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Current version of Bob Dylan Lyrics Desolation Row (http://www.mp3lyrics.org/b/bob-dylan/desolation-row/) Current version of the lyrics |
Version 2 of Bob Dylan Lyrics Desolation Row (http://www.mp3lyrics.org/b/bob-dylan/desolation-row/v2.html) Version 2 of the lyrics | |||||||||||||
| 1 | They’re selling postcards of the hanging | They're selling postcards of the hanging | 1 | |||||||||||
| 2 | They’re painting the passports brown | They're painting the passports brown | 2 | |||||||||||
| The beauty parlor is filled with sailors | The beauty parlor is filled with sailors | |||||||||||||
| The circus is in town | The circus is in town | |||||||||||||
| 1 | 1 | |||||||||||||
| Here comes the blind commissioner | Here comes the blind commissioner | |||||||||||||
| 3 | They’ve got him in a trance | They've got him in a trance | 3 | |||||||||||
| One hand is tied to the tight-rope walker | One hand is tied to the tight-rope walker | |||||||||||||
| The other is in his pants | The other is in his pants | |||||||||||||
| 4 | And the riot squad they're restless | 4 | ||||||||||||
| 2 | And the riot squad they’re restless | 2 | ||||||||||||
| They need somewhere to go | They need somewhere to go | |||||||||||||
| 5 | As lady and I look out tonight | As Lady and I look out tonight | 5 | |||||||||||
| 6 | From desolation row | From Desolation Row. | 6 | |||||||||||
| Cinderella, she seems so easy | Cinderella, she seems so easy | |||||||||||||
| 7 | It takes one to know one, she smiles | "It takes one to know one," she smiles | 7 | |||||||||||
| 8 | And puts her hands into her back pockets | And puts her hands in her back pockets | 8 | |||||||||||
| Bette Davis style | Bette Davis style | |||||||||||||
| 9 | And in comes Romeo, he's moaning | 9 | ||||||||||||
| 10 | And in comes Romeo, he’s moaning | "You belong to Me I Believe" | 10 | |||||||||||
| 11 | "You belong to me I believe" | And someone says, "You're in the | 11 | |||||||||||
| 12 | And someone turns and says to him | wrong place, my friend | 12 | |||||||||||
| 13 | "My friend you'd better leave" | you'd better leave" | 13 | |||||||||||
| 14 | And the only sound that's left | 14 | ||||||||||||
| 3 | And the only sound that’s left | 3 | ||||||||||||
| After the ambulances go | After the ambulances go | |||||||||||||
| Is Cinderella sweeping up | Is Cinderella sweeping up | |||||||||||||
| 15 | On desolation row | On Desolation Row. | 15 | |||||||||||
| Now the moon is almost hidden | Now the moon is almost hidden | |||||||||||||
| 16 | The stars they're just pretending to hide | The stars are beginning to hide | 16 | |||||||||||
| 17 | The fortunetelling lady | The fortune-telling lady | 17 | |||||||||||
| Has even taken all her things inside | Has even taken all her things inside | |||||||||||||
| 4 | 4 | |||||||||||||
| All except for Cain and Abel | All except for Cain and Abel | |||||||||||||
| And the hunchback of Notre Dame | And the hunchback of Notre Dame | |||||||||||||
| 18 | Everyone is makin' love | Everybody is making love | 18 | |||||||||||
| Or else expecting rain | Or else expecting rain | |||||||||||||
| 1 | And the Good Samaritan, he's dressing | 1 | ||||||||||||
| 2 | He's getting ready for the show | 2 | ||||||||||||
| 3 | He's going to the carnival tonight | 3 | ||||||||||||
| 4 | On Desolation Row. | 4 | ||||||||||||
| 19 | And the good Samaritan, he’s dressing | Now Ophelia, she's 'neath the window | 19 | |||||||||||
| 5 | He’s getting ready for the show | 5 | ||||||||||||
| 6 | He’s going to the carnival tonight | 6 | ||||||||||||
| 7 | On desolation row | 7 | ||||||||||||
| 8 | 8 | |||||||||||||
| 9 | Ophelia, she’s ’neath the window | 9 | ||||||||||||
| For her I feel so afraid | For her I feel so afraid | |||||||||||||
| On her twenty-second birthday | On her twenty-second birthday | |||||||||||||
| She already is an old maid | She already is an old maid | |||||||||||||
| 20 | To her, death is quite romantic | 20 | ||||||||||||
| 10 | Now to her, death is quite romantic | 10 | ||||||||||||
| She wears an iron vest | She wears an iron vest | |||||||||||||
| 21 | Her profession is her religion | Her profession's her religion | 21 | |||||||||||
| Her sin is her lifelessness | Her sin is her lifelessness | |||||||||||||
| 11 | 11 | |||||||||||||
| And though her eyes are fixed upon | And though her eyes are fixed upon | |||||||||||||
| 22 | Noah’s great rainbow | Noah's great rainbow | 22 | |||||||||||
| She spends her time peeking | She spends her time peeking | |||||||||||||
| 23 | Into desolation row | Into Desolation Row. | 23 | |||||||||||
| Einstein, disguised as Robin Hood | Einstein, disguised as Robin Hood | |||||||||||||
| With his memories in a trunk | With his memories in a trunk | |||||||||||||
| Passed this way an hour ago | Passed this way an hour ago | |||||||||||||
| 24 | With his friend, some jealous monk | With his friend, a jealous monk | 24 | |||||||||||
| 25 | He looked so immaculately frightful | 25 | ||||||||||||
| 26 | Now he looked so immaculately frightful | As he bummed a cigarette | 26 | |||||||||||
| 12 | As he bummed his cigarette | 12 | ||||||||||||
| Then he went off sniffing drainpipes | Then he went off sniffing drainpipes | |||||||||||||
| And reciting the alphabet | And reciting the alphabet | |||||||||||||
| 13 | 13 | |||||||||||||
| You would not think to look at him | You would not think to look at him | |||||||||||||
| But he was famous long ago | But he was famous long ago | |||||||||||||
| For playing the electric violin | For playing the electric violin | |||||||||||||
| 27 | On desolation row | On Desolation Row. | 27 | |||||||||||
| Dr. Filth, he keeps his world | Dr. Filth, he keeps his world | |||||||||||||
| 28 | Locked inside of his leather cup | Inside of a leather cup | 28 | |||||||||||
| But all his sexless patients | But all his sexless patients | |||||||||||||
| 29 | They’re trying to blow it up | They're trying to blow it up | 29 | |||||||||||
| 30 | Now his nurse, some local loser, | 30 | ||||||||||||
| 31 | Now his nurse, some local loser | she's in charge of the cyanide hole | 31 | |||||||||||
| 32 | She’s in charge of the cyanide hole | And she also keeps the cards that read | 32 | |||||||||||
| 33 | She also keeps the cards that read | "Have Mercy on His Soul" | 33 | |||||||||||
| 34 | "Have mercy on his soul" | They all play on penny whistles | 34 | |||||||||||
| 14 | 14 | |||||||||||||
| 15 | They all play on the penny whistle | 15 | ||||||||||||
| You can hear them blow | You can hear them blow | |||||||||||||
| If you lean your head out far enough | If you lean your head out far enough | |||||||||||||
| 35 | From desolation row | From Desolation Row. | 35 | |||||||||||
| 36 | Across the street they’ve nailed the curtains | Across the street they've | 36 | |||||||||||
| 37 | They’re getting ready for the feast | nailed the curtains | 37 | |||||||||||
| 38 | The phantom of the opera | They're getting ready for the feast | 38 | |||||||||||
| 5 | The Phantom of the Opera | 5 | ||||||||||||
| In a perfect image of a priest | In a perfect image of a priest | |||||||||||||
| 39 | They're spoon feeding Casanova | 39 | ||||||||||||
| 16 | They’re spoon feeding Casanova | 16 | ||||||||||||
| To get him to feel more assured | To get him to feel more assured | |||||||||||||
| 40 | Then they’ll kill him with self-confidence | Then they'll kill him with self-confidence | 40 | |||||||||||
| After poisoning him with words | After poisoning him with words | |||||||||||||
| 6 | And the Phantom's shouting to skinny girls | 6 | ||||||||||||
| 7 | "Get outta here if you don't know" | 7 | ||||||||||||
| 8 | Casanova is just being punished for going | 8 | ||||||||||||
| 9 | To Desolation Row. | 9 | ||||||||||||
| 41 | And the phantom shouts to skinny girls | At midnight all the agents | 41 | |||||||||||
| 17 | "Get outta here if you don’t know | 17 | ||||||||||||
| 18 | Casanova he's just being punished for going | 18 | ||||||||||||
| 19 | To desolation row" | 19 | ||||||||||||
| 20 | 20 | |||||||||||||
| 21 | Now at midnight all the agents | 21 | ||||||||||||
| And the superhuman crew | And the superhuman crew | |||||||||||||
| Come out and round up everyone | Come out and round up everyone | |||||||||||||
| That knows more than they do | That knows more than they do | |||||||||||||
| 22 | 22 | |||||||||||||
| Then they bring them to the factory | Then they bring them to the factory | |||||||||||||
| 42 | Where the heart attack machine | Where the heart-attack machine | 42 | |||||||||||
| Is strapped across their shoulders | Is strapped across their shoulders | |||||||||||||
| And then the kerosene | And then the kerosene | |||||||||||||
| 23 | 23 | |||||||||||||
| Is brought down from the castles | Is brought down from the castles | |||||||||||||
| By insurance men who go | By insurance men who go | |||||||||||||
| 43 | Check to see that no one is escaping | Check to see that nobody is escaping | 43 | |||||||||||
| 44 | To desolation row | To Desolation Row. | 44 | |||||||||||
| 45 | Praise be to Nero’s Neptune | Praise be to Nero's Neptune | 45 | |||||||||||
| The Titanic sails at dawn | The Titanic sails at dawn | |||||||||||||
| 46 | And everybody’s shouting | Everybody's shouting | 46 | |||||||||||
| 47 | "Which side are you on?" | "Which side are you on ?" | 47 | |||||||||||
| 48 | And Ezra Pound and T. S. Eliot | 48 | ||||||||||||
| 49 | And Ezra Pound and T.S. Elliott | Fighting in the captain's tower | 49 | |||||||||||
| 50 | Fighting in the captain’s tower | While calypso singers laugh at them | 50 | |||||||||||
| 24 | While Calypso's singers laugh at them | 24 | ||||||||||||
| And fishermen hold flowers | And fishermen hold flowers | |||||||||||||
| 25 | 25 | |||||||||||||
| Between the windows of the sea | Between the windows of the sea | |||||||||||||
| Where lovely mermaids flow | Where lovely mermaids flow | |||||||||||||
| And nobody has to think too much | And nobody has to think too much | |||||||||||||
| 51 | About desolation row | About Desolation Row. | 51 | |||||||||||
| Yes, I received your letter yesterday | Yes, I received your letter yesterday | |||||||||||||
| About the time the door knob broke | About the time the door knob broke | |||||||||||||
| When you asked me how I was doing | When you asked me how I was doing | |||||||||||||
| 52 | Was that some kind of joke? | Was that some kind of joke ? | 52 | |||||||||||
| 26 | 26 | |||||||||||||
| All these people that you mention | All these people that you mention | |||||||||||||
| 53 | Yes, I know them, they’re quite lame | Yes, I know them, they're quite lame | 53 | |||||||||||
| I had to rearrange their faces | I had to rearrange their faces | |||||||||||||
| And give them all another name | And give them all another name | |||||||||||||
| 54 | Right now I can't read too good | 54 | ||||||||||||
| 55 | Right now I cannot read too well | don't send me no more letters no | 55 | |||||||||||
| 27 | Don’t send me no more letters, no | 27 | ||||||||||||
| Not unless you mail them | Not unless you mail them | |||||||||||||
| 56 | From desolation row | From Desolation Row. | 56 | |||||||||||
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