And the Sun Will Shine Again Brandon Flowers
THE BASICS
Later on the release of Folk is the New Black in 2006, Janis decided not to make another record until she felt she had "an anthology's worth of impeccable songs". Although she released several individual "for the fans" items, and continued touring, she also set up a whiteboard with a constantly rotating list of songs in process, songs she thought would brand the cut, and thoughts about subjects she wanted to cover. One thing that became credible over the years was her strong relationship with her fans, and the sense that she and they had come full circle – from "Society'southward Child" through "Stars" to "The Light at the Stop of the Line".
Once Covid-19 caused everyone to postpone their live appearances, she became very decorated with the Ameliorate Times Project, an endeavour to assist other artists who could no longer support scheduled new releases by appearing onstage or at conventions, or doing book signings, and all the other things that had been the norm to promote new works. For five months she and a volunteer put up a new version by a new artist five days a week, resulting in the current 187 versions (with thirteen still waiting to be posted.)
During that time, she connected to write.
Within STORY
From Janis: I've always considered myself a author first. I call up the hardest thing for any artist, as we historic period, is to proceed our edge, to avoid the easy way out. After more than 55 years equally a professional person writer, information technology'southward non hard to use my experience to cover up a bad line, or an awkward melody. I actually did not desire to exercise that! I also realized that I'd never managed to make an unabridged anthology that felt similar it lived up to the talent I was lucky plenty to exist born with. And, that my time was finite – I understood that in a completely different way as I turned seventy.
I was floating along through lockdown, tracking new songs on my whiteboard, when I looked at the list one day and thought "Omigosh, I'm just lacking the good day vocal, and I take an album!" I knew I wanted it to be sparse, only I wanted a fuller picture for "Resist" and "Better Times Will Come up." I'd worked with Randy Leago for years and years, I knew he'd sympathise my goals on "Resist" in a way few others could, so we began working long altitude . We'd cheque in every 3-iv weeks to make changes, add or subtract, walking the thin line between what the song itself demanded, and what my voice could sustain. Nosotros talked nigh "existence in service to the vocal" and tried to stay true to that ethic.
In one case we'd finished, I also asked him to add together things like the wonderful obligato clarinet run on "Summer In New York", and the moving harmonica on "Stranger."
I'd worked with Viktor Krauss on several projects and watched his growth as a producer, and since I was living on an isle while he was nonetheless in Nashville, information technology was logical to ask him to work on "Meliorate Times". We went through our common Rolodexes to option the players, and looked on the piece equally an arc – of the by two years with Covid, of my life as an creative person, of the earth in general. That may sound pretentious, simply reflection is part of an creative person's chore, and ending the album with that cut just brings it total circle, for me.
I'd started "Swannnoa" during my first week teaching at the Swannanoa Gathering, and a year after Beth Magill heard it and suggested I ask Nuala Kennedy to play whistle on it at a live testify we were doing. Nuala in turn said John Whalen would be the perfect arranger, then he was! The best compliment I've gotten near that song is when someone said "I've never heard that traditional ballad before – where's it from?"
My creative person friends actually turned out for me on this one, and I'thousand very proud that every unmarried person I asked to bring together responded with an firsthand "Aye". I've never said this before, and I never will say it again, merely this is the all-time album I've always made. Allow information technology residuum there.
CREDITS
Produced past Janis Ian
* "Resist" produced past Randy Leago & Janis Ian.
* "Improve Times Will Come" produced past Viktor Krauss & Janis Ian.
All songs past Janis Ian; © Desperation Publishing (BMI)
Anthology ℗ 2021 Rude Girl Records, Inc.
one. I'm Still Standing
Janis Ian: song, guitars
Randy Leago: cymbals, piano
Viktor Krauss: upright bass
Engineers: Jon Perry (vocal, guitars), Randy Leago (percussion, pianoforte, concluding mix), Viktor Krauss (upright bass).
2. Resist
Produced past Randy Leago & Janis Ian
Janis Ian: acoustic guitars, main vocal
Randy Leago: everything else
Engineers: Jon Perry (Ian guitars & song); Randy Leago (everything else, editing, preliminary mix), Jared Anderson (editing, final mix)
3. Stranger
Janis Ian: song, nylon guitar
Randy Leago: harmonica
Engineers: Jon Perry (guitar, vocal); Randy Leago (harmonica, concluding mix)
four. Swannanoa
Arranged by John Whelan
Janis Ian: lead vocal, acoustic guitars
Nuala Kennedy: Irish whistle, harmonies
John Whelan: button squeeze box
Engineers: Jon Perry (Ian guitars, vocal), Nuala Kennedy (whistle, harmonies), John Whelan (accordion) ; Jared Anderson (terminal mix)
five. Wherever Good Dreams Go
Janis Ian: vocal, acoustic guitar
Recorded live in Baltimore, Doctor
Engineer: Philip Clark
six. Perfect Picayune Girl
Janis Ian: vocal, piano
Engineer: Brandon Bell
seven. Nina
Janis Ian: pianoforte, vocal
Engineer: Gordon Hammond
eight. Dancing With the Night
Janis Ian: vocal, acoustic guitar
Recorded direct to DAT at Granny White Studios
9. Night Side of the Sunday
Janis Ian: vocal, guitar
Engineer: Gordon Hammond
x. Summer In New York
Janis Ian: vocal, piano
Randy Leago: clarinet
Engineers: Brandon Bell (piano, vocal), Randy Leago (clarinet, final mix)
11. The Light at the Cease of the Line
Janis Ian: vocals, acoustic guitar
Engineers: Trevor Bystrom (Janis Ian); Jared Anderson (mix)
12. Better Times Will Come up
Produced by Viktor Krauss & Janis Ian
Editing, mixing: Jared Anderson
Andrea Zonn: Violin, BG vocals
Diane Schuur: Scat solo, BG vocals
Janis Ian: Lead vocals, rhythm guitars
Jeff Coffin: Soprano Saxophone
Jim Brock: Percussion
Jim Hoke: Clarinet, baritone saxophone
Jim Oblon: Electrical guitars
John Cowan: Lead vocals, BG vocals
Maeve Gilchrist: Celtic lever harp
Roy Agee: Trombone, banjo
Sam Bush: Mandolin
Steven May/BreviT: Percussion, synthesizer
Viktor Krauss: Upright bass, resonator guitar, synthesizer, percussion
Vince Gill: Audio-visual guitar solo
Special thank you to Jeff Evans, Randy Leago, and Tom Rashford, without whom this album would non have happened.
Besides to Beth Cartwright, Colby Gustafson (mastering assistant), Dave & Deb Pate, D'Addario Strings & Accessories, G7th Capo Company, Jeannie & Pecker Bystrom, Jill Reitmeyer, Joan Dans, Joan Maute, Jon Perry, Julian Dans, Julie Perry, Leanne Ungar, L R Baggs, Neumann Microphones, and Santa Cruz Guitars. Extra special thanks to Debra Hyslop for all her support and understanding.
To the violent women who inspire me, from my mother and grandmothers to Jennie Adams, Stella Adler, Janet D'Addario, Odetta, Merka Oser Fletcher, Nina Simone, and Miriam Theresa Winter. Last but far from least, to my wife Pat, who is brave when I am non, and kind when I cannot.
Design: Dan Schuman, veer90.com
Mastered by Piper Payne at Infrasonic Mastering, Nashville, TN
Engineers: Jared Anderson for Evergreen Productions, Nashville; Brandon Bell/Southern Ground, Nashville; Jim Brock/Buddha View Studio; Philip Clark/live recording; Jeff Coffin/ITA Studios, Nashville; Gordon Hammond/Sound Emporium, Nashville; Janis Ian/Granny White Studio; Viktor Krauss (Roy Agee, Jim Hoke, Sam Bush-league, John Cowan, Viktor Krauss, Jim Oblon)/Dissever Window Studio, Nashville; BreviT-Steven May/The Closet, Hinsdale MA; Jon Perry/Dominicus Coast Studio, Bradenton FL; Matt Rausch/Vince Gill/Bushwood Studio, Nashville; Jared Yates (Diane Schuur)/Tempo Eye Studios at Jem Productions, Palm Desert CA; Andrea Zonn/The Cutting Garden, Nashville.
Photo of original Library of Congress Rolodex bill of fare for copyright of "Gild's Child"
Janis story: "I got my commencement paying chore equally a performer when I was about fourteen. Had to take ii buses from New York dorsum to my dwelling country of New Bailiwick of jersey, play two sets, and so have ii more buses back home. Shows were Friday and Saturday night. I opened for a band who were terribly excited to be opening for Sam the Sham and the Pharaohs at Shea Stadium the adjacent month. The gig paid $39.fifty a weekend plus complimentary soda. By the time I deducted motorbus fare, I had just enough money left to buy these green suede boots (which I thought were about the hippest matter in creation) and a hardcover volume (A Wrinkle In Time).
Vocal Past Vocal
THE ALBUM AS A WHOLE
This is a bittersweet moment for me… I've toured worldwide constantly since I was 14, so the determination to step dorsum brings both relief, and sadness. Relief considering I beloved being at abode, with my family, having long stretches to write songs and stories and books and things that I simply can't do on the road. Sadness, because I love performing, I'one thousand honored that 55-plus years after I still have an audience, and I hope in that location'due south the occasional flake of fun withal to be had in that expanse.
Simply 1 of the things these by two years have hammered into me is just how fragile our lives are, how brusque in the bridge of the universe – and how of import it is to practice what nosotros love. At this age, at this moment, I want to exist with my friends and family, and that's merely non possible with a full-time touring career.
I know people don't listen to things in sequence much any more, simply if yous exercise, this album layout is an arc. "Arc" every bit in "rainbow", "arc" as in a circle, "arc" every bit something that comes dorsum to itself, and starts again. Like my career, and hopefully, my life as an creative person.
1. I'One thousand STILL Standing
One of the big lessons "At Seventeen" taught me was that it practical to boys and girls, and to all ages. The first fourth dimension I sang "I'm Still Standing" was for a couple of songwriters in their early twenty's. I'd been seeing the song as about myself, older and wiser, saying "I'm still here! Still visible!" Merely then I watched both of them, male and female person, start to tear upwardly and say "Omigosh, that's my song." Information technology was thrilling, to know the song hit a universal. "I'grand Still Standing," is available for purchase now at whatsoever of your favorite music services.
2. RESIST
The hardest affair for an artist to do as they go older is to go on their border. You e'er run the danger of making something "edgy" merely for the sake of it, instead of creating something organic to yourself. The vocal "Resist" took about five years to finish, considering I wanted to become information technology right. I was uncomfortable with describing women equally "viscous", couldn't figure out how to use spoken word without sounding imitation (fifty-fifty though the folk and jazz traditions I come from take always used spoken word!), and finally, had no thought how to stop it. In one case finished, I enlisted Randy Leago's assist for the recording, it really came together. I honey that lyrically it comes full circle, from the repetitious "She is. She is. She is" to "Resist. Resist. Resist."
iii. STRANGER
My grandparents were immigrants, lucky enough to make it in America when the naturalization process was relatively fast. I've often said "I am the American Dream" –they came here then their children and grandchildren could have the chances they were denied. Most people don't understand how broken our clearing process has become, that information technology can have ten or more years to just get working papers, let alone become a citizen. And so I asked myself two things: How would it be if I of a sudden had to leave the place I'd lived in all my life and become back to a country I didn't know? And, if ane of my forebears escaped with faked papers and came here to survive, should I be sent dorsum because of it?
iv. SWANNANOA
When I teach at the Swannanoa Gathering outside Asheville, N.C., I expect out every morning time on the Swannanoa River Valley, and the mountains around it. Such a rich surface area, musically and historically. It always feels like the state itself speaks to me, telling stories of the people who've lived at that place. I've often wondered what information technology was like to grow up there, possibly 5th or 6th generation, then suddenly accept to leave considering you were drafted, or thrown out. How homesick you would be! How you'd long for the sight of those trees, those flowers – you'd miss the place every bit much as the people, maybe even more.
five. WHEREVER Skillful DREAMS Become
It's rare that a vocal grows out of a clear, existent consequence, but I wrote this for a friend who'd lost a child, to say they had every right to grieve. That the retentiveness couldn't, and shouldn't, die. How could you possibly go over something similar that? Yous learn to live with it, but I don't think y'all ever "get over" it.
half dozen. PERFECT Fiddling Girl
I went to come across fellow songwriter Cidny Bullens in a 1-man show about his transition from Cindy Bullens, born female, to Cid Bullens, male person. One thing he said hit me very difficult – that one solar day he'd realized he would e'er exist trapped in a female person body. Forever. Lightheaded as it sounds, I retrieve waking upwards 1 morn and realizing I was now besides old for Peter Pan to knock on my window and teach me to fly. It was a huge loss for me, because somewhere in my middle, I'd believed that one day, I would be able to wing. Information technology'due south important to recognize those sacred places inside united states, and acknowledge them. It'due south vital. I started the song when I got abode that nighttime, and finished information technology the next twenty-four hours.
seven. NINA
"Nina" began with the introduction, which I'd play on guitar every dark as I waited to become onstage. Lyrics began popping into my caput, and I thought, "I practice non desire to write a song about Nina Simone!" Outside of being arguably the greatest all-effectually female person musician, ring leader, arranger, interpreter, performer I've ever seen, we'd been friends, and it was non piece of cake being friends with Nina. Quite the opposite. Still, every bit I wrote, I kept coming back to Nina. So I finally gave in and concentrated on making it live upward to her power and brilliance, without shying abroad from her other issues. Equally a lyricist, I recall this is the best piece on the album. It's a complicated piece, but then once more, Nina was a complicated soul.
eight. DANCING WITH THE DARK
Nosotros've all got those days, don't we? Especially in the time of Covid, when it's just too much, and we desire to take all our burdens and throw them into the body of water, then let the tide carry them abroad. I've felt like that a lot these past few years, overwhelmed with business, overwhelmed with relationships, overwhelmed by life.
9. Nighttime SIDE OF THE SUN
I can't call back when the idea of writing a song from Friction match'south betoken of view took root in my caput, merely I do remember wondering if he was happy with the selection he'd fabricated. Looking back at what he'd been, realizing he'd never exist able to redeem himself. Having to live without the golden globe he'd always taken for granted. And yet, yet aroused, still arrogant, insisting he was right all along. So much duality; what a fascinating character. Stella Adler used to tell us that you had to have sympathy for every character you lot played, to meet the whole of them; I tried to come across Lucifer's pain and regrets, every bit well equally his blowing.
10. Summertime IN NEW YORK
I grew up on all kinds of jazz – Billie Vacation, Coltrane, Spivey, Monk – and I've always loved writing in that vein. One twenty-four hours I found myself missing New York so much! I grew upwardly in Jersey, and then there was always the wistfulness of looking across the river, office of the City and even so non. Then we moved, and I loved everything from the mode steam rises from the cobblestone in summer, to block parties I'd sneak into. Randy'southward clarinet manages to evoke Gershwin and the elevated railroad train all at one time. I love how thin this piece is; it takes a lifetime to learn what not to write or play, and how of import it is to leave infinite.
11. THE LIGHT AT THE END OF THE LINE
It took decades to get over the trauma of "Society's Child", the violence and hatred I was subjected to when it came out. Function of the healing was deciding to stay subsequently shows, meeting and connecting with my audience. One time I realized I was going to stop doing that, I wanted to tell them how much I love them. Information technology sounds corny, but there it is.
12. Improve TIMES Will Come up
Two days afterwards John Prine died, I was doing laundry and institute myself singing "Better times. Better times will come up". Pretty presently the residuum of the chorus came. I wrote the verses waiting for the clothes to dry, so sang information technology into my phone. That started the Better Times Project (bettertimeswillcome.com). Artists of all sorts joined in, until I had close to 200 different versions in everything from Mandarin Chinese to Dutch sign language, drawing books, videos, collages. I put up a new version every day for months, and people in lock-down wrote to say it helped them to face up each new day.
When I recorded it for this album, I wanted my part to stay true to that first a capella version, just so grow into something broader. I called Viktor Krauss, my favorite bass actor, and asked him to co-produce something that would "bear witness the times nosotros've been living through". We went through our mental Rolodexes, enlisting friends like Diane Schuur and Vince Gill, Jim Hoke and John Cowan. The direction was "Don't hold back!" and that's but what we got.
For me, this slice illustrates the arc of fearfulness, isolation, hope, relief, and so return to fright we keep going through as nosotros deal with this scourge. And it's a tribute to all the artists who continue to practise our piece of work, offering audiences an escape and a bit of joy, even as nosotros've watched our ain professions disintegrate under the weight of it all.
LYRICS
ane. I'M Notwithstanding STANDING
See these lines on my face?
They're a map of where I've been
And the deeper they are traced,
the deeper life has settled in
How practise nosotros survive living out our lives?
And I would not merchandise a line
Brand it smooth and fine
or pretend that time stands nonetheless
I desire to rest my soul
here where it can grow without fear
Another line, another year
I'm withal standing here
Come across these marks on my skin?
They are the lyric of my life
Every story I brainstorm
simply ways another end's in sight
Simply lovers understand
Skin only covers who I am
CHORUS
See these bruises, encounter these scars?
Hieroglyphs that tell the tale
Yous can read them in the dark
through your fingertips, similar Braille
And I would non merchandise a line
Brand information technology smoothen and fine
or pretend that time stands still
I programme to residuum my soul
here where it can abound without fear
Another line, another yr
I'thou still standing here
I'thou yet standing hither
I'thousand still standing here
2. RESIST
She is. She is. She is.
She is. She is. She is
She is. She is. She is
too brusque too fat besides skinny
Too tall too plain too pretty
Too hot as well wet too sticky
Too… picky
Oh, what an ugly girl. Oh, what an ugly girl.
Put her in high heels, then she tin't run
Cleave out between her legs so she can't come
Get her a clothes, for easy access
Tell everybody that she's merely like all the balance
How long? How long, how long, how long
How long? How long, how long, how long
Tell me I'm ugly then I'll purchase your crap
Tell me you desire me 'cause I don't talk back
Tell me I carry the original sin
Tell me I'chiliad holy when I cover upwardly my skin
Tell me that my trunk bears a permanent stain
Tell me we can marry if I give upwards my name
Phone call me your infant so I never abound up
Tell me you love me when you only want to fu-fu-fu-
Funny how I whisper and you lot remember it'due south a roar
You lot ask me to the table so you seat me on the flooring
You want me to exist sexy. You want me to be pure.
I cannot be your virgin and I will not be your whore.
Resist. Resist resist resist.
Resist. Resist resist resist.
It's a funny kind of affair, when yous sing a little song
and you get a couple people to sing along
It's the power of customs.
Authenticity changes your reality
I know it'due south hard to believe when they're yelling in your ear
and it's the only voice you're able to hear
But y'all raise up your fist and you learn to resist
and yous say "I will not disappear"
I will not disappear. I will not disappear.
I volition not disappear, I volition non disappear.
I will not disappear.
Resist. Resist resist resist.
Resist. Resist resist resist.
Resist, resist, resist. Resist, resist, resist, resist
Resist
3. STRANGER
I was once a stranger here
Running from a country of fear
Left my habitation and friends backside
Left the love I knew was mine
I was once a stranger here
Did not know a unmarried word
Only knew what I had heard
Land of opportunity
congenital by people just like me
I was once a stranger hither
In my old town, there'due south a lot of fright
One wrong word and you disappear
No 1 dares shed a single tear
Information technology gets smaller every twelvemonth
Now I have to leave again
Exit my family, leave my friends
Don't know where they're sending me
Only know that I will exist
a stranger in that location
Yes I volition be a stranger at that place
4. SWANNANOA
Swannanoa, I can hear you
call my name upon the wind
If I fall behind, don't worry
You will meet my face again
Yous will meet my face again
Swannanoa, I am longing
for my home so far away
I will carry you lot within me
from the cradle to the grave
From the cradle to the grave
And the mountains, and the mist
and the white clouds they kissed
And the sweetgum'southward perfume in my hair
When these difficult times have passed
I will see you at last
Swannanoa, I'll be home to stay
Oh my darling, I'll be home to stay
REPEAT Concluding Department
five. WHEREVER GOOD DREAMS Become
Paint the walls in fairy tales
A ceiling full of stars
Mobiles hung in gay displays
higher up the cradle bars
Sometimes I think I hear
your laughter through the door
Then I remember
what I won't hear whatsoever more than
Do you see me down here?
Talking to the empty air?
In my memories of you,
I'm just a fiddling closer to
wherever proficient dreams go up there
I was in one case the simply one
to brush away your tears
If e'er you lot are lonely,
I volition e'er be right here
and if you lot demand me,
you lot tin can wish upon a star
'cause I will ever hear
your prayers in my heart
CHORUS
I wonder where you are tonight
are y'all warm, and tucked in tight?
And do y'all ever visit me,
in your retentivity?
People call back I'thou crazy
to be property on and then long
but how can I get over you
when you're not actually gone?
CHORUS
half dozen. PERFECT Picayune Daughter
Pretend that you're a girl,
for the rest of your life
Pretend information technology for the world,
though you lot know it isn't right
If life'southward a fairy tale,
you can play your office and exist
Exist a perfect little daughter
for all the world to meet
simply in that location'due south a sacred place within
and it'southward a place yous merely tin't hibernate
If this whole wide globe would only see
they'd know you tried to be
a perfect trivial girl
Pretend it's all a dream
and i day you'll wake inside
to be somewhere in-between
where you left, and you arrived
And you'll know that dreams come truthful,
'crusade it'due south happening to y'all
Like a redbird finds the jump,
you lot will find your season, as well
'crusade at that place's a sacred place within
and information technology'southward a identify yous simply can't hide
If this whole broad world could see
they'd know you tried to be
a perfect little daughter
Blame it on the sun
Arraign it on the moon
Blame it on the stars that shine
the same on me as you
'cause at that place'southward a sacred place inside
and it'southward a identify I just tin can't hide
If the globe could see inside of me
they'd know I tried to be a perfect footling girl
Perfect little girl
Perfect picayune girl
seven. NINA
Nina, I can see your confront,
caught upwardly in the song's comprehend
Alphabets of lightning falling from your lips
Raining on your fingertips
Any kind of fool could see,
yous were ever meant to be
Miracles in moonlight, worshipped from afar
Called-for like a shooting star
And how were you to know this globe
was then damned hard on beauty
Frightened by your lightning song
Nina, tin't you come across?
You were always beautiful to me
Crazy as a loon. In your ain drawing
What a globe those eyes must see
When you hit the mark, you stopped my heart
Then you'd turn effectually and grind information technology
right into the ground. I'd find information technology
Cradled in the arms of vocal
Right where miracles belong
Melody and madness.
Sanctity and sadness.
A heart at war – nothing more than
Just how were you lot to know this earth
was so damned hard on beauty
Frightened by your lightning song
Nina can't you see?
You were always beautiful to me
8. DANCING WITH THE Night (THIS LONG Dark)
Accept these burdens from my middle
Lay them downwardly beside the sea
They are tearing me autonomously
Let them drift away from me
Take this sorrow from my soul
I have prayed to find some rest
It'south a weight I cannot concord
It lays heavy on my chest
This long dark cannot last forever
This long night, sorrow shields the stars
Requite me lite
Illuminate the darkness in my heart
Dancing with the night
I'm dancing with the dark
Have these tears that blind my optics
I have lived too long in shadows
Unbind these shuttered skies
My horizons are too narrow
Take my weariness and sorrow
Take the troubles I have borrowed
They will all be hither tomorrow
This long nighttime cannot last forever
This long nighttime, sorrow shields the stars
Give me lite
Illuminate the secrets of my heart
I'm dancing with the dark
Dancing with the dark
ix. Nighttime SIDE OF THE SUN
Things are different downwardly here
People say they love you, then they disappear
I'yard the king of all I dreamed of,
just nobody seems to care
Things are different down here
When I sabbatum at His right hand
Passing judgment on the earth at His command
How He loved me, from higher up me
That'southward the thing I could not stand up
when I saturday at His correct manus
It doesn't seem then far to autumn
when you lot are up there, looking down
merely from the ground y'all run across eternity
and a altitude then profound,
at that place'll exist no forgiveness now
A race that tin't be run
A war that tin can't be won
A song that can't be sung
just to feed my hunger
I don't demand your love
I don't need your honey to see what I've go
simply look at me, now
I am complimentary, now
Free to build my kingdom come up
on the dark side of the sun
Things are different down here…
10. Summertime IN NEW YORK
Summer in New York
Skies are blue, but I'g across the river
Missing you, only goose egg like before
Summertime in New York
Jazz in Primal Park
Chocolate kisses stolen in the nighttime
Rooftop romance. Sugar by the shore.
Summertime in New York
What a fourth dimension we had!
Gone from practiced to bad
Remember how we would strut
and promenade the Strand
The men were hat in hand
Fifth Avenue was oh, so grand!
The heat
came rise through our feet
When sin and sidewalk come across
you lot're dancing to a very unlike band
Oh, human being
At present that we're autonomously,
the memory'south more precious than forever
You'll always be my Coney Island heart
Summer in New York
Summer in New York
Summer in New York
xi. THE Low-cal AT THE END OF THE LINE
Information technology'south the end of the line
and I know it's been crude
Oh, merely time subsequently time,
it was always plenty
You were there when I laughed
You were there when I cried
You lot are there as I tell you lot "Practiced-bye"
Information technology's the end of the line
and whatever they say,
I was yours, you lot were mine
Only a heartbeat away
Close enough to be kissed
Far enough to be missed
From the cradle to silver and greyness
In due fourth dimension, at that place will exist
someone else who volition meet
all the good in your center,
fifty-fifty though we're apart
Oh, how I've loved your heart
In the blink of an eye,
all that'due south left is the past
and the memories fade
'til there's silence, at last
Just the vocal volition recall
The spark will still polish
It'due south the calorie-free at the end of the line
In that location'due south a calorie-free at the end of the line
12. BETTER TIMES Volition COME
Better times, amend times volition come.
Better times, ameliorate times volition come.
When this world learns to alive as ane,
oh, better times volition come
CHORUS
When nosotros greet each dawn without fear
knowing loved ones before long will be near
And when the winds of war
cannot blow any more
Oh, better times volition come
CHORUS
Though we alive each twenty-four hour period as our last
we know someday soon it volition pass
Nosotros will trip the light fantastic toe, we volition sing
in that never-ending spring
Oh, better times volition come up
Improve times, meliorate times will come.
Better times, better times will come.
When this world learns to alive as one,
oh, better times will come
Oh, better times will come
All songs by Janis Ian
Words & music by Janis Ian, © Desperation Publishing (BMI)
All rights reserved; international copyright secured. Used by permission.
Source: https://janisian.com/music/the-light-at-the-end-of-the-line/
Belum ada Komentar untuk "And the Sun Will Shine Again Brandon Flowers"
Posting Komentar