Word: choruses
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...multi-instrumentalist Marty Danvers) and iconic breakbeats into the mix for “Red, White & Blonde,” the most immediately accessible track on the album (and, in an ideal world, an instant chart-topper). Alexander Kort’s soaring string accents on the eminently hummable chorus are only one of the countless sonic details that pepper the album, showing the group’s combined talent in conjuring elusive moods from unlikely juxtapositions...
...from “Damnhattan” (we assume he’s talking about the, uh, Upper “Beast” Side) and is rumored to be the son of a prominent liberal columnist, has an Eminem vibe going on until he starts singing over the chorus, when things turn decidedly Vanilla Ice. Not like “Toxic” has ever featured a particularly pleasant vocal track, but sometimes you gotta know when to draw the whiteboy line...
...song that follows it, however, is not the stomper one might expect, but rather an upbeat, reflective eulogy on a ruined relationship. The song ends in a chorus of “I’m not sorry I met you, I’m not sorry it’s over, I’m not sorry there’s nothing to say,” but all told it sounds like a defensive bout of denial. Ironically, like most of the album, it sounds like an apology—an effort to come to terms with...
Embarrassing but lovely. As Crimson Arts honeybox Simon W. Vozick-Levinson ’06 astutely pointed out, Britney rides a pink hummer through heaven here. Elsewhere, she makes wacky faces and shrieks the worst chorus of her career. I think maybe this is her take on Eminem’s Encore...
...weird choice for a single for every reason except the gorgeous chorus by Martika. The video is lackluster, like most of his other serious endeavors with the exception of “Mosh,” and the most interesting thing about it is the generic, two dimensional way he portrays the anonymous rappers going after him. In total, it’s paranoid, overly dramatic, and lyrically forceful—a song to rival “Stan,” perhaps, for most crossover potential. I don’t even know what I’m saying...