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Альбом 'XXV' (2022)

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https://www.musicomh.com/reviews/albums … lliams-xxv

РЕВЬЮ MusicOMH

Robbie Williams – XXV
(Columbia) UK release date: 9 September 2022
by Ben Hogwood
published: 8 Sep 2022

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https://www.telegraph.co.uk/music/what- … santigold/

РЕВЬЮ The Telegraph

3/5

Robbie Williams, XXV ★★★☆☆
To mark his 25 years as a solo artist, Robbie Williams has re-recorded his greatest hits with Netherlands-based Metropole Orkest, the leading jazz-and-pop orchestra. With new orchestrations by hipster composer Jules Buckley, his old writing chum Guy Chambers and the Grammy-winning arranger Steve Sidwell, XXV includes six Number One songs and a further 10 Top 10 hits among its 19 tracks. Its sleeve features a naked Williams recreating the pose of Rodin’s The Thinker – a refreshing reminder that pop stars are still allowed to be bombastic and ridiculous. You couldn’t imagine Ed Sheeran or Lewis Capaldi doing such a thing.

Do these new orchestrations add anything? In many cases, yes. Williams’s 2000 hit Rock DJ is fantastically reimagined as a swooning soft-disco number by The Love Unlimited Orchestra, while Feel gains some gloriously ghostly operatic backing vocals.

Millennium, which was already based on John Barry’s theme to the James Bond film You Only Live Twice, gets even more Bond-y with added stabby horns. No Regrets also gets the full 007 treatment, with new, funky guitars. In fact, it may here be exposed as the greatest Bond theme that never was; Sheryl Crow’s Tomorrow Never Dies and Garbage’s The World is Not Enough were the forgettable themes either side of its release in 1998 – did producers miss a trick by overlooking Williams?

The standout track is the most pared-back, a song called Nobody Someday. Some of these re-recordings, however, add little. Let Me Entertain You sounds essentially the same, save perhaps for punchier horns and a choir at the breakdown. The Road to Mandalay loses its Divine Comedy-like jauntiness and becomes a dull cul-de-sac, while the song Bodies is stripped of the Trevor Horn production that made it interesting in the first place. She’s The One was already a cover of a World Party song. The new iteration is therefore a cover version of a cover version. I prefer the middle one.

At 48, Williams remains one of our greatest showmen and a fantastic live act. This doesn’t stop this self-covers album from feeling a bit like a stopgap. Still, XXV is a big, bold and brassy reminder of Williams’s stonking back catalogue. Fans will lap it up. Give him the Legends slot at Glastonbury immediately.

James Hall

33

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https://www.laut.de/Robbie-Williams/Alben/XXV-119104

РЕВЬЮ Laut.de

LAUT.DE-KRITIK
Sein Name ist Williams, Robbie Williams. KREISCH!
Review von Sven Kabelitz
Robbie Williams größter Traum droht zu zerplatzen: Die James Bond-Rolle wird wohl auch diesmal nicht an ihn gehen. Henry Cavill kristallisiert sich als Favorit heraus, aber es kann noch alles anders kommen. Nur Robbie, der wird es nicht. Stattdessen spielte er vorletztes Jahr lieber die Hauptrolle in einem wirren Pizzagate-Interview.

Mit dem Bond-Song wird das wohl ebenso nichts mehr. Barbara Brocollis Anruf bleibt aus. Mittlerweile spielt Robbie Williams einfach zu weit vom Zeitgeist zunehmend nur noch in der Bubble seiner eigenen Fanbase eine große Rolle.

Zwar tritt er weiter von 100.000 Menschen auf, zwar verkaufen sich seine Alben weiterhin, doch die Kreativität, der Nachdruck und der Elan seiner frühen Jahre verpuffte zuletzt nahezu komplett. Zu Beginn folgten Alben und Hits im Takt eines Augenzwinkerns aufeinander. In den letzten zehn Jahren schaffte er es hingegen auf gerade einmal zwei - freundlich ausgedrückt - durchschnittliche Longplayer mit neuem Material. Selbst die lang ersehnte Rückkehr von Guy Chambers auf "The Heavy Entertainment Show" wendete das Blatt nicht zum Besseren. Der Rest: Ein Swing-Wiederkäuer und Weihnachtskitsch.

Zum 25. Jubiläum gibt nach sechs Jahren folgerichtig nicht etwa ein neues Album, sondern eine Art Best-of. Die alten Songs noch einmal raus holen und neu aufnehmen. Überraschenderweise mal NICHT im Swing-Gewand, sondern mit großem Orchester. Welch gewitzte Idee. Hierfür orchestrierten Jules Buckley, Guy Chambers und Steve Sidwell die angestaubten Gassenhauer neu und ließen sie vom renommierten Metropole Orkest einspielen.

All zu viel ändert sich an den meisten Stücken jedoch nicht. Viele halten sich an ihre Vorgabe, ersetzen halt nur das ehemalige Arrangement mit mehr Streichern und Trompeten. Fast jeder Longplayer findet mit mindestens einem Track einen Platz. Nur "Rudebox" muss draußen bleiben und sich weiter schämen. Dabei liegt der Fokus klar auf Williams' Anfangszeit. Die letzten fünf Longplayer werden mit gerade einmal fünf der neunzehn Lieder abgefrühstückt. Mit "Lost" gesellt sich ein neuer Songs hinzu.

Einem Naturgesetz folgend steht "Let Me Entertain You" natürlich an erster Stelle. Schnell verdeutlicht sich, dass sich die Neuinterpretationen überwiegend an die Vorlagen halten, nun aber über etwas mehr Lametta verfügen. Immerhin: Trotz aller Exzesse haben die 48 Jahre offenbar noch keine großen Spuren auf Williams Stimme hinterlassen.

Nur selten funktioniert das Konzept wirklich. "Come Undone" verkommt zu einer kitschigen Weihnachtsballade. Das einst eher zurückgenommene "Feel" kippt dank einer theatralischer Opernsängerin ins Peinliche. Hätte "Millennium" gerade ein Highlight sein können, finden Orchester und Band hier keinen gemeinsamen Nenner und bleiben sich fremd. Williams wirkt fast ein wenig verloren zwischen den beiden Fronten.

Schnelle Nummern wie "Rock DJ" haben es schwer in dem Konzept. Ohne Kylie Minogue wäre "Kids" nur die Hälfte wert, also schaut sie auch diesmal vorbei. Das Orchester macht derweil eine Pause, um ganz erfrischt zu "Angels" wieder aufzutauchen. Für seinen größten Hit ziehen sie wirklich alle Register und Klischees, die eine Zusammenarbeit von Pop-Star und Klassik zu bieten hat. Im Guten wie im Schlechten.

Viel besser funktioniert dies im ähnlich aufgebautem "No Regrets", das nach ruhigem Anfang von Bläsern durchgeschüttelt und zu einem neuen Leben erweckt wird. "The Road To Mandalay" findet einen viel ruhigeren Ansatz, bei dem es erstaunt, wie gut der "Bom bom bom ba da dup bom bom"-Refrain auch hier passt. Das ausufernde Ende könnte kaum schöner umgesetzt sein. Spätestens in diesen beiden Augenblicken hat Robbie Williams sie dann doch noch: Seine James Bond-Momente.

34

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https://cdn.shopify.com/s/files/1/1943/7457/products/LP-DLXCD-4ColCD_600x600_crop_center.png

Наверное, без VPN ссылки не работают.

Альбом вышел и он весьма неплох для формата Best Of. Вообще он напоминает альбом-саундтрек и в таком звучании могли звучать в кино - возможно, это и есть подготовка к фильму следующего года.
Любопытные оркестровые аранжировки, где-то исторический вокал (например, в Feel звучит его черновой вокал из первой записи), где-то кивок к оригиналу (Rock DJ - Барри Уайт). No Regrets и несколько других треков могли бы быть темами Джеймса Бонда, например.
Но в целом это фанатский релиз - новичкам советую слушать оригиналы, их продакшн был безупречным.

А вот все новые песни понравились :)

Их 5-6:
Lost
More Than This
The World And Her Mother
Disco Symphony
Home Thoughts from Abroad
+ Nobody Someday (её просто мало кто знает - это би-сайд был к Feel)

Эта самая светлая и классная - для какого-нибудь артиста стала бы синглом, но тут лишь бонусная.
Лёгкость мелодии уносит в 00-ые, когда Робби просто выстреливал мелодикой.

Эта тоже их этого разряда, а ещё она будто в компании Pet Shop Boys написана - ну все знают, что Робби их любит.
Замени вокал на Нила и можно перепутать. Только скрипки и колокольчики выдают больше поп Робби, а не синти.
Очень хотел бы услышать, что про песню сказал бы Сториз...

Эта песню обещали дуэтом с Кайли, но, увы, без неё обошлось. Жаль.

Пару лет песня уже побывала саундтреком детского мюзикла, но там её пели дети.
Заводное диско, какое и должно быть.

Эта рифма - зе бест  :D
Michael Jackson.... Mister Jay Z... Donna Summer... Freddie Mercury

А вообще я бы хорошо представил песню и в исполнении Take That - у неё звучание начала 90-ых и их первых альбомов.

И эта песня без вокала Робби была саундтреком чуть ранее, но фильма.
Она очень красивая, но, кажется, с женским хором она звучит трогательнее, чем с Робби.   

Кайли всё-таки зашла на огонёк и коллеги записали новый вокал для новой версии Kids!
Если оригинал был классный поп-рок-гимном, то новый вариант больше подошёл бы мюзиклу - Бриолин, например, корни из которого их образы и берут в клипе ))
Так или иначе слышать их вместе всегда сплошное удовольствие.

---

Кажется, здесь использовали вокал Робби тех лет и просто поработали с оркестром.

35

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Робби про No Regrets
https://www.youtube.com/shorts/P30A0gh7CFA

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Albums (UK)

01 37,925 Robbie Williams - XXV [28,398 CDs, 2,570 vinyl, 5,799 cassettes, 777 downloads, 381 streaming]
02 14,124 Ozzy Osbourne - Patient Number 9
03 7,559 Harry Styles - Harry's House [total: 356,352]
04 5,519 Manic Street Preachers - Know Your Enemy [total: 227,231]
05 5,426 The Amazons - How Will I Know If Heaven Will Find Me?
06 5,380 The Weeknd - The Highlights
07 5,217 Ed Sheeran - =
08 4,249 Arctic Monkeys - AM
09 4,156 Lewis Capaldi - Divinely Uninspired to a Hellish Extent
10 4,017 Beyoncé - RENAISSANCE

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https://www.officialcharts.com/chart-ne … ed__37385/

The first week sales (with debut position and year) of ALL Robbie Williams’ studio albums: Life Thru A Lens (14,533, No.11, 1997), I’ve Been Expecting You (131,836, No.1, 1998), Sing When You’re Winning (313,585, No.1, 2000), Swing When You’re Winning (295,024, No.1, 2001), Escapology (264,104, No.1, 2002), Intensive Care (373,832, No.1, 2005), Rudebox (147,236, No.1, 2006), Reality Killed The Video Star (238,126, No.2, 2009), Take The Crown (83,508, No.1, 2012), Swings Both Ways (108,622, No.1, 2013), The Heavy Entertainment Show (66,825, No.1, 2016) and The Christmas Present (67,182, No.2, 2019). He has had individual albums – including hits and live sets - sell in excess of 100,000 copies 43 times, the first being the 1998 debut of I’ve Been Expecting You (above), the last the 126,330 copies that Swings Both Ways sold at No.2 in its fifth week on the chart in the penultimate week of 2013.

Prior to the release of XXV, Williams’ career album sales as a soloist tallied 20,543,138, with his top sellers being I’ve Been Expecting You (2,611,401 sales), Greatest Hits (2,585,542 sales) and Swing When You’re Winning (2,439,743 sales). 16,715,540 of those sales have occurred in the 21st century, making him the No.1 artist of the era, with Coldplay (14,828,836 sales) as runners-up.

Bigger than Elvis? Released to mark his 25 years as a solo artist and consisting largely of orchestrated new recordings of his canon, XXV debuts atop the album chart for Robbie Williams. Thereby delivering Williams his 14th No.1 album, it puts him ahead of Elvis Presley as the solo artist with most No.1s, and behind only The Beatles – who have 15 – in the all-time list of acts with most chart toppers.

On top of his considerable solo success, Williams has also topped the chart as a member of Take That, being a full member of the band when Everything Changes (1993) and Nobody Else (1995) were No.1, and rejoining them for 2010 chart-topper Progress. He also contributed to most tracks on their 1996 No.1 compilation, Greatest Hits and some on subsequent (2018) hits package, Odyssey. He could therefore be said - depending on how strictly you interpret his presence on the hits sets - to have had 17, 18 or even 19 number one albums. The higher total is beaten only Paul McCartney (23). His Beatles colleagues George Harrison and John Lennon have had 18 apiece.

XXV’s first week consumption of 37,925 units – the fifth highest of the year – is made up of 28,398 CDs, 2,570 vinyl doublepacks, 5,799 cassettes and 777 digital downloads, with sales-equivalents streams accounting for the remaining 381. Williams’ 13th solo studio set, it was recorded with The Metropole Orkest, and is his first new work since 2019, when his seasonal set The Christmas Present debuted at No.2 on consumption of 67,182 units behind Coldplay’s Everyday Life, rising to No.1 the following week with 52,909 sales.

Williams’ only studio album NOT to reach No.1 was his eighth release, Reality Killed The Video Star, which debuted and peaked at No.2 in 2009, its first week sales of 238,126 being just 0.63% less than the 239,643 sales that earned X Factor 2009 runners-up JLS’s eponymous debut a No.1 debut.

The first week sales (with debut position and year) of ALL Robbie Williams’ studio albums: Life Thru A Lens (14,533, No.11, 1997), I’ve Been Expecting You (131,836, No.1, 1998), Sing When You’re Winning (313,585, No.1, 2000), Swing When You’re Winning (295,024, No.1, 2001), Escapology (264,104, No.1, 2002), Intensive Care (373,832, No.1, 2005), Rudebox (147,236, No.1, 2006), Reality Killed The Video Star (238,126, No.2, 2009), Take The Crown (83,508, No.1, 2012), Swings Both Ways (108,622, No.1, 2013), The Heavy Entertainment Show (66,825, No.1, 2016) and The Christmas Present (67,182, No.2, 2019). He has had individual albums – including hits and live sets - sell in excess of 100,000 copies 43 times, the first being the 1998 debut of I’ve Been Expecting You (above), the last the 126,330 copies that Swings Both Ways sold at No.2 in its fifth week on the chart in the penultimate week of 2013.

Prior to the release of XXV, Williams’ career album sales as a soloist tallied 20,543,138, with his top sellers being I’ve Been Expecting You (2,611,401 sales), Greatest Hits (2,585,542 sales) and Swing When You’re Winning (2,439,743 sales). 16,715,540 of those sales have occurred in the 21st century, making him the No.1 artist of the era, with Coldplay (14,828,836 sales) as runners-up.

A final note on Williams – although cassette sales of XXV were brisk, they can’t compare with the 9,661 cassettes that his last album, The Christmas Present, sold in the format the week of its release. The Christmas Present’s overall tally of 20,684 cassette sales is the highest of any album in the last decade, although the biggest weekly sale for a cassette in that time – and indeed for any of the 1,185 weeks that have passed in the 21st century - is the 12,835 copies that 5 Seconds Of Summer’s Calm sold on debut at No.1 in 2020. That must have nearly cleaned out stock of the cassette, as it has since added only a further 134 sales in that format. Prior to its release, the highest weekly cassette sale of the 21st century was the 12,074 logged by the Now! 52 in 2002, with the top by an artist album being 10,203 by Russell Watson’s Encore in 2001.

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https://www.officialcharts.com/media/662485/robbie-williams-xxv-number-1-image.jpg

https://www.officialcharts.com/chart-ne … ms__37414/

16 September 2022

Robbie Williams breaks Official Chart records with XXV album - only The Beatles now have more UK Number 1 albums
Robbie becomes the solo artist with most UK Number 1 albums, with only The Beatles now left to beat.

By Carl Smith
Robbie Williams breaks Official Chart records as XXV tops the Official Albums Chart, becoming Robbie’s 14th Number 1 solo album.

As the latest hits compilation from the Stoke-on-Trent superstar reaches the chart summit, the Official Charts Company can confirm that Robbie overtakes Elvis Presley (13 Number 1s), to become the solo artist with the most UK Number 1 albums ever.

Astonishingly, tonight’s chart result leaves only one act now with more UK Number 1 albums than Robbie - The Beatles have managed 15 Number 1s across their career. See the full list of artists with the most Number 1 records to their names.

During his time in Take That, Robbie also racked up a further four Number 1 albums (five including Take That’s later greatest hits collection Odyssey from 2018 which spans pre and post-Robbie era). The overall record holder for an individual with the most Number 1 albums is Paul McCartney who has racked up a staggering 23 Number 1 albums across his career in The Beatles, Wings and as a solo act.

Speaking on his achievement, Robbie says: “Thank you to everyone who’s supported the album: everyone who’s bought it, streamed it, downloaded it and reviewed it. I’m so pleased that it’s gone to Number 1, and whilst it feels strange to be receiving an award during these sombre times, I wanted to thank you all for your support and dedicate this to the fans, who I never take for granted. I really appreciate it, thank you so much.”

----

Birmingham-born rocker Ozzy Osbourne enjoys a solo career best with Patient Number 9 this week, as the LP debuts at Number 2. His 13th solo studio album, it out-peaks his previous best with 2020 release Ordinary Man (3) and becomes his fifth Top 10 record to date. Ozzy also has ten further Top 10 albums to his name as part of Black Sabbath. Patient Number 9 proved the most popular album on wax too this week, topping the Official Vinyl Albums Chart. See Ozzy Osbourne’s full Official Charts history so far here.

Welsh rock group Manic Street Preachers see their 2001 record Know Your Enemy return to the Top 5 this week (4), thanks to a reissue offering remixed and reconstructed tracks available across two separate albums for the first time. Know Your Enemy peaked at Number 2 upon its original release.

The Amazons’ How Will I Know If Heaven Will Find Me becomes the Reading rock outfit’s third consecutive Top 10 album, providing them a career best as it enters at Number 5. The group previously enjoyed success with 2017 debut The Amazons (8) and 2019 release Future Dust (9). Earlier this year, How Will I Know If Heaven Will Find Me made Official Charts history as it became the first album containing NFT elements to be approved for chart inclusion by the Official Charts Company.

As his comeback single Forget Me debuts atop the Official Singles Chart this week, Lewis Capaldi’s debut Divinely Uninspired To A Hellish Extent makes a return to the Top 10 (9). The record topped the chart on its release in 2019 before spending 78 consecutive weeks in the Top 10, including ten at Number 1.

Nigerian breakout star Asake’s debut album Mr. Money With The Vibe becomes his first UK Top 40 LP this week (22), while Scottish singer-songwriter KT Tunstall makes a triumphant return with her seventh studio album NUT (25).

And finally, a remastered reissue sees Toyah’s Anthem re-enter the Top 40 (33). The record originally peaked at Number 2 upon its release in 1981.

39

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"The World And Her Mother"

Take it back to the decades when we weren't naughty
Don't you worry, karma will be with you shortly
You've walked on broken glass, just to get back home
A heart of gold and a raver's soul

If we're gonna do this thing, let's do it properly
I can and I will, just watch me
There's nothing under this new moon that's gonna shock me
The world and her mother couldn't stop me

I am the beat, I am the drug
When I thought I wasn't, I was
The grass is greener 'cause it's fake
Old too soon, wise too late

If we're gonna do this thing, let's do it properly
I can and I will, just watch me
There's nothing under this new moon that's gonna shock me
The world and her mother couldn't stop me

Thank you, St. Jude
I'll take it from here
Close your eyes, clear your heart
It dissipates then disappears

If that's what it takes
Then that's what it takes
If that's what it takes
Then that's what it takes

If we're gonna do this thing, let's do it properly
I can and I will, just watch me
There's nothing under this new moon, can shock me
The world and her mother couldn't stop me

If that's what it takes
Then that's what it takes
If that's what it takes
Then that's what it takes

"Home Thoughts From Abroad"

Time drags its feet, it feels like forever
But the longer the wait, the sweeter the kiss

All I really know is we're stronger together
If that isn't love, then I don't know what is

I know you can't say how you're really feeling
What goes unsaid is what I'm feeling too

So here we are living, letter to letter
There's nothing I love more
Than home thoughts from aboard

At 10 o'clock tonight I'll be looking at the moon
That's 1:30 for you
Will you be up then too?

I know it's shining on me and it shines on you
And these simple things
Help me get through

I stand in the storm, just me and my sail
And hope that it blows me closer to you

Secrets keep you sick
They stop you from sleeping
I want you to know, I keep no secrets from you

So here we are living life through a letter
I know there's nothing you love more
Than home thoughts from abroad

At 10 o'clock tonight I'll be looking at the moon
That's 1:30 for you
Will you be up then too?

I know if it's shining on me then it shines on you
These simple things
Help me get through

"Lost"

I wake up, terrifying myself again
Caked in makeup and a little lost
These reactions are relentless
Abandoning the permafrost

Who am I fooling? Well, I got a list
I disappoint them only to exist

I lost my place in life
I lost my point of view
I lost what it is to love
When I lost my faith in you

A walk-up of my masterpiece
To the nothingness greeting me
Everything smells like sympathy

Who am I fooling? Well, I got a list
Much too exhausting only to resist

I lost my place in life
I lost my point of view
I lost what it is to love
When I lost my faith in you
I lost all hope
I lost my point of view
I lost what it is to love
When I lost my faith in you

All my friends say
"Don't give up yet
Might still get there"
But I don't think so

Ooh, impress me (try)
Ooh, impress me (try)

I lost my place in life
I lost my point of view
I lost what it is to love
When I lost my faith in you
I lost all hope
I lost my point of view
I lost what it is to love
When, I lost my faith in you
I lost all hope
When I lost my point of view
I lost what it is to love
When I lost my faith in you

"Disco Symphony"

Another floor filler, from your tortured singer
You've been singing other songs, but I'll forgive ya
They shoot horses don't they though, but I'm just not gonna quit
Dressed in McQueen in a Bee Gee's dream, still right in the thick of it

(Shaking my ass off)

Dance, dance, dance
Dance, dance, dance
Dancing and I'm dressed so fly (Everybody loves me)
Dance, dance, dance
Dance, dance, dance
Disco, baby, do or die (You know you love me, love me)
Hardcore since 74
On the floor singing more, more, more (Whoopa)
You got to, dance, dance, dance
Dance, dance, dance
Show your momma what your ass is for

Michael Jackson, Mr Jay Z
Donna Summer, Freddie Mercury
They were singing to my song, I'm sure it went something like this
Digging the scene in a Barry White dream, and I'm right in the thick of it

(Shaking my ass off)

Dance, dance, dance
Dance, dance, dance
Dancing and I'm dressed so fly (Everybody loves me)
Dance, dance, dance
Dance, dance, dance
Disco, baby, do or die (You know you love me, love me)
Hardcore since 74
On the floor singing more, more, more (Whoopa)
You got to, dance, dance, dance
Dance, dance, dance
Show your momma what your ass is for

(Ooh) Sing this song with me, so I know where you're coming from
(Ooh) It's my disco symphony
(Ooh) And the beat goes on and on and on

(Dance, dance, dance, dance-dance-dance
Dance, dance, dance)

(Shaking my ass off)

Dance dance dance, dance dance dance
(Dancing and I'm dressed so fly)
Dance dance dance, Dance dance dance
(Disco baby do or die)

(Dance, dance, dance
Dance, dance, dance)
Dancing and I'm dressed so fly (Everybody loves me)
(Dance, dance, dance
Dance, dance, dance)
Disco, baby, do or die (You know you love me, love me)

Hardcore since 74
On the floor singing more, more, more (Whoopa)
You got to, dance, dance, dance
Dance, dance, dance
Show your momma what your ass is for

"More Than This"

Go
Go, go

I said that we can't fly
She held my hand and said, "Let's try"
But I'm not that kind of guy
She said, "Labels drag you down"
Let them go before you drown
Take your shoes off, stick around (go)

Yesterday, so heavy
Why don't you put it down?
You won't disappoint me
But you should know by now

You're more than this
You're better at life
Than you've been letting on
And I don't know why
You're more than this
You are what it is
The world is at your fingertips
And there's more than this

So I took a chance
Let her teach me how to dance
Through circumstance (go)

Yesterday came quickly
Way too quick for me
She told me I should close my eyes
'Cause only then I'd see

You're more than this
You're better at life
Than you've been letting on
And I don't know why
You're more than this
You are what it is
The world is at your fingertips
And there's more than this

Don't know what's the best part
The kind eyes or soft heart
Lord, give me enough time
To figure it out (go), to figure it out

You're more than this
You're better at life
Than you've been letting on
And I don't know why
You're more than this
You are what it is
The world is at your fingertips
And there's more than this

(More than this)
Go
(More than this)
Go

"Nobody Someday"

I'm a gigolo, I'm Joseph
I'm a sad light of song
I'm everybody that I know
And they're known for being wrong

And if I'm not mistaken
This is my heart breaking
I'm the man who threw it all away

Destiny is calling
Telling me to be boring
And I don't care anyway
Gonna be nobody someday
Gonna be nobody someday

I'm a demon that you fear
I'm the joker, I'm the thief
I'm the lonesome cowboy riding
I'm the Indian chief

Gotta watch my figure
Boy, if I get much bigger
They'll stick a pin in me
And I'll blow away
But I'll get richer
When they take my picture
Taking my soul away
Gonna be nobody someday
Gonna be nobody someday

I'm a moonlight serenade
I'm your bed when you are cold
I'm the captain of Titanic
I'm the passenger in the hold

From the way I'm thinking
We'll both be sinking
I knew before we sailed away
You could have steered clear though
And hit the tip of my ego
It's all you saw anyway

Gonna be nobody someday
Gonna be nobody someday
Gonna be nobody someday

41

  • Автор: Better Man
  • Администратор
  • Better Man
  • Откуда: Москва
  • Зарегистрирован: 05.06.2005
  • Приглашений: 0
  • Сообщений: 19368
  • Возраст: 36 [1987-10-09]
  • Провел на форуме:
    30 дней 9 часов
  • Последний визит:
    18.02.2024 13:23

Под Бетховена/Angles уже катают программу фигуристы =)

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