Great little song. About finding beauty in everyday life. Short and sweet.


roll down the windows and open our mouths taste where we are and play the music loud. Stop
the car, lay on the grass, the planets spin and we watch space pass.Walk a direction, see where we get. I never knew nothin' so there's nothin' to
forget.

Loud and Brash=Brittish punk in the 1970's

This song, as heard at the death scene of "William Shakespeare's Romeo + Juliet", is a piece from Richard Wagner's famous "Tristan und Isolde."
I don't know exactly how to describe it, but I can tell you this:
A few years ago, after studying Shakespeare's tragedy "Romeo and Juliet" and watching Baz Luhrmann's version of the film, young student Kip Kinkel became obsessed with what is often called "the greatest love story ever told." Kip believed that "Romeo and Juliet" was exceptionally relevant to his own life. He had recently been a victim of unrequieted love and he felt his parents' constnat pull over him. One day, Kip had a psychotic break. He carried a gun to school and shot several of his classmates, killing them or leaving them seriously injured. He ran. As his parents arrived back at home, Kip blasted "Liebestod" on his stereo, took up his gun, and shot and killed both of them. The music was still playing loud and clear when the police arrived at his home to arrest him.
Scarily enough, that is how moving this music really is.

Quite unlike most of Nina Simone�s work the beautifully smooth jazz of �please don�t let me be misunderstood� and sometimes slightly sleazy orchestral numbers �feeling good�, �I put a spell on you�.

For me, Sinnerman� is out on its own, a 10+ minute opus, based around a rolling piano and double bass and often frantic cymbal accompanying Nina�s rueful voice tinged with desperation as she recounts the tale. Searching for somewhere to hide, from what is not explained, a man first runs to the rocks, the river, and the Lord, who all refuse him, the music booming louder and with more urgency following each rejection. The Lord even tells him to go to the waiting Devil, and the situation looks bleak, until the rhythm running alongside him suddenly clatters into a tree, and the sinner throws himself before the Lord once more, �Don�t you see me prayin�?� he cries, �Not nearly enough� replies the Lord, until the chasing evil presumably sniffs him out, the drums and bass pick themselves up and we�re off and running again, into the sunset together.

This song is devastating. The piano is precise, but halting and delicate, as though the melody is just as tentative about saying anything at all as the singer is. The song clocks in at less than three minutes, but the strings shudder like a dark devouring cloud hovering at the horizon, drinking up the lyrics for what seem like months, or years.

For Hideaki Sekiguchi, aka Bass Wolf, who sadly died of a heart attack on the 31st of March. He was only 38.
Guitar Wolf is one of those bands you either love or hate, i myself love them and their insane, primal rock n' roll antics. Sure hope they carry on, even though they are now missing a member.
This may well be the loudest song ever recorded. It's insanely great and makes me want to learn how to destroy a guitar.

beautiful and vivid. compelling with swells and drops in volume.

Cloud Cults most famous song from this record. its a fun story if you listen to the words, and a great tune.

this is perhaps my favorite jazz ballad. maybe the most romantic song you'll ever here. stan getz's saxaphone sounds like it came down from the clouds. it sounds so soft and warm. it's often so subtle that you here just air passing across the reed. and cal tjader's vibraphone adds just the right punctuation. the song is ethereal. romantic and ethereal are hardly words i use often, but they seem to be the best i could think of to describe this song.

I love the WCPAEB, they really seem to encapsulate Psychedelia perfectly. Light, blurred and dreamy. And unlike many of their contemporaries seem completely untouched by Garage authenticity. Not that theres anything wrong with garage punk per se, but it means that theres none of blundering of 'talk about girls' to fray those tinted moods.

Oh, it has loud guitars and harmonies right enough, but the whole thing is pitched just right to lift the dregs of any mood enhancers you may have floating around in your bloodstream and send them spinning into your brain.

Doo-Wop one hit wonder that charted in '67. Perfect for slow-dancing.

first of all: great soundtrack!
this track begins slowly with some percussions. and then the almighty horn section starts. i love them loud and dramatic. the way they are here. the rest of the track is also nice but looping 0:58 to 1:36 the whole day would do it for me...

Harper & Rowe... two unknowns who made one album in 1969... and what a surprise it was. Makes you wonder if these tunes had been given airplay, how many hits could they have had.
Some songs are pure pop, while others are more pop-psyche, but they all have a strong melody line in common and of course... an big orchestra. All songs on the album are good, but for some reason Love Machine stands out. It's very uptempo... and I play it loud (apologies to my neighbours) ;)

Alright! Vrooooooooooom! This is Vegas!... Or maybe the LA strip!... Vrooooooooooomaaah!!

This is the kinda song that you need for a break-up. Or some other kinda' I gotta leave this place and dance with syrup-y drink in my hand kinda feelin'... I realized that I needed this song when I lost my lousy job.... Tough luck.... I wish just once someone would play this in a club so I could hear it realllly loud! Great arrangement,this sort of ballistic lounge-y electric pulse... With these short baroque "rests" that take a short daydream break from the tension... Brilliant!

They had this song tucked away on the second side of the LP. I don't know what singles came off this particular release. Roy Kral himself led the group on keyboards as he does on most of the better J&R recordings, with an excellent group of creative players that give the sessions a dirty punched-up sound...

If you have'nt got any Jackie & Roy yet, this is album to get!

�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.

Greatest instrument of this song is Marlena's voice and the story it tells about being a mother and getting along in ghetto. I haven't heard any as improvising singer than she is and I know there is not many as versatile as she is and that is the reason You need to get this song. During eight minutes that this song lasts you may find yourself singin' "I'm woman of the gheeetto...", even if you are not and you there may also raise urges to feed a baby. This is a warning.

This song goes to same category as Marvin Gaye�s and Curtis Mayfield�s political material, but what makes this different is that this song does it by the point of view of a woman. And lord that woman is strong one.

Nice and heavy, love the solo, the distorted vocals, everything.

A superb song from Cale's first solo LP after leaving the Velvet Underground. Very melodic, lushly orchestrated and sophisticated, an absolutely impeccably-crafted pop song. I really love the echo effect on the whole thing, coupled with Cale's ultra-fluid viola playing. A great album from start to finish, actually.

Claustrophobic and pulsing. Chunks of dulcimer and clouds of reverb mesh together in a disorientating but coherent whole.

anyone who loves emotional songwriting with inspired lyrics will be blown away by this song, one of the best i've ever heard.

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 entire soundtrack to the film la planete sauvage comes highly recommended. never seen the film, but it can�t possibly be as good as the soundtrack suggests.
chilly, funky instrumental orchestral music. there�s a really haunting recurring theme through the album, nice use of choirs and twangy guitar too.

One of the greatest rock songs ever recorded. Loud, distorted, strangely tuneful and tuneless at the same time. An exhilerating rush of pure energy without being remotely fast.


The superior single version also has the mighty Nick Knox on drums. And I don't think is on the cd. But it is on the LP.

John Lodge's "Natural Avenue" was overall the best of the Moody Blues' solo ventures of the mid-1970s, being almost up there with the "Blue Jays" effort on which he collaborated with the band's guitarist Justin Hayward (whose own solo LP "Songwriter" was the biggest disappointment of the lot). This track has a wonderfully exotic feel to it, what with lyrics like "Show me your island of a thousand names" as well as orchestration including strings, oboe and bassoon, and some kind of bubbling thingy which may be a synthesizer. On a darker note, some of the other lyrics seem to indicate the alleviation of an addiction to certain substances, e.g. "Paint all the clouds the colour of 'No'" and "Gone is the white horse that carried us home", but hell, every band was addicted to stuff back then and I'm happy that 99% of them seem to have survived intact. Anyway, it's a lovely exotic song that if you haven't heard it, it's about time you did!

Picture yourself in a boat on a river.

Actually, in this case it happens to be the middle of the ocean. Just drifting any direction. No land in sight, nothing else on the water, not even any clouds. No distractions. Just you, the boat, and the water.

Oh, and Julie -- she's there -- with her open blouse, gazing up into the empty sky.

What's so powerful about Eno's "Julie With..." (and this is perhaps representative of his entire career) is that he gives you an experience in perfect detail, as if reading a book.

Even if you discount the lyrics, which, although not exactly Shakespearian, are clear and unambiguous, there is no escaping the image that Eno is presenting.

Casting aside any overanalysis, what we're left with is an outstanding bit of relaxing, but emotionally evocative chillout music. Completely beatles, the instrumentation is typical Eno: pad synthesizers, minimoog and guitar with heavy chorus. Not something you'd throw on at an afterparty, but great for a sunset in solitude.

This a wonderful slice of punk-pop quirkiness that just NEEDS to be jumped around to. Rachel's singing voice is wonderfully petulant and even though I have no idea what the lyrics are about the attitude and jadedness come across loud and clear. She's better known for her covers such as B-A-B-Y and New Rose but this is far and away her finest recording,

All the lavishness of Bil Withers "Lovely Day" but with the sentiments turned upside down,the sun is still there but clouded wiith tears .This beautiful soul/funk ballad is for some strange reason,almost unheard but rates along side their biggest hit "You to me Are Everything".This is what you find if you keep digging and delving.

Produced by Patrick Adams & Patrick Brown, this is a late disco track that has a level of productiont that transcends time, it would seem. There are several elements which suggest that this was recorded recently, with the tighter bouncy sound quality kind of like Junior Senior.

There is something magic about a song like �All Men Play On Ten� in this post-Spinal Tap Metal world. Such an earnest rock anthem, in such an irony saturated market� You�ve got to have respect for Manowar. Is it a mark of defiance or of ignorance and stupidity? Hard to tell. Maybe both. But then this song is essentially about doing things their own way, and not listening to anybody. So who cares anyway? Well, it�s worth listening to Eric Adams for 4 minutes at least. He has a message for us all. He�s no puritanical, know-it-all, he�s a reformed character preaching a rock�n�roll gospel. Believe it or not brothers, he too has fallen. There was a time when he did it for the money, yes that�s right, he sold his soul to the loud music-hating devil. And the devil said hmmm Mr Adams, for your money I have some things I need you to do for me, adjustments as it were. Eric said, well okay, what do you suggest? The devil demanded that he turn down his amps, �why be proud, don�t play so loud, be like us and get a sound that�s real THIN�. OK, I reckon I could do that, just a bit, said Eric, a little put out. But the demands didn�t end there, Eric was pinched and plucked for his silver dollar, �wear a polyester suit, act happy, look cute, get a haircut and buy small gear.� And inevitably it all got too much. Eric�s no pigeon weaver, and he got real mad, and he turned to the devil and said, �HOLD IT, RIGHT THERE!� And good for him. For this is a great track. Very catchy.

The song with the heavenly lilt! It gets into a groove and chugs along merrily, with those lilting guitars in the background and some lovely light fretwork in the bridges and at the end. Excellent!

This song is about.... ehh, the lyrics are quite self explaintory::

"Life's not been good for you
It's just not fair
You did nothing to deserve it
You did nothing at all
Sit back and watch
It turns from bad to worse
No matter how loud you cry
It always hurts.....
Everybody gets
The breaks that belonged to you
Everybody takes
Your just desserts....




At first I wasn't very satisfied with this song. It's hardcore, lyrics are shouted and I didn't understand anything, I only listened to melody and other things. Than I read lyrics and listened to it again.
THIS SONG IS VERY GOOD. ONE OF THE BEST MINOR THREAT SONGS (They are all great except "Guilty Of Being White", I hate lyrics. It remind me of nazi skins)
Minor Threat are one of the greatest hardcore bands of all time. Straight Edge is movement, which started becouse of one Minor Threat's song with the same name. The lyric side of MN is great, instrumental part to. They are great. They'll always be. IF YOU DON'T LIKE MINOR THREAT YOU DON'T LIKE HARDCORE! Sorry, but that's true.

You can find their whole discography on one CD which consists of 26 songs.

A great version of this Troggs song, which formed one side of Spiritualized's first single. It's a pretty straight cover version, but with a richer production and that probably soon to become hip again early 90s dance/indie crossover sound (wah wah guitars, funky drums). Actually, it has aged pretty well, and I still can't listen to it without singing out loud when I hear it 'I've been watchin' you; and a lovin' you in vain...'

A perfectly distilled instrumental which seems to capture everything poignant and affecting about Badalamenti's soundtrack work. 'Perdita' opens with a faint piano, being played seemingly with one finger, which gets louder and is joined gradually by a rich string section. Rather like some of Ennio Morricone's best themes, this is very simple, but so beautiful that it doesn't end up sounding obvious or clich�d. On the other hand, perhaps I'm just being nostalgic about being 16 again.

I've recently decided to sell all my records, on the grounds that they are a bit 20th Century. So I went through them to see if there was anything worth replacing; and in general, the answer was no: I had several hundred records, and they were all rubbish.

However

I DID discover 2 records by Gallon Drunk which were absolutely fantastic - I can't believe that I haven't listened to them for so long. Both this album and the follow up (From the Heart of Town) are really good, very exciting and dynamic records. I picked Two Wings Mambo but almost any song of these
would do - Just One More, Jake on the Make, Arlington Road etc, they're all grrrrrrrrrrreat.

TWM has this huge introduction, beginning with the trademark super-cheap maracas sound, before all kicking in with the mambo beat. It has the sort of quiet verse/ loud chorus deal perfected by Nick Cave over the years only with a slightly funkier beat than Nick normally has. James Johnston eventually joined the Bad Seeds of course.

His singing definitely got better over the years - if I have sold this to you, I recommend that you start with From the heart of town.

Lou Barlow of Sebadoh has a gift. What would sound corny and clich� if sung by any other -- Lou pulls it off and actually succeeds in moving you. This is just one side of Sebadoh; some of the other stuff is loud and noisy but beautiful in its own right.

This has to be my favourite song ever about being happy and in love. No piece of music gets it across just how damn happy you can be with the right person, when everything just falls into place.

Salt 'N' Pepa have one of the most consistently great back catalogues of any pop group. They just, seemingly effortlessly, wheeled out killer tune on top of killer tune in an era when pop-rap (pop-hop?) was at its apex.

My man has all the attributes the seven ladies describe here, alongside a willingness to put up with my Claudja Barry and Dolly Dots records. But don't take him for a sucker, cos that's not what he's about...

Loud drums and simple recurring guitar riffs are the setting for a melancholy, but rocking look back on a special time. Billy Corgan manages to sound like Mick Jagger. There's a kind of regretful feeling Smashing Pumpkins evoke that I felt in the movie "The Last Picture Show".

This songs stands in for "Sister Cry", "Settled Down Like Rain", "Clouds". "Two Angels", "Blue", and all the others from The Jayhawks' last two records with Mark Olsen, as well as on it's own. The harmonies are just the most raggedy and pure I've ever heard(sorry, King's X). I used to listen to this one over and over.

After the prologue of Baz Luhrmann's controversial, modern retelling of William Shakespeare's tragedy "Romeo and Juliet," the audience is blasted away by a hoard of harmonious voices chanting a loud, haunting song to the beat of an angry drum. This song, in which a narrator begins "Two households, both alike in dignity...", is called "O Verona," the song which Baz Luhrmann himself calls "an almighty orchestral chord." Its sister song, "O Verona (Reprise)" is uninterrupted by the narrator, and the listener is able to appreciate its musical quality in a fuller fashion. Personally, I couldn't decide whether to recommend "O Verona" or "O Verona (Reprise)" to you. They are both extraordinary recordings on what is, I believe, one of the greatest musical scores to a motion picture ever produced.

This song epitomizes the Kansas City Sound of indy rock in the mid-90s. It's loud, but not grunge or punk. They sounded like Fugazi a little, but the sound is at a distance from you, not in-your-face. It's a perfect hard rock song; direct, knows where it's going, gets there with no fuss but with a little dessert left over at the end. The frontman later changed his stage name and now makes honky-tonk music.

A perfect segue into a perfect album, King of the Carrot Flowers is a masterpiece. This is the way songs should be written, performed, and produced. Jeff Mangum strums the catchiest 3 chords on his acoustic guitar while his piercing vocals spill lyrics of psychedelic sophistication. I can still remember the first time I heard him sing the lyric - 'and your mom would drink until she was no longer speaking, and dad would dream of all the different ways to die, each one a little more than he would dare to try' - in a rising climax. The energy and power is then sustained into a C drone from an organ, followed by an amped acoustic guitar being plucked clumsily. And like a street preacher we again hear Jeff, he belts 'I love you Jesus Christ' while the rest of the band hit fuzzed-out power chords F and C until a storm swells with cymbals, horn, bass, guitar, Jeff's voice and another rising movement to yet another climax. Propelled by an electric frequency that chops like a helicopter blade inches over-head we are lead into Part 3, often referred to as 'Up and Over'. This last part explodes into fuzz rock in all it's garage-roots glory with lyrics like - 'I will shout until they know what I mean, I mean the marriage of a dead dog sing, in a synthetic flying machine'. As the fuzz is sustained heavily the song ends with 1 last climax; the one-note piano brings us to a close.

King of the Carrot Flowers Part 1 introduces the theme of 'loss of innocence'. The narrator, addressing his lover nostalgically, compares the emotional deterioration of the older parents with the emotional and sexual discovery of their youth - 'your mom would stick a fork right into daddy's shoulder, and dad would throw the garbage all across the floor, as we would lay and learn what each other's bodies were for.' This motive returns later in the album, as does his 'Jesus Christ' theme. Jeff Mangum alerts the listener in his lyric sheet that he believes what he sings, and that this 'Christ' theme is but the spiritual light he finds within everything. The album further treats themes like the Holocaust, death of loved ones, visions of ghosts, and all the horrors of man with this light. It is a beautiful and terrifying experience unlike any rock record to date. Personally, my favorite song of all time.

A classic pop gem with the quintessential catchy, sing-along melody. Pristinly written, performed & produced by E6 Godfather Robert Schneider and his Apples in Stereo. With a chorus determined to make you hum in your sleep, or over a dozen pints with your mates, or loud enough for your co-workers to secretly dispise your chummy disposition, this song will never lose its appeal. Piano, guitar, snare and bass bring back the days of 'ole, and they do it in style. This has to be someone's favorite song somewhere!

Like all perfect Mogwai's tracks, Tracy is quiet and then loud. However, the track is particularly spine-tingling. Mogwai use sustained reverb guitar and xylaphone to stunning effect. The taped argument between the band, that is added to the fade out of the song, is also cool.

A great track that comes in two parts. The first is a sweet repetitive pop tune with electronic piano, synthesized strings, pleasant guitar chords, and wordless 'ba ba' vocals. Just before the three minute mark, it begins to mutate gradually, until it turns into a glorious early New Order-style sound, with a piercing, punky guitar sound and a loud bassline. The vocal elements from early in the track then come back in. A great fusion of different styles.

What a great song! Nothing flash, just a great modern, yet retro, rock song.

This song makes me wanna EXPLODE whenever I put it on. Think The Sonics' version of "Have Love Will Travel" with the punky rawness of The Stooges. Except that this song is even more brutally groovy! And the group dress real nicely.

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)

The basic track, as heard on their album "Quiet Is The New Loud", is pretty minimal with just acoustic guitars, bass and drums. For the single release they added wonderfully lush strings arranged by David Whitaker, transforming the rather autumnal, Simon & Garfunkel-esque track into a lighter, brighter, well, more "Monte Carlo 1963" sounding song.

It doesn't have the electronic elements of some of their songs apart from a DnB drum loop, but it is the only release they have on vinyl. (beautiful 7")
A breathless rush of too fast, too loud guitars, beach boy singing, slaughter and the dogs style riffs and terrible kiddie rock rapping.
Its noisy and fast, but desperatly tuneful.
The B-side "Good Good Girl" is also too fabulous. Catch them live if you can. Too young, too loud, too good. J-Rock!

I've been a huge fan of the UK-based "wuss-rock" band Coldplay since their debut album "Parachutes." One night, as I was watching a much-anticipated episode of my favorite TV show, "Smallville" - an episode called "Rosetta" guest-starring Christopher Reeve - I heart the heart-rendering chords of lead singer Christ Martin's piano and thought aloud "Hey, that's Coldplay!" I hadn't yet heard that song, so I surfed onto a "Smallville" fansite to check the title and found that it was called "The Scientist" from Coldplay's most recent album "A Rush of Blood to the Head."
"The Scientist" is a song that will remind you of being in love - more likely, of being in love with someone who doesn't love you back or with someone whom you pissed off and doesn't want to be around you anymore. It's basically the most perfect song about unrequieted love. It is beautiful and haunting, as many of Coldplay's songs are. Give it a listen. You won't regret it.

It's jazz, but very bluesy.... her vocals are so smooth and the music is sensual and personal. I love it...

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

Due to the constant everyday trippings, one learns to walk looking down, watching the cracks, watching the steps, watching the pebbles. That's how I found this track. I took a dive recently and came back to the surface with this song.
One little tune, one refrence and one image, these three combined make a lonely humming of this indie tune almost orchestral, de description of the saddest episodes or maybe just the most difficult ones, the unexplainable feeling, translated into a postcard of the big ocean, the clouds, the sun, the isolation, the danger, the sharks down by the surface surrounding your tiny boat, a breeze, a guitar, however you dive, always assured that seasons come and go.

It's funny. It's quite catchy. It's, um, loud and happy.

Shoot me up! My lungs fill with air and let the loudest sigh leave me as guitars roar and layer themselves one on top of the other. Hear the words flow along Kim's bass. Somekind of painful, somekind of brilliance. My heart pounds.
Again the Sonic Age to pierce the little headphones. Blast!

It's in waltz time, with a strummed electric guitar intro followed by female vocals, bass & drums. There's a short female vocal counterpoint part, then the louder chorus. Towards the end the song changes key with a solo guitar figure, joined then by bass, then the the synth & drums enter in a musical explosion that's really cool.
I did'nt like this song at first, liking the rest of the album("Winds Take No Shape") better but the song has grown into one of my favorites on this record.
The full album is one of my favorites of the decade, second only to "Flying Saucer" by Astronaut Wife.

Shamelessly exciting! Jason Forrest brings his own brand of electronica, introducing samples whenever he feels like it. It's like a kick in the teeth and you like it (not like the pansy Pet Shop Boys kick in the teeth). If you want to rock, you want Jason Forrest in your life.

An all-instrumental piece (three clean-tone electric guitars, one drummer) with loud-soft rock dynamics and the sort of build up that one expects from a band influenced by Mogwai and the other 'post-rock' kids. Perhaps the most romantic song I know. If you like three riffs overlapping and complementing each other, check this song out.

The song is a remake of one of Vai's most famous pieces. The first part of the song is solo oboe (or maybe soprano sax) with harp accompaniment followed by a louder section where the guitar (played by Steve himself) takes over.

Later in career but worth a listen

A calculated stab at cool retro pop and all the better for its contrived polish, a great pop song with a great pop chorus ,remeniscent of Northern Soul ,The Three Degrees and even the Spice Girls ,hear it once and be struck, there is no antidote, you will just have to sweat it out of your system.I think this will still sound good in 10years time . Wait and see!