This is so wrong; it ends up being right somehow. On paper, this cover is a car wreck. Barbara takes on Bowie�s brilliant, epic ballad of camp surrealism � his homage to big, theatrical female belters like Judy Garland, Shirley Bassey and�Streisand, herself � and the song escapes her utterly. Her delivery sound like she learned the lyrics phonetically. (She might as well be singing in Cantonese.) And Jon Peters� production/Tom Scott�s arrangements bring to mind the cool, �L.A.-sound� of Joni Mitchell�s �Court and Spark� LP � minus all the clever bits Joni brought to the table. Yet it spite of all of these faults � this version works. The song is just too good, and Babs� charisma is just too powerful. It�s a [Space] oddity you�ve got to hear to believe.

This song of this crazy girl's is really cool. She's like playing during the whole song. Very soft song but at the same time full of energy. Very eclectic, very original, very surreal, very Björk!!

Bobbi, Bobbi, Bobbi, you play the flute like a surreal fantasy. Every note is an escape to a distant land and journey into emotion. There are so many beautiful songs by Bobbi Humphrey that you can't just choose one, but I've selected this song because it seems to be an exploration of the human experience. Many of Bobbi Humphrey's songs seem to interpret the experience of a specific temporal and geographic locale, eg Harlem River Drive, San Francisco Lights, Spanish Harlem, Jasper Country Man (which are all wonderful), but this is a song that all can relate to and relish in.

Well, i guess you just can't recommend too much Morricone. So, this is another track off the excellent "Mondo Morricone" trilogy (Note: With the completion of the trilogy with "Molto Mondo Morricone", the formerly out of print first two parts "Mondo Morricone" and "More Mondo Morricone" have been reissued with 2 bonus tracks each). This track has it all: Gentle bossa nova rhythm, subtle triangle, swirling, almost surreal sounding strings, harpsicord galore and on top of it magnificent vocals by the incomparable Edda Dell'Orso.

Erasure is always guarenteed to get your feet moving and this song is certainly no exception. A surreal dancy story of alien abduction set to a great housy beat with prominent piano work that brings Robert Miles' "Dreamland" album to mind every time I listen to it. A great bassbeat mix of 'In My Arms' also appears among the nine tracks on this single.

Exremely well arranged song, i absolutely love these almost surreal sounding female vocals throughout the song and the harpsicord embellishments, combined with a slightly calypsoed beat, sounds unusual for me for that time. There's something special about it, maybe it's because i could imagine the song in a David Lynch movie, giving it a whole new context, like Bobby Vintons "Blue Velvet" wasn't the same after watching the movie...

Japanese born, residing in Italy to run Temposphere, a division of Right Tempo, Gak Sato creates a Nouveau-Samba with shimmery electronics to match the bed of Brazilian drums. But above all, this track also features soulful and surreal vocals of the "Lounge Lizard's" Steve Piccolo.

great electronic and surreal feeling song... "make him live like me... again and again..." "make his eyes see forever" It's actually about how fashion is kind of like fascism. This song really puts you in a different mood... one of a great Utopia with hints of yodeling.

This song is stone-cold, ultra-serious, odd, and mesmerizing. It's James Brown recounting a strange, anecdotal poem about a dream, in which he experiences the personification of heroin delivering a sermon. He rhymes accompanied by a subdued and melancholy backing band, playing lingering horn drags, and slow, lazy bass and drums. This is not your typical James Brown material, but it has an powerfully surreal and painful effect.

I loved this song the moment I heard it. The melody is really nice, and Leonard Cohen does his standby trick of singing slowly and hauntingly about mysterious women wearing "rags and feathers from Salvation Army counters." Very romantic in a seventies way. if you like Bob Dylan's voice, you'll probably like Leonard Cohen, although the content is different.

An elegantly surreal trip through a dream world. Although this song has only eight lines (repeated twice), it manages to say an amazing amount within that short frame. Thom Yorke's wavering vocals and the slow and simple piano instrumentation strip the song down to its fundamental elements, allowing Radiohead's talent to shine through. From "I jumped in the river, what did I see" to "There was nothing to fear and nothing to doubt," this is an amazing song. Every time I listen to it, it gives me a deeper sense of peace.

Possibly the most peculiar song to ever hit the top 5,surreal in the extreme but oh ,so beautiful,like a little piece of music from every corner of the globe distilled through a trip hop filter,it has the funk foundations of acid jazz ,the majesty of the samba and the exotic mystery of Asia .Part spoken,oddly sung and complimented by an incessant tropical ambience thats hard to pin down.A real pearl from an oyster as suggested by the songs sublime watery brilliance .Initially used to sell L--I jeans ,a perfect example of why beauty and commerce should never be in the same room .

A lesson in how to make despair sound appealing and seductive. An under played female vocal relays the vision of an unhappy soul to surreal lyrics and lush orchestration and all distilled and inspired into the name of a building firm seen on the side of a van "Hobart Paving" ,a real building firm still in existence .
Reminiscent of Brian Wilson and The Zombies at their most reflective and a french horn solo that will give you a lump in the throat .

The title track of Television's 1975 album is the greatest statement of their cumulative abilities as a band. A majestic epic of dual guitar interplay, metronome bass playing, unconventional jazz drumming, and the strangled vocal screeds of Tom Verlaine, Marquee Moon begins with a double-stop riff. A second tangled guitar weaves in, a bass thuds upward, and a lockstep rhythm forms behind the surreal lyrics. From the chorus to the long, flowing jams that follow the third verse, the guitar interplay between Tom Verlaine and Richard Lloyd amazes again and again. Instead of rhythm and lead guitar, the two guitarists trade solos and phrases, tones and colors. Even when Richard Lloyd plays simply, he dominates the color and tone of the solo he underscores, and when he lets loose a solo, it flows like poetry, phrasing and declaiming the beauty of the notes it contains. Band leader Tom Verlaine twists and curves his notes all over here, careening in on himself and threatening to implode before finding a perfect spot. The majestic peaks this song climbs to seem almost impossible, and it very nearly stumbles by running long. However, nothing can detract from the climactic jams that culminate in Tom Verlaine's singing bird-call guitar notes and gentle spills of warbling riffs.