this song flows through itself like water, it's so beautiful. it's less a song with refrains than one long, ethereal moment with rises and falls that break meters and keys, one fluid movement that twinkles, rising cautiously into "so kiss me..." (such a plaintive and beautiful line), then crescendoes to a big rapture of strings and muted horns and rufus's opaque, languid vibrato, and then almost evaporates into the last fading, transparent piano chords. the lyrics hide the story of jeff buckley's death in such thick layers of this modernized, romantic myth of orpheus that it's poetry freed from any connection to time or place. to put it simply, all this blather means that Memphis Skyline is completely entrancing. it took me many listens of want two to catch onto it and then fall in love with it. in my opinion, it's certainly rufus wainwright's best song on want two, if not of all time.
this song flows through itself like water, it's so beautiful. it's less a song with refrains than one long, ethereal moment with rises and falls that break meters and keys, one fluid movement that twinkles, rising cautiously into "so kiss me..." (such a plaintive and beautiful line), then crescendoes to a big rapture of strings and muted horns and rufus's opaque, languid vibrato, and then almost evaporates into the last fading, transparent piano chords. the lyrics hide the story of jeff buckley's death in such thick layers of this modernized, romantic myth of orpheus that it's poetry freed from any connection to time or place. to put it simply, all this blather means that Memphis Skyline is completely entrancing. it took me many listens of want two to catch onto it and then fall in love with it. in my opinion, it's certainly rufus wainwright's best song on want two, if not of all time.