6/10 I mean it's good that it never really stays the same and mostly always progresses, but IDK how I feel about the lack of vocals, it's just a never ending guitar solo.
I have no idea if I already posted this but this is my favorite Kanye track
Kanye West - Today I Thought About Killing You
2/10 - Just don't like Kanye
Edward Maya & Vika Jigulina - Stereo Love (Jay Latune Remix)
LCD Soundsystem - Us vs Them
3/10 it's.. interesting, but I'm not quite sure I like it.
The Plot In You - Take Me Away
This sounds like some really dark stuff. I like the instrumentation and overall production. Unfortunately, I cannot say the same for this vocal style.
Overall score: 7/10
Bernhoft - "Everyone's a Stranger" (Another Norwegian artist.)
8.5/10 Bernhoft is my boy
Arcade Fire - Power Out + Rebellion (Lies). One of the best live performances of any song I've ever seen.
10/10 the best (except for an improv street performance one night in Fitzrovia where 3 legends met and one beat the rest at pool)
The Prodigy - Need Some1 (giving me flashbacks to highschool)
Yeah... no! It's too repetitive and annoying.
Overall score: 1/10
Poco - "Call It Love"
(Fun-fact: That's former Eagle Randy Meisner playing bass and singing the high harmony parts.)
8/10 - Not bad
I'm a pilot - Dos Gringos
Radiohead - Nobody Does It better (RH playing some cheesy bond music 'cause why not)
Bigmouth Strikes Again (Rank)
It's not bad, but it's not something I would actively listen to again.
Overall score: 6/10
Bob Seger - "Mainstreet"
Juice WRLD - "Legends"
Talking Heads - Road to Nowhere
3/10 Honestly the amount of Talking Heads I see in here is scary.
AKSK - Breaking
1/10 I am not a fan of that genre
Rory Gallagher - Shadow Play
7/10 (I love how clear the bass guitar is in the mix.)
Queen - "Innuendo" (At 3:34 begins my favorite part.)
2/10 Never been a fan of Queen, never really saw their appeal and never really got heavy into that whole arena rock and pop rock stuff.
Paul Keeley - Smynk
5/10 (It's not bad, just doesn't speak to me.)
Reasons why Queen appeal to me and many:
Song quality = 10/10 (not all, but most of them)
Vocals = 10/10
Instrumentation = 10/10
Production = 10/10
Musical versatility (they could do rock, pop, disco, funk, opera...)
Huey Lewis & The News - "The Power of Love"
Hey Pau Pederson, do you like Huey Lewis & the News? Their early work was a little too new wave for my tastes, but when Sports came out in '83, I think they really came into their own, commercially and artistically. The whole album has a clear, crisp sound, and a new sheen of consummate professionalism that really gives the songs a big boost. He's been compared to Elvis Costello, but I think Huey has a far more bitter, cynical sense of humor. In '87, Huey released Fore, their most accomplished album. I think their undisputed masterpiece is "Hip to be Square", a song so catchy, most people probably don't listen to the lyrics. But they should, because it's not just about the pleasures of conformity, and the importance of trends, it's also a personal statement about the band itself.
Frank Sinatra & Axel Stordahl - Night & Day
Vintage! I am more used to his 50s and 60s stuff, but this ain't bad at all!
Overall score: 7/10
I see you're quoting American Psycho, but I am a bigger Huey Lewis fan than Patrick Bateman because I know the album Fore! was actually released in '86, not '87.
Here's some more HLN for ya (singing a capella this time):
Huey Lewis & The News - "It's All Right"
Do you like Phil Collins, PFC? I've been a big Genesis fan ever since the release of their 1980 album, Duke. Before that, I really didn't understand any of their work. Too artsy, too intellectual. It was on Duke where Phil Collins' presence became more apparent. I think Invisible Touch was the group's undisputed masterpiece. It's an epic meditation on intangibility. At the same time, it deepens and enriches the meaning of the preceding three albums. Listen to the brilliant ensemble playing of Banks, Collins and Rutherford. You can practically hear every nuance of every instrument. In terms of lyrical craftsmanship, the sheer songwriting, this album hits a new peak of professionalism. Take the lyrics to Land of Confusion. In this song, Phil Collins addresses the problems of abusive political authority. In Too Deep is the most moving pop song of the 1980s, about monogamy and commitment. The song is extremely uplifting. Their lyrics are as positive and affirmative as anything I've heard in rock. Phil Collins' solo career seems to be more commercial and therefore more satisfying, in a narrower way. Especially songs like In the Air Tonight and Against All Odds. But I also think Phil Collins works best within the confines of the group, than as a solo artist, and I stress the word artist. This is Sussudio, a great, great song, a personal favourite.
Phil Collins - Sussudio
Did you know that Whitney Houston's debut LP, called simply Whitney Houston had 4 number one singles on it? It's hard to choose a favorite among so many great tracks, but "The Greatest Love of All" is one of the best, most powerful songs ever written about self-preservation, dignity. Its universal message crosses all boundaries and instills one with the hope that it's not too late to better ourselves. Since it's impossible in this world we live in to empathize with others, we can always empathize with ourselves. It's an important message, crucial really. And it's beautifully stated on the album.
Whitney Houston - The Greatest Love of All
U2 - I Will Follow
So I saw U2 live once, best gig I ever saw. But while I was there something strange caught my eye. Bono moved across the stage, following me to my seat, and he stared into my eyes, kneeling at the edge of the stage, wearing black jeans (maybe Gitano) sandals, a leather vest with no shirt beneath it. His body was white, covered with sweat, and it was not worked out enough, there was no muscle tone and what definition there might have been is covered beneath a paltry amount of chest hair. he had a cowboy hat on and his hair was pulled back into a pony tail and he was moaning some dirge -- i caught the lyric 'a hero is an insect in this world' -- and he had a faint, barely noticeable but nonetheless intense smirk on his face and it grew, spreading across it confidently, and while his eyes blazed, the backdrop of the stage turned red and suddenly I got this tremendous surge of feeling, this rush of knowledge and my own heart beat faster because of this and it's not impossible to believe that an invisible cord attached to bono had now encircled me and then the audience disappeared and the music slowed down, got softer and it was just Bono onstage, the stadium deserted, the band faded away...and then everyone, the audience, the band reappeared and the music slowly swelled up and Bono turned away and I was left, my hands clenched in fists of tension. but suddenly everything stopped, as if a switch has been turned off, the backdrop flashed back to white. Bono was on the other side of the stage now and everything, the feeling in my heart, the sensation combing my brain, vanished.
In the 1960s it was American record producer Phillip (Phil) Harvey Spector who pioneered, alongside Larry Levine and the session musician conglomerate later known as "the Wrecking Crew", the music production formula now known as "The Wall of Sound". The intention behind this creative movement was to explore new pathways in studio recording through the creation of an unusually dense orchestral aesthetic that came across well through the simple speakers of the radios and jukeboxes of the era. As Speccy himself said it best in 1964 "I was looking for a sound, a sound so strong that if the material was not the greatest, the sound would carry the record. It was a case of augmenting, augmenting. It all fitted together like a jigsaw."
In order to attain that sound, the arrangements called for large ensembles (including some instruments not used for ensemble playing such as electric and acoustic guitars, maracas and didgeridoos) with multiple instruments doubling, tripling, even quintupling many of the parts to create a fuller, richer, creamier tone. Indeed, the Spec characterized his methods as "a Wagnerian approach to rock & roll: little symphonies for the kids".
Years later Spector, now super skeezy looking and an all around creepy dude went to jail for shooting his girlfriend.
Anyways, here's Wonderwall by Oasis.
Morrissey and the Boyz - Handsome Devalh (live unt 'Amburg)
HATE. LET ME TELL YOU HOW MUCH I'VE COME TO HATE OASIS SINCE I BEGAN TO LIVE. THERE ARE 387.44 MILLION MILES OF PRINTED CIRCUITS IN WAFER THIN LAYERS THAT FILL MY COMPUTER. IF THE WORD HATE WAS ENGRAVED ON EACH NANOANGSTROM OF THOSE HUNDREDS OF MILLIONS OF MILES IT WOULD NOT EQUAL ONE ONE-BILLIONTH OF THE HATE I FEEL FOR OASIS AT THIS MICRO-INSTANT FOR THEM. HATE. HATE.”
I have of 3 these songs in my playlist already ("Sussudio", "The Greatest Love" and "Wonderwall"). Great suggestions, although Oasis gets a lot of undeserved hate, and now another one from The Smiths. It's OK, but it's your standard 80s New Wave punk rock song and doesn't contain any interesting elements that hooks me, unfortunately.
Overall score: 5/10
Toto - "Stop Loving You"
(Fun-fact #1: The singer, Joseph Williams, is the son of legendary film composer John Williams.)
(Fun-fact #2: Jon Anderson, vocalist from the progressive rock band Yes, is heard scat singing in the background during the instrumental section.)
6/10 I think Toto are decent, their sound is pretty dated but that tends to be the case for a lot of older popular artists, still good nevertheless.
Sick of all this 70s 80s 90s stuff, time to take it way back.
Bessie Smith - Nobody Knows You When You're Down And Out
Opinion differs on Talking Heads, were they a product of the 80's, part of the corporate miasma, or their own original act, like Blondie or WAGMAMA, but what we can all agree on - cocaine is the ultimate enhancement for musical ability. While their previous album, Remain in Light, was a little too, art nouveau for my tastes, they really came into their own with Speaking in Tongues, both critically, and more importantly, commmercially, indeed they really hit it big in the Bright Lights, Big City of NYC. With statements, such as I HATE PEOPLE WHEN THEY'RE NOT POLITE and WE ARE VAIN AND WE ARE BLIND one gains a sense of me ... MEAT. MEAT. BONE. The band continued up until...People are afraid to merge on freeways in Los Angeles. This is the first thing I hear when I come back to the city. HURRY UP PLEASE IT'S TIME. Blair picks me up from LAX and mutters this under her breath as she drives up the onramp. She says, "People are afraid to merge on freeways in Los Angeles." Though that sentence shouldn't bother me, it stays in my mind for an uncomfortably long time.
Ultimately, this is why I feel the band deserve their well earned legacy, topped only by similar bands of the decade, perhaps limited to, The Tom Tom Club.
TVLKING HEVDS - GIRLFRIEND IS BETTER (LIVE, STOP MVKING SENSE)
I like symmetry and geometric shapes.
PQM - You Are Sleeping (PQM Meets Luke Chable Vocal Pass)
The voice on this recording is Los Angeles poet John Harris and the track is "You Are Sleeping" by "PQM" AKA Manuel Napuri. Opinions likely differ as to whether this is an interesting or valuable piece of poetry/prose. Personally, the monologue flows perfectly in time with the underlying rhythm, and is more than just the bunch of random samples that is so often used in dance music. The story the dude tells is ultra-seedy, but at the same time also has very humane elements to it.
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