Am amazing song ... 14 minutes of pure passion. I think Kevin Rowland is one of the few singers of the past few decades who has real soul. The man MEANS IT and this song just makes my soul soar. The way it starts off with the dialogue, and the accapala singing, and then how the band just kicks in at the same moment, and your heartbeat just rises, and keeps on rising as Kevin just takes the songer higher and higher ... and sevem minutes in, just when you think it's going to finally finish, it changes completely and runs on for another seven minutes. I always feel exhasted after the song has ended ... it's such an emotional rush.

there is absolutely nothing wrong with the bass in this track, forget about Channel One and the whole history of dub, or the hi hat that gives meaning to the sweet vocal by Loretta, i'll quite happily sink into pop bliss with this tune, and forget Disco or Detroit ever existed. a peach of a lime. never has the obvious sounded so fresh.

I don't know if this has already been recommended. When you think Marvin Gaye, it's the gut-wrenching, highly emotive vocal style and incredible lyrics that immediately come to mind. This song is curious, yet not unique to Marvin in that it manages to capture those same Marvin-qualities in a purely instrumental track. The vocal version of this song is great too, and I don't mean to imply that the vocal version is somehow inferior, however the vocal and instrumental versions leave me with completely different emotional impressions. The vocal version is so much more overtly full of desire and pure lust, the instrumental version by comparison feels so much more uncertain, longing, and subtle. For me, it's the subtlety and grace of this instrumental version that make it so compelling.

beautiful
-yes-
beautiful acoustic cover of the campy iron maiden song. nice driving beat. great melancholy vibe going on, it manages to give the �berstupid lyrics some sense of metaphorical meaning.. I first heard it on the soundtrack to the film "spun" by jonas �kerlund, where it plays during the opening credits. however, i don't think there's an official soundtrack out there, but it's pretty easy to find on various file-sharing networks.

unbelievably cool track, one of my top ten gainsbourg compositions. great jazzy sex beat, smooth vocals.
it's one of his more agressive songs, similar to the also recommended "un poison violent c'est l'amour".
there seems to be a bit of a bit of a prog vibe going on (in lack of better words, i'm not exactly an expert in the technicalities of music).
nice guitar hook. though the track is pretty repetitive, it's by no means boring. the repetition only helps to make it more intense and interesting.
taken from the film le pacha. i think a lot of gainsbourg's soundtrack work is pretty interesting stuff, though some of it often seems a bit rushed or too similar to other cool compositions from the same era (hey, i'm a sucker for plagiarism...)
the soundtrack to cannabis comes especially recommended.

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.

Memory's a funny thing. Especially romantic memory.
The first time I heard this song was two days after the first time I fell in love. Everywhere I went, I sang its earnest chorus "And you are always on my mind" in my head, thinking about the one I was in love with. In the shower staring at a bottle of hair conditioner, I sang, "You are always on my mind". On the subway, trying to ignore a potential fistfight about to break out, I sang, "You are always on my mind". In the supermarket produce section, holding the perfect shape of a lemon in my hand, I sang, "You are always on my mind". I was giddy and happy and the song understood. "Hey!" the song said, "Hey!" Will Oldman sang, "I got a new partner now!"
But jacket weather set in and things grew colder and we broke up and I was miserable and I stored the CD away on a top shelf with other memorabilia of that love who's happy power was really freakin' painful for me to think about now.
Things weren't always so bleak and I got me a new love and some years later, when I listened to the song again, I noticed something about the lyrics I hadn't before. See, in reality, the song isn't joyous at all. Will Oldman is singing about a past love, a love who is always on his mind when all the time he is seeing another girl, a different girl from the one always on his mind. He can't be with that girl. He has a new partner now. What I thought was a song about new joy was a song about nostalgic loss.
I didn't see how it was possible that I had suppressed that true meaning for as long as I had, considering how often I sang the song and how much it meant to me at the time. I knew the lyrics like the back of my hand and when I listen to music I dredge up all I can get from the lyrics like I'm a devout scribe interpreting the bible.
One of the beauties of pop songs is that they take on the flavour of your life at the time you listened to them and carry that flavour on to whenever you listen to the song again, while meanwhile you're morphing and changing and discarding what songs you don't want to remember that you loved and making mixed Cd's for long cartrips of the songs you do you do want to remember. This song is weird in that IT seemed to be the one that was morphing the next time I heard it and not me, like it was a person that had changed over time that I was encountering again.
Besides which, what a fucking lovely song it is.

I think this is one of Korn's first songs to get airplay, although most people I know don't remember it. It came out during the Grunge era of the 90's.

This is not a serious, meaningful song, but it is fun! How could you not like to hear your favorite childhood nursery rhymes translated into a hardcore rock song? It's a great idea!

After singing somewhat diabolical versions of "Ring-Around-A-Rosy", "London Bridge Is Falling Down," "Mary Had A Little Lamb," etc...Jonathan Davis leads us into the main chorus:

"Nursery rhymes are said, verses in my head
Into my childhood they're spoonfed
Hidden violence revealed, darkness that seems real
Look at the pages that cause all this evil"

The most interesting thing about this song is that each rhyme has a unique style, kind of like songs within a song; and it all fits together neatly.

Fine. I like it because it's mournful and I find the lyrics intriguing. Every time I listen to it, I come up with a different theory on what it might mean. It interests me.

And why NOT recommend it if I like it? If you don't, then fine, but I'll thank you not to jump down my throat because I do.

I'd actually never heard of this band, but after having heard the song over the speakers in a bookstore I was in I went to one of the cashiers and asked her the name of it. She passed me the CD case...now it is one of my favourite tunes (to listen to and to sing!).

Very catchy reggae, simple but meaningful lyrics. And though Willie Nelson has never been tops on my favourite singers/bands list, I veyr much like the way he sings this song...and surprisingly he doesn't sound so out-of-place doing reggae. I'd like to know what other recordings of this song exist. In the meantime, listen to this version!

The percussion is VERY cool.

"Still Is Still Moving To Me"

Still is still moving to me
And I swim like a fish in the sea all the time
But if that's what it takes to be free I don't mind
Still is still moving to me
Still is still moving to me

And it's hard to explain how I feel
It won't go in words but I know that it's real
I can be moving or I can be still
But still is still moving me
Still is still moving to me

(Repeat)

"red lights mean you're leaving, white lights mean returning
tell me how this story ends and I'll keep these fires burning..."

I love this song! Despite it's content this song doesn't sound whiny or... hateful! And I love the metaphors. I think it makes songs deeper and more meaningful.

My favorite love song, or at least in the top five. I first got hooked on the version by This Mortal Coil sung by Elizabeth Frazer, and I really couldn't choose absolutely between the two. I listed Tim Buckley because he is the originator (though it was actually written by his one-time musical partner Larry Beckett). It's also now got a specially deep meaning for me because my wife and I walked down the aisle to it.

The music is so beautiful, as well as the lyrics. This song is true and very meaningful to me.

meaning and good voice

This song has a very interesting sound using steal drums among other things to create a steady and bright beat. The artist's voice is beautiful and light, combinig perfectly with the song's meaning and the instrumental parts.

this song is probably one of the best songs eminem has written, although everything he writes is amazing :) its more emotional and serious than his other songs which is cool. plus, i really like the beat, backround music,and of course, the lyrics

this song is weird but so catchy! and it can mean something else if u know what i mean haha

this band brings a whole new meaning to "who is this?!?!" They are not as well known (or well.... as listened to) as many bands from their time, but definitely a hit in "Maps".

It seems unlikely to be able to pick one song from the threepenny opera that stands out above the rest since the thing in itself is so honed to perfection (and never moreso than in the very early recordings). But as a microcosm of the whole this track (track 8) encapsulates perfectly the balance between the borrowed idiom of the popular musical style and the squalor of the lyrics. there is a jaunty middle section in which Mac recalls how he would slip out of bed to let one of the whore Jenny's clients in, mix them a drink and treat them well. Then comes a duet and they sing together of how they long to return to that whorehouse and to those happy times. At the end the music lingers with added, disconnected percussive sounds, in which time the ambivilance and ironies all resonate, creating a moment of perfection for the work as a whole, where all meaning vanishes and mere rhythm persuades.

This song has probably been done a thousand times, but this version is definitely worth listening to. To me this is pure music. Ivie Anderson's voice fits just perfectly with The Duke's music, it's as if she was meant to sing his songs.

What a magnificent performance. This album has long been considered the greatest live jazz album of all time, for a number of reasons. 1. The Lineup: Charlie Parker, Dizzy Gillespie, Charles Mingus, Bud Powell & Max Roach, each of whom was at their peak of mastery of their instruments. 2: It was recorded in Canada, so Parker's usual endorsement deal for a particular brand of saxophone was void, meaning he was able to play a special Grafton plastic sax that had been given him. 3. Parker had a clear head, since he was, for the time being, clean & sober. Any track on this album could have been my selection, but I've chosen this. The band bashes it's way through Gillespie's hit, and Bird tears everything to shreds in reaction to Dizzy's goofy vocal. A thoroughly sublime recording from start to finish. If you only own one bop album, it may as well be this.

"Pa pa pa pa pa pa pa pa pa pa pa pa pa pa pa pa pa pa pa pa pa pa pa pa pa pa pa pa pa pa pa pa pa pa pa pa pa pa pa pa pa pa pa pa ooma mow mow papa oom mow ma mow..." The Trashmen's crazed co-mingling of The Rivingtons' "Papa Oom-Mow-Mow" and "The Bird's The Word" may be the most perfect rock 'n' roll song of them all. Meaningless / beyond meaning. An atomic audio monolith. Pure drive with no purpose. A divine visitation that lives outside logic.

This is a very lively track that was produced by Bob Crewe, of Four Seasons fame (and who just might be my favourite producer of all time). It utilizes piano triplets, horns, clattering drums, and great lead and backing vocals to make a typically tight '60s track where not a moment is wasted. And it's in 6/8 time, which means it can sound straightforward but with a bit of "swing" to it, meanwhile some of the drum fills can hit on every second beat rather than every third one. There really hasn't been a better song out of Canada in these past 40 years ...

The album title is a bit of a misnomer; Muddy Waters is a gin-you-wine Blues singer, and "My John the Conqueror Root" is a triumphant Blues song. Here Muddy Waters describes his "root" as a source of confidence, power, and I think mojo. Kinda makes me wonder what he means by "root"... In any case, put this song on when you need to look hard-times straight in the eye and go'n wit yo' bad self!

Up fer listening to some snotty American teens brag about how utterly monged they all are?!... Lord, just writing that there sentence makes me want to clutch my head and groan� �well exactly, so how does no strike you?� Fair, it strikes me as fair. But hear me out. You see, these drug-addled Wailers set their braggings against a backdrop of the crankiest, mankiest rock�n�roll the wrong side of the Sonics. �Is that the tape disintegrating?�, �Do I hear the wallpaper of heaven being torn down?� No, you don�t, that�s the music. �And is that the �Satisfaction� riff honk-honking like an ocean liner in a storm?� Aye yes captain, like the truest garage rockers they filch their riffs from the big leaguers (listen to that other meisterwerk �Psychotic Reaction�). It�s a genre that favours execution over original ideas, and man the Wailers execute that �Satisfaction� riff alright. Yes, sir, by the end there�s black smoke billowing out like burning plastic. ��And I can hear a�a wicked organ swirling around in the cacophony. It sounds really big, like it was recorded in a church, you know like that Belle & Sebastian track� �Lazy Line Painter Jane�?� �well, yeah� I suppose�

�Still these lyrics though�? I cannae bear kids, ANYONE, recounting their drunken, drugged, whatever, adventures out on the town. ESPECIALLY when every other word is �crazy�. I thought psychedelic drugs were meant to expand your mind?� Well, yeah, I agree, but like when you listen to any other drug-addled teen, your brain just switches them off after a time, �out runnin� around/seein� every crazy sight� ma na na na ma na ma ma!� At least until the chorus, when the kids notice you drifting, and jolt your slumbering brain by bellowing in your ear, �HEY! We gotta be� OUT OF OUR TREE!!! OUT OF OUR TREE!�� Yes, yes, it certainly sounds like it.

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!

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.

From the Soundtrack to the movie, "Svegliati e Uccidi," which I think means wake and kill, this has a typical spy thriller sound. That's something taht I couldn't really tell you, having not grown up in the era, but when I was showing my dad a lot of the music that I've searched out, he certainly laughed a quite a few of the tracks. Still, I find the melody haunting and cool, especially that highly distorted yet delicate guitar work.

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!!

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.

The perfect theme to Roman Polanski's underrated comic horror film, The Fearless Vampire Killers. With stacked vocal harmonies, suggesting the background singers at some sort of Bulgarian black mass, floating on bat wings over a very jazzy rhythm section, this song is, at once, very creepy and very funny. I have long believed that Siouxsie and The Banshees came into existence entirely due this influence of this track. (Play it back to back with "Switch" or "Israel" or "Cascade" sometime, and you'll see what I mean.) Stereolab likewise. Broadcast or Goldfrapp could do a brilliant cover of it.

So I'm watching the finale of Survivor: Marquesas (a year ago, in May '02) and on comes this ad for The Gap with, to my utter astonishment, the guitar intro to this 1967 classic. And better yet, they got the correct version! Meaning, the one with the gritty-sounding guitars (there have been a number of inferior versions released that were re-recorded, or at least remixed badly, or something). "I See The Rain" should be quite familiar to British readers but perhaps not to Americans. Anyway, I've always loved this song, and it's the aforementioned guitar sound that makes it stand out, although those harmonies in the chorus and a just-right unhurried tempo help make it one of my faves ...

A dramatic arrangement of a often-covered song by a couple of guys whose names I see elsewhere on this site in several places. Lenny Waronker was the producer.

The band, from San Fran, was best known for its hit cover of Stephen Stills "Sit Down I Think I Love You", which is described as "a whirring music box" in the CD liner notes and indeed it blew away the dull original. "Me About You" meanwhile was covered by the Lovin' Spoonful among others.

Listening again to a compilation I made almost four years ago, I heard this magical track, which really had a big effect on me. It's probably not for everyone. Meandering and rather wistful, it's not at all funky like some of their later work, but I find it utterly compelling.

As you might have heard, Novi Singers were an incredibly talented quartet of vocal singers recording in Poland in the late 60s and 70s. They did several amazing records. This is taken from what I think was their first, Bossa Nova. But rather than renderings of songs like 'One note samba' and 'Desafinado', the album consists of a delightful and varied collection of originals in a related mood. The result is like bossa nova from a parallel, slightly more melancholic universe.

The accompaniment is a slow, gentle bossa played by a small jazz group, with some rich strings dropping in and out, and the vocals (all wordless/scat) take centre stage. The chord sequence is staggeringly beautiful, and at times the vocalists take slightly extravagant scat solos.

It sounds strange to say it, but this is really one of those tracks that seems to tell an enormous, emotional story, in spite of the fact that it doesn't contain one word! It would make a fantastic soundtrack to a silent movie.

Just discovered this cover of the Neil Diamond song on Youtube, along with several other videos by the Music Machine, and it really stunned me. It's a beautiful soft pop version of "Cherry Cherry" complete with flute solo-nothing like the other songs I've heard from the band. Nothing garagey about it at all, more in the easy listening vein...and I mean that in a good way!

Another great cover version that the Music Machine do is "Hey Joe"-their's is my favorite version of that oft-recorded chestnut.

Both shocking and extremely cool, this has to be heard to be believed - a 'rock' adapation of Rachmanninov's Prelude in C# minor which really does rock. Cy Coleman lays a huge funky breakbeat and a heavy bassline on top of the beautifully dark, doomy theme. A jazzy guitar comes in and out as the track builds. I've never heard anything quite like it (I mean that in a good way). I am now unable to hear the original piece without Cy Coleman's breakbeat!

Not everybody remembers this, but the "other" side of the famous "In-A-Gadda-Da-Vida" album featured five rather terrific songs. And this one has "cool passion" written all over it, because the lyrics are straight-ahead I'm-in-love-and-I'm-almost-tongue-tied-about-it but within a medium-paced 6/8 framework rather than a frantic groove. Meanwhile the organ and the choir-like backing vocals give it a lot of warmth. So it sounds like what I'm saying is that it manages to be both cool and warm at the same time. That may not make sense, but it's a great song off a classic LP.

Incidentally, rock writer Dave Marsh in one of his reviews said "It's now garbage" about this LP. Bullfeathers! It's still a classic. It makes me wonder what Marsh thinks is not garbage these days -- misogynous rubbish about ho's and bitches perhaps?

A charming little song which clocks in at around 35 seconds, opening the superb 'Friends' album. In a way which complements the superb Beach Boys track 'our prayer', 'meant for you' has a slight hint of a religious, hymn-like tone, with a prominent organ sound and uplifting words. The overall effect is a very warm, beautiful track which you keep wanting to hear again.

Great song with really strange lyrics on par with Love's "The Red Telephone": "Her belly button was her mouth/and she tasted what she'd speak/but the funny thing is what happened to her nose/it grew until it reached all of her toes/now when people say her feet smell they mean her nose." Another version was recorded by Lou Reed on his "Transformer" LP a few years later.

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've been looking for a Japanese song with an late 60's/early 70's loungy, yet soulful and deep sound for a while. This song by Okumura Chiyo (Japanese name order, last name first) is the closest track I've been able to find yet. The title means love slave, the beginning lyrics translate something like, "from the day I met you, I've been your love slave, I want to wrap myself around your knee like a puppy..." This song is somewhere between traditional Japanese enka and soul similar to say Nancy Holloway for example. The Japanese instrumentation blends nicely with the bleeding bass and horns. If anyone knows of any other Japanese songs in a similar vein, I'd love to hear some more recommendations.

I feel like very few people fully appreciate the music of Donovan, which is a shame because he may be the greatest musician of the psychedelic era in the 60's. Atlantis is his best song. A sort of whimsical and beautiful song which tells the story of the lost continent. Probably the best psychedelic song there is. It lacks the self-indulgent meandering that plagued the Grateful Dead, and lacks the obvious drug references of most psychedelic music. It's not overly rock and roll, but not overly folk either. A brilliant song with a very strong, beautiful melody.

wow, i mean: wow... i've been an avid nico lover for years, having acquired a deep appreciation of her via some claimed proto-goth associations. obscure subcultural praise and all that velvet underground hoop-la aside, her amazing "desertshore" was proof enough that nico was and is a uniquely powerful force in life and art. but this "roses in the snow" diddy just floored me on a first listen. the revolving, minimalist tune of her harmonium must be the loneliest, most disillusioned harmony ever played since "gloomy sunday," and the cryptically profound words the closest thing rock'n'roll ever got to the "book of job." what does this piece really mean to say? not sure really: but somehow, i think it might be something like re-reading a long-departed lover's suicide note on a warm, languid autumn day...

This is an extremely atmospheric soundtrack piece, with a wordless vocal melody from Edda Del Orso. Strings, electric harpsichord and some subtle electronic effects set the scene. There are also some beautiful Bacharach-style twists with brass. Overall it's a deadly serious and delicate number, incredibly intense, while still sounding very 'cool' (whatever that means...).

Prior to hearing her "Something" LP, I always referred to Dame Shirley as "The Godzilla of Song". By this I meant I always felt she treated a tune the way Rodan treated Tokyo, like something to be smashed underfoot. While I lived/died by her Bond themes, and such like, I never thought she was capable of nuance, restraint, and/or sexiness. Then I heard this god-like album, brilliantly produced and arranged by Johnny Harris. This cover of The Doors' song perfectly sums up the record's strengths. It's jazzy, sexy, incredibly funky, yet still totally Dame Shirley in all her over-the-top-glory. Probably the best Doors cover ever (though Nico's toxic reading of "The End", and Siouxsie and The Banshees' strangely Motown-esque version of "You're Lost Little Girl" come awfully close.)

a norwegian language version of the song "if i thought you'd ever change your mind". the instrumental part is pretty similar to the original, only a bit more stripped.
it's the vocals that really shine here. the singer, rannveig kvello, isn't all that good a singer, but her voice has an interesting quality wich adds an incredible sense of quiet desperation to the lyrics (they are pretty different from the english language version. still pretty cheesy, but with far darker overtones than the original. they remind me of glenn close's bunny boiling character in fatal attraction)
not really a fantastic recording by any means, but there's something in it that seems to tickle nerve in me.
the chances of finding this are probably pretty slim, as far as i know it's only on vinyl and was probably only available in scandinavia.(i found it while pillaging a danish flea market. )

Bid band with violins, wind instruments (? i mean saxofons or trumpets), Curtis on guitar and everything with good arrangements.

I just try NOT to spoil this one of a kind artist with my bad english. Songs in this album pour essence from racial discrimination, political and drug problems. I think this was one of those songs that made black men to organize and to gain self-respect to reclaim their human rights.

I like the thing that you really can feel that Curtis has something on his mind, something important to tell about, not just telling how to make love and have good time. This places this song above others.

People are fucked and politicians say: "don't worry" - and still there is hope. Let's hope so.

Found this sealed copy at a local thriftery, an artist i've never heard from a good period at Columbia. Most of the LP meanders in a poetic way, highlighting Spheeris's moody lyrics, sometimes getting a little too "drippy" at times. This track stands out like a champ from the rest, and was penned by a sideman on the LP, Lee Calvin Nicoli. It has such a great pop appeal, in a sort of Cat Stevens way, with a brilliant arrangement (by the author no doubt), that moves along bouncing and resting... A perfect song for a rainy sunday afternoon!

Seems this fellow died very young, and has quite a cult following from what i've read. Should be a nice discovery for fans of 70's folk. And singer-songwriter stuff.

Okay, I know what you're thinking. Rod Stewart?? But hold your horses, buckeroos! This is one incredible funky take on Rod's old show-stopper. Simtec & Wylie were a duo from Chicago who were modeled after such testifyin' '60s soul acts as Sam & Dave, Williams & Watson, Bob & Earl, Mel & Tim and the like. In the early 70s, they signed up with Gene Chandler's (of "Duke of Earl" fame) vanity label, Mister Chand. There, somebody convinced them that recording a cover of "Maggie May" would be a great idea. It was. First of all, they got rid of that exasperatingly unfunky mandolin intro from the original and replaced it with an electric guitar with heavy feedback. They also sped the tempo up considerably, transforming the whole thing from something rather cloying into a defiant statement...these boys aren't content to remember their time with Maggie, they're back to show her what they've learned in the meantime.

This track also comes from "The Very Best Of John Barry" and is the main titles from the soundtrack of the film "Follow Me" starring Mia Farrow, Topol and Michael Jayston and directed by Carol Reed in 1971. The soundtrack has only been offically released in Japan for some reason but a version can be found on the Polydor CD "The Very Best of John Barry" which in itself is a compilation of two John Barry Polydor albums released in the 70s (one of which is the fantastic "The Concert John Barry"). The track is a lush string led theme in a minor key with the Polydor version including a mandolin leading the main melody along. The film I saw many years ago and my memory of it is very vague, but I do remember enjoying it and the music really stuck with me (being directed by Carol Reed who gave us "The Third Man" means it must have had something going for it!). The soundtrack is also available as a 500 limited edition bootleg (Dark Son Records DSRJB71-01A) and includes the vocal version heard at the end credits. Like a lot of Barry's 60s output the soundtrack consists of the main theme repeated in various different styles with the exception of one or two tracks (like "The Knack" and "The Ipcress File").

Oh, my... I know that she gets played to death, and has her lion's share of recommendations on these pages, but I have to mention this one.

For an artist considered sexy in any context this really takes it high. The track just makes you wanna light the candles, pour the cava, burn the buddah, and get freaky-sticky all over the couch! I mean come on! A total love down... Reminds me of the best stuff from the Moments/Sylvia Robinson camp... Smooth smooth soul. And with one of the most sultry voices in recorded history, it's just insane.

mean.

What a strange and beautiful song! Cool-toned organ melodies played against a thick, warm, bass vein running through the entire song, complex drum backing, and the oddly distant, yet personally reflective lyrics of Karin Krog, combine to create a dream-like sound.

Alessandroni is probably best known for his characterstic whistling on Ennio Morricone's spaghetti soundtracks. Apart from that he was also one of the few sitar players at the time, guitar player, composer, arranger and the founder of the chorus group "I Cantori Moderni" that was featured on a lot of italian soundtracks of the 60s. In the early 70s he had the opportunity to record a "solo" album, not a score, with a big orchestra without any restrictions (which means it didn't had to fit the mood of a film). The result was "Prisma Sonoro" and it's very Morricone-esque stylewise and regarding the texture of the music with lush strings, horns, wordless vocals,harpsicords etc. Unfortunately it's scarcely available on vinyl, but the track "Punti di vista" was issued as "A spanish village" as a bonus track on the Hexacord release "Di Tresette Ce N'E' Uno Tutti Gli Altri Son Nessuno & Other Western Themes".

Late period Faces hint at the looser funkier sound which was calling Rod across the pond ,all the faces elements are on this slab of disco pop rock,i mean swagger ,melody ,tightness,looseness,atitude and humour and a chorus which subliminates love/lust into eight carefully chosen words .Possibly their last piece of greatness before Rod Stewart made his Atlantic crossing and headed for safer shores and leopard skin trousers .

A highly enjoyable song on many levels. Firstly, the words are ridiculous. 'Don't you know I understand you're a man, and you've got to have your kinky love' is pretty funny, but that's nothing compared to 'baby take me inside, and let the honey slide'. Musically, it's really rather charming as well, opening with just Nancy's voice and a cool watery guitar sound, building beautifully with some great strings. Even though I find myself laughing at the lyrics, she sounds very vulnerable and serious; her voice seems to break at certain points. All in all, this is really every bit as enjoyable as her superb 60s material.

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...

The score for Pasquale Festa Campanile�s mean but effective film "Autostop Rosso Sangue (Hitch Hike)" seems to be a precursor to the score for Oliver Stone�s mean and ineffective "U-Turn." On second thought, not just the score but the entire film. I wonder if Stone had seen this movie before making "U-Turn." At any rate, I�m here to talk about the music, and both films feature absolutely incredible scores by Morricone.

The arrangement here is pretty spare � I�m pretty sure that this track is mostly improvised -- and plays like a toned down spaghetti western theme. Morricone can evoke more feeling from a small group of musicians than most film composers could from an entire orchestra. The twangy banjo sounds great over the plodding bass line, and I love the subtle organ sounds. Ultimately, the real star here is Edda Dell'orso whose wordless vocals meander over it all.

The B-52's were one of several late-'70s bands for which there was no real category. With their modified surf guitar sound, their thrift-shop fashion sense, and their jokey demeanor, they certainly weren't in the rock & roll mainstream, but they exhibited none of punk's sneering rebelliousness or musical aggression, either � the only anarchy that seemed to interest the B-52's was of the sartorial variety. "Rock Lobster" was the first B-52's song to catch popular attention, and it's easy to see why. The minimalist guitar lick is like a beach-bum's rendition of the James Bond theme, the one-note organ ostinato complements it perfectly, and Fred Scheider's campy sprechgesang jumps out at you immediately. Yet despite the song's self-consciously weird texture and silly lyrics about earlobes falling off and communal towel coordination, there's a thread of darkness weaving through it. Make no mistake � this is not a song with hidden meaning lurking below the surface. But its surface is a little more complicated than it seems to be at first. For one thing, it's almost seven minutes long, and it does start to drag toward the end. Right when it does, you notice the mood getting darker � Schneider delivers lines about "having fun" and "baking in the sun" in a hoarse croak, and the guitar starts sounding repetitive in a slightly creepy way. Suddenly you realize that the whole song has been in a minor key, and as Schneider shouts and the guitar barks out its angular riff over and over, you start to wonder if maybe there's some kind of commentary going on here. But then Kate Pierson's angelic voice comes in with a surprisingly pretty falling harmony part that can only be described as a descant, which repeats several times, gradually paring itself down to a single phrase, and abruptly the song is over. The whole song ends up being a goofy party confection with a slightly crunchy center � a pretty satisfying overall flavor combination.
(AMG)

All birthday party songs are pretty much the same - start the drums, then the bass, and repeat these till the end of the song. Meanwhile, Nick rants over the top, and guitars come in at the dramatic bits. Sounds bad I know, but once you have listened to them about a hundred times, they suddenly become absolutely incredible. This is my favourite one - the unbelievably low bass line kicks in, and Nick yells such gems as "Express yourself! Say something! Say something! Like 'Er'! Or 'Um'! or 'Er'!" For about 6 minutes. Brilliant.

It's from their last studio album. It's a stand-out.

"Destination Unknown" sounds the least dated of all of Missing Persons' hits, most likely because it was their most melodically satisfying song. The fact that it's also Dale Bozzio's least mannered vocal performance, with none of her trademark hiccups, helps considerably as well. Her helium-pitched voice ? Dale Bozzio sang like a new wave Betty Boop ? keeps this song firmly in the Missing Persons tradition, but the low-key backing vocals by her male bandmates on the chorus are a nice touch. The lyrics are typically lightweight, your basic high school-level musings on alienation by someone who has just learned the word "existential" but is unclear about what it actually means, but Ken Scott's light-handed production and nice touches like the staccato programmed drum fills on the chorus make it pleasant on the ear regardless.
(AMG)

Ive only ever heard this sung in spanish and lyrically this beautiful piece of orchestrated balladry means nothing,However its hard not to be touched by the emotion of his frail almost thin voice .A friend of my wife heard this once and exclaimed "i dont know what the F--k he singing about but its so beautiful!!.As concise and accurate description if ever i heard one .

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.

absolutely stunning. this shanty-esque version of "innocent when you dream" is meant to sound like an old 78 record, complete with vinyl crackle and boxy sound.
the street organ(?) is what really makes the song for me, it gives it sort of a "pre-war coney island-style carnival documentary footage"-vibe, if you`re able to make any sense out of that. it really is an absolutely stunning track to close an album with.

"running through the graveyard
we laughed my friends and i/
we swore we`d be together
until the day we died/
until the day we died"

(often i`m a bit uncomfortable when it comes to posting lyric exerpts, in my opinion whether or not a lyric is great is too often dependent on the delivery of the lines and the feel of the music. to me, seperating the lyrics from the song can often lessen their emotional impact. does anyone else feel that way?)

Just by saying the name of the band some bells should ring. I really like the song, has a very catchy beat and some good lyrics as well. Should wacth the performance of the song in Glasgow so you know what I mean.

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

What happens when a record company dusts off an old obscure folk song from 1970 and hands it over to a British electronica band? Greatness! With an irresistable dancy beat and a great bass line, the Happy Mondays put a great spin on this old "sandals-and-granola meets Billy Jack" relic without insulting or demeaning the original song. The 1991 remix is sure to twist your melon... and the colored girls sing, "he's gonna step on you again!"

Another fast and furious assault with incendiary guitars! There's really not much more to say than that. They have a number of other great songs, like "The Well-Fed Point of View" (also on this LP, their third and best) the single "This Nelson Rockefeller" (which is on the compilation "That's All Very Well But"), and a handful on their first LP "I Am A Wallet". Their second LP had the best title, "The Enraged Will Inherit The Earth", but the weakest material.

The "MP" in the title means Member of Parliament, from which you can guess that McCarthy wrote mostly political songs. They were together from about 1985 to 1990, at which time they split up (Tim Gane and Laetitia Sadier went on to form Stereolab, of which I have a couple of CDs that so far do little for me).

This song is a great trancy piece of work! It opens with dialogue lifted from the soundtrack of the cult classic 1980 film 'Flash Gordon. "Klytus, I'm booooored.... what plaything can you offer me today?" "... the inhabtants refer to it as the planet... earth..." "how peaceful it looks"... The song then goes to a great drum break and a voice not unlike Alexander Scorby reading cryptic Bible-like phrases, "the mountains shall drop sweet wine and the hills shall melt"

A nice change from watching Wizard of Oz with the Dark Side of the Moon soundtrack, if you know what I mean...

Seriously, this one is brilliant. Nick's love song to both his new-born child and the chaotic city he was living in at the time (Sao Paulo) is an utter feast for those who love language: Nick rolls off such lines as

I thought about my friend Michel
How they rolled him in linoleum
And then shot him in the head
A bloody halo like a think bubble
Was circling his head
And I bellowed at the firmament
It looks like the rains are here to stay...

I didn't entirely get Ed Motta until I listened to this album. For me this is his perfect mix of sacred and profane styles, his soul and his jazz. Only his third album and his first two employ retro styled instrumentation, it sounds like a 1970s session from Luther Vandross without the glitzy disco production. Ed's voice sounds so great paired with the Fender Rhodes which dominates this album. The arrangements are complicated, unpredicatble but entirely accessible. Entre e Ouca, which means "Enter and Listen," has a mid-tempo disco feel with a bouncing bass line, sharp guitar lines and that rhodes. I like his newer, more challenging albums as well, but this sound immediatly speaks to me like the best crafted pop songs.

I get the impression that even a lot of Pavement fans don't know this one very well, presumably because it's on a pretty duff album (wowee zowee). However, it's one of my absolute favourite pavement songs. Musically it is very quiet - it's essentially just an acoustic guitar, though the funny noises the band make are quite entertaining. However, I really love the structure: there's nothing that can be called a verse or a chorus there - he just rambles on until he is finished. It has the full extent of Pavement's lyrics - completely ridiculous, funny, and sometimes very moving. Plus, as ever, malkmus' weirdy voice is a joy to listen to. So, if you like the pavement style - slow, quirky, funny, and often amazingly beautiful musically, and you don't know this one, you should really look into it. There's a brilliant solo version of it you can get off Napster (legally - Pavement distribute this stuff) - search for "we dance acoustic" - means you don't have to cough up for the album too.

This band is one of the tightest, most aggressive and imaginative 'hardcore' acts in modern music today.

This track would be a perfect introduction to NMN for the uninitiated listener.
If you like this one, you have about a dozen albums' worth of catching up to do.

Just marvel at the uninhibited pounding and tightly-woven rhythmic tapestries unleashed by bassist/ vocalist Rob Wright on 'Victim's Choice'.

NoMeansNo's style here can possibly be described as
'Devo Meets The Dead Kennedys'
...if one was so inclined to describe things.

This band just constantly and consistently manages to pour it on extra-tight, extra-heavy, and maniacally complex within the usually confining genre of 'Hardcore'.
(call it what you want, I am just attempting to simplify things here)

So don't be shy! This band will please a wide variety of listeners, from Jazz-Heads to Metal-Heads and many of the in-between-heads alike.

Band Website:
NoMeansNo

My obsession with this band continues. From a CD that failed to sell on ebay for 50 cents comes this amazing cut - a beautiful instrumental with prominent guitar and organ. While it's surf influenced, it goes beyond that. I'm kind of lost for words, but it's one of those 'This is the best track ever' tracks. You know what I mean?

This song was written because Billy Joel heard a little kid say that he felt sorry for the older generation because they didn't live through anything big. We Didn't Start the Fire totally disproves this fact, in the meantime creating a fantastic song.

Simmering tune about a bad breakup. Chris pulls off some of his leanest, meanest guitar work here. This was featured in Eyes Wide Shut, Stanley Kubrick's final film.

Nick Cave is one of those musicians that cannot be put into any one category in a musical sense. This song is the epitome of that. This song sounds nothing like anything else of his that I have ever listened to, yet it is distinctly Nick Cave the same way that Tom Waits is inimitably Tom Waits, even if he were to be singing "Hit Me Baby One More Time."

First of all, this song is a hidden track. You have to go looking for it. It's actually a "0" track that you have to rewind backwards from song #1 in order to find. Computers will not play this song. Many cd players will not, either. So it's fun to track down...

Then there's the music. The best description of I ever heard of The Dirty Three is that their music "sounds like music that belongs to a spaghetti western directed by David Lynch." The wailing backgroung strings evoke a sense of forlorn longing and desperate wanting, evoking an image of fallen angels reaching towards heaven...

"We were searching for the secrets of the universe
and we rounded up Demons and forced them to tell
us what it all meant.

We tied them to trees and broke them down one by one.
On a scrap of paper it wrote these words,
as we read them the sun broke through the trees.

'Dread the passage of Jesus for he will not return.' "

Look for it. The Curious and eclectic side of you won't be disappointed.

Digital Hardcore just sounds hopelessly dated now. Whether its the post-September 11th climate of antipathy to all things terrorist / anarchist, or those dusty 10,000bpm sounds, or Alec Empire's gradual metamorphosis into a footsoldier of nu-metal I guess we'll never know.

However, Patric C (the male half of EC8OR) escapes this near-universal damnation with his first album, probably because it was specifically retro in the first instance. The musical accompaniment to an imaginary computer game, The Horrible Plans Of Flex Busterman beeps and bursts at you like all the best simple timewasting game soundtracks did. This song, played toward the end of the album and meant to signify success at the digital challenge, is the finest of all; an inspired melody that is devilish in its simplicity and an absolutely perfect sound to come from a Commodore 64 or Amiga 500 (two of the "instruments" Patric C employed on this album).

It also retains a definite piss-taking attitude, which also stands it in good stead for longevity; the general earnestness of most Digital Hardcore is so difficult to stomach these days, and lightness of touch sets Patric C apart.

Starting off with the haunting echoing of steel string suspended minor chords, and quickly moving into the feeling of darkness, Floods reigns as one of the greatest metal balladry songs of all time. With a time of 6:59 (minutes and seconds), Floods deals with the internal struggle, elements of corruption, and dissolution of troubles (wash away man/ take him with the floods), that is not dismissed or watered down into a three-minute wad of sound. Pantera's pervasive composing abilities are seen not only in the length of this track, but it its bridges and structured solo set ups. Phil Anselmo delivers this song on the back of Dimebag Darrell's mighty 'steel' guitar effect, and of course the trademark bass drums and top-hat kicks of Vinnie Paul that have made Pantera so famous. The bridge perhaps extracts the greatest meaning from the song; it epitomizes itself on the power chord riff solos and Anselmo's godly muttering of "floods" (in which we can picture a Goliath or force of destruction coming in to obliterate all existence), which echoes throughout the solo. A rather dark song, Floods is characterized by its catchy guitar work (which contains a spectrum of minor and suspended shapes), and staircase wit/reflective backdrop mumbling vocals about the cold, harsh realities of life. Recommended to anyone who doubts this band's ability to do other than scream and wax metallic, Floods will not be a disappointing track. The bleak acceptance of moving onto new horizons or ways of life, leaving the old and dead behind and walking on down the road, is embodied in the ending solo, with the subtle sound of rainfall calming the listener in the end. 5 out of 5 stars for its genre.

A musical excursion through psychedelia,hip hop,country and jazz,in a compact slice of sample rich mayhem,uses Them "I Can Only Give You Everything" as its pivotal riff along side typically obscure Beck lyrics and Stooges drumming,these shambolic ingredients cook a juicy mean groove.

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.

Dave Gedge, main man in long-time British alternative band The Wedding Present, decided to do something a bit different in the latter part of the 1990s, so he enlisted girlfriend Sally Murrell and a number of musical friends and put out some really good material under the name Cinerama. The purpose was to do some less noisy, more classic-pop oriented tunes, and it worked like a charm! This track, their second single, is a sprightly '60s-influenced number, which means it's mega-tightly produced and has the rhythm guitars at the back of the mix where they belong. It also has a nifty string and piano arrangement. Lyrically it's a fantasy about a girl he wants very badly (not in real life presumably). The song is on my '90s top ten list for sure!

One of the stranger tracks on R.E.M.'s strangest album -- it borrows the melody from Leonard Cohen's "Suzanne" and sets it in a slowly building landscape of buzzing guitars and electronic beeps (it's a lot prettier than it sounds, believe me). "You want to go out Friday and you want to go forever" -- does he mean go out for a good time, or go out permanently? Stipe ain't saying...

this song is written as a dialogue between father and son. and no, it's not actually about big trucks (or tonka trucks, which is too bad, because a song about tonka truks would be pretty damn sweet). the words are phenominal. any son of a father will be able to relate to this song. maybe even girls too.

The opening track to 1999's Strange Times CD. Justin Hayward lyrically explores what it means to be British.

One of those songs that I liked upon first listen. Lisa Ekdahl is a chanteuse from Sweden who had an apparent hit with this track sometime in the 1990s. I don't recall what the words "Vem Vet" mean but according to a few Scandinavian friends, it's something silly. Listening to it now, the opening could be something from the Tijuana Brass. My favorite aspect of this track is her inflection of Vem Vet and the words preceding it. In her native Sweden she comes from a traditional jazz standards background. A few years back she released a record in English titled Lisa Ekdahl sings Salvador Poe (her boyfriend/husband) which I can't rate highly. It is just ok. She probably doesn't have cred like Nina Persson (of Cardigans fame) in the hipster scene but who cares! I see potential in this lady (who has looks to boot) and any Phil Spectors out there who have visions of "pure pop" should get their hands on her now.

Y'know...I really like the latest Dandy Warhols album, in spite of myself. I've never been able to stand them, as they are as about as close a thing to actual rock stars as we have here in Portland. As a result, there's just an awful lot of bitterness in the air. I think that I finally came to the realization that their particular brand of coke-sniffing antics are precisely what I want out of a rock & roll group. I want there to be rock stars on the grand 70s scale again. Somebody has got to inherit Mick Jagger's rightful place as the man to be. I'm not saying that Courtney Taylor should be that man, but at least he's on the right track. This song in particular...as strange as it sounds...it reminds me of the Offspring, but in a good way. And that's the way with a lot of this album. There are songs here that remind me a lot of Beck, ones that remind me a lot of Frank Black and of course the obvious Stones pastiches. In short, there's nothing earth-shatteringly original...but hasn't rock & roll always been about copying what's come before and trying to make it your own? I mean, where would the Beatles have been without Chuck Berry?

'Fault Lines' is a beautiful, slow melodic number from Radiogram's debut album 'Unbetween'.

After listening to 'Fault Lines' and 'Unbetween' it came as no great surprise to discover that this band has enjoyed great success in roots music circles in Canada and the UK.

Strangely, the 'ethereal' sound achieved by the producer [Chon] reminds me of Jane Siberry's 'When I Was a Boy'.

Before the Sugababes became just a catalogue of "epic" ballads and stylist errors they were a phenomenally good UK pop band. Not marketing themselves as slappers or party girls, they exhibited an edginess not commonly associated with mainstream chart acts. The whole first album is a miraculous hotbed of beats and songwriting that gels so unbelievably well with the girls' image that you can believe their contribution to the process was more than just the "change a word, take a third" Spice Girls school of songwriting. Overload and Run For Cover are two of my favourite singles of the last ten years.

Equally commendable (and something else, along with member Siobhan and nice clothes, that fell by the wayside come second album time) was their attention to B sides and bonus tracks. Most had a quality that rivalled the album songs and singles - and Sugababes On The Run is even better. I can see why it wouldn't fit on the album - too novelty-ish, few people can pull off a track with their own name in it - but it works perfectly as a flitty ditty about the best teen subject: being pissed off at your parents.

Nevertheless, it does has a depth to it. In its own pop way, it's examining the precipice between youth and cynicism - does getting older always mean losing your ideals?

Probably....

The sweetness of the vocals (particularly Keisha's) and the general kid sister affection of the 'Babes mean that, however much crap they release I'll still be there every new release Monday hoping for another B-side of this quality - and getting a god-awful remix instead.

Forget everything I wrote about Trojan Curfew - I have now decided that a) his new band can be pretty brilliant, and b) I slightly overrated TC - the music is astonishingly beautiful, but the lyrics are all downhill from the second verse.

Now - Church on white is the real deal. Yet more of Malkmus' beautiful, aching music (how _does_ he do it?), with his voice giving more meaning to lines such as 'carry on/ it's a marathon' than they probably deserve. The chorus of 'All you ever wanted/ was everything/ plus everything/ and the truth/ I only bought you/ half a lie' is one of his best, as is the instrumental break. His best solo effort, is my opinion for this evening at least.

Powerpop the way it�s meant to be. The opening track on canadian`s Mark Kleiner fabulous debutalbum is just as uplifting as the songtitle might imply. Piano, guitars a killerchorus and songwriting with such an effortless flow that it blows away all the recordcollecting dust that usually litters the genre.

This is probably my favourite Goo Goo Dolls song, and one of my fave songs ever. I loved it up the instant I heard it. The song has quite a simple musical structure to it - just a steady bass line, drum and a recurring guitar melody, but I love the melody and how it sounds really sad. I don't know what the lyrics are about, but most of the meaning you'll get and it's somewhat relaxing to listen to. If you're reading this, please please please check out this song because it's really sweet and deserves to be heard! =)

A great track from the excellent "solo" LP by the Portishead vocalist (actually it’s a collaboration with Paul Webb - one time member of sublime 1980's pop group Talk Talk - calling himself Rustin Man for some reason.) The arrangement suggests a low-key take on one of Bacharach/David's statelier ballads, (like say "Aprils Fools" or "Trains and Boats and Planes"), which develops a wonderfully sad groove on the chorus. There are lovely strings, a great, woozy horn solo, and some inspired use of subtle, dissonant electronic textures and spooky female background vocals (both very Ennio Morricone.) Meanwhile, Gibbons does her most stylized take on Billie Holiday at her most stylized - which really shouldn't work, but somehow ends up being just right. Strong song from a very strong album.

Now I understand,
Why words mean so much to you,
They'll never be about you..

Roddy (singer/writer) says that �American English� is about �how ever single love song ever written is written about the person who wrote it, nobody else�.

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.

insanely hard, pulsating fascist dance punk piece, easily the best song on primal scream`s uneven last album. features some mean distorted synthezisers, a gigantic bassline and some great, sneering vocals from Jim Reid of the jesus and mary chain. (am i the only one who has a problem with bobby gillespie`s singing voice?)i often find myself jumping around the house while listening to this.

One of my favourite tracks off Coldplay's second LP, this song is definitely not "Clocks", but that's a good thing. This is a slow track, one that's good for listening to on a rainy afternoon when you're feeling lethargic, or in the dark when you're feeling pensive. The guitars and percussion on this one are plaintive and comforting at the same time; the lyrics are plain and simple, yet full of meaning; and anyone who has heard Chris Martin sing and has run out and bought a Coldplay album won't be turning this track off.

A song about the Christian faith and how it's convienent for some, but crucial to others.

I just discovered this and think it is amazing. I'm not spiritual by any means, but I think it states my feelings.

The chorus says it all..

"I am a whore, I do confess, I put you on you like a wedding dress."

I love the meaning and melody of this song. It's not about love or death or anything, but about how the singer feels sorry because he doesn't spend enough time with his daughter. It always makes me feel sad listening to this because I can relate to it on a personal level. There are two versions of this song, a guitar/drum version (which I prefer), but the acoustic version is just as good and the same piano theme occurs in both.

Melancholy but hopeful. This is a gentle song, with acoustic and electric guitars, electric piano, bass, drums, and voice. Excellent lyrics, terrific mood.

There's a little story here, punctuated by flashes of images and moments.

The song is written by Henning Ohlenbusch who has worked with Chris Collingwood (Fountains of Wayne), Mark Mulcahy, and Lloyd Cole. If those names mean anything to you, then chances are you will enjoy this warm track.

So anyone who's seen The Life Aquatic with Steve Zissou or City of God will recognize Seu Jorge as the handsome, dark-skinned actor with the gravelly voice. In Life Aquatic he plays Pele, the Brazilian safety officer on board Zissou's boat and the bard that plays Portuguese language covers of David Bowie songs. Although this is changing, even in Brazil he's better known as an actor than a musician. His second solo album (he used to be in a band called Farofa Carioca), Cru, was released last fall in France and was impossibly hard to find until recently. Tive Razao was the first release from this album and is fairly representative and is the shining peak as well. Based around an acoustic guitar riff and Seu Jorge's multi-tracked vocals, the song just floats in this melancholy haze like some of the best Chico Buarqu de Hollanda ballads. The production on this song (and the album) is much more sparse than the previous album, but much more original as well. Jorge even uses what I think is a theremin to add a slight spookiness to the preceedings. The lyrics mean something like, "I had an excuse" or "I had a reason."

Full Title: Conservative Christian, Right-Wing Republican, Straight, White, American Males

--

Self-described left-leaning liberal hippie pothead troubadour Todd Snider muses about the people he considers the root of the world's problems. He's not a mean-spirited man, the liner notes for this song even mention that he loves everyone, even the conservatives he's singing about in this song.

Ethereal, cinematic soundscape, which builds to a predictable, but still thrilling climax.

A friend suggested that it sounds a bit like a classic James Bond theme, and I can see what they mean - it has got those gorgeous Barry-esque strings that come sweeping in at the 3 minute mark that just carry you away, shaken AND stirred!

This song is a very sad revelation of what it means to truly love someone. Gibbard is telling a story of what it's like to be awaiting bad news in a hospital. The piano reflects the sad realization that at some point, the person you love will die, and if you're really going to be there for them, you have to watch them. The best lyric is "but I'm thinking of what Sarah said: 'love is watching someone die.'" It's a very well written, thought-provoking song.

This song makes me want to be a proud american. It's definitely the finest antiwar song I've ever heard. It perfectly sums up my feelings about the bush administration and it conjures up the revolutionary spirit that must have been swirling around before the birth of our country.
That being said, I'm not usually that drawn towards protest songs per se. But this one grabs my attention with its drumcorps-like rhythm and its chanted vocal delivery with many layered voices. The guitar work is incredibly moving dynamic and textural. The meandering flute soloing echoes the lyrical call to "grab your fife and drum!" and then carries the song off into the sunset.
Of course, the lyrics are the most mind-blowing element when you pick them apart. After two poetically scathing verses describing the idiocy of empire, the third verse imagines the unapologetic uprising of the people. I highly recommend downloading the lyrics and getting familiar on that level. Powerful song!!!!

it's not the most beautifully written song -or the most appropriate, for that matter- but i love it for the way it was performed, the way Brendon's sometimes high-pitched vocals harmonize so well with the instruments, and its memorability. this song stuck with me for a very long time, however i am also very attached to it on account of more personal reasons.
the intellectual aspects are also what struck me as being meaningful- how often do you hear the word 'harlequin' or 'testosterone' in a song? i enjoy listening to tunes with at least some signs of intellect, rather than hearing a string of curses or slang in an entire three minutes. although there are some profanities in Lying, it's not as bad as many other songs out there, that's for sure.

however, there is a sad aspect to the song as well. apparently, it was inspired by guitarist Ryan Ross' recent breakup with his girlfriend on account of her cheating. he stated:
"At the time it felt like the world had ended. I hated everything. It affected that whole album. I guess it's good that I wrote it down. I might have stabbed somebody."

overall, i think it's a great composition, with an enjoyable melody and a catchy chorus, despite its melancholy roots.

Sound is suttle in the beginning- (a mute organ is playing)and rises gradually. Voice is insanely calming.
The song has so much meaning and it just makes you think about what's out there and it'ss my fav song write now. It's kind of a love-song- but it makes me think more?

You just need to hear this...if you value Music, of any genre, you need to listen to this as soon as you can.

Hear the sound of music
Drifting in the aisles
Elevator prozac
Stretching on for miles

The music of the future
Will not entertain
It's only meant to repress
And neutralize your brain

Soul gets squeezed out
Edges get blunt
Demographic
Gives what you want

One of the wonders of the world is going down
It\'s going down I know
It\'s one of the blunders of the world that no-one cares
No-one cares enough

Now the sound of music
Comes in silver pills
Engineered to suit you
Building cheaper thrills

The music of rebellion
Makes you wanna rage
But it\'s made by millionaires
Who are nearly twice your age

Soul gets squeezed out
Edges get blunt
Demographic
Gives what you want

One of the wonders of the world is going down
It\'s going down I know
It\'s one of the blunders of the world that no-one cares
No-one cares enough

Damn, the new Portishead LP is good!
This song mixes eerie theremin tones, acoustic and surf guitars, Kraftwerk-esque keyboards and a swell kraut-rock drumbeat.
Meanwhile Beth Gibbons drifts in from above, doing her best "Sandy Denny sings the Nico Songbook" impersonation.
Outstanding!

A really great sounding band from Chicago that knows what it means to have to have soul. There's a sing for everyone in their 2 EPs that they have release that are FREE of charge if you visit their website. www.mikegoldenandfriends.com

Happy listening =]

It's all very beautiful, but the power is particularly in the chorus and the instrumental break which follows it. I am pretty sure that Regina has heard a piece of music which I know and like, such is the strong sense of familiarity I get when I hear this short instrumental part...I mean it sounds like something I particularly like and already know. I can't place the piece at the moment, but will amend when I do...it might be something from a jazz/classical crossover albums.

Jeff Lynne does a fantastic job with the production...the sound is spectacular.

Where is the soul of America? - In these times of warring political factions putting the government in unproductive grid lock Mike Stout asks what happened to the driving American spirit that united Americans to do great things. In this bluesy slide guitar driven tune a big chorus of singers asks:
�Where is the soul of America? Where is the spirit that made you great? Where is the soul of America? We need it now more than ever today. Where�s the will, that brought the Bill of Rights to stay, The ways and means to bring about our common dreams�now?�

Hear it at http://www.reverbnation.com/mikestout/song/18784586-where-is-the-soul-of-america

The beginning of "As We Fall" starts with piano and later some synths and drums. I love the lyrics and how well Groundbreaking creates the atmosphere for the song.