nice and laid back

A perfect piece of contemporary pop music: uplifting and sunshiny, yet with the right dose of melancholia. The production is excellent, as well as the instrumentation with a very driving rhythm section, warm electric piano, guitars and horns. What makes this really stand out is the terrific string arrangement by Richard Hewson (A protegee of George Martin and quite busy arranging during the 70s) which is very floating, sweeping and lush.

The lyrical theme of �6060-842� seems pretty mundane for the B-52s. Tina goes to the ladies room, sees a phone number scrawled on the wall, and so decides to ring it. Hmm� doesn�t sound like it�s gonna be a tale the measure of �the time our car was hijacked by the devil� and the like. Still this IS the B-52s, and recognisably so, �if you�d like a very nice time, just give this number a call� reads the unlikely graffiti. So something must happen. The band are optimistic too, bouncing along excitedly on a jumpy new wave rhythm. Tina, we reckon, is much like the band. She lives for wild parties and crazy adventures. This 6060-842 could be just the ticket. �Oh my gawd! I�m gonna give that there number a ring. You see if I don�t!� So she drops a dime in the phone slot and, �prays she gets the line.� She�s biting her lip, stabbing her nails into her finger tips, �come on� come ON!!!�

But pause a moment. Is she really so na�ve? Does she really think a �really nice time� awaits her? In the gnarled and weather beaten hands of a social realist singer-songwriter, the number 6060-842 would lead to abuse, to prostitution, and ultimately, to death. In the hands of the B-52s? I don�t know, you tell me. A debauched toga party in a 1950s vision of the future�? Well, it�s neither. It�s just a brilliant anti-climax. You see Tina and the B-52a might be deranged, but the world they live in is not. It�s bloody typical. She dials 6060-842, and can�t get through! �The number�s been disconnected�� monotones the operator. But Tina won�t accept this, no, and neither will the band. They can�t end the track with Tina accepting the disappointment with a sigh of weary resignation, �ah well, nevermind� maybe next time.� No, no, this anti-climax has worked them up into an angry frenzy. Ricky Wilson vents his frustration with viscious slashes of electric guitar whilst Tina just keeps dialing and dialing, and getting rebuffed and rebuffed, �HELLO!!!� �sorry�� The track probably ends with them all smashing up the phone box. A superb, and much over-looked track.

Stunning. Atmospheric, laid back and hip mood instrumental by 'Barbarella' collaborator Charles Fox, featuring strings, picked electric guitar and some surprising chord changes.

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


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

The "Softrock Drivin'" series is a terrifically compiled collection of japanese soft rock and bossa nova gems from the late 60s/early 70s. And it clearly shows that the japanese interest in all kinds of easy listening music wasn't solely influenced by contemporaries like Burt Bacharach but by native artists as well. This track by Emma Sugimoto is a delightfully light and fluffy piece of japanese pop and sounds like a blueprint for some kind of "Shibuya-Kei" track artists like Pizzicato Five could have produced. With shimmering strings, harpiscord embellishments, slightly funky electric guitar and a wonderful trumpet on top. With the clear, transparent production and fine arrangement it's a true standout track of the series.

I've got to admit, I'm in this band. It's a throwaway 2 minute punk rock song. Hopefully you'll agree it's got some energy to it and some charm in the many lead line mistakes and catchy chorus. We tried to keep the production as lo-fi and lively as possible - but it's a problem finding a recording studio and engineer that properly understands what's required. It's been likened to the Undertones (down to Dan's voice) and Stiff Little Fingers. I think it's kind of like the Ramones - probably because of the rhythm guitar part I play in the verse. If you like it, find out more about the band at www.theelectricshocks.com

A very catchy and percussive hard funk track by Nico Gomez. Electric guitars, a chanting vocal chorus, and an enormous beat. It's wild and relentless and utterly seductive.

Just a perfect, perfect pop song. Makes you wanna dance and groove along, but at the same time it's soo unbelievably sweet and a just a liitle melancholy. It starts with a drum beat, and then there's this bass-and-drums groove for a few seconds. Then a little sweet electric piano line enters, just before the voice begins singing the melody: "I'm drinking stars up in the sky, you know where you are / I'm driving cars around your house, it seems so fun". When it's time for the chorus ("So listen to my bubble go pop / I'm coming in, I'm coming over the top"), the main voice sings over a backing vocal doing an "ooh" harmony, and then there's absolute genius backing vocal, where the word "pop" becomes "papapapa". After that, a little guitar riff/solo, along with a very cool electric piano line. Then it just repeats everything all over again one more time, for infinite happiness. The time for a middle break has arrived. A new funky bass groove with lots of different "papapa"s harmonizing together. Now, go back to the first bass-and-drums groove, with a jazzy, relaxed guitar solo, and then it's just grooves and grooves and heavenly harmonies, "Blowin' bubbles".

...more elcetro-rock but this band has Lauren from A Kiss Could Be Deadly, which instantly makes them ROCK

CHECK IT OUT:
http://www.youtube.com/watch?v=-387fmRz19E

An amazing, slow, funky cover of William Bell's classic electric blues. The whole thing serves as a great reminder of how instrumental the rhythm section of Al Jackson, Jr. & Duck Dunn was to "the Memphis Sound".

You'd be forgiven for thinking this one of Sergio Mendes' hipper tracks from his Brasil '66 or '77 period. It has that old sound to it and is really warm. It starts off breezy and builds with energy whilst Roman Andren, a young Swedish musician, composer and DJ, plays some beautiful electric piano over the top. Although it starts off with vocals over a sparse bass and electric piano combo, the vocals don't come in again until a while into the track. By the end of the track, the energy is at its most, yet still breezy, with brass, vocals and hand-claps providing a sense of a party. It's the perfect song for a summer's day or, close your eyes on a dreary winter's day and be transported.

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.

Don Ellis is a often overlooked trumpeter/bandleader. His style of jazz was most well recieved in CA, and he's most famous for his Fillmore appearances opening for people like Janis Joplin and Frank Zappa. This is a demonstration of his prowess and his ability to construct an amazing band, and take them to new heights. Recorded hot on the heels of his French Connection score, and more than a decade into his career.

The piece is a sprawling morphilogical journey, full of orchestral passages and time/tempo changes, and blissful rests. He utilizes an "Electric String Quartet", which, through the magic of studio production, sounds like a full string ensemble! Making the wole track just bristle with dark energy.

Produced by the great Teo Macero, who had been doing great work at Columbia for a long time. He did some stuff with Ramsey Lewis around the same time, as well as Miles Davis. This record also has a great version of his "French ConnectionTheme" and really entertaining versions of "Alone Again (Naturally)" & Yes's "Roundabout"!

Goldsmith's score to this (supposedly forgettable) action film is mainly in a Lalo Schifrin/John Barry bag. This track even recalls Les Baxter's best work of the era. It begins with the main theme reminiscent of Barry's "Ipcress File." I think they even use the same instrument, the cymbalum. The main them then breaks out into this beautiful, lush orchestration topped with electric organ, a funky electric bass, and a very nice backbeat. It totally sounds like "Que Mango"-era Baxter. Anyway, this track and really the entire score are very cool in their own right.

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

For those of you out there who are still perplexed by the cult of Judy, may I suggest hardily this amazing DVD? Culled from her now legendary CBS TV series in the early 1960�s, this collection features a selection of solo performances, and �Come Rain or Come Shine� sums up things here perfectly. It is a frenzied, riveting, almost frightening reading of the song. Nick Cave or Polly Harvey wish they were this intense � or perhaps (wisely) they don�t. Judy at this point is a woman ravaged by both her life - alcohol, pills, suicide attempts, catastrophic illness and innumerable career failures and comebacks - and to a certain extent her own astonishing, almost vampryric talent. To see this frail little creature � she was in her early 40�s, but looks about 60 � totter onto this empty stage and become possessed by a song - her voice soaring, her talent surging through her like high voltage electricity - is almost too much to watch. But one has to watch her � even if only to see whether see she spontaneously combusts during the performance. (And those old time Judy-queens still amongst us � God bless them � swear this footage only hints at what it was like to see her live.) Must be seen/heard to be believed.

Medium Rock ballad acoustic /electric Guitar oriented
in the spirit of The Beatles . Great string Arangement by the multi grammy winning Jimmie Haskell 'Ode To Billy Jo " " Bridge Over Troubled Water " Chicago "If you leave Me Now "

At the time a unique fusion of cold synthetic and a warmer organic fragility,following two consecitive number ones "Are Friends Electric"and "Cars" this track revealed the enormous potential of Numan,s futuristic vision.A slow piano led "ballad" with aching cello and violin parts ,sad and beautiful and if i must say utterly pleasant.

Turn the lights down, turn the volume up and just LISTEN!! Whatever mood you're in, this will enhance it. The strings are just brilliant. I've listened to this track AT LEAST once a week for 25 years and will never tire of it. The whole concept of ELO captured my imagination from theearly 70s, and although they got a bit commercialised over the years, who didn't? Some say they copied The Beatles, isn't that the sincerest form of flattery? Other bands copied ELO (Cheap trick, Huey Lewis & The News,etc.). I defy any music lover to not like this!

Opposed to the dramatic Morricone interpretation of "Se telefonando", recommended elsewhere on Musicaltaste, Mina is in a beautifully light bossa mood here on "Conversazione". And the arrangement adequately reflects this with joyful flutes, gentle electric guitar and rather muted strings.

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...

This song is great! "Fire in the Disco/Fire in the Taco Bell" It's so cheesy, but so perfect. Plus, Jack White's vocals are always slightly off-kilter. A great, great track.

dreamy, ultrascandinavian mellow forest music played on drums and electric organ. beautiful. simple melodies that make me think of mist, small cabins in the woods, owls and little lakes.
try listening to this when you're far from civilization. it's amazing.

From Ottawa, the Staccatos were Canada's best pop band of the 1960s and, with the possible exception of Strange Advance, still their best ever. This song is a bit of a clone of their biggest hit, 1967's "Half Past Midnight", right down to the lyrical preoccupation with time, but it's still worth a listen if you like that late-'60s "summer pop" sound, because its production is pretty tight and it has several neat little tricks like the best pop songs do. The flip side is called "We Go Together Well" and it's pretty good too, with its fuzzy guitars (or is it the bass?) ...

All of these tracks mentioned here were found on a 1969 LP called "Five Man Electrical Band", which is what the Staccatos had changed their name to. The LP contains both sides of the "It Never Rains On Maple Lane" / "Private Train" release which was the first under that name, but subsequent material followed a musical change of direction to what I would call "swamp rock" after that ghastly "Joy To The World" by Three Dog Night (ugh!), although "Signs" and "I'm A Stranger Here" at least had some lyrical smarts ... a CD of this stuff has been released but unfortunately the Staccatos material has not, apart from "Half Past Midnight" which showed up on a best-of-Canadian compilation.

Synth-Pop candy. Starts out with strummed clean-tone electric guitar, then the electronic beats come in w/ Amy singing in her languid way. The chorus brings Dan in answering her back. It's one of the best songs on The Cover Up, which was their break-up record. Really good contrast of drama-laden lyrics and happy pop.

A nice funky instrumental with simple blues chords. Ramsey plays electric piano, and the beat is sweet, like a lot of Cadet label stuff from the late 60s. Groovy stuff, and quite easy to come by on the reissue 2 LP - 'Inside Ramsey Lewis'.

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)

A beautifully gentle and textured version of this song, led by some great group harmony vocals. These are backed by a gentle bossa nova beat, electric harpsichord, and strings which sweep in and out. Gentle and addictive listening.

Starts out quietly, acoustic guitar playing the theme, joined quickly by discreet electric piano and stand-up bass, then Martyn's low, growly-yet-soulful voice starts repeating the chorus ("I don't wanna know about evil/Only want to know about love") like a mantra. Halfway through, the rhythm section kicks in, and you find yourself singing along to said mantra. Highly effective and very memorable.

An outstanding live reading of this song recorded by Talking Heads� �big band� on the tour to support �Remain in Light� in 1980. Augmenting their original quartet with six extra players, the sound of the group is huge and funky, but appropriately paranoid. Check out the use the of Adrian Belew�s freaky guitar textures � here between stints w/Bowie and Robert Fripp�s soon to be reformed King Crimson, and Dolette McDonald�s cinematic background vocals on the song�s break. (It�s all very Morricone-damaged, I think). And David Bryne is @ the absolute height of his powers, here.

this song just has the best feel to it!

Classic period Traffic ,soulful vocals ,jazzy electric piano and funky flute .Never soaring but gently uplifting on a sunny morning.

Incredibly breezy, silky smooth and gentle sounding tune this one. With a laid back samba rhythm, male/female wordless vocals some soft strings in the backround and some electric and acoustic guitars thrown in, this track is a great example for Martin B�ttchers superior talents as arranger and orchestrator. The whole compilation "Sound Kaleidoscope" is very well done, featuring 25 tracks from the mid 60s to the mid 70s. Highly recommended.

Nice groovy dancetrack with electric sounding guitars, trumpets and a rockbeat....

A truly incredible vocal/jazz pop track which really has everything. Os Tres Morais were (are?) a mysterious Brazilian vocal trio. Here they tackle a great Marcos Valle song, and do such a storming job of it that this may be one my very favorite tracks EVER in the whole world ever! Honestly. Until I put a sound sample up, please accept these measly words of explanation:
1. It's bouncy and smooth and has warm strings
2. It's actually quite funky as well
3. The vocal harmonies are fantastic. I don't think there are any actual words - it's all just beautiful interwoven sound
4. Someone starts playing a scratchy electric guitar rebelliously at end of the song, completely out of context with the rest of it. It sounds cool.

Piero sings in a soothing, breath-y tenor... More italian in tone than latin, although,the best comparison i've found is Luiz Henrique.His phrasing reminds me of Luiz as well,but there is no real relation.The backing has a nice spaghetti -western kind of vibe ala' Moriccone,which gives the whole thing a kind of high planes drifter setting,with plucked electric bass, strummed acoustic guitar,and occasional female chorus with a light string arrangement,Very cool.The whole record is really good,and a lot of the songs have a distinctly latin ballad feel.

Indie Pop feel. More than one singer (big group of people singing this song) fun and upbeat!
- I like this because its good to dance to when your with your friends and the lyrics are quick to learn.
- Electric guitar, keyboards,

The amount of 80s talent was really incredible on Electronic's debut single: Bernard Sumner (New Order) doing vocals and synths, Johnny Marr (Ex-The Smiths) on guitar (pulling off a wonderful solo in the middle of the song), Neil Tennant (Pet Shop Boys) providing background vocals and Anne Dudley (Art Of Noise, arranger on ABC's legendary "Lexicon Of Love") orchestrated a wonderfully lush string arrangement. The outcome is a fluffy, elegant, slightly melancholic and almost timeless piece of british pop music (except for that dated, rather bland sounding electric piano).

One of the best groups immersed in the second wave of Italian progressive bands. They were able to fluidly combine classical and avant-garde elements in an involving manner with electric and acoustic instruments complemented by light, soft vocals. Arturo Stalteri piano, organ, spinet, cembalo, synth, glockenspiel, acoustic guitar, recorder, tambourine, violin Gaio Chiocchio electric & acoustic guitar, mandoline, harpsicord, synth, shaj baja, zither tirolese, sitar, bell Jacqueline Darby voice This group was formed by piano virtuoso Arturo STALTERI , it reminds me of Schoenberg+Ennio Morricone goes to the prog church with a crisp broadcast-like vocalist (experimental). Sometimes it makes people want to skin cats.

The Devil has the best tunes they say. God's got a fair few mind. Witness this. Creamy orchestrations and big supple breakbeats meshed together artfully with vocals that are never too mannered. Production is in the familiar axlerod vein. Lovely.

"Don't you know that my hate is everlasting, baby?" The story of the Monks is the story of rock & roll...in an alternate reality, perhaps. Take a bunch of bored US servicemen stationed in Germany about to be discharged, put them in a band, and have them decide to freak out the establishment by dressing in black capes, shaving their heads into monk's tonsures and wearing nooses as neckties. Perhaps not so shocking in these days after punk rock, but this was 1965. Oh, and don't forget the electric banjo. What began as a fairly standard surf/beat combo called the Torquays mutated into this band, churning out some of the most nihilistic music you've ever heard, even by German standards.

Small song. Written by E.G. from Madreoceano, very personal lyrics. Just electric guitar, voice & crystal glasses. It feels like a soundtrack of an indie.

A beautiful guitar pop track, with superbly recorded 12 string and electric guitars, and an immaculately serious, yet shy vocal. Hearing it now, I'm amazed at how well this track has aged. To me, the beauty of the song lies more in the intricacy of its guitar parts than any musical or lyrical innovation. The guitar playing recalls the best indie guitar music of the 80s, particularly Johnny Marr. I remember seeing the band not long after this record came out. The guitarist seemed very shy, and faced the side of the stage, staring into his Rickenbacker. To cap all of this brilliance, this song features a superb fake ending, after which the instrumental refrain comes back in for a final few glorious moments.

This is an uptempo, light bossa nova vocal interpretation of this song, very much in the vein of the classic Sergio Mendes & Brasil '66 sound. Very nicely arranged male/female vocal harmonies, superb electric harpsicord and swirling, lush strings really make this version quite outstanding and contrasting to the Perry Como version, who popularized this song a year earlier.

The brief respite from all of the wild experimentation on the rest of the album, this track is Wilco gettting back to their country roots, while still exploring country's boundaries. Fun and joyful, filled with some rocking electric guitar not found on the rest of the album, this song is an much needed uptempo break on an album full of beautiful introspective ballads and acoustic sing-alongs.

This one really has everything, to me. I'm not a connoisseur of the Beatles's 'White album', but I'm completely crazy about Ramsey Lewis's superb LP in tribute to it. The entire album has a delicious balance of crisp beats, electric piano, strings, and subtle touches of moog, played by the album's producer, Charles Stepney. I've chosen 'Julia' to recommend because I enjoy the way it changes mood - opening mournful and slow, and then getting very funky. But the entire album is really packed with winners; other highlights are a wacky and extremely funky 'back in the USSR', a superb 'Dear Prudence', and a great 'cry baby cry'.

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.

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...).

Man! You really have to get up early in the morning to find tracks like this. LA big band funk, banks of brass, electric bass throbbing away, and the hard hitting Jimmy Gordon on drums! But the best part is the vocals, done it a way that makes it sound like an Odeon recording from late 60's Brazil!... Stunning. The rest of the LP is no slouch either though, and reminds me a lot of Quincy's late 60's work and the Project 3 era Enoch Light stuff.

Highly recommended to lounge DJ's and fans of mod rarities.

The song is mostly comprised of guitars, though it also features synths that provide timpanies, mallet sounds, and string sounds, as well as an electric bass guitar.

Its a really interesting arrangement and has quite a memorable main melody. The song ends with an interesting modulation (key change) that sustains the main them.

Its a beautiful rock instrumental song with a focus on arrangement, textures, and mood that you might see in a classical piece.

Reminds me of the Stone Roses without the psychedelic rock vibe.

This is one of those songs that really sounds nothing like any of the artists' other songs. This is off Lani's first solo album "Sundown Lady" and was produced by her husband and label executive Herb Alpert. The song is the first song on the album and sets the tone with a nice easy bass line accented by the tinkling of an electric piano. The real money is the combination of Lani's impassioned vocals with whoever (maybe Herb?) singing a simple male vocal complement during the chorus. The song is effortlessly funky, understated and oh-so-deep. I haven't played this song for someone who hasn't loved it.

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.

The multi-talented Dutch artists Kraak & Smaak shine in their unprecedented, soul-shaking compilation, �The Remix Sessions� due out May 29th. Named by IDJ as "one of the most incendiary live outfits," Kraak & Smaak take that crackling energy and infuse classic jams with their signature style. Music lovers everywhere will rejoice as hard-to-find tracks, many of which were only released on vinyl, join each other in this boogie-licious showcase.

From banging dance floor "Mimezine � Can't get Enough (Kraak & Smaak Remix)," to funky, midtempo "Jamiroquai � Electric Mistress (Kraak & Smaak Remix)" to eerie, internationally-infused "Skeewiff � Man of Constant Sorrow (Kraak & Smaak Remix)," Kraak & Smaak reveals their astounding vision for the possibilities of electronica. This beat-driven assembly is an invaluable resource for re-tracing the various pathways of this modern musical expression.

If you are looking for Classic but Overlooked 80's Electro Soul, look to one of Prince's girls to fill your need. Vanity, who at this time was a 'vamp' going it alone after Prince, got together with Bill Wolfer and Morris Day with a serious sound of synthesizers, clean electric guitar, and risque lyrics, making it one of the two releases from her first solo album, "Wild Animal." The grooves in the song and the french breakdown has me going wild everytime. I have loved the song since I was a little boy (when I was told that I couldn't listen to songs like that), and I don't think I will tire from it anytime soon.

Sweet fuck, what pure morning joy. I get a maximalist bliss-out every time I play this. But then, wait, what's that weird jazzy comeback at the end of the song? It's like an army of ghosts of all the happinesses I've ever had coming back to haunt me. It's too much. Holy cow, it's a beautiful day.

One of Dylan's first electric folk recordings which blended a melodic tune with imaginative lyrics which piled one image on top of another creating an almost psychodelic picture

Another amazing version of this fantastic tune. This features several very different-sounding multitracked guitars, and really is quite astounding. It feels very short at a little under 2 and a half minutes. The opening features an acoustic guitar playing a wonderfully delicate and precise rhythm, accompanied by a nice wall of strings and electric guitar hits. A twangy picked guitar plays the melody, building gradually for about a minute.

The track then explodes into a quite amazing sequence, in which a dirty-sounding fuzz guitar picks out a bassline while a manic and jazzy improvised guitar solo moves around over the top and the strings maintain some solid bluesey chords. The sound is extremely funky, and vaguely reminiscent of some tracks from the late 60s 101 strings album 'Astro Sounds from beyond the year 2000', but ends up being more tasteful. Pure genius!

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

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

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

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

"until you wake up, take off your whispers and your makeup There ere excuses to be made up So C'mon show me what you're made of..." -wishes I would have wrote that!

check it out!:
http://www.youtube.com/watch?v=aTYhHI2tsS4&feature=related

A concert performance by Dr. L. Subramaniam on the electric violin. Mesmerising.

The multi-talented Dutch artists Kraak & Smaak shine in their unprecedented, soul-shaking compilation, �The Remix Sessions� due out May 29th. Named by IDJ as "one of the most incendiary live outfits," Kraak & Smaak take that crackling energy and infuse classic jams with their signature style. Music lovers everywhere will rejoice as hard-to-find tracks, many of which were only released on vinyl, join each other in this boogie-licious showcase.

From banging dance floor "Mimezine � Can't get Enough (Kraak & Smaak Remix)," to funky, midtempo "Jamiroquai � Electric Mistress (Kraak & Smaak Remix)" to eerie, internationally-infused "Skeewiff � Man of Constant Sorrow (Kraak & Smaak Remix)," Kraak & Smaak reveals their astounding vision for the possibilities of electronica. This beat-driven assembly is an invaluable resource for re-tracing the various pathways of this modern musical expression.

It's quiet and sad, there is a smoky ride cymbal and some shakers that repeat a syncopated rhythm throughout the song, with clean electric guitars, interesting synthesized sounds, and Thom Yorke's voice carrying the melody.

So far the best thing I've heard all year! The Minders return, this time they invite us into their neighborhood by way of Golden Street. We still feel the quaint influence of Britain's great pop secrets, the Kinks, but we also hear another side of this band that has been long overdue, themselves. The Minders have discovered their voice only glimpsed at in earlier recordings. And 'Right As Rain' is as good as it gets. There is no avoiding the contagions found in the head-bopping performance, you will be infected with a fever you may never wish to recover from. Put plainly, you will love this song, guaranteed! The drumsticks click, the bass rolls in, the electric guitars whir, the beat throbs and then, in a moment of pure expectation, we hear Martyn's vocals like honey dripping from heaven. It is Martyn's voice that carries us through this song and we are disappointed when he pauses to breath. The longest pause comes during the backwards guitar solo, complete with screaming feedback and enriched by keyboards and bass. The refrain is just as exciting when Martyn returns to refill our ears with his perfect British accent. By golly, I wish you could hear it now.

The lead single from one of the Church's all time highs, the dark, powerful Priest Aura, "Ripple" was much like the album it came from - lengthy, with an emphasis on artistic impact rather than radio-friendly ease, charged with a feeling of impending, unnerving threat. The initial guitar chime and Steve Kilbey's singing may provide a familiar feeling for long-time listeners, but the edge of spite and conflict in the words carries through in the performance - Kilbey's not so much blending into the mix as suddenly slicing through it. The full arrangement almost has a touch of film noir threat to it, but not as much as the amazing chorus. Starting with a soft, almost sighed overdubbed vocal part like a mysterious signal, it literally does ripple up in the mix, sneaking up on the listener instead of turning into any kind of a singalong. It's the same approach as with "Under the Milky Way," but the air here is less elegant melancholia and more unsettling electric charge, extra guitar feedback carving arcs through the arrangement, instrumental breaks providing only short, temporary relief.
(AMG)

I think this one was recorded in '79...It was released late that year and peaked (at least in the US) in 1980.

Strikes a perfect balance between simplicity (Forbert's a singer-songwriter type) and complexity (there are several sections mixed and matched). Probably my favorite of the 1980s.

You've likely heard this song if you were listening to Pop music in 1980; it also received Adult Contemporary and Rock airplay. It has a beautify piano introduction which is repeated throughout. The intro piano gives way to a piaon-acoustic guitar-bass-drumkit backing to Forbert's vocals; later embellishments include backing singers, organ, and electric guitar.

Anyone heard this one?

An obvious selection for a favorite track but nonetheless truly deserved. I nearly wet my pants when I heard this track and immediately went up to the dj to ask what it was. I ran out to the record shops in town looking for it and finally found a copy a week later. That was exactly one year ago, this month, March 2001. Its repetitive cymbal/drum shimmy, combined with the samples of "I want you to get together" and "put your hands together one time" begins this journey of jazzy dancefloor heaven. Then the real electricity of the tune begins and yes its otherworldly. Slowly, the house beat teases its way into the song, until it can't take it anymore and the shit hits the fan!! If you don't know it, listen to it and see if you agree.

Janko Nilovic deserves attention. He composed a huge volume of library music in the 1960s and 70s, and what I've heard of his work has all been excellent. Some of it has recently been made available on CD by the Cosmic Sounds label, who are also releasing new work by him. It's hard to sum up his work, because it was quite diverse. From what I've heard, Nilovic was like a jazzier, more wild version of other contemporary library composers like Roger Roger and Nino Nardini.

This is a wonderful instrumental that opens with a bare breakbeat. This is soon joined by bass and electric guitar, which then give way to a Morricone-style harpsichord, which riffs over a descending minor chord sequence. The whole thing remains funky and slightly menacing as different parts drop in and out. The whole piece is really just a simple jam, but the impeccable arrangement takes it to a higher level.

An alternately stalking and storming rendition of the Donovan tune, featuring Vinnie Bell on electric sitar and tabla flavorings from Ed Shaugnessy (!). Jazz/funk firepower minus the fusion wank.

clever, literate pop with a nice brassy, 60's feel from Scotland's greatest asset. a 3 minute pop song to die for

This song is on one of Jorge Bens best records: O Bidu (Silencio No Brooklin) from 1967. This Brooklin is a district in the city of São Paulo, not New Yorks neighbourhood. In this period of his career Jorge Ben had moved from Rio de Janeiro to São Paulo. He was the first to use the electric guitar in samba. His previous records were all recorded with a acoustic guitar and had a more classical Bossa Nova and Samba sound. "Si manda" is a great up-tempo Samba Rock track with a powerful beat and electric rhythm guitar. This record and this song in particluar must have had a big influence on the Tropicalia movement and a band like Os Mutantes.

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.

The first real signs of brilliance from this most under rated outfit .Once directionless and too eclectic "Suburban Berlin" is born into an electric piano intro and clipped guitars and grows into a fully formed performance soon after,Sylvians odd sounding voice begining to make more sense .Calm ,cool and collected

An unusual Marcos track, a 9-minute instrumental suite tucked away at the end of one of his most adventurous albums. Hugely recommended to Axelrod/Electric Prunes fans, as it sounds almost exactly like something from "Release Of An Oath" or "Mass In F Minor."

Try to remove this from all the boring "classic rock" trappings its acquired over the years. Appreciate what a fascinatingly strange combination of overheated pop, symphonic grandeur, and rock-ish muscle this is. So 1977, yet so timeless. Thank you.

Perky British beat-era novelty hit with great Vic Flick-style twanging guitars and weezy organ. Somehow there's something very distinctive and appealing about the way the guitars sound on UK records before the Beatles. Sort of plonky-plonk deadpan with a slight electric fizz. Or does that just sound silly?

The real beginning of Scott Walkers heavyweight reputation as avant garde miserabalist,droning synths fall apart at the explosive chorus and then drone again before dignified strings take you to another place before once again you come back to a fading drone ,exhausting ,exhilarating and uncomfortable but a genuine new musical territory at the time ,its influence can be heard on Bowie,s "Cat People",Japans "Ghosts" and even "In The Air Tonight" by Phil Collins ,(that tense guarded intro morphing into something more open and glorious through various layers ).
Buried at the end of an ill advised Walker Brothers album Nite Flights this is essential.

The first track on the seminal 'Headless Heroes of the Apocalypse' LP McDaniels cut in 1971 is the most furious and energetic of the album. Spiritual afro-soul-rock with a politically aware attitude. A very 'dirty' psychedelic electric bass guitar with a top-class drummer (Alphonse Mouzon) comprise a hard-hitting rhythm section to remember. I prefer this very bluesy track over the more obvious selections from this top-notch release, e.g. the haunting Jagger the Dagger, and Freedom Death Dance.

Club 8, consisting of songwriter and multi-instrumentalist Johan Angergaard and vcalist Karolina Komstedt, started of in the mid 90s with a twee indie pop sound, with jangly guitars (Angergaard being a major Smiths fan) and simple instrumetation. With the release of their self- titled album in 2001 they added some electronica without losing the general tone of their music which is basically well crafted, melodic, gentle, airy, etheral, melancholic indie pop. Karolina Komstedt vocals are quite similar to early Nina Person of The Cardigans or Claudine Longet in their airy, angelic, dreamlike delivery. "The Next Step You'll Take" is a bossa nova influenced track, with gentle acoustic and electric guitars, some percussion and vibraphone. Nothing groundbreaking, but they combine well known elements in such a charming, delicate way i find them hard to resist.

I'm into blonde women, always have been. Perhaps I share a kindship with the late great Jeff Buckley. I can just imagine where he's coming from, standing on stage, electric guitar amped to rock, all that power in his hands, peering out through the crowd into a yard of blonde girls. How wonderfully empowering! Just think of it? A young man in his prime slashing power chords in front of a legion of women, and leaving this song to remind us of what it's like to live this mythical life. I sing along, dreaming of what it would have been like as a rock star, what kind of pleasure could I derive from the world?

Jeff has certainly proven and disproven his own stylings from the seminal album, Grace, to the somewhat obscure and fragile My Sweetheart the Drunk. What could have been still reverberates through my mind when listening to this song in particular. Its compelling simplicity and catchy chorus, "very sexy, very sexy, okay, okay" beckons my blonde girlfriend to break out into song. The slow thrust of crunching guitars, standard rock 4/4 time, heavy drums sitting on every beat - it's almost glam, almost British invasion, almost cock-rock, but Buckley style. And yes, very sexy, very sexy. Trust me guys, girls will love this song!

The song is somewhat reminiscent of their earlier output, featuring grand piano and more strings than their past few singles. Beautiful song by a brilliant band.

"I've got a ticket to the moon, but i'd rather see the sunshine in your eyes"

A colorful "crime jazz" soundtrack piece that is considerably different from the "Schoolgirl Report" scores for which Wilden is better known. Wilden makes great use of the Harpsichord here pitting against electric guitar.

Any label searching for the perfect pop cover to resurrect from the forgotten early-90s (as with "There She Goes") would do well to give several listens to this equally bustling-yet-melodic paean to the bittersweet tang of youthful somethingorothers. Jangling electric guitars, singalong choruses (it doesn't get any easier than "come and see/trampoline"), mumbling, presumably insightful scatting over the reprise, layered harmonies, and a throwback yowling guitar solo. Merely sneering, "I already have one Oasis album," does not excuse you from the obligation to hear and love this song!!!

One of those superb rock instrumental tracks which I think my fellow musical taster Delicado would describe as "Miketastic". Led by a series of driven electric guitar sounds over an overlaid backing of mellotron string and keyboard pads, it's richly expressive. The LP contains several strong songs and could well be his best yet.

This is Mendes' take on Viola Enluarada, one of my favourite Marcos Valle tunes, and what a beautiful interpretation this one is: starting of with just electric piano it later comes into full gear with a wonderful Dave Grusin orchestral arrangement including lush strings, flutes, trumpets and some harp embellishments.

Who'd have guessed that Eddy "Electric Avenue" Grant had been in such an awesome psychedelic pop band? I'm not entirely sure what this song is about (Sex? Racecars? Paper towels?), but I do so love it.

I think this is one of the most beatiful songs. The way how it have been made two guitars leading acoustic steel and solo electrick. I don`t know what else to say i almost cry everytime i listen this song.

Excellently arranged, male fronted vocal Electro Pop.

Another of my favorite Beach Boys tracks, 'warmth of the sun' is a haunting ballad, sung astoundingly beautifully (Carl Wilson does the lead vocals) over a twangy picked electric guitar. From the astounding album 'Shut down vol. 2' which also gave us 'Don't Worry Baby'! 6 years ago I thought that the Beach Boys were pretty much 'Surfin' USA and other surfer hits'. I'm glad I was able to get beyond this - there's so much to discover!

An outstanding version of this much covered Jobim tune by japanese singer Akiko with Corinne Drewery of Swing Out Sister providing guest vocals. Starts out light and fluffy it later gets into full gear with electric harpsicord, orchestra, percussion, saxophone and a massive background chorus all blended together wonderfully by Paul Staveley O'Duffy (who also produced all but one Swing Out Sister records).

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

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

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

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

It's rare when a song can make you cry, at least in my case. This one always seems to shake something loose inside, some glacier of residule emotions or something. Nevertheless, this song has that certain something for me. Written by the more than capable Mr.Webb,and brought to life by Walter Wanderley on electric harpsichord alongside Don Sebesky's crush-velvet arrangements.The vocalists sound like they did the whole piece in one take, without fixing anything,to give it this dreamy adolescent quality,bathed in swirling soft lights...This record is one of the best of the A&M/CTI collaborations, bringing the best of both worlds together seamlessly... Magic stuff!

I still find this song as compelling as I did ten years ago. It's simple, crisp, and beautiful, opening with an other-worldly high-pitched vocal hum which is soon joined by a picked electric guitar sound and some tight drums. It's really nothing like anything else I like, but somehow the shouted vocals and indie-rock setting really appeal to me on this track. One of 20 or 30 songs which transport me back to my late teens amazingly vividly.

A wonderful guitar based pop song which strongly evokes the early 90s to me. The guitar work is superb - a clean electric sound with the kind of fast strumming I love (and used to try and imitate). It's an optimistic and uplifting track - check it out! The Peel session version sounds the best to me, but that's probably because I heard it first. At one stage Mark Edwards had made this available online.

Arguably one of the greatest pop songs of all time. The title song from the 40's meets 80's musical film disaster, Xanadu. The Electric Light Orchestra provided half of the soundtrack (the only part really worth listening to) and it's really good.

Absolute beauty. A soulful chastisement about not winning, not breaking even, and not getting out of the game. Vocals as pure as morphine from the poppy, and just as hedonistically addictive.

This stunning Southern soul platter features virtuoso brass and drums, as well as what is possibly the only acceptable squealing electric guitar riff in recorded music.

I love this song so damn much.

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

great electronic effects-laden psychedelia from their 1969 album "an electric storm". a spooky and beautiful track with lots of echo and spacy non-melodic digressions. oddly, it stays quite coherent despite all the insane stuff going on in the background. Female singer, beautyful breathy voice, kind of a "nico light-" thing going on.
the track "firebird" from the same album is also highly recommended.

by the way, i�m pretty sure each member of broadcast have their own copy of this album. The song "marooned" on wire's 1978 album "chairs missing" shares some melodic qualities with this track. would probably sound great if mixed together..

(if you're interested in aquiring the whole album, it�s pretty hard to come by, at least in vinyl form. i think it's been reissued on cd by some obscure label, but as i only have a cd-r copy, i'm not sure. side a is very good, but from what i heard they ran out of studio time, forcing them to make side b a bit more...shall we say, "experimental" in order to make it lp lenghth...)