Board 8 > CasanovaZelos's Top 250 Songs Project

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CasanovaZelos 05/16/21 12:28:38 PM #51:	232. The National Bloodbuzz Ohio (2010) from the album High Violet https://www.youtube.com/watch?v=yfySK7CLEEg Key lyric: I never thought about love when I thought about home The National are one of those bands that found one strong sound and built their entire careers around slight variations. Most bands would get tiring with such repetition, but The National managed to make five classic albums while perfecting this style. Perhaps the most definitive element is Matt Berningers baritone, imbued with just enough passion to overcome the borderline monotony. Few popular acts go this low with their vocals, and even less do so with such warmth. The lyrics are bewildering, including a trip to Ohio on a swarm of bees, but Berningers conviction sells the absurdity as something mundane. Contrasting the gentle vocals is a pressing drumbeat. Bloodbuzz Ohio carries a consistently forward motion, little details finding their way into the loop to build a subtly complex sound. A key moment just past the halfway mark has the instrumentation briefly drop out, allowing Berningers voice to truly float like the swarm which carries him. The instruments then pick up right where they left off, exposing the great contrast between the two elements. Few artists are as distinctly Midwestern, and Bloodbuzz Ohio perfectly captures the pre-Trumpian sense of quiet resignation and feeling forgotten. Yet there is also the self-assured comfort of Americas heartland. --- My top 100 games (with write-ups): https://foolfantastic.com/top-100-video-games-project/ <cite>CasanovaZelos posted [p:953965159] in CasanovaZe... [t:79452388]...</cite> <quote>232. The National Bloodbuzz Ohio (2010) from the album High Violet https://www.youtube.com/watch?v=yfySK7CLEEg Key lyric: I never thought about love when I thought about home The National are one of those bands that found one strong sound and built their entire careers around slight variations. Most bands would get tiring with such repetition, but The National managed to make five classic albums while perfecting this style. Perhaps the most definitive element is Matt Berningers baritone, imbued with just enough passion to overcome the borderline monotony. Few popular acts go this low with their vocals, and even less do so with such warmth. The lyrics are bewildering, including a trip to Ohio on a swarm of bees, but Berningers conviction sells the absurdity as something mundane. Contrasting the gentle vocals is a pressing drumbeat. Bloodbuzz Ohio carries a consistently forward motion, little details finding their way into the loop to build a subtly complex sound. A key moment just past the halfway mark has the instrumentation briefly drop out, allowing Berningers voice to truly float like the swarm which carries him. The instruments then pick up right where they left off, exposing the great contrast between the two elements. Few artists are as distinctly Midwestern, and Bloodbuzz Ohio perfectly captures the pre-Trumpian sense of quiet resignation and feeling forgotten. Yet there is also the self-assured comfort of Americas heartland. </quote> ... Copied to Clipboard!
Jesse_Custer 05/16/21 12:52:19 PM #52:	Bloodbuzz Ohio is one of those songs I never seem to get tired of and keep coming back to. <cite>Jesse_Custer posted [p:953965803] in CasanovaZe... [t:79452388]...</cite> <quote>Bloodbuzz Ohio is one of those songs I never seem to get tired of and keep coming back to. </quote> ... Copied to Clipboard!
CasanovaZelos 05/16/21 1:06:09 PM #53:	231. Prince When Doves Cry (1984) from the album Purple Rain https://www.youtube.com/watch?v=IUc0R8bbWQE Key lyrics: Maybe Im just too demanding Maybe Im just like my father, too bold Maybe youre just like my mother Shes never satisfied Why do we scream at each other? This is what it sounds like, when doves cry It strikes me as I re-listen that this is a genuine musical epic, from that iconic opening shred to the extended outro marked by animalistic shouts. This is a complex fusion of pop, rock, and funk, ditching a bass line entirely while making striking use of the keyboard and synthesizer. The fact this was a popular hit blows my mind; though I grew up in a world knowing this was a classic, a closer inspection reveals just how experimental Prince was being here. Without a bass line guiding the action, When Doves Cry glides unexpectedly between moments. The overall complexity is contrasted with momentary bursts of minimalism. The chorus really steals the show, the synthesizer hitting like an unexpectedly cold shower. With such minimal instrumentation until the finale, Princes iconic voice is allowed to take center stage. His delivery is raw passion, sometimes diving into guttural yelps when words cant possibly work. But every instrument present is given a spotlight, including a complex keyboard solo during the finale. What really surprises me is learning that Prince recorded this song himself, playing every instrument. Few artists pushed the boundaries of popular music like Prince, and the fact he made such an odd song into a number one hit really shows his impact. --- My top 100 games (with write-ups): https://foolfantastic.com/top-100-video-games-project/ <cite>CasanovaZelos posted [p:953966201] in CasanovaZe... [t:79452388]...</cite> <quote>231. Prince When Doves Cry (1984) from the album Purple Rain https://www.youtube.com/watch?v=IUc0R8bbWQE Key lyrics: Maybe Im just too demanding Maybe Im just like my father, too bold Maybe youre just like my mother Shes never satisfied Why do we scream at each other? This is what it sounds like, when doves cry It strikes me as I re-listen that this is a genuine musical epic, from that iconic opening shred to the extended outro marked by animalistic shouts. This is a complex fusion of pop, rock, and funk, ditching a bass line entirely while making striking use of the keyboard and synthesizer. The fact this was a popular hit blows my mind; though I grew up in a world knowing this was a classic, a closer inspection reveals just how experimental Prince was being here. Without a bass line guiding the action, When Doves Cry glides unexpectedly between moments. The overall complexity is contrasted with momentary bursts of minimalism. The chorus really steals the show, the synthesizer hitting like an unexpectedly cold shower. With such minimal instrumentation until the finale, Princes iconic voice is allowed to take center stage. His delivery is raw passion, sometimes diving into guttural yelps when words cant possibly work. But every instrument present is given a spotlight, including a complex keyboard solo during the finale. What really surprises me is learning that Prince recorded this song himself, playing every instrument. Few artists pushed the boundaries of popular music like Prince, and the fact he made such an odd song into a number one hit really shows his impact. </quote> ... Copied to Clipboard!
CasanovaZelos 05/16/21 2:16:51 PM #54:	230. New Order True Faith (1987) non-album single https://www.youtube.com/watch?v=17CwZmI8mUQ Key lyrics: I feel so extraordinary Somethings got a hold on me I get this feeling Im in motion A certain sense of liberty Theres something bouncy to the percussion on this song that instantly sends me soaring as previously established, any synthpop song which does this is actually moody and introspective. Its a shame that the few dances Ive been to have been a flurry of modern pop. Even thirty years on, True Faith is the ideal club hit. Its the embarrassing truth of my life that a lot of my favorites are dance songs I will almost certainly never hear in the proper setting unless I become a DJ and force it to happen. But I digress; True Faith is a dense song made accessible through its extraordinary beat. Bernard Sumner might just be the weakest vocalist among my favorite bands, yet that does not stop the best New Order tracks from making proper use of his limited range. His sing-song, monotonous vocals operate as yet another instrument here, adding a serene atmosphere to what could have easily been an instrumental dance track. There is a lot going on here; its hard to pick out individual parts from all the chaos. This only proves the improbable success; something this messy shouldnt come off as singular. True Faith is simply another track that always brings me joy. --- My top 100 games (with write-ups): https://foolfantastic.com/top-100-video-games-project/ <cite>CasanovaZelos posted [p:953968446] in CasanovaZe... [t:79452388]...</cite> <quote>230. New Order True Faith (1987) non-album single https://www.youtube.com/watch?v=17CwZmI8mUQ Key lyrics: I feel so extraordinary Somethings got a hold on me I get this feeling Im in motion A certain sense of liberty Theres something bouncy to the percussion on this song that instantly sends me soaring as previously established, any synthpop song which does this is actually moody and introspective. Its a shame that the few dances Ive been to have been a flurry of modern pop. Even thirty years on, True Faith is the ideal club hit. Its the embarrassing truth of my life that a lot of my favorites are dance songs I will almost certainly never hear in the proper setting unless I become a DJ and force it to happen. But I digress; True Faith is a dense song made accessible through its extraordinary beat. Bernard Sumner might just be the weakest vocalist among my favorite bands, yet that does not stop the best New Order tracks from making proper use of his limited range. His sing-song, monotonous vocals operate as yet another instrument here, adding a serene atmosphere to what could have easily been an instrumental dance track. There is a lot going on here; its hard to pick out individual parts from all the chaos. This only proves the improbable success; something this messy shouldnt come off as singular. True Faith is simply another track that always brings me joy. </quote> ... Copied to Clipboard!
CasanovaZelos 05/16/21 2:43:26 PM #55:	229. The Cure Just Like Heaven (1987) from the album Kiss Me, Kiss Me, Kiss Me https://www.youtube.com/watch?v=1ASpBpT8bRQ Key lyrics: Why wont you ever know That Im in love with you? That Im in love with you? Nothing will be funnier to me than the contrast between The Cures visual aesthetic and their popular hits. Just Like Heaven is among the prettiest tracks rock has given us, making key use of the piano and synthesizer. Few songs glisten like this opening, and they somehow sustain that bliss even as the lyrics take a tragic turn. While Robert Smiths vocals shine, the song greatly emphasizes the instruments, with the verses interrupted by a guitar solo and then a piano solo. Both are strikingly sweet and dreamy. The one small detail that always grips me is the way the piano begins to underline Smiths vocals at the end of each verse, which makes the piano solo all the more effective, like an extension of his emotions. The contrast between image and sound is part of what makes this work. When someone dressed like Robert Smith comes up with a silly love song, you immediately believe he means it. This is sincerity without a hint of sentimentality or emotional manipulation. Despite being among the gothic rock crowd, Smith has an angelic voice. Though he expertly uses that voice to create anxious tension with tracks like A Forest or Lovesong, this straightforward presentation works wonders. --- My top 100 games (with write-ups): https://foolfantastic.com/top-100-video-games-project/ <cite>CasanovaZelos posted [p:953969287] in CasanovaZe... [t:79452388]...</cite> <quote>229. The Cure Just Like Heaven (1987) from the album Kiss Me, Kiss Me, Kiss Me https://www.youtube.com/watch?v=1ASpBpT8bRQ Key lyrics: Why wont you ever know That Im in love with you? That Im in love with you? Nothing will be funnier to me than the contrast between The Cures visual aesthetic and their popular hits. Just Like Heaven is among the prettiest tracks rock has given us, making key use of the piano and synthesizer. Few songs glisten like this opening, and they somehow sustain that bliss even as the lyrics take a tragic turn. While Robert Smiths vocals shine, the song greatly emphasizes the instruments, with the verses interrupted by a guitar solo and then a piano solo. Both are strikingly sweet and dreamy. The one small detail that always grips me is the way the piano begins to underline Smiths vocals at the end of each verse, which makes the piano solo all the more effective, like an extension of his emotions. The contrast between image and sound is part of what makes this work. When someone dressed like Robert Smith comes up with a silly love song, you immediately believe he means it. This is sincerity without a hint of sentimentality or emotional manipulation. Despite being among the gothic rock crowd, Smith has an angelic voice. Though he expertly uses that voice to create anxious tension with tracks like A Forest or Lovesong, this straightforward presentation works wonders. </quote> ... Copied to Clipboard!
RyoCaliente 05/16/21 4:15:39 PM #56:	Jesse_Custer posted... Bloodbuzz Ohio is one of those songs I never seem to get tired of and keep coming back to. Funny, with me it's kinda the opposite. I dig most of the non-"popular" The National tracks way more than I do the "popular" ones. I recently discovered When Doves Cry and man, is that a brilliant song. --- How paralyzingly dull, boring and tedious! <cite>RyoCaliente posted [p:953972116] in CasanovaZe... [t:79452388]...</cite> <quote>Jesse_Custer posted... </cite> <quote>Bloodbuzz Ohio is one of those songs I never seem to get tired of and keep coming back to.</quote> Funny, with me it's kinda the opposite. I dig most of the non-"popular" The National tracks way more than I do the "popular" ones. I recently discovered When Doves Cry and man, is that a brilliant song. </quote> ... Copied to Clipboard!
CasanovaZelos 05/17/21 5:03:06 PM #57:	228. Stevie Wonder Sir Duke (1976) from the album Songs in the Key of Life https://www.youtube.com/watch?v=s6fPN5aQVDI Key lyrics: But just because a record has a groove Dont make it in the groove On a lyrical level, Sir Duke is a celebration of music itself. In the second verse, Wonder namedrops several of his influences, with the then recently deceased Duke Ellington giving the song its title. Several artists have made songs explicitly listing off their predecessors, but it hits harder coming from someone commonly viewed as a master himself. The lyrics outside the verses are repetitive, but with a purpose. Being a song inspired by jazz artists, Wonder wants to turn your attention to the instrumentation, to the feeling it inspires. And this truly is a celebration across every layer. After a striking intro dominated by trumpets, the song settles into a catchy groove, with a recurring instrumental break shooting high into the stratosphere. Throughout, the song shows shades of jazz, funk, R&B, and soul. More than listing off names, Wonder wants you to hear their influence. Featured on an album trying to capture life itself, both good and bad, Sir Duke serves as the definitive burst of ecstasy. The inspiration for this song calls for a lament, but Stevie Wonder masterfully turns his attention to celebrating Ellingtons eternal legacy. Obviously, most musicians love music, but few have so perfectly translated that emotion into a song itself. --- My top 100 games (with write-ups): https://foolfantastic.com/top-100-video-games-project/ <cite>CasanovaZelos posted [p:954009759] in CasanovaZe... [t:79452388]...</cite> <quote>228. Stevie Wonder Sir Duke (1976) from the album Songs in the Key of Life https://www.youtube.com/watch?v=s6fPN5aQVDI Key lyrics: But just because a record has a groove Dont make it in the groove On a lyrical level, Sir Duke is a celebration of music itself. In the second verse, Wonder namedrops several of his influences, with the then recently deceased Duke Ellington giving the song its title. Several artists have made songs explicitly listing off their predecessors, but it hits harder coming from someone commonly viewed as a master himself. The lyrics outside the verses are repetitive, but with a purpose. Being a song inspired by jazz artists, Wonder wants to turn your attention to the instrumentation, to the feeling it inspires. And this truly is a celebration across every layer. After a striking intro dominated by trumpets, the song settles into a catchy groove, with a recurring instrumental break shooting high into the stratosphere. Throughout, the song shows shades of jazz, funk, R&B, and soul. More than listing off names, Wonder wants you to hear their influence. Featured on an album trying to capture life itself, both good and bad, Sir Duke serves as the definitive burst of ecstasy. The inspiration for this song calls for a lament, but Stevie Wonder masterfully turns his attention to celebrating Ellingtons eternal legacy. Obviously, most musicians love music, but few have so perfectly translated that emotion into a song itself. </quote> ... Copied to Clipboard!
Jesse_Custer 05/17/21 5:23:14 PM #58:	You picked my favorite Stevie Wonder song. Such an uplifting song. <cite>Jesse_Custer posted [p:954010470] in CasanovaZe... [t:79452388]...</cite> <quote>You picked my favorite Stevie Wonder song. Such an uplifting song. </quote> ... Copied to Clipboard!
CasanovaZelos 05/17/21 6:14:01 PM #59:	227. Vashti Bunyan Diamond Day (1970) from the album Just Another Diamond Day https://www.youtube.com/watch?v=7-HDcMplduA Key lyrics: Just another field to plough Just a grain of wheat Just a sack of seed to sow And the children eat Vashti Bunyans Diamond Day feels like a hit single from another, quieter dimension. This serene folk song was doomed in our own world; after the commercial failure of this record, Vashti disappeared for several decades, only returning to music once this album gained a cult following. This is the folkiest of folk music, less Bob Dylan and more a peasant song seemingly transposed from an earlier century. Yet Vashti feels simultaneously ahead of her time, considering the future success of Joanna Newsom. This is an artist daring to call upon niche elements in the name of a singular sound. The song is soft and ephemeral, coming in at less than two minutes. Her voice feels small, suggesting this is not a woman in a recording studio but a farmer softly singing to herself while working the fields. The instrumentation is similarly airy, making stunning use of a recorder and strings. A ton of detail is packed into this tiny song, creating a sound rarely seen in popular music. The easiest and most obvious comparison is to Nick Drake due to the presence of Robert Kirby. But even then, Diamond Day exists on another plane of existence. Where Drake works in grand emotions, this song is an ode to a simple sense of contentment. --- My top 100 games (with write-ups): https://foolfantastic.com/top-100-video-games-project/ <cite>CasanovaZelos posted [p:954012129] in CasanovaZe... [t:79452388]...</cite> <quote>227. Vashti Bunyan Diamond Day (1970) from the album Just Another Diamond Day https://www.youtube.com/watch?v=7-HDcMplduA Key lyrics: Just another field to plough Just a grain of wheat Just a sack of seed to sow And the children eat Vashti Bunyans Diamond Day feels like a hit single from another, quieter dimension. This serene folk song was doomed in our own world; after the commercial failure of this record, Vashti disappeared for several decades, only returning to music once this album gained a cult following. This is the folkiest of folk music, less Bob Dylan and more a peasant song seemingly transposed from an earlier century. Yet Vashti feels simultaneously ahead of her time, considering the future success of Joanna Newsom. This is an artist daring to call upon niche elements in the name of a singular sound. The song is soft and ephemeral, coming in at less than two minutes. Her voice feels small, suggesting this is not a woman in a recording studio but a farmer softly singing to herself while working the fields. The instrumentation is similarly airy, making stunning use of a recorder and strings. A ton of detail is packed into this tiny song, creating a sound rarely seen in popular music. The easiest and most obvious comparison is to Nick Drake due to the presence of Robert Kirby. But even then, Diamond Day exists on another plane of existence. Where Drake works in grand emotions, this song is an ode to a simple sense of contentment. </quote> ... Copied to Clipboard!
CasanovaZelos 05/17/21 8:32:29 PM #60:	226. The Beatles Eleanor Rigby (1966) from the album Revolver https://www.youtube.com/watch?v=HuS5NuXRb5Y Key lyrics: All the lonely people Where do they all come from? All the lonely people Where do they all belong? While The Beatles were firmly established as the biggest band in the world by the time 1966 arrived, Revolver solidified their image as true musical revolutionaries. I cannot imagine the initial reaction as Taxman ended, only for that eager audience to be blasted with this aggressive harmony. If this is considered rock music, it is only because The Beatles were big enough to redraw the lines. No drums, no guitars, no bass, replaced with an ominous string arrangement. Eleanor Rigby finds The Beatles purely chasing after atmosphere, a moody piece about unending loneliness. This is a hallmark of the baroque pop movements early days. While The Beach Boys were making waves using classical instrumentation for their sunny sound, The Beatles made the shocking (yet effective) decision to fixate on dread. The lyrics also take a notable shift. Whether happy or sad, earlier Beatles songs focused on love and loss, largely in universal terms. Eleanor Rigby is the story of two very specific people. Their loneliness may be relatable, but the detailed imagery paints a powerful picture. A face in a jar, darned socks, a funeral with no guests. The Beatles achieved a new level of maturity in this era, with Eleanor Rigby serving as a perfect showcase on every level. --- My top 100 games (with write-ups): https://foolfantastic.com/top-100-video-games-project/ <cite>CasanovaZelos posted [p:954016864] in CasanovaZe... [t:79452388]...</cite> <quote>226. The Beatles Eleanor Rigby (1966) from the album Revolver https://www.youtube.com/watch?v=HuS5NuXRb5Y Key lyrics: All the lonely people Where do they all come from? All the lonely people Where do they all belong? While The Beatles were firmly established as the biggest band in the world by the time 1966 arrived, Revolver solidified their image as true musical revolutionaries. I cannot imagine the initial reaction as Taxman ended, only for that eager audience to be blasted with this aggressive harmony. If this is considered rock music, it is only because The Beatles were big enough to redraw the lines. No drums, no guitars, no bass, replaced with an ominous string arrangement. Eleanor Rigby finds The Beatles purely chasing after atmosphere, a moody piece about unending loneliness. This is a hallmark of the baroque pop movements early days. While The Beach Boys were making waves using classical instrumentation for their sunny sound, The Beatles made the shocking (yet effective) decision to fixate on dread. The lyrics also take a notable shift. Whether happy or sad, earlier Beatles songs focused on love and loss, largely in universal terms. Eleanor Rigby is the story of two very specific people. Their loneliness may be relatable, but the detailed imagery paints a powerful picture. A face in a jar, darned socks, a funeral with no guests. The Beatles achieved a new level of maturity in this era, with Eleanor Rigby serving as a perfect showcase on every level. </quote> ... Copied to Clipboard!
CasanovaZelos 05/17/21 8:38:30 PM #61:	Every 25 songs, I'll post a recap and also update my top 100 artist list with any act that had their highest song place. So, if an artist from the last 25 songs has not been added, they're either not in my top 100 or have more songs to come. 250. The The - This is the Day 249. Goldfrapp - Lovely Head 248. Simon and Garfunkel - Bridge Over Troubled Water 247. Cerrone - Supernature 246. Jessie Ware - Spotlight 245. SOPHIE - Bipp 244. Gil Scott-Heron - The Revolution Will Not Be Televised 243. The Beatles - Yesterday 242. The Walkmen - The Rat 241. Hank Williams - I'm So Lonesome I Could Cry 240. Wu-Tang Clan - Protect Ya Neck 239. Sigur Ros - Svefn-g-englar 238. The Clash - London Calling 237. Buffalo Springfield - For What It's Worth 236. Fever Ray - If I Had a Heart 235. Bjork - Joga 234. Fleetwood Mac - The Chain 233. Stereolab - Cybele's Reverie 232. The National - Bloodbuzz Ohio 231. Prince - When Doves Cry 230. New Order - True Faith 229. The Cure - Just Like Heaven 228. Stevie Wonder - Sir Duke 227. Vashti Bunyan - Diamond Day 226. The Beatles - Eleanor Rigby Top 100 artists (with no remaining songs; artists from the most recent batch bolded): 16. Kanye West: "Monster" (#309) 18. Tom Waits: "Time" (#790) 26. Leonard Cohen: "Suzanne" (#588) 36. Fiona Apple: "Heavy Balloon" (#275) 38. Metallica: "Master of Puppets" (#348) 39. PJ Harvey: "Rid of Me" (#472) 40. Led Zeppelin: "Kashmir" (#619) 43. Animal Collective: "My Girls" (#307) 47. St. Vincent: "Digital Witness" (#334) 49. U2: "One" (#434) 50. Pink Floyd: "Wish You Were Here" (#514) 53. The Police: "Roxanne" (#285) 54. Beastie Boys: "Sabotage" (#261) 55. Portishead: "Sour Times" (#254) 58. The Chemical Brothers: "Hey Boy Hey Girl" (#271) 60. The Kinks: "Waterloo Sunset" (#355) 62. Creedence Clearwater Revival: "Fortunate Son" (#333) 64. Can: "Mother Sky" (#398) 65. Mogwai: "2 Rights Make 1 Wrong" (#399) 67. John Coltrane: "A Love Supreme, Part 1: Acknowledgement" (#661) 69. Bob Marley: "Redemption Song" (#506) 75. Madonna: "Like a Prayer" (#336) 76. Simon and Garfunkel: "Bridge Over Troubled Water" (#248) 77. The Clash: "London Calling" (#238) 80. Sigur Ros: "Svefn-g-englar" (#239) 82. Bon Iver: "Skinny Love" (#262) 85. Green Day: "Basket Case" (#371) 91. Elvis Presley: "Suspicious Minds" (#387) 92. Fever Ray: "If I Had a Heart" (#236) 93. Beyonce: "Countdown" (#615) --- My top 100 games (with write-ups): https://foolfantastic.com/top-100-video-games-project/ <cite>CasanovaZelos posted [p:954017056] in CasanovaZe... [t:79452388]...</cite> <quote>Every 25 songs, I'll post a recap and also update my top 100 artist list with any act that had their highest song place. So, if an artist from the last 25 songs has not been added, they're either not in my top 100 or have more songs to come. 250. The The - This is the Day 249. Goldfrapp - Lovely Head 248. Simon and Garfunkel - Bridge Over Troubled Water 247. Cerrone - Supernature 246. Jessie Ware - Spotlight 245. SOPHIE - Bipp 244. Gil Scott-Heron - The Revolution Will Not Be Televised 243. The Beatles - Yesterday 242. The Walkmen - The Rat 241. Hank Williams - I'm So Lonesome I Could Cry 240. Wu-Tang Clan - Protect Ya Neck 239. Sigur Ros - Svefn-g-englar 238. The Clash - London Calling 237. Buffalo Springfield - For What It's Worth 236. Fever Ray - If I Had a Heart 235. Bjork - Joga 234. Fleetwood Mac - The Chain 233. Stereolab - Cybele's Reverie 232. The National - Bloodbuzz Ohio 231. Prince - When Doves Cry 230. New Order - True Faith 229. The Cure - Just Like Heaven 228. Stevie Wonder - Sir Duke 227. Vashti Bunyan - Diamond Day 226. The Beatles - Eleanor Rigby Top 100 artists (with no remaining songs; artists from the most recent batch bolded): 16. Kanye West: "Monster" (#309) 18. Tom Waits: "Time" (#790) 26. Leonard Cohen: "Suzanne" (#588) 36. Fiona Apple: "Heavy Balloon" (#275) 38. Metallica: "Master of Puppets" (#348) 39. PJ Harvey: "Rid of Me" (#472) 40. Led Zeppelin: "Kashmir" (#619) 43. Animal Collective: "My Girls" (#307) 47. St. Vincent: "Digital Witness" (#334) 49. U2: "One" (#434) 50. Pink Floyd: "Wish You Were Here" (#514) 53. The Police: "Roxanne" (#285) 54. Beastie Boys: "Sabotage" (#261) 55. Portishead: "Sour Times" (#254) 58. The Chemical Brothers: "Hey Boy Hey Girl" (#271) 60. The Kinks: "Waterloo Sunset" (#355) 62. Creedence Clearwater Revival: "Fortunate Son" (#333) 64. Can: "Mother Sky" (#398) 65. Mogwai: "2 Rights Make 1 Wrong" (#399) 67. John Coltrane: "A Love Supreme, Part 1: Acknowledgement" (#661) 69. Bob Marley: "Redemption Song" (#506) 75. Madonna: "Like a Prayer" (#336) 76. Simon and Garfunkel: "Bridge Over Troubled Water" (#248) 77. The Clash: "London Calling" (#238) 80. Sigur Ros: "Svefn-g-englar" (#239) 82. Bon Iver: "Skinny Love" (#262) 85. Green Day: "Basket Case" (#371) 91. Elvis Presley: "Suspicious Minds" (#387) 92. Fever Ray: "If I Had a Heart" (#236) 93. Beyonce: "Countdown" (#615) </quote> ... Copied to Clipboard!
Seanchan 05/18/21 3:09:55 PM #62:	CasanovaZelos posted... 235. Bjrk Joga (1997) from the album Homogenic Never actually heard a Bjork song before. I had the impression she was some weirdo artist like...banging spoons together and barking and calling it art. Obviously, I was wrong, at least about this song. CasanovaZelos posted... 233. Stereolab Cybeles Reverie (1996) from the album Emperor Tomato Ketchup I totally get the Katamari vibe! CasanovaZelos posted... 231. Prince When Doves Cry (1984) from the album Purple Rain I've never really listened to a lot of Prince. This is a great song. CasanovaZelos posted... 228. Stevie Wonder Sir Duke (1976) from the album Songs in the Key of Life Crazy that I literally heard this song 15 minutes ago in the dentist office. It's hard to beat Stevie. CasanovaZelos posted... 226. The Beatles Eleanor Rigby (1966) from the album Revolver Out of all my favorite Beatles songs...this is one of them. --- "That was unnecessarily dramatic". - NY Mets motto (courtesy of InnerTubeHero) Congratulations to azuarc, the guru of gurus and winner of GotD 2020! <cite>Seanchan posted [p:954043660] in CasanovaZe... [t:79452388]...</cite> <quote><quote>CasanovaZelos posted... </cite>235. Bjrk Joga (1997) from the album Homogenic</quote> Never actually heard a Bjork song before. I had the impression she was some weirdo artist like...banging spoons together and barking and calling it art. Obviously, I was wrong, at least about this song. CasanovaZelos posted... </cite> <quote>233. Stereolab Cybeles Reverie (1996) from the album Emperor Tomato Ketchup</quote> I totally get the Katamari vibe! CasanovaZelos posted... </cite> <quote>231. Prince When Doves Cry (1984) from the album Purple Rain</quote> I've never really listened to a lot of Prince. This is a great song. CasanovaZelos posted... </cite> <quote>228. Stevie Wonder Sir Duke (1976) from the album Songs in the Key of Life</quote> Crazy that I literally heard this song 15 minutes ago in the dentist office. It's hard to beat Stevie. CasanovaZelos posted... </cite> <quote>226. The Beatles Eleanor Rigby (1966) from the album Revolver</quote> Out of all my favorite Beatles songs...this is one of them. </quote> ... Copied to Clipboard!
CasanovaZelos 05/18/21 4:27:06 PM #63:	225. Elliott Smith Waltz #2 (XO) (1998) from the album XO https://www.youtube.com/watch?v=RWn9ocrMhlE Key lyrics: Im never gonna know you now But Im gonna love you anyhow Elliott Smiths music tends to embody raw human emotions, largely at their lowest points. Waltz #2 in particular paints such a singular image. A feuding couple at karaoke sing pointed breakup songs at one another while Smith appears to look on, reflecting on his own troubled life. The chorus is haunting yet familiar, the urge to love someone from a distance. Smith was a lyrical genius, and this is a masterwork; that opening verse kills me every time, particularly the line she appears composed, so she is, I suppose. When not commenting on the current scene, Smith remarks upon his emotional state, absolutely failing to reassure the listener that he is doing okay. Like Joy Division, Elliott Smiths music sometimes feels a little too raw considering his fate. This is authentic turmoil. The music captures the internal conflict, a slow waltz with a depressive guitar jangle that rises to great heights when Smith forces a positive appearance like the subject of his first verse. By the end, Smith is no longer capable of wearing a happy face. The instruments derail around him as his distant longing overwhelms everything else. Though pretty simple stylistically, Waltz #2 generates a flurry of emotion. --- My top 100 games (with write-ups): https://foolfantastic.com/top-100-video-games-project/ <cite>CasanovaZelos posted [p:954046230] in CasanovaZe... [t:79452388]...</cite> <quote>225. Elliott Smith Waltz #2 (XO) (1998) from the album XO https://www.youtube.com/watch?v=RWn9ocrMhlE Key lyrics: Im never gonna know you now But Im gonna love you anyhow Elliott Smiths music tends to embody raw human emotions, largely at their lowest points. Waltz #2 in particular paints such a singular image. A feuding couple at karaoke sing pointed breakup songs at one another while Smith appears to look on, reflecting on his own troubled life. The chorus is haunting yet familiar, the urge to love someone from a distance. Smith was a lyrical genius, and this is a masterwork; that opening verse kills me every time, particularly the line she appears composed, so she is, I suppose. When not commenting on the current scene, Smith remarks upon his emotional state, absolutely failing to reassure the listener that he is doing okay. Like Joy Division, Elliott Smiths music sometimes feels a little too raw considering his fate. This is authentic turmoil. The music captures the internal conflict, a slow waltz with a depressive guitar jangle that rises to great heights when Smith forces a positive appearance like the subject of his first verse. By the end, Smith is no longer capable of wearing a happy face. The instruments derail around him as his distant longing overwhelms everything else. Though pretty simple stylistically, Waltz #2 generates a flurry of emotion. </quote> ... Copied to Clipboard!
CasanovaZelos 05/19/21 5:21:52 PM #64:	This has also just been an unusually busy week for me, so hopefully I can focus on this more once the weekend arrives --- My top 100 games (with write-ups): https://foolfantastic.com/top-100-video-games-project/ <cite>CasanovaZelos posted [p:954085525] in CasanovaZe... [t:79452388]...</cite> <quote>This has also just been an unusually busy week for me, so hopefully I can focus on this more once the weekend arrives </quote> ... Copied to Clipboard!
CasanovaZelos 05/20/21 3:00:55 PM #65:	224. Nusrat Fateh Ali Khan Mustt Mustt (1990) from the album Mustt Mustt https://www.youtube.com/watch?v=4RlvDlI0EXo In music, a truly mesmerizing voice can transcend any language barrier. I cant even begin to guess what this song is about any research into the meaning now would clearly be a distraction from the reasons for its presence. Its musical origins is in the Qawwali style, a form of devotional music among the Sufi people. In Mustt Mustt, this style dating back 700 years is fused with modern production techniques to create something with surprising force. Throughout, a catchy rhythm and chanting choir backs Nusrat Fateh Ali Khan. This feels like a song designed purely to highlight the vocalist. While the backing music remains simple and calm, Nusrat Fateh Ali Khan absolutely tears through the piece, growing more impassioned through each verse. Every moment in this song bends to his voice. He overwhelms the senses; as religious music, he makes you feel his absolute devotion. This project came about when Peter Gabriel brought producer Michael Brook together with Khan, and the purpose seems clear. Nusrat Fateh Ali Khan was one of the greatest vocalists who ever lived, and this track was designed to grant him international attention. One does not need to share his beliefs to recognize the raw talent on display. --- My top 100 games (with write-ups): https://foolfantastic.com/top-100-video-games-project/ <cite>CasanovaZelos posted [p:954118843] in CasanovaZe... [t:79452388]...</cite> <quote>224. Nusrat Fateh Ali Khan Mustt Mustt (1990) from the album Mustt Mustt https://www.youtube.com/watch?v=4RlvDlI0EXo In music, a truly mesmerizing voice can transcend any language barrier. I cant even begin to guess what this song is about any research into the meaning now would clearly be a distraction from the reasons for its presence. Its musical origins is in the Qawwali style, a form of devotional music among the Sufi people. In Mustt Mustt, this style dating back 700 years is fused with modern production techniques to create something with surprising force. Throughout, a catchy rhythm and chanting choir backs Nusrat Fateh Ali Khan. This feels like a song designed purely to highlight the vocalist. While the backing music remains simple and calm, Nusrat Fateh Ali Khan absolutely tears through the piece, growing more impassioned through each verse. Every moment in this song bends to his voice. He overwhelms the senses; as religious music, he makes you feel his absolute devotion. This project came about when Peter Gabriel brought producer Michael Brook together with Khan, and the purpose seems clear. Nusrat Fateh Ali Khan was one of the greatest vocalists who ever lived, and this track was designed to grant him international attention. One does not need to share his beliefs to recognize the raw talent on display. </quote> ... Copied to Clipboard!
RyoCaliente 05/20/21 3:12:59 PM #66:	CasanovaZelos posted... 226. The Beatles Eleanor Rigby (1966) My second favourite Beatles song. I love the overall atmosphere; there's a certain dark moodiness/melancholy to it, fitting to the subject of course. Everything about this track just works. CasanovaZelos posted... 225. Elliott Smith Waltz #2 (XO) (1998) I just kinda love this song a lot. It's a nice contrast with Baby Britain, which has a more happy sound, musically at least. --- How paralyzingly dull, boring and tedious! <cite>RyoCaliente posted [p:954119234] in CasanovaZe... [t:79452388]...</cite> <quote>CasanovaZelos posted... </cite> <quote>226. The Beatles Eleanor Rigby (1966) </quote>My second favourite Beatles song. I love the overall atmosphere; there's a certain dark moodiness/melancholy to it, fitting to the subject of course. Everything about this track just works. CasanovaZelos posted... </cite> <quote>225. Elliott Smith Waltz #2 (XO) (1998) </quote>I just kinda love this song a lot. It's a nice contrast with Baby Britain, which has a more happy sound, musically at least. </quote> ... Copied to Clipboard!
NBIceman 05/20/21 3:14:24 PM #67:	I wouldn't call myself much of a Beatles fan by any stretch of the imagination, but I do love Eleanor Rigby. --- https://imgur.com/UYamul2 Spurs - Yankees - Eagles - Golden Knights - Longhorns <cite>NBIceman posted [p:954119293] in CasanovaZe... [t:79452388]...</cite> <quote>I wouldn't call myself much of a Beatles fan by any stretch of the imagination, but I do love Eleanor Rigby. </quote> ... Copied to Clipboard!
CasanovaZelos 05/20/21 4:15:46 PM #68:	223. Arcade Fire Sprawl II (Mountains Beyond Mountains) (2010) from the album The Suburbs https://www.youtube.com/watch?v=awHWColYQ90 Key lyrics: I need the darkness Someone, please cut the lights Upon release, Sprawl II was far from a standard Arcade Fire song this is one of those rare moments where an established band tries something new on a single track, and that experiment influences their sound from that moment on. And thats for better or worse; their two albums since The Suburbs never quite capture the magic of this first attempt. Sprawl II is a perfect fusion of Arcade Fires larger than life sound and disco influences, a glistening synthpop jam that truly captures an endless sprawl. This is one of the few Arcade Fire tracks that features Rgine Chassagne on lead vocals, and to great effect. Though her gentle voice typically works better in contrast with Win Butlers sheer passion, this track casts her against the music itself. This is an epic piece that threatens to drown her out, positioning her perfectly to sing about the suffocating need to escape. Going over the lyrics, its easy to imagine Win Butler creating a sense of despair. Instead, Chassagne adds a sense of hope, by the end singing with the power of someone who will force her way out of this horrid isolation. Beyond that, the instrumentation is a sheer delight; the moment around the 2:40 mark is a highlight, the synths winding down like all is about to be lost, only for the song to slowly recover before Chassagne comes roaring back. --- My top 100 games (with write-ups): https://foolfantastic.com/top-100-video-games-project/ <cite>CasanovaZelos posted [p:954121318] in CasanovaZe... [t:79452388]...</cite> <quote>223. Arcade Fire Sprawl II (Mountains Beyond Mountains) (2010) from the album The Suburbs https://www.youtube.com/watch?v=awHWColYQ90 Key lyrics: I need the darkness Someone, please cut the lights Upon release, Sprawl II was far from a standard Arcade Fire song this is one of those rare moments where an established band tries something new on a single track, and that experiment influences their sound from that moment on. And thats for better or worse; their two albums since The Suburbs never quite capture the magic of this first attempt. Sprawl II is a perfect fusion of Arcade Fires larger than life sound and disco influences, a glistening synthpop jam that truly captures an endless sprawl. This is one of the few Arcade Fire tracks that features Rgine Chassagne on lead vocals, and to great effect. Though her gentle voice typically works better in contrast with Win Butlers sheer passion, this track casts her against the music itself. This is an epic piece that threatens to drown her out, positioning her perfectly to sing about the suffocating need to escape. Going over the lyrics, its easy to imagine Win Butler creating a sense of despair. Instead, Chassagne adds a sense of hope, by the end singing with the power of someone who will force her way out of this horrid isolation. Beyond that, the instrumentation is a sheer delight; the moment around the 2:40 mark is a highlight, the synths winding down like all is about to be lost, only for the song to slowly recover before Chassagne comes roaring back. </quote> ... Copied to Clipboard!
Menji 05/20/21 4:19:40 PM #69:	One of my favorite songs. And I've added a lot from your list to my playlist. --- Menji+ https://imgur.com/F5UEyUw \| https://imgur.com/pPZsSZU Congrats to azuarc! [ https://myanimelist.net/profile/Menjii ] <cite>Menji posted [p:954121463] in CasanovaZe... [t:79452388]...</cite> <quote>One of my favorite songs. And I've added a lot from your list to my playlist. </quote> ... Copied to Clipboard!
Mr Lasastryke 05/20/21 5:33:21 PM #70:	i listened to the suburbs a lot back in the day. good stuff. --- Geothermal terpsichorean ejectamenta <cite>Mr Lasastryke posted [p:954124073] in CasanovaZe... [t:79452388]...</cite> <quote>i listened to the suburbs a lot back in the day. good stuff. </quote> ... Copied to Clipboard!
CasanovaZelos 05/20/21 11:41:06 PM #71:	222. Amy Winehouse Rehab (2006) from the album Back to Black https://www.youtube.com/watch?v=KUmZp8pR1uc Key lyrics: Its not just my pride Its just till these tears have dried Sometimes, it becomes difficult to fully appreciate the context of a breakthrough single in retrospect. Even before Winehouses untimely yet all too predictable death, Rehab was as dreary as pop hits come. This song acts as a desperate cry for help, but only through several layers of denial. It takes guts to acknowledge a drinking problem, even if Winehouse embraces every opportunity to explain away her behavior. She doesnt have the time, she fears losing someone, shes depressed, she only needs it until shes feeling better. Amy Winehouse spills her entire being into this song. The instrumentation serves to reinforce her denial. Winehouse uses the music to build a wall between herself and her words, adding bitter irony. But this is a pop hit because the song is just that catchy. Her soulful voice blends perfectly with an older style of R&B. At the same time, what was there to suggest a throwback R&B song by a no-name artist would become a major hit in the mid-2000s? Making the focus about addiction was a risk that paid off; theres an air of authenticity here rarely heard on mainstream radio. Winehouses brutal honesty set the scene for several pop artists in the years that followed, from Adele to Lady Gaga to Lana Del Rey. But back in 2006, Amy Winehouse largely stood alone. --- My top 100 games (with write-ups): https://foolfantastic.com/top-100-video-games-project/ <cite>CasanovaZelos posted [p:954135460] in CasanovaZe... [t:79452388]...</cite> <quote>222. Amy Winehouse Rehab (2006) from the album Back to Black https://www.youtube.com/watch?v=KUmZp8pR1uc Key lyrics: Its not just my pride Its just till these tears have dried Sometimes, it becomes difficult to fully appreciate the context of a breakthrough single in retrospect. Even before Winehouses untimely yet all too predictable death, Rehab was as dreary as pop hits come. This song acts as a desperate cry for help, but only through several layers of denial. It takes guts to acknowledge a drinking problem, even if Winehouse embraces every opportunity to explain away her behavior. She doesnt have the time, she fears losing someone, shes depressed, she only needs it until shes feeling better. Amy Winehouse spills her entire being into this song. The instrumentation serves to reinforce her denial. Winehouse uses the music to build a wall between herself and her words, adding bitter irony. But this is a pop hit because the song is just that catchy. Her soulful voice blends perfectly with an older style of R&B. At the same time, what was there to suggest a throwback R&B song by a no-name artist would become a major hit in the mid-2000s? Making the focus about addiction was a risk that paid off; theres an air of authenticity here rarely heard on mainstream radio. Winehouses brutal honesty set the scene for several pop artists in the years that followed, from Adele to Lady Gaga to Lana Del Rey. But back in 2006, Amy Winehouse largely stood alone. </quote> ... Copied to Clipboard!
CasanovaZelos 05/21/21 12:14:31 AM #72:	221. Charles Mingus Track C Group Dancers (1963) from the album The Black Saint and the Sinner Lady https://www.youtube.com/watch?v=vv3DnIvCifI Track C starts small, a piano that shuffles along as though trying to find itself. Then, right at the forty second mark, a cacophony of other instruments blasts between notes, and the track starts showing hints of its true colors. A minute later, the song falls into an abrasive groove before falling back onto that lone piano, eventually exploding into one of the most dizzyingly chaotic jazz pieces I know. The sections dive into disparate territory, one segment starting ostensibly Western before descending into a wall of noise which eventually returns to the refrain. In popular consciousness, jazz is the type of music you play at a lounge or a coffee shop, something light and inoffensive. Here, Mingus wields jazz like a sonic weapon. Even without lyrics, Track C paints a vibrant picture. To me, this captures the anxiety of being stuck in traffic in a big city, horns blaring as you have nowhere to turn. Even after pulling oneself together, the underlying tension is inescapable. The music keeps pushing forward; this is an exhausting listen, a piece made more to be experienced than enjoyed. Plenty of artists attempt aggression as a defining trait, but Mingus pulls it off without losing his cool. Track C, impossibly, acts as chaos with pinpoint precision, fine-tuned to get under the skin. --- My top 100 games (with write-ups): https://foolfantastic.com/top-100-video-games-project/ <cite>CasanovaZelos posted [p:954136239] in CasanovaZe... [t:79452388]...</cite> <quote>221. Charles Mingus Track C Group Dancers (1963) from the album The Black Saint and the Sinner Lady https://www.youtube.com/watch?v=vv3DnIvCifI Track C starts small, a piano that shuffles along as though trying to find itself. Then, right at the forty second mark, a cacophony of other instruments blasts between notes, and the track starts showing hints of its true colors. A minute later, the song falls into an abrasive groove before falling back onto that lone piano, eventually exploding into one of the most dizzyingly chaotic jazz pieces I know. The sections dive into disparate territory, one segment starting ostensibly Western before descending into a wall of noise which eventually returns to the refrain. In popular consciousness, jazz is the type of music you play at a lounge or a coffee shop, something light and inoffensive. Here, Mingus wields jazz like a sonic weapon. Even without lyrics, Track C paints a vibrant picture. To me, this captures the anxiety of being stuck in traffic in a big city, horns blaring as you have nowhere to turn. Even after pulling oneself together, the underlying tension is inescapable. The music keeps pushing forward; this is an exhausting listen, a piece made more to be experienced than enjoyed. Plenty of artists attempt aggression as a defining trait, but Mingus pulls it off without losing his cool. Track C, impossibly, acts as chaos with pinpoint precision, fine-tuned to get under the skin. </quote> ... Copied to Clipboard!
CasanovaZelos 05/22/21 10:20:44 AM #73:	220. Rage Against the Machine Killing in the Name (1992) from the album Rage Against the Machine https://www.youtube.com/watch?v=bWXazVhlyxQ Key lyrics: Some of those that work forces Are the same that burn crosses Part of my difficulty with harder forms of rock is a persistent sense of unearned anger. Rage Against the Machine are among the few that genuinely work for me, as their lyrics focus on topics deserving of such vitriolic disparagement. Killing in the Name has particularly aged well, an anti-police tirade with simple lyrics operating as perfect slogans. As anti-police sentiments grow more mainstream, this song solidifies itself as a timeless classic of the early 90s. A deserving target is not enough alone; anger is a complex emotion, one too easily reduced to shouting. On Killing in the Name, Zack de la Rocha repeatedly reduces himself to quiet seething during the pre-chorus, the drums punctuating every line until the band builds itself into a frenzy. The outro works in a similar fashion, a quiet rage soon unleashed. The repetitive lyrics work wonders here, suggesting one fixating on their grievances until their only option is to lash out. On a sonic level, these quiet parts truly feel unique. In a medium all about sound, few artists experiment with its absence. Rage Against the Machine pulling it off while working in a metal subgenre is truly impressive. Of course, to fully work, the harder parts have to do some heavy lifting. The drums are forceful, but Tom Morellos shredding is next level, including an unforgettable guitar solo. Rage Against the Machine earn their anger. --- My top 100 games (with write-ups): https://foolfantastic.com/top-100-video-games-project/ <cite>CasanovaZelos posted [p:954179962] in CasanovaZe... [t:79452388]...</cite> <quote>220. Rage Against the Machine Killing in the Name (1992) from the album Rage Against the Machine https://www.youtube.com/watch?v=bWXazVhlyxQ Key lyrics: Some of those that work forces Are the same that burn crosses Part of my difficulty with harder forms of rock is a persistent sense of unearned anger. Rage Against the Machine are among the few that genuinely work for me, as their lyrics focus on topics deserving of such vitriolic disparagement. Killing in the Name has particularly aged well, an anti-police tirade with simple lyrics operating as perfect slogans. As anti-police sentiments grow more mainstream, this song solidifies itself as a timeless classic of the early 90s. A deserving target is not enough alone; anger is a complex emotion, one too easily reduced to shouting. On Killing in the Name, Zack de la Rocha repeatedly reduces himself to quiet seething during the pre-chorus, the drums punctuating every line until the band builds itself into a frenzy. The outro works in a similar fashion, a quiet rage soon unleashed. The repetitive lyrics work wonders here, suggesting one fixating on their grievances until their only option is to lash out. On a sonic level, these quiet parts truly feel unique. In a medium all about sound, few artists experiment with its absence. Rage Against the Machine pulling it off while working in a metal subgenre is truly impressive. Of course, to fully work, the harder parts have to do some heavy lifting. The drums are forceful, but Tom Morellos shredding is next level, including an unforgettable guitar solo. Rage Against the Machine earn their anger. </quote> ... Copied to Clipboard!
CasanovaZelos 05/22/21 12:56:45 PM #74:	219. Janelle Mone Tightrope (2010) from the album The ArchAndroid https://www.youtube.com/watch?v=pwnefUaKCbc Key lyrics: Some callin me a sinner Some callin me a winner Im callin you to dinner And you know exactly what I mean Tightrope is an energetic genre blender, featuring shades of funk, soul, and even hip hop thanks to a verse from Big Boi. But the dominant feature here is the funk, a genre that inexplicably lied dormant for several decades. Unlike disco, the disappearance does not appear to have any clear social explanation. In an odd turn, it simply seems like no major act tried carrying the torch. When one returns to a largely abandoned genre, the easiest term is to call it a throwback. Yet Tightrope shines because it never feels like a nostalgia piece. Instead, Mone filled in the gap between Prince and the modern era, making a song that perfectly captures the spirit of the 2010s. Mone does this by recognizing the versatility of funk. The stellar bassline and killer percussion does not need to stretch much to accommodate the variety of vocal styles on display. Tightrope is loaded with ideas, yet it never loses a sense of unity. From beginning to end, this is among the most danceable songs I know. Mone shines as a vocalist, jumping between spoken verses and impassioned soul singing for the chorus. Like the best funk songs from yesteryear, Tightrope is a blast of pure joy. --- My top 100 games (with write-ups): https://foolfantastic.com/top-100-video-games-project/ <cite>CasanovaZelos posted [p:954183647] in CasanovaZe... [t:79452388]...</cite> <quote>219. Janelle Mone Tightrope (2010) from the album The ArchAndroid https://www.youtube.com/watch?v=pwnefUaKCbc Key lyrics: Some callin me a sinner Some callin me a winner Im callin you to dinner And you know exactly what I mean Tightrope is an energetic genre blender, featuring shades of funk, soul, and even hip hop thanks to a verse from Big Boi. But the dominant feature here is the funk, a genre that inexplicably lied dormant for several decades. Unlike disco, the disappearance does not appear to have any clear social explanation. In an odd turn, it simply seems like no major act tried carrying the torch. When one returns to a largely abandoned genre, the easiest term is to call it a throwback. Yet Tightrope shines because it never feels like a nostalgia piece. Instead, Mone filled in the gap between Prince and the modern era, making a song that perfectly captures the spirit of the 2010s. Mone does this by recognizing the versatility of funk. The stellar bassline and killer percussion does not need to stretch much to accommodate the variety of vocal styles on display. Tightrope is loaded with ideas, yet it never loses a sense of unity. From beginning to end, this is among the most danceable songs I know. Mone shines as a vocalist, jumping between spoken verses and impassioned soul singing for the chorus. Like the best funk songs from yesteryear, Tightrope is a blast of pure joy. </quote> ... Copied to Clipboard!
ChainLTTP 05/22/21 1:14:02 PM #75:	Have you ever listened to the remix with B.o.B. and Lupe Fiasco? It's phenomenal. <cite>ChainLTTP posted [p:954184054] in CasanovaZe... [t:79452388]...</cite> <quote>Have you ever listened to the remix with B.o.B. and Lupe Fiasco? It's phenomenal. </quote> ... Copied to Clipboard!
CasanovaZelos 05/22/21 1:40:05 PM #76:	218. M.I.A. Paper Planes (2007) from the album Kala https://www.youtube.com/watch?v=ewRjZoRtu0Y Key lyrics: All I wanna do is gunshots and a gun cocking cash register and take your money There is something sinister about making such a catchy chorus and corrupting it in such a way to prevent anyone from singing along. Yet in doing so, M.I.A. shot into the spotlight. The strange thing here is that, for those who have listened to her other work, Paper Planes might actually find M.I.A. at her most restrained. Compared to the aggressively up-tempo Bird Flu and Boyz, the first two singles from the same album, Paper Planes can be described as downright mellow. Being that Paper Planes was only the fourth single, M.I.A. seemed to have accidentally stumbled into a sound that would resonate with a larger audience. The mellow atmosphere masks some serious anger. M.I.A. positions herself as someone forging visas, a foreigner robbing people of their jobs, a secret agent here to corrupt your society. The rampant attacks on immigrants are reduced to absurdity when spoken aloud by one accused. Yet she has fun in playing that role, dishing out boasts about running the drug trade and comparing herself to a one-woman KGB. There are many ways to fight bigotry, but few expose the baselessness like playing along. Paper Planes is one of the strangest songs to achieve mass popularity, and it did so with a singular message. --- My top 100 games (with write-ups): https://foolfantastic.com/top-100-video-games-project/ <cite>CasanovaZelos posted [p:954184714] in CasanovaZe... [t:79452388]...</cite> <quote>218. M.I.A. Paper Planes (2007) from the album Kala https://www.youtube.com/watch?v=ewRjZoRtu0Y Key lyrics: All I wanna do is gunshots and a gun cocking cash register and take your money There is something sinister about making such a catchy chorus and corrupting it in such a way to prevent anyone from singing along. Yet in doing so, M.I.A. shot into the spotlight. The strange thing here is that, for those who have listened to her other work, Paper Planes might actually find M.I.A. at her most restrained. Compared to the aggressively up-tempo Bird Flu and Boyz, the first two singles from the same album, Paper Planes can be described as downright mellow. Being that Paper Planes was only the fourth single, M.I.A. seemed to have accidentally stumbled into a sound that would resonate with a larger audience. The mellow atmosphere masks some serious anger. M.I.A. positions herself as someone forging visas, a foreigner robbing people of their jobs, a secret agent here to corrupt your society. The rampant attacks on immigrants are reduced to absurdity when spoken aloud by one accused. Yet she has fun in playing that role, dishing out boasts about running the drug trade and comparing herself to a one-woman KGB. There are many ways to fight bigotry, but few expose the baselessness like playing along. Paper Planes is one of the strangest songs to achieve mass popularity, and it did so with a singular message. </quote> ... Copied to Clipboard!
Snake5555555555 05/22/21 2:11:43 PM #77:	CasanovaZelos posted... Yet in doing so, M.I.A. shot into the spotlight Nice pun. --- I've decided to put my fears behind me. I'm not going back. https://imgur.com/a/du8zgsT - https://imgur.com/a/VTNzDEW <cite>Snake5555555555 posted [p:954185584] in CasanovaZe... [t:79452388]...</cite> <quote>CasanovaZelos posted... </cite> <quote>Yet in doing so, M.I.A. shot into the spotlight</quote> Nice pun. </quote> ... Copied to Clipboard!
CasanovaZelos 05/23/21 2:13:04 PM #78:	217. Soft Cell Tainted Love (1981) from the album Non-Stop Erotic Cabaret https://www.youtube.com/watch?v=ZcyCQLewj10 Key lyrics: Once I ran to you Now Ill run from you Theres something disarmingly simple about the appeal of Tainted Love that makes sense once you realize its a cover of an obscure Gloria Jones song from the 1960s. Lyrically, this is a very standard Motown number, one easily lost in the shuffle. Soft Cell elevate it through prominent synthesizers, transforming the song into one of the first synth-pop mega hits. Heartbroken love songs are a dime a dozen, but few vocalists are as convincing as Marc Almond. The way he shouts Dont touch me, please at the beginning of the outro blows me away. When I think synth-pop, my mind immediately jumps to frantic energy, but Tainted Love maintains a rather low tempo. The energy of the song is provided by forceful percussion. The song reaches a stylistic peak during the chorus, when the synthesizer draws out the notes, simulating an organ. Yet the beat never drops away, creating a jarring contrast. I have joked before that every upbeat New Wave song with subtly dark lyrics has an indie artist waiting to make a brooding cover, yet Tainted Love proves a perfect example of making that urge work. The original song was never a hit, but Soft Cell dug up a deeper meaning through a new sound. --- My top 100 games (with write-ups): https://foolfantastic.com/top-100-video-games-project/ <cite>CasanovaZelos posted [p:954216958] in CasanovaZe... [t:79452388]...</cite> <quote>217. Soft Cell Tainted Love (1981) from the album Non-Stop Erotic Cabaret https://www.youtube.com/watch?v=ZcyCQLewj10 Key lyrics: Once I ran to you Now Ill run from you Theres something disarmingly simple about the appeal of Tainted Love that makes sense once you realize its a cover of an obscure Gloria Jones song from the 1960s. Lyrically, this is a very standard Motown number, one easily lost in the shuffle. Soft Cell elevate it through prominent synthesizers, transforming the song into one of the first synth-pop mega hits. Heartbroken love songs are a dime a dozen, but few vocalists are as convincing as Marc Almond. The way he shouts Dont touch me, please at the beginning of the outro blows me away. When I think synth-pop, my mind immediately jumps to frantic energy, but Tainted Love maintains a rather low tempo. The energy of the song is provided by forceful percussion. The song reaches a stylistic peak during the chorus, when the synthesizer draws out the notes, simulating an organ. Yet the beat never drops away, creating a jarring contrast. I have joked before that every upbeat New Wave song with subtly dark lyrics has an indie artist waiting to make a brooding cover, yet Tainted Love proves a perfect example of making that urge work. The original song was never a hit, but Soft Cell dug up a deeper meaning through a new sound. </quote> ... Copied to Clipboard!
CasanovaZelos 05/23/21 2:56:10 PM #79:	216. Elliott Smith Between the Bars (1997) from the album Either/Or https://www.youtube.com/watch?v=n5g-91mwiNs Key lyrics: The potential youll be, that youll never see The promises youll only make In a career full of despairing tracks, Between the Bars just might be Elliott Smiths most haunting. He sings in a strained whisper, almost like a ghost. The instrumentation is equally ethereal, dominated by the gentle strumming of a guitar. On all levels, this is a song that suggests someone who has given up, made all the harder to consume in retrospect. The lyrical point of view is so compelling. Instead of singing directly from the heart, the perspective is given from a bottle of alcohol. This is a siren song, a destructive force gently lulling you into comfort. This lends a more universal element than a straightforward approach. Not everyone has experienced addiction or depressive episodes. By painting his struggles as an outside entity, Smith articulates his situation as spending time with an enabling friend, someone incapable of realizing the harm they are doing. The quietness of the song suggests, if not a warm place, at least a safe one away from the world. This is a friend who will never leave you, one which must be pushed away with great force; but why would you when they offer such an easy escape? As someone who has been lucky enough to never deal with addiction, this gets the message across painfully well. --- My top 100 games (with write-ups): https://foolfantastic.com/top-100-video-games-project/ <cite>CasanovaZelos posted [p:954218208] in CasanovaZe... [t:79452388]...</cite> <quote>216. Elliott Smith Between the Bars (1997) from the album Either/Or https://www.youtube.com/watch?v=n5g-91mwiNs Key lyrics: The potential youll be, that youll never see The promises youll only make In a career full of despairing tracks, Between the Bars just might be Elliott Smiths most haunting. He sings in a strained whisper, almost like a ghost. The instrumentation is equally ethereal, dominated by the gentle strumming of a guitar. On all levels, this is a song that suggests someone who has given up, made all the harder to consume in retrospect. The lyrical point of view is so compelling. Instead of singing directly from the heart, the perspective is given from a bottle of alcohol. This is a siren song, a destructive force gently lulling you into comfort. This lends a more universal element than a straightforward approach. Not everyone has experienced addiction or depressive episodes. By painting his struggles as an outside entity, Smith articulates his situation as spending time with an enabling friend, someone incapable of realizing the harm they are doing. The quietness of the song suggests, if not a warm place, at least a safe one away from the world. This is a friend who will never leave you, one which must be pushed away with great force; but why would you when they offer such an easy escape? As someone who has been lucky enough to never deal with addiction, this gets the message across painfully well. </quote> ... Copied to Clipboard!
CasanovaZelos 05/24/21 4:55:19 PM #80:	215. Tim Buckley Song to the Siren (1970) from the album Starsailor https://www.youtube.com/watch?v=cZiTSglLM-4 important alternative version: https://www.youtube.com/watch?v=b49YfsjXw5E Key lyrics: Did I dream you dreamed about me? Were you hare when I was fox? Now my foolish boat is leaning Broken lovelorn on your rocks Song to the Siren is a song that has been covered by dozens of artists, and choosing the best version when even the original artist seemed indecisive is challenging. Popular consensus would go with the folkier version (or, more likely, the cover by This Mortal Coil which narrowly missed this project). But theres something about the album version which hits me like nothing else. Sure, the folk version might be downright beautiful, but the Starsailor version finds an artist in the depths of experimentation. On this particular version, Buckley is playing more toward the Scott Walker crowd. The lyrics are versatile, but the folk version takes it too easy. On Starsailor, Buckley is absolutely wailing with grief. In this recording, Buckley dares to push his vocals to the absolute limit. Some people might even find it comical, but Ive always been enamored by artists who step outside pop traditions when it comes to vocal performance. The sparse instrumentation centers his vocals while adding a perfect eerie quality; the famous cover by This Mortal Coil captures a similar yet more traditionally beautiful atmosphere. In this form, Song to the Siren steps beyond a simple love song and truly embraces the nautical theme. With the backing music wailing like a siren, the lyrics take on a literal quality. One can picture a sailor bellowing this in ancient times. --- My top 100 games (with write-ups): https://foolfantastic.com/top-100-video-games-project/ <cite>CasanovaZelos posted [p:954255115] in CasanovaZe... [t:79452388]...</cite> <quote>215. Tim Buckley Song to the Siren (1970) from the album Starsailor https://www.youtube.com/watch?v=cZiTSglLM-4 important alternative version: https://www.youtube.com/watch?v=b49YfsjXw5E Key lyrics: Did I dream you dreamed about me? Were you hare when I was fox? Now my foolish boat is leaning Broken lovelorn on your rocks Song to the Siren is a song that has been covered by dozens of artists, and choosing the best version when even the original artist seemed indecisive is challenging. Popular consensus would go with the folkier version (or, more likely, the cover by This Mortal Coil which narrowly missed this project). But theres something about the album version which hits me like nothing else. Sure, the folk version might be downright beautiful, but the Starsailor version finds an artist in the depths of experimentation. On this particular version, Buckley is playing more toward the Scott Walker crowd. The lyrics are versatile, but the folk version takes it too easy. On Starsailor, Buckley is absolutely wailing with grief. In this recording, Buckley dares to push his vocals to the absolute limit. Some people might even find it comical, but Ive always been enamored by artists who step outside pop traditions when it comes to vocal performance. The sparse instrumentation centers his vocals while adding a perfect eerie quality; the famous cover by This Mortal Coil captures a similar yet more traditionally beautiful atmosphere. In this form, Song to the Siren steps beyond a simple love song and truly embraces the nautical theme. With the backing music wailing like a siren, the lyrics take on a literal quality. One can picture a sailor bellowing this in ancient times. </quote> ... Copied to Clipboard!
CasanovaZelos 05/24/21 5:26:45 PM #81:	214. The Beatles Tomorrow Never Knows (1966) from the album Revolver https://www.youtube.com/watch?v=pHNbHn3i9S4 Key lyrics: Turn off your mind, relax and float downstream While Revolver truly kicks off with Eleanor Rigby, a song pulling unapologetically from the past, it ends at the opposite extreme. Tomorrow Never Knows finds The Beatles contemplating a bright and shining future, with instrumentation to match. After years of being the biggest band on the planet, The Beatles locked themselves in the studio and refused to come out. Tomorrow Never Knows is a result of that isolation, a track purely meant to be recorded. This track is most iconic for its reversed sound, resulting in a quality best described as psychedelic. John Lennons vocals are the only element to be grasped with a sense of forward time, but even that feels ready to fade into the ether. Time is collapsing in on itself, but in a serene manner. Tons of ideas pop up and then fade away, the lines of reality blurring together. This might not have worked without the drum beat holding everything together, itself hypnotic but grounded like a backbone. This is a band testing the limits of what they could get away with and stumbling upon a masterpiece. Whenever I think of a song to serve as the dividing line between the two major Beatles eras, this is an easy pick. --- My top 100 games (with write-ups): https://foolfantastic.com/top-100-video-games-project/ <cite>CasanovaZelos posted [p:954256066] in CasanovaZe... [t:79452388]...</cite> <quote>214. The Beatles Tomorrow Never Knows (1966) from the album Revolver https://www.youtube.com/watch?v=pHNbHn3i9S4 Key lyrics: Turn off your mind, relax and float downstream While Revolver truly kicks off with Eleanor Rigby, a song pulling unapologetically from the past, it ends at the opposite extreme. Tomorrow Never Knows finds The Beatles contemplating a bright and shining future, with instrumentation to match. After years of being the biggest band on the planet, The Beatles locked themselves in the studio and refused to come out. Tomorrow Never Knows is a result of that isolation, a track purely meant to be recorded. This track is most iconic for its reversed sound, resulting in a quality best described as psychedelic. John Lennons vocals are the only element to be grasped with a sense of forward time, but even that feels ready to fade into the ether. Time is collapsing in on itself, but in a serene manner. Tons of ideas pop up and then fade away, the lines of reality blurring together. This might not have worked without the drum beat holding everything together, itself hypnotic but grounded like a backbone. This is a band testing the limits of what they could get away with and stumbling upon a masterpiece. Whenever I think of a song to serve as the dividing line between the two major Beatles eras, this is an easy pick. </quote> ... Copied to Clipboard!
Jesse_Custer 05/24/21 6:15:45 PM #82:	Tomorrow Never Knows is my favorite Beatles song (with A Day in the Life as a close second). Tomorrow Never Knows sounds ahead of its time even by todays standards. <cite>Jesse_Custer posted [p:954257692] in CasanovaZe... [t:79452388]...</cite> <quote>Tomorrow Never Knows is my favorite Beatles song (with A Day in the Life as a close second). Tomorrow Never Knows sounds ahead of its time even by todays standards. </quote> ... Copied to Clipboard!
Seanchan 05/24/21 6:37:02 PM #83:	CasanovaZelos posted... 219. Janelle Mone Tightrope (2010) from the album The ArchAndroid And suddenly I'm excited to rank those tracks in a few weeks! CasanovaZelos posted... 214. The Beatles Tomorrow Never Knows (1966) from the album Revolver Out of all my favorite Beatles songs...actually this is NOT one of them ;) --- "That was unnecessarily dramatic". - NY Mets motto (courtesy of InnerTubeHero) Congratulations to azuarc, the guru of gurus and winner of GotD 2020! <cite>Seanchan posted [p:954258409] in CasanovaZe... [t:79452388]...</cite> <quote><quote>CasanovaZelos posted... </cite>219. Janelle Mone Tightrope (2010) from the album The ArchAndroid</quote> And suddenly I'm excited to rank those tracks in a few weeks! CasanovaZelos posted... </cite> <quote>214. The Beatles Tomorrow Never Knows (1966) from the album Revolver</quote> Out of all my favorite Beatles songs...actually this is NOT one of them ;) </quote> ... Copied to Clipboard!
Menji 05/24/21 6:44:30 PM #84:	Never was a fan of Tightrope (Cold War is much better imo). --- Menji+ https://imgur.com/F5UEyUw \| https://imgur.com/pPZsSZU Congrats to azuarc! [ https://myanimelist.net/profile/Menjii ] <cite>Menji posted [p:954258646] in CasanovaZe... [t:79452388]...</cite> <quote>Never was a fan of Tightrope (Cold War is much better imo). </quote> ... Copied to Clipboard!
wallmasterz 05/24/21 9:25:42 PM #85:	Not expecting list spoilers here naturally but Im curious if youve heard what a-ha did for MTV Unplugged? I love the whole album. https://www.youtube.com/watch?v=-xKM3mGt2pE --- I need to update my signature. <cite>wallmasterz posted [p:954263733] in CasanovaZe... [t:79452388]...</cite> <quote>Not expecting list spoilers here naturally but Im curious if youve heard what a-ha did for MTV Unplugged? I love the whole album. https://www.youtube.com/watch?v=-xKM3mGt2pE </quote> ... Copied to Clipboard!
CasanovaZelos 05/25/21 1:03:57 PM #86:	213. M83 Midnight City (2011) from the album Hurry Up, Were Dreaming https://www.youtube.com/watch?v=dX3k_QDnzHE Key lyrics: The city is my church Even the best synth-pop songs tend to be a tad dorky; its part of the charm. Yet Midnight City, despite its rather eccentric production, popped onto the scene like the most effortlessly cool song ever written. This is a song that never lets up, starting with that unforgettable opening (which is apparently a heavily distorted voice) through the reflective verses to the saxophone solo that closes it all out. The stellar sound brings up images of driving through a city at night, but not just any city. This is a city dotted with neon signs but otherwise cast in darkness, a place you can only visit in dreams. This is another song defined by contrasts. That distorted wailing weaves its way throughout the song, sometimes taking center stage, sometimes blending in with the instruments. Its propulsive force lets Midnight City dip in and out of a faster pace at will. This one element creates a sound that is truly monolithic. Yet Midnight City simultaneously feels meditative, Gonzalezs gentle voice casting a warm presence before bursting with energy at the end of the final verse as he declares the city his church. In 2011, it was a song that sounded like no other synth-pop had been around for decades, but M83 discovered a new form. --- My top 100 games (with write-ups): https://foolfantastic.com/top-100-video-games-project/ <cite>CasanovaZelos posted [p:954283811] in CasanovaZe... [t:79452388]...</cite> <quote>213. M83 Midnight City (2011) from the album Hurry Up, Were Dreaming https://www.youtube.com/watch?v=dX3k_QDnzHE Key lyrics: The city is my church Even the best synth-pop songs tend to be a tad dorky; its part of the charm. Yet Midnight City, despite its rather eccentric production, popped onto the scene like the most effortlessly cool song ever written. This is a song that never lets up, starting with that unforgettable opening (which is apparently a heavily distorted voice) through the reflective verses to the saxophone solo that closes it all out. The stellar sound brings up images of driving through a city at night, but not just any city. This is a city dotted with neon signs but otherwise cast in darkness, a place you can only visit in dreams. This is another song defined by contrasts. That distorted wailing weaves its way throughout the song, sometimes taking center stage, sometimes blending in with the instruments. Its propulsive force lets Midnight City dip in and out of a faster pace at will. This one element creates a sound that is truly monolithic. Yet Midnight City simultaneously feels meditative, Gonzalezs gentle voice casting a warm presence before bursting with energy at the end of the final verse as he declares the city his church. In 2011, it was a song that sounded like no other synth-pop had been around for decades, but M83 discovered a new form. </quote> ... Copied to Clipboard!
Snake5555555555 05/25/21 1:05:39 PM #87:	CasanovaZelos posted... In 2011, it was a song that sounded like no other synth-pop had been around for decades, but M83 discovered a new form. and now it's like an instant time machine back to that year too. --- I've decided to put my fears behind me. I'm not going back. https://imgur.com/a/du8zgsT - https://imgur.com/a/VTNzDEW <cite>Snake5555555555 posted [p:954283857] in CasanovaZe... [t:79452388]...</cite> <quote>CasanovaZelos posted... </cite> <quote>In 2011, it was a song that sounded like no other synth-pop had been around for decades, but M83 discovered a new form.</quote> and now it's like an instant time machine back to that year too. </quote> ... Copied to Clipboard!
CasanovaZelos 05/25/21 3:22:45 PM #88:	212. Arcade Fire Rebellion (Lies) (2004) from the album Funeral https://www.youtube.com/watch?v=8vN2vqaEBhM Key lyrics: People say that youll die Faster than without water But we know its just a lie Scare your son, scare your daughter Funeral stands as one of the definitive albums of the 2000s, largely thanks to a texture that rises above and beyond typical indie rock. This is an album with strings and an accordion, creating a sound so lush that its classification as rock feels more due to the lack of a better term than a proper description. But there is one genuine rocker tucked away near the end, a song that rises as a perfect anthem. Rebellion (Lies) begins relatively subdued, as expected from the rest of the album, only to repeatedly pick up the pace, reaching a high during the chorus. While Win Butler stays on the same level as the opening verse, the backing chanting of lies, lies, adds just the right amount of oomph. The song keeps rising, a perfect crescendo. But like the rest of Funeral, Rebellion (Lies) happily steps outside traditional instrumentation. The song mellows out near the end, shifting its focus to a violin solo. Even when theyre rocking out, Arcade Fire show signs of introspection. With such a dense sound on their debut album, Arcade Fire were at risk of lacking an easy hook. But Rebellion (Lies) finds perfect balance between accessible and innovative. --- My top 100 games (with write-ups): https://foolfantastic.com/top-100-video-games-project/ <cite>CasanovaZelos posted [p:954288523] in CasanovaZe... [t:79452388]...</cite> <quote>212. Arcade Fire Rebellion (Lies) (2004) from the album Funeral https://www.youtube.com/watch?v=8vN2vqaEBhM Key lyrics: People say that youll die Faster than without water But we know its just a lie Scare your son, scare your daughter Funeral stands as one of the definitive albums of the 2000s, largely thanks to a texture that rises above and beyond typical indie rock. This is an album with strings and an accordion, creating a sound so lush that its classification as rock feels more due to the lack of a better term than a proper description. But there is one genuine rocker tucked away near the end, a song that rises as a perfect anthem. Rebellion (Lies) begins relatively subdued, as expected from the rest of the album, only to repeatedly pick up the pace, reaching a high during the chorus. While Win Butler stays on the same level as the opening verse, the backing chanting of lies, lies, adds just the right amount of oomph. The song keeps rising, a perfect crescendo. But like the rest of Funeral, Rebellion (Lies) happily steps outside traditional instrumentation. The song mellows out near the end, shifting its focus to a violin solo. Even when theyre rocking out, Arcade Fire show signs of introspection. With such a dense sound on their debut album, Arcade Fire were at risk of lacking an easy hook. But Rebellion (Lies) finds perfect balance between accessible and innovative. </quote> ... Copied to Clipboard!
CasanovaZelos 05/25/21 3:48:09 PM #89:	211. Arcade Fire Wake Up (2004) from the album Funeral https://www.youtube.com/watch?v=sJRPPUr1yic Key lyrics: Were just a million little gods causing rain storms Turning every good thing to rust I guess well just have to adjust Deciding between Rebellion (Lies) and Wake Up as the better song off Funeral is an impossible task. These songs are two extremes of the same piece, eternally linked together in my mind. Wake Up is the big spiritual cleanser, soon chased by Rebellion (Lies) as the next step forward. But I give Wake Up the slightest edge, as it truly exists on a singular level. Funeral is all about crescendos, and this one hits the highest level. It carries this richly bittersweet feeling, capturing a sense of both loss and wonder in many ways, the same feeling I get from the best Sigur Ros songs. Yet the dominant feeling I get from Wake Up is hope. The lyrics carry a certain amount of angst, but only to acknowledge past failings as a way of moving on. And like Rebellion (Lies), the last minute shifts focus. It becomes something like gospel, but with a drumbeat forcing a higher energy. The final line is a cathartic shout, the instruments winding to a poignant stop seconds later. Everything about this song feels bigger than life. If Rebellion (Lies) served as a familiar invitation, Wake Up is the payoff that revealed Arcade Fire as a truly unique voice in music. --- My top 100 games (with write-ups): https://foolfantastic.com/top-100-video-games-project/ <cite>CasanovaZelos posted [p:954289368] in CasanovaZe... [t:79452388]...</cite> <quote>211. Arcade Fire Wake Up (2004) from the album Funeral https://www.youtube.com/watch?v=sJRPPUr1yic Key lyrics: Were just a million little gods causing rain storms Turning every good thing to rust I guess well just have to adjust Deciding between Rebellion (Lies) and Wake Up as the better song off Funeral is an impossible task. These songs are two extremes of the same piece, eternally linked together in my mind. Wake Up is the big spiritual cleanser, soon chased by Rebellion (Lies) as the next step forward. But I give Wake Up the slightest edge, as it truly exists on a singular level. Funeral is all about crescendos, and this one hits the highest level. It carries this richly bittersweet feeling, capturing a sense of both loss and wonder in many ways, the same feeling I get from the best Sigur Ros songs. Yet the dominant feeling I get from Wake Up is hope. The lyrics carry a certain amount of angst, but only to acknowledge past failings as a way of moving on. And like Rebellion (Lies), the last minute shifts focus. It becomes something like gospel, but with a drumbeat forcing a higher energy. The final line is a cathartic shout, the instruments winding to a poignant stop seconds later. Everything about this song feels bigger than life. If Rebellion (Lies) served as a familiar invitation, Wake Up is the payoff that revealed Arcade Fire as a truly unique voice in music. </quote> ... Copied to Clipboard!
ChainLTTP 05/25/21 4:05:29 PM #90:	~~Tunnels~~ is the best song on Funeral tho <cite>ChainLTTP posted [p:954290007] in CasanovaZe... [t:79452388]...</cite> <quote>Tunnels is the best song on Funeral tho </quote> ... Copied to Clipboard!
ChainLTTP 05/25/21 4:08:02 PM #91:	Snake5555555555 posted... and now it's like an instant time machine back to that year too. Yes indeed. I just moved to NYC and that song is completely in sync with the atmosphere there during this time. Pre-Uber, pre-google maps (on your phone). It was the last time you could really feel lost in an urban space. <cite>ChainLTTP posted [p:954290091] in CasanovaZe... [t:79452388]...</cite> <quote>Snake5555555555 posted... </cite> <quote>and now it's like an instant time machine back to that year too.</quote>Yes indeed. I just moved to NYC and that song is completely in sync with the atmosphere there during this time. Pre-Uber, pre-google maps (on your phone). It was the last time you could really feel lost in an urban space. </quote> ... Copied to Clipboard!
CasanovaZelos 05/25/21 4:08:21 PM #92:	I have Tunnels at #509, so it's at least in my top 1000. --- My top 100 games (with write-ups): https://foolfantastic.com/top-100-video-games-project/ <cite>CasanovaZelos posted [p:954290108] in CasanovaZe... [t:79452388]...</cite> <quote>I have Tunnels at #509, so it's at least in my top 1000. </quote> ... Copied to Clipboard!
Mr Lasastryke 05/25/21 4:51:18 PM #93:	funeral is great. also love M.I.A. --- Geothermal terpsichorean ejectamenta <cite>Mr Lasastryke posted [p:954291592] in CasanovaZe... [t:79452388]...</cite> <quote>funeral is great. also love M.I.A. </quote> ... Copied to Clipboard!
CasanovaZelos 05/26/21 4:39:08 PM #94:	210. Johnny Cash I Walk the Line (1956) from the album Johnny Cash with His Hot and Blue Guitar! https://www.youtube.com/watch?v=J-6fW66IUY4 Key lyrics: I keep a close watch on this heart of mine I Walk the Line is a love song with a subtle edge. This is a man declaring his devotion, but in a way of acknowledging his need to do so. Staying faithful takes effort, but she is worth that effort. Johnny Cashs gravelly voice adds to this atmosphere. In most other hands, this could read as a typically light love song. Here, Cash comes off as a gruff figure few love songs carry such a distinctly masculine energy. This is the soft side of a man otherwise busy shooting men in Reno and drinking too much. Or, less charitably but still as effective, I Walk the Line is a promise from a man destined to break it. The tune itself is simple and effective, featuring a beat that plods along like a steam train. The guitar bounces between chords, occasionally shifting notes but never doing anything complex. Johnny Cash gently hums between verses, a purely functional choice on his part to help change keys that ends up adding a homegrown, country feel. All of this adds up to a definitive country recording, a song pretty much anyone could learn to play, but with just the right voice that no one can do it better. --- My top 100 games (with write-ups): https://foolfantastic.com/top-100-video-games-project/ <cite>CasanovaZelos posted [p:954328479] in CasanovaZe... [t:79452388]...</cite> <quote>210. Johnny Cash I Walk the Line (1956) from the album Johnny Cash with His Hot and Blue Guitar! https://www.youtube.com/watch?v=J-6fW66IUY4 Key lyrics: I keep a close watch on this heart of mine I Walk the Line is a love song with a subtle edge. This is a man declaring his devotion, but in a way of acknowledging his need to do so. Staying faithful takes effort, but she is worth that effort. Johnny Cashs gravelly voice adds to this atmosphere. In most other hands, this could read as a typically light love song. Here, Cash comes off as a gruff figure few love songs carry such a distinctly masculine energy. This is the soft side of a man otherwise busy shooting men in Reno and drinking too much. Or, less charitably but still as effective, I Walk the Line is a promise from a man destined to break it. The tune itself is simple and effective, featuring a beat that plods along like a steam train. The guitar bounces between chords, occasionally shifting notes but never doing anything complex. Johnny Cash gently hums between verses, a purely functional choice on his part to help change keys that ends up adding a homegrown, country feel. All of this adds up to a definitive country recording, a song pretty much anyone could learn to play, but with just the right voice that no one can do it better. </quote> ... Copied to Clipboard!
CasanovaZelos 05/27/21 10:17:57 AM #95:	209. Art Ensemble of Chicago Theme de Yoyo (1970) from the album Les Stances a Sophie https://www.youtube.com/watch?v=PppJOrnVtkg Jazz is a broad genre that cannot be pigeonholed into a single dominant mood, yet I am always drawn to the most chaotic pieces. This is not because I think of chaotic jazz as better than other forms of jazz; rather, jazz has a capacity for chaos that other popular genres tend to lack. Something about a horn section can be so forceful, and few songs showcase this like Theme de Yoyo. Compared to Charles Minguss Track C, Theme de Yoyo is much more approachable. The atmosphere here does not suggest destruction or stress, but rather a group of musicians having a whole lot of fun. Part of what makes this work is that the truly chaotic sections act as a payoff. Any time it risks becoming too much, it cycles back to a quieter part. Excellent vocals are provided by Fontella Bass, tossing out several viscerally unpleasant descriptions that cast the chaotic moments as a reflexive wince. The bass adds a funky backbone, supporting the surprisingly accessible sound. This is a true ensemble piece, each instrument showing off yet coming together so perfectly. Though this might not be a song that can turn skeptics onto jazz, it reveals the limitless possibilities of the genre. --- My top 100 games (with write-ups): https://foolfantastic.com/top-100-video-games-project/ <cite>CasanovaZelos posted [p:954353842] in CasanovaZe... [t:79452388]...</cite> <quote>209. Art Ensemble of Chicago Theme de Yoyo (1970) from the album Les Stances a Sophie https://www.youtube.com/watch?v=PppJOrnVtkg Jazz is a broad genre that cannot be pigeonholed into a single dominant mood, yet I am always drawn to the most chaotic pieces. This is not because I think of chaotic jazz as better than other forms of jazz; rather, jazz has a capacity for chaos that other popular genres tend to lack. Something about a horn section can be so forceful, and few songs showcase this like Theme de Yoyo. Compared to Charles Minguss Track C, Theme de Yoyo is much more approachable. The atmosphere here does not suggest destruction or stress, but rather a group of musicians having a whole lot of fun. Part of what makes this work is that the truly chaotic sections act as a payoff. Any time it risks becoming too much, it cycles back to a quieter part. Excellent vocals are provided by Fontella Bass, tossing out several viscerally unpleasant descriptions that cast the chaotic moments as a reflexive wince. The bass adds a funky backbone, supporting the surprisingly accessible sound. This is a true ensemble piece, each instrument showing off yet coming together so perfectly. Though this might not be a song that can turn skeptics onto jazz, it reveals the limitless possibilities of the genre. </quote> ... Copied to Clipboard!
CasanovaZelos 05/27/21 11:23:17 AM #96:	208. Missy Elliott Work It (2002) from the album Under Construction https://www.youtube.com/watch?v=cjIvu7e6Wq8 Key lyrics: Ti esrever dna ti pilf, nwod gniht ym tup Nothing bothers me more than the endless debates over the greatest rappers, chiefly because I rarely hear Missy Elliott namedropped. Putting her on that level should not be an uncommon opinion; her popularity during the late-90s and early 2000s was matched by her critical success. And theres nothing about her music suggesting she was pandering for popularity; a track like Work It is as out of leftfield as it is effective. In fact, her best work is unapologetically weird, in a way we rarely got from female pop stars in that era and now seems a defining trait for so many. The production on Missys best tracks are next level. Work It has such an electrifying rhythm; while plenty of modern pop can be vaguely considered danceable, Missy Elliott was making genuine dance music. But never does she come off as a rapper coasting off strong production. Her rapping is as forceful and energetic as her beats. Lyrically, Work It is an aggressive ode to herself, a celebration of her own body. She blurs the line between sex appeal and outright vulgarity, a warning she might be too much to handle for the average man. Yet the entire experience adds up to something playful, Missy having fun with her own audacity. --- My top 100 games (with write-ups): https://foolfantastic.com/top-100-video-games-project/ <cite>CasanovaZelos posted [p:954355829] in CasanovaZe... [t:79452388]...</cite> <quote>208. Missy Elliott Work It (2002) from the album Under Construction https://www.youtube.com/watch?v=cjIvu7e6Wq8 Key lyrics: Ti esrever dna ti pilf, nwod gniht ym tup Nothing bothers me more than the endless debates over the greatest rappers, chiefly because I rarely hear Missy Elliott namedropped. Putting her on that level should not be an uncommon opinion; her popularity during the late-90s and early 2000s was matched by her critical success. And theres nothing about her music suggesting she was pandering for popularity; a track like Work It is as out of leftfield as it is effective. In fact, her best work is unapologetically weird, in a way we rarely got from female pop stars in that era and now seems a defining trait for so many. The production on Missys best tracks are next level. Work It has such an electrifying rhythm; while plenty of modern pop can be vaguely considered danceable, Missy Elliott was making genuine dance music. But never does she come off as a rapper coasting off strong production. Her rapping is as forceful and energetic as her beats. Lyrically, Work It is an aggressive ode to herself, a celebration of her own body. She blurs the line between sex appeal and outright vulgarity, a warning she might be too much to handle for the average man. Yet the entire experience adds up to something playful, Missy having fun with her own audacity. </quote> ... Copied to Clipboard!
Seanchan 05/27/21 11:33:18 PM #97:	I can't listen to Work It without thinking about Gossip Folks: https://www.youtube.com/watch?v=jZorq5HyajA Granted, the latter is really elevated by the Ludacris verses but still. I haven't heard much Missy Elliott aside from these but they are still really fun songs that I find myself coming back to 1-2 times a year. --- "That was unnecessarily dramatic". - NY Mets motto (courtesy of InnerTubeHero) Congratulations to azuarc, the guru of gurus and winner of GotD 2020! <cite>Seanchan posted [p:954380256] in CasanovaZe... [t:79452388]...</cite> <quote>I can't listen to Work It without thinking about Gossip Folks: https://www.youtube.com/watch?v=jZorq5HyajA Granted, the latter is really elevated by the Ludacris verses but still. I haven't heard much Missy Elliott aside from these but they are still really fun songs that I find myself coming back to 1-2 times a year. </quote> ... Copied to Clipboard!
CasanovaZelos 05/28/21 10:20:02 AM #98:	207. Ramones Blitzkrieg Bop (1976) from the album Ramones https://www.youtube.com/watch?v=skdE0KAFCEA Key lyrics: Hey, ho, lets go The Ramones were not the first punk band, but they certainly seem to be the first to establish the idea in the popular consciousness. Even the most important artists typically take a few years before others start taking inspiration from their work. Matching the rapid speed of their debut single, the Ramones influenced Sex Pistols and The Clash before the Ramones themselves had truly become established. While this bratty style now seems inseparable from punk rock, one only has to look at the term before these bands took over their contemporaries were acts like Patti Smith and Television. Blitzkrieg Bop is the definitive Ramones song almost by default. Quite a few artists get accused of making the same song over and over. For the Ramones, this is entirely true. The fourteen tracks on their debut album rarely stretch longer than two and a half minutes, all played at double speed to make up for their astonishingly simple structure. The strength here is that this one song idea is just that good. Blitzkrieg Bop has always had an edge, however, due to the opening chant. This song is perfect for the stadium, showing that even the simplest song by a group who can barely play their instruments can feel larger than life when played just the right way. --- My top 100 games (with write-ups): https://foolfantastic.com/top-100-video-games-project/ <cite>CasanovaZelos posted [p:954391339] in CasanovaZe... [t:79452388]...</cite> <quote>207. Ramones Blitzkrieg Bop (1976) from the album Ramones https://www.youtube.com/watch?v=skdE0KAFCEA Key lyrics: Hey, ho, lets go The Ramones were not the first punk band, but they certainly seem to be the first to establish the idea in the popular consciousness. Even the most important artists typically take a few years before others start taking inspiration from their work. Matching the rapid speed of their debut single, the Ramones influenced Sex Pistols and The Clash before the Ramones themselves had truly become established. While this bratty style now seems inseparable from punk rock, one only has to look at the term before these bands took over their contemporaries were acts like Patti Smith and Television. Blitzkrieg Bop is the definitive Ramones song almost by default. Quite a few artists get accused of making the same song over and over. For the Ramones, this is entirely true. The fourteen tracks on their debut album rarely stretch longer than two and a half minutes, all played at double speed to make up for their astonishingly simple structure. The strength here is that this one song idea is just that good. Blitzkrieg Bop has always had an edge, however, due to the opening chant. This song is perfect for the stadium, showing that even the simplest song by a group who can barely play their instruments can feel larger than life when played just the right way. </quote> ... Copied to Clipboard!
CasanovaZelos 05/28/21 12:08:16 PM #99:	Every time I try to reference a specific instrument, I panic. I really hope what I refer to as a bass below is actually a bass. 206. Violent Femmes Blister in the Sun (1983) from the album Violent Femmes https://www.youtube.com/watch?v=JE-dqW4uBEE Key lyrics: Im high as a kite, I just might Stop to check you out Folk punk is one of those genres that sounds like a conceptual mismatch until you hear it. Punk becomes something else entirely while played on acoustic instruments. A quintessential punk song, one might not even stop to consider how unique Blister in the Sun is among the pack. Violent Femmes exist at the opposite extreme of the Ramones, finding a niche so singular that no one else has managed to capture the spirit to widespread success. Its hard to beat the opening riff of Blister in the Sun. The acoustic bass captures a playful energy all by itself, twice punctuated by the drums before the other instruments join in. Through most of the verses, the song captures a frenetic energy, but without the aggression typical of most punk acts. Key to the whole structure is a quiet section, where whispered vocals are left with a gentle drum patter and the riff. All three grow increasingly quiet as the section plays out, only to immediately explode to the normal volume without missing a beat. Even throughout the quiet section, the song never loses its propulsive energy. In an era where punk was turning increasingly hardcore, Violent Femmes veered in the opposite direction and stumbled across a truly timeless sound. --- My top 100 games (with write-ups): https://foolfantastic.com/top-100-video-games-project/ <cite>CasanovaZelos posted [p:954394734] in CasanovaZe... [t:79452388]...</cite> <quote>Every time I try to reference a specific instrument, I panic. I really hope what I refer to as a bass below is actually a bass. 206. Violent Femmes Blister in the Sun (1983) from the album Violent Femmes https://www.youtube.com/watch?v=JE-dqW4uBEE Key lyrics: Im high as a kite, I just might Stop to check you out Folk punk is one of those genres that sounds like a conceptual mismatch until you hear it. Punk becomes something else entirely while played on acoustic instruments. A quintessential punk song, one might not even stop to consider how unique Blister in the Sun is among the pack. Violent Femmes exist at the opposite extreme of the Ramones, finding a niche so singular that no one else has managed to capture the spirit to widespread success. Its hard to beat the opening riff of Blister in the Sun. The acoustic bass captures a playful energy all by itself, twice punctuated by the drums before the other instruments join in. Through most of the verses, the song captures a frenetic energy, but without the aggression typical of most punk acts. Key to the whole structure is a quiet section, where whispered vocals are left with a gentle drum patter and the riff. All three grow increasingly quiet as the section plays out, only to immediately explode to the normal volume without missing a beat. Even throughout the quiet section, the song never loses its propulsive energy. In an era where punk was turning increasingly hardcore, Violent Femmes veered in the opposite direction and stumbled across a truly timeless sound. </quote> ... Copied to Clipboard!
CasanovaZelos 05/28/21 12:34:30 PM #100:	205. 808 State Pacific State (1989) from the album 90 https://www.youtube.com/watch?v=QkOAiyLHXM8 Pacific State is a song with half a dozen variants, but Im most familiar with Pacific 202. This is an electronic classic that defies easy classification. A frenetic electronic beat is paired with hypnotic animal noises and a more subdued yet dominant saxophone. 808 State perfectly shift our attention throughout, dropping out the saxophone here, focusing on the animal noises there. Those moments where all the pieces come together operate as a peaceful ambience while maintaining a danceable beat. This is a song that returns the energy you put into it. With songs like this, the dominant thread is the sense of motion and imagery. No matter the section, this song captures my attention with a forward momentum. I picture myself cruising down a highway parallel to the ocean, seagulls flying overhead. As the waves lap against the beach, it lingers not as seafoam but television static. Its the type of electronic soundscape people only made when they viewed the genre as a portal into an impossible future. This is a piece that wears its era on its sleeve, but that is not a bad thing. By so earnestly looking to the future, it now stands as an optimistic slice of the past. --- My top 100 games (with write-ups): https://foolfantastic.com/top-100-video-games-project/ <cite>CasanovaZelos posted [p:954395578] in CasanovaZe... [t:79452388]...</cite> <quote>205. 808 State Pacific State (1989) from the album 90 https://www.youtube.com/watch?v=QkOAiyLHXM8 Pacific State is a song with half a dozen variants, but Im most familiar with Pacific 202. This is an electronic classic that defies easy classification. A frenetic electronic beat is paired with hypnotic animal noises and a more subdued yet dominant saxophone. 808 State perfectly shift our attention throughout, dropping out the saxophone here, focusing on the animal noises there. Those moments where all the pieces come together operate as a peaceful ambience while maintaining a danceable beat. This is a song that returns the energy you put into it. With songs like this, the dominant thread is the sense of motion and imagery. No matter the section, this song captures my attention with a forward momentum. I picture myself cruising down a highway parallel to the ocean, seagulls flying overhead. As the waves lap against the beach, it lingers not as seafoam but television static. Its the type of electronic soundscape people only made when they viewed the genre as a portal into an impossible future. This is a piece that wears its era on its sleeve, but that is not a bad thing. By so earnestly looking to the future, it now stands as an optimistic slice of the past. </quote> ... Copied to Clipboard!
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Board 8 > CasanovaZelos's Top 250 Songs Project (+) Yeah! (+)

Board 8 > CasanovaZelos's Top 250 Songs Project