PET SHOP BOYS | Building A Wall | |
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LYRICS:
Protection! Prevention! Detection! Detention! There's nowhere to defect to any more! Protection! Prevention! Detection! Detention! There's nowhere to defect to any more! I'm building a wall, a fine wall Not so much to keep you out More to keep me in I'm building a wall, a fine wall Not so much to keep you out More to keep me in Back then on a bomb-site We were spies among the ruins Such precocious barbarians On TV we saw cold war Protection! Prevention! Detection! Detention! There's nowhere to defect to any more! Protection! Prevention! Detection! Detention! There's nowhere to defect to any more! I'm leaving the world, it's all wrong Not so much what men are doing Much more what they're not I'm building a wall, a fine wall Not so much to keep you out More to keep me in Jesus and The Man From U.N.C.L.E. Caesar conquered Gaul Scouting for centurions on a Roman wall Through the woods, the trees And further on the sea We lived in the shadow of the war Sand in the sandwiches Wasps in the tea It was a free country (Who do you think you are, Captain Britain?) I'm building a wall, a fine wall Not so much to keep you out More to keep me in I'm losing my head - well, why not? More work for the undertaker Means there's less for me I'm building a wall, a fine wall Not so much to keep you out More to keep me in I'm building a wall, a fine wall Not so much to keep you out More to keep me in |
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REVIEWS
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There are sneaky hidden depths and covert social commentaries within the words about love and loss, just as possible for liberal ears to identify as for conservative ones to ignore. Thus Building A Wall, with its refrain of "not so much to keep you out / more to keep me in" could be about intimacy within relationships, or immigration, or both, or neither, depending on your perspective. Oh, and Chris Lowe provides backing vocals: something that's been sorely missed. musicOMH
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Well, it's about time those lovely Lowe vocals put in an appearance, although, happily, he continues to make Neil sound like an X Factor-esque warbler by comparison, adding to the air of absurdity that permeates this already-much-discussed offering. You could argue, of course, that they're dating themselves horribly by using Cold War imagery alongside ruminations on emotional dysfunction, although it's none too difficult to counter that by recalling that Tori Amos' 'China', which takes a not-dissimilar-if-geographically-relocated approach, is scarcely only ace because it's more timely. And besides, 'Yes'' pop instincts are beginning to kick in in a spectacularly healthy way by this point, and no post-millennial apoliticism should really detract from that fact. The Quietus
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