Jimmy Buffet...need I say more? But I will. Jimmy Buffet is hilarious...and listening to his music always makes me feel like I'm laying on some tropical island drinking pina coladas. This song is no exception.

"The beer is too cold, the daquiri's too fruitiful..."

A beautifully lilting modern waltz. Bittersweet fingerpicked guitar in the background and a wonderful haunting voice, I'm assuming Inara George herself. I'd love to learn more about the artist. A beautiful song of the bitter side of love, "fools in love they think they're heroes, because they get to feel no pain, i say fools are lovers' heroes, i should know, i should know because this fool's in love again." I just love songs like this. I first heard it watching Grey's Anatomy. So I looked on Amazon at the playlist for the soundtrack and found it. Definitely a great song in my book.
She has a website: www.inarageorge.com and unfortunately she just finished a tour.

A speechless song! What more can i say

Need I say more? It's beautiful, rich and dark. He wrote and recorded some songs in prison, but this isn't one of those.

The opener to a wonderful album. Picture yourself in whipped cream (and other delights), sipping on a vodka-martini that's just been served to you by a pretty person in a toga. That's how this record feels.

When the first line of a tune is "Man...what a body..." (and it's not R. Kelly or one of his sloppy ilk singing it) you know you're in for an exotica treat.

What can I say! I always imagined there would be a vocal version of this classic Santo and Johnny instrumental, but I had never located one until I found this recording. This track remained unreleased until the mid-1980s, was recorded in March 1965.

I can't deny that much of the appeal of this song for me lies in the novelty factor of hearing lyrics sung to this classic tune. If you're interested, the lyrics go something like this:

Sleep walk, instead of dreaming I
Sleep walk, cause I lost you and
Now what I am I to do;
Can't believe that we're through
(I don't care how much you tell me)

Sleep talk, cause I miss you I
Sleep talk, while the memory of you lingers like a song;
Darling I was so wrong
(but I'll be right some day)

Night
Fills me my lonelyness;
I see your face
Spinning through my brain

I know
I miss you so
I still love you
And it drives me insane

Sleep walk, every night I just
Sleep walk; and when
You walk inside the door,
I will sleepwalk no more

If you're having trouble imagining how these words would fit to the tune, I think the Supremes did too; this may explain why the track remained unreleased. Don't get me wrong - the overall sound is very cool, and the verses work quite well. But I think the tune is so well-known that they didn't feel they could change a note, and so some of the vocals are a bit laboured.

Still, a great track, which seems to hold up to repeated listens!

Another great dramatic pop number by Mina, this song is from the comic Alberto Sordi film, 'Fumo di Londra'. The backing track is identical to that used in the film, although Mina's version was released separately as a single. What can I say? This is an other deeply affecting dramatic pop number in which Mina belts out the words in a heartfelt manner. If these are the same words I used to describe her track 'se telefonando', then that's because this song is pretty much in the same vein, with a heavy, brass-laden pop arrangement.
ps. a version of this song exists with none other than ME singing in Italian - reverb-laden vocals belted out karaoke style over the same background track.

Okay. I might reveal more about myself than this terrific song in this review, but that's the way it's gotta be.

I have an unhealthy obsession with Chris Montez, and thanks to me - now my girlfriend does, too. We have many theories about Chris Montez, but I'll get to that later.

First of all, on the back of this album, Derek Taylor writes a few paragraphs about the immortal Mr. Montez. In one of them he writes of how he first heard this song.. and he thought the DJ on the radio said "Miss Montez". Ouch. I mean, we all know he sounds like a girl - but that's a cheap shot. I'm sure he's just angry because Chris gets way more bitches. Way more. Look at the front cover of this album. Three girls, one Chris Montez. Hell, the one in the front looks like she could be his mom - but that's besides the point. The point is, Chris Montez is the ultimate playboy. Don't worry, I'll explain.

Now here is where some of my theories about Chris come in. "Call Me" sounds like it's live. Call me crazy, but I think I have the entire song figured out. Chris recorded this song from his bed. In fact, I think he recorded this whole album from his bed. In one take. He belts out smooth songs so effortlessly, I just can't picture him standing in a booth somewhere doing each song over and over. Like I said, this song sounds live. I think they wheeled his bed into a club. You can hear some guy saying "Yeah, Chris" at the end of one of the choruses.. and even glasses tapping together. That's because when Chris Montez comes to town, it's a party. The claps you hear? That's the girls in his bed keeping the beat. Probably the 3 women from the cover of the album, and most likely a few more.

Now, back to the song. Written by Tony Hatch and arranged by Herb Albert - it's a winner. And it's Chris Montez telling you to call him if you need him, because he "can be so warm and tender". Need I say more? Chris Montez: the ulimate playboy.

Ms. Franklin tears into yet another great song and delivers a performance that is second to none! Poor Dionne Warwick's version doesn't stand a chance against the queen of soul!! Aretha sits at the piano and turns out a beautiful and emotional hymn to love. Hallelujah, sister soul!

Otto Preminger's "Skidoo," starring Jackie Gleason, Carol Channing, and Groucho Marx, among others, is best described as a psychedelic gangster film. While the film itself is mostly forgotten, Harry Nilsson gave it a memorable soundtrack, including "The Cast and Crew," which was played over the credits.

Wait. Did I say "played over?" This song IS the credits. The COMPLETE credits. Yes, going as far as mentioning the copyright line ("Copyright MCMLXVIII/By Sigma Productions Incorporated/Your seat's on fire") and people such as negative cutters, set directors, etc. And he puts in every little detail:

--"Photographed in Panavision and Technicolor/Director of Photography: Leon Shamroy, A.S.C. Hmph."

--"It's a Paramount (TM) release, a Gulf + Western company." (Yes, he sings "TM" and "plus.")

So, it's the movie credits. But he sings them, and he sings them in an interesting and humorous way. You have to pity the poor guy: he had to take all these names and occupations, fit them into a song, and make it interesting. And he even performed it live on television once, on "Playboy After Dark" in 1968.

Live cover of a Tim Hardin..I think Beth Orton & Billy Bragg have covered it as well. What can I say..the vocal on this is mindblowing. I'd heard Tim Buckley's son Jeff Buckley before..and you can tell that he learned a lot from his old man..this song has been floating through my head now for a couple of days..like some kind of wierd somnambulent dream..awesome

THE perfect popsong ? Not sure, but it comes close to it. The tune has that typical late 60s "sound". Bombastically orchestrated in the "Barry Ryan style"... it's a melodrama with lots of
catchy hooks... IF you can find it, you will love it ... I usually rate a song not higher than
8/10, but this one... well, what can I say... 11/10 !!!

Jefferson (Geoff Turnton) was a member of the Rockin' Berries in the mid 60s. A couple of years later, top producer Tony MacAuley took him under his wings and he released a solo album. What can I say... these songs are 'tailor-made' for me, as if they written especially for my personal musical taste. He also released a couple of singles for PYE and some were meant for a second album, which was never released. I picked the single "You know how it is with a woman" but 'City girl" is equally good. I wouldn't know which one to choose... A recommendation ? 100% yeeeeeeeeees ! Did I mention it's all melodic and hugely orchestrated ? I guess not, but by now I think you'll know I like songs like that ;)

I'm going to post 3 linked songs. Eventually. This one, Somebody to Love by the same band and then the recent cover of Somebody To Love by the Boogie Pimps.

Anyway I must have heard this before, but sometime within the past few years it popped up on a free magazine compilation. I probably associated the band with their 80s (?) incarnation - the band that did 'We built this City On Rock and Roll'. Each to their own, but I have to say I really didn't like that song at all - to me it was bland, radio and MTV friendly big haired, anthemic music for people who don't like music. Really sorry if it was your favourite, but as I say, each to their own. White Rabbit is to me is the total opposite.

The best way I can think of to describe the sound would be as being like a cooler, more rocking 60s version of 'Metal Postcard' style Siouxsie and the Banshees. The words are a druggie take on Alice in Wonderland, and it finishes with the singer (Grace Slick?) basically shouting 'Feed my head' over and over. Although I wouldn't condone the sentiment (Just say No, kids!), it's all very impressive. It couldn't be less bland, radio and MTV friendly.

If you like the Banshees, Bauhaus, indie in general or on the otherhand the darker Beatles stuff or the Velvet Underground you might enjoy this.

What can I say? I�ve been listening to this one for at least ten years. I never get tired of it.

What a great song. Lead vocals by 2-year-old Cubie...what can I say, I'm a sucker for gimmickry. It's been sampled a few times, too.

I came to Callier's music via arranger/producer Charles Stepney and delicado's recommendation of a Stepney-produced Ramsey Lewis track -- "Julia".

Well, Callier's "Ordinary Joe" (produced by Stepney) is a great track which I listen to over and over.

Of all the tracks I've recommended, this is probably the only one I would recommend by virtue of lyrical content alone: "Now politicians all try to speech you / Mad color watchers all try to teach you / Very few will really try to reach you / If you're lost in a stack / That's OK, come on back." Great stuff.

Thankfully the musical content is also very good. Kind of a pop-jazz style tightly arranged from Stepney. I say tightly, but it never really comes across that way. It really has a pretty breezy and organic sound.

Also, look for an earlier version on Callier's "First Light" which is a bit more mellow, but at least as good as the Stepney-produced version. Maybe better in some ways...

a passionate, rough-voiced rock legend begging for a lover to return. crying guitar, wailing background singers...what more can i say?

One of the most nonsensical song title ever, yes, I know and much derided for that reason, but to quote Otis Redding when told his lyrics didn't make any sense, "I'm gonna worry about settin' the groove. I get that groove going, they don't care what I say." Boogie Oogie2 has got groove to spare, with a jazzy intro (similar to Boogie Nights by Heatwave) before that bass line drops in shakes the floorboards. Just like all the dance craze songs of the 60s, the disco era about vocals were mostly used as a counterpoint to the rhythm section. The Mizell brothers add a touch of sophistication to this female-led band (Hazel Payne and Janice Marie Johnson on bass and guitar - they're the ones on the awesome album cover) which is a step further in the commercial direction after their work with Jazz Funk kings like Donald Byrd, Gary Bartz and Johnny Hammond. This song is up there with G.Q.'s "Disco Nights (Rock Freak)" and anything by Chic in the sophisticated disco category.

Another of my favorite indie tracks in my youth. Can I say 'indie' anymore? Ten years ago the term had meaning, but I get the impression this has faded. I'm talking about bands who recorded for small independent labels, obviously. Anyway, I have a special fondness for McCarthy, since they played at the first live show I ever attended. It was on March 3rd 1990 at the Bowen West Theatre in Bedford, England. Were you there? I know at least one member of this site was (how's it going, Phil?).

Anyway, this is another superbly evocative track for me, with layers of nicely picked guitars, and some intense drumming. The vocals are heartfelt in a way that unkind people might call 'weedy'; I think they're brilliant, needless to say. McCarthy were a superb indie band with jangly Wedding Present-style guitars and a political edge. Tim Gane later went on to form Stereolab, who I also like a lot, but in a very different way.

What should I say about this fantastic song. It's one of the fastest hc song. It last's only 45 seconds.
I won't bother myself trying to explain you the meaning. Here you got the lyrics which explain everything. There is even a whole big movement which started becouse of this song. It's anti-drug, casual sex, vegetarian movement.Ops, I forgot, here you got the lyrics, Enjoy:

I'm a person just like you
But I've got better things to do
Than sit around and fuck my head
Hang out with the living dead
Snort white shit up my nose
Pass out at the shows
I don't even think about speed
That's something I just don't need

I've got the straight edge

I'm a person just like you
But I've got better things to do
Than sit around and smoke dope
'Cause I know I can cope
Laugh at the thought of eating ludes
Laugh at the thought of sniffing glue
Always gonna keep in touch
Never want to use a crutch

I've got the straight edge

Full Title is
A HUGE EVER GROWING PULSATING BRAIN THAT RULES FROM THE CENTRE OF THE ULTRAWORLD
What can I say. This record changed my life.

I intensely adore this song. It's delicately executed, yet the lyrics are so bold that it's somewhat jarring.

Also, I think Jill Sobule is tragically underrated. She's astonishingly talented, intelligent and humorous. I say, listen to her work, you won't regret it.

According to most educated musical minds, the Corrs are purveyors of irritating, unambitious, tasteless pop tinged with Irish folk. I'd tend to agree strongly, and this track starts off so as to suggest nothing better - twelve seconds of unimaginitive and poorly-recorded drum solo, which moreover reappears with just over 3 minutes on the clock, followed by a truly dreadfully contrived-sounding modulation to the supertonic � la Eurovision. And a horrible brassy backing at one point towards the end.

However, there is definitely something I really like about, even esteem in what occours between those two points. For one thing, there is the way the depressive lyrics are sung to an assertively forward-moving minor key backing. There is something about the rhythm of word-setting that grabs me. I like the chord sequences. The melody's quite good. I like the violin solo in the middle, and the use of the violin for the riff heard during the introduction. Even if it's just a cheap piece of pop, it sounds as though some intelligence and emotion went into its creation. And as i say, for some reason, something about it seems to click with me somehow.

this song, made by the zappa-esque belgian band, the evil superstars, is more zappa-esque then zappa would ever get.

it feels like a huge record store collapsing and, in the process, blending all kinds of style elements in a composition of pure pop-mayhem. the song sums up a dozen of genres at supersonic rate (such as death metal, rock, crooning and even jazz) but never falls apart.
the music is perfect, played by talented musicians who try to sound like it's their first time handling a guitar or drum kit.
but, the one thing that makes this whole thing sound like it does are the vocals and absurd (or cheezy?) lyrics by the lead singer mauro pawlowski, for example:
"HE IS SOMEKIND OF A BAD GUY BUT WHEN HE READS THE PAPERS NOWADAYS HE HAS TO HOLD BACK THE KEROSINE IN HIS EYES SOMEWHERE IN A FORTRESS HE HIDES HIS MISTRESS I'M TALKING 'BOUT A PLANKTON EATING ROBOTCOW IN A CARDBOARD DRESS"----need i say more?
if you want to hear free jazz going pop, then check out this one!
nice introduction link: http://www.deadbeattown.com/bands/superstars.htm

What a depressing yet beautiful song... I was thinking of recommending this when I first heard it, but today it fits my mood better and I feel compelled to do so. Bertrand Burgalat's production mixes modern beats and bleepy sound with strings, alongside Cinnamon's old-school tuneful indie guitar pop with a female vocalist. God, this song is depressing; did I say that yet? But it's one of those depressing songs that's actually glorious to hear, accompanied as it is by beautiful, rousing music. The vocal is rather tender; as if she's sympathetic about what a fuckup the listener is.

Those uplifting lyrics in full (actually, there's more, but I'll spare you):
"when you were young/you had the sun in your eyes/the grass was greener/the days were sweeter/in the next life/you know where you came from, but there's no sparkle in your eyes/you're gonna die/and there's nothing in between to shout about'.

Why would you want to listen to something like that? I'm not sure, but I have it on repeat play today; check it out!

just dreamy! the title fully corresponds to the mood of this track. i'm just a sucker for the combination of acoustic guitar and electronic instruments, and tahiti 80 masters that beautifully with this song. um, the perfect make-out song? what else can i say?

why can't primal scream do a record with songs like this one? organ drenched with girls chanting ye-ye-yeah! dance 'til you drop! some might say that primal scream peaked with screamadelica, i say hell no! even if screamadelica is a great record, possibly one of the hundred best albums from the last century...

english language version of "l' amour a 3", available as a bonus track on the american release of "musique automatique".

cute electronic pop song about threesomes, courtesy of french-german electro-rockabilly-breakbeat-chanson-disco-pop sensation stereo total.
features some great moaning samples.
the ooohohouou- sound in the chorus remind me of a norwegian children's programme i used to watch when i was a kid. i just love the vocals in this version. they might not be technically perfect, but the french-german accent is really cute, and adds a lot to the feel of the song.

"it's absolutely out, i know it's hippie shit/
but i say it loud, with the three of us, i love it"

(by the way, stereo total are very nice people. they deserve your love)

What can I say. You are not going to find a colombian who doesn't like Vives. He just took folk vallenato music and made it rock!! This tropical sounds of thumbs, pipes and acordion mixed with some rock are brilliant. This is really "The Rock of My Town". Ay hombeeeeeeee!! From Vives I would reccomend every single song, but this one is very special cause he dedicated it to his daughter and son. The lyrics is the most beautiful thing I have ever heard.

P.S. Now a little of General Culture: It's Colombia, not Columbia!!

Minnesota Hip-Hop, it is fine. I say take a listen, whether or not you prefer hip-hop.

The final song in the album Aim and Ignite couldn't be more perfect. It is the perfectly orchestrated song on an album that transcends musical genres. Vocalist Nate Ruess (of The Format fame) shows that he may be one of the best songwriters of his generation and indeed all time. What else can I say, this song and album is beautiful and should be listened to by everyone.