Testo Baton rouge di Lou Reed

Baton rouge

When I think of you Baton Rouge
I think of a Mariachi band
I think of sixteen and a crisp green football field
I think of a girl I never had

When I think of you Baton Rouge
I think of a back seat in a car
Windows are foggy and so are we
as the police asked for our I.D.

So helpless
so helpless

Ooohhh, ooohhh, so helpless
ooohhh, so helpless
Ooohhh, so helpless
so helpless

Well I once had a car lost it in a divorce
the judge was a woman of course
She said give her the car and the house and your taste
or else I set the trial date

So now when I think of you Baton Rouge
and the deep southern belles with their touch
I wonder where love ends and hate starts to blush
in the fields in the swamps in the rush

In the terra-cotta cobwebs of your mind
when did you start seeing me as a spider spinning web
Of malicious intent and you as poor, poor me
at the fire at the joint, this disinterred and broken mount
in the bedroom in the house where we were unmarried

So helpless, so helpless
so helpless
So helpless, so helpless
so helpless

When was I the villain in your heart
putting the brake on your start
you slapped my face and cried and screamed
that's what marriage came to mean
The bitterest ending of a dream

You wanted children and I did not
was that what it was all about
You might get a laugh when you hear me shout
you might get a laugh when you hear me shout
I wish I had

So helpless, so helpless
so helpless
So helpless, so helpless
so helpless

Sometimes when I think of Baton Rouge
I see us with two and a half strapping sons
One and a half flushed daughters preparing to marry
and two fat grandsons I can barely carry

Daddy, uncle, family gathered there for grace
a dog in a barbecue pit goes up in space
The dream recedes in the morning with a bad aftertaste
and I'm back in the big city worn from the race of the chase
what a waste

So thanks for the card the announcement of child
and I must say you and Sam look great
Your daughter's gleaming in that -
- white wedding dress with pride
sad to say I could never bring that to you that wide smile

So I try not to think of Baton Rouge
or of a, of a, of a Mariachi band
Or of sixteen and a crisp green football field
and the girl, and the girl I never had

So helpless, so helpless
so helpless
So helpless, so helpless
so helpless

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When I think of you Baton Rouge
I think of a Mariachi band
I think of sixteen and a crisp green football field
I think of a girl I never had

When I think of you Baton Rouge
I think of a back seat in a car
Windows are foggy and so are we
as the police asked for our I.D.

So helpless
so helpless

Ooohhh, ooohhh, so helpless
ooohhh, so helpless
Ooohhh, so helpless
so helpless

Well I once had a car lost it in a divorce
the judge was a woman of course
She said give her the car and the house and your taste
or else I set the trial date

So now when I think of you Baton Rouge
and the deep southern belles with their touch
I wonder where love ends and hate starts to blush
in the fields in the swamps in the rush

In the terra-cotta cobwebs of your mind
when did you start seeing me as a spider spinning web
Of malicious intent and you as poor, poor me
at the fire at the joint, this disinterred and broken mount
in the bedroom in the house where we were unmarried

So helpless, so helpless
so helpless
So helpless, so helpless
so helpless

When was I the villain in your heart
putting the brake on your start
you slapped my face and cried and screamed
that's what marriage came to mean
The bitterest ending of a dream

You wanted children and I did not
was that what it was all about
You might get a laugh when you hear me shout
you might get a laugh when you hear me shout
I wish I had

So helpless, so helpless
so helpless
So helpless, so helpless
so helpless

Sometimes when I think of Baton Rouge
I see us with two and a half strapping sons
One and a half flushed daughters preparing to marry
and two fat grandsons I can barely carry

Daddy, uncle, family gathered there for grace
a dog in a barbecue pit goes up in space
The dream recedes in the morning with a bad aftertaste
and I'm back in the big city worn from the race of the chase
what a waste

So thanks for the card the announcement of child
and I must say you and Sam look great
Your daughter's gleaming in that -
- white wedding dress with pride
sad to say I could never bring that to you that wide smile

So I try not to think of Baton Rouge
or of a, of a, of a Mariachi band
Or of sixteen and a crisp green football field
and the girl, and the girl I never had

So helpless, so helpless
so helpless
So helpless, so helpless
so helpless

Biografia

Lewis Allan Reed nacque al Beth El Hospital di Brooklyn, New York, e crebbe a Freeport, Long Island. Appassionatosi alla musica ascoltando la radio, imparò a suonare la chitarra e sviluppò un forte interesse per il rock and roll e il rhythm and blues, e durante gli anni delle scuole superiori suonò in vari gruppi studenteschi. Reed alla scuola superiore, 1959. Nel 1956, ancora adolescente, Reed venne sottoposto ad una terapia di elettroshock che avrebbe dovuto curare la sua bisessualità recentemente manifestatasi; nel 1974 Reed scrisse la canzone Kill Your Sons circa questa esperienza che lo traumatizzò e di cui non si liberò mai. Alla fine del 1960 Reed iniziò a frequentare la Syracuse University, studiando giornalismo, regia cinematografica, e scrittura creativa. Nel 1961 egli iniziò a condurre un programma radiofonico notturno alla stazione radio WAER chiamato "Excursions On A Wobbly Rail." Il nome del programma derivava dal titolo di un brano musicale del pianista jazz Cecil Taylor. Nel corso della trasmissione, Reed trasmetteva doo wop, rhythm and blues e jazz, in particolare brani free jazz. Molte delle tecniche chitarristiche di Reed, derivarono da sassofonisti jazz come Ornette Coleman. Nel giugno 1964 Reed si laureò alla Syracuse University's College of Arts and Sciences. Lo scrittore e poeta Delmore Schwartz insegnava alla Syracuse University e prese in simpatia il giovane Reed, che nel 1966 gli dedicò la composizione European Son inclusa nell'album di debutto dei Velvet Underground. Reed dichiarò in seguito che l'obiettivo principale come scrittore che si era prefissato era quello di "portare la sensibilità della letteratura nella musica rock", rendendo superati gli adolescenziali testi delle canzoni di rock and roll degli anni cinquanta e primi sessanta (che il suo mentore Schwartz detestava immensamente).