Coming as it does, a rarity in a PSB track, it's nothing less than thrilling to hear. But not in "One in a Million." Its climactic key change in the final repetitions of the chorus does precisely what climactic key changes are meant to do: push the energy up a couple notches, imparting an epic feel to the proceedings. Virtually a cliché in the work of some artists-just try to find a Barry Manilow single that doesn't raise its key near the end-it would appear that the Pet Shop Boys have scrupulously all but avoided it. In fact, it's downright rare for them: a climactic key change.
(He asked why they hadn't performed his favorite PSB song, " Being Boring," and suggested that their " My October Symphony" had helped inspire the arrangement of his own song "November Rain.") Could it be that the PSB "One in a Million" is an "answer song" of sorts to the GNR "One in a Million," meant to convey some sort of response or message to their fan Axl, perhaps telling him in effect that, yes, he deserves love and understanding in spite of everything? (Rose was once diagnosed with bipolar disorder, and he revealed in a 2011 interview that he had been physically and sexually abused as a child. But, as revealed in Chris Heath's book PSB versus America, Guns n' Roses lead singer and writer of the song Axl Rose, was a Pet Shop Boys fan who had visited them backstage following one of their March 1991 Performance tour shows in Los Angeles. The GNR "One in a Million" generated a good deal of controversy among those who considered it to be homophobic, xenophobic, and racist-and, in light of its lyrics, not without good reason.
One of my site visitors has shared a most intriguing theory that "One in a Million" may have been at least partly inspired by an earlier song with the exact same title by the band Guns n' Roses, from their 1988 album G N' R Lies.Of offering this song to the popular British "boy band" Take That (one of whose members was their future collaborator Robbie Williams), but they ultimately decided That second song's lyrics are echoed in the line "Baby, it's up to me" and, less obviously, in the low, heavily distorted computerized voice at the very end saying "It's up to you"-which, frankly, had always sounded to me like the sound of an old train engine grinding to a halt, appropriate enough given the track's aforementioned "locomotive rhythm." One was from nearly ten yearsīefore and featured the title line "One in a million men" the other, called "It's Up to You," they had just recently started but were having difficulty completing. This number by combining elements of two other unfinished songs they had worked on. Happiness and satisfaction as he can enjoy by staying.
YOU ARE MY ONE IN A MILLION FREE
His lover that he's free to go, but that he'll have a hard time finding as much Way you feel"implying that he himself is that one man. Leaving, despite the fact that, as he puts it, "of course I'll feel rejected."īut at the same time he warns him that only "one in a million men can change the The narrator tries to assure hisĮrstwhile, unfaithful lover that he won't stand in his way or try to prevent his Song, propelled by its locomotive rhythm and galloping bass synthesizer line, can barely conceal itsĮssentially (but not unavoidably) gay subtext.
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