八十年代末九十年代初，许巍和大多数流行乐“工作者”一样，过着路的尽头路的尽头四处奔波、走穴出演、歌厅驻唱、伴奏乐手之类的生活，这段动荡不安的经历成为许巍后来许多歌曲的主题和注释
无需仔细研究，我们便可注意到在许巍的歌词中反复使用了这样一些词语：茫然，孤独，绝望，忧伤，等待……；“漂泊”是一个挥之不去的概念，它既是原因也是结果，那并不仅仅是许巍一个人的命运吧，同时我们也看到，大多数歌手已经或正在沦为不折不扣的物质主义者，利益的驱使令他们心甘情愿地做一名垃圾音乐流水线上的操作员 许巍是一个不断在自我世界中行走的旅人，作为一个孤独的跋涉者，他用歌声来传达“在别处”所获得的种种感受；对于听者，其中的距离反而带有一种故友重逢的亲切与欣慰之感，所谓心有戚戚焉是也 面对像《在别处》这样的音乐专辑，只能用“卓而不群”来形容，我们只能说：摇滚乐是可以做成这样的 美妙动听而又不失其特立独行的品味 总是难忘的只有那些曾经给我们真正感动过的东西：一首诗，一幅画，一声叹息，一个吻或者一支歌，此外，在茫茫人生中，究竟还有些什呢 有些歌是给白痴听的，比如虚假伪善的爱国主义，无病呻吟的花前月下，貌似战士的外强中干；然而许巍的不是，在许巍的话语系里，始终可以找到其个人内在的独特品质：敏感，忧虑，内向以及对美好的向往和忠于音乐的信念 在这个物欲横流的时代，在这个很多人的感觉功能已退化为麻木不仁的时代，在这个不知感动为何物的时代，我们从许巍的歌声中收到了这样一些讯号：激情，真诚，思索和感动，这一切不仅仅发生“在别处” 今夜我依然在路上依然在盲目的张望那变得腐烂的理想正在我身体里消亡我这始终骄傲的心没有方向我那充满欲望的心空空荡荡我看着他们的嘴脸那自以为是的阴险那与生俱来的孤独又在我身体里滋长我这始终骄傲的心没有方向我那充满欲望的心空空荡荡我在编织的世界里飘来荡去我在重复的岁月里悄然独行每一次窒息的感觉总在梦里多少次我看到我在路的尽头我想在让我最心动的幻想心动的歌声中离开我想在让我最心动的爱人温暖的怀抱中离开在这路的尽头会不会是另一个世界我所有的幻想不再遥远
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