Song | A Sunday In Madrid |
Artist | Robert Wyatt |
Album | Shleep |
Download | Image LRC TXT |
作词 : Benge, Wyatt | |
Pa arrives in the city of the closed doors, | |
Greeted by miners from Asturias. | |
His limousine streaks past giant shiny moneyboxes, | |
Huddled together for warmth. | |
He is deposited in his inner chamber. | |
Later, Pa meets the bear, impersonates a tree | |
To confuse the hell's gates dogs' sense of smell, | |
And rests for chess with no-one. | |
Then (amongst the closed doors) he shrinks, | |
Is dwarfed by rabbits, expands again | |
To invade the destiny of fourteen mysterious others, | |
Strangely clad, captured by a camera, | |
carefully arranged, with a space for his image. | |
A plot hatched by fate. | |
Pa looks for diversion in the written word, | |
Meanwhile, the mundane world seeks solace in illusion. | |
An imprisoned rainbow gives shelter to the homeless. | |
A painted machine registers the weight of mystery, | |
And for background interest a kilometre of women | |
Queue to kiss a wooden foot, patiently. | |
The Queen had been. | |
But no information, in the city of the closed doors, | |
On Christian Spain. | |
Elsewhere, bare buttocks wait their turn. | |
In vain. No guides available. All busy in the Prado, | |
Followed by shuffling feet. Fascinated. Perhaps. | |
Outside again in the mundane world, | |
In the city of the closed doors, | |
Living men impersonate sleeping saints, | |
On sundry raised surfaces, (like benches). | |
Art objects seat beadless (beneath coats). | |
Performance artists simulate poverty and beg. | |
A day's begging pays the entrance fee | |
To the Cinema of Terror. A golden gas mask | |
Throw the torturers off the trail, amongst | |
The grazed walls of the city of the closed doors. | |
Pa escapes, | |
Samples the delights of raw fish, good wine, | |
Closes the door of his inner chamber, | |
Closes the door of his inner chamber, and sleeps. |
zuo ci : Benge, Wyatt | |
Pa arrives in the city of the closed doors, | |
Greeted by miners from Asturias. | |
His limousine streaks past giant shiny moneyboxes, | |
Huddled together for warmth. | |
He is deposited in his inner chamber. | |
Later, Pa meets the bear, impersonates a tree | |
To confuse the hell' s gates dogs' sense of smell, | |
And rests for chess with noone. | |
Then amongst the closed doors he shrinks, | |
Is dwarfed by rabbits, expands again | |
To invade the destiny of fourteen mysterious others, | |
Strangely clad, captured by a camera, | |
carefully arranged, with a space for his image. | |
A plot hatched by fate. | |
Pa looks for diversion in the written word, | |
Meanwhile, the mundane world seeks solace in illusion. | |
An imprisoned rainbow gives shelter to the homeless. | |
A painted machine registers the weight of mystery, | |
And for background interest a kilometre of women | |
Queue to kiss a wooden foot, patiently. | |
The Queen had been. | |
But no information, in the city of the closed doors, | |
On Christian Spain. | |
Elsewhere, bare buttocks wait their turn. | |
In vain. No guides available. All busy in the Prado, | |
Followed by shuffling feet. Fascinated. Perhaps. | |
Outside again in the mundane world, | |
In the city of the closed doors, | |
Living men impersonate sleeping saints, | |
On sundry raised surfaces, like benches. | |
Art objects seat beadless beneath coats. | |
Performance artists simulate poverty and beg. | |
A day' s begging pays the entrance fee | |
To the Cinema of Terror. A golden gas mask | |
Throw the torturers off the trail, amongst | |
The grazed walls of the city of the closed doors. | |
Pa escapes, | |
Samples the delights of raw fish, good wine, | |
Closes the door of his inner chamber, | |
Closes the door of his inner chamber, and sleeps. |
zuò cí : Benge, Wyatt | |
Pa arrives in the city of the closed doors, | |
Greeted by miners from Asturias. | |
His limousine streaks past giant shiny moneyboxes, | |
Huddled together for warmth. | |
He is deposited in his inner chamber. | |
Later, Pa meets the bear, impersonates a tree | |
To confuse the hell' s gates dogs' sense of smell, | |
And rests for chess with noone. | |
Then amongst the closed doors he shrinks, | |
Is dwarfed by rabbits, expands again | |
To invade the destiny of fourteen mysterious others, | |
Strangely clad, captured by a camera, | |
carefully arranged, with a space for his image. | |
A plot hatched by fate. | |
Pa looks for diversion in the written word, | |
Meanwhile, the mundane world seeks solace in illusion. | |
An imprisoned rainbow gives shelter to the homeless. | |
A painted machine registers the weight of mystery, | |
And for background interest a kilometre of women | |
Queue to kiss a wooden foot, patiently. | |
The Queen had been. | |
But no information, in the city of the closed doors, | |
On Christian Spain. | |
Elsewhere, bare buttocks wait their turn. | |
In vain. No guides available. All busy in the Prado, | |
Followed by shuffling feet. Fascinated. Perhaps. | |
Outside again in the mundane world, | |
In the city of the closed doors, | |
Living men impersonate sleeping saints, | |
On sundry raised surfaces, like benches. | |
Art objects seat beadless beneath coats. | |
Performance artists simulate poverty and beg. | |
A day' s begging pays the entrance fee | |
To the Cinema of Terror. A golden gas mask | |
Throw the torturers off the trail, amongst | |
The grazed walls of the city of the closed doors. | |
Pa escapes, | |
Samples the delights of raw fish, good wine, | |
Closes the door of his inner chamber, | |
Closes the door of his inner chamber, and sleeps. |