Brass.

Actually this is overproduced.

Punchy, crunchy production lifts this one from the ordinary.

Also, a hard and uncompromising bit self-recognition from The Man himself.

No Bell, Book or Candle.

Nightjar wrote:

Punchy, crunchy production lifts this one from the ordinary.

Also, a hard and uncompromising bit self-recognition from The Man himself.

It's no Plastic Ono Band.

Sax.

This is one of the album's more effective tracks.

WhatDoesThisButtonDo? wrote:

Actually this is overproduced.

I like it.

It is a bit Phil "The Mad-Haired Murdering Lunatic" Spector now you mention it though.

Track 7 - #9 Dream.

One of the more subtle, less Yackety Sax moments from Bobby Keys there.

I always think I like this one but I've always lost interest in it by the end.

I think it's the reverb-happy production.

#9 Dream

I thought this was on Mind games?

Glorious strings.

Overproduction done shamelessly right.

A chorus that I assume is in Japanese.

The Call of the Wendigo wrote:

I always think I like this one but I've always lost interest in it by the end.

I think it's the reverb-happy production.

I think it's more to do with the fact the verse parts are so lovely and then he goes off into a literal reverie and the song's integrity loses the plot.

It's gone into a different not so good song.

The Call of the Wendigo wrote:

A chorus that I assume is in Japanese.

I believe he heard it chanted in a dream and wrote it down the moment he woke up.

It's not derived from any 'human' language.

Horrible structure, should just have done the good bit for 3 minutes.

That's May Pang doing the whispering.

Am I spelling that right?

Track 8 - Surprise, Surprise (Sweet Bird of Paradox).

It's a wonderful 1/3 of a song that.