Word: choruses
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...across the album, in every aspect, but most particularly his literally peerless voice. Though “Joy” definitely owes something to U2’s rediscovery of feel-good anthems, Jagger’s old-school inflection and nasal twang a la Billy Corgan gives the chorus “Jump for joy” a strut that Bono seems almost incapable of these days. “Hide Away” is so infused with trademark Jagger-swagger it would turn new-found fan Britney green. Jagger alternates between wailing like a saxophone and muttering like...
...beyond its spaghetti western premise, despite Jagger’s idiosyncratic approach to vowels, which can turn a single syllable into an entire phrase. Then again, “Everybody Getting High” would probably be unbearable in anyone else’s hands, with its lyrically deficient chorus (“Everybody getting high-high-high-high/Uh-high-high-high”) and free association verse. Yet Jagger infuses lines like, “My dress designers/They want to doll me up in blue (Pretty!)/Next fall collection/They’re going to show it in a zoo?...
...presumably in touch with his young, rebellious and computer-literate side as well. “Why Don’t You Just Get A Gun” sounds briefly like Jagger dabbling with Madonna-styled nu-dance schlock, until he breaks out the attitude for the snarling chorus. But the real shockers are the songs that leave Jagger’s musical mould fairly undisturbed, but take him into entirely uncharted lyrical waters. On any previous Jagger album, a song entitled “Goddess in the Doorway” would have been a paean to sex, beautiful women...
...wasn't a memorable hit the first time, he would rewrite it into one. Thus the 1918 "That Sterling Silver Moon" became "Mandy" a year later; "Smile and Show Your Dimple," a top ten tune in 1918, morphed into "Easter Parade" in 1933. He appropriated four lines of the chorus of "To My Mammy" (1920) for "How Deep Is the Ocean" (1932). He rescued the pushcart plaint "Any Love Today" (written in 1931 but not recorded), tweaked it into "Any Yams Today" for Ginger Rogers in the 1938 "Carefree," then reworked it again as "Any Bonds Today...
...coon song can be a black song, as Charles transforms Berlin's antique march into a big-band raver. The band (Ralph Burns did the brassy, bluesy charts) plays the melody and Charles comes in an antiphonal bar later, bleating "Come on an' hear!" By the end of the chorus he's quoting his own "This Little Girl of Mine" and has the Raelets chirping a descending, exultant "Zander ragtime band!" Great music...