The album closes with a soft click – maybe a door closing, maybe a stylus reaching the end of a vinyl LP – and the circle has been completed.
#Wanna look good for you lyrics full#
The final track and emotional core of the album, “One for Sorrow Two for Joni Jones” again comes full circle with her most faithful companion: “No one’s ever gonna love me like this dog lying on my lap,” and it’s easy to believe that little Joni Jones is enough for now. But feather-light Auto-Tune manipulation places them squarely in the present, in an uncanny valley specific to current anxiety over what is real and what is AI. The homestretch features a trio of songs that are reminiscent of ’70s artists such as Rickie Lee Jones and Joni Mitchell. She sings, “I don’t know what’s right anymore/I don’t wanna fight anymore,” but finds her grounding, “Sitting by the seafront/Lying with my sunshine baby.” (Sunshine is her nickname for her dog.) “Sunshine Baby” is a lovely bit of summertime sadness with bright instrumentals and wistful delivery. On the following track, “Over There,” she sings “She stops by/ From time to time/ She keeps her coat on.” It starts soft and simple but confidently layers rhythms and complex instrumentation under the chorus, “it’s sad to breathe the air when you’re not there.” Throughout the album, lyrics are consistently simple, devastating and relatable.
“Sad to Breathe” highlights the extent of her toolkit. As in many of the songs, it is slow to resolve, starting with jazzy piano noodling, and adding in other instrumentals that search for and usually find their melodies.
The opening track, “Spot Dog,” sets the rules on Bain’s terms, blending analog instruments with intermittently heavy production and distortion. But this album is largely the product of Bain’s singular talent and vision, and she establishes coherent musical and emotional themes that run its full length. The 1975’s Matty Healy adds production, vocals and guitars on some tracks, and Muna’s Katie Gavin sings on one. George Daniel of The 1975 and Chloe Kraemer share production credit. Bain produces and writes or co-writes all of the songs, and plays nearly all of the instruments, including bass, guitar, keyboard, piano and percussion. The album slides smoothly between dreampop, ’70s-infused folk rock and a half dozen other genres to fit comfortably into an emergent London sound alongside artists such as Arlo Parks and Etta Marcus. The result is a sweetly melancholic chronicle of a cycle of falling in and out of love, and a celebration of the dog who got her through it. Her second album, “In the End it Always Does,” was conceived in a burst of creativity after the disintegration of a relationship. More than four years have passed since the first studio release by Amber Bain, known professionally as The Japanese House. “In the End it Always Does” by The Japanese House (Dirty Hit) Business & Finance Click to expand menu.Rocky raps his verse at the end of the song, which is written from a male, player perspective and features braggadocio, profanity, and sexual innuendos. Its come-hither lyrics have intensity, psychodrama, self-confidence, and female empowerment as main themes, dealing with pleasing her lover and being the perfect complement for him.
The artist sings atypically with breathy vocals and a plaintive timbre in the track, which was noted for being her first collaboration with a rapper. A torch song, it is a pop and electro-R&B slow jam with hip hop elements that comprises a mellow, low-key snap-drop hip hop beat reminiscent of modern, pitched-down Southern hip hop productions, minor sound bursts, percussion instrumentation, drum machines, airy and transparent synthesizer, and a minimalistic bass. After anticipation by Gomez, "Good for You" was digitally released on Jby Interscope and Polydor Records, serving as Revival's lead single as well as the first song by the singer to be released through those labels. After it was reworked by Lambroza, she sent the song to Rocky, who added new instruments and co-produced it with his frequent collaborator Hector Delgado, who was in charge of Rocky's vocal production. Gomez then received the song through the trio's A&R and was entirely involved in its creative session, helping to develop it as a representation of her process of self-realization, her confidence as a young woman, and her feelings of vulnerability. Originally, the track was conceived by the writers in 45 minutes, during a session booked by the latter. The track was written by Gomez, ASAP Rocky, Julia Michaels, Justin Tranter, Nolan Lambroza and Nick Monson, being produced by the latter two. don't think about it Did you feel it Did you get it. It features vocals by American rapper ASAP Rocky. No, Captain Chunk - Good for you lyrics you hear it Can you see it It's right here, bet. "Good for You" is a song by American singer Selena Gomez from her second studio album, Revival (2015).
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