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歌曲:《Goodnight Saigon》

Goodnight Saigon - Billy Joel[比利.乔尔] 文本歌词

Goodnight Saigon
Goodnight Saigon
We met as soul mates
On Parris Islands
We left as inmates
From an asylum
And we were sharp
As sharp as knives
And we were so gung ho
To lay down our lives
We came in spastic
Like tameless horses
We left in plastic
As numbered corpses
And we learned fast
To travel light
Our arms were heavy
But our bellies were tight
We had no home front
We had no soft soap
They sent us Playboy
They gave us Bob Hope
We dug in deep
And shot on sight
And prayed to Jesus Christ
With all of our might
We had no cameras
To shoot the landscape
We passed the hash pipe
And played our Doors tapes
And it was dark
So dark at night
And we held on to each other
Like brother to brother
We promised our mothers we’d write
And we would all go down together
We said we’s all go down together
Yes we would all go down together
Remember Charlie
Remember Baker
They left their childhood
On every acre
And who was wrong?
And who was right?
It didn’t matter in the thick
Of the fight
We held the day
In the palm
Of our hand
They ruled the night
And the night
Seemed to last as long as
Six weeks on Parris Islands
We held the coastline
They held the highlands
And they were sharp
As sharp as knives
They heard the hum of our motors
They counted the rotors
And waited for us to arrive
And we would all go down together
We said we’d all go down together
Yes we would all go down togethe

Goodnight Saigon - Billy Joel[比利.乔尔] LRC歌词

[ti:Goodnight Saigon]
[ar:Billy Joel]
[00:04.76]Goodnight Saigon
[00:07.48]
[01:01.73]We met as soul mates
[01:06.42]On Parris Islands
[01:10.17]We left as inmates
[01:13.66]From an asylum
[01:17.51]And we were sharp
[01:21.23]As sharp as knives
[01:24.91]And we were so gung ho
[01:28.00]To lay down our lives
[01:30.40]
[01:32.57]We came in spastic
[01:35.78]Like tameless horses
[01:39.38]We left in plastic
[01:43.13]As numbered corpses
[01:46.97]And we learned fast
[01:50.04]To travel light
[01:54.27]Our arms were heavy
[01:56.88]But our bellies were tight
[01:59.89]
[02:12.31]We had no home front
[02:16.77]We had no soft soap
[02:20.33]They sent us Playboy
[02:24.33]They gave us Bob Hope
[02:27.92]We dug in deep
[02:31.49]And shot on sight
[02:35.34]And prayed to Jesus Christ
[02:37.97]With all of our might
[02:40.79]
[02:43.33]We had no cameras
[02:46.37]To shoot the landscape
[02:50.20]We passed the hash pipe
[02:53.92]And played our Doors tapes
[02:57.70]And it was dark
[03:01.54]So dark at night
[03:03.76]
[03:05.16]And we held on to each other
[03:08.34]Like brother to brother
[03:13.49]We promised our mothers we’d write
[03:20.70]And we would all go down together
[03:27.04]We said we’s all go down together
[03:34.02]Yes we would all go down together
[03:39.71]
[03:51.25]Remember Charlie
[03:55.91]Remember Baker
[03:59.77]They left their childhood
[04:03.17]On every acre
[04:06.86]And who was wrong?
[04:10.70]And who was right?
[04:14.24]It didn’t matter in the thick
[04:18.31]Of the fight
[04:20.10]
[04:27.15]We held the day
[04:33.23]In the palm
[04:36.87]Of our hand
[04:41.80]They ruled the night
[04:47.75]And the night
[04:51.65]Seemed to last as long as
[04:56.24]Six weeks on Parris Islands
[05:01.09]
[05:02.27]We held the coastline
[05:05.52]They held the highlands
[05:09.36]And they were sharp
[05:12.53]As sharp as knives
[05:16.53]They heard the hum of our motors
[05:20.71]They counted the rotors
[05:24.56]And waited for us to arrive
[05:29.10]
[05:31.44]And we would all go down together
[05:38.07]We said we’d all go down together
[05:45.22]Yes we would all go down together
[05:51.07]
[05:54.57]
[05:58.30]

Billy Joel[比利.乔尔] 的歌曲

歌曲赏析

《Goodnight Saigon》是比利·乔尔创作于1982年的反战经典,以越战为背景,通过士兵视角展现战争的残酷与集体创伤。歌曲以钢琴为基调,融合军鼓节奏与和声合唱,营造出凝重而史诗般的氛围。

歌词采用第一人称复数叙事("we"),强调士兵群体的共同命运。开篇"我们自愿入伍"的讽刺性陈述,暗喻青年被意识形态裹挟的无奈。副歌"我们同生共死"的重复咏叹,将个体命运升华为一代人的集体悲剧。乔尔通过"直升机轰鸣""丛林雨季"等具象战场描写,与"等待死亡像狗一样"的残酷比喻,解构了英雄主义叙事。

音乐编排上,渐强的铜管乐模拟战争逼近的压迫感,而终章直升机声采样与渐渐消散的合唱,构成声学上的"战争余烬"。这种声音蒙太奇手法,使听众在7分钟的听觉旅程中完成从参战、鏖战到记忆沉淀的情感体验。

作为越战后文化反思的重要音乐文本,歌曲超越了具体历史事件,成为所有战争幸存者心理创伤的隐喻。其价值在于用摇滚乐的当代形式,实现了对战争记忆的仪式化重构,使私人伤痛获得公共悼念的空间。

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