| 歌曲 | Doc Pomus |
| 歌手 | Ben Folds |
| 专辑 | Lonely Avenue |
| 下载 | Image LRC TXT |
| 作曲 : Botch | |
| Man in a wheelchair, lobby of the Forrest | |
| With freighters, hustlers, hard-up millionaires. | |
| Mobsters, cops, whores, pimps and Marxist. | |
| All human life is there. | |
| Man in a wheelchair listens to the chatter, | |
| Writes down all the insane crap he hears. | |
| He can't move around, but it doesn't really matter | |
| In the Forrest all you need is eyes and ears. | |
| And out they pour, the hits and the misses. | |
| Turn Me Loose, Lonely Avenue, | |
| And down in Nashville, they always sing Suspicion. | |
| Pomus/Shuman, 1962. | |
| And he never could be one of those happy cripples, | |
| The kind that smile and tell you life's OK. | |
| He was mad as hell, frightened and bitter. | |
| He found a way to make his feelings pay. | |
| Back at the Forrest, in the steakhouse of the lobby, | |
| The diner gets three bullets in the head. | |
| Doc looks down, eating his linguine, | |
| Thinking up a lyric for the dead. | |
| And out they pour, the hits and the misses. | |
| Turn Me Loose, Lonely Avenue, | |
| And down in Nashville, they always sing Suspicion. | |
| Pomus/Shuman, 1962. | |
| Fred Neil, Jack Benny, crazy Phil Spector, | |
| Pumpkin Juice and Eydie Gorm | |
| Damon Runyon Jr. and the Duke's orchestra | |
| All superhuman life was there | |
| And he never could be one of those happy cripples | |
| The kind that smile and tell you life's OK | |
| He was mad as hell, frightened and bitter | |
| He found a way to make his isolation pay | |
| And out they pour, the hits and the misses. | |
| Turn Me Loose, Lonely Avenue, | |
| And down in Nashville, they always sing Suspicion. | |
| Pomus/Shuman, 1962. | |
| And out they pour, the hits and the misses. | |
| Turn Me Loose, Lonely Avenue, | |
| And down in Nashville, they always sing Suspicion. | |
| Pomus/Shuman, 1962. |
| zuo qu : Botch | |
| Man in a wheelchair, lobby of the Forrest | |
| With freighters, hustlers, hardup millionaires. | |
| Mobsters, cops, whores, pimps and Marxist. | |
| All human life is there. | |
| Man in a wheelchair listens to the chatter, | |
| Writes down all the insane crap he hears. | |
| He can' t move around, but it doesn' t really matter | |
| In the Forrest all you need is eyes and ears. | |
| And out they pour, the hits and the misses. | |
| Turn Me Loose, Lonely Avenue, | |
| And down in Nashville, they always sing Suspicion. | |
| Pomus Shuman, 1962. | |
| And he never could be one of those happy cripples, | |
| The kind that smile and tell you life' s OK. | |
| He was mad as hell, frightened and bitter. | |
| He found a way to make his feelings pay. | |
| Back at the Forrest, in the steakhouse of the lobby, | |
| The diner gets three bullets in the head. | |
| Doc looks down, eating his linguine, | |
| Thinking up a lyric for the dead. | |
| And out they pour, the hits and the misses. | |
| Turn Me Loose, Lonely Avenue, | |
| And down in Nashville, they always sing Suspicion. | |
| Pomus Shuman, 1962. | |
| Fred Neil, Jack Benny, crazy Phil Spector, | |
| Pumpkin Juice and Eydie Gorm | |
| Damon Runyon Jr. and the Duke' s orchestra | |
| All superhuman life was there | |
| And he never could be one of those happy cripples | |
| The kind that smile and tell you life' s OK | |
| He was mad as hell, frightened and bitter | |
| He found a way to make his isolation pay | |
| And out they pour, the hits and the misses. | |
| Turn Me Loose, Lonely Avenue, | |
| And down in Nashville, they always sing Suspicion. | |
| Pomus Shuman, 1962. | |
| And out they pour, the hits and the misses. | |
| Turn Me Loose, Lonely Avenue, | |
| And down in Nashville, they always sing Suspicion. | |
| Pomus Shuman, 1962. |
| zuò qǔ : Botch | |
| Man in a wheelchair, lobby of the Forrest | |
| With freighters, hustlers, hardup millionaires. | |
| Mobsters, cops, whores, pimps and Marxist. | |
| All human life is there. | |
| Man in a wheelchair listens to the chatter, | |
| Writes down all the insane crap he hears. | |
| He can' t move around, but it doesn' t really matter | |
| In the Forrest all you need is eyes and ears. | |
| And out they pour, the hits and the misses. | |
| Turn Me Loose, Lonely Avenue, | |
| And down in Nashville, they always sing Suspicion. | |
| Pomus Shuman, 1962. | |
| And he never could be one of those happy cripples, | |
| The kind that smile and tell you life' s OK. | |
| He was mad as hell, frightened and bitter. | |
| He found a way to make his feelings pay. | |
| Back at the Forrest, in the steakhouse of the lobby, | |
| The diner gets three bullets in the head. | |
| Doc looks down, eating his linguine, | |
| Thinking up a lyric for the dead. | |
| And out they pour, the hits and the misses. | |
| Turn Me Loose, Lonely Avenue, | |
| And down in Nashville, they always sing Suspicion. | |
| Pomus Shuman, 1962. | |
| Fred Neil, Jack Benny, crazy Phil Spector, | |
| Pumpkin Juice and Eydie Gorm | |
| Damon Runyon Jr. and the Duke' s orchestra | |
| All superhuman life was there | |
| And he never could be one of those happy cripples | |
| The kind that smile and tell you life' s OK | |
| He was mad as hell, frightened and bitter | |
| He found a way to make his isolation pay | |
| And out they pour, the hits and the misses. | |
| Turn Me Loose, Lonely Avenue, | |
| And down in Nashville, they always sing Suspicion. | |
| Pomus Shuman, 1962. | |
| And out they pour, the hits and the misses. | |
| Turn Me Loose, Lonely Avenue, | |
| And down in Nashville, they always sing Suspicion. | |
| Pomus Shuman, 1962. |