![]() *** DETAILED ITEM CONDITION ALL OF MY ITEMS ARE ORIGINALS Please examine the Pic/s to get a good idea of the condition as these items are generally old/vintage items and will show signs of wear, age, discoloration, being squashed, etc.I try to show any defects in the pictures I take and hope they help you to get a good idea of the overall condition.You will get the item/items as shown in the picFast PostAll discs and cases are cleaned before Posting ITEM INFORMATION Information provided about the item is sourced from the item itself and/or the internet.Occasionally, errors may occur. *** CD & DVD DAVE GAHAN PAPER MONSTERS: LIMITED EDITION with DVD Dirty Sticky Floors, Stay, Hold On. Numéro de l'objet: 124741243845 CD & DVD DAVE GAHAN - PAPER MONSTERS: LIMITED EDITION with DVD Dirty Sticky Floo. Whatever the motives, it reduces a Don Juan to begging for a pity fuck.Lieu de livraison: EUROPE et de nombreux autres pays, Paper Monsters succeeds in revealing the "new" Dave Gahan, and that's what makes it a faintly embarrassing listen. The latter toys with an inversion of that sentiment- "you'll always need me much more than I need you," goes the lyric- but the song still ends on a note of puppy-eyed yearning. Its chorus, once again, flirts with the pathetic: "Stay/ You can leave tomorrow" paints the singer as the whinier half of a fling. ![]() The former is another simple, pretty ballad that brings the album's average BPM to about 90. "Stay" and "I Need You" are unfortunately not a two-part Lisa Loeb cover. Gahan's vocal can still elevate the dumbest lyric to the level of a cathartic mantra, a skill that comes handy in the absence of Martin Gore. Regardless, there's a great middle section that finds him belting, simply, "I'm not very nice" over a string crescendo. Over earnest guitars and low-moaning harmonica, Gahan roars "He's living for the bottle," evidently recalling his own adventures in alcoholism from the safe remove of the third person.īy the next song, "Black and Blue Again", Dave's confessions take on a tinge of a master-and-servant game: Gahan might, just might, get off on self-flagellation, with the audience as the unwitting dominator. "Bottle Living" is a classic blues shuffle, not even transposed into a more British minor key (which "Personal Jesus" was). "Dirty Sticky Floors" is both the album's designated hit single and its most humble moment: by the end of the first verse, the protagonist is already on the titular floor "praying over the porcelain throne." After two timid ballads in a row- "Hold On" and "A Little Piece"- Gahan is seized by another bout of picturesque wallowing. Gahan opens Monstersin full masochistic mode. They were, and are, a gospel-tinged classic rock band that happened to favor au courant arrangements (as the legend goes, the boys switched to synths so as not to disturb neighbors during early rehearsals). Fair enough: much like the Eurythmics, Depeche Mode were never a true electropop outfit. The songs themselves, meanwhile, are two-thirds smoothly crooned ballads over one-third lacquered rock shuffles- all closer to the digi-soul of *Songs of Faith and Devotion than the IDM aspirations of * Exciter. ![]() Its presence here nears Bonnie Raitt levels, coating most solos and even providing ambient beds. The most prominently featured instrument on Paper Monsters is, oddly enough, slide guitar. The first thing we learn is that Dave doesn't really like synthesizers all that much. It's just another level of self-mythologizing, sure, but it does yield interesting information- sometimes not in the ways intended. Like many solo outings by career frontmen, Paper Monsters is autotherapeutic: Gahan wants to share something about himself. Why the hell am I making a point of this? Well, it's quite indicative of the album's contents. He also looks like a rather prototypical Jew. He looks like he should at this point: a man with 22 years' celebrity and six minutes of clinical death behind him. One of the premier prettyboys of the 80s, Gahan looks defiantly middle-aged here- the jowls sag a bit, the corners of the mouth took a mournful turn downward.
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