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Rating: It seems like yesterday when I first listened to 'Very'. It was 1993 and I was only 6 years old. I remember saving money from buying ice creams and after a week, I bought the cassette.
I listened to that tape so many times that within a few years I managed to convert my classmates (who were listening to D'Avena's music at the time) to the pop universe of the '80s and early '90s. But what struck me about that album?
I should preface by saying there are only three albums that I've been listening to for about 12 years and that I’m still not tired of putting on the Walkman: "Low Life" (New Order), "Speak and Spell" (Depeche Mode), and indeed the '93 album by the Psb.
At an unprejudiced listen, Very might seem "superficial" in production, as almost all the songs follow the same rhythm, which could be considered a remarkable step back compared to the previous "Behaviour" (1990). But this was exactly the intention of the two Boys, to return to the rhythms that made them famous in the '80s, borrowing pop melodies from "Please" and disco beats from "Introspective". Songs like "Can you forgive here?", "A different point of view", "One and one make five", and "Go west" (a cover of a Village People hit) don't differ much in form or substance from the sound that made them famous in past years. Furthermore, it must be noted that from 1990 to 1994, the dominant genre in the musical scene (especially in the U.S.) was rock, with bands like Nirvana ("Nevermind", "Incesticide"), U2 ("Zooropa"), and Depeche Mode ("Violator", "Songs of Faith and Devotion") contributing to making Grunge a mass phenomenon.
And this is where the Psb most stand out, creating an album with driving pop rhythms (almost banal) but which in reality conceal a satire about the society of the time, and the corresponding videos reflect this idea, with costumes worthy of Devo and rather ambiguous movements (see the video for "Can you forgive her?"). The two Boys retreat into their shell and from within, they see all those groups who, wanting to keep up with the times, "renounce" the pop works done in the '80s and venture to the other shore, exemplary are groups like Depeche Mode, Duran Duran, who to remain at the top of the charts "bastardized" their original sound in favor of an electro-rock, criticized by many. Many people argue that in some way this affected the decline of the Psb (which began right after the release of 'Very'), Tennant and Lowe have always been faithful to their distinctive sound, and one way or another they rejected the musical update that was happening in those years ('Very' is a clear testament to this), and in the future, this greatly affected their album sales. Ultimately, the '93 album was the last album to achieve a certain success with both critics and the public, an album to which I am very attached for various reasons.
I apologize for not being very thorough in talking about the album in question. I limited myself to giving an overview of the musical world of that period, but I believe that if you want to fully understand the musical art of the two Boys, you need to listen to the album with your mind focused on its historical-musical context, only then can you understand certain nuances present in the songs of the duo.
Tracklist Lyrics and Videos
01 Can You Forgive Her? (03:54)
Another night with open eyes
Too late to sleep, too soon to rise
You're short of breath, is it a heart attack?
Hot and feverish you face the fact
You're in love, and it feels like shame
Because she's gone and made a fool of you in public again
You're in love, and it feels like pain
Because you know there's too much truth in everything she claims
So ask yourself now: Can you forgive her
If she wants you to?
Ask yourself: Can you even deliver
What she demands of you?
You drift into the strangest dreams
Of youthful follies and changing teams
Admit you're wrong, oh, no, not yet
Then you wake up and remember that you can't forget
She's made you some kind of laughing stock
Because you dance to disco, and you don't like rock
She'd make fun of you, and even in bed
Said she was gonna go and get herself a real man instead
So ask yourself now: Can you forgive her
If she begs you to?
Ask yourself: Can you even deliver
What she demands of you?
Or do you want revenge?
But that's childish, so childish!
(But that's childish, so childish!)
Remember when you were more easily led
Behind the cricket pavilion and the bicycle shed
Trembling as your dreams came true
You looked right into those blue eyes and knew
It was love, and now you can't pretend
You've forgotten all the promises of that first friend
It's bad enough, she knows how you feel
But she's not prepared to share you with the memory
So ask yourself now: Can you forgive her
If she begs you to?
Ask yourself: Can you even deliver
What she demands of you?
Ask yourself now: Can you forgive her
If she begs you to?
And ask yourself: Can you even deliver
What she demands of you?
Or do you want revenge?
But that's childish, so childish!
02 I Wouldn't Normally Do This Kind of Thing (03:04)
Ask me why
I'll say it's most unusual
How can I even try to explain
why today I feel like dancing
singing like lovers sing
when I wouldn't normally do this kind of thing?
I wouldn't normally do this kind of thing
Ask me when
I'll say it started when I met you
and ever since then I knew that the past couldn't last
For right now I think I'm running
a race I know I'm gonna win
and I wouldn't normally do this kind of thing
I wouldn't normally do this kind of thing
If people say I'm crazy
I tell them that it's true
Let them watch with amazement
say it won't last beyond breakfast
it's a phase he's going through
denigrate or speculate
on what I'm going through
because it isn't the sort of thing I'd normally do
Ask me what
I'll say I think it's good for you
Believe it or not I know where it's all leading to
I feel like taking all my clothes off
dancing to The Rite of Spring
and I wouldn't normally do this kind of thing
I wouldn't normally do this kind of thing
I wouldn't normally do this kind of
this kind of thing
03 Liberation (04:07)
Take my hand
I've changed my mind again
Really I believed it true
that all who fell in love were foolish
But I was wrong
I've learned that lesson well
All the way back home at midnight
you were sleeping on my shoulder
Take my hand
Don't think of obligations
Now, right now
your love is liberation
To free in me
the trust I never dared
I always thought the risk too great
but suddenly I don't hesitate so
Take my hand
Don't think of complications
Now, right now
your love is liberation
Liberation
The night, the stars
A light shone through the dark
All the way back home at midnight
you were sleeping on my shoulder
Take my hand,
Don't think of hesitation
Now, right now
your love is liberation
Liberation
Back home at midnight
All the way back home at midnight
04 A Different Point of View (03:26)
When I'm sitting so close to you
There's only one thing that I wanna do
But I know what you're likely to say
That I'm going about it the wrong way
We can't agree about anything
Where to go or even where we've been
And I know what you're likely to do
Say that I've never care about you
And all I wanted to say was that I love you
But you tell me now you don't believe it's true
You got a different, a different
A different point of view
You got a different
Point of view
You don't believe a single word I say
If I'd say black was white, you'd say it was grey
But in spite of been treated this way
I still dream of you all night and day
And all I wanted to say was that I love you
But you tell me now you don't believe it's true
You got a different, a different
A different point of view
You got a different
Point of view
Just this once
Just say yes
Please
You've got a clever way of haunting me
I'm never scared, but you're still daunting me
'Cause I know what you're likely to say
And I know that you'll get your own way
And all I wanted to say was that I love you
But you tell me now you don't believe it's true
You got a different, a different
A different point of view
You got a different
Point of view
You got a different, a different
A different point of view
You got a different
Point of view
06 Yesterday, When I Was Mad (03:56)
Darling, you were wonderful, you really were quite good
I enjoyed that, though, of course, no one understood
A word of what was going on, they didn't have a clue
They couldn't understand your sense of humour like I do
You're much too kind
I smiled with murder on my mind
Yesterday, when I was mad
And quite prepared to give up everything
Admitting, I don't believe
In anyone's sincerity, and that's what's really got to me
You have a certain quality, which really is unique
Expressionless, such irony, although your voice is weak
It doesn't really matter 'cause the music is so loud
Of course it's all on tape, but no one will find out
You hated me too
But not as much as I hated you
Yesterday, when I was mad
And quite prepared to give up everything
Admitting, I don't believe
In anyone's sincerity, and that's what's really got to me
Then, when I was lonely
I thought again
And changed my mind
Then we posed for pictures with the competition winners
And argued about the hotel rooms, and where to go for dinner
And someone said: "It's fabulous you're still around today,
You've both made such a little go a very long way"
Yesterday, when I was mad
And quite prepared to give up everything
Admitting, I don't believe
In anyone's sincerity, and that's what's really got to me
Yesterday, when I was mad
And quite prepared to give up everything
Admitting, I don't believe
In anyone's sincerity, and that's what's really got to me
Then, when I was lonely
I thought again
And changed my mind
07 The Theatre (05:11)
(Tennant/Lowe)
--------------
(Yeah)
(Yeah)
(Yeah)
(Tu ru tu tu tu tu)
(Tu ru tu tu tu tu)
(Tu ru tu tu tu tu)
(Yeah)
(Tu ru tu tu tu tu)
(Tu ru tu tu tu tu)
(Tu ru tu tu tu tu)
(Yeah)
(Yeah)
It's another world here
The streets are gleaming
I was even dreaming
That they're paved with gold
Seventeen, at half past ten
All the crowds are surging past
An electric display
There's another world here
Below shop windows
Upon the pavement
Where you wave goodbye
Boys and girls
Come to roost
From Northern parts
And Scottish towns
Will we catch your eye?
While you pretend not to notice
All the years we've been here
We're the bums you step over
As you leave the Theatre
(Yeah)
(Yeah)
It's another world here
Somebody is singing (Yeah)
I was only wishing
For a bit of cash
From a patron of the arts
Or at least the phantom of the opera
Will I catch your eye?
While you pretend not to notice
(Tu ru tu tu tu tu Tu ru tu tu tu tu Tu ru tu tu tu tu)
All the years we've been here
We're the bums you step over
(Tu ru tu tu tu tu Tu ru tu tu tu tu Tu ru tu tu tu tu)
As you leave the Theatre
(Yeah)
(Yeah)
(Ha ha ha ha...)
(Everybody)
(Everybody)
(Everybody)
(Everybody)
(Everybody)
(Everybody)
(Everybody)
(Everybody)
Pavarotti in the park
Then you walked back up the Strand
Did you catch my eye?
And then pretend not to notice
(Tu ru tu tu tu tu Tu ru tu tu tu tu Tu ru tu tu tu tu)
All the years we've been here
We're the bums you step over
(Tu ru tu tu tu tu Tu ru tu tu tu tu Tu ru tu tu tu tu)
As you leave the Theatre
(Yeah)
(Yeah)
In the end, you pretend
(Tu ru tu tu tu tu Tu ru tu tu tu tu Tu ru tu tu tu tu)
'Cause it's so much easier
We're the bums you step over
(Tu ru tu tu tu tu Tu ru tu tu tu tu Tu ru tu tu tu tu)
As you leave the Theatre (Yeah)
(Yeah)
(Yeah)
(Tu ru tu tu tu tu Tu ru tu tu tu tu
Tu ru tu tu tu tu Tu ru tu tu tu tu)
We're the bums you step over
(Tu ru tu tu tu tu Tu ru tu tu tu tu Tu ru tu tu tu tu)
As you leave the Theatre
(Yeah)
(Yeah)
(Ha ha ha ha ...)
(Ha ha ha ha ...)
(Ha ha ha ha ...)
16 Shameless (05:04)
(Tennant/Lowe)
-------------
(Ooh ah ah ooh ah ah ooh ah ooh) [Hello]
(Ooh ah ah ooh ah ah ooh ah ooh)
(Ooh ah ah ooh ah ah ooh ah ooh)
(Ooh ah ah ooh ah ah ooh ah ooh) [Dahhhling - mmwah!]
[How dare you? Do you know who I am?]
[You look fabulous! - mmwah!]
I know what you think
It's clear as mud in your eyes
We're the plastic poseurs and prostitutes
You've obviously come to despise
But you don't know nothing
You're not hot enough to matter
You don't understand it's the glamorous life
A dream that no one can shatter
We're shameless
We will do anything
To get our fifteen minutes of fame
We have no integrity
We're ready to crawl
To obtain celebrity
We'll do anything at all
I'm ambitious
Believe me, I'm going to be big
I'm a slave to glamour
Applause and clamour
My makeup, my wardrobe, my wigs
Don't call me pathetic
I'm harder than you'll ever guess
Relentlessly tough, for when the going gets rough
The tough get their picture in the press
We're shameless
We will do anything
To get our fifteen minutes of fame
We have no integrity
We're ready to crawl
To obtain celebrity
We'll do anything at all
(Anything, anything, anything at all)
(We'll do anything, anything, anything at all)
(We'll do anything, anything, anything at all)
(We'll do anything, anything, anything at all)
[It's going perfectly alright]
[How dare you? Do you know who I am?]
[It's an absolute disgrace]
Tell me you love me
Admit it, you're really impressed
Would it not amuse you
For me to seduce you
Have you ever seen me undressed?
We're shameless
We will do anything
To get our fifteen minutes of fame (Give me fifteen minutes)
We have no integrity
We're ready to crawl
To obtain celebrity
We'll do anything at all
We're shameless
We will do anything
To get our fifteen minutes of fame (Give me fifteen minutes)
We have no integrity
We're ready to crawl to obtain celebrity
We'll do anything
With anyone
Go absolutely anywhere
For anything
At all
(Ooh ah ah ooh ah ah ooh ah ooh) [I'm terribly sorry]
(Ooh ah ah ooh ah ah ooh ah ooh)
(Ooh ah ah ooh ah ah ooh ah ooh)
(Ooh ah ah ooh ah ah ooh ah ooh)
(Ooh ah ah ooh ah ah ooh ah ooh)
(Ooh ah ah ooh ah ah ooh ah ooh)
(Ooh ah ah ooh ah ah ooh ah ooh)
(Ooh ah ah ooh ah ah ooh ah ooh)
17 Too Many People (04:26)
(Tennant/Lowe)
-------------------
I sometimes think that I'm too many people
Too many people, too many people
I sometimes think that I'm too many people
Too many people, too many people at once
The husband or the hedonist
The businessman or the communist
The artist or the showbiz creep
The lover or the nervous geek
The question of identity is one that's always haunted me
Whoever I decide to be depends on who is with me
I sometimes think that I'm too many people
Too many people, too many people
I sometimes think that I'm too many people
Too many people, too many people at once
The tactless twit putting his foot in it
Or the sensitive soul who's a role model
The urban jet setter - never at home
Or the country recluse - just leave me alone
Extrovert or introvert
Love is kind, and love hurts
Rebellion or conformity
What is my identity?
I sometimes think that I'm too many people
Too many people, too many people
I sometimes think that I'm too many people
Too many people, too many people at once
The intellectual and bon-viveur
or the naive simpleton, so immature
A devoted son and family man
Or the wicked uncle who doesn't give a damn
How often these have tempted me
The question of identity depends on what I'm meant to be
I sometimes think that I'm too many people
Too many people, too many people
I sometimes think that I'm too many people
Too many people, too many people at once
I sometimes think that I'm too many people
Too many people, too many people
I sometimes think that I'm too many people
Too many people, too many people at once
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Other reviews
By Abraham
Very is an evergreen. If the meditative and melancholic Behaviour pushes you to introspection, the message of Very is: get up, go, fight to survive.
"Very" is a punch in the stomach. It has generated stadium anthems, made both old and new fans dance, and invigorated the gay audience.
