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Neil Young - Harvest Moon

Harvest Moon is the twenty-first studio album by Canadian musician Neil Young, released in 1992. Many of the musicians appearing on it also appeared on his 1972 album Harvest, and it is considered by many to be like a "sequel" to Harvest.
Recovering from a case of tinnitus that had come about after the recording of 1990's Ragged Glory and its subsequent tour (which produced 1991's Weld and Arc), Young was determined to return to the studio. Returning to Nashville and joining up with compatriots like Ben Keith, Young put down the electric guitar, returning to the acoustic guitar, piano and banjo that had dominated albums such as Harvest, Comes a Time and Old Ways. 
The album earned the 1994 Juno Award for album of the year. The 2009 release Dreamin' Man is a live album of the subsequent 1992 tour and contains live renditions of all Harvest Moon tracks in a different order.
Cover versions:
A version by singer-songwriters Josie Beck and Robert Dean Harvest Moon
Cassandra Wilson recorded a cover version of the song "Harvest Moon" on her 1995 album New Moon Daughter.
Ann Wilson, lead singer of Heart, recorded a cover version of the song "War of Man" for her 2007 solo release Hope & Glory with Alison Krauss.
Ben Gibbard, lead singer of Death Cab for Cutie, sang a live cover of "Harvest Moon" on May 7, 2007, at a show in Somerville, Massachusetts.
"Unknown Legend" is sung a cappella by TV on the Radio's lead singer Tunde Adebimpe in the 2008 film Rachel Getting Married.
Pearl Jam covered "Harvest Moon" frequently during their fall 2005 tour of Canada.
Neko Case covered "Dreamin' Man" on her 2001 EP Canadian Amp, with background vocals provided by Kelly Hogan.
Jane Birkin covered "Harvest Moon" on her 2006 cover album Fictions.
Kevin Devine recorded a version of "Harvest Moon", see Put Your Ghost to Rest.
Poolside recorded a version of "Harvest Moon," released in July of 2011 to their soundcloud page.
Elliott Smith covered "Harvest Moon" during his 1999 tour.
The lyrics:
Come a little bit closer
Hear what I have to say
Just like children sleepin'
We could dream this night away.

But there's a full moon risin'
Let's go dancin' in the light
We know where the music's playin'
Let's go out and feel the night.

Because I'm still in love with you
I want to see you dance again
Because I'm still in love with you
On this harvest moon.

When we were strangers
I watched you from afar
When we were lovers
I loved you with all my heart.

But now it's gettin' late
And the moon is climbin' high
I want to celebrate
See it shinin' in your eye.

Because I'm still in love with you
I want to see you dance again
Because I'm still in love with you
On this harvest moon.

Creedence Clearwater Revival - Who'll Stop The Rain (1969)

Who'll Stop the Rain is a song written by John Fogerty and originally recorded by Creedence Clearwater Revival for their 1970 album Cosmo's Factory. Backed with "Travelin' Band", it was one of three double sided singles from that album to reach the top five on the Billboard Pop Singles chart and the first of two to reach the #2 spot on the American charts, alongside "Lookin' Out My Back Door". In 2004, Rolling Stone ranked it #188 on its "500 Greatest Songs of All Time" list.
Lyrically, "Who'll Stop the Rain" breaks into three verses, with a historical, recent past, and present tense approach. All three verses allude to a sense of unending malaise, pondered by "good men through the ages", "Five Year Plans and New Deals/wrapped in golden chains", and the Woodstock generation. The malaise is not defined, but appears to allude to a sense, that man's problems have to be dealt with by those who wish to fix them, and no ancient philosophers, money promising government, nor Flower Power generation can merely push them off by thought, money nor communal love. The song's universal topical appeal made it unusual in the time of its release and gives it a quality, that helps it maintain its popularity 40 years later.
Musically, in contrast to the 1950s-Rock inspired "Travelin' Band", "Who'll Stop the Rain" has more of an acoustic, folk-rock feel to it. Like many folk-rock songs, it starts off with a ringing acoustic guitar riff, though the backing throughout has more of a roots rock sound than that heard on more standard folk-rock recordings.[1] Interpreting the song in its time period (1970), and the resigned but somewhat angry feeling of the song, many see "Who'll Stop the Rain" as a thinly veiled protest against the Vietnam War, with the final verse lyrics and its references to music, large crowds, rain, and crowds trying to keep warm, being about the band's experience at the Woodstock Festival in August 1969. There is also a line during the song's second verse about "five-year plans and new deals wrapped in golden chains" that may indicate a general cynicism altogether about politicians. For his part, when asked by Rolling Stone about the meaning of the song's lyrics, John Fogerty was quoted as saying,
“Certainly, I was talking about Washington, when I wrote the song, but I remember bringing the master version of the song home and playing it. My son Josh was four years old at the time, and after he heard it, he said, 'Daddy stop the rain'. And my wife and I looked at each other and said, 'Well, not quite'." ”
In 2007 during a concert in Shelburn, Vermont, he said the following about the song:
“Well this next song has a bit of a fable surrounding it. A lot of folks seem to think I sang this song at Woodstock way back then. No. I was at Woodstock 1969… I think. It was a nice event. I’m a California kid. I went up there and saw a whole bunch of really nice young people. Hairy. Colorful. It started to rain, and got really muddy, and then (yelling) half a million people took their clothes off!!! (Normal voice again) Boomer generation making its presence known I guess. Anyway, then I went home and wrote this song. ”
The half-minute long fadeout of the song, which reprises the repeating guitar pattern from the intro, seems to reinforce the song's main theme of the 'rain' continuing to go on, interminably.
Film
In 1978, the song was used in the film Who'll Stop the Rain. The movie starred Nick Nolte as a Vietnam veteran. It was originally going to be called Dog Soldiers after the source novel, but when the producers got the rights to use the song, they changed the title to it.
The song also appeared in the 1989 film Powwow Highway. Both the original song and a softer, slower cover version sung by Courtney Jaye are included in the soundtrack of December Boys.
A clip of the song appears in the film The War.
The song was also included in the movie "Philadelphia."
The lyrics:
Long as I remember the rain been comin' down
Clouds of mystery pourin' confusion on the ground.
Good men through the ages tryin' to find the sun.
And I wonder still I wonder who'll stop the rain.

I went down Virginia seekin' shelter from the storm
Caught up in the fable I watched the tower grow
Five year plans and new deals wrapped in golden chains.
And I wonder still I wonder who'll stop the rain.

Heard the singers playin', how we cheered for more.
The crowd had rushed together tryin' to keep warm.
Still the rain kept pourin', fallin' on my ears
And I wonder, still I wonder who'll stop the rain.

Dream Theater - As I am (live at Budokan)

As I Am starts with the ending synth/orchestral chord of Six Degrees of Inner Turbulence.
Some lyrics of "As I Am" were inspired by Dream Theater's 2003 summer tour with Queensrÿche, described by Mike Portnoy as an "irksome series of shows." According to Portnoy, Queensrÿche guitarist Mike Stone tried giving John Petrucci tips on playing guitar, leading Petrucci to write the lyrics: "Don't tell me what's in, tell me how to write.
Live at Budokan is a live recording released by progressive metal band Dream Theater on October 5, 2004, available on either 3 CDs, 2 DVDs, or 1 Blu-ray Disc. It was recorded at the Nippon Budokan Hall on April 26, 2004 in Tokyo, Japan.
Personnel:
James LaBrie – Lead vocals, percussion
John Petrucci – Guitar, backing vocals
Jordan Rudess – Keyboards
John Myung – Bass Guitar, Chapman Stick
Mike Portnoy – Drums, backing vocals
The lyrics:
Don't
Tell me what's in
Tell me how to write
Don't tell me how to win
This fight
Isn't your life
It isn't your right
To take the only thing that's
mine

Proven over time
It is over your head
Don't try to read between the
Lines
Are clearly defined
"Never lose sight of
Something you believe in"

Taking in the view from the outside
Feeling like the underdog
Watching through the window I'm on the outside
Living like the underdog

I've been trying to justify you
In the end I will just defy you

To those who understand, I extend my hand
To the doubtful I demand, take me as I am
Not under your command, I know where I stand
I won't change to fix your plan, Take me as I am

As I am

Still
Running uphill
Swimming against the current
I wish I weren't so
Fucked
Feels like I'm stuck
Lost in a sea of mediocrity

Slow down,
You're thinking too much
Where is your soul?
You cannot touch
The way I
Play
Or tell me what to say
You're in the way
Of all that I believe in

Taking in the view from the outside
Feeling like the underdog
Watching through the window I'm on the outside
Living like the underdog
I've been wasting my breath on you
Open minds will descend upon you

To those who understand, I extend my hand
To the doubtful I demand, take me as I am
Not under your command, I know where I stand
I won't change to fix your plan, take me as I am

To those who understand, I extend my hand
To the doubtful I demand, take me as I am
Not under your command, I know where I stand
I won't change to fix your plan, take me as I am

As I am

Yeah

As I am

Pink Floyd - Learning to fly (live, 1994, Earls Court, London)

Learning to Fly is the second song on Pink Floyd's album “A Momentary Lapse of Reason”.
The first single released from the album, it reached number 70 on the Billboard Hot 100 chart and number 1 on the Billboard Album Rock Tracks chart.
The song was primarily written by David Gilmour. It describes Gilmour's thoughts on flying, for which he has a passion (being a licensed pilot with multiple ratings), though it has also been interpreted as a metaphor for beginning something new, experiencing a radical change in life, or, more specifically, Gilmour's feelings about striking out as the new leader of Pink Floyd after the departure of Roger Waters. Gilmour confirmed the latter interpretation on the Pink Floyd 25th Anniversary Special in May 1992. Also an avid pilot, drummer Nick Mason's voice can be heard at around the middle of the song. "Learning to Fly" was included on Pink Floyd's greatest hits collection Echoes: The Best of Pink Floyd.
The track was regularly performed live on the band's two post-Roger Waters tours, with touring guitarist Tim Renwick playing the song's guitar solos (although David Gilmour played the solos on the studio version of the track). A live version is included on Pulse.
The music video was directed by Storm Thorgerson and filmed in Banff National Park, located some 50 to 75 km west of the city of Calgary, Alberta during rehearsals for the band's 1987/88/89 tour. The video combined performances of the band with a Native American working in a field who then runs and jumps off a cliff to turn into an eagle. The original video also depicts a factory worker who turns into an aeroplane pilot as well as a child who breaks free from his mother and dives off a cliff into a deep river, swimming away. The video went to #9 on MTV's Video Countdown in November 1987 and was the #60 video of MTV's Top 100 Videos of 1987. The video won the band its only MTV Video Music Award for "Best Concept Video" in 1988. The red/orange airplane is a Beech Model 17 Staggerwing.
In this video Pink Floyd are:
David Gilmor. Guitar,Vocals.
Nick Mason. Drums.
Richard Wright. Keyboards,vocals.
Sam Brown. Backing vocals.
Claudia Fontaine. Backing vocals.
Durga McBroom. Backing vocals.
Jon Carin, Keyboards.
Dick Parry, Saxophone.
Guy Pratt, Bass Guitar.
Tim Renwick. Guitar
Garry Wallis Persussion

The lyrics:
Into the distance, a ribbon of black
Stretched to the point of no turning back
Flight of fancy on a windswept field
Standing alone, my senses reel
Fatal attraction that's holding me fast
Now, can't escape this irresistible grasp
Can't keep my eyes from the circling sky
Tongue-tied and twisted; just an earth-bound misfit, I
Ice is forming on the tips of my wings
Unheeded warnings, I thought I thought of everything
No navigator to find my way home
Unladen, empty, and turned to stone
A soul in tension that's learning to fly
Condition: grounded - determined to try
Can't keep my eyes from the circling skies
Tongue-tied and twisted; just an earth-bound misfit, I
[BRIDGE]
Above the planet on a wing and a prayer,
My grubby halo, a vapour trail in the empty air,
Across the clouds I see my shadow fly
Out of the corner of my watering eye
A dream unthreatened by the morning light
Could blow this soul right through the roof of the night
There's no sensation to compare with this
Suspended animation - a state of bliss
Can't keep my mind from the circling sky
Tongue-tied and twisted just an earth-bound misfit, I

Coldplay - Yellow & In My Place (live, Glastonbury, 2011)


Yellow is a song by British alternative rock band Coldplay. The band wrote the song and co-produced it with British record producer Ken Nelson for their debut album, Parachutes (2000).
The song's lyrics are a reference to band vocalist Chris Martin's unrequited love.
The song was recorded in March 2000, and released in June that same year as the second single from Parachutes, following "Shiver", and the lead single in the United States. The single reached number four in the UK Singles Chart, giving the band their first top-five hit in the United Kingdom. Helped by heavy rotation and usage in promotions, the song thrust the band into massive popularity. "Yellow" has since been covered by various recording artists worldwide, and remains one of the band's most popular songs.
Martin has explained of the song: "'Yellow' refers to the mood of the band. Brightness and hope and devotion." The references in some of the song's lyrics, including the swimming and drawing a line, "are all metaphorical slants on the extent of his emotional devotion". The drawing of a line refers to Martin's habit of writing lists, and underlining those important things on the list. Martin has commented that the song is about devotion, referring to his unrequited love (Martin was single at the time he wrote the song). Despite its lyrical theme, however, most people have considered "Yellow" as a happy song.
The lyrics:
Look at the stars,
Look how they shine for you,
And everything you do,
Yeah, they were all yellow.
I came along,
I wrote a song for you,
And all the things you do,
And it was called "Yellow".
So then I took my turn,
Oh what a thing to have done,
And it was all "Yellow."
Your skin,
Oh yeah your skin and bones,
Turn into something beautiful,
You know, you know I love you so,
You know I love you so.
I swam across,
I jumped across for you,
Oh what a thing to do.
Cos you were all "Yellow",
I drew a line,
I drew a line for you,
Oh what a thing to do,
And it was all "Yellow."
Your skin,
Oh yeah your skin and bones,
Turn into something beautiful,
And you know,
For you I'd bleed myself dry,
For you I'd bleed myself dry.
It's true,
Look how they shine for you,
Look how they shine for you,
Look how they shine for,
Look how they shine for you,
Look how they shine for you,
Look how they shine.
Look at the stars,
Look how they shine for you,
And all the things that you do.

In My Place is a song by British alternative rock band Coldplay.
The song was written collaboratively by all the band members for their second album, A Rush of Blood to the Head. The track is built around thumping drums, chiming guitars and a chorus. It was released on 5 August 2002 as the lead single from A Rush of Blood to the Head and reached number two on the UK Singles Charts. The song reached number seventeen on Billboard's Modern Rock Tracks.
"In My Place" was well received by critics. The song was complimented for its music and profound lyrics. "In My Place" won the award for Best Rock Performance by a Duo or Group with Vocal at the 45th Grammy Awards. The music video was nominated for two MuchMusic Video Awards in 2003 in the categories of Best international video–group and People's Choice: Favorite international group.
The three lines of the third verse allude to a man's love of a woman, who does not reciprocate his love. He is saying he will always wait for her, but he does not think that she should stay where she is any longer.
The lyrics emphasize: "But I wait for you/if you go, if you go/leaving me here on my own/well I wait for you."
The song's lyrics also include references to a desire for weary optimism.
The lyrics:
In my place, in my place
Were lines that I couldn't change
I was lost, oh yeah

I was lost, I was lost
Crossed lines I shouldn't have crossed
I was lost, oh yeah

Yeah how long must you wait for it?
Yeah how long must you pay for it?
Yeah how long must you wait for it?
Oh for it

I was scared, I was scared
Tired and under prepared
But I wait for it

If you go, if you go
Leave me down here on my own
Then I'll wait for you (yeah)

Yeah how long must you wait for it?
Yeah how long must you pay for it?
Yeah how long must you wait for it?
Oh for it

Sing it, please, please, please
Come back and sing to me, to me, me
Come on and sing it out, now, now
Come on and sing it out, to me, me
Come back and sing it

In my place, in my place
Were lines that I couldn't change
And I was lost, oh yeah, oh yeah

Lenny Kravitz - American Woman

American Woman is a song by Canadian rock band The Guess Who, first released in January 1970 on the album of the same name and later in March as a single, which reached No. 1 on the Billboard Hot 100.
The song has been covered by many rock artists, including Lenny Kravitz, Krokus, Jimi Hendrix and the Butthole Surfers.
Lenny Kravitz version
Lenny Kravitz covered American Woman for the soundtrack of Austin Powers: The Spy Who Shagged Me. Kravitz did a slower and softer version, without the signature guitar solo; he later said to Randy Bachman that the reason why he skipped the guitar part was "I couldn't get the sound. I couldn't get the tone."
Kravitz won a Grammy in 1999 for Best Male Rock Vocal Performance.
It was later included in the 1999 re-issue of his 5 album. The music video featured actress Heather Graham (who starred in The Spy Who Shagged Me); the original political themes of the song were largely replaced by sex appeal. The song has been used in season 2, episode 13 of Alias. It was also used on the youtube video for Heroes including Niki Sanders, Jessica and Tracy Strauss for Ali Larter.
The song's lyrics have been the matter of some debate, often interpreted as an attack on U.S. politics (especially the draft). Jim Kale, the group's bassist and the song's co-author, explained his take on the lyrics:
The popular misconception was that it was a chauvinistic tune, which was anything but the case. The fact was, we came from a very strait-laced, conservative, laid-back country, and all of a sudden, there we were in Chicago, Detroit, New York – all these horrendously large places with their big city problems. After that one particularly grinding tour, it was just a real treat to go home and see the girls we had grown up with. Also, the war was going on, and that was terribly unpopular. We didn't have a draft system in Canada, and we were grateful for that. A lot of people called it anti-American, but it wasn't really. We weren't anti-anything. John Lennon once said that the meanings of all songs come after they are recorded. Someone else has to interpret them”.
The lyrics:
American woman, stay away from me
American woman, mama let me be
Don't come hanging around my door
I don't want to see your face no more
I got more important things to do
Than spend my time growin' old with you
Now woman, stay away
American woman, listen what I say

American woman, get away from me
American woman, mama let me be
Don't come knocking around my door
I don't want to see your shadow no more
Colored lights can hypnotize
Sparkle someone else's eyes
Now woman, get away
American woman, listen what I say

American woman, I said get way
American woman, listen what I say
Don't come hanging around my door
Don't want to see your face no more
I don't need your war machines
I don't need your ghetto scenes
Colored lights can hypnotize
Sparkle someone else's eyes
Now woman, get away
American woman, listen what I say
American woman, stay away from me
American woman, mama let me be

I gotta go
I gotta get away
Think I gotta go
I wanna fly away
I'm gonna leave you woman
I'm gonna leave you woman
I'm gonna leave you woman
I'm gonna leave you woman
Bye bye, bye bye
Bye bye, bye bye
American woman
You're no good for me
I'm no good for you
Looking at you right in the eye
Tell you what I'm gonna do
I'm gonna leave you woman
You know I gotta go
I'm gonna leave you woman
I gotta go
I gotta go

I gotta go
American woman
Yeah

Erasure - I Love To Hate You

Love to Hate You is a song by Erasure which was released in 1991 as the second single from the duo's fifth studio album Chorus.
The single was released by Mute Records in the UK and Sire Records in the U.S. The song, written by band members Vince Clarke and Andy Bell is an electronic dance track clearly inspired by disco music. The synthesizer melody in the chorus of "Love to Hate You" is an interpolation of the disco-era classic "I Will Survive".
The song's music video features Erasure performing the song on a futuristic stage with a long, connected runway which extends out into the audience. As Bell dances down the runway, it is revealed that the floor is covered in water - these shots were filmed in London's Leadenhall Market. Vince Clarke is also seen playing a circular keyboard similar to one previously used by Jean Michel Jarre
The band also recorded a Spanish version of the song, called "Amor y Odio" (Love and Hatred), and one in Italian called "Amo Odiarti".
"Love to Hate You" is one of Erasure's most successful singles on the UK singles chart, peaking at number four.
It became a Top 20 hit in Germany where it reached number 19, and in Sweden where it reached number 4. In the US it reached number 17 on the Hot Dance Music/Club Play, number 10 on the Hot Dance Music/Maxi-Singles Sales and number 6 on the Modern Rock Tracks.
The lyrics:
Woah oh oh oh, woah oh oh oh
Woah oh oh oh, woah oh oh oh
Woah oh oh oh, woah oh oh oh

I'm crazy flowing over with ideas
A thousand ways to woo a lover so sincere
Love and hate, what a beautiful combination
Sending shivers up and down my spine

For every Casanova that appears
My sense of hesitation disappears
Love and hate, what a beautiful combination
Sending shivers up and down my spine

And the lovers that you sent for me
Didn't come with any satisfaction guarantee
So I return them to the sender
And the note attached will read

How I love to hate you
I love to hate you
I love to hate you
I love to hate you

Oh, you really still expect me to believe
Every single letter I receive
Sorry you, what a shameful situation
Sending shivers up and down my spine

Ooh, I like to read a murder mystery
I like to know the killer isn't me
Love and hate, what a beautiful combination
Sending shivers, make me quiver
Feel it sliver up and down my spine

And the lovers that you sent for me
Didn't come with any satisfaction guarantee
So I return them to the sender
And the note attached will read

How I love to hate you
I love to hate you
I love to hate you
I love to hate you

And the lovers that you sent for me
Didn't come with any satisfaction guarantee
So I return them to the sender
And the note attached will read

How I love to hate you
I love to hate you

And the lovers that you sent for me
Didn't come with any satisfaction guarantee
So I return them to the sender
And the note attached will read

How I love to hate you
I love to hate you
I love to hate you
I love to hate you
I love to hate you

The Bangles - Eternal Flame (live)

Eternal Flame is a song by The Bangles from their 1988 album Everything. It became a hit single, when released in 1989, peaking at number one in the charts in nine countries, including Australia, the United Kingdom, and the United States. It was written by popular songwriters Billy Steinberg and Tom Kelly and The Bangles' own Susanna Hoffs. With this song and "Walk Like an Egyptian", The Bangles became only the third all-girl group to score multiple no.1's in the United States. (The others are The Supremes, who had 12, and The Shirelles, with 2.).
Unlike the rest of the more uptempo pop songs on their album Everything, "Eternal Flame" is a ballad. Co-writer Billy Steinberg describes it as "The Beatles meet The Byrds".
The song was inspired by two eternal flames: one at the gravesite of Elvis Presley that the Bangles saw when the band visited Graceland, and one at a local synagogue in Palm Springs which Steinberg attended as a child.
Steinberg recalled to Songfacts: "Susanna was talking about The Bangles having visited Graceland, and she said there was some type of shrine to Elvis that included some kind of eternal flame. As soon as those words were mentioned, I immediately thought of the synagogue in the town of Palm Springs, California where I grew up. I remember during our Sunday school class they would walk us through the sanctuary. There was one little red light and they told us it was called the eternal flame."
Cover versions:
In 1991, jazz fusion/contemporary jazz guitarist Chuck Loeb offered Chuck's version from the album "Balance."
A Japanese rendition of "Eternal Flame" was also performed by Seiko Matsuda.
The song has also been covered by Atomic Kitten (band) in 2001.
The song has been covered in 1999 by the Australian group Human Nature on the Counting Down album.
The song has been covered in 2000 by Rollergirl on the Now I'm Singin'... And The Party Keeps On Rollin' and released as a single which peaked at #87 in the Swiss Charts.
The song was covered in 2001 by the Argentine band Smitten on them Let me be album.
The song was covered in 2004 by Japanese pop singer Beni Arashiro on her Infinite... single.
The song was covered in 2005 by Jeremy Udden on his Torchsongs album.
The song was covered in 2005 by Japanese artist LISA on her Melody Circus album.
A cover version has been made in 2005 by the Filipino acoustic duo M.Y.M.P. on the Versions album.
Portuguese power metal band Oratory included a rendition of the song on their 2005 "Interludium" EP.
In 2006, the song was covered by former Deutschland sucht den SuperStar contestant Lena Hanenberg on the Love Songs album.
Bonnie Tyler and French singer Laura Zen recorded a version in 2011 which went to French radio stations on Monday August 29. The song was named "Eternal Flame (Amour éternel)".
The song was featured in the movie Pitch Perfect.
The lyrics:
Close your eyes, give me your hand, darling
Do you feel my heart beating
Do you understand
Do you feel the same
Am I only dreaming
Is this burning an eternal flame

I believe it's meant to be, darling
I watch you when you are sleeping
You belong with me
Do you feel the same
Am I only dreaming
Or is this burning an eternal flame

Say my name sun shines through the rain
A whole life so lonely
And then you come and ease the pain
I don't want to lose this feeling

Simon & Garfunkel - The Sound of Silence (live in Central Park, 1981)

The Sound of Silence is a song by singer-songwriter duo Simon & Garfunkel.
Written in February 1964 by Paul Simon in the aftermath of the 1963 assassination of John F. Kennedy, the song propelled the group to mainstream popularity.
An initial version preferred by the band was remixed and sweetened, and has become known as "the quintessential folk rock release".
In the U.S., it was the duo's second most popular hit after "Bridge Over Troubled Water".
The song features Simon on acoustic guitar and both singing. It was originally recorded as an acoustic piece for their first album Wednesday Morning, 3 A.M. in 1964 but on the initiative of the record company's producer, Tom Wilson, it was later overdubbed with drums, electric bass and electric guitar, all without the knowledge or participation of Simon & Garfunkel and rereleased as a single in September 1965.
The single reached number one on New Year's Day 1966 and was included in the 1966 album Sounds of Silence.
"The Sound of Silence" was originally called "The Sounds of Silence" and is titled that way on the early albums in which it appeared and on the first single release; only on later compilations was it retitled "The Sound of Silence". Both the singular and the plural appear in the lyrics. In his book Lyrics 1964–2008 Simon has the title in the singular.
Cover versions
In 1966, Spanish rock band Los Mustang recorded a spanish-language cover of the song, entitled "El Ritmo Del Silencio".
Dutch singer Boudewijn de Groot included a Dutch translation of the song ("Het geluid van de stilte") on his unnamed 1965 debut album.
Irish duo The Bachelors had a hit in Ireland and the UK with the song in 1966 before the Simon and Garfunkel version made it into the charts there.
Swedish singer Anni-Frid Lyngstad recorded a Swedish-language cover of the song, entitled "En ton av tystnad", which was featured on her 1971 debut album, Frida.
Serbian and former Yugoslav acoustic music duo Vlada i Bajka recorded a Serbian language version of the song, "Zvuk tišine", released on a single in 1971.
Los Angeles punk band The Dickies recorded a cover of the song, released on a single in 1978.
Israeli duo The Parvarim recorded a Hebrew-language version on their 1972 LP The Parvarim Sing Simon & Garfunkel. The lyric was translated by Ehud Manor.
French singer Gérard Lenorman in his 1981 album D'amour, featured a rewritten lyrics of this song, and he named it "Chanson d'innocence".
In 1986, Stanley Jordan recorded an instrumental version on his Standards, Vol. 1 album.
In the late 1980s, The Fools often covered "The Sound of Silence" at their live performances. One such performance was released on the band's 1987 live album Wake Up... It's Alive!!!. The album was re-released with more tracks in 1993 as Wake Up... It's Alive!!! (Again).
In 1990, Brazilian singers Leandro e Leonardo covered "The sound of silence", rewritten as the love song "É Por Você que Canto" (It is for you that I sing). This version has since been recovered by other Portuguese/Brazilian groups.
In 1996, Icelandic singer Emilíana Torrini covered "The Sound of Silence".
In 1999, Gregorian covered "The Sound of Silence" on their album Masters of Chant.
In 2000, Atrocity covered "The Sound of Silence" on their EP Sounds of Silence. In the same year, Nevermore covered "The Sound of Silence" on their album Dead Heart in a Dead World.
Italian classical singer, Micheal Castaldo recorded an Italian version of this song on his 2010 album Aceto.
In 2007, rock duo Shaw Blades covered "The Sound of Silence" on their second album, Influence.
In 2007, New Zealand singer/songwriter, Brooke Fraser, released a live cover version on the deluxe edition of her album Albertine.
In 2008, the band Ascension of the Watchers covered "The Sound of Silence" on their album Numinosum.
In 2010, Sharleen Spiteri covered "The Sound of Silence" on her album The Movie Songbook.
In 2011, the band Bobaflex covered "The Sound of Silence" on their album Hell in my Heart.
In 2011, Phil and Tim Hanseroth covered "The Sound of Silence" on Brandi Carlile's album Live at Benaroya Hall with the Seattle Symphony.
In 2011 Kina Grannis covered "The Sound of Silence" on the deluxe edition of her album Stairwells.
In 2011, jazz guitarist Pat Metheny opened on his Grammy Award-winning solo cover album What It's All About with "The Sound of Silence".
In 2011, the song was performed by Paul Simon during the 10th anniversary memorial service for the victims of 9/11. This was a last minute change, as the official program had him performing "Bridge Over Troubled Water".
On December 20, 2012, Paul Simon performed the song at the funeral of Vicki Soto, a teacher who was killed in the Sandy Hook Elementary School shooting. He knows Ms. Soto through his sister-in-law.
The 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 sign said, "The words of the prophets are written on the subway walls
And tenement halls"
And whispered in the sounds of silence

Alice Voinescu

A fost prima femeie care a susÅ£inut o rubrică de cronică dramatică în România, la Revista FundaÅ£iilor Regale.Era în anul 1938. Fără ea, lumea aceea minunată a BucureÅŸtiului interbelic ar fi fost mai săracă. I-a cunoscut pe ÅŸi a fost prietenă cu André Gide, André Malraux, François Mauriac ÅŸi Roger Martin du Gard, căci a fost invitată la celebrele întâlniri de la Pontigny, vechea mănăstire din FranÅ£a. ÃŽn Å£ară, i-a cunoscut ÅŸi le-a fost prietenă lui George Enescu, Reginei Maria, Marucăi Cantacuzino, Mariettei Sadova…
ÃŽÅŸi Å£inea cursurile de istoria literaturii dramatice cu un farmec nespus, iar sălile erau întotdeauna arhipline. Strălucea, era vedetă, era admirată ÅŸi iubită… A iubit teatrul cu delicateÅ£e ÅŸi tot cu delicateÅ£e a scris despre el, fie că era vorba despre o lucrare de mare amploare sau despre o cronică la vreun spectacol care o tulburase sau nu în seara dinainte…

„Cum nu veÅ£i citi aceste rânduri decât când nu voi mai fi eu, pot să-mi permit o sinceritate pe care, oricum aÅŸ vrea-o, n-aÅŸ putea s-o ajung, ÅŸtiind că veÅ£i citi jurnalul acesta fiind eu în viaţă. (…) Până azi, nu am făcut, nici gândit lucruri pe care nu le-aÅŸ putea mărturisi, n-am jignit nici legi sociale, nici naturale. L-am mâniat, desigur, pe Dumnezeu – dacă e – prin faptul că n-am ÅŸtiut să înÅ£eleg semnul ce-mi făcea prin toate necazurile ÅŸi greutăţile ce întâmpinam. Acum ÅŸtiu ÅŸi simt că de tot ce Å£i se-ntâmplă eÅŸti responsabil ÅŸi regret din toată conÅŸtiinÅ£a că am putut meschiniza prin furii banale, indignări forÅ£ate de formule căturăreÅŸti, prin dureri factice, fiindcă mi le inoculam cu gândul că aÅŸa se cuvine să suferi când eÅŸti înÅŸelată, minÅ£ită, decepÅ£ionată etc.! Ce rău îmi pare că am trăit aÅŸa cei mai buni ani ai vieÅ£ii mele, în care puteam fi numai lumină ÅŸi înÅ£elegere îngăduitoare, în care trebuia să radiez în jurul meu viaţă autentică.”
Era 28 septembrie 1929, atunci când Alice Voinescu, născută Steriadi, nota aceste rânduri pe prima pagină aJurnalului ei (publicat de Editura Albatros) ce avea s-o însoÅ£ească până în ultima zi din mai 1961, cu doar patru zile înainte să moară, în noaptea de 3 spre 4 iunie. A fost prima femeie din România cu un doctorat în filosofie, obÅ£inut la Sorbona, a fost scriitoare ÅŸi profesoară la Conservatorul de Artă Dramatică din BucureÅŸti, după ce a refuzat o catedră universitară în SUA ÅŸi un post de lector la Paris. A refuzat ÅŸi s-a întors în Å£ară, căci îl iubea pe avocatul Stello Voinescu ÅŸi-i era logodnică, iar iubirea lor a chinuit-o până la sfârÅŸitul vieÅ£ii… Cât a trăit el, multe au fost momentele de disperare, de dezamăgire ÅŸi de amărăciune. El era bărbatul petrecăreÅ£, inteligent, cu spirit de Don Juan, care lipsea nopÅ£ile de acasă, dar se simÈ›ea întotdeauna umbrit de personalitatea ei extraordinară, de cultura ÅŸi de nobleÅ£ea ei. Ea era intelectuala adorată de studenÅ£i, spirit superior, de o sensibilitate care nu excludea forÅ£a ÅŸi care-l intimida adesea printr-o formă de răceală ce exista însă numai la suprafaţă. Căci din paginile Jurnalului ei se conturează portretul unei femei ce nu se teme să-ÅŸi etaleze slăbiciunile, să-ÅŸi arate rănile ÅŸi să-ÅŸi mărturisească dorinÅ£a de a fi iubită ÅŸi dezamăgirea atunci când se ÅŸtie înÅŸelată. Iată un fragment care îi dezvăluie ÅŸi delicateÅ£ea, ÅŸi forÅ£a: „Mă simt goală, săracă, proastă. Nu ÅŸtiu ce aÅŸ putea vorbi cu un om. M-am secat. Mă simt de o incultură crasă, înapoiată, dar mai ales secată de orice pentru a crea ÅŸi a mă înnoi? Care să fie cauza? Dacă măcar credinÅ£a mi-ar fi adevărată ÅŸi adâncă, nu mi-ar păsa. Dar mă simt toată o , că n-am nimic de ascuns. Nu ÅŸtiu de unde s-o încep iar. Mă rog pe dinafară ÅŸi n-am poftă să mă rog. Privesc viaÅ£a trecută ÅŸi o găsesc anostă ÅŸi goală. Viitorul? GuÅŸe ÅŸi reumatism. Pfui! Ratare din plin.”
Şi totuşi, moartea lui Stello, în 1940, când era încă tânăr, îi apropie. Alice începe să-l iubească iarăşi cu o forţă nouă şi-i duce dorul până la sfârşitul zilelor ei, petrecând ore întregi la mormântul lui, topită de tristeţe şi purtând lungi conversaţii cu el în paginile aceluiaşi jurnal.
ViaÅ£a acestei femei importante pentru teatrul românesc ÅŸi nu numai, în urma căreia au rămas pagini întregi despre arta pe care a îndrăgit-o nespus, este una din acele poveÅŸti care te reîmprietenesc cu tine însuÅ£i. ÃŽnsă nu cronicile lui Alice Voinescu – atât de vii ÅŸi de puternice, păstrându-i însă toată delicateÅ£ea ÅŸi în acelaÅŸi timp dezvăluindu-i cultura impresionantă ÅŸi sensibilitatea – ÅŸi nici studiile ei despre teatru n-am vrut să le evocăm aici în primul rând, ci tocmai imaginea unei femei care a trăit o viaţă ca a unui personaj dintr-o piesă de teatru. Rolul ei în destinul multor actori ÅŸi actriÅ£e pe care i-a format s-a uitat, poate. Dar cine va avea răgaz ÅŸi plăcere să răsfoiască paginile ziarelor acelor ani va descoperi scriitura unei femei de o rară inteligenţă ÅŸi de un mare curaj. Iar cine va avea curajul să se întoarcă în timp în BucureÅŸtiul interbelic o va întâlni la teatru, pe străzi sau îngenuncheată în vreo biserică unde mergea să se roage pe aceeaÅŸi femeie, frumoasă, sensibilă, tandră ÅŸi mereu îndrăgostită de un bărbat care i-a chinuit mulÅ£i ani din viaţă, dar pe care l-a iubit cu un amestec de ardoare ÅŸi dispreÅ£ cum numai sprititele superioare ÅŸtiu să iubească ÅŸi să se lase chinuite. Va întâlni o fiinţă de o rară modestie, poate incomparabilă în teatrul nostru.
Nu puÅ£ine sunt paginile din Jurnal Ã®n care strecoară rânduri ÅŸi cuvinte legate de ceea ce se întâmpla pe scenă sau la examenul de artă dramatică, precum ÅŸi importante descoperiri despre sine însăşi: „Azi, parcă am uitat că sunt o mutilată. Copiii care au venit să repete la mine scena din Romeo ÅŸi Julieta m-au dus cu 18 ani în urmă: cred că aÅŸ fi fost o bună actriţă, simt cum izvorăşte tonul exact, cu uÅŸurinţă, din mine.” Iată ce nota, spre exemplu, în 13 aprilie 1939: „L’annonce faite a Marie, spectacol meritoriu. Atmosferă înălţătoare. TotuÅŸi, joc foarte mediocru. Momente superbe ale Aurei Buzescu, excelentă, impresionantă, Marietta Anca, bărbaÅ£ii rataÅ£i, ansamblul totuÅŸi alături! N-au prins spiritul. Jucat, nu trăit. Cui îi reuÅŸeÅŸte? Incomprehensiunea publicului, semnul inculturii spirituale. Opacitate dureroasă”. ÃŽn câteva rânduri, Alice Voinescu descrie ÅŸi reconstruieÅŸte o lume… Publicul ÅŸi incultura lui, teatrul ÅŸi micile sau marile lui drame ÅŸi probleme, care, iată, sunt „vechi ÅŸi nouă toate”. O lume care încet, încet avea să se degradeze tot mai mult, iar ea, făptura atât de sensibilă, va trăi pe rând drama războiului, cu toate suferinÅ£ele lui, ÅŸi ceva mai târziu drama închisorii comuniste, fiind încarcerată un an ÅŸi ÅŸapte luni la Jilava ÅŸi la Ghencea.
Drama războiului… „Ce spectacol splendid, apărarea antiaeriană! Proiectoarele se încruciÅŸau ca spade uriaÅŸe ÅŸi între ele se înălÅ£au nestemate, iar proiectoarele se aprindeau o clipă ÅŸi se stingeau, dând cerului o însufleÅ£ire – ca o clipire. Era superb. Frica dispare în faÅ£a frumuseÅ£ii. ÃŽnÅ£eleg fericirea contemplării frumuseÅ£ii divine.”
Åži drama închisorii comuniste… „Nu vreau să mă gândesc la cele 19 luni petrecute în închisoare. E ceva atât de străin de gândul meu, de soarta mea adevărată, îndreptată spre libertate, încât nu-mi recunosc nicio rudenie, nicio afinitate, nicio coincidenţă între mine ÅŸi cele prin care am trecut. Zadarnic am încercat să integrez acest timp în sensul vieÅ£ii mele. Am vrut să-i găsesc un rost, o explicaÅ£ie. Mă amăgeam că pretindeam că e o mare experienţă ce-mi poate folosi. Nu mi-a folosit toată urâţenia ÅŸi murdăria ÅŸi comicăria decât să mă delimitez mai bine, să mă smulg din ea.”
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