That sounds like it's straight out of a gay Goosebumps book.
Pet Shop Boys Rate. Part 1: 1985-1991. Winner.
- Thread starter Ray
- Start date
I THOUGHT WE WERE FRIENDS!!!!!
Well one thing you can be sure of is that your 11 just dropped to #15.
Wow. A real LOST flash sideways piece of fuckery.
This Must Be The Place I Waited Years To Leave would have made a great single if they had removed the final verse.
The trouble with Behaviour is that it is a great album (bar Nervously) but it does lack obvious singles after So shard and Being Boring. They could have gone with The End Of The World, TMBTPIWYTL & My October Symphony but i’m Not sure if they would have faired any better. Jealousy is a great single but it feels rather odd having it as the final single. Like the album campaign ends with a whimper not a fanfare.
The trouble with Behaviour is that it is a great album (bar Nervously) but it does lack obvious singles after So shard and Being Boring. They could have gone with The End Of The World, TMBTPIWYTL & My October Symphony but i’m Not sure if they would have faired any better. Jealousy is a great single but it feels rather odd having it as the final single. Like the album campaign ends with a whimper not a fanfare.
My Behaviour singles:
My October Symphony
So Hard
Being Boring
Seriously
...then onto the Discography era, with the U2 cover and DJ Culture as the new songs. Was It Worth It got....eh....lost down the back of the sofa. Sorry.
My October Symphony
So Hard
Being Boring
Seriously
...then onto the Discography era, with the U2 cover and DJ Culture as the new songs. Was It Worth It got....eh....lost down the back of the sofa. Sorry.
The Discography era didn't happen when Parlophone halted the Behaviour campaign once its lead single "My October Symphony" charted at #258.
15.
goes on forever
it’s so iconic to me
15. In The Night
8.4944444444
A-side... I mean B-side to first release of "Opportunities", Disco album track
Highest score: 10x14 (@Ray, @Mikey1701, @RaggedTiger, @Jóga, @GhettoPrincess, @JakeMagnus, @One Stop Candy Shop, @Bleu Noir, @idratherjack, @JonBcn, @Eric Generic, @etcetera, @Sally_Harper, @tylerc904)
Lowest score: 4 (@Sweet Music)
Chris: Brackets: Theme to The Clothes Show.
Jon Savage: Where did Zazou come from?
Neil: From a book I was reading by David Pryce-Jones about Paris during the German occupation. There were people, dissidents if you like, who weren't in the resistance but didn't support the Nazis or the Vichy regime, they just opted out, and they all had long hair, and wore it with quiffs, greased, and they all wore black. They were like prototype beatniks... [The World War II hipsters – THAT is dedication to hipsterdom – Ray]
Chris: They looked like Suede...
Neil: And they hung around in clubs listening to American jazz music, which was illegal under the Nazis, and they were known as les Zazous. They were very existentialist and sat round talking about love and the meaning of life. The song is about the political implications of opting out of that particular situation, where both sides would hate you. Hence the line, there's a thin line between love and collaboration. It also mentions the clubs they used to go to: Select and Le Collisée. They also sneered at the masculinity of both the resistance and the Germans; I suppose I sympathised with them. Actually, it's just a page from a book – Paris In The Third Reich: A History Of The German Occupation, 1940-1944, by David Price-Jones – made into a song. Musically the idea was to write a song with the same chord change and the same tempo as the a-side, which was "Opportunities". [I NEVER noticed. – Ray] We recorded it in PWL. Tom Watkins said there was this really good engineer at PWL, called Phil Harding [...] and his programmer Ian Curnow. Chris had already written the music on Blue Weaver's Fairlight. When we went to the cut of the record...
Chris: ...we walked in and the engineer was playing 'In The Night', assuming it was the a-side, and he thought we were mad when we said, 'No it's the other side'.
Neil: It appeared on Disco, remixed by Arthur Baker, and for the last, I don't know how many years its been the theme of The Clothes Show. And when I sang it I wanted to sound like Donovan.
Chris: I didn't know that. I'm going to learn a lot here.
@Ray: What can I say? It's an incredible song. I also think they were mad for not making it the a-side. At least I (we) got the extended mix on Disco. It is also the last b-side to fall, which is kind of a shame, because I hoped for top three with one single, one album track and one b-side (except I thought it would be "Miserablism", shows what I know about other people's taste). It has taken me a very long time to figure out that the soldiers strut in it, which is a word I associate less with soldiers and more with RuPaul's Drag Race somehow. And it also shows Neil's lyrics have really been history lessons since the very start.
@Bleu Noir: bona fide PSB banger
@Mikey1701: I closely associate this with being a 4 or 5 and being completely fascinated by Caryn Franklin and Selina Scott on The Clothes Show and because of it’s use on it, it’s so iconic to me. I was lucky enough to see them perform it live on the Super Tour. They played to a casual audience and I was probably one of only about five people to know what it was. I was slutdropping my life depended on it! I’ve always thought that this was too good to be relegated to being a B-sides. It should have been on Please and it should have been a single! [I LOVE it when PSB play b-sides on tour. And I love it when people around me – it helps I am always in the front rows – know every word.]
@Jóga: Better than most album tracks in Please. [Yes.]
@ohnoitisnathan: Serving Italodisco realness. [A friend of mine used to organise a party called 'Disco Total', which was an Italo party, and this would be the one Pet Shop Boys song to ALWAYS get played.]
@GhettoPrincess: So damn good and it’s only a B-side!? Craziness. [Yes.]
@One Stop Candy Shop: Their best b-side. Zazou approves. And an extra point for the band 'reveal' during this song on the Super tour.
@TrendyMüller: There´s a thin line between The Flirts and PSB. In this case it´s a full blown disco-drama.
This was the first song next to WEG that made me listen up and get me interested in them. [HAVE The Flirts ever recorded songs about World War II? I don't think so!]
@DominoDancing: I'll always love their early "Bobby O" sound, and this is certainly catchy, but it goes on forever without ever really switching things up enough to not get boring after a while.
@Sally_Harper: I have very little idea of what Neil is on about for most of it but I don’t care. This is EXCELLENT.
@Epic Chocolat: Ooh la la! C'est français, j'aime ça! Love the french words.
Original Arthur Baker remix:
Arthur Baker extended mix from Disco:
Arthur Baker dub 1 (which is unlisted in their discography even as promo only):
Super tour:
We all fall, even Alternative.
This leaves us with 14 songs, out of which ONE does not have a single 11.
goes on forever
it’s so iconic to me
15. In The Night
8.4944444444
A-side... I mean B-side to first release of "Opportunities", Disco album track
Highest score: 10x14 (@Ray, @Mikey1701, @RaggedTiger, @Jóga, @GhettoPrincess, @JakeMagnus, @One Stop Candy Shop, @Bleu Noir, @idratherjack, @JonBcn, @Eric Generic, @etcetera, @Sally_Harper, @tylerc904)
Lowest score: 4 (@Sweet Music)
Chris: Brackets: Theme to The Clothes Show.
Jon Savage: Where did Zazou come from?
Neil: From a book I was reading by David Pryce-Jones about Paris during the German occupation. There were people, dissidents if you like, who weren't in the resistance but didn't support the Nazis or the Vichy regime, they just opted out, and they all had long hair, and wore it with quiffs, greased, and they all wore black. They were like prototype beatniks... [The World War II hipsters – THAT is dedication to hipsterdom – Ray]
Chris: They looked like Suede...
Neil: And they hung around in clubs listening to American jazz music, which was illegal under the Nazis, and they were known as les Zazous. They were very existentialist and sat round talking about love and the meaning of life. The song is about the political implications of opting out of that particular situation, where both sides would hate you. Hence the line, there's a thin line between love and collaboration. It also mentions the clubs they used to go to: Select and Le Collisée. They also sneered at the masculinity of both the resistance and the Germans; I suppose I sympathised with them. Actually, it's just a page from a book – Paris In The Third Reich: A History Of The German Occupation, 1940-1944, by David Price-Jones – made into a song. Musically the idea was to write a song with the same chord change and the same tempo as the a-side, which was "Opportunities". [I NEVER noticed. – Ray] We recorded it in PWL. Tom Watkins said there was this really good engineer at PWL, called Phil Harding [...] and his programmer Ian Curnow. Chris had already written the music on Blue Weaver's Fairlight. When we went to the cut of the record...
Chris: ...we walked in and the engineer was playing 'In The Night', assuming it was the a-side, and he thought we were mad when we said, 'No it's the other side'.
Neil: It appeared on Disco, remixed by Arthur Baker, and for the last, I don't know how many years its been the theme of The Clothes Show. And when I sang it I wanted to sound like Donovan.
Chris: I didn't know that. I'm going to learn a lot here.
@Ray: What can I say? It's an incredible song. I also think they were mad for not making it the a-side. At least I (we) got the extended mix on Disco. It is also the last b-side to fall, which is kind of a shame, because I hoped for top three with one single, one album track and one b-side (except I thought it would be "Miserablism", shows what I know about other people's taste). It has taken me a very long time to figure out that the soldiers strut in it, which is a word I associate less with soldiers and more with RuPaul's Drag Race somehow. And it also shows Neil's lyrics have really been history lessons since the very start.
@Bleu Noir: bona fide PSB banger
@Mikey1701: I closely associate this with being a 4 or 5 and being completely fascinated by Caryn Franklin and Selina Scott on The Clothes Show and because of it’s use on it, it’s so iconic to me. I was lucky enough to see them perform it live on the Super Tour. They played to a casual audience and I was probably one of only about five people to know what it was. I was slutdropping my life depended on it! I’ve always thought that this was too good to be relegated to being a B-sides. It should have been on Please and it should have been a single! [I LOVE it when PSB play b-sides on tour. And I love it when people around me – it helps I am always in the front rows – know every word.]
@Jóga: Better than most album tracks in Please. [Yes.]
@ohnoitisnathan: Serving Italodisco realness. [A friend of mine used to organise a party called 'Disco Total', which was an Italo party, and this would be the one Pet Shop Boys song to ALWAYS get played.]
@GhettoPrincess: So damn good and it’s only a B-side!? Craziness. [Yes.]
@One Stop Candy Shop: Their best b-side. Zazou approves. And an extra point for the band 'reveal' during this song on the Super tour.
@TrendyMüller: There´s a thin line between The Flirts and PSB. In this case it´s a full blown disco-drama.
This was the first song next to WEG that made me listen up and get me interested in them. [HAVE The Flirts ever recorded songs about World War II? I don't think so!]
@DominoDancing: I'll always love their early "Bobby O" sound, and this is certainly catchy, but it goes on forever without ever really switching things up enough to not get boring after a while.
@Sally_Harper: I have very little idea of what Neil is on about for most of it but I don’t care. This is EXCELLENT.
@Epic Chocolat: Ooh la la! C'est français, j'aime ça! Love the french words.
Original Arthur Baker remix:
Arthur Baker extended mix from Disco:
Arthur Baker dub 1 (which is unlisted in their discography even as promo only):
Super tour:
We all fall, even Alternative.
This leaves us with 14 songs, out of which ONE does not have a single 11.
Last edited:
Alternative by the numbers.
Overall average score:
6.964484127
11s received: 2
0s received: 4
Highest scorer:
9.2619047619 (@Eric Generic)
Lowest scorer:
4.1428571429 (@funkyg)
15. In The Night (8.4944444444)
20. Paninaro (8.1722222222)
25. Miserablism (8.0402777778)
30. I Get Excited (You Get Excited Too) (7.7472222222)
31. It Must Be Obvious (7.6833333333)
34. Do I Have To? (7.5875)
35. Bet She's Not Your Girlfriend (7.5777777778)
36. Your Funny Uncle (7.4875)
39. We All Feel Better In The Dark (7.3847222222)
40. I Want A Dog (7.3013888889)
45. A Man Could Get Arrested (7.0291666667)
47. Losing My Mind (6.9777777778)
48. Was That What It Was? (6.8875)
52. That's My Impression (6.6652777778)
53. A New Life (6.5902777778)
54. Don Juan (6.4388888889)
55. Jack The Lad (6.4083333333)
57. You Know Where You Went Wrong (6.2944444444)
58. One Of The Crowd (6.1638888889)
59. Music For Boys (5.7263888889)
60. The Sound Of The Atom Splitting (3.6166666667)
Overall average score:
6.964484127
11s received: 2
0s received: 4
Highest scorer:
9.2619047619 (@Eric Generic)
Lowest scorer:
4.1428571429 (@funkyg)
15. In The Night (8.4944444444)
20. Paninaro (8.1722222222)
25. Miserablism (8.0402777778)
30. I Get Excited (You Get Excited Too) (7.7472222222)
31. It Must Be Obvious (7.6833333333)
34. Do I Have To? (7.5875)
35. Bet She's Not Your Girlfriend (7.5777777778)
36. Your Funny Uncle (7.4875)
39. We All Feel Better In The Dark (7.3847222222)
40. I Want A Dog (7.3013888889)
45. A Man Could Get Arrested (7.0291666667)
47. Losing My Mind (6.9777777778)
48. Was That What It Was? (6.8875)
52. That's My Impression (6.6652777778)
53. A New Life (6.5902777778)
54. Don Juan (6.4388888889)
55. Jack The Lad (6.4083333333)
57. You Know Where You Went Wrong (6.2944444444)
58. One Of The Crowd (6.1638888889)
59. Music For Boys (5.7263888889)
60. The Sound Of The Atom Splitting (3.6166666667)
Last edited:
"This Must Be the Place I Waited Years to Leave" is my favorite song from Behaviour while "My October Symphony" is one of my least favorite songs from that album.
That’s fine ... I don’t understand that stance, but it’s your ears that suffer* ...
* Obviously not, you like what you like and everyone’s taste is different ... It’s just in this case nearly everyone is wrong ... Top 20 ... pffft ....
I love both, I just don't think any of them would make a suitable single *ahem @Eric Generic ahem* but I also agree that Behaviour doesn't really have any songs that sound like hits except for 'So Hard'.
They/them, he/him
This is me when people start trashing my beloved Was It Worth It! I always stan for the flops though!
I still can’t believe somebody gave their 11 to The Sound Of The Atom Shitting. The mind boggles!
If Was It Worth It? was the lead single from Discography it would have been a bigger hit than DJ Culture ...
DJ Culture as the perfunctory 2nd single? That would have been an interesting one (especially when Neil has to come up with a reason to bump it from thier history) …
DJ Culture as the perfunctory 2nd single? That would have been an interesting one (especially when Neil has to come up with a reason to bump it from thier history) …
14.
14. I'm Not Scared
8.5069444444
Introspective album track
Highest score: 11x2 (@etienne, @Future Lover), 10x10 (@tylerc904, @Scoundrel_Days, @Eric Generic, @slurmjunkie, @JonBcn, @SmashHitter, @GhettoPrincess, @Jóga, @RaggedTiger)
Lowest score: 4 (@JakeMagnus)
Neil: We originally wrote this for Patsy Kensit in 1987 and it had been a hit for her group Eighth Wonder earlier in 1988, at the same time as 'Heart' was a hit. We used to meet Patsy Kensit at parties and she'd asked us to make a record with her. We'd never produced anything for anyone else before, and Phil Harding and Ian Curnow did tons of the work. The original demo, which we'd written in 1985 in Camden Town at the same time as 'Love Comes Quickly', had been called 'A Roma'.
Chris: One of my useless puns.
Neil: It was only an instrumental. We thought it sounded a bit like Shannon. Chris and I were obsessed at the time by this record Princess Stephanie had made, 'Irresistible'. We liked that kind of French pop music and we liked the idea of making Patsy a European pop star. [...] I wanted the song to sound as though it was translated from French, hence the line 'what have you got to say of shadows in your past?' I've tried for years to rationalise the line 'tonight the streets are full of actors'. I suppose it's just about people posing. 'Take these dogs away from me...' is actually a quote, or a misquote, from a John Betjeman poem called 'Senex', which is about it being disgusting to feel sexy when you're old.
Chris: You don't get the spoken French bit in our version.
Neil: No. But, doing one of our filmic things, we decided to set it in 1968 in Paris, because there was something French-sounding about the track anyway. The band at the start is taken from 1968 news footage, and you can hear a fascist speech – it's from a counter-revolutionary rally in Paris. [...] We got the tape from ITN but we weren't allowed to use the newscaster, which was a shame, because we wanted to put this bit over the end where he said, in this camp posh voice, 'the workers of France are marching...' For our version, we reinstated the missing fourth verse. It was after this track that I started singing much higher. If you listen to the first two albums I don't really sing high on them. Our version also sounds more electronic. It's very over the top. I think this is also the only song we've written with a coda where a whole new bit comes at the end.
@Ray: The awful thing is that I agree with @Mikey1701. It's not a patch on the superior Eighth Wonder version. I'd love to somehow get Neil's vocals on the Curnow/Harding instrumental. "I'm Not Scared" – the PSB version – seems to have been the preview of what Behaviour would end up sounding like eventually. Curnow/Harding just made a smashing pop record.
Obviously, first the comments that cost 11 points:
@etienne: How do I sum this up? I’m not sure but I just love it and it’s as simple as that really. As a difficult 11 to pick as I also had ‘this must be the place’ as a contender which I suppose is quite similar. I only heard the Patsy version in recent years. Favourite memory – that laser show during Electric tour!
@Future Lover: Best song on this album! Almost a shame that Eighth Wonder got to it first - this as the album version, and something akin to the Eighth Wonder version as a "PSB single mix" would've definitely been one of their best moments ever. A man can dream...
Sorry, you two.
Here are the others' thoughts:
@Heaven on Earth: For once, Pet Shop Boys escape their usual, for a lack of a better word, “moping” and instead embrace their lothario side. Or did they? It almost seems to be a wistful plea for someone to love them, hoping to achieve this goal by placing themselves in their knight in shining armor’s shoes. And I sympathize. I sometimes dream of a knight in shining armor to rescue me from my loneliness and to be my equal. Sometimes you can wish for love yet you don’t know how to look for it. For the knight to not be scared of who you are and to love you unconditionally, even if you are a walking hot mess, is honestly a dream come true. After the loneliness expressed in Actually, the careful optimism has also harkened a contemplation at oneself. For it’s hard to get over the self-blame that is perfectly described in “It’s a Sin,” and with someone saying “[they] don’t care…” I’m sorry. I think I need a tissue.
@One Stop Candy Shop: The verses are better than the chorus. I like it. The live version from Performance is also a moment. [Oh YES.]
Let's put those together:
@Jóga: Eighth Wonder's version has nothing on this.
@Bleu Noir: Patsy!
@Mikey1701: It’s not a patch on Dame Patsy Kensit’s version, but few things in life are, let’s be honest. Saying that, however, this is still a bop and I’m not going to pretend that I don’t get my life if it pops up on shuffle.
@ohnoitisnathan: It's hard not to think of the Eighth Wonder version (which I think works slightly better) when listening to this.
@Peer_Gynt10: great song, but Neil’s falsetto ruins it for me. I prefer the version by Eighth Wonder which is a 10
And then:
@GhettoPrincess: 7 minutes of glorious pop, thank you very much.
@Sally_Harper: It’s OK, but it’s at least two minutes too long. [Let me introduce you to the concept of Introspective...]
Domino has a similar experience to me – I think I haven't heard the Eighth Wonder version for, like, another ten years:
@DominoDancing: At the time I got seriously into PSB, it was actually not that easy for me to find the Eighth Wonder version. After I finally got to hear it, it was refreshing simply to hear a slightly different version after all these years, but the PSB version remains untouched. The arrangement sounds so much fuller, and Patsy Kensit's voice is not only less unique than Neil's, it's also manages to be even weaker on a technical level.
@TrendyMüller: Although I absolutely can adore Neil doing his fragile-about-to-break-voice, I can´t help but find it a bit too weak on this. But the song is amazing nonetheless. I wish Princess Stephanie would have recorded this.
Performance:
Electric:
Moscow 2013:
The next song has three 11s. But we also entered averages of 8.5+.
Dame Patsy
14. I'm Not Scared
8.5069444444
Introspective album track
Highest score: 11x2 (@etienne, @Future Lover), 10x10 (@tylerc904, @Scoundrel_Days, @Eric Generic, @slurmjunkie, @JonBcn, @SmashHitter, @GhettoPrincess, @Jóga, @RaggedTiger)
Lowest score: 4 (@JakeMagnus)
Neil: We originally wrote this for Patsy Kensit in 1987 and it had been a hit for her group Eighth Wonder earlier in 1988, at the same time as 'Heart' was a hit. We used to meet Patsy Kensit at parties and she'd asked us to make a record with her. We'd never produced anything for anyone else before, and Phil Harding and Ian Curnow did tons of the work. The original demo, which we'd written in 1985 in Camden Town at the same time as 'Love Comes Quickly', had been called 'A Roma'.
Chris: One of my useless puns.
Neil: It was only an instrumental. We thought it sounded a bit like Shannon. Chris and I were obsessed at the time by this record Princess Stephanie had made, 'Irresistible'. We liked that kind of French pop music and we liked the idea of making Patsy a European pop star. [...] I wanted the song to sound as though it was translated from French, hence the line 'what have you got to say of shadows in your past?' I've tried for years to rationalise the line 'tonight the streets are full of actors'. I suppose it's just about people posing. 'Take these dogs away from me...' is actually a quote, or a misquote, from a John Betjeman poem called 'Senex', which is about it being disgusting to feel sexy when you're old.
Chris: You don't get the spoken French bit in our version.
Neil: No. But, doing one of our filmic things, we decided to set it in 1968 in Paris, because there was something French-sounding about the track anyway. The band at the start is taken from 1968 news footage, and you can hear a fascist speech – it's from a counter-revolutionary rally in Paris. [...] We got the tape from ITN but we weren't allowed to use the newscaster, which was a shame, because we wanted to put this bit over the end where he said, in this camp posh voice, 'the workers of France are marching...' For our version, we reinstated the missing fourth verse. It was after this track that I started singing much higher. If you listen to the first two albums I don't really sing high on them. Our version also sounds more electronic. It's very over the top. I think this is also the only song we've written with a coda where a whole new bit comes at the end.
@Ray: The awful thing is that I agree with @Mikey1701. It's not a patch on the superior Eighth Wonder version. I'd love to somehow get Neil's vocals on the Curnow/Harding instrumental. "I'm Not Scared" – the PSB version – seems to have been the preview of what Behaviour would end up sounding like eventually. Curnow/Harding just made a smashing pop record.
Obviously, first the comments that cost 11 points:
@etienne: How do I sum this up? I’m not sure but I just love it and it’s as simple as that really. As a difficult 11 to pick as I also had ‘this must be the place’ as a contender which I suppose is quite similar. I only heard the Patsy version in recent years. Favourite memory – that laser show during Electric tour!
@Future Lover: Best song on this album! Almost a shame that Eighth Wonder got to it first - this as the album version, and something akin to the Eighth Wonder version as a "PSB single mix" would've definitely been one of their best moments ever. A man can dream...
Sorry, you two.
Here are the others' thoughts:
@Heaven on Earth: For once, Pet Shop Boys escape their usual, for a lack of a better word, “moping” and instead embrace their lothario side. Or did they? It almost seems to be a wistful plea for someone to love them, hoping to achieve this goal by placing themselves in their knight in shining armor’s shoes. And I sympathize. I sometimes dream of a knight in shining armor to rescue me from my loneliness and to be my equal. Sometimes you can wish for love yet you don’t know how to look for it. For the knight to not be scared of who you are and to love you unconditionally, even if you are a walking hot mess, is honestly a dream come true. After the loneliness expressed in Actually, the careful optimism has also harkened a contemplation at oneself. For it’s hard to get over the self-blame that is perfectly described in “It’s a Sin,” and with someone saying “[they] don’t care…” I’m sorry. I think I need a tissue.
@One Stop Candy Shop: The verses are better than the chorus. I like it. The live version from Performance is also a moment. [Oh YES.]
Let's put those together:
@Jóga: Eighth Wonder's version has nothing on this.
@Bleu Noir: Patsy!
@Mikey1701: It’s not a patch on Dame Patsy Kensit’s version, but few things in life are, let’s be honest. Saying that, however, this is still a bop and I’m not going to pretend that I don’t get my life if it pops up on shuffle.
@ohnoitisnathan: It's hard not to think of the Eighth Wonder version (which I think works slightly better) when listening to this.
@Peer_Gynt10: great song, but Neil’s falsetto ruins it for me. I prefer the version by Eighth Wonder which is a 10
And then:
@GhettoPrincess: 7 minutes of glorious pop, thank you very much.
@Sally_Harper: It’s OK, but it’s at least two minutes too long. [Let me introduce you to the concept of Introspective...]
Domino has a similar experience to me – I think I haven't heard the Eighth Wonder version for, like, another ten years:
@DominoDancing: At the time I got seriously into PSB, it was actually not that easy for me to find the Eighth Wonder version. After I finally got to hear it, it was refreshing simply to hear a slightly different version after all these years, but the PSB version remains untouched. The arrangement sounds so much fuller, and Patsy Kensit's voice is not only less unique than Neil's, it's also manages to be even weaker on a technical level.
@TrendyMüller: Although I absolutely can adore Neil doing his fragile-about-to-break-voice, I can´t help but find it a bit too weak on this. But the song is amazing nonetheless. I wish Princess Stephanie would have recorded this.
Performance:
Electric:
Moscow 2013:
The next song has three 11s. But we also entered averages of 8.5+.
Last edited:
The PSB version of I'm Not Scared has a darkness that's missing from the Eighth Wonder version ... In true PSB style, it's a statement of defiance rather than certainty ... The Performance version is such a highlight ...
Plus, thst bassline ... I gave this a 9 because it's not quite perfect, but I don't want perfection every time ...
If they had included Patsy's J'ai Pas Peur incidental vocals it would have been a 10 ...
Plus, thst bassline ... I gave this a 9 because it's not quite perfect, but I don't want perfection every time ...
If they had included Patsy's J'ai Pas Peur incidental vocals it would have been a 10 ...
Nooooo!!!1
I mean, I knew this wasn't gonna win, but still... too soon. Criez
I mean, I knew this wasn't gonna win, but still... too soon. Criez
