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歌曲:《You Got My Head》

You Got My Head - 爵士diana krall 文本歌词

You Got My Head
Meg & Dia - Inside My Head
LRC by lzh ,from jiangxi pingxiang
@ @
I'm not anymore surprised at your phone calls at four in the morning, (hello, hello?)
you try to write me letters like you transformed
into Charles Dickens overnight or something (oh I'm sorry)
And I doubt that you'll consider, that maybe just maybe,
those games that you were forced in, although heavy,
are no excuse for your lack of trust in anyone, even you.
that boy would use my palm as an ashtray
that was on his good days, yeah.
The scar looks like a bear or a rabbit
they said it's just his bad habit, yeah.
He's got inside my head,
I'm not even scared to come cure your past or try to reinvent it,(just leave it alone!)
I can be your lover and your mother and your father you never
really had to take you fishing or teach compassion (you're never enough)
You used my voice as your spokesman,
you couldn't walk on your own feet,
ain't that hard, yeah? oh.
He's got inside my head
He's sleeping in my head
He's got hold of my hand
What's the use of common blindness?
He's got inside my head
He's sleeping in my head
He's got hold of my hand
Are you gonna tell me that you can't bury this?
We know that the present road is from this day,
well this time you're at the edge of tri- tri-ocean,
anything that you can __ __ __
He's got inside my head
He's sleeping in my head
He's got hold of my hand
What's the use of common blindness?
He's got inside my head
He's sleeping in my head
He's got hold of my hand
What's the use of common blindness?

You Got My Head - 爵士diana krall LRC歌词

[ti:Inside My Head]
[ar:Meg & Dia]
[al:Here, Here And Here]
[by: ]
[00:02.00]Meg & Dia - Inside My Head
[00:08.00]LRC by lzh ,from jiangxi pingxiang
[00:12.00]@ @
[00:17.00]
[00:43.01]I'm not anymore surprised at your phone calls at four in the morning, (hello, hello?)
[00:48.57]you try to write me letters like you transformed
[00:50.94]into Charles Dickens overnight or something (oh I'm sorry)
[00:55.04]
[00:55.94]And I doubt that you'll consider, that maybe just maybe,
[00:58.82]those games that you were forced in, although heavy,
[01:02.24]are no excuse for your lack of trust in anyone, even you.
[01:08.08]
[01:09.11]that boy would use my palm as an ashtray
[01:14.55]that was on his good days, yeah.
[01:21.44]
[01:22.74]The scar looks like a bear or a rabbit
[01:27.75]they said it's just his bad habit, yeah.
[01:35.23]
[01:36.72]He's got inside my head,
[01:48.37]
[01:49.28]I'm not even scared to come cure your past or try to reinvent it,(just leave it alone!)
[01:54.64]I can be your lover and your mother and your father you never
[01:57.82]really had to take you fishing or teach compassion (you're never enough)
[02:01.76]
[02:02.62]You used my voice as your spokesman,
[02:07.52]you couldn't walk on your own feet,
[02:10.49]ain't that hard, yeah? oh.
[02:15.06]
[02:16.50]He's got inside my head
[02:20.40]He's sleeping in my head
[02:23.60]He's got hold of my hand
[02:27.34]What's the use of common blindness?
[02:29.17]
[02:29.99]He's got inside my head
[02:33.48]He's sleeping in my head
[02:36.96]He's got hold of my hand
[02:41.67]
[02:42.50]Are you gonna tell me that you can't bury this?
[02:45.49]We know that the present road is from this day,
[02:54.83]well this time you're at the edge of tri- tri-ocean,
[02:58.52]anything that you can __ __ __
[03:06.25]
[03:35.65]He's got inside my head
[03:39.76]He's sleeping in my head
[03:43.18]He's got hold of my hand
[03:46.55]What's the use of common blindness?
[03:48.58]
[03:49.35]He's got inside my head
[03:52.89]He's sleeping in my head
[03:56.43]He's got hold of my hand
[03:59.77]What's the use of common blindness?
[04:04.20]

爵士diana krall 的歌曲

歌曲赏析

《You Got My Head》是爵士女歌手Diana Krall的代表作之一,展现了她标志性的慵懒声线与细腻的即兴演绎。以下为歌曲的赏析:

1. 音乐风格的融合性
歌曲以传统爵士三重奏(钢琴、贝斯、鼓)为基底,但融入了流行音乐的旋律线条。Krall的钢琴演奏带有Bill Evans式的和声色彩,在摇摆节奏中穿插不规则的切分音,既保留了爵士的即兴特质,又兼顾了流行听众的听觉习惯。

2. 人声处理的戏剧性
Krall采用气声与实声交替的唱法,主歌部分如耳语般亲密,副歌则通过突然的爆发力展现情感张力。尤其在高音区采用略带沙哑的弱混声,模拟老式黑胶唱片的质感,强化了歌曲的复古情调。

3. 歌词叙事的双重性
表面是爱情主题的直白表达,但通过"head"与"mind"的语义双关(既指被爱冲昏头脑,也暗喻理性思维的失控),在甜蜜中透出存在主义式的困惑。Krall用看似随性的滑音处理关键词,强化了这种矛盾情绪。

4. 结构设计的现代性
打破传统爵士曲32小节固定模式,采用主歌-预副歌-副歌的流行结构,但每个段落都预留即兴空间。特别在尾奏部分,钢琴突然转入调式爵士(Modal Jazz)的平行和弦进行,将歌曲提升至哲学高度。

5. 录音美学的匠心
歌曲采用近距离拾音技术,突出呼吸声与钢琴机械声的细节。贝斯低频被刻意强化,与Krall的中音区形成"包裹感",模拟爵士俱乐部的地下室声场,强化了私密倾诉的听觉体验。

整首作品展现了Krall在商业性与艺术性间的精准平衡,用当代手法重构了经典爵士的沙龙气质,堪称新传统主义(Neo-Traditionalism)爵士的典范之作。

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