Wow....so many to choose...an impossible task.
The wordplay and mood that Bryan built up on classics like ITIS, MOP, Casanova and Dream Home make selecting just a line or two lines from them as virtually heretical.
Here goes:
I blew up your body,
but you blew my mind.
That pause before the final line, then the manic outro of psychotic madness. Just mind-blowing.
I've always loved Bryan's puns and wordplaying, image connections, alliteration. Sunset is one of my favourites, connecting writing/paper in a letter of farewell to the day:
Cover cutting room floors...
Red letter light fades is filed away...
Postscript you trace...
It conjures a hazy shimmering glow.
And a killer line that gets overlooked by us Roxy veterans:
You're dressed to kill,
And guess who's dying?
So clever, and so true when you're heart is breaking.
And of course:
And the bridge,
It sighs.
Now that is genius!
And from Three and Nine:
Three and Nine to 45,
Decimal romance,
If you've warmed to centigrade
you stand a sporting chance
(a humorous bit of British parochialism about decimalisation in the UK in the early 70s)
As regards delivery, J O'B makes a nice point about his vocal delivery on A Really Good Time. I would put the whole of The Bogus Man in there for it's menace, throaty, glottal. And to go completely off-kilter; I have always got the same menacing feeling when I hear from You Can Dance:
Do you come hear often.....
Do you want to play?
Which reminds me John - there's a chunk missing in the Viva lyrics page to the latter song.
