Word: songe
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Dates: during 1990-1999
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...pieces. The numerous string parts on "Cry," for instance, cooperate to create an aural combination of soft weeping and more vehement sobs, and add a mournful nuance to otherwise unprofound lyrics. In much the same way, the flute arrangement on "Your Eyes" augments the nomadic gypsy rhythm of the song itself, and horns on "I Can't Wait" mirror the impatience and expectation of the lyrics. Meanwhile, keyboard accompaniment lends an original flavor to the rest of the standard Sundays fare...
...arrangements, in combination with the lyrics, also convey a greater artistic maturity: any pop fluff that sweetened the band's previous releases has been replaced with a pastoral gentleness and "a bittersweet taste of a time and another place before." "Leave This City," the song that concretely conveys this disillusionment, is a depiction of an urban neighborhood as an Audrey Hepburn character would see it. One can picture Holly Golightly's jaded visage at the "boarded-up...cinema" lamenting the "strawberry dreams & the dust-filled beams/shut down in a modern town." "Another Flavour" is perhaps the largest exception...
...course, there's also "Summertime," the first single on Static and Silence and "that song" everyone brings up when the Sundays are mentioned. "Summertime" has a contagiously hummable chorus but completely indiscernible verse lyrics, which is a shame because, as the most upbeat and melodious of the album's songs, the track is also one of its deepest and most poetic. It begins by painting a honeymoon postcard picture, complete with a "romantic Piscean," an "angel in disguise" and a Poconos-style "heart-shaped hotel room." This image is then contrasted with the situation of those born into circumstances hidden...
Even the Sundays' lyrics seem to support the two halves of this proposition: one of the lines from "Folk Song" ("it stoned me to my soul") is a near-replication of a Van Morrison lyric. In addition, "I Can't Wait" alludes to the necessity of a creative vacation in order to produce a better recording in the end: "when there's more in your head than you find in your life/calls for a change...
...sequence, which captures the sensual decadence of a gay Berlin cabaret of the 1930s, is almost worth the admission price by itself. Titillating and visually gorgeous, it's heightened by an unexpected cameo: Mick Jagger, startlingly in his element as nightclub owner Greta (a.k.a. George), performs a throaty torch song in full drag whilst suspended on a platform from the ceiling, in a menacingly campy turn disturbingly reminiscent of Tim Curry as Frank N. Furter...