From their 1st album; anyone can relate to the feelings inherent in the song...."you've been double-crossing me". Also check out "Trouble, Trouble" (song about drinking). 2 fantastic songs that were never played on the radio. If I was a DJ they would have been!

This is (for me) one of the greatest songs of love ever written. The song describes the appearance of a goddess among women and is pure (if at times naive) poetry. The arrangement is simple lead and rhythm guitars and bass with an organ giving a more filled out feeling from the second verse and violin in the fourth. The tone is melancholy but happy, as if the singer is basking in the light of this most beautiful woman. It must have been written for someone, someone lucky to be thought so beautiful. But there is sadness in that the singer may be singing of his unrequited love. Some of the alliteration is fantastic too.

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

A crooning Bryan Ferry (what else?), Odd timing (as all songs in this album), some classical instruments. Overall, an impassioned statement, sung very persuasively.

My favorite song of all time! I can listen to this one recorded song a million times and get the same feeling every time I hear it. It makes me feel inspired.

Ray Charles makes any song that he sings his own. This song is certainly no exception. I've heard several versions over the years but none of them can compare to Mr. Charles'. Sitting at the piano and backed by an orchestra, Ray sings this song with an intimate feeling that nobody can match! The boxset that Rhino put out in 1997 is a great compilation that features tracks from several labels that Ray Charles has recorded for over the years and is worth every penny!!!

My personal favorite version of this song. Cilla Black has a very rich and powerful voice that is just right! She sings it with much more feeling than Dionne Warwick's more popular version a year later. Burt Bacharach originally wanted to use this recording on the soundtrack to the film 'Alfie', but Ms. Black declined.

This is Billie Holiday at her absolute best, or worst, depending on your point of view. I personally consider it her best. She sings this song with a feeling of absolute devotion and love. With only months to live, Billie Holiday made her final recording for MGM records in March 1959. Years of abuse thru drugs and bad relationships had left both her voice and body only shadows of their former selves. However, what she no longer retained vocally, she more than made up for emotionally. Her battered voice and life experience allowed for the feelings to shine thru in a way that she couldn't have possessed in her younger years and for this reason, I fall into the group that prefers her latter recordings over the earlier ones. I am the happy owner of a 10-cd boxset of her complete recordings for the Verve and MGM labels which includes outtakes and incomplete tracks recorded between 1945 and 1959. It's one of the few things I will grab if I have to evacuate my apartment in an emergency...

Barbara Lewis was famous earlier in the sixties for 'Hello Stranger.' This is simple, soulful pop music with a very cool production: crisp drums and nicely orchestrated woodwind on top of rhythmic guitars. Somehow the charm of the recording overrides any feeling that the chord sequence is slightly obvious. Barbara's voice is beautiful here: emotional, yet understated. A small female choir comes in to accompany her at various points. The song is remarkably tight and catchy, with a prominent bass part driving it on. The producer at Stax for this record was Ollie McLaughlin, and I'm now looking out for more stuff that he worked on.

It's beautifully orchestrated. The first few notes set the tone of the song automatically. The introduction has guitar, and drums kick in slowly, making a punch to the ears. It makes me want to drive slowly through a desert (which I am from Arizona) while the full moon is out, windows rolled down and the warm summer air drifting through them. Amazing song. Really does hit home for me.

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.

Easy lovin', reminds you of than warm fuzzy sunshine love feelings you get when with that special companion, just nice groovin' love tunes, "let go of your heart, let go of your head"

An amazingly warm and funky cover of the Chicago song 'feelings'. I know that doesn't sound like a recipe for success, but it really is very cool. The song degenerates into a huge jamming session at the end and carries on for 9 minutes. But it's storming stuff!

From a career supplying funky/hunky, cheezy/sleazy grooves to a series of late Sixties/early Seventies German soft-core flicks, Gert recently apeared on "Eurotrash"...perfect music for when you're feeling a little "saucy", in the European parlance.

From a time when soul was shaking hands with disco,on this beautiful midtempo ballad the two genres are happy to live in a harmony.This is a track that is allowed to build upon a soft disco beat layer by layer ,a deceptive melody allows optimism to drip drip then flood your senses,leaving you feeling good about life and for once a song that is as long as you want it to be.A song that somehow takes you high without leaving its musical ground .

Great summer feeling !

one of my fave soul songs. i like everything about it. the tempo, the romantic feeling (ok, i'm kinda drunk at the moment...), the guitar licks...

this is how 'lounge' can sound. Large sound, excellent vocals, unique lyrics. This song has a romantic feeling and would be excellent for a night at home with your special someone.
Try it out..

Well it bugs me beyond words that I can never find out which album this song came from but I love it nonetheless. It's the first C&C song I heard and one I loved the first time I heard it.

It's probably one of the most atmospheric songs I've heard that conjures up images of an autumn landscape, of someone wandering in a wood, feeling lost and staring at the sky. I don't know why the music makes me think of these things but it just does. The song is quite slow and calm to begin with, then picks up and crescendoes at the chorus/bridge and the guitar playing goes through some changes. It's a really unusual song and definitely recommended!

I didn't know anything about 'The Lion In Winter' from 1968 until a few days ago. I had the TV on in the background when my attention was grabbed by one particular song in the movie. "That must be John Barry's work", I thought to my self. His use of strings and trumpets are unmisstakable -- and surely I was correct!

'Chinon / Eleanor's Arrival' has the same type of sound as Barry's later soundtracks such as 'Moonraker', 'High Road to China' and 'Out of Africa'. In fact, I first thought I was listening to a passage from 'Moonraker' when I heard this song the first time. The arrangement is brilliant, the lush rich strings, trumpet and female- male choir really makes this song stand out. It has a very majestic, grand feeling to it and it really fits the scene it is used for in the movie.

A nice a capella version of my favorite Gilbert O'Sullivan song, in a very full arrangement reminiscent of the Swingle Singers, with whom they share a member. Lyrically, the song is an antidote to the sleazy feeling I get from Rod Stewart's "tonight's the night". I used to think they shared a theme of pedophilia until I listened closer. I got this on a Japanese collection put together by Toru Hashimoto, probably the greatest compiler ever. He puts together all the Cafe Apres Midi (perfect!) and Free Soul (quite nice) collections. They can be had for $25 a pop from the Dusty Groove site, which seems high for a single disc, but they are all close to eighty minutes and packed with great songs which have lead me to several thousands of dollars worth of related purchases in the last few years. Gilbert O'Sullivan's stuff is worth looking into if you have an ear for it, and there is a nice cheap two disc collection on JVC Japan.

it's a very beautiful song!! The piano in the background is sooo soulful!
I think, beyoncé sings in this song about her true experiences and feelings.

This is a strange song and it hits me in a strange place. The melody is very pretty, yet complex and unexpected and there are odd washes of moog at times. It's a Christmas song and has a Christmas feeling but not the familiar fireside one. Instead it's the cold alien blank expanse of snow and that pulse of stars. Kate Bush is a genius at creating this precise, complicated emotional terrain. Also, being a genius requires you to risk making a fool of yourself and Kate Bush certainly isn't afraid to do that. She's like that eccentric high school drama teacher I never had. In this song she turns herself into the snow that falls over the white city. "Jumpin' down with my paraCHUTE! Oh see how I fall."

this song plays a real role in my life because alot of the time i feel this way and its nice to listen to somebody else describe your feelings in a song

The balance of beautiful, introspective lyrics (which are mostly spoken rather than sung), and lonely instrumentation combine to create a top-notch stunner. As a whole the album Dinner Music is a very eclectic and interesting assortment of songs. I wish "the lights wouldn't turn low and it wouldn't be time to go", but the way this song captures the feeling of yearning and melancholy is absolutely perfect.

One of former drummer Brian Bennett's best tracks. Mellow space funk with synthesizers, a deep bassline and weird sounds. Almost gives the feeling of floating around in space.

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!!!!

If you're ever depressed and feeling really low, just put this song on... and everything will be ok. Inspiring and incredibly beautiful.

A strange instrumental which borrows the melody from the first line or two of "Strangers In The Night" and repeats it obsessively without really getting past the "wond'ring in the night" part. The intense, driving arrangement along with the incomplete melody give this track a creepy, tragic feeling which I find really enthralling.


This is from an odd bootleg-ish compilation with no real track information given. The first volume of this series was okay but sounded like it was mastered directly from the audio track of old adult films. The sound quality and selection on this volume is much better. My best guess is that these are sound library recordings that may or may not have actually appeared in adult films. Anyone know the real artist or source of this track?

Given the recent reevaluation of "mainstream" 60s pop acts such as the Association, the Monkees & Free Design, it seems a shame that more people aren't aware of how great the Grassroots were. Best known for their oldies-radio staples "Midnight Confessions" and "Let's Live for Today", they were purveyors of great well-crafted, country-rock-tinged pop music. This track is a perfect example, deftly combining vibes, mandolin, handclaps, fuzz guitar and terrific lyrics into an inimitable 60s L.A. sound. Check them out, it's high time that they got their due. And a special note for all you trainspotters out there...you can see the band perform this song in the 1968 Doris Day vehicle "With Six You Get Egg Roll".

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.

The second in a series of instrumental tracks all sharing the same name as the band which appeared on different albums by them.

What do I like about it? I like the fact that I have the same feeling some of the best Genesis gives me that these guys have really absorbed some of what I find appealing about classical music and fused it with something rocky.

"this is so real, it's what i feel. i look in your eyes and lose myself" this song is a great dream-poppy ditty about someone falling in love with falling in love... which is kind of cheesy in a sense... but Lush just does it so amazingly. I really like how this band really embraces their girly-ness and doesn't try to act like their trying to keep up with the boys as many female-led bands from their era were doing. the background vocals are amazingly beautiful as are the guitar solos. There's a nice, lush, romantic feeling received from listening to this song. the imagery from the aforementioned lyric is very nice as well.

this is an interesting song with a good feeling to it.

Another track from pre-Dare Human League. This is the League's version of Ennio Morricone's Funeral March from Sergio Leone's 1969 western, Once Upon A Time In The West. Like the League's interpretation of You've Lost That Loving Feeling, the track a is slow-paced, electronic beauty.

It was originally recorded in the late 1970s and received its first public airing on the recently released The Golden Hour Of The Future.

This album, actually credited to The Future and The Human League, compiles recordings made between 1977 and the moment The Human League signed to Virgin Records in 1979. The Future is The Human League's first name.

Ooh, get me away from here, I'm dying,
play me a song to set me free..

Alternative folkish. The lyrics are kind of random, which I like. I like the general feeling of this song.

The soundtrack to my life.
With standard rock setup, bass, drums and guitar as well as an additional pedal steel ogh makes truly beautiful music. Don�t be fooled by the pedal steel...this is far from all the Wilco wannabes. Logh creates feelings.

I became able to vote about a week after the UK Conservative party had just won a fourth straight election victory. For me, this song just captures those feelings of utter frustration and anger which I was feeling at the time:
 
'3rd week with the jar you find
everything dies
we won't vote conservative
because we never have
everyone lies, everyone lies!'
 
It ends with Morrissey basically giving up on the country, singing 'We look to Los Angeles/ For the language we use/ London is dead, London is dead.' Even listening to it now, it takes me straight back to what was a pretty grim time for me, and - frankly - Britain.

I've come to really like this band, but when I first heard them, I wasn't so keen. Like many great bands, Hefner feature a highly distinctive singer, who can take some time to grow on you. This simple 3 and a half minute pop song has an engaging arrangement, in which the piano, drums and guitar are superbly complemented in the chorus by synth, brass, and some great backing vocals. The chorus is quite glorious, with a chord sequence that somehow reminds me of the group Mercury Rev's very best songs. The words go very well with the emotional music as well: 'Lost feelings of love come flooding back/Every time you cry/ you give me little heart attacks/Love seems strongest when it's new/but that's something I can't prove/I can't prove that I love you...'

The only other reference point that occurs to me is Pulp - as the song builds, lead singer Darren Hayman's delivery becomes ever more exhuberant, like that of Jarvis Cocker in the best Pulp songs. Looking at the CD, I notice that the excellent backing vocals are by Amelia Fletcher, who if I remember correctly did some Wedding Present backing vocals, and was the singer in the Sarah records band 'Heavenly'. Anyway, this is a really infectious track, highly recommended.

He's a psychobilly from the woods. His bearded figure foraged out to tell you what he saw, and he's pared his story down to the bare essentials so that his story is your story. "Over the hill, like always you know/ where Billy and Frankie and Henry and Joe/ they beat and broke me hard and slow/ to prove that I was nobody." His wound is your wound, and you follow the lyrics through as he wonders what gave him his redemption. And though you never thought of yourself as having found redemption per se, it seems like you must have. Essentially, Bonnie Prince Billy makes boys cry.

" It's difficult to place MOS in a genre as the song structures are unique, often complex. At the same time there are always the pop elements of catchy melodies and loads of harmony. Even though there are only two of them, they fill up the space with the monster, bass-heavy organ, creative drumming, and constant dueling vocals. The music can be sweet. At other times it's spastic, but either way, you leave MOS shows with a warm feeling.



Mates of State has been described by critics as unabashed joy, honesty at its best, a two piece with balls, and a band that you must see live. " (taken from official website)







amazing.

Stunning late seventies reggae. maybe it's Blood and Fire's tasty design that makes the whole album feel like it was released for the first time yesterday, but I suspect it has more to do with the amazingly clean and timeless production. At any rate this song in particular brings me a feeling of great happiness and well-being.

Sublime lead and backing vocals with a bass line worthy of deep praise and adoration and lead guitar by the peerless Ernest Ranglin. A beautiful song.

Thanks to robert[o] for bringing this song to my mind. This is my favorite of all of Shirley Bassey's recordings. Her powerful voice is perfectly suited for this deeply emotional track from the hit musical "Jesus Christ Superstar". Backed by lush orchestrations, Shirley hits the notes perfectly and her fabulous vibrato captures the feelings of the song.

This is a beautiful cover of the song by the Ronettes, sung ever so sweetly by Beth Orton. She is accompanied by an acoustic guitar. It's very simple and beautiful. The song mourns a lost love, a feeling with which I think we can all identify. "I wish I never saw the sunshine...because then maybe...I wouldn't mind the rain"

You're the closest to heaven that I'll ever be,
And I don't want to go home right now..

This song always leaves me feeling emotionally shaken, but in a good way. The lyrics are really powerful.

The sound is amazing; the guitar sounds great.
One of the other instruments used is a mandolin.

Definately one of my favourite songs.

This is my favourite song of all time. I can really identify with a song about a girl who wants to sleep all the time and dream about horses. Whenever I'm feeling down, I listen to this song and the trumpet line always makes me feel a bit better.

calming. pop/rock. about relationships.

The first song on their first CD, and a great one it is. It's hard to listen to it without feeling happy and � energized. And not in a superficial way, either. It's just so happy, and so powerful, and SO HAPPY. Honestly *happy*, too, not just cheerful. It's wonderful.

an elliott smith cover.. but i think i like this arangement better.. it was on to:elliott from:portland.. an elliott smith tribute album.. i'd have to say.. it's wonderful.. but the original has a lot more feeling.. musically this one is easier for me to appreciate..

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

This track is delicately built upon a sample from the first opening bars of "The End Of A Love Affair" by Julie London, a song i absolutely love (and was recommended by delicado somewhere else on this site). Further on Ollano add a gentle bossa nova rhythm to the track and light, breezy vocals (in french) by Helena Noguerra. Evokes a feeling of a mild, sunny day at a lovely seaside.

Beautiful composition and production with a darkly uplifting, somber mood and feel. Definitely will make you stop and focus on it as you are filled with melancholy feelings, though once the song ends, you feel better than when it began. Hard to find album, but you can listen to the song on myspace.com/acautionarytale.

So nostalgic and beautiful. It completely captures the feeling of returning to home when it's not quite home anymore. Try it you'll love it I promise.

"On a cold afternoon you can float room to room like a ghost."

If you want to hear the feeling, clarity and power of this late, lamented lady then listen to this recording

A classic, congenial, groundbreaking electronica score to Ridley Scott's movie "Blade Runner". While the most significant cues like "Love Theme" and "Memories of Green" were included on numerous compilations before, it took 12 years for the soundtrack to get released officially. Since Vangelis "recompiled" the music for the soundtrack, adding new music, reworked cues and left out parts of it, it's the best sounding but far from complete version of the soundtrack. Due to this fact there have been a huge amount of unofficial bootleg releases over the years, mostly private releases put out in small quantities. Even after over 20 years since the soundtrack has been recorded it still sounds fresh and highly evocative as ever before. The feeling throughout the soundtrack is a neo-retro, future-noir mood with grand soundscapes created with a mass array of various analogue synths. Especially the wonderful use of the Yamaha CS-80, with it's somewhat organic, sweeping, harmonica-style polyphonic sound gives the music such a remarkable feel. On "Love Theme" though Vangelis prominently features pretty much the only "real" instrument on the whole soundtrack, a saxophone played by Dick Morrisey.

This song is the perfect song for anybody who is angry with love, or coming off a bad relationship. Connor Oberst is a great lyricist and this song captures that feeling of just wanting somebody, anybody so bad, and not caring who it is.

Everytime I listen to their songs, I feel something pressing on my chest. Ahh, I can't express my feeling very well... The boys and girls mixed choirs on fantastic melodies always make me happy. I love " Meet Me At The Love In" so much, especially whisper on their choirs, horn on the bridge, etc. They were actually a follower of The Mamas & The Papas but their tunes are more cheerful and energetic!

What can one say that hasn't already been said about this much sought after library track by Norwegian composer Sven Libaek? It's elegant, replete with cool tones, beautiful arrangement, and the feeling of longing. I've listened to this song countless times, and the mist still gives me the chills.

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

It makes me think of being a kid in my hometown...again, the music itself doesn't really have anything 'great' about it...it's more the message and the feeling that the song gives me than anything specific about the song...I guess it's a memory association thing.

Such a ludicrously sentimental depiction of one party's feelings after a relationship breakup that I can imagine few would admit to liking it. However, it's a beautifully-crafted and wonderfully performed song with a superbly effective arrangement. I admit to liking it despite its total sentimentality and lack of any kind of coolness.

Music and lyrics go together so well...Perfectly captures that "holy," awakened, alive feeling of its being early, early morning and you're just driving away from a beautiful few days with a friend or lover.......

This song is a mellow eletronica piece that blends the jittery feeling of jungle with the melodic nature of more ambient techno.

Very well arranged, fully orchestrated bossa nova piece by the otherwise rather obscure Stelvio Cipriani. Very warm, breezy,summery feeling on this one with it's light beat, lush and silky strings, great melody played on trumpet and harpsicord. It's very resembling of the Morricone sound of the late 60s/ early 70s, in fact you could easily fit this one onto the first "Mondo Morricone" compilation it's so good.

This song is one of my all time favourites. It contains my favourite guitar solo ever.I love it because it has all these different sections to it which each evoke a different feeling, so it's sort of a whirlwind to listen to. And it's so unique-sounding, there really is nothing quite like it. Thom Yorke's voice really stands out and is just so lilting and angry. It's heaven to listen to, especially towards the end when he starts to overlap himself. Just a beautiful, intensely paranoid and bewitching song.

Classic New Zealand psychedelia .... jangly guitar, haunting, evocative lyrics, fragile vocals and an otherworldly feeling which perfecly evokes Dunedin. The best New Zealand pop song ever written.

The beat lets my mind flow and think with the music. Something about my face feeling beat away by the crowd.

This unique song, unique to the whole body of work by the obscure Asylum Party, unique in every sense... If anybody ever wanted to create the sound of pure nostalgia in itself, this is the closest anyone ever got. I wonder what other people feel when listening to this song. I get utterly and hopelessly nostalgic, even though I don't know what for. It's not that I'm particularly old and know many times and eras, it's not that I have to dig particularly deep into my memory to get to that one dark part that's so irrevocably gone it makes one's heart ache and break. I don't know what it reminds me of, if of anything at all. It seems to be simply the soundtrack of some good times, times much better than the one you're stuck in right now, the soundtrack of reverie and the painful awareness that nothing will be the same again. I sometimes think it reminds me of beautiful summers I've known, the heat and sun that burnt my eyes, but then it seems just as fitting for a summer night at an open fire or an autumn window blurred with falling rain. The initial beats sound as if they could lead to anything, they even sound deceptively cheerful until the first melancholic screech of a guitar... "Feeling that hole that is just my soul..." Yeah, that must be it!

It's just pure fun baby, pure fun! Yes, the music itself isn't anything special, and the lyrics are very repetative and lame, but it's still a hit. Anytime you're feeling a little drained of energy, pop this baby in and watch yourself go!

Martin Briley is the same guy who did that catchy 80's song "The Salt in My Tears," which is the only one of his songs that got much airplay. It's a shame because Briley is such a talented artist.

"Put Your Hands On The Screen" begins with a solo bass drum beat that immediately gets your attention, followed by Briley's moody guitar riffs (the style reminds me of The Eagles "Those Shoes"). As a whole, the song is melodic with a slow, strong beat. It's also timeless. You can't tell whether it was a song from the 80's or a song from 2004.

It's all about TV evangelists and I love the lyrics:

...The choir is singing
And everybody's feeling good
The phones are ringing
From Bethlehem to Hollywood
So move in closer
Let your faces feel the glow
There's a holy presence
Right here in the studio...

The album is now considered rare, but you can google and find a copy.

Ivan Lins is a prolific song-writer, with his songs being covered by many artists from Brazil and beyond. Chances are you would've heard one of his songs before as they've been covered by names such as Sarah Vaughan, George Benson and Mark Murphy to name a few. This track is the opener from his debut 1974 album 'Modo Livre'. The CD reissue doesn't list the musicians on the album but it sounds like Sivuca singing parts in this - if not, I'm sure he was an influence. I like the way this song shifts from a feeling of happiness to a moment of 'concern' (not sure how to describe it, but that's how I hear it) in a single chord change only to return to its originally feeling. At the end there are some swells on the strings that just do something to my insides. Amazing how something so simple and fleeting can have such an impact.

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 cannot think of another group that so effectively uses loopy, poetic nonsense to create the feeling of being completely and totally in love! if you ask me, t rex is the best "love" music there is. and not in the typical cheesy way. he's also a rock 'n roll god! this song gets my head spinning every time. bolan's superhuman vibrato voice paired with rythmic bongos, acoustic guitar, pixiephone and all sorts of crazy percussion. this whole album is great, but this song has me at the moment.

I love John Barry's work, he always seam to be able to score anything with excellent results. This song is no exception, taken from the movie 'Seance on a Wet Afternoon' from 1964. Haven't seen the movie my self so I can't really say what the premise of it is, but IMDB says it's a crime-drama about a self-styled psychic in London. Groovy eh?

This song is however great, Barry relies heavily on haunting flutes and trombones to create a some what eeire feeling, and it really works. Just listening to this song makes me think of a rainy gloomy dark afternoon in London. Now if I only could get a hold of a copy of the movie...

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

A very melancholia song. Tricky, with the help of a female singer (though I don't know who) set you adrift the feeling of sadness and depression. If you ever felt like you were nothing from a friend, this is your song.

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

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

A long track (23 min) with orchestral sound. About the album: "Lift Your Skinny Fists Like Antennas to Heaven is unusual in being structurally and conceptually closer to a symphony than a conventional pop or rock album. The four tracks are composed of internal movements, with different sub-titles, that fade into each other. The whole album is instrumental, except for sampled voice inserts, and starts with an almost orchestral crescendo somewhat reminiscent of Ravel's Bolero." (http://en.wikipedia.org/) <- basically the same goes for the track.

I like it because of the dark and powerful feeling it conveys.

A brilliant pop song which reminds me in equal parts of the 60s pop of The Zombies or The Lovin' Spoonful, and also of 80s indie like New Zealand's Sneaky Feelings and Scotland's Orange Juice.

melodic guitar, heavy feeling.

Stunning version of this old standard. Jimmy Scott's voice is, without a doubt, one of the most beautiful things in the world. I've never heard anybody else who could channel so much pain into a song. Regardless of your feelings toward David Lynch, you have to respect him for rescuing Scott's career from obscurity.

Although Buck's "ragged old man" routine can be charming, it usually comes off feeling more like a Tom Waits rip-off than a Tom Waits homage. "Sore" is my favorite track on "Talkin' Honky Blues" because it does away with the overly-cute oddball beat poetry that Buck often indugles in and offers a more sincere and unaffected portrayal of the wayfaring nomad / poor white trucker.

Buck's in a one horse town with a broken down pick-up, left to set up shop in a shoddy motel and reflect on his life. The lyrics are country gold all rapped up pretty: "I'm drawn to familiar environments and dangers / I look in my photo albums and all I see is strangers / What is my problem?"

I'm a sucker for good desolation-hop (unfortunately for me, there isn't much out there), and "Sore" fits the bill perfectly.

Recommended to congratulate them on winning the Mercury prize this year. Irrelevant I know, but you can't help feeling pleased for them - nice guys sometimes win!

This is the opening track from the winning album, and whilst it ticks the "epic" and "melancholy" boxes often associated with Elbow, it is also a startling track, with it's hypnotic, careworn sound punctuated by jagged blasts of brass. Then there's Garvey's bruised but beautiful voice. A cracking start to a cracking album.

Well done lads!

Hooky alt Rock band from London England, Two song Writers Henry Gomez and Peter Martin with there band bob and johnathan stoute. Music with alot of energy and feeling. Check Them out. www.myecho.co.uk

Possibly the greatest song of all time...or at least my favorite. If someone were to take the season of summer and magically turn it into a song, this would be it. Free, happy, beautiful...embodies the fresh feeling of summer. A must have.

"Head's all empty and I don't care..."

Following shortly on the heels of Of Skins and Heart, "Tear It All Away" still was the picture of a developing band, but one already more comfortable with the studio, able to use subtlety and quiet drama to inform its cool, soothing yet tense take on post-punk filtered through psychedelic touches. The familiar Byrds-derived guitar and Bowie-tinged lyrical regret and sighing crop up as they so often would in the earliest days, but there's a clean, blue tinge to the whole performance, something that feels inexpressively like an eighties recording rather than a sixties throwback. Call it the space in the mix, the gentle keyboards here and there, or the substituting of folk and country roots for something more urban and faster-paced. The lovely mid-song solos show the Marty Willson-Piper/ Peter Koppes team still well within its element, and the whole composition has a rich, lush feeling to it that's most attractive.
(AMG)

Hands down, this ballad by Kate Bush has THE BEST violin solo of any non-classical song. The song itself, though a bit of a downer, is really very beautiful.

"The Fog"

You see, I'm all grown up now.
He said,
Just put your feet down child,
'Cause you're all grown up now.

Just like a photograph,
I pick you up.
Just like a station on the radio,
I pick you up.
Just like a face in the crowd,
I pick you up.
Just like a feeling that you're sending out,
I pick it up.

But I can't let you go.
If I let you go,
You slip into the fog...

This love was big enough for the both of us.
This love of yours was big enough to be frightened of.
It's deep and dark, like the water was,
The day I learned to swim.

He said,
Just put your feet down, child.
Just put your feet down child,
The water is only waist high.
I'll let go of you gently,
Then you can swim to me.

Is this love big enough to watch over me?
Big enough to let go of me
Without hurting me,
Like the day I learned to swim?

'Cause you're all grown up now.

Just put your feet down, child,
The water is only waist high.
I'll let go of you gently,
Then you can swim to me.

hm, i wonder why this hasn't been added yet. if this isn't classic, then what is?
there are about a zillion different interpretations of this song by about a million different artists. there are compilations only with this song but by different artists. and i got two of them.
maybe it's mainstream and it's played too often but i love it nonetheless.
my favourite version is on the album "the composer of desafinado plays". of course arranged by claus ogerman. he did also the arrangement for "the wave" which is i think the best album by antonio carlos jobim. an album packed full with classics.
he made the strings sound so cool and you really get the feeling of what for a lifestyle bossa nova seems to have been those days. (as i think and hope it has been...)

The Glow Pt. 2 was on so many "best of 2001" lists that it pretty much had to be true. The biggest Microphones fans even state The Glow Pt. 2 as being their favorite. That has to show something.
From the opening track you are immediately hooked. The first two tracks build up for my personal favorite, "The Moon." The moon has such a beautiful beginning that that alone makes it my favorite. The lyrics tell a little romance but still remain to keep the weird feeling when listening to The Microphones. Fuzz, drums, piano, and horns make up the pretty sounds that carry the song along. Of all the great songs this album contains, "The Moon" contains Phil Elvrum at his best.

I was immediately captivated by the tropical beat that begins this 6 minute tune. The track simultaneously induces a melancholic yet inspired feeling. Kevin Wright's delicate voice, like many fine things in life, is an aquired taste. His mournful voice tells of ethereal objects"the moon..the stars..the milky way.."and his longing to be with the one he "holds dear."

This song breaks my heart every time I hear it. Musically, it's like "Leader of the Pack", but at a snails pace. the thing is that the lyrics and Julee Cruise's delivery are so full of sadness and desire. The feeling grows as the song progresses, especially when the background wail kicks in. It illuminates dark places in the heart. This song is also included on the Twin Peaks sound track.

RYTHM HERITAGE WERE THE COMPOSERS AND PERFORMERS OF THE THEME FROM "SWATT", THE T.V. SERIES.
HEAVY INSTRUMENTATION SPICED WITH LOTS OF FEELING.
THIS THEME IS AT THE SAME TIME POWERFUL AND EASY GOING.

One of my all time favourites.This is garage psychedelia at its best.It has a haunted manor feeling with the organ sound (Darryl)which is just hypnotising.The lyrics are also perfect.One of those mistery songs which were blasters but did not make it for some reason.

This four piece rock band from Florida delivers their new album featuring the song "Thrash Unreal." The song delivers the same kind of real person feeling used by John Lennon. A great album displaying absolute feeling and true life. Not for your normal prog fan, def alternative music.

Am i the only one disappointed Goldfrapp by now almost completely abandoned their "Felt Mountain"-style and are now solely winding down on the glam-electro route? Anyway, "Time Out From The World" could easily have been on the first album, it sounds like a follow up to "Pilots": Gently flowing, nocturnal in texture, floating through a vast open space with delicate electronica and synths building up to a lush finale with an orchestral armada of strings. Despite the electronics it still has this late-60s-John-Barry feeling all over it.

The epitome of joyous, alive, who gives a sh*t rock'n'roll, with a slight blue eyed soul feeling and great horns. Everyone needs a song like this in their life.

For many years I've continued my life under the misapprehension that one version of the Twilight Theme (in my case, the original Marty Manning version) would do me just fine. But this tremendous Japanese group sounds version is unmissable. Lots of random sound effects with a heavy influence from The Ventures in Space. It kicks off at 1:08 where the drums stop and the sound effects just take over. Lots of random twanging and watery bits. Really cool sounding. Then at 1:40 the drums come in hard and funky. There are a few more little breakdowns and it ends in total chaos leaving you feeling the aliens definitely are coming!

Basically it's a very well executed recording.

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.

great electronic and surreal feeling song... "make him live like me... again and again..." "make his eyes see forever" It's actually about how fashion is kind of like fascism. This song really puts you in a different mood... one of a great Utopia with hints of yodeling.

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."

Who would have thought something with a groovy, funky loungey feeling like this could come straight out of the Eurovision Song Contest? Not only that but the girl is cute as a button, has a fantastic blue eyed soul voice and was a bit of a cunning linguist too, this song exists in the original German, French, Italian, Spanish, English and even Japanese! This really is killer lounge funk and ought to be comped, but i'm pretty sure it isn't... Worth checking out though.

A funny breakup song, done in a very juvenile style, but everything you ever want to scream to your ex right after they dumped you. Sung to a woman, but applicable in all such nasty situations - the feeling is still there. Even when I'm angry, this song has me laughing. Backed by a funky rhythm that just barely turns it into a melody.

This is a cover of the Spector, Mann and Weil classic. I'd always loved The Human League - and Dare is probably the seminal new romantic album. But it wasn't until a friend of mine bought Reproduction in the late 1980s that I discovered the early, darker side of The Human League.

Reproduction is often slated for being too doomy and too pretentious. But there's some real gems on there - and Empire State Human and Blind Youth bounce along nicely.

The real killer is track 7 - which effectively blends electronic lament Morale with the League's cover of You've Lost That Loving Feeling. It's a beautiful, slow version - a totally electronic lullaby and it's totally essential.

I put this record on again yesterday for the first time in a while, and was reminded of how utterly astounding this track is. Lee's voice is incredibly low. Both Nancy and Lee add little variations to the tune, and are accompanied by some simple instrumentation: a catchy strummed guitar, drums, bass and occasional piano and strings. At various points, the song just stops as Lee sings 'Woah Woah Woooe'. Very highly recommended.

This song just has a great sound and the real feeling that seems to be between the two singers is great. I love the lyrics and it is just really powerful.