As far as the background accompaniment, there are synthesizers, percussion, some guitar, and a lot of bass guitar undercurrent. It's strophic, naturally, with two verses and a chorus, and then he elaborates at the end with the chorus and we get some sax (though the sax does interject at intervals beforehand) going. This was done in the eighty's and definitely reeks of it, which I thoroughly enjoy as it reminds me of Labyrinth. There's a lot of syncopation and there's a syncopated do do re do repeated all throughout the song in the accompaniment. Assuming the piece is in cut time, it's like a dotted quarter on the second beat then an eighth and a quarter on the first beat of the next measure.
Words:
"Photograph king, watches you go (mi)
Fashions may change, heaven knows, but you still leave a stain on me (sol) V
Supplement queen ---does not say this actually---, your colours may fade (mi)
Seasons may change, weather blows, but you still leave a mark on me (sol) V
Wrong-negative fades-never the twain, reckless and tame (do) --doesn't have a tonic feel
I like the beat of your drum
I like to look in your eyes
I like to look thru your things
I'd like to beat on your drum
I like the smell of your flesh
I like the dirt that you dish
I like the clothes that you wear
I'd like to beat on your drum
Disco brat-follow the pack
Watching you peel, heaven knows, prison can't hold all this greedy intention
Vanity's child-pictures you now
Music may change-hi-di-ho keen to follow your nose
Wrong-love out of tune
Sweet is the night, bright light destroys me
(repeat chorus)
I like how his words never make lucid sense, and I'm quite lucky, because sometimes he doesn't write his words in his albums.
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