It's just plain fun.

just plain fun.

i often find myself listening to this right before i go out to have fun. magical.

this song was ripped off by norwegian cult band turbonegro on their 1998 album "apocalypse dudes", by the way. just listen to the track "get it on" and you'll hear what i mean. pretty damn good ripoff, though.

this makes me smile! lovely zippy synth fun.

Unique love song, uplifting and fun. Love it.

So. much. Fun.

Taylor Hollingsworth can be serious but most of the time he is just a big kid who makes fun and funny music.

upbeat, poppy, and fun. i love that it's upbeat and fun. the synthesizer is really unique and adds a nice touch.

Great instrumentation, evocative lyrics, awesome closing song

With the wild African rhythms, yelped back-up vocals and honky-tonk piano, this song is bizarre and crazed and lot of fun. Lyrically it's also very cool with Mick Jagger singing from the persona of a very gentlemanly and straightforward Satan. It's also incredibly timeless and influential. Listen to Outkast's recent album, or the Libertines, or the Music and you can hear shades of this song without a doubt.

a catchy organ riff and some duh duh wailing...it's just one of those fun obscure mid sixties soundtrack songs. sounds like a cheesy party sequence, although i've never seen the film it originates from.
good clean fun. Actually i was surprised when i found out morricone originally wrote this, because some cheap dance/pop bill (can't remember who right now)had a hit wich borrowed heavily from this sometime during the mid-to late nineties... why is it that every time something catchy pops in top 40-music, it turns out to be borrowed from one of the old masters?

From the Italian western of the same name. I haven't seen the film, but it seems to be a comedy starring Thomas Milian and in the mode of the popular Trinity films. This track is kind of a light-hearted square dance with typically brilliant instrumenation by Morricone -- bells, banjo, organ, chorus, acoustic guitar, drums and violins. This makes a nice companion to the "Wanted Dead Or Alive" track I recommended earlier. Lots of fun.

This is my favorite these days. Totally cuts into my dull recession-based lifestyle and peppers it with some yellow Nashville sunshine....

The song bounces through a hum-drum monday with the bouyant post-it note poetics of a 9 to 5 cutie... Nothing is going right today, and the song sounds like the antedote :

" ...Gotta' go to work, really gotta per-cu-late... Try to catch the fish that's jumping off your
dish-or-plate...." To "Don't ask for help... from anybody... cause they'll only turn you down-ooo...
na-na-na-na-na, ooooooooooh na-na-na-na-na, Blame it on a mondaaaaayy..... YEAH! ....

The session smokes and the players are astounding! Huge southern brass-blasts counterpoint the bouncing hoe-down groove... It must have been a hoot to play because the track clocks in at over four minutes, but you hardly notice for all the fun....Funky in a very music-city way. Almost Nancy & Lee like, with a little Free Design-like harmonic optimisim in the vocal arrangements, which Anita's well known for.

I recommend the whole record though.It plays straight through, and you play it again & again. A lost gem.

A very enjoyable spaghetti western theme sung by American actor Stephen Boyd who also wrote the lyrics and starred in the film.

Fidenco's music recalls some of best spaghetti western themes but still has it's own personality. The lyrics are overblown and more than a little ridiculous, but Boyd delivers them in a fitting way. He's a pretty good singer too.

A lot of fun.

this is a funky song. it makes you wanna dance and have fun. great great great song

This song is the definitive punk anthem. A two-minute head-banger that is about nothing but fun, fun, fun.

Progressive MOR Punk with hints of Steely Dan and Zappa influence anyone? Don't worry, give it a try, it's fun. not many songs contain the line 'Holy Sausages' sung a la the Beach Boys do they? The important thing here for me is that the whole never comes across as self conciously 'wacky'.

can't believe this hasn't been recommended before. if you haven't heard it, you should probably be ashamed of yourself.

one of the best party songs ever recorded,
it practically commands you to get your ass in gear and have fun. i really don't know what more to say about it, check it out, it's just incredibly solid.
you can find it on volume one of the always reliable 100% dynamite compilations from studio one.

It was the opening theme to one of my favourite eighties tv-series of the same name, "Square Pegs" (Sarah Jessica Parker the dork before being the sexpert)unfortunately however, the band, same as the series didnt last long. I think this track is just pure fun, fun, fun. It's so typical eighties with that signature saxophone solo.

An even funkier hit single than "Sledgehammer" ? which had an epic groove but was too slow to actually dance to ? "Big Time" is a sardonic response to yuppie materialism with the funniest lyrics of Peter Gabriel's entire career. (The ending of the song, stopping just before the obvious punch line to all this discussion of how preternaturally huge everything in Gabriel's charmed life is, is a small moment of brilliance.) But the brilliance of the song is in the way it ties all that Gabriel had been learning about African percussion and Middle Eastern melodies ever since the days of his third solo album and ties them all into the service of a walloping great groove, making plain the connections between North Africa and Stax-Volt once and for all. The combination of talking drum and wah-wah guitar owes as much to Booker T and the MGs as it does to King Sunny Ade, which is both the key to "Big Time" and a clue as to why Gabriel's later, more explicitly world music focused albums just aren't as much fun.
(AMG)

Japanese recluse Ip rarely leaves the confines of his room-cum-studio - and it's usually to attend a naff 1980s-stylee disco. The shy, clumsy student takes on the persona of a mentalist when news of a party spreads.

To celebrate his love of all things crazee, Ip recorded a series of bizarre poptastic tracks in the early 1990s. The songs suffer from dreadful production values and annoying lyrics, much of which is spoken in broken Engrish. But hey, that only adds to the fun.

Ip's debut album 'Floor 15: Room 17' is his best. Two stand out tracks include: 'Knocking on door while Mr Room Mate is away now', and 'Why are all new friends arrive for special event not on?'.

But his best song is 'Have you got ticket to the Dome?', a slice of Human League-esque rom-pop, bolted on to a 130 bpm, glam rock rhythm.

I used to know his acquaintance, this bloke that used to wear a plastic suit and fake glasses. He would hang around with a can of cheap lager. But I haven't seen him in months. I think he lost his mobile phone, or something. He'd probably say: 'Oh yeah, Gonza, Genzo. I remember. The good old days. Hanging out in the Lounge.'

Whatever. But Ip. Far out.

No diss on the Pixies, especially being a big fan myself, but there are times that I think Mr. Black Black has displayed a far more interesting range since breaking up the band. Teenager of the Year will always be up for consideration on my all-time top ten. I think that it's sadly and unfairly dismissed by too many people. But maybe I can assuage and tempt some of those doubters with this gem.

Inspired by real history and/or the movie "Chinatown," the subject matter is about bringing the Colorado river to the thirsty City of Angels, by hook or by crook, and all the fortune and fame to be had by the one to do it, thus the title. That's what makes the lyrics so fun.

But the real thrill is the "fukk yeah!" abandon of this melodically-twisting tune. It plain rocks...and is brain food to boot. I swear Eric Drew Feldman, of Pere Ubu fame, who produced and played on this album, takes Black's songs to magnificent heights. I've yet to hear a better album of his work.

This sample is an outro-guitar slide into homebase supplied by Lyle Workman. Standing as one of my all-time fave guitar parts, it is at once fret-adept, rhythmically punchy, and pure electrical flow exhiliration. Ol�!

The regional goin'-to-the-shore chestnut gets remodeled as a Ziggy-era Mick Ronson production, captured in a wildly live performance. Good, silly, genre-smearing fun.

After nearly three and a half years of speculation, I finally bought this album in the fall of 2003. Wow. As soon as I popped it in, I knew that it was Monster Magnet, but I knew I had a new band to add to my favorite list. These guys rock, period, they're in the lower upper class of hard rock (with upper upper being reserved for such acts as Metallica, Iron Maiden, and Dream Theater), hell I don't even want to categorize them, as this would place a restriction on their potential (in much the same way the Jewish cannot write the word "God," and Muslims cannot draw Him, according to friends I have of those faiths). The song starts off like a fireside story, we've got a low bass beat, a great little intro compliments of Ed Mundell. Wyndorf's space, money, power, sex and religion influenced lyrics become prevalent as soon as the song begins, and we are launched into a maracca, tambourine, and 70's/80's hard line influenced metal trip. Ned Raggett's characterization of an 'acid folk' edge to the beginning of the song gives it good justice, and Space Lord slowly cranks up the volume, settling down once, and then cranking it up again, ready to conquer worlds with the hard rock edge that has kept Monster Magnet in the limelight, but away from the new age/pathetic sounds. Upon listening to this song, we think "classic rock," not because of it's refusal to metamorphose (or rather, transmogrify) into today's rock, but because of it's influence from the aforementioned 60's - 80's hard core, unfiltered, instrumentally diverse sound (including alternate percussive effects from tambourines and maraccas, as well as keyboard infiltration that would make The Doors jealous), which is uniquely self-complimenting, orchestrated, and coherent. Space Lord deals with becoming (unconsciously) corrupt with power, wealth, and ultimately desire (Now give me the strenth to split the world into, yeah/I've ate all the rest, and now I've gotta eat you), which may delineate the stereotypical American 'powertrip,' hence the album's appropriate name. If you are looking for unrelenting excellent rock, which isn't too harsh to listen to, but most certainly isn't along the lines of Phish or Weezer (in any respect at all), I recommend this song, album and any others one could get one's hands on. 5 out of 5 stars for its genre.

somewhere between the free design and hideki kaji you get la casa azul. sweet 60s pop with some nice "ba ba ba ba..." thrown in. bouncy, quirky and basically all around fun. one of the few new bands i am really excited by.

the satanic housewives, voladoras. i've seen these girls a few times around town. they're always playing too loud which is quite fun.

http://www.voladoras.com

I think Marvin would be proud of this version, though quite unlike the original. A typical brass band sound introduces the song for a couple of verses which then drop out as drums and hand-claps accompany a group singing vocals over the top. Raw yet fun. I've edited this audio clip to try get as much as possible a feel of the song into it.

This is a laid-back bluegrass-y type tune that's just a lot of fun. The performer is young but there's wisdom in her words...

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.