涙流れるまま
夕暮れのとき
僕はすわって子供たちが遊ぶのを見る
笑う顔々
でも僕にじゃない
僕はすわって見てる
涙が流れるままに
僕の金は全てを買えるわけじゃない
僕は子供たちが歌うのを聞きたい
僕に聞こえるのは
地面に雨が落ちるその音だけ
僕はすわって見てる
涙が流れるままに
夕暮れのとき
僕はすわって子供たちが遊ぶのを見る
僕がかつてしていたこと
あの子達はそれを新しいと思って
僕はすわって見てる
涙が流れるままに
It is the evening of the day
I sit and watch the children play
Smiling faces I can see, but not for me
I sit and watch as tears go by
My riches can't buy everything
I want to hear the children sing
All I hear is the sound of rain falling on the ground
I sit and watch as tears go by
It is the evening of the day
I sit and watch the children play
Doing things I used to do, they think are new
I sit and watch as tears go by
I sit and watch the children play
Smiling faces I can see, but not for me
I sit and watch as tears go by
My riches can't buy everything
I want to hear the children sing
All I hear is the sound of rain falling on the ground
I sit and watch as tears go by
It is the evening of the day
I sit and watch the children play
Doing things I used to do, they think are new
I sit and watch as tears go by
It is the evening of the day
I sit and watch the children play
smiling faces I can see but not for me
I sit and watch as tears go by
어느날 저녁
난 아이들의 노는 모습을 바라보고 있었네
아이들은 미소를 짓고 있었지만
나를 위한 것은 아니었어
난 그저 앉아서 눈물을 흘리며 바라보고 있었네
my riches can't buy everything
I want to hear the children sing
all I hear is the sound
of rain falling on the ground
I sit and watch as tears go by
내가 부자라고 모든 것을 살 수는 없네
아이들의 노랫소리를 듣고 싶어
하지만 내가 들을 수 있는 소리는 오직
땅에 떨어지는 빗방울 소리뿐
난 그저 앉아서 눈물을 흘리며 바라보고 있었네
It is the evening of the day
I sit and watch the children play
doing things I used to do they think are new
I sit and watch as tears go by
Few stars of the '60s have reinvented themselves as successfully as Marianne Faithfull. Coaxed into a singing career by Rolling Stones manager Andrew Loog Oldham in 1964, she had a big hit in both Britain and the U.S. with her debut single, the Jagger/Richards composition "As Tears Go By" (which prefaced the Stones' own version by a full year). Considerably more successful in her native land than the States, she had a series of hits in the mid-'60s that set her high, fragile voice against delicate orchestral pop arrangements: "Summer Night," "This Little Bird," and Jackie De Shannon's "Come and Stay with Me." Not a songwriter at the outset of her career, she owes more of her fame as a '60s icon to her extraordinary beauty and her long-running romance with Mick Jagger, although she offered a taste of things to come with her compelling 1969 single "Sister Morphine," which she co-wrote (and which the Stones released themselves on Sticky Fingers later).
In the '70s, Faithfull split up with Jagger, developed a serious drug habit, and recorded rarely, with generally dismal results. This occurred until late 1979, when she pulled off an astonishing comeback with Broken English. Displaying a croaking, cutting voice that had lowered a good octave since the mid-'60s, Faithfull had also begun to write much of her own material, and addressed sex and despair with wrenching realism. After allowing herself to be framed as a demure chanteuse by songwriters and arrangers throughout most of her career, Faithfull had found her own voice, and suddenly sounded more relevant and contemporary than most of the stars she had rubbed shoulders with in the '60s. Faithfull's recordings in the '80s and '90s were sporadic and erratic, but generally quite interesting; Strange Weather, a Hal Willner-produced 1987 collection of standards and contemporary compositions that spanned several decades for its sources, was her greatest triumph of the decade. In 1994, she published her self-titled autobiography; the biography -As Tears Go By by Mark Hodkinson is an objective and thorough account of her life and times.
Faithfull returned to recording in 2002 with Kissin' Time, an eclectic collection of songwriting collaborations with Beck, Damon Albarn, Billy Corgan, Jon Brion, and Jarvis Cocker among others. In 2004, Before the Poison was released in the U.K., making its entrance into the U.S. market in early 2005. This album continued in the vein of its predecessor, with songwriting and production contributions from PJ Harvey, Nick Cave & the Bad Seeds, Brion, and Albarn, but with far more consistent results. Faithfull and Willner released Easy Come Easy Go in 2008, an all new collection of typically eclectic covers from the likes of Morrissey, the Decemberists, Billie Holiday, Black Rebel Motorcycle, and Dolly Parton.
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