the wordplay on imperial bedroom is astounding, even by the high standards set by elvis' past work. you could write a book on the lyrical complexity of songs like "beyond belief" or "man out of time"...in terms of meter, rhyme, prosody/phrasing, meaning, subtext, running themes (within the album or throughout his career), etc.
here he uses a device (hardly original, but rarely done as well) exploiting the ambiguity of a word which fits into both one line and the next:
There's a girl here and she's almost you...almost
All the things that your eyes once promised
[which is how he sings it...but it also works this way]
There's a girl here and she's almost you
Almost all the things that your eyes once promised
the wordplay on imperial bedroom is astounding, even by the high standards set by elvis' past work. you could write a book on the lyrical complexity of songs like "beyond belief" or "man out of time"...in terms of meter, rhyme, prosody/phrasing, meaning, subtext, running themes (within the album or throughout his career), etc.
here he uses a device (hardly original, but rarely done as well) exploiting the ambiguity of a word which fits into both one line and the next:
There's a girl here and she's almost you...almost All the things that your eyes once promised
[which is how he sings it...but it also works this way]
There's a girl here and she's almost you Almost all the things that your eyes once promised