Word: songe
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Dates: during 1990-1999
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...Bill and Monica seem just a bit petty and exasperating. Among the 81 questions that Hyde sent two weeks ago to the White House was whether Clinton admitted or denied that he had given Monica Lewinsky an Annie Lennox CD. It was the one that opens with the love song...
...SONG TITLE/MOVIE TITLE They Can't Take That Away from Me/Living Out Loud...
...addition, these self-congratulatory songs are still centered around confrontational relationships, primarily between the band and their potential fans. In "We Care," the lyrics are almost whiney, addressing the audience, "Thanx for calling us sell outs," and "We always thought you liked our band/I'm not talkin' about everybody/I'm sorry to waste a song." Similarly, in "The Kids Don't Like It," the singer complains that "We tried to do something new/It may sound real good/But I don't think we're getting through." The singer directs resentment at the "kids," who in all fairness should be showering...
...Know" is the outstanding song. Two versions appear on Peach Head, the original ("anything can happen") version and the Dust Brothers Remix. The remix is almost a link between the "regular" electronic sound of today and the unusual spin the Natural Calamity puts on its version of electronic pop. The lyrics of "As You Know" also seem to say what Peach Head is all about. Lines such as "As you know/it's the middle of the 90s/forget about the mainstream" and "We all know that anything could happen" show why Natural Calamity is more concerned with expressing their natural musical...
Proclaiming this new sonic intensity, the Cardigans opened with a searing interpretation of their new song "Paralyzed." Like debris from the factory of the next millennium, the song burst with a rumbling electronic landscape and apocalyptic guitar chords. Other songs, like the guitar-driven "Erase/Rewind" and the ethereal "Higher," were transformed by this ominous aesthetic into manifestoes of the dark, as Persson's voice became barbed and deceptive. Even "Lovefool," the classic, buoyant paean to romantic masochism, was edged with rougher guitars and a surprising growl from Persson, pronouncing the deeper power dynamics that were unexpressed in the original recording...