This is an early industrial track. It's a bit odd and very good.
from Horse Rotorvator
31 May 04 ·Mike: Sorry, but I can't let this song title pass without comment. I mean, what kind of image does it conjure up? I hope not necessarily one of early industry. 02 Jun 04 ·dexxas: Ithink it might be a bit of a gas ... whoops sorry 02 Jun 04 ·dexxas: Ithink it might be a bit of a gas ... whoops sorry
The soundtrack to Bedazzled is remarkably good, one of a few much-hyped records floating around in my head that has actually lived up to my expectations. This instrumental is notable for its haunting mood and astonishingly beautiful chord sequence. The flute melody, lush strings and gentle latin percussion combine beautifully. Musically, it's one of those pieces that's so good you want to cry.
13 Apr 04 ·standish: Hats off to Dudley for the whole soundtrack. Sparkling, serious and intelligent music - I totally agree about the goosebump chord sequence that reappears throughout the album. Haven't found any other stuff by him that's as good - maybe "Genuine Dud" if you're into piano trio jazz. 19 Jun 04 ·Mike: What a gem! Very arresting, and good enough to listen to several times in a row, each time finding things to marvel at in the harmony, texture, overall structure, melody...well, pretty much everything.
The track on the cd is rude so i put the radio track name. I dont really understand why the Black eyed peas are so popular but thats just a matter of taste.
available on CD - Elephunk
16 Aug 04 ·olli: it must be weird to live in a country where commercial censorship is so accepted. what`s the point of bleeping out or changing the offensive words of a song for radio play? the only thing you achieve with that is more cultural apathy. if the album version offends people, won`t they still be offended if they actually buy the album?
the original track content might not be particularily intelligent or meaningful, but at least it had a hint of attitude, not to mention a sense of fun. the rudeness was the fresh ting about the song, with a sense of goodwill you can even read it as a comment on how uncomplicated pop or "stupid music" makes the best party music (of course it does! admit it, you all love it!). the sanitized version just flat out loses its punch in my opinion. 16 Aug 04 ·olli: dammit, i always sound like a pretentious twat when i post comments about pop music. i love pop, i really do.. 17 Aug 04 ·Issie: Dont worry no offence taken in by me! 20 Sep 04 ·Mike: I'm not entirely sure why the BEP are so very popular either, but I do find most of their recent singles preferable both lyrically and musically to much of the rest of the American urban stuff that has been so prominent in the UK charts recently. In "Shut up" they even infuse their hip-hop with baroque classical influences, which of course I rather like.
This is my favourite Eurythmics track by some considerable margin, though I also rate some others on the album quite highly. I consider "Julia" to be a classic of 80's electronica, with a rather haunting chord sequence underpinning an effective vocal line with extensive use of vocoder on Annie Lennox's voice. There is a bridge section (heard twice) which is rather derivatve of Vangelis's "Chariots of Fire" theme, but as the track progresses and builds up texturally, there is an undeniable emotional impact, and I always enjoy the various instrumental melodies and counter-melodies that appear.
22 Sep 04 ·delicado: A fantastic track. It definitely rises above a lot of other songs of the period, even though it does feature an extremely cheesy guitar solo. And I still have the 12 inch of it that you sold me in 1987! 23 Sep 04 ·Mike: Hold onto that 12"... a lot of great work was done in rock and pop during the 1980s. Rather like 1960s British housing, much of it has yet to reach classic status, but for some of it at least, its time will surely come!
�Maxwell�s Silver Hammer� is my least favourite Beatles� song, and my nomination for Paul McCartney�s worst, most annoying composition ever (it�s a jaunty number about a homicidal maniac with a hammer in case you�re suffering from post-trauma memory loss since you last heard it). But anyway, that�s a debate that could just run and run (I�ll leave it to the BBC to compile the public�s top 100). Here�s not the place. But, BUT, this is musicaltaste.com, and there is one moment of utter sublimity, in that misery of a song, a moment of incredible transcendent beauty. That very last chord. The final chord is indescribable wonder (it�s a D I think). Every time I hear that I just feel like the dark clouds of evil have lifted, the ring has been destroyed, and everything is gonna be alright for me and the hobbits. I remember having a really vicious fight with my first wife and �Maxwell�s Silver Hammer� came on the radio and when we heard that final chord we just stopped, looked at one another and we both knew that from then on everything would be alright forever.
from Abbey Road
25 Sep 05 ·Mike: Unfortunately MacCartney, responsible for (or at least connected with) some of the best recorded rock/pop has also written such a huge quantity of absolute dross that I can't agree that "Maxwell's Silver Hammer" comes anywhere near being his worst. Can anyone name more than about three tracks he's come up with since the 60s that aren't dreadful? 26 Sep 05 ·rum: Well you can ignore his solo work, pretend it's not there, but 'Maxwell's Silver Hammer' is on an otherwise sterling Beatles set. Maybe if either the 'Frog Chorus' or 'Silly Love Songs' were on there instead they'd steal the crown. No, no, that's not true, i hate this track so much because it's meant to be funny (Paul was always the unfunny Beatle, listen to those early press conferences). If you listen very carefully you can hear the other Beatles wincing and grimacing at Macca's 'comedy'. It makes it so painful to listen to. Unbearable. Still I'd stick my thumbs aloft for 'The Girl Is Mine', now that's funny.
