However, the song ends with a short, most certainly improvised, dumb dialog which simply ruin the song for me, making fun of, presumably, somebody being from or pretending to be from England (couldn’t care less which). It goes like this, and as you might guess, doesn’t add anything to the song:
[Song ending, someone applaude.] Guy (laid back American): Jolly good.
**Girl **(slightly hysterical English): Was that jolly good? Guy: Yeah, right on…
**Girl: **Cup of tea, then, Bruce? Let’s celebrate.
[Someone’s giggling.]
Even though I really like the song, I can’t listen to it because this dialogue is so stupid and the girl voice so annoying the song leaves me irritated. (I know it’s irony, but that doesn’t make it funnier/smarter than Benny Hill, which too might be irony.)
This is a feeling I recognize–“Why did they do that? Why did they destroy this piece like that?”–though I can’t recall any other song right now.
I really liked Radiohead’s “Creep” … until I heard the non-radio version, in which part of the chorus is:
instead of:
Now, I have nothing against profanity, but they say “fucking” so many times it just seems gratuitous and juvenile, and it pretty much ruined the song for me. Every time I hear it, my mind says “fucking” instead of “very.”
The Smiths song “Rubber Ring” ends with someone saying “You are sleeping, you do not want to believe” which works for me, somehow. Usually, though, I agree. I hate that kind of thing.
ETA: I never knew that the “fucking” version of “Creep” was the original. And I agree–it got gratuitous and annoying.
The whole screaming at his mommy in Disturbed’s The Sickness makes me cringe. I love the song but I wish they hadn’t put that in there. Doesn’t someone in the music business get paid a lot of money to say “You know, that’s really dumb, lets leave that out.”?
Leonard Cohen’s “Bird on the Wire” has a weird sounding instrument in the background that doesn’t fit with the mood of the song. That’s one reason I prefer the alternate version on the recent release of Songs from a Room.
Both The Cranberries’ “Free To Decide” and Spacehog’s “In The Meantime” have these annoying crescending (?) feedback shrieks at the end of the song. If they edited the last few seconds out both songs would be better.
There’s this ditty that Shannon Hoon sings before the start of “Galaxie” that I’ve considering cutting out. It would be one thing if it was its own track, but it’s about 40 seconds before the song starts.
The Beatles, whom I otherwise regard as deities, just BLEW IT with little jokes at the ends of Seargent Pepper’s and Abbey Road. WHY, great masters, WHY?!
Maybe because they didn’t take themselves as seriously as you do, and wanted to jokingly deflate the pompous and grandiose ending of Abbey Road with a little ditty hidden at the end. Pretty much every Beatles fan I know loves Her Majesty and considers it a fittingly unpredictable and quirky wrap-up to an amazing album.
This to me was like the ESSENCE of the song- without it the song would mean nothing… But I guess I’m just cynical and angsty like that - as I hate the edited version.
I’m curious why this ruins it for you? I think it’s a very powerful and necessary part of the song. It establishes how controlling the guy is over her.
I don’t mind profanity in music, either, but I think in this case it would have worked better if it had replaced “very” once at the end, with real venom…like the anger was building up and kind of explodes.
Is how I always heard it. Makes sense considering they’ve been screwing so much, and now she needs a break. But I never bothered to look up the lyrics, so I’m probably way off.
Isn’t that closer to how it goes? I seem to recall that in the first couple of choruses he DOES say very, then the last one/two is when the fucks start a-flyin’.
