Author: Majestic3d | Published on: 12 Oct 2017, 17:58 Tags: гулькина-дискотека, наталья | Category:

Наталья гулькина-дискотека

"Victoria" is a fun, boisterous single, but yeah., what's with that voice? "Welcome to Sleazy Town" is based around a simple bluesy riff that sounds hilariously like the one from "Misunderstanding" by Genesis, "Natural Gift" comes up with another variation on the "I Can't Explain" riff, "Repetition" reminds me of two John Lennon songs Intuition" and "Nobody. "Underneath the Neon Sign" is actually pretty lovely, a bit of soft guitar-and-piano laced pop balladry conveying Starmaker/Norman's evening stumble from the bar to the subway with all the various big-city neon signs already lit. "Take The Money And Run"? "Jukebox Music" has pretty good lyrics, with a theme that would crop up again on the next album, and I really like Dave's high harmony on the bridge. "Acute Schizophrenia Paranoia Blues" would be jubilee a throwaway with any other set of lyrics; as is, the fact that Ray decided to put this kind of paranoid rant to this kind of New Orleans-y music makes it a minor classic. "Destroyer" was a moderate hit, but that can only be attributed to the absolutely jaw-dropping blatant theft of the vocal melody from "All Day and All of the Night" (with lyrical references to "Lola the man had absolutely no shame by this point, and. "Going Solo" is "Johnny's Gonna Die "Guilty" is "Eight Days A Week "Too Hot" is "Sugar Sugar "Massive Reductions" is Ray singing about hotels getting la I d off from his factory job (something he never has and never will know a thing about the title. "Out of the Wardrobe" might be one too many songs about one of Ray's favorite topics, but I think it's done tongue-in-cheek. "Life Goes On" is a catchy song.

наталья гулькина-дискотека

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"When I said I wanted a hit that was 'number one with a bullet I meant that I wanted to have a hit on the radio, not that I wanted to be shot in the leg with a bullet!" Heh heh. "Too Much on My Mind" strikes me as a slight step down, but not as much as I originally thought it was; the verse melody is a little weak, but the sweet chorus (with more effective harpsichord) mostly makes up for. "Sitting in my Hotel" is a lovely musing of whether or not living the life of a rock star is really worth it; I find it most interesting for the way it focuses on his lifestyle would look to his friends, who would look. "Something Better Beginning" is beautiful as well, with its absolutely gorgeous ringing guitar break. "Big Sky" is my personal favorite here, but it's followed closely by the gorgeous "Animal Farm" and for some odd reason "Village Green". "Juke Box Music" is a cute, blatant attempt at a 'throwback' hit, the MOR ballads "Stormy Sky" and "Full Moon" (which kinda feels like mid-period Procol Harum) both have decent enough melodies to rise above background status, and the closing "Life Goes On" actually sounds. "Feeling guilty, feeling scared/Hidden cameras everywhere!/Stop!" "Doctor doctor, help me please, I know you'll understand/There's a timed device inside me, I'm a self-destructin' man!" Now, the next thing is a pretty youtube big stretch since we're talking about Ray Davies in 1981, but bear with. "Monica" sounds like it has a twinge of Latin influence, which really hadn't shown up much in white pop at this point. "When I said I wanted 'a bloody hole I meant I wanted to have with a woman on her period, not that I wanted to get shot!" Ha hah! "Shangri-La" does capture the shallowness of suburban life, from the point of view of someone in his 20's, which can seem stultifying at that age. "This Time Tomorrow" and "A Long Way From Home" are lovely, touching ballads. "Some Mother's Son" further bursts the bubble of the nobility of being a soldier by reminding the listener of the actual humanity of casualties of war (and of the humanity of the mothers of those soldiers something that warmongers seem overeager to ignore.

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"Death Of A Clown" is the sade most tear-drenchedly beautiful song I've ever heard! "Lola of course, was the band's first big Big BIG single since "You Really Got Me and it's a well-deserved classic and easily the best on the album. "Catch Me Now I'm Falling" (which repeats three parts 400,000 times apiece the Romantics-guitar-toned new wave "National Health (Oh-oh-oh-oh-Ah-Ah-Ah! "Animal Farm" and the catchy title track. "Rosy Won't You Please Come Home?" is another example of a "normal" song that sounds way different from anything else of the time, both because of the heavy dose of harpsichord (a year earlier Ray would have just used standard instrumentation) and because he addresses. "Holiday" features Ray singing with a cigar in his mouth to make the song seem more 'authentic' as a 20's number, "Alcohol" is a dark cross between generic 20's jazz and some rather interesting 'mystical' folk (I guess; I'm sure there's a better description for. "Strangers" achieves a harmonic poignancy quite in the vein of Dylan's "Tears of Rage but is superior in terms of gripping feel.

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