Time, My Time Lyrics

I’m useless and I know it
Auditory hallucination
You said I don’t care what I’m thinking about
But I’m thinking of you right now
Night time is my time dreamin' of moving
Falling in space
Will i sit down?
Or go faster and faster?
Into the maybe
Slow down

Right now
I wouldn’t feel anything
When we burst into dust forever
And no angels will help us out
‘Cause they’ve all gone
Night time is my time
I’m dreaming of moving
Falling in space
Will i sit down?
Or go faster and faster?
Into the maybe
Slow down
Right now
Faster and faster

I’m going faster and faster
I’m going faster and faster
I’m going faster and faster
I’m going faster and faster
I’m going faster and faster
Faster and faster and faster

Writer/s: FERREIRA, SKY / RAISEN, JUSTIN LOUIS
Publisher: Universal Music Publishing Group
Lyrics licensed and provided by LyricFind

Night Time, My Time

The artwork for Sky Ferreira's Night Time, My Time album features the singer naked in the shower. The cover was shot by the Argentine film director and screenwriter, Gasper Noé, who is mostly known for the feature films I Stand Alone, Irréversible and Enter the Void. Noè also worked on the videos for Nick Cave and the Bad Seeds' "We No Who U R" and Animal Collective's "Applesauce."

The song and album title is a line said by anti-heroine Laura Palmer in David Lynch's movie Twin Peaks: Fire Walk with Me. The song's music video, directed by Grant Singer, also pays tribute to David Lynch and Laura Palmer.

David Lynch's surreal early 1990s television drama series, Twin Peaks, was centred on the question, 'Who killed Laura Palmer?' As the series progressed, viewers learned that Palmer was not the innocent she first seemed. The 1992 psychological horror movie Twin Peaks: Fire Walk with Me was both a prologue and epilogue to the television series. Here are three more songs inspired by Twin Peaks:

"Laura Palmer" by Bastille
"Wild Thing" by Noah and the Whale
"Slow, Love, Slow" by Nightwish

Ferreira told MTV News why she titled the album after this tune. "I feel like it just kind of summed up the record in some weird way even though it doesn't even sound like any of the songs," she said. "At least where my head was when I shot the album cover and when I finished recording everything and as I was writing the majority of the record, I think that was the headspace I was at, was that song."

Simon & Garfunkel - The Sound of Silence

Simon & Garfunkel - The Sound of Silence Lyrics and Youtube Music Videos

Album: Wednesday Morning, 3 AM
Released: 1966

The Sound of Silence Lyrics

Hello darkness, my old friend
I've come to talk with you again
Because a vision softly creeping
Left its seeds while I was sleeping
And the vision that was planted in my brain
Still remains
Within The Sound of Silence

In restless dreams I walked alone
Narrow streets of cobblestone
'Neath the halo of a street lamp
I turned my collar to the cold and damp
When my eyes were stabbed by the flash of a neon light
That split the night
And touched the sound of silence

And in the naked light I saw
Ten thousand people, maybe more
People talking without speaking
People hearing without listening
People writing songs that voices never share
And no one dared
Disturb the sound of silence

"Fools" said I
"You do not know, silence like a cancer grows
Hear my words that I might teach you
Take my arms that I might reach you"
But my words like silent raindrops fell
And echoed
In the wells of silence

And the people bowed and prayed
To the neon god they made
And the sign flashed out its warning
In the words that it was forming
And the signs said
"The words of the prophets are written on the subway walls
And tenement halls
And whisper'd in the sounds of silence

Writer/s: SIMON, PAUL
Publisher: Universal Music Publishing Group
Lyrics licensed and provided by LyricFind

The Sound of Silence Song Chart

The first recording was an acoustic version on Simon & Garfunkel's first album, Wednesday Morning, 3 AM, which was billed as "exciting new sounds in the folk tradition," and sold about 2000 copies. When the album tanked, Simon and Garfunkel split up. What they didn't know was that their record company had a plan. Trying to take advantage of the folk-rock movement, Columbia Records had producer Tom Wilson add electric instruments to the acoustic track. Simon and Garfunkel had no idea their acoustic song had been overdubbed with electric instruments, but it became a huge hit and got them back together. If Wilson had not reworked the song without their knowledge, Simon and Garfunkel probably would have gone their separate ways. When the song hit #1 in the States, Simon was in England and Garfunkel was at college.

Paul Simon was looking for a publishing deal when he presented this song to Tom Wilson at Columbia Records. Wilson thought it could work for a group called The Pilgrims, but Simon wanted to show him how it could work with two singers, so he and and Art Garfunkel sang it to the guys at Columbia Records, who were impressed with the duo and decided to sign them.

Paul Simon took six months to write the lyrics, which are about man's lack of communication with his fellow man. He averaged one line a day.

In an interview with Terry Gross of National Public Radio (NPR), Paul Simon explained how he wrote the song while working at his first job in music: "It was just when I was coming out of college. My job was to take the songs that this huge publishing company owned and go around to record companies and see if any of their artists wanted to record the songs. I worked for them for about six months and never got a song placed, but I did give them a couple of my songs because I felt so guilty about taking their money. Then I got into an argument with them and said, 'Look, I quit, and I'm not giving you my new song.' And the song that I had just written was 'The Sound of Silence.' I thought, 'I'll just publish it myself,' and from that point on I owned my own songs, so that was a lucky argument.

I think about songs that it's not just what the words say but what the melody says and what the sound says. My thinking is that if you don't have the right melody, it really doesn't matter what you have to say, people don't hear it. They only are available to hear when the sound entrances and makes people open to the thought. Really the key to 'The Sound of Silence' is the simplicity of the melody and the words, which are youthful alienation. It's a young lyric, but not bad for a 21-year-old. It's not a sophisticated thought, but a thought that I gathered from some college reading material or something. It wasn't something that I was experiencing at some deep, profound level - nobody's listening to me, nobody's listening to anyone - it was a post-adolescent angst, but it had some level of truth to it and it resonated with millions of people. Largely because it had a simple and singable melody."

This was one of the songs Simon & Garfunkel performed in 1964 when they were starting out and playing the folk clubs in Greenwich Village. It was their first hit.

Paul Simon was often compared to Bob Dylan, who was also signed to Columbia Records, and while Simon has acknowledged Dylan's influence on "The Sound Of Silence," he was never trying to measure up to Dylan. Simon told Mojo in 2000: "I tried very hard not to be influenced by him, and that was hard. 'The Sound Of Silence', which I wrote when I was 21, I never would have wrote it were it not for Bob Dylan. Never, he was the first guy to come along in a serious way that wasn't a teen language song. I saw him as a major guy whose work I didn't want to imitate in the least."

There is a Dylan connection on this song: The electric version was produced by Tom Wilson and finished by Bob Johnston, and both men had worked with Dylan. Wilson was Dylan's producer for about two years starting in 1963, and helped Dylan make the transition from acoustic folk to electric rock. Wilson went on to work with The Velvet Underground and later became a record company executive. Johnston was Dylan's producer until 1970.

This was used in the movie The Graduate. The film's director Mick Nichols put it on as a work track and was going to replace it, but as the film came together it became clear that the song was perfect for the film. Nichols didn't just use this song, but felt Simon & Garfunkel had a sound that fit the tone of the movie very well. They commissioned them to write "Mrs. Robinson" specifically for the movie, and also added "Scarborough Fair" and "April Come She Will" to the film.

This has a lot of meaning in the movie The Graduate. The lyrics refer to silence as a cancer, and if people in the movie had just been honest and not afraid to talk, all the messy things would not have happened. Problems can be solved only by honesty. (thanks, Stefan - Winona, MS)

Simon & Garfunkel did not write this about the Vietnam War, but by the time it became popular, the war was on and many people felt it made a powerful statement as an anti-war song.

In the US, this hit #1 on New Year's Day, 1966.

The opening line, "Hello darkness, my old friend," came from Simon's time as a boy when he would sing in the bathroom with the lights out, enjoying the acoustics from the tiles that provided a doo-wop reverb sound.

On February 23, 2003, Simon and Garfunkel reunited for the first time in 10 years to accept a lifetime achievement award and perform this at the opening of The Grammys. At the time, the US was preparing to invade Iraq, and while this could be heard as a political statement, Simon said it wasn't. He explained that they wanted to play this because it was their first hit.

At the Grammy Awards in 1967, Simon & Garfunkel were introduced by Dustin Hoffman, who made a name for himself when he starred in The Graduate. There was no host at The Grammys that year, so Hoffman was the first person seen when the show opened.

Despite its great popularity, Blender magazine voted this the 42nd worst song ever, remarking sardonically that "If Frasier Crane were a song, he would sound like this." The magazine's editor, Craig Marks, defended Blender's decision to include this much-loved song on their list, stating: "It's the freshman-poetry meaningfulness that got our goat, with self-important lyrics like 'hear my words that I might teach you', it's almost a parody of pretentious '60s folk-rock." The brief article on the song corresponding with this called the "hear my words" line "the most self-important... in rock history," and elaborated on Mark's remarks with: "Simon and Garfunkel thunder away in voices that suggest they're scowling and wagging their fingers as they sing. The overall experience is like being lectured on the meaning of life by a jumped-up freshman."

The band Gregorian covered this on their album Masters of Chant - as Gregorian chant. Nevermore also covered it on the album Dead Heart In A Dead World, and the German band Atrocity covered it on their 2000 album Gemini. As for their version's quality: Many people feel the band name was appropriate. (thanks, Brett - Edmonton, Canada, for above 2)

This was used in the movie Old School in a scene where Will Ferrell falls into a pool. (thanks, Joel Riley - Berkley, MI)

The Bachelors, a three-piece vocal group from Ireland, recorded this in 1966 and hit #3 in the UK with their version. Simon & Garfunkel's version was not released as a single in England. (thanks, Phil - Bolton, England)

This song was parodied on The Simpsons in the fifth season episode "Lady Bouvier's Lover." The whole episode is very similar to The Graduate, and The Simpsons version plays over the end credits, after Grandpa and Mrs. Bouvier have left the church much as Benjamin and Elaine do in the movie. (thanks, Judah - San Francisco, CA)

Paul Simon didn't always enjoy performing his older songs, as he had a hard time making connections to songs he had written decades earlier. This was a source of contention for the duo, since Art Garfunkel felt that many of their popular songs were still relevant, and their audience wanted to hear them. He explained in a 1993 interview with Paul Zollo: "I want 'The Sound Of Silence' to get angry at the end as if it's timeless. The impoverished are screaming, 'F--k this unfair system,' just like they've always screamed it. It's a timeless thing. It lives, if you can make it live, onstage tonight like it did when it was written in '64."

There has been only one cover version of this song to make the US Hot 100: a 1971 release by Peaches & Herb that made #100. Some other notable covers are an extended Metal version by Nevermore on their 2000 album Dead Heart in a Dead World, and a 1996 rendition by the Icelandic singer Emiliana Torrini.

Simon & Garfunkel performed this at Neil Young's Bridge School Benefit in 1993 with Eddie Van Halen backing them on guitar.

The heavy metal band Disturbed surprised their fans by covering this for their 2015 Immortalized album. Guitarist Dan Donegan said they didn't want to cover up singer David Draiman's vocal with "loud, aggressive, and distorted guitars" on their version. He added: "We wanted to showcase his vulnerability and take a leftfield approach. The strings and violins really deepen it. It's something that might shock people because we went down a new path altogether. We did what felt right and saw the vision through."

TV on the Radio - Trouble

TV on the Radio - Trouble Lyrics and Youtube Music Videos

Album: Seeds
Released: 2014

Trouble Lyrics

Oh, here comes trouble
Put your helmet on, we'll be heading for a fall
Yeah, the whole thing's gonna blow
And the devil's got my number
It's long overdue, he'll come looking soon
Yeah, the whole thing's gonna blow

Oh, here comes trouble
These people talk too much, need to shut 'em up
Yeah, I'd rather be alone
Can you, can you feel that rumble?
All this borrowed time, it's been running out
It's the ending of the show

But I know now, yeah, yeah, I know now, yeah

Everything's gonna be okay
Oh, I keep telling myself, "Don't worry, be happy"
Oh, you keep telling yourself, "Everything's gonna be okay"
Oh, I keep telling myself, "Don't worry, be happy"
Oh, you keep telling yourself, "Everything's gonna be okay"

Oh, I've changed my number
Wore disguises and went undercover just to
Just to hide away from you
Oh, my ghost came a-calling
Making noises 'bout a promise I had broken
Oh, I'm gonna be lonely soon

Oh, here comes trouble
Put your helmet on, we'll be heading for a fall
Yeah, the whole thing's gonna blow
And the devil's got my number
It's long overdue, he'll come looking soon
Yeah, the whole thing's gonna blow

Everything's gonna be okay
Oh, I keep telling myself, "Don't worry, be happy"
Oh, you keep telling yourself, "Everything's gonna be okay"
Oh, I keep telling myself, "Don't worry, be happy"
Oh, you keep telling yourself, "Everything's gonna be okay"

Everything's gonna be okay

Writer/s: LEDINSKY, DANIEL / ADEBIMPE, TUNDE / SITEK, DAVID / MALONE, KYP / BUNTON, JALEEL
Publisher: Sony/ATV Music Publishing LLC, Kobalt Music Publishing Ltd.
Lyrics licensed and provided by LyricFind

Trouble Song Chart

The song's refrain of "Everything's gonna be OK," is about the self-delusion that is sometimes necessary for surviving modern life. The band's Dave Sitek told NME: "The 'I keep telling myself...' line means that it might not be true. Everyone goes through that, on multiple levels. There's a lot of doubt floating around. What has modern living and its aspirations led to? ''Trouble' at least for me, is about putting your helmet on."

Bruce Springsteen - Jungleland

Bruce Springsteen - Jungleland Lyrics and Youtube Music Videos

Album: Born To Run
Released: 1975

Jungleland Lyrics

The Rangers had a homecoming
In Harlem late last night
And the Magic Rat drove his sleek machine
Over the Jersey state line
Barefoot girl sitting on the hood of a Dodge
Drinking warm beer in the soft summer rain
The Rat pulls into town, rolls up his pants
Together they take a stab at romance
And disappear down Flamingo Lane

Well, the Maximum Lawmen run down Flamingo
Chasing the Rat and the barefoot girl
And the kids 'round there live just like shadows
Always quiet, holding hands
From the churches to the jails
Tonight all is silence in the world
As we take our stand
Down in Jungleland

The midnight gang's assembled
And picked a rendezvous for the night
They'll meet 'neath that giant Exxon sign
That brings this fair city light
Man, there's an opera out on the Turnpike
There's a ballet being fought out in the alley
Until the local cops, Cherry-Tops, rips this holy night
The street's alive as secret debts are paid
Contacts made, they flash unseen
Kids flash guitars just like switchblades
Hustling for the record machine
The hungry and the hunted
Explode into rock 'n' roll bands
That face off against each other out in the street
Down in Jungleland

In the parking lot the visionaries dress in the latest rage
Inside the backstreet girls are dancing
To the records that the DJ plays
Lonely-hearted lovers struggle in dark corners
Desperate as the night moves on
Just one look and a whisper, and they're gone

Beneath the city, two hearts beat
Soul engines running through a night so tender
In a bedroom locked in whispers
Of soft refusal and then surrender
In the tunnels uptown, the Rat's own dream guns him down
As shots echo down them hallways in the night
No one watches when the ambulance pulls away
Or as the girl shuts out the bedroom light

Outside the street's on fire in a real death waltz
Between what's flesh and what's fantasy
And the poets down here don't write nothing at all
They just stand back and let it all be
And in the quick of a knife, they reach for their moment
And try to make an honest stand
But they wind up wounded, not even dead
Tonight in Jungleland

Writer/s: Bruce Springsteen
Publisher: DOWNTOWN DLJ SONGS
Lyrics licensed and provided by LyricFind

Jungleland Song Chart

This is a poetic tale of life on the streets of New Jersey. Beginning with a simple piano intro, Springsteen goes through a series of abstract images and introduces a series of characters in the song, including Magic Rat and Barefoot Girl. It's a song that led to comparisons with Bob Dylan, notably Dylan's "Desolation Row."

Born To Run came with lyrics to the songs, so listeners could follow along. Reflecting on the album years later, Springsteen singled out the last verse of "Jungleland" as an example of his work that had "a lot of overblown romance, but still contained the seeds of realism."

Springsteen and the E Street Band performed this live for over a year before they recorded it. It developed into a longer song with a grand sax solo when it was finally released.

This features the piano of Roy Bittan. He joined The E Street Band for Born To Run after playing in orchestra pits on Broadway.

This was a highlight of Springsteen's 1999 reunion tour with The E Street Band. The tour went very well, and the band continued to play and record together.

Suki Lahav played the violin. She was the first female to play in Springsteen's band, and was with him from September 1974 - March 1975.

This is the last song on Born To Run, the breakthrough album for Springsteen. He tested the patience of Columbia Records by taking over a year to record it, refusing to release it until it was just right.

Clarence Clemons played a long sax solo on this. With his bright suits and large stature, he was the most notable and popular member of The E Street Band, and when it came to this song, he wasn't demure. "That’s one of the classic saxophone solos in the history of the world, if I may say so myself," he said. Clemons was disappointed when the song was not included on the 1995 Greatest Hits album.

As seen in the documentary Wings For Wheels on the 30th anniversary package of the album, one take of the song had a dramatic flamenco-style intro. (thanks, Marshall - Sacramento, CA)

Melissa Etheridge said in Rolling Stone magazines 100 Greatest Singers Of All Time issue: "When Bruce Springsteen does those wordless wails, like at the end of 'Jungleland,' that's the definition of rock & roll to me. He uses his whole body when he sings, and he puts out this enormous amount of force and emotion and passion." (thanks, Bertrand - Paris, France)

The Rulers - Wrong 'Em Boyo

The Rulers - Wrong 'Em Boyo Lyrics and Youtube Music Videos

Album: Wrong 'Em Boyo/Why Don't You Change
Released: 1967

Wrong 'Em Boyo Lyrics

Wrong 'Em Boyo

The song is most popularly known for its cover by the Punk band The Clash, on their 1979 London Calling album. The record was one of many on the jukebox in The Clash's original rehearsal space.

Bassist Paul Simonon in particular really loved the song, hence why the idea of a cover was mooted. The Clash jammed on a cover version with Bill Price in the London Calling sessions, and it became a Ska-influenced rave with an infectious skanking beat.

The song and lyrics are a take on the famous American myth of Stag 'O Lee, or Stagger Lee as he became in later variants.

The original song 'Stag O' Lee' revolves around the legend story of the murder of Billy Lyons by 'Stag' Lee Shelton. Both were small time criminals, and so the story goes, on Christmas day 1895, they were involved in a drunken altercation which involved Lyons stealing Shelton's stetson hat, with Shelton calmly shooting Lyons dead, retrieving his hat and leaving. He would later be arrested and imprisoned for the murder in 1897 and die in prison in 1912. At this point the story had turned into a popular American folk song: "Stag 'O Lee," or "Stagger Lee" (in what may amount to a case of Chinese whispers).

Many cover versions of the song exist down the years, including versions by Wilson Pickett, Ike and Tina Turner, James Brown, Prince Buster and Nick Cave and the Bad Seeds. "Wrong 'Em Boyo" was one of many songs written inspired by the original story, including a similar one by the Black Keys in 2001 called "Stack Shot Billy" (Stack A Lee being another misheard version of the original name).