This sounds like it should be a generic bossa nova cash-in film song, but instead, it's strangely haunting and gripping to my ears. While it's a sweetly orchestrated piece (a bossa nova guitar and beat, a flute melody, and a Stan Getz-esque tenor sax, backed by a subdued orchestra) I feel as if there's something menacing just beneath the surface. However, it's so subtle, this could be in my head. It's taken from the 'The Glass Bottom Boat'; maybe I have to see the movie and decide.

Interpol are a great band... This track stands out for me because it's fairly uptempo. It's angry and sad and menacing all at once. That's kinda cool.

Janko Nilovic deserves attention. He composed a huge volume of library music in the 1960s and 70s, and what I've heard of his work has all been excellent. Some of it has recently been made available on CD by the Cosmic Sounds label, who are also releasing new work by him. It's hard to sum up his work, because it was quite diverse. From what I've heard, Nilovic was like a jazzier, more wild version of other contemporary library composers like Roger Roger and Nino Nardini.

This is a wonderful instrumental that opens with a bare breakbeat. This is soon joined by bass and electric guitar, which then give way to a Morricone-style harpsichord, which riffs over a descending minor chord sequence. The whole thing remains funky and slightly menacing as different parts drop in and out. The whole piece is really just a simple jam, but the impeccable arrangement takes it to a higher level.

A spoken word splurge of bile and vitriol over a deceptive soft funk backing,Calrke,s menacing sardonic tone berates the effects of Thatcherism on the very bottom of the pile ,the picture painted is grim and at times horrific but always compelling ,it would be misleading to give a taste of it here it needs to be heard mainly for entertainment but secondly as a concise social document of the UK at this bleak time .

This lost Jorge Ben stormer has a rawer sound and harder rock edge to it than usual during this, his greatest period. Relegated to an obscure soundtrack LP, it stomps all over the place at a slower, heavier and more menacing tempo than anything on "Ben" or "A Tabua De Esmeralda." The beat is anchored by that famous acoustic guitar sound, heavy bass and a loud cowbell, as Jorge yells out improvised nonsense in a hilarious mix of Spanish and English! "Rock Steady-O!!" Must be heard to be believed.

This is taken from an album of spaghetti western themes that came out on United Artists records in the late 1960s. It has a similar sound to other releases of the era on that label, probably because Leroy Holmes was a staff arranger. I can definitely hear Al Caiola's guitar playing.

To my ears, the arrangement also has a hint of Quincy Jones's work on 'The Italian Job'. It's an upbeat, jerky track with a bassline so percussive that it almost sounds like part of the beat. The melody is carried by guitar, horns, and also some nice wordless vocals (right near the end there's an incredible descending vocal swell that's really something).

Overall, this has a slightly menacing, very hip sound. It might even work on the dancefloor!

bossa nova version! superb cover of the clash classic. highly recommended.

The b-side of The Banshees' great/very successful cover of "Dear Prudence", and a great example of the band's perverse ability to generate b-sides on the odd afternoon off that where not only better than most bands' A-sides, but often better than most of the proper tracks from the Banshees' albums. (Thus, I can't recommend the "Downside Up" box set of the group's non-LP tracks highly enough.) This song is sleek, groovy, evil, paranoid funk, with Siouxsie at her most alluring/menacing. Tricky covered the song, thus acknowledging the impact of The Banshees on the Bristol trip-hop crew.

The Hives best song of their career thus far. A brilliant ballad in the middle of their most hard rocking album yet. Howlin' Pele Almqvists voice drawls menacingly over guitar and strings that play as though the earth is collapsing. An incredible and beautiful song from an otherwise hard rocking band.

"The Witch" was the Sonics' debut single, released on Etiquette, the Tacoma, WA-based label owned and operated by local hero Buck Ormsby, member of garage rock pioneers the Wailers, who are known for unearthing the obscure R&B song "Louie, Louie." Reworking the tunes of Little Richard and Bo Diddley, the Sonics worked the local teen-hop circuit as a rock & roll cover band until eventually coming up with some original material with "The Witch" and what would become the flip side to the single, "Psycho." After revamping the lineup, taking on various members of the Searchers, Gerry Roslie commandeered the vocal duties with a bracing blues shouter style that would become the group's trademark. "The Witch," roughly recorded in mono, is a brooding rocker based around a revved-up blues progression with quivering guitar and a basic sax line holding down a simple riff, drums kicking away in the background. Roslie belts his cautionary tale, sagely advising all to steer clear of "evil chicks," with vocal-chord-shredding wails: "So you know the little girl/Who's new in town/Well you better watch out now/Or she'll put you down/'Cause she's an evil chick/Say, she's the witch, oww!" The band barrels on, lacking any semblance of finesse, stomping into a tempo shift and doubling the speed as Roslie howls, "Well she walks around/Late at night/Most other people sleepin' tight/If you hear her knockin' on your door/You better say get away/Wha whoo!" Guitarist Andy Parypa lets loose a note-stumbling guitar solo in a style similar to Dave Davies of the the Kinks. "The Witch" would become a regional hit, receiving extensive airplay on the powerful Seattle AM station KJR, but the Sonics would never break nationally, most of the country not yet ready for the extremely aggressive attach of the group's rough-and-tumble music.
(AMG)

�Something Better Change� was released in July of 1977 as the first single from The Stranglers upcoming second album No More Heroes which would appear in mid September. Along with the albums title track, �Something Better Change� would signal a move in a more overtly pop direction that was only hinted at on the group�s first album and would manage to peak at #9 on the U.K. singles chart. This is not to say that The Stranglers abandon their reputation as caustic agitators as No More Heroes was littered with politically contentious tracks such as �I Feel Like A Wog�, �Bring On The Nubiles� and �Bitching�, but the song�s infectious guitar riff and winning melody suggests a tenuous party rock atmosphere. It�s left to singer J.J. Burnel�s particularly gruff vocal performance to keep thing in the punk zone as he alternates between a gnarly throated delivery and a melodic toned timbre. Pumping organ and a buoyant mid-tempo rhythmic romp keep the energy high as he confronts the status quo with a tirade against stifling apathy, flaunting the punk new order with the taunting second verse, �Don�t you like the way I dance? / Does it bug you? / Don�t you like the cut of my clothes? / Don�t you like the way I seem to enjoy it? / Stick my finger right up your nose!� The bridge becomes a jubilant anthem where Burnel voices a punk battle cry to a flurry of organ runs and a growling bass line, �Something�s happening and it�s happening right now / You�re too blind to see it / Something�s happening and it�s happening right now / Ain�t got time to wait�. The chorus is a simple statement, Burnel demanding �Something better change!� with support from the boys in the band who join in for a group shout. Ironically, the arrangement also shows signs of classic rock moves, including a stinging guitar solo and an old school build up of the chorus late in the track.
(AMG)