Beautiful and atmospheric music, superbly recorded. Intensely poetic lyrics. What an incredible advance this represents from his work with the band Japan! Superb synth voices from longtime collaborator Ruichi Sakamoto sound a searching chord sequence over which a gorgeous, heavily treated trumpet solo comes in and out. Sylvian's voice is richly expressive.

I won't pretend to know anything about this, i just found it while searching the web for more cambodian rocks-esque music. Old cambodian folk-pop piece with a comforting beat.
It sounds very familiar somehow, so it might be a cover of a well known song i can't dig up from my subconsience right now. listen and tell me if something pops into your mind.

This one has really been haunting me. I recently heard this rare and sought after album, and was entranced by the opening track, a devastating vocal. Although Lani Groves sings in English, in a style very similar to Sergio Mendes and Brasil 66, I knew that this was a Brazilian track that I had heard before.

Researching a song with as generic a title as 'I want your kiss' is hard though, and with no knowledge of who the composer was, most of the search engine results were soft porn stories. After a while I threw on Elis Regina's first album, Samba - eu canto assim, and happily found the information I was looking for. The original Portuguese song is called 'Sou sem paz', and was written by Adylson Godoy, who may or may not be the same person as Amilton Godoy, who was the pianist in the Zimbo Trio.

After all my research, I was disappointed to learn that this song has hardly ever been recorded; the only versions I know of are this and those by the Zimbo Trio and Elis Regina.

Trivia aside, this is a nice fusion of several of my musical passions. The chord sequence is unusual, delicate and surprising, and the vocal is passionate. I think it would be fair to say that Lani Groves doesn't have quite Elis's passionate delivery, but for me this is offset by the beautiful backing arrangement, featuring some great organ playing.

Music for pussies producer Steve Albini once answered when he shared his thoughts about the genre powerpop. So, perhaps that makes me one then but anyone who likes melodies got to admit that the genre has produced some gems over the years. Richard x Heyman is one of the standouts in the genre. When he doesn´t tune his rickenbacker in his tabbey road studio in new york he goes out searching for homeless cats. So, maybe now i got you all concvinced that the man differs a bit from the average powerpopper. Out of my hands is taken from the mighty fine cornerstone and is overflowing with hooks,hooks my friends which is exactly what i need right now.

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.

Beneath the avant-garde lyrics and futuristic synth textures, there was always a pulsing dance music quality that drove the classic Duran Duran sound. As they progressed into the late '80s, they allowed that dance element to move up front and dominate their style. A good example of this tactic is "Skin Trade," a hit whose silky and funky style led to it being mistaken for a Prince song. The lyrics have a surprisingly direct, soul-searching feel to them as they lay out scenarios of people shortchanging their dreams to make money. These moments are followed with the dramatic proclamation that makes up the chorus: "Will someone please explain/The reasons for this strange behavior?/In exploitation's name/We must be working for the skin trade." The music lends contrast to the angry tone of the lyrics by creating a sultry, mellow melody that juxtaposes verses with a soft, hypnotic ebb and flow with an ever-ascending chorus that revs up the song's inherent drama. Duran Duran's recording is fuelled by funky but gently layered guitar textures and subtle drum work that push its groove along, plus some atmospheric synth textures on the chorus. Interestingly, Simon LeBon uses his normal tenor voice for the choruses but sings much of the verses in a lush, soulful falsetto that led many pop fans to initially mistake "Skin Trade" for a Prince ballad. The result was a perfect blend of slow-dance textures and adult social critique. It didn't do as well as "Notorious," just barely making the Top 40 in the U.S., but it got plenty of radio airplay and is fondly remembered by the group's fans as one of Duran Duran's most mature achievements of the late '80s.
(AMG)

Bob Marley's most talented son. Reggae with an edge.

"...been there, done that my main squeeze
is natural, simply natural..."

This is one of Baxters best songs, although there are many incredible Les Baxter pieces, this one really stands out from the rest. The title 'Sunken City' is perfect, you really feel like you are floating in the bright blue ocean, searching for a lost city. The instruments Baxter chose for this song are interesting; oboes, a haunting choir along with some vibraphones and piano chords, the result is however amazing.
Listen to this song late at night with the lights dimmed.

nice one! i discovered chris montez lately and i like what he has done.
this song is a cover of astrud gilbertos song from the album "beach samba" (which i didn't recognize until reading it at allmusic.com) and begins with a nice organ-melody as an intro. i especially like the sound of that organ, it's a very sweet and not to heavy one. so that it fits perfect into the mood of this song and giving it a little more sweetness.
as always chris montez sings like a woman and if one doesn't know this it wouldn't be necessarily clear to one. (correct english....?)
while searching for chris montez stuff i came across "the more i see you" performed by montez which was covered last year by a onehitwonderband here in germany and you couldn't escape to hear it at least twice a day no matter where you were leaving and going. the cover was very strict arranged along montez' version. i wonder how i would think of the montez original if this onehitwonder band wouldn't have done this cruelty?!
anyway, last years summer was great anyway...(sex every day...)
and now, you go and listen to that montez guy!!

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

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

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

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

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

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

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

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!!!

Probably the only anthemic pop song I will ever choose to listen to. Was drawn to it the first time I heard it, as a piece of chart music at the end of the 1990s.

The first two chords of the verse are audacious, most unusual in pop music, and are what makes the song for me. Without them, or with conventional choices, the song would lose its tension and power. The lyric can be considered cheesy, but it kind of aims high in searching out some kind of universal truth, and it works. When in the right mood, it is even elevating. The last part is lyrically very pathetic, a lame series of insulting name drops. But it probably got the record heard - this was their first single.

I recently read that this song was much admired by U2, and I'm not surprised as I can hear them striving for something like this. But they never get anywhere even slightly close.