Another Axelrod mini masterpiece on display here. Big twangy guitars and a wonderfully modernistic haze of modal horns strings and flutes snake around rock solid bass and drums. Whoooo-heee

The most eeire, scary and downright supernatural blues track ever recorded. Robert Johnson's vocal style sends shivers down anyone's back on the first, and repeat, hearings of this masterpiece.

Take time and notice the evidence of Hoodoo pratice in lyrics (hot foot powder) and a brief history of a failed relationship once believed to have been Robert Johnsons...

Despite the vocal style of James (not appreciated by myself) this track is a true masterpiece - listful, solemn and mysterious. Numerous good covers inc. Kelly Joe Phelps, & Chris Thomas King (O Brother Where art thou). The original's guitarwork is superior to other versions - sparse and perfectly timed. However Phelps has, in my oppinion, a more appripraite voice for the track.

I adore this man. A-D-O-R-E. But i seem to be quite alone in doing this outside france. And i can´t figure out why. For my money he (pardon my language)pisses all over katerine, benjamin biolay, divine comedy and louis phillipe etc. In fact the closest description of his music would be if The Divine Comedy came from france. Perhaps Arnaud is the kind of artist that you either go totally nuts about or you don´t get it all. A bit like Prefab Sprout. So, to pick any track is virtually impossible since i love nearly everything he has done but i go for "En vieillisant peut-etre" from his towering masterpiece "Portrait du jeune homme en artiste".

If this song was a person, it would have filed a restraining order against me within 3 days of its release. As a part of last year's second best album, "Veckatimest", this song features unconventional musical arrangements which could at times sound dissonant. However, its mystical lyrics and impeccable vocals make this song a masterpiece.

Early Serge Gainsbourg masterpiece with an "exotica" feel. The backing track is a far-east melody while the lyrics are simply beautiful. Gainsbourg used the characteristics of the anthracite to describe his feelings about a girl. It's a kind of first step into what was to be the apex of his first period, the "Gainsbourg percussions" LP of 1964.

A superb twangy, bongo-ridden theme from Tony Hatch. It's hard to believe this is the same man who wrote the themes for soap operas like 'Crossroads' and 'Neighbours', but it is... Overall this sounds kind of how I once expected/hoped John Barry's early 60s work might sound - harpsichord, twangy guitar etc. It opens with some eerie effects, bongoes and spare harpsichord sound before breaking into a fully fledged shadows/spy theme style masterpiece, stopping abruptly after just over two minutes. Since I heard this on a compilation, I have no idea as to its origin, which is a shame, as I would love to track down any similar work Tony Hatch may have done. I did some research, and it seems that the session guitarist on this track was none other than Big Jim Sullivan, who cut a couple of sitar LPs on Mercury in the 60s.
n.b. this is not the same tune as the much recorded and superb Harold Arlen/Johnny Mercer 'out of this world'.

This is one of those mindblowing tracks that occasionally turns up when you least expect it. I bought a generic looking 'Top TV Themes' EP on the Pye Golden Guinea label, mainly because it had a version of the 'Out of this World' theme, which I've recommended elsewhere on this site. But I was disappointed - it turned out that this 'Out of this World' was exactly the same Tony Hatch version that I already had (the EP does not list any track credits).

I listened on, not expecting much, particularly from 'Maigret', a nice enough theme by Ron Grainer, but one that is a kind of accordian waltz!

Imagine my surprise when this turned out to be some kind of trashy, twangy, swampy surf pop masterpiece! It sounds like one of the very best Joe Meek produced instrumentals from the early 60s.

I'm inferring that this is Tony Hatch, since he did the 'Out of this World' and was a staff arranger at Pye in the early 60s. But if anyone else can shed a different light on this recording, I'd be pleased to hear about it!

Not a particularly well-known song which was originally a B side and not on any of their original albums, it's actually particularly musically advanced for the time. A pity that George Martin didn't get them to do a few extra takes of the vocals, as the difficult harmony signing which starts the song sounds...difficult. The song, which deserves to be more talked about, contains interest and variety in its melody, rhythm, harmony and arrangement. In its way this is truly a masterpiece.

Vocal version of the classic 'Exodus' Theme. Reverberated deep 60s stereophonic sound, Andy Tielman's voice, the powerful background choir and the reverberated guitars make this version a true masterpiece.
(there's an incredible story on the listener reviews at Amazon about this band)

An incredible doomy pop masterpiece, 'For one moment' is a dark, haunting ballad, laden with rich strings. I guess what makes it stand out is the recording itself - Lee was a master of studio techniques, and so the whole thing has an uncanny, almost Phil Spector type feel to it.

By 1965, Brian Wilson's professional and personal lives were in such a state of constant panic that it was almost inevitable that he would turn to readily available forms of rock star relief. While his self-medication (and underlying mental illness) would ultimately render him into a poster boy for an imaginary DARE campaign, the early, merely marijuanic phase of his regimen yielded a brief but vivid string of almost absurdly gorgeous pop masterpieces. While a couple of these are permanently stamped into the forebrains of all radio listeners over a certain age ("God Only Knows," "Good Vibrations"), some remain almost unknown. Which brings us to "Wonderful," found on the Beach Boys box set, and remade a few years ago as part of the Don Was hagiography. It is a curious, brief (2 minutes) tune, austere in production (harpsichord and vocal) but staggeringly rich in harmonic interest. The melody evokes pure serenity and has no noticeable roots in any previous American pop style. Van Dyke Park's lyric is typically insane; what little one can make of it seems to dovetail with Wilson's growing religiousity, yet feels entirely physical, even pagan -- a sort of boy-loves-wood sprite nature idyll making the first movement of a really great ballet with set design by Maurice Sendak. Or something.

This exceptionally haunting and lyrical song by Quincy Jones has received its definitive interpretion by Astrud Gilberto with arrangement and accompaniment by the Brazilian organist Walter Wanderley. The melancholy urgency of the piece resonates well with the dark/sad tonality that pervades so much of Bossa Nova music, though its character is also reminiscent of certain otherwise very different pieces from the bebop era, which had a formative influence on Quincy Jones' music. There is definitely the remote influence of Charlie Parker and especially Dizzy Gillespie. It's truly a completely unique piece. The drifting melody which seems to skirt over the chord changes has a beautiful inevitability. Only a very gifted and skilled musician could have contrived such a beautiful work. So Quincy Jones deserves especial credit for crafting this song from the film "The Deadly Affair."

Astrud's delivery, so typically limpid and restrained, only serves to heighten the intensity of this darkly passionate song. The subtle but somehow fierce organ playing of Walter Wanderley acheives a sizzling romanticism that perfectly complements the reading of Astrud's apparently detached fatalism.

In my opinion, this track is a true musical masterpiece. Its remarkable economy of means is a testament to the skill of the composer as well as the artistry of the performers. In fact, it's a nearly perfect combination of expressive means and poetic intent. The beautiful resolution, with Astrud's perfect striking of the high B-flat over the half-diminished F-minor seventh, is a moment of sublime dramatic intensity, though profoundly understated, as is typical of her finest artistic moments. One is reminded of Miles Davis. Her poetic skill is rooted in subtlety.

I have listened to this extraordinary track hundreds of times, and always experienced chills rising up on the back of my neck. How amazing that this incredible musical gem was omitted from the original album A Certain Smile, A Certain Sadness. Perhaps it was too intense, too heavy; whatever the case, it's a truly remarkable piece of music.

I'm truly grateful to have discovered this great albeit minor musical masterpiece. There's really nothing else quite like it! The sizzling but subtle sensitivity of the rhythm section (Claudio Slon on drums, possibly Joao Gilberto on guitar and Jose Marino on bass) adds an intensity to the piece which helps project the almost existential tone of the song.

I'm really swept away by this obscure and neglected work, which attains -- for me at least -- to a peak of poetic intensity really rare in music. As is usual with Astrud at her best, it accomplishes its artistic ends with what seems like the most minimal of means. But subtlety is always the avenue to the most profound of artistic experiences. I think this is a remarkable example -- one of the greatest -- of the wedding of popular music and high art. It is a truly perfect performance. In my opinion, its greatness increases rather than diminshes with repeated listenings. There is only one word for that -- it's magic!

A fabulous acid-pop masterpiece featuring one of the most intriguing intros in pop history. Everything I love about psychedelic pop made in the US in the late 6t's comes together in Mrs. Bluebird: the softly mythical, escapist feeling that the harmony and orchestration bring into this music. I frequently use it as a getaway. I think indulging in this music is not sad but it shows you've got the means to make you happy. This song is a Curt Boettcher (The Millennium, Sagittarius) production that cannot have been made while under the influence of drugs!!

It's a sad fact that the Bee Gees are a group primarily remembered for only one thing. If this were a perfect world, people would realize what an jaw-droppingly amazing group they once were. To me, their first LP is an orchestral psychedelic pop masterpiece easily the equal of the Kinks' "Village Green" or Billy Nicholls' "Would You Believe", and also just about as close at Britain ever got to replicating "Pet Sounds". On this track, listen for the insane rubber-band bassline, the staccato organ fills, the odd timbre of the voices or the occassional flute bit. It's a song bursting with an enthusiam the likes of which people only had during the middle 60s.

This whole album is a masterpiece, but "Blow Up" is a track that should definitely be better known. It's a vibes-piano-bass-drums quartet session with Herbie on piano that inexplicably was never released at the time, only in Japan over a decade later. It was available on CD for a while in the early 90s, but has since been deleted. The track builds on a steady, understated 4/4 groove anchored heavy bass and creative drumming courtesy of Joe Chambers. Eight minutes of relaxed heaven, with messrs. Hutcherson and Hancock engaging in sublime vibes/piano dialogue over a very catchy theme. Seek out this album any way you can!

Masterpiece! This record, a legend amongst those who know it, with its fine writing, arranging and singing clearly deserves its place in the Pantheon of great pop. It may have failed commercially in its time but the beauty of their pop puts it amongst the best of our times and explains why 37 years after its creation it remains exquisitely artful to our ears. I could write 100,000 words scratching at what I love about this group and their first 4 records, and this song alone.But, the Free Design deserve, rather than my dull hyperbole, a good listen. Rousing and sublime, almost TOO GOOD to have been a big hit. If you read a bit about them you realize that these singing siblings made some naive career choices that favored music over money. Our gain.
Some bonehead on this site claimed The Free Design sound like Stereolab. That writer got it butt backwards. Sadly, Stereolab doesn't have the skill to really reach the musical and spiritual depth of the Free Design. Stereolab's OK, don't get me wrong, but they are often a pale imitation of a much richer source. Letitia from Stereolab cites The Free Design as one of her all-time favorite bands, so at least they have sublime taste and honesty when it comes to revealing their sources.

Guaranteed to lift you up way high.
Buy or download NOW!!!

Fave part: "Wish that I were corny....:

A beautiful, lush masterpiece with a bossa nova beat (hmm, is there a pattern to the songs I'm submitting?), 'how to open...' is one of my top tracks ever. It opens quietly with a slightly cheesy flute sound over a gentle guitar. A great wordless vocal then comes in coupled with strings. Superb. If you never listen to music like this, what I'm saying probably doesn't exactly make it sound cool. But it really is cool, very very cool indeed.

The Temptations may be first in your mind when you think of psychedelic soul, but this group, featuring former Turnkeys leader Maurice Dollison and the woman we can blame for "Lovin' You", Minnie Riperton, defined it with this single scorching, fuzzy, crunchy, swirling, doped-up masterpiece. Long-time Chess arranger Charles Stepney milks the string section for all it's worth.

This album has been called "Britain's answer to 'Pet Sounds'", and while I wouldn't necessarily agree with that, it is certainly a masterpiece of psychedelic pop, and even more impressive when you factor in that Nicholls was barely 19 when he wrote & recorded it. Nicholls was indeed influenced by Brian Wilson in his melodic construction and orchestration, however...the album's sound is very reminiscent of the pseudo-Spector work that Andrew Loog Oldham was using with Del Shannon at this period (Oldham, not so coincidentally, also produced this LP). This song in particular, with it's intricate multi-tracked harmonies really hints at the kind of promise Nicholls' career had, and had this album not been shelved at the last minute, it's anybody's guess what may have followed.

In my opinion, the best S&G song, from their '68 masterpiece "Bookends". Lyrically beautiful, with a haunting melody and beautiful vocals care of Artie and Paul. A beautiful, soothing song for a turbulant time.

It starts the LP with a blast of horns and a wail of Harry Stoneham on Organ, with a big intro that makes you check the LP sleeve - Is this really that folky ballad?

A drop down to a cowbell latin beat, and then back into the song proper. The main rendition is pretty good, but theres just something about that introduction that just turns it into a cheeseball, high kicking masterpiece. I start grinning every time I hear it, never fails to lift my spirits.

I discovered this on The Dusty Springfield Anthology 3CD set (1997) and fell in love with it instantly. Until this release Magic Garden had never been available in the U.S. and was originally released on an obscure British-only EP. The song's an absolute classic that veers between Phil Spector-esque surging pop and dreamy summer of love escapism. Truly a rediscovered lost masterpiece.

It's another doomy orchestral vocal masterpiece! A devastating piece, this would be a depressing song if it weren't for the incredible string arrangement, which is like warm sunlight. I can't recommend this (and the album it's taken from) highly enough.

An exotic, atmospheric and unique masterpiece, this is taken from the portion of surfer flick 'Follow Me' in which the surfers visit India. The tune drifts along with some sitar and spooky vocals before exploding into life with a furiously catchy and groovy segment with piano and plucked strings.

Is it just me or are the original compositions on Command LPs almost always the best and most adventurous? Here is one my all-time favorite Command recordings. A far-out, moogy masterpiece by Hyman. It's about 8 minutes long, not nearly as pop as the rest of the record, and totally brilliant. According to the liner notes, Kolumbo was improvised on the Moog and the Maestro Rhythmaster, "a mechanical drum device," fed through a Echoplex-tape reverberation unit. Improvised Moog? Is that possible? This is very strange stuff. From the liner notes: "[...] there is an effect of a battery of African drummers following an improvised soloist. The listener can provide his own scenario of what seems to be a musical battle, as a second soloist abruptly materializes, challenging the first man. At the end, the original soloist states a brief epilogue, packs up his horn, and splits."

It's hard to recommend a single track from this album, the whole thing is a classic of California pop. I'm glad it's finally been reissued on CD.

Mark Eric Malmborg created a genuine masterpiece with this recording, which has a bittersweet mood throughout that reminds me of "Pet Sounds". I originally came across this LP in 1989 when I found a copy at a thrift store (it had once been in the collection of the local public library!)and just looking at the cover I figured it would be great, and it was!

"Lynn's Baby" is the last track on the original LP and is a beautiful song about a girl who has been seduced and left with an out of wedlock baby by an older, manipulative guy who's left her after the usual empty promises...rather an unusual theme for a pop song! The combination of Mark Eric's voice (somewhat reminiscent of Brian Wilson) and the gorgeous string arrangement are enough to really bring out the goose bumps.

This CD is one that I absolutely can't recommend enough to fans of the beautiful 1960's pop music.

A breathtaking cover of the Jerry Butler classic, drawn out to 11 1/2 minutes of heartwrenching glory. A true masterpiece from Hayes' most brilliant period. Beautiful string arrangements by Dale Warren, and ghostly backing vocals make this something that you won't soon forget.

Early Zappa. This song is a masterpiece of instrumental songwriting. If you like crazy horn lines, kickin' guitar solos, and a late sixties (although the record was done in 1970) feel, you'll like this.

A bewitching song about a young woman who, to win the hand of a handsome knight, does her rival sister in. The dead girl then comes back to haunt the �black-haired bride� as a harp fashioned from her breast bone and three locks of her hair. �Cruel� may seem too kindly a description of a girl who when her sister pleads, �Oh Sister, Sister, let me live, and all that�s mine I�ll surely give� says, �It�s your own true love I have and more, but thou shalt never come ashore� before abandoning her body to the rough North Sea. Cruel? Should the sister therefore be scalded for her little� transgression? She�s an evil and monstrous sister, surely? But then this is centuries past, a time when sibling murder and human harps were commonplace. I am not likely to understand in this more civilised 21st century. Which may be why the kids don�t really dig British folk music anymore, or the mighty Pentangle. And it�s a crying shame because this is a stunning track, hauntingly sung by Jacqui McShee. I hesitate to use the term �masterpiece� in case that great oracle of musicaltaste.com, fmars, overhears and tells me that I�m wrong.

My favourite Canadian rock single of all time. It's a slow one, which starts with solo piano, picks up the acoustic guitar, then gets a heavy fuzzy guitar in the chorus that complements the melody perfectly. Then repeat! With an organ and full band. Followed by a nice guitar solo at the end! Add in some interestingly-placed key changes (which are necessary to keep it level) and you've got a masterpiece, says I. Needless to say, I'm the only person on the planet outside the artists themselves who remembers it ...

Stunning melancholy and wonderously modern opener to Gainsboroug's concept album about jailbait love, road accidents & brightly coloured rolls-royces - a masterpiece...

Here is a prime example of the endless amount of creativity this band had.
They take a song/ concept from a broadway musical, and transform it into an unparalelled, irresistable rock classic.
(That you will NEVER F*#%ing HEAR on a "Classic Rock Station" - They choose stale ClearChannel Playlists over quality & taste)

Alice & the band (his best lineup ever, 1969-74) have created a masterpiece of imaginative rock music here.

The sequence beginning with:
"...Midnight/ Catfight/ Neckbite/ ...Die!"
...and the following interlude leading up to the
'Street Fight' and including the 'Jets Chant'
is one of my favorite pieces of music EVER, by ANYONE.
I get chills to this day.
I wonder if Leonard Bernstein ever heard this, and what he thought.

I'm really blown away by this song (and this entire album), it's simply a masterpiece to my ears. A possible comparison might be to Oba, La Vem Ela by Jorge Ben (who Verocai arranged for), as the guitar chords and lush, cool tones are quite similar. This song however moves with a much greater sense of urgency, and right from the start, it a spills out like a mournful plea. As a listener, the attention to detail in the arrangement and instrumentation is obvious. The song is packed densely with sound and great short soloing, all played skillfully by a large band of famous contemporaries, whom Verocai personally recruited. There's something very magical about how the vocals and instruments combine, and how the song plays out. It feels as though you are witness to a uniquely perfect and possessed performance that would be impossible to reproduce. A beautifully moving and perfect song that leaves you craving more.

astonishingly beautiful, early 70s brazilian masterpiece. a classical piece disguised as a pop song, with a simple piano playing a wistful melody punctuated by an amazing unexpected ascending chord hook. gismonti sings the original version, with a string section and morricone-like wordless vocal backing him. for the final minute the key changes and the vocals and accompaniment stop, and the solo piano veers off into satie territory, before resolving back into the refrain. gismonti re-recorded this a few times, after finding success in europe as an avant/classical composer. this song also inspired the guitar and mandolin trio agua e vinho, who cover it on their self-titled album along with a few other gismonti compositions.

An incredibly perfect easy listening piece, this opens with an other-worldly, John-Barry-ish synth sound, and then leads into a groovy, lightly funky piano riff, with shimmering strings. Francis Lai's signature organ sound carries the tune as the song builds into a dramatic orchestral pop masterpiece. A standout track, with superb wistful, lazy, summer day feel, rather like some of the best tracks on the 'Sound Gallery' compilation of a few years ago.

This stunning instrumental is a reasonably straight version of a classical piece by Maurice Ravel, originally written in 1899. Eumir plays piano over a dense string background, adding a tiny bit of jazz phrasing. The texture of the layered strings and piano is remarkably intense and beautiful, and the piece is quite exquisite. I expect this recording would offend classical purists, but I must admit that having heard this version first, I still like it the best. Perhaps this is down to the sheer richness of the string recording, which may be endowed by studio wizardry rarely used in classical recordings. Either way, it's really quite incredible, and I urge you to check it out.

I arbitrarily chose the title track, as this is a very flowing album that needs to be listened to in one piece. Very experimental use of Brazilian sounds. It seems like Garra is the popular Valle of the period, but I give the edge on this one and Vento Sul. His other masterpiece is "Samba '68", with the best of his early compositions arranged and produced into their perfect forms by Deodato.

This is an absolutely impossible rarity, as it has never been released out of the original master-tape (until 1 year ago)! Part of the soundtrack of a 1973 Greek psychedelic underground film with the international title 'She Knew No Other Way' (local title: Children of the Flowers). However, this is not a mad freak-beat groovy tune (which is the case for most of the rest of the tunes in the soundtrack score); instead, it's a warm, classy, mid-tempo, funky jam with wah-wah guitar & sax solos and a very discreet piano backing. As a Greek, I was astounded by the discovery of this 70s funky gem from a totally unknown composer (Mike Rozakis). A true obscurity masterpiece, seek the proper vinyl release from Greek label 'Potfleur'.

What a wonderful gem of a song. It gives a "Shaft" type of feel with an fresh air feel to it. A great underated masterpiece written by the late great Curtis Mayfield for this movie. Apparently this is a forgotten track on this album and overshadowed by the sublime on and on. Break this song out during a party and you become the definition of hip. Enjoy!

This 1974, 12-minute electric-jazz masterpiece starts with an attractively sexy, slinky soprano melody and sneakily mutates into blistering solo sections played at a blinding tempo. Recorded before the word "fusion" became a tag for a tired genre this track comes from the seminal album, Headhunters. If you have ears for Hancock's cool Fender-Rhodes shadings and the Headhunter's blazing rhythmic kinetics this could be the very strongest music of this period. Harvey Mason drums brilliantly, forging new rhythms that are peculiarly unique to this recording. I don't know where he comes up with this shit; brilliantly inventive, his energy is unflagging set amidst ascending levels of white hot, mercurial tempo. Paul Jackson plays electric bass with concentrate funk phrasing, his coolly repeated ostinato line is a satisfying compliment to the hyperactivity of the chattering drums and clavinet. The track builds and as it sheds its skins each level is slightly more intense. This is a great record, ignore all the amateur web critics and get this track now!
Note: Many people seem to prefer the sequel album THRUST with the decent Mike Clark on drums. I wish it was as good or better than HEADHUNTERS but it is not.

This is by no means a new release, but I've recently gotten back in to it. Most people have a misconception about The Misfits. Yes they have recorded some very 'crap' songs, and the newly re-vised band and almost everything Danzig has done lately is complete garbage in my eyes, however the original Misfits early recordings, circa 1975-77 are simply amazing. 'Cough/ Cool' is a Hammond/ Fender Rhodes driven, atmospheric masterpiece. Danzig croons like Jim Morrison in this emotionally charged ballad(?). Granted, the lyrics are kind of dark, "scent of blood when you cough, cool, cool, cool, cough, cool ", and most of the other words are relatively indeciphrable, yet shockingly 'pretty'...at least in their tonal quality. The song is very scaled-down and under produced (organ, electric piano, bass and drums), but this is a good thing, it's part of its charm. The amount of reverb and slap-back echo on Glenn's voice is brilliant. So, I urge anyone who has never listened to The Misfits due to the forementioned reasons to get off their collective 'high horses' and give it a listen, they have some really great songs. Other good tracks from the same era include; "Return of The Fly", "She", "Hybrid Moments", "Come Back", "American Nightmare", etc...

"Kid Charlemagne" sounds like it's starting in the middle -- a little instrumental passage between stanzas, or the middle of a drug bust. Whatever it is, it works: the song drops you right into a seedy, sun-soaked, coke-fueled, sour-tasting hangover of a scene, populated by "Day-Glo freaks" and "low-rent friends."

What makes the song most memorable for me are the two all-too-brief soaring guitar solos unleashed by Larry Carlton (and drums by Bernard Purdie!), particularly the one that still echoes in the ears of the listener on the way out. That and the unforgettable couplet, bracketed in the last verse (and sung by Donald Fagen with a half-faltering note that makes it sound like undisguised joy) for maximum effect:

"Is there gas in the car?
Yes, there's gas in the car."

Sometimes it's just the slightest detail that turns a song into a masterpiece.

This song is a perfect punk masterpiece. It's short, it's superfast and it's pissed off. It doesn't get much better.

first: the whole london calling lp is a great record, a diverse masterpiece. this song reminds me of the flaming groovies 'shake some action' but it has it's own sound and the lyrics are great too.

After the split of the Young Marble Giants, Alison Statton dreamed herself as Helen Merill and ended up to be the most convincing Astrud Gilberto impersonator of the eighties. A view from her room begins as a bossa and ends in a blast of percussions.
One of the true masterpiece of the first half of this decade ans it's a shame that it is not currently available.

The Blue Nile must be one of the most enigmatic and fascinating bands of all time. Formed in Glasgow in 1981 they released just 4 albums in 23 years with 6 years between the debut "A Walk Across The Rooftops" (1983) and their sophomore effort "Hats" (1989), 7 years between this and their third album "Peace At Last" (1996) and an 8 year break until their latest record "High" was released in 2004. That sums up to a mere 33 album tracks in almost a quarter of a decade, but what they lack in quantity they make up in quality. While "Hats" is undoubtedly their masterpiece, "Tinseltown In The Rain" may be their strongest single track. Backed by a strong, funky bassline combined with jazz-like piano chords and incredibly lush strings the track shines with a wonderfully clear, sophisticated arrangement and production. Paul Buchanan delivers wonderfully emotional, heartfelt vocals to it that tinges the song in a melancholic and uplifting mood at the same time.

By late 1983, when Altered Images' third and final album, Bite, was released, Altered Images were already dead in the water. The group had never made any particular headway in the US, where their blend of Siouxsie and the Banshees and the Monkees (not to mention Claire Grogan's bizarre, baby-talk hiccup of a singing voice) was just a little too weird for mainstream tastes, and in their native UK, their colorful look and bubblegummy 1982 singles "I Could Be Happy" and "See Those Eyes" had forever typecast them as a kiddie-pop band. Grogan was already branching off in her second career as an actress (she played the title role in Bill Forsyth's 1982 cult classic Gregory's Girl), and Bite seemed like a mere contractual obligation. For the most part, it sounds like it, too, but the brilliant single "Don't Talk To Me About Love," which led off side two, was a welcome surprise, and possibly the best song they ever did. Mike Chapman's production recalls his work with Blondie, while the disco-tinged electronic beat, chicken-scratch electric guitar part and rubbery, melodic bass part all sound closer to New Order's "Blue Monday" than Bananarama's "Cruel Summer." Grogan herself is in an entirely different mood than usual, with her newly-lowered singing voice (and slightly improved enunciation) displaying a rueful, almost petulant edge that suits the cranky lyrics. Only at the very end does she shoot into her usual helium-pitched unintelligibility, with an air of "See, I can still do this, I just choose not to anymore." Coupled with the most indelible chorus of the band's entire career, it all adds up to a minor masterpiece. Sadly, however, nobody wanted to know.
(AMG)

In which Costello lands the role of Smokey Robinson,a bittersweet lament to the unluckiest man in love in the style of The Miracles at their best,the usual lyrical brilliance assisted by the wonderfully eclectic Attractions,a pop masterpiece in the form of homage to one of his own idols

fine little new wave bubblegum desperation pop song, with lyrics wich borrow heavily from the beatles' "yesterday". great bassline and some great new-wavey dance effects. not exactly a masterpiece, it's way too long and a bit clumsy in places, but it has that something that keeps me returning to it from time to time. usually when drunk at parties.

During the summer of 1985 Microdisney had already lost all illusions about their potential commercially speaking. This second album was not what people would called a long awaited one. Recorded in a chaotic way (the drum part was the last thing to be put on the tape), this is a true masterpiece from track 1 to track 10 and "Are you happy ?" is its epicenter.
Cathal Coughlan (who at the time renamed himself Blah Blah and claimed to play keyboards and plastic pubis)is now a solo artist and still one of the most beautiful voice in england. Sean O'Hagan have finally achieved success through the High Llamas and Stereolab.

A great track from a truly great LP that I fear might have slipped through the cracks in the floorboards in the decade or so since it's release. TWP's "Queer" remains the band masterpiece, an ungodly amalgam of Can, Talking Heads, Roxy Music, King Tubby and De La Soul. This song perfectly highlights the record's/band's strengths - Mark Cox's cut and paste/dub programming, Andrew Gray's blistering guitar, Mick Allen's brilliant "Tom Waits sings the Mark E. Smith Songbook" voice/words, aided by then Throwing Muses Leslie Langston's sexy bass/backgrounds vocals. The song is both seductive and sinister - the spoonful of sugar being the its' "The Fall Plays The Burt Bacharach Songbook" shambling groove that helps down the medicine that is Mick Allen's venomous lyrics in re: America's inaction/indifference in the face of the AIDS crisis. Rarely has subject matter so heavy, been dealt with in such light/deft manner. I recommend the whole "Queer" LP - particularly the British edition , which differs in tracklisting and uses of samples. (It is likewise available on the band's fine - if somewhat short - best of "Everything is Beautiful 1983-1995"

In my humble opinion, the great Aphex Twin has never again hit the highs of 1992's Selected Ambient Works 85-92. In fits and starts he's got close - but he's never managed to compete with the work here. And Heliosphan is his masterpiece. With a rumbling bass acompaniment and trademark break-beats, Aphex sleighs the listener with 4 plus minutes of choral beauty. Get in!

A masterpiece of post rock genre! cheerful, jazzy, incredible sound..it takes you to another world..

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.

I didn't know it then, but when I purchased the album 'In the Aeroplane Over the Sea' my world changed. When I put the album into my CD player, I did it with a naivete of someone who thought they'd 'heard it all.' I did it clumsily, with haste, handled like a Beatles or Beach Boys album, the way I had done for years. When I listened to the album I did it with reckless abandon while driving 38 miles per hour on my lunch break, and later in the drive-through at McDonald�s. These mistakes were inherited, and I refuse blame. They were passed through the genetic make-up of our peers and born out of the music we've been given; I didn't expect this! Well, our music has changed, and it did so without our knowing and our approval. This album proved and disproved an entire treatise of critical analysis on a generation of music that I thought I had known, and it did so with a fucking velvet sledgehammer.

The lyrics: "And one day we will die and our ashes will fly from the aeroplane over the sea, but for now we are young let us lay in the sun and count every beautiful thing we can see." More lyrics: "What a beautiful face I have found in this place that is circling all around the sun, what a beautiful dream that would flash in the screen in a blink of an eye and be gone from me." The melody: A timeless, haunting thing that was metaphysically resurrected from a wiser place. The voice: Wrenched out of the jaws of a holocaust from 50 years ago, we hear a possessed Jeff Mangum invest his soul. The sound: An apocalypse that can reinvent the turntable by it�s simplistic form; with a saw, guitar, drum, bass, horns, and lord knows what else all handled with deceptive elegance of a garage mechanic constructing a supermodel. And, lastly, the spirit: A tragedy and rape of virginity known only to the persecuted and executed; the ghost of Anne Frank materializes long enough to show us her world, and in her hands we are strangely at peace.

This song is a gift very few will experience. It is endless in its reach and should be accepted like a sibling into your collection. It will one day prove itself beyond category, but for now it is a masterful novel from the hands of a mysterious songwriter who should know how sincerely I cherish his songs.

Cathy Dennis' music is predominantly rubbish. As UK residents know, she is now the writer behind much of the teeny crap that fills the top 40 singles chart every week. But When Dreams Turn to Dust shines like a beacon amongst a fog of blandness. I bought the single for 50 pence from a charity shop in 2000. I thought I'd paid too much. I was wrong.

I was out of work at the time and looking for a job. Dennis' masterpiece is the sound of those crazy job-search days - there was a good two week period when I listened to this song continually. Hard times economically - even tougher times on the turntable...

The song has a king of warped Beatles/Byrds quality. And an amazing minor chord chorus. To top it all, she shifts the whole chorus up an octave in the final eight or so bars and kills the listener with a repetitive and insistent refrain.

Convinced by its majesty, I then bought one of her dance albums from a car boot sale for �1. Never has money been so well intentionally spent and inevitably wasted.

A masterpiece of jazz meets garage rock meets middle eastern music by a musician who constructs his own instruments out of junk. The whole album is fantastic.

I call it "THE - concept album." It's almost as if Phil Elvrum nearly single-handedly did what all others before him had tried to accomplish in attempting a thematically based musical piece of artwork. The title track from his stunning masterpiece digs deep into the thoughts of the main character as he battles life, struggles with suicide, and breaks down entirely. Besides the heart-wrenching lyrics, musically, the song is equally brilliant- utilizing both channels of the stereo to spin the listener around, sweeping organs, and a drop-dead gorgeous vocal performance all beginning with a kick ass fuzz-drone rock out featuring blazing drum fills. This songs brings me to tears every time I hear it.

Here's a great track from last years masterpiece 'When I Was Cruel'. Costello is lyrically at his best on this album and this song about the corruptness of lawyers is no exception.

If you are looking for an epic, detailed, scriptured text, infused with the basal roots of death metal, this song is it. Standing at a whopping 11:43 (minutes and seconds), this is one of the longest songs I've ever heard, apart from Dream Theater. Listen to the lyrics here, we don't have a bunch of nihilistic meatheads preaching about death and lost love, it rather contains text from the Pyramid of Unas (known as the Pyramid Texts). These texts are dated in Unas's reign, who was the last ruler of the 5th dynasty- most agree he was alive from 2375 to 2345 B.C., but as is seen on elyrics.net, some date him back to 5330 B.C. This date, combined with it's deific juggernaut of sound (perpetrated in the beginning with an echoed 'vena' intro compimented by an all mighty gong, and again in the bridge which sounds like the intro to the Dark Army from LOTR: Return of the King, with it's French horns and marcato kettle drum foundation), make for a truly musical masterpiece. This is the first death metal band I encountered whose lyrics had real meaning, origin, and context (much like DJ Cheb i Sabah's portrayal of texts from the Upanishads and the Bhagavad Gita). Listen to this the whole way through, the instrumentation is incredible, with a massive orchestrated sound about as subtle as a tidal wave. The bass drums constantly set up the rhythm for the entire work (hold the beginning, and about 8:20 through, as well as the conclusion), and the instinctive deep-throat, albeit gut lyrics add for the dark yet impressive overtone of this piece. I believe I can hear sitar, vena, and even 12-string guitar in this piece. Also, it is critical to acknowledge the chorus in the background- this really highlights the sovereign, godly quality of the song's tone. The arrangement is tight, constantly in rhythm, never behind, and well meshed together, indicating well thought-out composing. Great to listen to before a game of hockey, going to the gym, or if you are feeling weak and helpless- this piece will give you power. Enjoy it for what it is- a new, comforting taste in death metal. Listen to this piece, buy the album, and do research on Unas himself- you'll find a quite interesting history behind this ancient Egyptian ruler, which is the embodiment of Nile- their obsession with the ancient kingdom. 5 out of 5 starts for its genre.

The centre piece of Paul McCartney's 2005 album Chaos and Creation. This song is the equivalent to Dylan's Tangled Up in Blue on Blood on the Tracks. An extraordinarily personal song for McCartney and without an obvious chorus. The album is a masterpiece - all instruments played by the man - sympathetically produced by Nigel Goodrich but in the end it is the songs - fantastic. I can tell you that Lennon would approve - best ever solo album by a Beatle ... maybe but up there with Plastic Ono Band and all Things Must Pass and Ram.

You can't keep talent down is the message.

An absolute masterpiece whose deceptive simplicity always moves.

Jim James from My Morning Jacket sings this rock masterpiece with his new super-group side project Monsters of Folk (with M. Ward, Conor Oberst, and Mike Mogis). Totally catchy with a brilliant theme. Not too "hooky," but very melodic and catchy. Jim's voice will MAKE you sing along to this song every time.

cute little song about a girl stalking someone she's fallen in love with, listening to the "clip clops" of his shoes. the melody in the song is very similar to "cosmonaute" by stereo total, only more upbeat (it was written by brezel g�ring from stereo t., so i guess that's excusable). kahimi's ultra-bright voice fits this song perfectly.

(there's WAY too few sweet and uplifting songs about stalking, by the way.)