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Pink Floyd: The Wall

 A l b u m   D e t a i l s

Label: EMI Records
Released: 1979.11.30
39:05 / 41:51
Category: Pop/Rock
Producer(s): Bob Ezrin, David Gilmour, Roger Waters
Rating: ********.. (8/10)
Media type: CD Double
Web address: www.pinkfloyd.com
Appears with: David Gilmour, Roger Waters, Richard Wright
Purchase date: 1997
Price in €: 25,99

 S o n g s ,   T r a c k s

Disk 1:
[1] In the Flesh? (Waters) - 3:19
[2] The Thin Ice (Waters) - 2:29
[3] Another Brick in the Wall, Part One (Waters) - 3:09
[4] The Happiest Days of Our Lives (Waters) - 1:51
[5] Another Brick in the Wall, Part Two (Waters) - 3:59
[6] Mother (Waters) - 5:36
[7] Goodbye Blue Sky (Waters) - 2:48
[8] Empty Spaces (Waters) - 2:08
[9] Young Lust (Gilmour/Waters) - 3:30
[10] One of My Turns (Waters) - 3:37
[11] Don't Leave Me Now (Waters) - 4:17
[12] Another Brick in the Wall, Part Three (Waters) - 1:14
[13] Goodbye Cruel World (Waters) - 1:17

Disk 2:
[1] Hey You (Waters) - 4:42
[2] Is There Anybody Out There? (Waters) - 2:40
[3] Nobody Home (Waters) - 3:24
[4] Vera (Waters) - 1:33
[5] Bring the Boys Back Home (Waters) - 1:27
[6] Comfortably Numb (Gilmour/Waters) - 6:24
[7] O.K. (Waters) - 1:35
[8] The Show Must Go On (Waters) - 4:17
[9] In the Flesh (Waters) - 4:24
[10] Run Like Hell (Gilmour/Waters) - 3:58
[11] Waiting for the Worms (Waters) - 0:30
[12] Stop (Waters) - 5:20
[13] The Trial (Ezrin/Waters) - 1:44

 A r t i s t s ,   P e r s o n n e l

DAVID GILMOUR - Guitar, Vocals, Producer
RICHARD WRIGHT - Keyboards, Vocals
ROGER WATERS - Bass, Guitar, Vocals, Producer, Sleeve Design

Additional personnel:
BRUCE JOHNSTON - Backing Vocals
TONI TENNILLE - Backing Vocals
JOE CHEMAY - Backing Vocals
JON JOYCE - Backing Vocals
STAN FARBER - Backing Vocals
JIM HAAS - Backing Vocals
ISLINGTON GREEN SCHOOL - Vocals, Backing Vocals
MICHAEL KAMEN - Orchestral Arrangements

BOB EZRIN - Producer, Orchestral Arrangements
JAMES GUTHRIE - Producer, Engineer, Remastering Supervisor
RICK HART - Engineer
BEN RODGERS - Engineer
DOUG SAX - Mastering
GERALD SCARFE - Sleeve Design

 C o m m e n t s ,   N o t e s

1979 CD Columbia C2K-36183
1979 CS Columbia P2T-36183
1983 LP Columbia H2C-46183
1990 CD Mobile Fidelity 537
1990 CD Mobile Fidelity UDCD-2-537
1990 LP Columbia 36183
1990 CD Columbia 36183
1994 Columbia 36183
1995 CD EMI 7243 8 31243
1997 CD Columbia 68519
2000 CD Capitol 31243

Recorded at Superbear Studios, Miravel, France; Producer's Workshop, Los Angeles, California; CBS Studios, New York, New York between April and November 1979. All tracks have been digitally remastered.

THE WALL was Roger Waters' crowning accomplishment in Pink Floyd. It documented the rise and fall of a rock star (named Pink Floyd), based on Waters' own experiences and the tendencies he'd observed in people around him. By now, the bassist had firm control of the group's direction, working mostly alongside David Gilmour and bringing in producer Bob Ezrin as an outside collaborator. Drummer Nick Mason was barely involved, while keyboardist Rick Wright seemed to be completely out of the picture. Still, THE WALL was a mighty, sprawling affair, featuring twenty-six songs with vocals--nearly as many as all previous Floyd albums combined.The story revolves around the fictional Pink Floyd's isolation behind a psychological wall. The wall grows as various parts of his life spin out of control, and he grows incapable of dealing with his neuroses. The album opens by welcoming the unwitting listener to Floyd's show ("In The Flesh?"), then turns back to childhood memories of his father's death in World War II ("Another Brick In The Wall [Part 1]"), his mother's overprotectiveness ("Mother"), and his fascination with and fear of sex ("Young Lust"). By the time "Goodbye Cruel World" closes the first disc, the wall is built and Pink is trapped in the midst of a mental breakdown.On disc 2, the gentle acoustic phrasings of "Is There Anybody Out There?" and the lilting orchestrations of "Nobody Home" reinforce Floyd's feeling of isolation. When his record company uses drugs to coax him to perform ("Comfortably Numb"), his onstage persona is transformed into a homophobic, race-baiting fascist ("In The Flesh"). In "The Trial" he mentally prosecutes himself, and the wall comes tumbling down.This ambitious concept album was an across-the-board smash, topping the Billboard album chart for 15 weeks in 1980. The single "Another Brick In The Wall (Part 2)" was the country's best seller for four weeks. THE WALL spawned an elaborate stage show (so elaborate, in fact, that the band was able to bring it to only a few cities) and a full-length film. It also marked the last time Waters and Gilmour would work together as equal partners.

Roger Waters constructed The Wall, a narcissistic, double-album rock opera about an emotionally crippled rock star who spits on an audience member daring to cheer during an acoustic song. Given its origins, it's little wonder that The Wall paints such an unsympathetic portrait of the rock star, cleverly named "Pink," who blames everyone - particularly women - for his neuroses. Such lyrical and thematic shortcomings may have been forgivable if the album had a killer batch of songs, but Waters took his operatic inclinations to heart, constructing the album as a series of fragments that are held together by larger numbers like "Comfortably Numb" and "Hey You." Generally, the fully developed songs are among the finest of Pink Floyd's later work, but The Wall is primarily a triumph of production: its seamless surface, blending melodic fragments and sound effects, makes the musical shortcomings and questionable lyrics easy to ignore. But if The Wall is examined in depth, it falls apart, since it doesn't offer enough great songs to support its ambition, and its self-serving message and shiny production seem like relics of the late-'70s Me Generation.

Stephen Thomas Erlewine - All Music Guide

The Wall is less a collection of songs than a single work, which is sometimes frustrating; the plot lacks enough coherence to hold the snippets of music together. However, there are occasional flashes of brilliance on what ranks as Pink Floyd's most ambitious project. Most of these come from the fully developed songs, which have become classics in their own right. "Hey You," "Mother," and especially "Comfortably Numb" are subtle, incredible pieces of music. Though complex, they move at a relaxed pace, allowing the listener to absorb them slowly; this kind of pacing was something Pink Floyd excelled at. Also worth noting is the "Another Brick in the Wall/The Happiest Days of Our Lives" medley, which has become a staple of rock radio.

Genevieve Williams - All Music Guide
© 1992 - 2001 AEC One Stop Group, Inc. essential recording

Als sich die vier ehedem psychedelischen Reiter Pink Floyd sich 1979 nach Trennungsgerüchten doch wieder zusammenrauften, trugen sie noch einmal ganz dick auf. Die sentimentale Leidensgeschichte eines in die totale Isolation getriebenen Jungen verpackten die Mannen um den egomanischen Bandleader und Textdichter Roger Waters in ungewohnt harte, rockige Töne. Der leichte Disco-Touch pushte die ausgekoppelte Single Another Brick In The Wall Part Two zur Hymne und das Doppelalbum The Wall zum weltweiten Superseller mit etwa 20 Millionen verkauften Exemplaren. Und just als das kolossale Opus im entmauerten Berlin erneut auf die Bühne gehievt wurde, griffen sich MFSL die Originalbänder, um sie nach Art des Hauses zu veredeln. Den Soundtrack des Berlinspektakels (Seite 136) deklassiert das Original zum Abklatsch, die bislang gehandelten EMI-CDs (7460368) zur zweiten Wahl. Schon die brachiale Ouvertüre In The Flesh donnert mit einer Dynamik los, daß die Endstufen juchzen. Der schon zu Analogzeiten immer gern herbeigerufene Hubschrauber nach Another Brick In The Wall Part I knattert und dröhnt, daß der Blick automatisch den Himmel nach Flugobjekten absucht. Das Restrauschen verschuldet die aufwendige Studio- Elektronik, denn wenn Waters tief verschnupft die Mother zur Akustikgitarre besingt, stört nur noch minimales Rauschen die langsam gesteigerte ödipale Huldigung. Und wenn zum Schluß die Mauer fällt, wird auch dem abgebrühtesten Hörer klar, daß er hier einen meisterhaft konservierten Klassiker der Rockmusik unter dem Laser hatte.

© Audio

By 1979, progressive rockers and bloated concept albums had been largely squeezed from the music world, with punk's nihilism moving in from one side and disco's hedonism pushing from the other. If alienation was punk's rallying point, however, no one was more alienated than the members of Pink Floyd -- alienated from musical trends, each other, and, perhaps worst of all, their arena-sized audience. Indeed, Roger Waters, who had emerged as the band's primary songwriter, would bemoan the "wall" between the band and its audience.

Conceived as an album, stage show (during which a physical wall was literally built between the band and its audience), and a film (disastrously realized by director Alan Parker in 1982), The Wall is less of a narrative and more of a fever dream plucked from the drug-warped mind of its self-destructing rock-star protagonist, Pink.

Memories of an overprotective mother, abusive teacher, and estranged wife mingle freely with the present-time action and Pink's delusional image of his concerts as fascist rallies (a notion not dissimilar to punk's critique of the music industry). Rather than separate truth from delusion, Waters captures another reality -- that of Pink's mental collapse.

Sonically, the mood shifts, matching those of its protagonist, are complicated, conflicting, and often erratic. From the opening, David Gilmour's guitar riffs lurk in the background like a weight slowly pressing down on Pink's crumbling psyche. "One of My Turns" shifts from a catatonic organ-drone stupor to a violent guitar assault with the speed and violence of a psychotic break. And, in one of rock history's more ironic twists, the band even lifted a straight disco beat for "Another Brick in the Wall, Part 2" perhaps the darkest danceable transatlantic chart topper of all time.

Following The Wall, Pink Floyd's core lineup, intact since 1968, would never again work as a whole unit or scale such musical heights. The band, like its protagonist, sank under its own weight, but only after completing one of its most ambitious and successful works.

Bill Snyder - April 19, 2001
CDNOW Contributing Writer
Copyright © 1994-2001 CDnow Online, Inc. All rights reserved.

"The Wall" is hugely impressive as a construction job, and there are some excellent songs lurking in the morass (notably "Comfortably Numb" and the sparkling cock-rock parody "Young Lust"). The band went tho the south of France in 1978, after the loss of 2 millions of pounds in investments, to record a double concept album which proved to be their Rogerest project yet. While there, the Pink Floyd Mark two partnership finally started to dissolve.

David Gilmour: "I still think some of the music is incredibly naff, but The Wall is conceptually brilliant. At the time I thought it was Roger listing all the things that can turn a person into an isolated human being. I came to see it as as one of the luckiest people in the world issuing a catalogue of abuse and bile against people who'd never done anything to him. Roger was taking more and more of the credits. In the songbook for this album against Comfortably Numb it says Music by Gilmour and Waters. It shouldn't. He did the lyrics. I did the music. I kept finding hundreds of little things like that. Shouldn't bitch, but one does feel unjustly done."

Nick Mason: "The recording was very tense, mainly because Roger was starting to go a bit mad. This was the record when he fell out badly with Rick. Rick has a natural style, a very specific piano style, but he doesn't come up with pieces easily, or to order. Which is a problem when other people are worrying about who did what and who should get the credit. There was even talk of Roger and Dave elbowing me out and carrying on as a duo. There were points during The Wall when Roger and Dave were really carrying the thing. Rick was useless, and I wasn't very much help to anyone either."

David Gilmour: "Generally Nick worked hard and played well on The Wall. He even worked out a way of reading music for the drums. But there was one track called Mother which he really didn't get. So I hired Jeff Porcaro to do it. And Roger latched on to this idea, the way he always did with my ideas, and began to think, is Nick really necessary?"

During the sessions for The Wall, Richard Wright was basically forced out of Pink Floyd.

Rick Wright: "Roger came up with the whole album on a demo, which everyone felt was potentially very good but musically very weak. Very weak indeed. Bob [Ezrin], Dave and myself worked on it to make it more interesting. But Roger was going through a big ego thing at the time, saying that I wasn't putting enough in, although he was making it impossible for me to do anything. The crunch came when we all went off on holiday towards the end of the recording. A week before the holiday was up I got a call from Roger in America, saying come over immediately. Then there was this band meeting in which Roger told me he wanted me to leave the band. At first I refused. So Roger stood up and said that if I didn't agree to leave after the album was finished, he would walk out then and there and take the tapes with him. There would be no album, and no money to pay off our huge debts. So I agreed to go. I had two young kids to support. I was terrified. Now I think I made a mistake. It was Roger's bluff. But I really didn't want to work with this guy anymore."

David Gilmour: "We had a studio in the south of France where Rick was staying. There rest of us had rented houses 20 miles away. We'd all go home at night, and we'd say to Rick, Do what you like, here all these tracks, write something, play a solo, put some stuff down. You've got all evening every evening to do it. All the time we were there, which was several months, he did nothing. He just wasn't capable of playing anything."

It is rumoured to be the biggest-selling double CD set of all time (over 750,000 in the U.K. alone).

The live shows for The Wall were from 07/02/1980 to 06/17/1981. The movie was released on 07/14/1982, and Roger Waters' Berlin Show was on 06/21/1990.


 L y r i c s

In the flesh?

So you thought you might like to, go to the show.
To feel the warm thrill of confusion, that space cadet glow.
Tell me is something eluding you, Sunshine?
Is this not what you expected to see?
If you wanna find out what's behind these cold eyes,
You'll just have to blow your way through this disguise.

The Thin Ice

Momma loves her baby,
And Daddy loves you, too.
And the sea may look warm to ya, Babe,
And the sky may look blue.

Oooooo Babe.
Oooooooo Baby Blue.
Oooooo Ooohh Babe.

If you should go skating,
On the thin ice of modern life,
Dragging behind you the silent reproach,
Of a million tear-stained eyes,
Don't be surprised when a crack in the ice,
Appears under your feet.
You slip out of your depth and out of your mind,
With your fear flowing out from behind,
You as you claw the ice.

Another Brick In The Wall, Part I

Daddy's gone across the ocean,
Leaving just a memory,
A snapshot in the family album.
Daddy, what else did you leave for me?
Daddy, whatcha leave behind for me?
All in all it was just a brick in the wall.
All in all it was just the bricks in the wall.

Happiest Days of Our Lives

Well, when we grew up and went to school,
There were certain teachers,
Who would hurt the children in any way they could,
By pouring their derision,
Upon anything we did,
Exposing every weakness,
However carefully hidden by the kids.

But in (but in) the town it was well known,
When they got home at night,
Their fat and psychopathic wives would thrash them,
Within inches of their lives.

Another Brick In The Wall, Part II

We don't need no education.
We don't need no thought control.
No dark sarcasm in the classroom.
Teacher, leave those kids alone.
Hey, Teacher, leave those kids alone!

All in all it's just another brick in the wall.
All in all you're just another brick in the wall.

We don't need no education.
We don't need no thought control.
No dark sarcasm in the classroom.
Teachers, leave those kids alone.
Hey, Teacher, leave those kids alone!

All in all you're just another brick in the wall.
All in all you're just another brick in the wall.

Goobye Blue Sky

Look, Mummy.  There's an airplane up in the sky.

Did you, did you see the frightened ones?
Did you, did you hear the falling bombs?
Did you ever wonder why we had to run for shelter,
When the promise of a brave new world,
Unfurled beneath a clear blue sky?

Did you, did you see the frightened ones?
Did you, did you hear the falling bombs?
The flames are all long gone,
But the pain lingers on.
Goodbye, blue sky.
Goodbye, blue sky.


Mother, do you think they'll drop the bomb?
Mother, do you think they'll like this song?
Mother, do you think they'll try to break my balls?
Ooooowaa  Mother, should I build a wall?

Mother, should I run for President?
Mother, should I trust the government?
Mother, will they put me in the firing line?
Ooooowaa  Is it just a waste of time?

Hush, my baby.  Baby, don't you cry.
Momma's gonna make all of your nightmares come true.
Momma's gonna put all of her fears into you.
Momma's gonna keep you right here under her wing.
She won't let you fly, but she might let you sing.
Momma's gonna keep Baby cozy and warm.
Oooo Babe.
Oooo Babe.
Ooo Babe, of course Momma's gonna help build a wall.

Mother, do you think she's good enough,
For me?
Mother, do you think she's dangerous,
To me?
Mother will she tear your little boy apart?
Ooooowaa  Mother, will she break my heart?

Hush, my baby.  Baby, don't you cry.
Momma's gonna check out all your girlfriends for you.
Momma won't let anyone dirty get through.
Momma's gonna wait up until you get in.
Momma will always find out where you've been.
Momma's gonna keep Baby healthy and clean.
Oooo Babe.
Oooo Babe.
Ooo Babe, you'll always be Baby to me.

Mother, did it need to be so high?

Empty Spaces

What shall we use to fill the empty spaces,
Where we used to talk?
How shall I fill the final places?
How shall I complete the wall?

Young Lust

I am just a new boy,
Stranger in this town.
Where are all the good times?
Who's gonna show this stranger around?

Ooooo  I need a dirty woman.
Ooooo  I need a dirty girl.

Will some woman in this desert land,
Make me feel like a real man?
Take this rock and roll refugee.
Ooo Babe, set me free.

Ooooo  I need a dirty woman.
Ooooo  I need a dirty girl.

Ooooo  I need a dirty woman.
Ooooo  I need a dirty girl.

One Of My Turns

Oh my God, what a fabulous room!
Are all these your guitars?
This place is bigger than our apartment.
Uh, could I have a drink of water?
Ya want some?  Huh?
Oh wow!  Look at this tub!
Wanna take a bath?
What're you watching?
Are you feeling ok?

Day after day,
Our love turns gray,
Like the skin on a dying man.
And night after night,
We pretend it's all right,
But I have grown older,
And you have grown colder,
And nothing is very much fun, anymore.
And I can feel,
One of all my turns coming on.
I feel,
Cold as a razor blade,
Tight as a tourniquet,
Dry as a funeral drum.

Run to the bedroom,
In the suitcase on the left,
You'll find my favorite axe.
Don't look so frightened,
This is just a passing phase,
One of my bad days.
Would you like to watch TV?
Or get between the sheets?
Or contemplate a silent freeway?
Would you like something to eat?
Would you like to learn to fly?  -- Would ya?
Would you like to see me try?
Ooohh. No!
Would you like to call the cops?
Do you think it's time I stopped?
Why are you running away?

Don't Leave Me Now

Ooooo Babe,
Don't leave me now.
Don't say it's the end of the road.
Remember the flowers I sent.
I need you, Babe,
To put through the shredder in front of my friends.
Oh Babe,
Don't leave me now.
How could you go?
When you know how I need you,
To beat to a pulp on a Saturday night.
Oh Babe,
Don't leave me now.
How can you treat me this way?
Running away.
Oh Babe,
Why are you running away?

Another Brick in the Wall, Part III

I don't need no walls around me.
And I don't need no drugs to calm me.
I have seen the writing on the wall.
Don't think I need any thing at all.
No.  Don't think I need anything at all.
All in all it was all just the bricks in the wall.
All in all it was all just the bricks in the wall.

Goodbye Cruel World

Goodbye, cruel world,
I'm leaving you today.
Goodbye, goodbye, goodbye.

Goodbye all you people,
There's nothing you can say,
To make me change my mind.

Hey You

Hey you,
Out there in the cold,
Getting lonely, getting old,
Can you feel me?

Hey you,
Standing in the aisle,
With itchy feet and fading smile,
Can you feel me?

Hey you,
Don't help them to bury the light.
Don't give in without a fight.

Hey you,
Out there on your own,
Sitting naked by the phone,
Would you touch me?

Hey you,
With your ear against the wall,
Waiting for someone to call out,
Would you touch me?

Hey you,
Would you help me to carry the stone?
Open your heart, I'm coming home.

But it was only fantasy.
The wall was too high, as you can see.
No matter how he tried he could not break free.
And the worms ate into his brain.

Hey you,
Out there on the road,
Always doing what you're told,
Can you help me?

Hey you,
Out there beyond the wall,
Breaking bottles in the hall,
Can you help me?

Hey you,
Don't tell me there's no hope at all.
Together we stand, divided we fall.

Is There Anybody Out There?

Is there anybody out there?
Is there anybody out there?
Is there anybody out there?
Is there anybody out there?


Does anybody here remember Vera Lynn?
Remember how she said,
That we would meet again,
Some sunny day.

What has become of you?
Does anybody else in here feel the way I do?

Nobody Home

I got a little black book with my poems in.
Got a bag, got a toothbrush and a comb.
When I'm a good dog they sometimes throw me a bone.
I got elastic bands keeping my shoes on.
Got those swollen hands blues.
Got thirteen channels of shit on the TV to choose from.
I got electric light,
And I got second sight.
Got amazing powers of observation.
And that is how I know,
When I try to get through,
On the telephone to you,
There'll be nobody home.

I got the obligatory Hendrix perm,
And the inevitable pinhole burns,
All down the front of my favorite satin shirt.
I got nicotine stains on my fingers.
I got a silver spoon on a chain.
Got a grand piano to prop up my mortal remains.
I've got wild, staring eyes.
And I got a strong urge to fly,
But I got nowhere to fly to (-- fly to... fly to... fly to...).
Ooooo Babe,
When I pick up the phone,
There's still nobody home.

I got a pair of Gohill boots,
And I got fading roots.

Comfortably Numb

Is there anybody in there?
Just nod if you can hear me.
Is there anyone home?

Come on, now.
I hear you're feeling down.
Well I can ease your pain,
Get you on your feet again.

I need some information first.
Just the basic facts:
Can you show me where it hurts?

There is no pain, you are receding.
A distant ship's smoke on the horizon.
You are only coming through in waves.
Your lips move but I can't hear what you're sayin'.
When I was a child I had a fever.
My hands felt just like two balloons.
Now I got that feeling once again.
I can't explain, you would not understand.
This is not how I am.
I have become comfortably numb.

Just a little pinprick.
There'll be no more --Aaaaaahhhhh!
But you may feel a little sick.

Can you stand up?
I do believe it's working. Good.
That'll keep you going for the show.
Come on it's time to go.

There is no pain, you are receding.
A distant ship's smoke on the horizon.
You are only coming through in waves.
Your lips move but I can't hear what you're sayin'.
When I was a child I caught a fleeting glimpse,
Out of the corner of my eye.
I turned to look but it was gone.
I cannot put my finger on it now.
The child is grown, the dream is gone.
I have become comfortably numb.

The Show Must Go On

Must the show go on?

Oooooo Pa, (Let me go, let me go, let me go.)
Oooooo Ma, (Take me home, take me home, take me home.)

There must be some mistake,
I never meant to let them take,
Away my soul.
Am I too old?
Is it too late?

Where has the feeling gone?
Will I remember this song?
The show must go on.

In The Flesh

So ya thought ya might like to go to the show.
To feel the warm thrill of confusion, that space cadet glow.
I got me some bad news for you, Sunshine.
Pink isn't well, he stayed back at the hotel,
And he sent us along as a surrugate band.
We're gonna find out where you fans really stand.
Are there any queers in the theatre tonight?
Get 'em up against the wall.   -- 'Gainst the wall!
And that one in the spotlight, he don't look right to me.
Get him up against the wall.   -- 'Gainst the wall!
And that one looks Jewish, and that one's a coon.
Who let all this riffraff into the room?
There's one smoking a joint, and another with spots!
If I had my way I'd have all of ya shot.

Run Like Hell

You better make your face up,
In your favorite disguise,
With your button-down lips,
And your roller blind eyes.
With your empty smile,
And your hungry heart,
Feel the bile rising,
From your guilty past.
With your nerves in tatters,
As the cockleshell shatters,
And the hammers batter,
Down your door,
You better run.

You better run all day,
And run all night.
And keep your dirty feelings deep inside.
And if you're taking your girlfriend out tonight,
You better park the car well out of sight.
'Cause if they catch you in the back seat,
Trying to pick her locks,
They're gonna send you back to Mother,
In a cardboard box.
You better run!

Waiting For The Worms

Oooo  You cannot reach me now,
Oooo  No matter how you try.
Goodbye cruel world, it's over.
Walk on by.

Sitting in a bunker,
Here behind my wall,
Waiting for the worms to come. ( Worms to come. )
In perfect isolation,
Here behind my wall,
Waiting for the worms to come. ( Worms to come. )

Waiting, to cut out the deadwood.
Waiting, to clean up the city.
Waiting, to follow the worms.
Waiting, to put on a black shirt.
Waiting, to weed out the weaklings.
Waiting, to smash in their windows and kick in their doors.
Waiting, for the final solution to strengthen the strain.
Waiting, to follow the worms.
Waiting, to turn on the showers and fire the ovens.
Waiting, for the queers and the coons and the Reds and the Jews.
Waiting, to follow the worms.

Would you like to see Britannia,
Rule again, my friend?
All you have to do is follow the worms.
Would you like to send our colored cousins,
Home again, my friend?
All you need to do is follow the worms.


I wanna go home,
Take off this uniform and leave the show,
But I'm waiting here in this cell because I have to know,
Have I been guilty all this time?

The Trial

Good morning, The Worm, Your Honour,
The Crown will plainly show,
The prisoner who now stands before you,
Was caught red-handed showing feelings.
Showing feelings of an almost human nature.
This will not do.

Call the schoolmaster!

I always said he'd come to no good,
In the end, Your Honour.
If they'd let me have my way,
I could have flayed him into shape.
But my hands were tied.
The bleeding hearts and artists,
Let him get away with murder.
Let me hammer him today.

Toys in the attic, I am crazy.
Truly gone fishing.
They must have taken my marbles away.
(Crazy.  Toys in the attic, he is crazy.)

You little shit, you're in it now.
I hope they throw away the key. 
You should've talked to me more often than you did.
But no!  You had to go your own way.
Have you broken any homes up lately?
Just five minutes, Worm, Your Honour,
Him and me alone.

Come to Mother, baby.
Let me hold you in my arms.
M'Lord, I never meant for him to get in any trouble.
Why'd he ever have to leave me?
Worm, Your Honour, let me take him home.

Over the rainbow, I am crazy.
Bars in the window.
There must have been a door there in the wall.
For when I came in. . .
(Crazy.  Over the rainbow, he is crazy.)

The evidence before the court is incontravertible.
There's no need for the jury to retire.
In all my years of judging I have never heard before,
Of someone more deserving of the full penalty of the law.
The way you made them suffer,
Your exquisite wife and mother,
Fills me with the urge to deficate!  -- No, Judge, the jury!
Since, my friend, you have revealed your deepest fear,
I sentence you to be exposed before your peers.
Tear down the wall!

Outside The Wall

All alone, or in twos,
The ones who really know you,
Walk up and down outside the wall.
Some hand in hand,
Some gather together in bands,
The bleeding hearts and artists,
Make their stand.
And when they've given you their all,
Some stagger and fall.
After all it's not easy,
Banging your heart against some mad bugger's wall.

 M P 3   S a m p l e s

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