PET SHOP BOYS | All Over The World | |
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LYRICS:
It's something, that look in your eyes tonight Like magic, it's changing everything in sight I hear it all around me every day In the music that you play This is a song about boys and girls You hear it playing all over the world This is a song about boys and girls You hear it playing all over the world The night sky like velvet Masks our eyes tonight And falling reveals the sun rise and ignite We feel it all around us every day In the music that we play This is a song about boys and girls You hear it playing all over the world This is a song about boys and girls You hear it playing all over the world This is a song about boys and girls You hear it playing all over the world All over the world It's sincere and subjective Superficial and true Easy and predictable Exciting and new To say "I want you" This is a song about boys and girls You hear it playing all over the world This is a song about boys and girls You hear it playing all over the world Playing all over the world Playing all over the world |
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REVIEWS
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Employing Tchaikovsky's Nutcracker Suite on "All Over the World", easily the album's most "crunky" moment, could have been an embarrassing mistake. But Tennant and Lowe buy that bit of indulgence with an absolutely irresistible chorus. It's as if Higgins has helped Pet Shop Boys re-discover everything they've done best throughout their career and then create new career highlights out of it. PopMatters
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Irresistible: Jeff Lynne and Tchaikovsky to a disco beat. The Independent
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This should be the second single and should in fact have been the first - it's a mid-tempo but euphoric celebration of music and love with irresistible handclap action, a Tchaikovsky sample and a "this is a song about boys and girls - you hear it playing all over the world" chorus.) Popjustice
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Lots of "oh-way-oh-way-oh"s at the outset may hint at the demented tribalist Europop of the mid-80s, but they're soon swept aside by, unless we're very much mistaken, Chris Lowe doing The Nutcracker Suite and a whole bouncy-speakered minivan's worth of post-acid squelching, not to mention also-distinctly-post-acid positivism. Plus, there's some lovely use of synthesised strings (Trevor Horn may not be here in person this time around, but that's not to say his signatures are entirely out-of-bounds), and there's a stately air to Neil's performance that harks back to the contemplative splendour of Bilingual. The Quietus
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