Billy Joel - EverybodyHasaDream歌词 和 EverybodyHasaDream歌词 创作表达的意思

“Iknowthateverybody”是一句歌词，这句歌词出自歌曲《EverybodyHasaDream》，演唱者是歌手Billy Joel。

这首歌发行于1977-09-29，收录于Billy Joel的专辑“The Stranger”中。

这首歌的完整歌词和专辑介绍如下：

While in these days of quiet desperation
安静和绝望中度过的这些天
As I wander through the world in which
当我在我所生活的世界里徜徉
I live I search everywhere for some new inspiration
四处寻找新的灵感
But it's more than cold reality can give
但是那远远超出冰冷的现实所能给的
If I need a cause for celebration Or a comfort
如果我需要一个庆祝的理由
I can use to ease my mind
或者一个能令人安心的安慰
I rely on my imagination
我依靠我的想象
And I dream of an imaginary time
我向往一个虚幻性时间
I know that everybody has a dream
我知道每个人都有一个梦
Everybody has a dream And this is my dream
每个人都有一个梦 这是我的梦
My own Just to be at home And to be all alone
我的梦就只是呆在家里
With you If I believe in all the words
一直与你相伴如果我相信我所说的
I'm saying And if a word from you can bring a better day
所有话 如果你的一个词就可以带来更美好的一天
Then all I have are these games that
那么我所拥有的一切
I've been playing To keep my hope from crumbling away
就是我曾经一直玩的游戏 为了不让我的希望落空
So let me lie and let me go on sleeping
让我躺下 让我继续睡吧
And I will lose myself in palaces of sand
我将在沙之宫殿迷失自我
And all the fantasies that I have been keeping
我一直保持的所有幻想
Will make the empty hours easier to stand
将使空虚的时刻更容易忍受
I know that everybody has a dream
我知道每个人都有一个梦
Everybody has a dream And this is my dream
每个人都有一个梦 这是我的梦
My own Just to be at home And to be all alone with you
我的梦就只是呆在家里 一直与你相伴

Billy Joel 专辑 The Stranger 中 EverybodyHasaDream歌词创作表达的意思

虽然Billy Joel早就小有名气（他的第一首成名单曲'Piano Man'出自他1973年的同名专辑），却是1977的 The Stranger, Billy Joe的第五张专辑，让他成为poprock的偶像，并为他赢得许多赞许。The Stranger，是Billy Joel登上明星宝座的里程碑。1970年代中期出道至今，比利乔的专辑光是在美国一地就卖超过6千万张，是流行音乐史上最畅销的艺人之一。以隽永的旋律与深刻的歌词创作出无数流行金曲，无论是深情款款的情歌，还是反映社会现状的歌曲，比利乔让人折服之处，在于他巧妙地融合披头士流畅的旋律，百老汇歌曲的戏剧性，以及爵士乐华丽细腻的编曲风格，精巧地谱出属于普罗口味的流行歌曲，像是他早年的成名曲“Piano Man”、“Just The Way You Are”、“Uptown Girl”、“New York State Of Mind”，都是流行音乐史上的典范之作。这张专辑在滚石杂志选出的500张历代最强专辑中排名第67位。Billy Joel teamed with Phil Ramone, a famed engineer who had just scored his first producing hits with Art Garfunkel's Breakaway and Paul Simon's Still Crazy After All These Years for The Stranger, his follow-up to Turnstiles. Joel still favored big, sweeping melodies, but Ramone convinced him to streamline his arrangements and clean up the production. The results aren't necessarily revelatory, since he covered so much ground on Turnstiles, but the commercialism of The Stranger is a bit of a surprise. None of his ballads have been as sweet or slick as "Just the Way You Are"; he never had created a rocker as bouncy or infectious as "Only the Good Die Young"; and the glossy production of "She's Always a Woman" disguises its latent misogynist streak. Joel balanced such radio-ready material with a series of New York vignettes, seemingly inspired by Springsteen's working-class fables and clearly intended to be the artistic centerpieces of the album. They do provide The Stranger with the feel of a concept album, yet there is no true thematic connection between the pieces, and his lyrics are often vague or mean-spirited. His lyrical shortcomings are overshadowed by his musical strengths. Even if his melodies sound more Broadway than Beatles -- the epic suite "Scenes From an Italian Restaurant" feels like a show-stopping closer -- there's no denying that the melodies of each song on The Stranger are memorable, so much so that they strengthen the weaker portions of the album. Joel rarely wrote a set of songs better than those on The Stranger, nor did he often deliver an album as consistently listenable.