Board 8 > CasanovaZelos's Top 250 Songs Project

Topic List	Page List: 1 ... 2, 3, 4, 5, 6, 7, 8, 9, 10
CasanovaZelos 07/19/21 11:24:47 AM #252:	110. Yazoo Situation (1982) from the album Upstairs at Erics https://www.youtube.com/watch?v=ysmVlaw36L0 Key lyrics: Now hes in control, he is my lover Nations stand against him, hes your brother When I first got into Depeche Mode, it was difficult to believe the same band that made Never Let Me Down Again and Enjoy the Silence kicked off their career with exuberant pop ditty Just Cant Get Enough. If I had been a bit more curious, I would have gotten into Yazoo before 2019. Songwriter Vince Clarke left Depeche Mode soon after their debut, and Upstairs at Erics feels like the true continuation of that early sound. This is one of those lucky splits where two great projects emerged; Yazoo might have never achieved the lasting success of Depeche Mode, but Clarkes work there is the hidden gem of early synth-pop. Alison Moyet is key to the project, a rare vocalist who can actually match the more energetic side of synth-pop. There is a unique quaver in her voice that heightens her delivery, casting Situation as an accusatory song. The lyrics suggest she has been hurt by something or someone, but she will not go down without fighting back. Monotonous backing vocals chant move out she is forcing a change. Clarkes synth-line is as upbeat and catchy as they come, yet Moyets thunderous vocals make it sound almost restrained. Many of my favorite synth-pop acts succeeded by mitigating the seemingly intrinsic lightness of the genre through ironic lyrics or pitching downward. Situation is a rare example which embraces every rough edge and runs away with it, the highest form of synth-pop in the raw. --- My top 100 games (with write-ups): https://foolfantastic.com/top-100-video-games-project/ <cite>CasanovaZelos posted [p:956242160] in CasanovaZe... [t:79452388]...</cite> <quote>110. Yazoo Situation (1982) from the album Upstairs at Erics https://www.youtube.com/watch?v=ysmVlaw36L0 Key lyrics: Now hes in control, he is my lover Nations stand against him, hes your brother When I first got into Depeche Mode, it was difficult to believe the same band that made Never Let Me Down Again and Enjoy the Silence kicked off their career with exuberant pop ditty Just Cant Get Enough. If I had been a bit more curious, I would have gotten into Yazoo before 2019. Songwriter Vince Clarke left Depeche Mode soon after their debut, and Upstairs at Erics feels like the true continuation of that early sound. This is one of those lucky splits where two great projects emerged; Yazoo might have never achieved the lasting success of Depeche Mode, but Clarkes work there is the hidden gem of early synth-pop. Alison Moyet is key to the project, a rare vocalist who can actually match the more energetic side of synth-pop. There is a unique quaver in her voice that heightens her delivery, casting Situation as an accusatory song. The lyrics suggest she has been hurt by something or someone, but she will not go down without fighting back. Monotonous backing vocals chant move out she is forcing a change. Clarkes synth-line is as upbeat and catchy as they come, yet Moyets thunderous vocals make it sound almost restrained. Many of my favorite synth-pop acts succeeded by mitigating the seemingly intrinsic lightness of the genre through ironic lyrics or pitching downward. Situation is a rare example which embraces every rough edge and runs away with it, the highest form of synth-pop in the raw. </quote> ... Copied to Clipboard!
CasanovaZelos 07/19/21 12:09:45 PM #253:	109. Caribou Odessa (2010) from the album Swim https://www.youtube.com/watch?v=Yq_tDOFU5tY Key lyrics: And Ive been with you for all of these years Tell you what Ive got to show for all of my tears Caribou is a master of deeply meditative electronic music. Odessa is a somber tale of an abused woman doing the work to leave her partner. The predominant synth-line stutters and swirls, sounding almost like a pained animal. This fades out during the verses, leaving behind an almost atonal bass line. Light percussive elements join in and subtly shift throughout; when the opening synth-line returns, the percussion hops about, shifting in volume as if jumping between channels when not dipping out entirely. Even Snaiths vocals take on a different edge between verses and chorus. Odessa consists of several similar yet distinct bits, expertly fused together in an ever-changing soundscape. As Snaith hits the middle of the second verse, his voice echoes at a key line. The stuttering synth-line, which has hitherto remained separate from the vocals, fades in during this sequence and wars for the spotlight during the following chorus. Caribou weaponizes the synthesizer, operating it more like an intrusive thought than a supportive element. During the final verse, the synth-line transforms into a momentous arpeggio. With this shift, Snaiths vocals suggest the central figure will finally take the necessary steps to leave only for that bitter stutter to return and close out the song. By cutting off before her success, Odessa maintains a sense of raw determination. --- My top 100 games (with write-ups): https://foolfantastic.com/top-100-video-games-project/ <cite>CasanovaZelos posted [p:956243570] in CasanovaZe... [t:79452388]...</cite> <quote>109. Caribou Odessa (2010) from the album Swim https://www.youtube.com/watch?v=Yq_tDOFU5tY Key lyrics: And Ive been with you for all of these years Tell you what Ive got to show for all of my tears Caribou is a master of deeply meditative electronic music. Odessa is a somber tale of an abused woman doing the work to leave her partner. The predominant synth-line stutters and swirls, sounding almost like a pained animal. This fades out during the verses, leaving behind an almost atonal bass line. Light percussive elements join in and subtly shift throughout; when the opening synth-line returns, the percussion hops about, shifting in volume as if jumping between channels when not dipping out entirely. Even Snaiths vocals take on a different edge between verses and chorus. Odessa consists of several similar yet distinct bits, expertly fused together in an ever-changing soundscape. As Snaith hits the middle of the second verse, his voice echoes at a key line. The stuttering synth-line, which has hitherto remained separate from the vocals, fades in during this sequence and wars for the spotlight during the following chorus. Caribou weaponizes the synthesizer, operating it more like an intrusive thought than a supportive element. During the final verse, the synth-line transforms into a momentous arpeggio. With this shift, Snaiths vocals suggest the central figure will finally take the necessary steps to leave only for that bitter stutter to return and close out the song. By cutting off before her success, Odessa maintains a sense of raw determination. </quote> ... Copied to Clipboard!
CasanovaZelos 07/19/21 12:52:41 PM #254:	108. Aphex Twin Windowlicker (1999) non-album single https://www.youtube.com/watch?v=IwcxAnZzItg There will likely never be a more controversial instrument in popular music than the synthesizer. What some artists saw as a jump into the future was loudly rejected by those who viewed it as an excessive, cold imitation of real instruments. Several artists have put in great effort to show the human side of the synthesizer, while others found comfort in the robotic future. Windowlicker feels like a vicious assault from every angle. There is no humanity here, nor a chromatic vision. This is a calculated nightmare, as if Aphex Twin looked to the surface-level horror of his previous single, Come to Daddy, and decided to show us what a real electronic monstrosity could sound like. Yet the sheer coldness proves those other bands right the amount of effort required to strip electronic music of its soul makes every other act look human. As such, Windowlicker is an exercise in unpleasantness, more a proof of concept than anything. Yet something mesmerizing exists below it seemingly impenetrable surface. The trick of being designed around unpredictable elements is that an experienced listener knows what to expect. Once you adjust to the unusual sound, Windowlicker becomes a singularly bizarre dance track. The final trick Aphex Twin pulls off is a reminder that even the most extreme music is rooted in the human experience. --- My top 100 games (with write-ups): https://foolfantastic.com/top-100-video-games-project/ <cite>CasanovaZelos posted [p:956244947] in CasanovaZe... [t:79452388]...</cite> <quote>108. Aphex Twin Windowlicker (1999) non-album single https://www.youtube.com/watch?v=IwcxAnZzItg There will likely never be a more controversial instrument in popular music than the synthesizer. What some artists saw as a jump into the future was loudly rejected by those who viewed it as an excessive, cold imitation of real instruments. Several artists have put in great effort to show the human side of the synthesizer, while others found comfort in the robotic future. Windowlicker feels like a vicious assault from every angle. There is no humanity here, nor a chromatic vision. This is a calculated nightmare, as if Aphex Twin looked to the surface-level horror of his previous single, Come to Daddy, and decided to show us what a real electronic monstrosity could sound like. Yet the sheer coldness proves those other bands right the amount of effort required to strip electronic music of its soul makes every other act look human. As such, Windowlicker is an exercise in unpleasantness, more a proof of concept than anything. Yet something mesmerizing exists below it seemingly impenetrable surface. The trick of being designed around unpredictable elements is that an experienced listener knows what to expect. Once you adjust to the unusual sound, Windowlicker becomes a singularly bizarre dance track. The final trick Aphex Twin pulls off is a reminder that even the most extreme music is rooted in the human experience. </quote> ... Copied to Clipboard!
CasanovaZelos 07/20/21 5:16:37 PM #255:	107. The Beach Boys God Only Knows (1966) from the album Pet Sounds https://www.youtube.com/watch?v=M0lj3WX_5ps Like most of The Beach Boys greatest hits, the complexity of God Only Knows is often overlooked in the popular conscious. Brian Wilson has a phenomenal talent to make dense instrumentation and odd key choices appear effortless. There are well over a dozen instruments features on this track, and they all play a key part while fusing into a cohesive Wall of Sound. You can pick out the sleigh bells and clip-clop percussion if you pay close attention, but it is just as easy to let these stray sounds meld into one. From the beginning, The Beach Boys were celebrated for their close vocal harmonies; with God Only Knows, they successfully applied that close arrangement to a massive soundscape. This colossal backdrop serves to heighten the vocal performance. Carl Wilson sings alone for the first minute, but then other voices rise together during an interlude. The song then sets back into Carl alone; with how iconic God Only Knows is for its harmonies, its striking how much of this consists of a lone voice. The finale is just that grandiose, with Carl Wilson, Brian Wilson, and Bruce Johnston singing in rounds, each vocalist seemingly struggling to outdo one another and get in the last word. Few popular songs have ever achieved such seamlessly intricate design. --- My top 100 games (with write-ups): https://foolfantastic.com/top-100-video-games-project/ <cite>CasanovaZelos posted [p:956289928] in CasanovaZe... [t:79452388]...</cite> <quote>107. The Beach Boys God Only Knows (1966) from the album Pet Sounds https://www.youtube.com/watch?v=M0lj3WX_5ps Like most of The Beach Boys greatest hits, the complexity of God Only Knows is often overlooked in the popular conscious. Brian Wilson has a phenomenal talent to make dense instrumentation and odd key choices appear effortless. There are well over a dozen instruments features on this track, and they all play a key part while fusing into a cohesive Wall of Sound. You can pick out the sleigh bells and clip-clop percussion if you pay close attention, but it is just as easy to let these stray sounds meld into one. From the beginning, The Beach Boys were celebrated for their close vocal harmonies; with God Only Knows, they successfully applied that close arrangement to a massive soundscape. This colossal backdrop serves to heighten the vocal performance. Carl Wilson sings alone for the first minute, but then other voices rise together during an interlude. The song then sets back into Carl alone; with how iconic God Only Knows is for its harmonies, its striking how much of this consists of a lone voice. The finale is just that grandiose, with Carl Wilson, Brian Wilson, and Bruce Johnston singing in rounds, each vocalist seemingly struggling to outdo one another and get in the last word. Few popular songs have ever achieved such seamlessly intricate design. </quote> ... Copied to Clipboard!
CasanovaZelos 07/20/21 5:57:32 PM #256:	106. Johnny Cash Hurt (2002) from the album American IV: The Man Comes Around https://www.youtube.com/watch?v=8AHCfZTRGiI Key lyrics: Everyone I know Goes away in the end It has been said enough times at this point to no longer be a bold statement the greatest song Johnny Cash ever recorded was his cover of Nine Inch Nails Hurt, released less than a year before his death. This was not an easy achievement. Cash had already recorded three songs that could compete for the title of greatest country song ever, by any artist. And though Cash had been making cover albums for nearly a decade by this point, none of his other covers received anywhere near the same attention. The choice of Nine Inch Nails was not as shocking as it might sound, as Cash had already covered Tom Waits and Nick Cave at this point. The simple strength of Hurt is how it reconstitutes the meaning of the original song. Johnny Cash takes the perspective of a suicidal young man and transforms it into the regretful tale of an old man nearing death. This is what every cover song wishes it could be, casting new meaning with the same words. It does not seek to replace or imitate but rather coexist with the original, exposing a universal element to Trent Reznors desperate emotions. But Cash simultaneously creates something rare, a piece by an artist all too aware of his impending death. He sings with so much emotion, his voice trembling with age. His version of Hurt is among the most poignant pieces of art about mortality. --- My top 100 games (with write-ups): https://foolfantastic.com/top-100-video-games-project/ <cite>CasanovaZelos posted [p:956291213] in CasanovaZe... [t:79452388]...</cite> <quote>106. Johnny Cash Hurt (2002) from the album American IV: The Man Comes Around https://www.youtube.com/watch?v=8AHCfZTRGiI Key lyrics: Everyone I know Goes away in the end It has been said enough times at this point to no longer be a bold statement the greatest song Johnny Cash ever recorded was his cover of Nine Inch Nails Hurt, released less than a year before his death. This was not an easy achievement. Cash had already recorded three songs that could compete for the title of greatest country song ever, by any artist. And though Cash had been making cover albums for nearly a decade by this point, none of his other covers received anywhere near the same attention. The choice of Nine Inch Nails was not as shocking as it might sound, as Cash had already covered Tom Waits and Nick Cave at this point. The simple strength of Hurt is how it reconstitutes the meaning of the original song. Johnny Cash takes the perspective of a suicidal young man and transforms it into the regretful tale of an old man nearing death. This is what every cover song wishes it could be, casting new meaning with the same words. It does not seek to replace or imitate but rather coexist with the original, exposing a universal element to Trent Reznors desperate emotions. But Cash simultaneously creates something rare, a piece by an artist all too aware of his impending death. He sings with so much emotion, his voice trembling with age. His version of Hurt is among the most poignant pieces of art about mortality. </quote> ... Copied to Clipboard!
CasanovaZelos 07/20/21 6:39:28 PM #257:	105. R.E.M. Nightswimming (1992) from the album Automatic for the People https://www.youtube.com/watch?v=O-YHU6BwPR0 Key lyrics: And what if there were two Side by side in orbit Around the fairest sun? Hot off the success of Losing My Religion, R.E.M. seemed at a loss over what to do next. The resulting album embraced those scattered thoughts, resulting in one of the finest records of the 1990s. Perhaps we got lucky mainstream rock was embracing grunge at this point, and R.E.M. would soon follow that trend and never recover. Songs like Nightswimming painted the band as anything but scene chasers. Many of the songs off Automatic for the People tossed aside a traditional rock instrument or two, but this particular track leaves no traces of the genre. Instead, a piano leads against a string arrangement. Nightswimming is a minimalist ballad, and an unbelievably pretty one at that. Though not shouting out rage like his contemporaries, Michael Stipe suitably bares all as his words hint at skinny dipping. But this is not a provocative song. Rather, Stipe is conjuring a place where the truth is overwhelmingly present. It is altogether bittersweet, a reflection on a moment of finding oneself while also realizing how much has changed in the intervening years. With such a minimal sound, Stipe reveals himself to be a true vocal powerhouse. Yet it is the piano that keeps drawing me back. It seemingly rolls over itself in an endless loop, suggesting infinite interpretations of our memories. Nightswimming is nostalgia in musical form. --- My top 100 games (with write-ups): https://foolfantastic.com/top-100-video-games-project/ <cite>CasanovaZelos posted [p:956292515] in CasanovaZe... [t:79452388]...</cite> <quote>105. R.E.M. Nightswimming (1992) from the album Automatic for the People https://www.youtube.com/watch?v=O-YHU6BwPR0 Key lyrics: And what if there were two Side by side in orbit Around the fairest sun? Hot off the success of Losing My Religion, R.E.M. seemed at a loss over what to do next. The resulting album embraced those scattered thoughts, resulting in one of the finest records of the 1990s. Perhaps we got lucky mainstream rock was embracing grunge at this point, and R.E.M. would soon follow that trend and never recover. Songs like Nightswimming painted the band as anything but scene chasers. Many of the songs off Automatic for the People tossed aside a traditional rock instrument or two, but this particular track leaves no traces of the genre. Instead, a piano leads against a string arrangement. Nightswimming is a minimalist ballad, and an unbelievably pretty one at that. Though not shouting out rage like his contemporaries, Michael Stipe suitably bares all as his words hint at skinny dipping. But this is not a provocative song. Rather, Stipe is conjuring a place where the truth is overwhelmingly present. It is altogether bittersweet, a reflection on a moment of finding oneself while also realizing how much has changed in the intervening years. With such a minimal sound, Stipe reveals himself to be a true vocal powerhouse. Yet it is the piano that keeps drawing me back. It seemingly rolls over itself in an endless loop, suggesting infinite interpretations of our memories. Nightswimming is nostalgia in musical form. </quote> ... Copied to Clipboard!
CasanovaZelos 07/21/21 11:36:18 AM #258:	104. The Who Wont Get Fooled Again (1971) from the album Whos Next https://www.youtube.com/watch?v=SHhrZgojY1Q Key lyrics: Meet the new boss Same as the old boss The Who were far from the first rock band to use a synthesizer, but the two big tracks off Whos Next feel like nothing which came before. With Terry Riley referenced by the title of the first track, The Who openly shared their inspiration. They did not work the synthesizer in as just another rock instrument, but instead used it as an atmospheric backdrop. As such, Wont Get Fooled Again plays two distinct parts at once. The ever-present synthesizer showcased the potential for the new instrument outside of dedicated electronic pieces, while its largely atmospheric presence allowed the more traditional rock elements to go all-out. Even with the synthesizer lightly floating about, Wont Get Fooled Again goes as hard as classic rock gets. The extended outro is the stuff of legends. The synthesizer takes lead for an extended break, all other instruments dropping out. After a chaotic six and a half minutes, this creates an unusual moment of levity. Then, Keith Moon rockets in with a phenomenal drum solo. While the synthesizer had been kept at a distance throughout, this combination reveals an unexpected versatility; the hard and soft sounds complement one another, exaggerating the others strength. Then, Roger Daltrey gives what just might be the most cathartic scream in all of rock history. Wont Get Fooled Again is a genuine hard rock epic. --- My top 100 games (with write-ups): https://foolfantastic.com/top-100-video-games-project/ <cite>CasanovaZelos posted [p:956315138] in CasanovaZe... [t:79452388]...</cite> <quote>104. The Who Wont Get Fooled Again (1971) from the album Whos Next https://www.youtube.com/watch?v=SHhrZgojY1Q Key lyrics: Meet the new boss Same as the old boss The Who were far from the first rock band to use a synthesizer, but the two big tracks off Whos Next feel like nothing which came before. With Terry Riley referenced by the title of the first track, The Who openly shared their inspiration. They did not work the synthesizer in as just another rock instrument, but instead used it as an atmospheric backdrop. As such, Wont Get Fooled Again plays two distinct parts at once. The ever-present synthesizer showcased the potential for the new instrument outside of dedicated electronic pieces, while its largely atmospheric presence allowed the more traditional rock elements to go all-out. Even with the synthesizer lightly floating about, Wont Get Fooled Again goes as hard as classic rock gets. The extended outro is the stuff of legends. The synthesizer takes lead for an extended break, all other instruments dropping out. After a chaotic six and a half minutes, this creates an unusual moment of levity. Then, Keith Moon rockets in with a phenomenal drum solo. While the synthesizer had been kept at a distance throughout, this combination reveals an unexpected versatility; the hard and soft sounds complement one another, exaggerating the others strength. Then, Roger Daltrey gives what just might be the most cathartic scream in all of rock history. Wont Get Fooled Again is a genuine hard rock epic. </quote> ... Copied to Clipboard!
CasanovaZelos 07/21/21 12:15:59 PM #259:	103. Sharon Van Etten Your Love is Killing Me (2014) from the album Are We There https://www.youtube.com/watch?v=5rbnJ6nYKFQ Key lyrics: Break my legs so I wont walk to you Cut my tongue so I cant talk to you Burn my skin so I cant feel you Stab my eyes so I cant see There is something colossal about the slowly thundering drums that open Your Love is Killing Me. For Sharon Van Etten, nothing less than an earthshattering rumble could do justice to the toxic relationship that inspired this track. The lyrics during the chorus are just as extreme. She lists off several methods of self-harm she would be willing to take just to silence her misplaced love. Among a sea of violent break-up songs, Your Love is Killing Me holds a visceral edge by taking the language of threats and turning it inward. This is a woman driven so far to the breaking point that she would sooner hurt herself than give her lover permission to do any more harm. Her vocals do justice to the torment within every line. The way she cuts short the phrase stab my eyes so I cant see just to stretch out that final word, to emphasize the harm while erasing his presence, is riveting. Even worse is when she modifies the third chorus, twisting that phrase to suggest she will now blind herself to his harm instead. Few songs have so perfectly summarized the dangerously intoxicating nature of love. After absolutely eviscerating this man, she admits an urge to stay simply to avoid the pain of being without love. Few artists have reduced themselves to such a vulnerable state, yet Sharon Van Etten shows just as much strength through her powerful performance though the lyrics reveal no clear ending, we can tell she escaped. --- My top 100 games (with write-ups): https://foolfantastic.com/top-100-video-games-project/ <cite>CasanovaZelos posted [p:956316181] in CasanovaZe... [t:79452388]...</cite> <quote>103. Sharon Van Etten Your Love is Killing Me (2014) from the album Are We There https://www.youtube.com/watch?v=5rbnJ6nYKFQ Key lyrics: Break my legs so I wont walk to you Cut my tongue so I cant talk to you Burn my skin so I cant feel you Stab my eyes so I cant see There is something colossal about the slowly thundering drums that open Your Love is Killing Me. For Sharon Van Etten, nothing less than an earthshattering rumble could do justice to the toxic relationship that inspired this track. The lyrics during the chorus are just as extreme. She lists off several methods of self-harm she would be willing to take just to silence her misplaced love. Among a sea of violent break-up songs, Your Love is Killing Me holds a visceral edge by taking the language of threats and turning it inward. This is a woman driven so far to the breaking point that she would sooner hurt herself than give her lover permission to do any more harm. Her vocals do justice to the torment within every line. The way she cuts short the phrase stab my eyes so I cant see just to stretch out that final word, to emphasize the harm while erasing his presence, is riveting. Even worse is when she modifies the third chorus, twisting that phrase to suggest she will now blind herself to his harm instead. Few songs have so perfectly summarized the dangerously intoxicating nature of love. After absolutely eviscerating this man, she admits an urge to stay simply to avoid the pain of being without love. Few artists have reduced themselves to such a vulnerable state, yet Sharon Van Etten shows just as much strength through her powerful performance though the lyrics reveal no clear ending, we can tell she escaped. </quote> ... Copied to Clipboard!
CasanovaZelos 07/21/21 1:42:36 PM #260:	102. FKA twigs Cellophane (2019) from the album Magdalene https://www.youtube.com/watch?v=YkLjqFpBh84 Key lyrics: All wrapped in cellophane, the feelings that we had A true sense of vulnerability is difficult to achieve. Lyrics alone are rarely enough. There needs to be something raw in the performance to truly strike at our hearts. FKA twigs has spent most of her career crafting complex soundscapes and modifying her voice, but she stripped that all away for Cellophane. Much of the track is supported by nothing but a slow, distorted piano. As she reflects on a relationship, she can do little more than ask why she was never good enough. Its the type of torment anyone who has been broken up with can understand. The following lines then get a little more personal, noting the unwanted attention she received in the spotlight. Her words paint a cruel picture of a relationship torn apart by outside pressure. FKA twigs voice is as delicate as glass. It is fitting that, at the exact halfway mark as she drops the title of the track, a short burst of electronics rises and shatters around her. The instrumentation subtly begins to creak and groan during the final minute, yet her voice remains centered. She offers no relief as she closes the song with a wispy lament. Cellophane is a raw piano ballad, its singular burst of energy enough to help sustain FKA twigs incomparable grief. --- My top 100 games (with write-ups): https://foolfantastic.com/top-100-video-games-project/ <cite>CasanovaZelos posted [p:956318715] in CasanovaZe... [t:79452388]...</cite> <quote>102. FKA twigs Cellophane (2019) from the album Magdalene https://www.youtube.com/watch?v=YkLjqFpBh84 Key lyrics: All wrapped in cellophane, the feelings that we had A true sense of vulnerability is difficult to achieve. Lyrics alone are rarely enough. There needs to be something raw in the performance to truly strike at our hearts. FKA twigs has spent most of her career crafting complex soundscapes and modifying her voice, but she stripped that all away for Cellophane. Much of the track is supported by nothing but a slow, distorted piano. As she reflects on a relationship, she can do little more than ask why she was never good enough. Its the type of torment anyone who has been broken up with can understand. The following lines then get a little more personal, noting the unwanted attention she received in the spotlight. Her words paint a cruel picture of a relationship torn apart by outside pressure. FKA twigs voice is as delicate as glass. It is fitting that, at the exact halfway mark as she drops the title of the track, a short burst of electronics rises and shatters around her. The instrumentation subtly begins to creak and groan during the final minute, yet her voice remains centered. She offers no relief as she closes the song with a wispy lament. Cellophane is a raw piano ballad, its singular burst of energy enough to help sustain FKA twigs incomparable grief. </quote> ... Copied to Clipboard!
CasanovaZelos 07/21/21 5:18:37 PM #261:	101. Curtis Mayfield Move On Up (1970) from the album Curtis https://www.youtube.com/watch?v=6Z66wVo7uNw Key lyrics: Take nothing less Than the supreme best Few songs rocket immediately into life like Curtis Mayfields Move On Up. Frantic conga drums kick things off, keeping up an inimitable energy throughout. The percussion alone would be enough to make this a classic. What the horns lack in insistent energy is made up for in optimistic blasts. While Mayfield sings, the horns chime in like enthusiastic punctuation. Between the verses, the horns get increasingly wild. Through the lyrics, Mayfield promises a better life is possible. In a hectic world, Move On Up asks us to take a deep breath and recognize the positive changes. It is a celebration of what could be. In an unusual move for popular music, the full version of Move On Up closes out with an extended instrumental section. Mayfield recognized the sheer velocity of the instrumentation and lets it run itself out. Nine minutes of this could seem excessive, but this is nine minutes of reassurance and bliss. This is a bright and shiny vision of a better tomorrow, so joyous it can make you forget fifty years have passed without much changing. But even if that better world never arrives, it is music like Move On Up that helps us carry on with heads held high. --- My top 100 games (with write-ups): https://foolfantastic.com/top-100-video-games-project/ <cite>CasanovaZelos posted [p:956325727] in CasanovaZe... [t:79452388]...</cite> <quote>101. Curtis Mayfield Move On Up (1970) from the album Curtis https://www.youtube.com/watch?v=6Z66wVo7uNw Key lyrics: Take nothing less Than the supreme best Few songs rocket immediately into life like Curtis Mayfields Move On Up. Frantic conga drums kick things off, keeping up an inimitable energy throughout. The percussion alone would be enough to make this a classic. What the horns lack in insistent energy is made up for in optimistic blasts. While Mayfield sings, the horns chime in like enthusiastic punctuation. Between the verses, the horns get increasingly wild. Through the lyrics, Mayfield promises a better life is possible. In a hectic world, Move On Up asks us to take a deep breath and recognize the positive changes. It is a celebration of what could be. In an unusual move for popular music, the full version of Move On Up closes out with an extended instrumental section. Mayfield recognized the sheer velocity of the instrumentation and lets it run itself out. Nine minutes of this could seem excessive, but this is nine minutes of reassurance and bliss. This is a bright and shiny vision of a better tomorrow, so joyous it can make you forget fifty years have passed without much changing. But even if that better world never arrives, it is music like Move On Up that helps us carry on with heads held high. </quote> ... Copied to Clipboard!
CasanovaZelos 07/21/21 5:26:41 PM #262:	List so far: 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 225. Elliott Smith - Waltz #2 224. Nusrat Fateh Ali Khan - Mustt Mustt 223. Arcade Fire - Sprawl II (Mountains Beyond Mountains) 222. Amy Winehouse - Rehab 221. Charles Mingus - Track C - Group Dancers 220. Rage Against the Machine - Killing in the Name 219. Janelle Monae - Tightrope 218. M.I.A. - Paper Planes 217. Soft Cell - Tainted Love 216. Elliott Smith - Between the Bars 215. Tim Buckley - Song to the Siren 214. The Beatles - Tomorrow Never Knows 213. M83 - Midnight City 212. Arcade Fire - Rebellion (Lies) 211. Arcade Fire - Wake Up 210. Johnny Cash - I Walk the Line 209. Art Ensemble of Chicago - Theme de Yoyo 208. Missy Elliott - Work It 207. Ramones - Blitzkrieg Bop 206. Violent Femmes - Blister in the Sun 205. 808 State - Pacific State 204. LCD Soundsystem - How Do You Sleep? 203. Bruce Springsteen - The River 202. Nirvana - Smells Like Teen Spirit 201. Courtney Barnett - Avant Gardener 200. Kendrick Lamar - i 199. Bruce Springsteen - Thunder Road 198. Nick Drake - River Man 197. Lucy Dacus - Night Shift 196. The Band - The Night They Drove Old Dixie Down 195. Buddy Holly & The Crickets - Peggy Sue 194. Bob Dylan - Hurricane 193. Lou Reed - Perfect Day 192. The National - Fake Empire 191. Nina Simone - Feeling Good 190. Roy Orbison - In Dreams 189. Sufjan Stevens - Should Have Known Better 188. Caribou - Can't Do Without You 187. The xx - Crystalised 186. Beck - Where It's At 185. Depeche Mode - Enjoy the Silence 184. Pixies - Debaser 183. Smashing Pumpkins - Tonight, Tonight 182. Solange - Cranes in the Sky 181. The Specials - Ghost Town 180. Todd Terje - Inspector Norse 179. Nick Cave - Into My Arms 178. Neil Young - Heart of Gold 177. Vampire Weekend - Hannah Hunt 176. Lorde - Royals 175. The Knife - Silent Shout 174. Hot Chip - Over and Over 173. Depeche Mode - Never Let Me Down Again 172. Slint - Good Morning Captain 171. The Velvet Underground - Venus in Furs 170. Bob Dylan - Subterranean Homesick Blues 169. Johnny Cash - Folsom Prison Blues 168. Nirvana - Lithium 167. Aldous Harding - The Barrel 166. David Bowie - Young Americans 165. Lou Reed - Walk on the Wild Side 164. Big Thief - Shark Smile 163. Burial - Archangel 162. Fleet Foxes - White Winter Hymnal 161. Townes Van Zandt - Pancho and Lefty 160. Chico Buarque - Construcao 159. The Beach Boys - Good Vibrations 158. Sonic Youth - Teen Age Riot 157. David Bowie - Lazarus 156. The Knife - Full of Fire 155. Dave Brubeck - Take Five 154. The Cure - Close to Me 153. James Brown - Get Up (I Feel Like Being a) Sex Machine 152. Funkadelic/Parliament - One Nation Under a Groove 151. !!! - Me and Giuliani Down by the Schoolyard 150. Lana Del Rey - Video Games 149. Nico - These Days 148. Justice - D.A.N.C.E. 147. Daft Punk - One More Time 146. Underworld - Born Slippy 145. Stardust - Music Sounds Better With You 144. The Orb - Little Fluffy Clouds 143. Jefferson Airplane - White Rabbit 142. Marvin Gaye - What's Going On 141. Elbow - One Day Like This 140. James Blake - The Wilhelm Scream 139. ANOHNI - Drone Bomb Me 138. Kate Bush - Hounds of Love 137. Bjork - Bachelorette 136. Los Fabulosos Cadillacs - Matador 135. Bob Dylan - Like a Rolling Stone 134. Billie Holiday - Strange Fruit 133. Robyn - Dancing On My Own 132. Bright Eyes - First Day of My Life 131. Bob Dylan - Tangled Up in Blue 130. Miles Davis - So What 129. Dr. Dre feat. Snoop Dogg - Nuthin' But a 'G' Thang 128. Joni Mitchell - A Case of You 127. The Supremes - Where Did Our Love Go 126. Big Thief - Not 125. Dead Kennedys - Holiday in Cambodia 124. Julee Cruise and Angelo Badalamenti - Falling 123. A Tribe Called Quest - Scenario 122. Kraftwerk - Trans-Europe Express 121. Jay-Z - 99 Problems 120. SOPHIE - Immaterial 119. The Beatles - A Day in the Life 118. Nat King Cole - Nature Boy 117. R.E.M. - Losing My Religion 116. OutKast - B.O.B. 115. New Order - Bizarre Love Triangle 114. The White Stripes - Seven Nation Army 113. Prince - Kiss 112. The Rolling Stones - Sympathy for the Devil 111. Yeah Yeah Yeahs - Maps 110. Yazoo - Situation 109. Caribou - Odessa 108. Aphex Twin - Windowlicker 107. The Beach Boys - God Only Knows 106. Johnny Cash - Hurt 105. R.E.M. - Nightswimming 104. The Who - Won't Get Fooled Again 103. Sharon van Etten - Your Love is Killing Me 102. FKA twigs - Cellophane 101. Curtis Mayfield - Move On Up --- My top 100 games (with write-ups): https://foolfantastic.com/top-100-video-games-project/ <cite>CasanovaZelos posted [p:956325994] in CasanovaZe... [t:79452388]...</cite> <quote>List so far: 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 225. Elliott Smith - Waltz #2 224. Nusrat Fateh Ali Khan - Mustt Mustt 223. Arcade Fire - Sprawl II (Mountains Beyond Mountains) 222. Amy Winehouse - Rehab 221. Charles Mingus - Track C - Group Dancers 220. Rage Against the Machine - Killing in the Name 219. Janelle Monae - Tightrope 218. M.I.A. - Paper Planes 217. Soft Cell - Tainted Love 216. Elliott Smith - Between the Bars 215. Tim Buckley - Song to the Siren 214. The Beatles - Tomorrow Never Knows 213. M83 - Midnight City 212. Arcade Fire - Rebellion (Lies) 211. Arcade Fire - Wake Up 210. Johnny Cash - I Walk the Line 209. Art Ensemble of Chicago - Theme de Yoyo 208. Missy Elliott - Work It 207. Ramones - Blitzkrieg Bop 206. Violent Femmes - Blister in the Sun 205. 808 State - Pacific State 204. LCD Soundsystem - How Do You Sleep? 203. Bruce Springsteen - The River 202. Nirvana - Smells Like Teen Spirit 201. Courtney Barnett - Avant Gardener 200. Kendrick Lamar - i 199. Bruce Springsteen - Thunder Road 198. Nick Drake - River Man 197. Lucy Dacus - Night Shift 196. The Band - The Night They Drove Old Dixie Down 195. Buddy Holly & The Crickets - Peggy Sue 194. Bob Dylan - Hurricane 193. Lou Reed - Perfect Day 192. The National - Fake Empire 191. Nina Simone - Feeling Good 190. Roy Orbison - In Dreams 189. Sufjan Stevens - Should Have Known Better 188. Caribou - Can't Do Without You 187. The xx - Crystalised 186. Beck - Where It's At 185. Depeche Mode - Enjoy the Silence 184. Pixies - Debaser 183. Smashing Pumpkins - Tonight, Tonight 182. Solange - Cranes in the Sky 181. The Specials - Ghost Town 180. Todd Terje - Inspector Norse 179. Nick Cave - Into My Arms 178. Neil Young - Heart of Gold 177. Vampire Weekend - Hannah Hunt 176. Lorde - Royals 175. The Knife - Silent Shout 174. Hot Chip - Over and Over 173. Depeche Mode - Never Let Me Down Again 172. Slint - Good Morning Captain 171. The Velvet Underground - Venus in Furs 170. Bob Dylan - Subterranean Homesick Blues 169. Johnny Cash - Folsom Prison Blues 168. Nirvana - Lithium 167. Aldous Harding - The Barrel 166. David Bowie - Young Americans 165. Lou Reed - Walk on the Wild Side 164. Big Thief - Shark Smile 163. Burial - Archangel 162. Fleet Foxes - White Winter Hymnal 161. Townes Van Zandt - Pancho and Lefty 160. Chico Buarque - Construcao 159. The Beach Boys - Good Vibrations 158. Sonic Youth - Teen Age Riot 157. David Bowie - Lazarus 156. The Knife - Full of Fire 155. Dave Brubeck - Take Five 154. The Cure - Close to Me 153. James Brown - Get Up (I Feel Like Being a) Sex Machine 152. Funkadelic/Parliament - One Nation Under a Groove 151. !!! - Me and Giuliani Down by the Schoolyard 150. Lana Del Rey - Video Games 149. Nico - These Days 148. Justice - D.A.N.C.E. 147. Daft Punk - One More Time 146. Underworld - Born Slippy 145. Stardust - Music Sounds Better With You 144. The Orb - Little Fluffy Clouds 143. Jefferson Airplane - White Rabbit 142. Marvin Gaye - What's Going On 141. Elbow - One Day Like This 140. James Blake - The Wilhelm Scream 139. ANOHNI - Drone Bomb Me 138. Kate Bush - Hounds of Love 137. Bjork - Bachelorette 136. Los Fabulosos Cadillacs - Matador 135. Bob Dylan - Like a Rolling Stone 134. Billie Holiday - Strange Fruit 133. Robyn - Dancing On My Own 132. Bright Eyes - First Day of My Life 131. Bob Dylan - Tangled Up in Blue 130. Miles Davis - So What 129. Dr. Dre feat. Snoop Dogg - Nuthin' But a 'G' Thang 128. Joni Mitchell - A Case of You 127. The Supremes - Where Did Our Love Go 126. Big Thief - Not 125. Dead Kennedys - Holiday in Cambodia 124. Julee Cruise and Angelo Badalamenti - Falling 123. A Tribe Called Quest - Scenario 122. Kraftwerk - Trans-Europe Express 121. Jay-Z - 99 Problems 120. SOPHIE - Immaterial 119. The Beatles - A Day in the Life 118. Nat King Cole - Nature Boy 117. R.E.M. - Losing My Religion 116. OutKast - B.O.B. 115. New Order - Bizarre Love Triangle 114. The White Stripes - Seven Nation Army 113. Prince - Kiss 112. The Rolling Stones - Sympathy for the Devil 111. Yeah Yeah Yeahs - Maps 110. Yazoo - Situation 109. Caribou - Odessa 108. Aphex Twin - Windowlicker 107. The Beach Boys - God Only Knows 106. Johnny Cash - Hurt 105. R.E.M. - Nightswimming 104. The Who - Won't Get Fooled Again 103. Sharon van Etten - Your Love is Killing Me 102. FKA twigs - Cellophane 101. Curtis Mayfield - Move On Up </quote> ... Copied to Clipboard!
CasanovaZelos 07/21/21 5:27:10 PM #263:	9 more artists in my top 100 have fallen Top 100 artists (with no remaining songs; artists from the most recent batch bolded): 1. Bob Dylan: "Tangled Up in Blue (#131) 3. Nick Cave: "Into My Arms" (#179) 6. The Beatles: "A Day in the Life" (#119) 9. R.E.M.: "Nightswimming" (#105) 11. The Rolling Stones: "Sympathy for the Devil" (#112) 14. Neil Young: "Heart of Gold" (#178) 16. Kanye West: "Monster" (#309) 17. Prince: "Kiss" (#113) 18. Tom Waits: "Time" (#790) 21. The Cure: "Close to Me" (#154) 24. Miles Davis: "So What" (#130) 25. Charles Mingus: "Track C - Group Dancer" (#221) 26. Leonard Cohen: "Suzanne" (#588) 28. Nirvana: "Lithium" (#168) 34. Arcade Fire: "Wake Up" (#211) 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) 45. The National: "Fake Empire" (#192) 46. Joni Mitchell: "A Case of You" (#128) 47. St. Vincent: "Digital Witness" (#334) 49. U2: "One" (#434) 50. Pink Floyd: "Wish You Were Here" (#514) 51. Vampire Weekend: "Hannah Hunt" (#177) 53. The Police: "Roxanne" (#285) 54. Beastie Boys: "Sabotage" (#261) 55. Portishead: "Sour Times" (#254) 56. The xx: "Crystalised" (#187) 58. The Chemical Brothers: "Hey Boy Hey Girl" (#271) 60. The Kinks: "Waterloo Sunset" (#355) 61. Johnny Cash: "Hurt" (#106) 62. Creedence Clearwater Revival: "Fortunate Son" (#333) 63. Lou Reed: "Walk on the Wild Side" (#165) 64. Can: "Mother Sky" (#398) 65. Mogwai: "2 Rights Make 1 Wrong" (#399) 67. John Coltrane: "A Love Supreme, Part 1: Acknowledgement" (#661) 68. Aphex Twin: "Windowlicker" (#108) 69. Bob Marley: "Redemption Song" (#506) 72. Jay-Z: "99 Problems" (#121) 73. Depeche Mode: "Never Let Me Down Again" (#173) 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) 81. M.I.A.: "Paper Planes" (#218) 82. Bon Iver: "Skinny Love" (#262) 84. Caribou: "Odessa" (#109) 85. Green Day: "Basket Case" (#371) 89. SOPHIE: "Immaterial" (#120) 90. ANOHNI: "Drone Bomb Me" (#139) 91. Elvis Presley: "Suspicious Minds" (#387) 92. Fever Ray: "If I Had a Heart" (#236) 93. Beyonce: "Countdown" (#615) 94. Funkadelic/Parliament: "One Nation Under a Groove" (#152) 100. Robyn: "Dancing On My Own" (#133) --- My top 100 games (with write-ups): https://foolfantastic.com/top-100-video-games-project/ <cite>CasanovaZelos posted [p:956326008] in CasanovaZe... [t:79452388]...</cite> <quote>9 more artists in my top 100 have fallen Top 100 artists (with no remaining songs; artists from the most recent batch bolded): 1. Bob Dylan: "Tangled Up in Blue (#131) 3. Nick Cave: "Into My Arms" (#179) 6. The Beatles: "A Day in the Life" (#119) 9. R.E.M.: "Nightswimming" (#105) 11. The Rolling Stones: "Sympathy for the Devil" (#112) 14. Neil Young: "Heart of Gold" (#178) 16. Kanye West: "Monster" (#309) 17. Prince: "Kiss" (#113) 18. Tom Waits: "Time" (#790) 21. The Cure: "Close to Me" (#154) 24. Miles Davis: "So What" (#130) 25. Charles Mingus: "Track C - Group Dancer" (#221) 26. Leonard Cohen: "Suzanne" (#588) 28. Nirvana: "Lithium" (#168) 34. Arcade Fire: "Wake Up" (#211) 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) 45. The National: "Fake Empire" (#192) 46. Joni Mitchell: "A Case of You" (#128) 47. St. Vincent: "Digital Witness" (#334) 49. U2: "One" (#434) 50. Pink Floyd: "Wish You Were Here" (#514) 51. Vampire Weekend: "Hannah Hunt" (#177) 53. The Police: "Roxanne" (#285) 54. Beastie Boys: "Sabotage" (#261) 55. Portishead: "Sour Times" (#254) 56. The xx: "Crystalised" (#187) 58. The Chemical Brothers: "Hey Boy Hey Girl" (#271) 60. The Kinks: "Waterloo Sunset" (#355) 61. Johnny Cash: "Hurt" (#106) 62. Creedence Clearwater Revival: "Fortunate Son" (#333) 63. Lou Reed: "Walk on the Wild Side" (#165) 64. Can: "Mother Sky" (#398) 65. Mogwai: "2 Rights Make 1 Wrong" (#399) 67. John Coltrane: "A Love Supreme, Part 1: Acknowledgement" (#661) 68. Aphex Twin: "Windowlicker" (#108) 69. Bob Marley: "Redemption Song" (#506) 72. Jay-Z: "99 Problems" (#121) 73. Depeche Mode: "Never Let Me Down Again" (#173) 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) 81. M.I.A.: "Paper Planes" (#218) 82. Bon Iver: "Skinny Love" (#262) 84. Caribou: "Odessa" (#109) 85. Green Day: "Basket Case" (#371) 89. SOPHIE: "Immaterial" (#120) 90. ANOHNI: "Drone Bomb Me" (#139) 91. Elvis Presley: "Suspicious Minds" (#387) 92. Fever Ray: "If I Had a Heart" (#236) 93. Beyonce: "Countdown" (#615) 94. Funkadelic/Parliament: "One Nation Under a Groove" (#152) 100. Robyn: "Dancing On My Own" (#133) </quote> ... Copied to Clipboard!
CasanovaZelos 07/21/21 5:34:28 PM #264:	I also wanted to update the decade breakdown for the top 100: 1950s: 2 songs 1960s: 8 songs 1970s: 17 songs 1980s: 22 songs 1990s: 20 songs 2000s: 15 songs 2010s: 14 songs 2020s: 2 songs There is one artist with 4 songs remaining, 3 artists with 3 songs, and 10 artists with 2 songs --- My top 100 games (with write-ups): https://foolfantastic.com/top-100-video-games-project/ <cite>CasanovaZelos posted [p:956326216] in CasanovaZe... [t:79452388]...</cite> <quote>I also wanted to update the decade breakdown for the top 100: 1950s: 2 songs 1960s: 8 songs 1970s: 17 songs 1980s: 22 songs 1990s: 20 songs 2000s: 15 songs 2010s: 14 songs 2020s: 2 songs There is one artist with 4 songs remaining, 3 artists with 3 songs, and 10 artists with 2 songs </quote> ... Copied to Clipboard!
CasanovaZelos 07/22/21 11:35:36 AM #265:	100. The Jon Spencer Blues Explosion Bellbottoms (1994) from the album Orange https://www.youtube.com/watch?v=XlTqcshkmc8 When we talk about great works of art, there is an overemphasis of the influencers at the expense of the experimenters. Those who arrive first garner more attention than those who perfect. In many cases, the originators are exceptional no one would follow directly in their footsteps if what they stumbled upon did not work. But what always captures my attention are the artists who, seeing the ever-evolving music scene, fuse together such a specific sound that it denies the possibility of influence. Bands like The Jon Spencer Blues Explosion exist at a very specific extreme Bellbottoms may be classified as a punk blues song, but that reads as an approximation. Too much is going on here to be meaningfully classified. Bellbottoms is a song in motion. The opening very much evokes the downtempo expectations of a punk blues track, though a gliding string backdrop hints at the impending sonic insanity. This is not exactly an instrumental piece, but Jon Spencer works more as an announcer than a vocalist. About a third of the way through, the bassline picks up a bit more intensity as a wall of screaming takes over, only for the music to stop entirely as Jon Spencer addresses the audience. From this point on, the song erupts into a psychotic jam session, always ramping up its frenetic energy. After a certain point, genre indicators lose meaning Bellbottoms is the traditional rock arrangement distilled into a raw force. Blues Explosion is an apt name, as Bellbottoms feels like a musical Big Bang using blues as the spark. --- My top 100 games (with write-ups): https://foolfantastic.com/top-100-video-games-project/ <cite>CasanovaZelos posted [p:956349257] in CasanovaZe... [t:79452388]...</cite> <quote>100. The Jon Spencer Blues Explosion Bellbottoms (1994) from the album Orange https://www.youtube.com/watch?v=XlTqcshkmc8 When we talk about great works of art, there is an overemphasis of the influencers at the expense of the experimenters. Those who arrive first garner more attention than those who perfect. In many cases, the originators are exceptional no one would follow directly in their footsteps if what they stumbled upon did not work. But what always captures my attention are the artists who, seeing the ever-evolving music scene, fuse together such a specific sound that it denies the possibility of influence. Bands like The Jon Spencer Blues Explosion exist at a very specific extreme Bellbottoms may be classified as a punk blues song, but that reads as an approximation. Too much is going on here to be meaningfully classified. Bellbottoms is a song in motion. The opening very much evokes the downtempo expectations of a punk blues track, though a gliding string backdrop hints at the impending sonic insanity. This is not exactly an instrumental piece, but Jon Spencer works more as an announcer than a vocalist. About a third of the way through, the bassline picks up a bit more intensity as a wall of screaming takes over, only for the music to stop entirely as Jon Spencer addresses the audience. From this point on, the song erupts into a psychotic jam session, always ramping up its frenetic energy. After a certain point, genre indicators lose meaning Bellbottoms is the traditional rock arrangement distilled into a raw force. Blues Explosion is an apt name, as Bellbottoms feels like a musical Big Bang using blues as the spark. </quote> ... Copied to Clipboard!
Snake5555555555 07/22/21 11:36:56 AM #266:	Admittedly I knew Bellbottoms from Baby Driver but it's one of my favorites now. --- 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:956349290] in CasanovaZe... [t:79452388]...</cite> <quote>Admittedly I knew Bellbottoms from Baby Driver but it's one of my favorites now. </quote> ... Copied to Clipboard!
CasanovaZelos 07/22/21 12:04:08 PM #267:	Snake5555555555 posted... Admittedly I knew Bellbottoms from Baby Driver but it's one of my favorites now. I was slightly familiar with it beforehand, but Baby Driver brought it back to my attention. As I said in the "Falling" write-up, the perfect use of a song in another medium can positively affect my opinion of both. At the same time, the song itself still needs to speak to me - the "Hocus Pocus" scene is also really impressive, but that song simply annoys me on its own. --- My top 100 games (with write-ups): https://foolfantastic.com/top-100-video-games-project/ <cite>CasanovaZelos posted [p:956350250] in CasanovaZe... [t:79452388]...</cite> <quote>Snake5555555555 posted... </cite> <quote>Admittedly I knew Bellbottoms from Baby Driver but it's one of my favorites now.</quote> I was slightly familiar with it beforehand, but Baby Driver brought it back to my attention. As I said in the "Falling" write-up, the perfect use of a song in another medium can positively affect my opinion of both. At the same time, the song itself still needs to speak to me - the "Hocus Pocus" scene is also really impressive, but that song simply annoys me on its own. </quote> ... Copied to Clipboard!
CasanovaZelos 07/22/21 1:50:20 PM #268:	99. Pigbag Papas Got a Brand New Pigbag (1981) non-album single https://www.youtube.com/watch?v=omYKI8RJaIg Dance-punk is an odd genre to discuss. The names that usually come to mind, such as LCD Soundsystem or The Rapture, would perhaps be better labelled as dance-punk revivalists. At the same time, the name might as well be a retronym. The stray tracks that make up the early hits in the genre feel more like one-offs than a unified sound prominent post-punk bands like Gang of Four and The Clash simply strayed close to dance music occasionally, while bands more explicitly committed to the style like ESG and Liquid Liquid never had more than a few hits. As such, a song like Papas Got a Brand New Pigbag gained new meaning over time. Like Bellbottoms, it merges half a dozen stray sonic elements. However, you can see connective tissue stretching between Pigbag and so many odd future acts. Papas Got a Brand New Pigbag is far more than just dance and punk. This is a track dominated by conga drums and ska-style horns. Though it frequently returns to the same definitive riff, there are also several breakdowns and unpredictable turns. The sax and horns occasionally skitter around each other, creating a riotous discord. Linking this all together is one of the grooviest basslines in rock. In fact, its link to punk might be the most tenuous element of its existence. But even as a pure instrumental, this rocks the DIY aesthetic, its chaotic patterns suggesting a group who simply picked up a bunch of instruments without too much practice and went all out. --- My top 100 games (with write-ups): https://foolfantastic.com/top-100-video-games-project/ <cite>CasanovaZelos posted [p:956353916] in CasanovaZe... [t:79452388]...</cite> <quote>99. Pigbag Papas Got a Brand New Pigbag (1981) non-album single https://www.youtube.com/watch?v=omYKI8RJaIg Dance-punk is an odd genre to discuss. The names that usually come to mind, such as LCD Soundsystem or The Rapture, would perhaps be better labelled as dance-punk revivalists. At the same time, the name might as well be a retronym. The stray tracks that make up the early hits in the genre feel more like one-offs than a unified sound prominent post-punk bands like Gang of Four and The Clash simply strayed close to dance music occasionally, while bands more explicitly committed to the style like ESG and Liquid Liquid never had more than a few hits. As such, a song like Papas Got a Brand New Pigbag gained new meaning over time. Like Bellbottoms, it merges half a dozen stray sonic elements. However, you can see connective tissue stretching between Pigbag and so many odd future acts. Papas Got a Brand New Pigbag is far more than just dance and punk. This is a track dominated by conga drums and ska-style horns. Though it frequently returns to the same definitive riff, there are also several breakdowns and unpredictable turns. The sax and horns occasionally skitter around each other, creating a riotous discord. Linking this all together is one of the grooviest basslines in rock. In fact, its link to punk might be the most tenuous element of its existence. But even as a pure instrumental, this rocks the DIY aesthetic, its chaotic patterns suggesting a group who simply picked up a bunch of instruments without too much practice and went all out. </quote> ... Copied to Clipboard!
CasanovaZelos 07/22/21 3:20:02 PM #269:	98. Orange Juice Rip It Up (1982) from the album Rip It Up https://www.youtube.com/watch?v=QoqoxCr4054 Key lyrics: I hope to god youre not as dumb as you make out I hope to god (I hope to god) And I hope to god Im not as numb as you make out I hope to god (I hope to god) Rip It Up is a quintessential New Wave song that could easily fade into the pack it is a song that plays so well to its genre that it risks being labelled generic. But there is a coyness in its presentation, both in its instrumentation and vocal delivery, that has slowly grown on me over the years. The electronic bass that opens the song, the first hit to use a 303, is bubbly, almost queasy. The odd inflection of the 303 would become a definitive element within electronic music, but Rip It Up is among the rare tracks to combine it with otherwise traditional instruments. This creates a layer of artifice that makes Rip It Up as off-putting as it is enticing. Edwyn Collins vocal stylings are similarly uneasy. There is a certain bravado to his voice, and several lines find him rapidly descending to a guttural bellow. Backing vocals mix so well at certain points that Collins sounds thrice as large. These backing vocals occasionally split apart as well, a contrast suggesting these voices are many and one at once. The effect is something illusory, made all the more confounding by the relative accessibility of the overall sound. Not everything that defines Rip It Up is unusual the saxophone solo is traditional yet stellar. But the overall bounciness of this track refuses to take off; as Collins sings about the sinking feeling of falling for someone, the song simply warbles. Orange Juice make all these odd choices to create a sonic simulation of love-struck anxiety. --- My top 100 games (with write-ups): https://foolfantastic.com/top-100-video-games-project/ <cite>CasanovaZelos posted [p:956357084] in CasanovaZe... [t:79452388]...</cite> <quote>98. Orange Juice Rip It Up (1982) from the album Rip It Up https://www.youtube.com/watch?v=QoqoxCr4054 Key lyrics: I hope to god youre not as dumb as you make out I hope to god (I hope to god) And I hope to god Im not as numb as you make out I hope to god (I hope to god) Rip It Up is a quintessential New Wave song that could easily fade into the pack it is a song that plays so well to its genre that it risks being labelled generic. But there is a coyness in its presentation, both in its instrumentation and vocal delivery, that has slowly grown on me over the years. The electronic bass that opens the song, the first hit to use a 303, is bubbly, almost queasy. The odd inflection of the 303 would become a definitive element within electronic music, but Rip It Up is among the rare tracks to combine it with otherwise traditional instruments. This creates a layer of artifice that makes Rip It Up as off-putting as it is enticing. Edwyn Collins vocal stylings are similarly uneasy. There is a certain bravado to his voice, and several lines find him rapidly descending to a guttural bellow. Backing vocals mix so well at certain points that Collins sounds thrice as large. These backing vocals occasionally split apart as well, a contrast suggesting these voices are many and one at once. The effect is something illusory, made all the more confounding by the relative accessibility of the overall sound. Not everything that defines Rip It Up is unusual the saxophone solo is traditional yet stellar. But the overall bounciness of this track refuses to take off; as Collins sings about the sinking feeling of falling for someone, the song simply warbles. Orange Juice make all these odd choices to create a sonic simulation of love-struck anxiety. </quote> ... Copied to Clipboard!
RyoCaliente 07/22/21 3:30:51 PM #270:	I love "Maps", but I'm also always been more fond of "Hysteric" myself. --- How paralyzingly dull, boring and tedious! <cite>RyoCaliente posted [p:956357464] in CasanovaZe... [t:79452388]...</cite> <quote>I love "Maps", but I'm also always been more fond of "Hysteric" myself. </quote> ... Copied to Clipboard!
CasanovaZelos 07/23/21 1:12:12 PM #271:	97. Big Star Thirteen (1972) from the album #1 Record https://www.youtube.com/watch?v=pte3Jg-2Ax4 Key lyrics: Would you be an outlaw for my love? Mocking our early teenage years comes easy. It is a time dominated by pubescent discoveries and big feelings too complex to express in our childhood vocabularies. Most people I know would rather erase these particular memories than linger on them. Big Star, on the other hand, wrote a loving ode to this awkward moment of growing up. With a melancholy tone, Alex Chilton retraces the mundane details of a first love. It is with utmost respect that he reflects upon misguided declarations. Though his narrator knows little about making a relationship work, Chilton remembers the dire passion of youth. Our first loves are almost doomed by design, but Big Star capture the numbing gravitas of going through it. Thirteen benefits greatly from specific imagery. Lines about getting tickets for the dance put us in the moment, bridging any distance created by Chiltons age as a vocalist. A line where he asks his love to share his opinion about The Rolling Stones to impress her father is profound in its depiction of childhood innocence and misunderstandings. Others might look upon these memories with embarrassment, but Big Star frame it as an essential part of the human experience. The structure of the song is essential to its nostalgic atmosphere. The simple acoustic guitar adds an air of innocence, while short bursts of harmonies draw out the emotion. The guitar solo halfway through keeps down to earth, simple and clean in its effect. Throughout, there is an ever-so-subtle change in tempo, suggesting a growing unease in the narrator. Thirteen is a stunningly graceful depiction of an awkward but defining time in our lives. --- My top 100 games (with write-ups): https://foolfantastic.com/top-100-video-games-project/ <cite>CasanovaZelos posted [p:956386561] in CasanovaZe... [t:79452388]...</cite> <quote>97. Big Star Thirteen (1972) from the album #1 Record https://www.youtube.com/watch?v=pte3Jg-2Ax4 Key lyrics: Would you be an outlaw for my love? Mocking our early teenage years comes easy. It is a time dominated by pubescent discoveries and big feelings too complex to express in our childhood vocabularies. Most people I know would rather erase these particular memories than linger on them. Big Star, on the other hand, wrote a loving ode to this awkward moment of growing up. With a melancholy tone, Alex Chilton retraces the mundane details of a first love. It is with utmost respect that he reflects upon misguided declarations. Though his narrator knows little about making a relationship work, Chilton remembers the dire passion of youth. Our first loves are almost doomed by design, but Big Star capture the numbing gravitas of going through it. Thirteen benefits greatly from specific imagery. Lines about getting tickets for the dance put us in the moment, bridging any distance created by Chiltons age as a vocalist. A line where he asks his love to share his opinion about The Rolling Stones to impress her father is profound in its depiction of childhood innocence and misunderstandings. Others might look upon these memories with embarrassment, but Big Star frame it as an essential part of the human experience. The structure of the song is essential to its nostalgic atmosphere. The simple acoustic guitar adds an air of innocence, while short bursts of harmonies draw out the emotion. The guitar solo halfway through keeps down to earth, simple and clean in its effect. Throughout, there is an ever-so-subtle change in tempo, suggesting a growing unease in the narrator. Thirteen is a stunningly graceful depiction of an awkward but defining time in our lives. </quote> ... Copied to Clipboard!
CasanovaZelos 07/23/21 1:50:11 PM #272:	96. Nick Drake Pink Moon (1972) from the album Pink Moon https://www.youtube.com/watch?v=ZgHdUeMHTwc Key lyrics: And none of you stand so tall Pink moon gonna get ye all Pink Moon is almost too simple. Other than a brief piano, this short song is nothing more than Nick Drake and an acoustic guitar. At the same time, it feels impenetrable what, exactly, is a pink moon, and does it present a threat or enlightenment? The energy is positive if not quite optimistic; is Drake awaiting this change, or has he blissfully accepted the end? Nick Drake is a complex figure, but what I know for certain is the comfort I find in this piece. Nick Drake has an unusual warmth in his voice, even as he mumbles through the delivery I cannot parse the first line without checking the lyrics. Though lacking the chamber folk complexities of River Man, Pink Moon still feels like its coming from an alternate timeline. Here, he is a mad prophet who has seen too much from the other side, delivering a message we cannot grasp. And though it is clear he has journeyed to a dark place, there is peace in his company. That brief piano does a lot of emotional lifting. It is lighter than air, a moment of pure beauty in a song otherwise lost within so many conflicting emotions. At a little over two minutes, Pink Moon is straight to the point and a testament to the value of ordinary folk music. Nick Drake was a man who struggled with direct expression, and Pink Moon reveals how much can be said through the sound of music. No clear words are necessary for Pink Moon to make me feel something enormous. --- My top 100 games (with write-ups): https://foolfantastic.com/top-100-video-games-project/ <cite>CasanovaZelos posted [p:956387806] in CasanovaZe... [t:79452388]...</cite> <quote>96. Nick Drake Pink Moon (1972) from the album Pink Moon https://www.youtube.com/watch?v=ZgHdUeMHTwc Key lyrics: And none of you stand so tall Pink moon gonna get ye all Pink Moon is almost too simple. Other than a brief piano, this short song is nothing more than Nick Drake and an acoustic guitar. At the same time, it feels impenetrable what, exactly, is a pink moon, and does it present a threat or enlightenment? The energy is positive if not quite optimistic; is Drake awaiting this change, or has he blissfully accepted the end? Nick Drake is a complex figure, but what I know for certain is the comfort I find in this piece. Nick Drake has an unusual warmth in his voice, even as he mumbles through the delivery I cannot parse the first line without checking the lyrics. Though lacking the chamber folk complexities of River Man, Pink Moon still feels like its coming from an alternate timeline. Here, he is a mad prophet who has seen too much from the other side, delivering a message we cannot grasp. And though it is clear he has journeyed to a dark place, there is peace in his company. That brief piano does a lot of emotional lifting. It is lighter than air, a moment of pure beauty in a song otherwise lost within so many conflicting emotions. At a little over two minutes, Pink Moon is straight to the point and a testament to the value of ordinary folk music. Nick Drake was a man who struggled with direct expression, and Pink Moon reveals how much can be said through the sound of music. No clear words are necessary for Pink Moon to make me feel something enormous. </quote> ... Copied to Clipboard!
CasanovaZelos 07/23/21 3:11:59 PM #273:	95. Spiritualized Ladies and Gentlemen We Are Floating in Space (1997) from the album Ladies and Gentlemen We Are Floating in Space https://www.youtube.com/watch?v=iB7E1D_3Na4 Key lyrics: All I want in lifes a little bit of love to take the pain away Ladies and Gentlemen We Are Floating in Space starts simply enough. At first, Jason Pierce sings along to a low tempo take on Pachelbels Canon. But as he repeats this opening line, another version of his voice comes in singing Elvis Presleys Cant Help Falling in Love. The crinkling audio and a satellite beep suggest this second voice is an astronaut drifting in space. A wider array of instruments get added as we enter a third verse, where yet another voice is layered atop the others. The three vocals weave in and out of the forefront, helping form a dizzying, hypnotic experience. Buried deep beneath everything else is yet another verse which never takes the center stage. The massive layering here conceptually sounds like it should create a cacophony. But due to its strong mixing, Ladies and Gentlemen We Are Floating in Space operates as a monolithic round. This is the rare song that captures the magic of The Beach Boys greatest hits, a wall of sound and human voices that works despite everything suggesting otherwise. Each layer is crisp enough that you can follow its trail deep inside, yet everything works better together. Spiritualized are doing a lot more than showing off their technical capabilities. By combining baroque with classic rock and space age ambience, their choice of references suggests timelessness. This is not one love song but every love song at the same time. Sometimes, falling in love feels so immense that nothing can represent it alone. This song condenses all of time and space to suggest that love can be bigger than life. --- My top 100 games (with write-ups): https://foolfantastic.com/top-100-video-games-project/ <cite>CasanovaZelos posted [p:956390351] in CasanovaZe... [t:79452388]...</cite> <quote>95. Spiritualized Ladies and Gentlemen We Are Floating in Space (1997) from the album Ladies and Gentlemen We Are Floating in Space https://www.youtube.com/watch?v=iB7E1D_3Na4 Key lyrics: All I want in lifes a little bit of love to take the pain away Ladies and Gentlemen We Are Floating in Space starts simply enough. At first, Jason Pierce sings along to a low tempo take on Pachelbels Canon. But as he repeats this opening line, another version of his voice comes in singing Elvis Presleys Cant Help Falling in Love. The crinkling audio and a satellite beep suggest this second voice is an astronaut drifting in space. A wider array of instruments get added as we enter a third verse, where yet another voice is layered atop the others. The three vocals weave in and out of the forefront, helping form a dizzying, hypnotic experience. Buried deep beneath everything else is yet another verse which never takes the center stage. The massive layering here conceptually sounds like it should create a cacophony. But due to its strong mixing, Ladies and Gentlemen We Are Floating in Space operates as a monolithic round. This is the rare song that captures the magic of The Beach Boys greatest hits, a wall of sound and human voices that works despite everything suggesting otherwise. Each layer is crisp enough that you can follow its trail deep inside, yet everything works better together. Spiritualized are doing a lot more than showing off their technical capabilities. By combining baroque with classic rock and space age ambience, their choice of references suggests timelessness. This is not one love song but every love song at the same time. Sometimes, falling in love feels so immense that nothing can represent it alone. This song condenses all of time and space to suggest that love can be bigger than life. </quote> ... Copied to Clipboard!
CasanovaZelos 07/25/21 11:17:53 AM #274:	94. The Flaming Lips Do You Realize?? (2002) from the album Yoshimi Battles the Pink Robots https://www.youtube.com/watch?v=5zYOKFjpm9s Key lyrics: Do you realize That you have the most beautiful face? There are a handful of songs that simply roll over my emotions every time I listen. Do You Realize?? is a prime example, a song that begins as a loving address only for the narrator to become overwhelmed by our place in the universe and the fleeting passage of time. There are plenty of love songs and plenty of existential songs about death, but Do You Realize?? manages the impossible task of covering both grounds at once. The curvature of the song is essential to its message; by opening and closing with the same line, The Flaming Lips make a grand statement. At first, there is a suggestion of insignificance how can anyone think about love when everything is ultimately so meaningless? But right at the end, love is given as the answer to make all these big ideas bearable. Do You Realize?? starts loud, almost celebratory. For the first several lines, Wayne Coyne really plays up the love song aspects. The transition into deathly topics does not occur as a bomb drop but instead a shuddered whisper. At its highest moment, Coyne says nothing beyond the title words cannot capture the heightened state of pondering everything at once. As he then repeats his deathly pondering, many of the instruments grow quiet, leaving us floating with his words. What ultimately blows me away is the flurry of emotions this sends me. Even in the times when it has reduced me to a sobbing mess, there has always been a sense of hope underlining it all. --- My top 100 games (with write-ups): https://foolfantastic.com/top-100-video-games-project/ <cite>CasanovaZelos posted [p:956444110] in CasanovaZe... [t:79452388]...</cite> <quote>94. The Flaming Lips Do You Realize?? (2002) from the album Yoshimi Battles the Pink Robots https://www.youtube.com/watch?v=5zYOKFjpm9s Key lyrics: Do you realize That you have the most beautiful face? There are a handful of songs that simply roll over my emotions every time I listen. Do You Realize?? is a prime example, a song that begins as a loving address only for the narrator to become overwhelmed by our place in the universe and the fleeting passage of time. There are plenty of love songs and plenty of existential songs about death, but Do You Realize?? manages the impossible task of covering both grounds at once. The curvature of the song is essential to its message; by opening and closing with the same line, The Flaming Lips make a grand statement. At first, there is a suggestion of insignificance how can anyone think about love when everything is ultimately so meaningless? But right at the end, love is given as the answer to make all these big ideas bearable. Do You Realize?? starts loud, almost celebratory. For the first several lines, Wayne Coyne really plays up the love song aspects. The transition into deathly topics does not occur as a bomb drop but instead a shuddered whisper. At its highest moment, Coyne says nothing beyond the title words cannot capture the heightened state of pondering everything at once. As he then repeats his deathly pondering, many of the instruments grow quiet, leaving us floating with his words. What ultimately blows me away is the flurry of emotions this sends me. Even in the times when it has reduced me to a sobbing mess, there has always been a sense of hope underlining it all. </quote> ... Copied to Clipboard!
CasanovaZelos 07/25/21 12:15:48 PM #275:	93. Four Tops Reach Out Ill Be There (1966) from the album Reach Out https://www.youtube.com/watch?v=2EaflX0MWRo Reach Out Ill Be There stands among Motowns biggest hits. It also stands out among that selection due to its unusually rough edge. The lyrics here could make a standard pop tune, but the production suggests anything but. Levi Stubbs sings with a sense of desperate urgency, and this song pushes his voice to a breaking point. As he shouts these seemingly comforting phrases, the tone takes on a dire edge, as though his love is dangling so precariously that this might be their last chance. Holland-Dozier-Holland reached a high with this song. The trio fused together numerous distinct styles, intentionally evoking Bob Dylan by forcing Stubbs into his strained shout while taking disparate genre influences to separate the verses and chorus. As the song shifts from a minor to major key, it generates tension instead of relief. This is another love song at an extreme, simulating the panic of uncertainty as you watch a lover stumble. Reach Out Ill Be There absolutely oozes with unease. Though changing up the Motown sound, this is far from a deconstruction. The Four Tops were excellent performers, and the backing harmonies bring this together. Like an inversed Where Did Our Love Go, the backing vocalists lend an air of hope to counter Stubbs desperation. The chorus is a masterwork, balancing the tension perfectly. The lead vocals could have suggested something a whole lot darker on their own a man shouting his love tends to be a scary sight. But the bliss of the harmonies reinforces his good intentions. The construction of this song appears as precarious as a house of cards, yet the final result is an unforgettable and haunting classic. --- My top 100 games (with write-ups): https://foolfantastic.com/top-100-video-games-project/ <cite>CasanovaZelos posted [p:956445505] in CasanovaZe... [t:79452388]...</cite> <quote>93. Four Tops Reach Out Ill Be There (1966) from the album Reach Out https://www.youtube.com/watch?v=2EaflX0MWRo Reach Out Ill Be There stands among Motowns biggest hits. It also stands out among that selection due to its unusually rough edge. The lyrics here could make a standard pop tune, but the production suggests anything but. Levi Stubbs sings with a sense of desperate urgency, and this song pushes his voice to a breaking point. As he shouts these seemingly comforting phrases, the tone takes on a dire edge, as though his love is dangling so precariously that this might be their last chance. Holland-Dozier-Holland reached a high with this song. The trio fused together numerous distinct styles, intentionally evoking Bob Dylan by forcing Stubbs into his strained shout while taking disparate genre influences to separate the verses and chorus. As the song shifts from a minor to major key, it generates tension instead of relief. This is another love song at an extreme, simulating the panic of uncertainty as you watch a lover stumble. Reach Out Ill Be There absolutely oozes with unease. Though changing up the Motown sound, this is far from a deconstruction. The Four Tops were excellent performers, and the backing harmonies bring this together. Like an inversed Where Did Our Love Go, the backing vocalists lend an air of hope to counter Stubbs desperation. The chorus is a masterwork, balancing the tension perfectly. The lead vocals could have suggested something a whole lot darker on their own a man shouting his love tends to be a scary sight. But the bliss of the harmonies reinforces his good intentions. The construction of this song appears as precarious as a house of cards, yet the final result is an unforgettable and haunting classic. </quote> ... Copied to Clipboard!
CasanovaZelos 07/25/21 1:06:27 PM #276:	92. Kraftwerk The Model (1978) from the album The Man-Machine https://www.youtube.com/watch?v=KFq2pU21cNU Key lyrics: It only takes a camera to change her mind Throughout their career, Kraftwerk have made songs about roadways and trains and robots and pocket calculators. It should come as no surprise that their one hit with a human subject is somehow among their coldest productions. The Model is a light take on the stalker genre, framed as a photographer who cant forget a model who has since hit it big. Kraftwerks typical vocal monotony grows genuinely uneasy while discussing a human woman. The central synth-line bubbles up and down with every word, dominating a wide space between each line. This interplay between voice and synthesizer is a definitive turn. Before The Man-Machine, their work could be classified as an early form of general electronic music. They featured vocals, but largely as atmospheric scene setting rather than a lead part. While shifting their focus to a person, it is clear that Kraftwerk turned to a more human sound. With the structure of a dance track, The Model helped lay the foundation for synth-pop. Their more strictly electronic sensibilities linger on this track, the sections between verses going off on extended tangents before returning to the central structure. The Model acts as a rare, distinct bridge between two eras - but it plays to the best of both worlds. The instrumental sections suggest curiosity about the ever-changing world, while the vocals capture a sickening idea of how little changes about human nature as technology evolves. It is detached, but only to highlight the crudeness of the narrator. There is a bright and shiny world outside, but some have nothing better to do than lust after someone they will never see again. --- My top 100 games (with write-ups): https://foolfantastic.com/top-100-video-games-project/ <cite>CasanovaZelos posted [p:956446775] in CasanovaZe... [t:79452388]...</cite> <quote>92. Kraftwerk The Model (1978) from the album The Man-Machine https://www.youtube.com/watch?v=KFq2pU21cNU Key lyrics: It only takes a camera to change her mind Throughout their career, Kraftwerk have made songs about roadways and trains and robots and pocket calculators. It should come as no surprise that their one hit with a human subject is somehow among their coldest productions. The Model is a light take on the stalker genre, framed as a photographer who cant forget a model who has since hit it big. Kraftwerks typical vocal monotony grows genuinely uneasy while discussing a human woman. The central synth-line bubbles up and down with every word, dominating a wide space between each line. This interplay between voice and synthesizer is a definitive turn. Before The Man-Machine, their work could be classified as an early form of general electronic music. They featured vocals, but largely as atmospheric scene setting rather than a lead part. While shifting their focus to a person, it is clear that Kraftwerk turned to a more human sound. With the structure of a dance track, The Model helped lay the foundation for synth-pop. Their more strictly electronic sensibilities linger on this track, the sections between verses going off on extended tangents before returning to the central structure. The Model acts as a rare, distinct bridge between two eras - but it plays to the best of both worlds. The instrumental sections suggest curiosity about the ever-changing world, while the vocals capture a sickening idea of how little changes about human nature as technology evolves. It is detached, but only to highlight the crudeness of the narrator. There is a bright and shiny world outside, but some have nothing better to do than lust after someone they will never see again. </quote> ... Copied to Clipboard!
CasanovaZelos 07/26/21 1:26:41 PM #277:	91. Stevie Wonder Living for the City (1973) from the album Innervisions https://www.youtube.com/watch?v=rc0XEw4m-3w Key lyrics: His father works some days for fourteen hours And you can bet he barely makes a dollar Living for the City is Stevie Wonders sprawling, dystopic epic. The lyrics tell of a poor young black man who tries to escape the south, only to find similar hardship in the city. The early verses paint a stunning image of his family, the promise of the city acting as a beacon of hope. The middle takes a sharp turn, as the man arrives and is subsequently framed and arrested. Wonders vision of America is as bleak as they come for black people, there is no safe haven. The closing verse is a desperate plea this can change, but we must act swiftly and with care. The instrumentation matches the massive narrative scale. Wonder himself played all the instruments and delivers all the vocals aside from the spoken interlude. Wonder really shows his vocal chops here, adding layer upon layer during the bridge until he is a one-man funk collective. His vocals beyond the interlude section find him singing with a hoarse croak, elevating the already desperate lyrics to a true nightmare. The layered vocals surrounding this sequence help form an incomparable climax. The electronic soundscape similarly casts this as a key moment in popular music. Wonder suggests the same monolithic, futurized version of modern life that Kraftwerk would soon embody. For Living in the City, this glossy production is a sinister lure the extended spoken sequence absolutely shatters the illusion, revealing all the grit hiding just beneath the surface. By briefly shedding his typically uplifting nature, Wonder managed to craft a poignant masterpiece. --- My top 100 games (with write-ups): https://foolfantastic.com/top-100-video-games-project/ <cite>CasanovaZelos posted [p:956477982] in CasanovaZe... [t:79452388]...</cite> <quote>91. Stevie Wonder Living for the City (1973) from the album Innervisions https://www.youtube.com/watch?v=rc0XEw4m-3w Key lyrics: His father works some days for fourteen hours And you can bet he barely makes a dollar Living for the City is Stevie Wonders sprawling, dystopic epic. The lyrics tell of a poor young black man who tries to escape the south, only to find similar hardship in the city. The early verses paint a stunning image of his family, the promise of the city acting as a beacon of hope. The middle takes a sharp turn, as the man arrives and is subsequently framed and arrested. Wonders vision of America is as bleak as they come for black people, there is no safe haven. The closing verse is a desperate plea this can change, but we must act swiftly and with care. The instrumentation matches the massive narrative scale. Wonder himself played all the instruments and delivers all the vocals aside from the spoken interlude. Wonder really shows his vocal chops here, adding layer upon layer during the bridge until he is a one-man funk collective. His vocals beyond the interlude section find him singing with a hoarse croak, elevating the already desperate lyrics to a true nightmare. The layered vocals surrounding this sequence help form an incomparable climax. The electronic soundscape similarly casts this as a key moment in popular music. Wonder suggests the same monolithic, futurized version of modern life that Kraftwerk would soon embody. For Living in the City, this glossy production is a sinister lure the extended spoken sequence absolutely shatters the illusion, revealing all the grit hiding just beneath the surface. By briefly shedding his typically uplifting nature, Wonder managed to craft a poignant masterpiece. </quote> ... Copied to Clipboard!
CasanovaZelos 07/26/21 2:30:13 PM #278:	90. TV on the Radio Wolf Like Me (2006) from the album Return to Cookie Mountain https://www.youtube.com/watch?v=j1-xRk6llh4 Key lyrics: Baby doll, I recognize Youre a hideous thing inside As I have dived through these favorite songs of mine, a consistent thread has been high audio clarity. No matter the genre, most bands want their listeners to make out the specific sounds. Wolf Like Me exists in murkier water. Each element of this song is mixed closely together, and the guitar feedback adds an element of light static that blurs the line between sounds. In this form, TV on the Radio make it difficult to look at Wolf Like Me as anything but a cohesive whole. This is like an inverted Wall of Sound, using an ever-present noise to reduce the soundscape. Even on the finest speakers, this song refuses to shake the aesthetic of a poorly-tuned radio. The song beneath this distortion is suitably grimy. The singsong vocals are difficult to discern without close attention, especially with several unusual phrases thrown into the mix. The few lines that can be picked up on with ease paint a lusty picture. More important than the words is their ceaseless delivery, like listening to a madman ramble. Despite all these noisy layers, Wolf Like Me still falls into a distinct groove. With the guitar playing like white noise, the other elements take a more central part. With our attention forced to the rhythm, this operates as a most unlikely dance song. The bridge is essential, the static momentarily fading while the vocals maintain an uneasy edge. This sets up for an even messier finale as the distortion returns with more intensity. Wolf Like Me plays dirty, a peculiar track that nevertheless keeps pulling me back to parse its bizarre construction. --- My top 100 games (with write-ups): https://foolfantastic.com/top-100-video-games-project/ <cite>CasanovaZelos posted [p:956480005] in CasanovaZe... [t:79452388]...</cite> <quote>90. TV on the Radio Wolf Like Me (2006) from the album Return to Cookie Mountain https://www.youtube.com/watch?v=j1-xRk6llh4 Key lyrics: Baby doll, I recognize Youre a hideous thing inside As I have dived through these favorite songs of mine, a consistent thread has been high audio clarity. No matter the genre, most bands want their listeners to make out the specific sounds. Wolf Like Me exists in murkier water. Each element of this song is mixed closely together, and the guitar feedback adds an element of light static that blurs the line between sounds. In this form, TV on the Radio make it difficult to look at Wolf Like Me as anything but a cohesive whole. This is like an inverted Wall of Sound, using an ever-present noise to reduce the soundscape. Even on the finest speakers, this song refuses to shake the aesthetic of a poorly-tuned radio. The song beneath this distortion is suitably grimy. The singsong vocals are difficult to discern without close attention, especially with several unusual phrases thrown into the mix. The few lines that can be picked up on with ease paint a lusty picture. More important than the words is their ceaseless delivery, like listening to a madman ramble. Despite all these noisy layers, Wolf Like Me still falls into a distinct groove. With the guitar playing like white noise, the other elements take a more central part. With our attention forced to the rhythm, this operates as a most unlikely dance song. The bridge is essential, the static momentarily fading while the vocals maintain an uneasy edge. This sets up for an even messier finale as the distortion returns with more intensity. Wolf Like Me plays dirty, a peculiar track that nevertheless keeps pulling me back to parse its bizarre construction. </quote> ... Copied to Clipboard!
CasanovaZelos 07/26/21 6:45:04 PM #279:	89. Paul Simon Graceland (1986) from the album Graceland https://www.youtube.com/watch?v=WH5WVmaZFNE Key lyrics: And she said losing love Is like a window in your heart The rhythm on Graceland is bouncy in a way I have rarely encountered. Nearly every song creates a sense of motion, of course, but most work in a predictable manner. Graceland is not a particularly complex song, but the irregular clap every other bar creates a back and forth energy. It matches the subject matter perfectly, like riding a bus over a bumpy road. On an album experimenting with world music, Graceland might just be the most ordinary song yet it acts like a thesis statement, treating Elvis Presleys estate like the heart of American music before contemplating other hearts. This is the song where Simon perfects his own craft to justify stepping beyond. Though the central arrangement is standard, the choice of instruments sets it apart. Little details are added throughout the bit that always hits me is how part of the percussion sounds like cannon fire after the second verse. There is an incomparable fullness to this sound as everything comes together. Though featuring beautiful lyrics, Paul Simon manages to say a lot through absence. Outside of a few mentions of Memphis, Tennessee, there are no explicit details of the location. Simon therefore forces a double meaning, making Graceland a literal and spiritual place. He has no need to clarify that his holy land is the estate of a rock star; should it not be obvious his religion is music? Though weaving a tale about pilgrims, this is truly a celebration of music itself. Even as a lover leaves, Simon knows music will be his saving grace. --- My top 100 games (with write-ups): https://foolfantastic.com/top-100-video-games-project/ <cite>CasanovaZelos posted [p:956487764] in CasanovaZe... [t:79452388]...</cite> <quote>89. Paul Simon Graceland (1986) from the album Graceland https://www.youtube.com/watch?v=WH5WVmaZFNE Key lyrics: And she said losing love Is like a window in your heart The rhythm on Graceland is bouncy in a way I have rarely encountered. Nearly every song creates a sense of motion, of course, but most work in a predictable manner. Graceland is not a particularly complex song, but the irregular clap every other bar creates a back and forth energy. It matches the subject matter perfectly, like riding a bus over a bumpy road. On an album experimenting with world music, Graceland might just be the most ordinary song yet it acts like a thesis statement, treating Elvis Presleys estate like the heart of American music before contemplating other hearts. This is the song where Simon perfects his own craft to justify stepping beyond. Though the central arrangement is standard, the choice of instruments sets it apart. Little details are added throughout the bit that always hits me is how part of the percussion sounds like cannon fire after the second verse. There is an incomparable fullness to this sound as everything comes together. Though featuring beautiful lyrics, Paul Simon manages to say a lot through absence. Outside of a few mentions of Memphis, Tennessee, there are no explicit details of the location. Simon therefore forces a double meaning, making Graceland a literal and spiritual place. He has no need to clarify that his holy land is the estate of a rock star; should it not be obvious his religion is music? Though weaving a tale about pilgrims, this is truly a celebration of music itself. Even as a lover leaves, Simon knows music will be his saving grace. </quote> ... Copied to Clipboard!
CasanovaZelos 07/27/21 1:08:02 PM #280:	88. Brian Eno Needles in the Camels Eye (1974) from the album Here Come the Warm Jets https://www.youtube.com/watch?v=2SWrIB75vc8 Key lyrics: Why ask why? As a producer, Brian Eno helped shape the modern music scene. Working with acts like David Bowie, Talking Heads, and U2, he assisted in forming larger than life soundscapes. His own career is a bit more obscure. He is perhaps best known for popularizing ambient music during his later career, but he kicked things off in the glam scene. But even then, Brian Eno feels less like a rock star than a producer trying to push the boundaries of popular music. Needles in the Camels Eye certainly has the vocal hallmarks of a glam song, but the mixing pushes it into uncharted territory. The dense instrumentation is relentless; listening to Needles in the Camels Eye is like drowning in sound. Though Eno is a perfectly capable vocalist, he mixes himself like just another instrument. While playing to the very specific glam aesthetic, Eno instead lays out an aggressive prototype to his ambient developments. He simply accomplishes this while using plenty of guitars and bass. The multi-layered sound makes it difficult to discern every individual piece, resulting in a singular focus like rock had rarely seen before where bands like The Beach Boys kept every detail of their Wall of Sound crisp, Eno seeks to overwhelm. As such, Needles in the Camels Eye can be an unpleasant experience at first. It honestly took me ages to properly digest any of Enos early solo output. But, over time, I have come to appreciate him as a man who views music as a sonic playground. Needles in the Camels Eye is such a striking deconstruction of glam rock that I find myself returning to it more often than most traditional works in the genre. --- My top 100 games (with write-ups): https://foolfantastic.com/top-100-video-games-project/ <cite>CasanovaZelos posted [p:956511774] in CasanovaZe... [t:79452388]...</cite> <quote>88. Brian Eno Needles in the Camels Eye (1974) from the album Here Come the Warm Jets https://www.youtube.com/watch?v=2SWrIB75vc8 Key lyrics: Why ask why? As a producer, Brian Eno helped shape the modern music scene. Working with acts like David Bowie, Talking Heads, and U2, he assisted in forming larger than life soundscapes. His own career is a bit more obscure. He is perhaps best known for popularizing ambient music during his later career, but he kicked things off in the glam scene. But even then, Brian Eno feels less like a rock star than a producer trying to push the boundaries of popular music. Needles in the Camels Eye certainly has the vocal hallmarks of a glam song, but the mixing pushes it into uncharted territory. The dense instrumentation is relentless; listening to Needles in the Camels Eye is like drowning in sound. Though Eno is a perfectly capable vocalist, he mixes himself like just another instrument. While playing to the very specific glam aesthetic, Eno instead lays out an aggressive prototype to his ambient developments. He simply accomplishes this while using plenty of guitars and bass. The multi-layered sound makes it difficult to discern every individual piece, resulting in a singular focus like rock had rarely seen before where bands like The Beach Boys kept every detail of their Wall of Sound crisp, Eno seeks to overwhelm. As such, Needles in the Camels Eye can be an unpleasant experience at first. It honestly took me ages to properly digest any of Enos early solo output. But, over time, I have come to appreciate him as a man who views music as a sonic playground. Needles in the Camels Eye is such a striking deconstruction of glam rock that I find myself returning to it more often than most traditional works in the genre. </quote> ... Copied to Clipboard!
CasanovaZelos 07/27/21 1:52:03 PM #281:	87. Mitski Your Best American Girl (2016) from the album Puberty 2 https://www.youtube.com/watch?v=u_hDHm9MD0I Key lyrics: Your mother wouldnt approve of how my mother raised me But I do, I finally do Your Best American Girl starts so quietly that I instinctually pump up the volume before processing what song came on. This is an effective enough trick that two other songs in my top 100 do the same. Yet the quiet beginning here plays a more meaningful part in the context of the lyrics. With a Japanese mother and American father, Mitski struggled to find her place in the world. This quiet beginning is an elegant method of representing her sense of lacking a voice. As the song progresses through the first two verses, the volume slowly grows louder. Her lyrics focus more on her lover than herself, only undercutting her place in the relationship. The instrumentation plays a huge part, starting off with an acoustic guitar alone. The drums come in right as she closes out the first verse. After a slow build, Mitski skips directly to the payoff with the chorus. The acoustic guitar is replaced with a grunge-worthy electric riff. Continuing to play with volume, Mitski briefly pulls back for the bridge, only to again unleash a wall of noise upon us. The slight turn in lyrics is just as powerful. At first, Mitski only thinks she approves of her mother. By the end, she firmly asserts her approval. Your Best American Girl is all about finding ones voice, and every inch of it reinforces that idea. Yet after all this noise, Mitski saves her final punch for the quieting outro. She again expresses her doubt, the acoustic guitar returning to close everything out. This is a powerful anthem for self-acceptance, but Mitski acknowledges that true acceptance is a process. --- My top 100 games (with write-ups): https://foolfantastic.com/top-100-video-games-project/ <cite>CasanovaZelos posted [p:956513159] in CasanovaZe... [t:79452388]...</cite> <quote>87. Mitski Your Best American Girl (2016) from the album Puberty 2 https://www.youtube.com/watch?v=u_hDHm9MD0I Key lyrics: Your mother wouldnt approve of how my mother raised me But I do, I finally do Your Best American Girl starts so quietly that I instinctually pump up the volume before processing what song came on. This is an effective enough trick that two other songs in my top 100 do the same. Yet the quiet beginning here plays a more meaningful part in the context of the lyrics. With a Japanese mother and American father, Mitski struggled to find her place in the world. This quiet beginning is an elegant method of representing her sense of lacking a voice. As the song progresses through the first two verses, the volume slowly grows louder. Her lyrics focus more on her lover than herself, only undercutting her place in the relationship. The instrumentation plays a huge part, starting off with an acoustic guitar alone. The drums come in right as she closes out the first verse. After a slow build, Mitski skips directly to the payoff with the chorus. The acoustic guitar is replaced with a grunge-worthy electric riff. Continuing to play with volume, Mitski briefly pulls back for the bridge, only to again unleash a wall of noise upon us. The slight turn in lyrics is just as powerful. At first, Mitski only thinks she approves of her mother. By the end, she firmly asserts her approval. Your Best American Girl is all about finding ones voice, and every inch of it reinforces that idea. Yet after all this noise, Mitski saves her final punch for the quieting outro. She again expresses her doubt, the acoustic guitar returning to close everything out. This is a powerful anthem for self-acceptance, but Mitski acknowledges that true acceptance is a process. </quote> ... Copied to Clipboard!
CasanovaZelos 07/27/21 2:43:33 PM #282:	86. Kendrick Lamar King Kunta (2015) from the album To Pimp a Butterfly https://www.youtube.com/watch?v=hRK7PVJFbS8 Key lyrics: I swore I wouldnt tell But most of yall sharing bars Like you got the bottom bunk in a two-man cell Kendrick Lamar is among the most socially-minded hip hop stars, but that does not mean he is above the occasional rap braggadocio. King Kunta finds him returning to the industry criticism of Bitch, Dont Kill My Vibe, this time turning his sights on certain unnamed contemporaries. This captures the bombastic sound of Backseat Freestyle, but where that earlier song was ironic, Kendrick uses it here to absolutely drag his targets across concrete. When Kendrick steps back to boast, you know he means it though he has more meaningful topics to explore, songs like King Kunta show he can play the game better than anyone. The production here is top-notch, built around a slick funk groove. Female back-up singers add a playful quality, echoing certain phrases to emphasize the mocking nature. After the opening minute, Kendrick rarely falls into a comfort zone, letting the instruments rise with each verse. As this reaches a high point, it immediately shifts gears entirely, the backing music sounding as though it is being funneled through a distant jet. When the familiar groove returns, it is cut down by a gunshot. After another interruption, Kendrick finally lets it play out through the end. Kendrick will give us what we want, but he knows to make us wait for it while dazzling us with the unexpected. The whole of King Kunta is so musically-minded that I almost neglected the excellent lyrics. Though Kendrick Lamar can churn out heartfelt narratives on par with Bob Dylan, his playful songs showcase his ability to turn a phrase. From the wordplay of sharing bars to the complex references, King Kunta is such an effective boast because Kendrick plays from a higher level. --- My top 100 games (with write-ups): https://foolfantastic.com/top-100-video-games-project/ <cite>CasanovaZelos posted [p:956514720] in CasanovaZe... [t:79452388]...</cite> <quote>86. Kendrick Lamar King Kunta (2015) from the album To Pimp a Butterfly https://www.youtube.com/watch?v=hRK7PVJFbS8 Key lyrics: I swore I wouldnt tell But most of yall sharing bars Like you got the bottom bunk in a two-man cell Kendrick Lamar is among the most socially-minded hip hop stars, but that does not mean he is above the occasional rap braggadocio. King Kunta finds him returning to the industry criticism of Bitch, Dont Kill My Vibe, this time turning his sights on certain unnamed contemporaries. This captures the bombastic sound of Backseat Freestyle, but where that earlier song was ironic, Kendrick uses it here to absolutely drag his targets across concrete. When Kendrick steps back to boast, you know he means it though he has more meaningful topics to explore, songs like King Kunta show he can play the game better than anyone. The production here is top-notch, built around a slick funk groove. Female back-up singers add a playful quality, echoing certain phrases to emphasize the mocking nature. After the opening minute, Kendrick rarely falls into a comfort zone, letting the instruments rise with each verse. As this reaches a high point, it immediately shifts gears entirely, the backing music sounding as though it is being funneled through a distant jet. When the familiar groove returns, it is cut down by a gunshot. After another interruption, Kendrick finally lets it play out through the end. Kendrick will give us what we want, but he knows to make us wait for it while dazzling us with the unexpected. The whole of King Kunta is so musically-minded that I almost neglected the excellent lyrics. Though Kendrick Lamar can churn out heartfelt narratives on par with Bob Dylan, his playful songs showcase his ability to turn a phrase. From the wordplay of sharing bars to the complex references, King Kunta is such an effective boast because Kendrick plays from a higher level. </quote> ... Copied to Clipboard!
CasanovaZelos 07/28/21 10:33:05 AM #283:	85. Kate Bush Running Up That Hill (A Deal with God) (1985) from the album Hounds of Love https://www.youtube.com/watch?v=wp43OdtAAkM Key lyrics: Let me steal this moment from you now Running Up That Hill is a love song of a different caliber. Kate Bush, though apparently happy with her lover, deeply wishes to swap places so they can better understand one another. No matter the power of love, she suggests the gender roles of our society create an impenetrable barrier. In classic Kate Bush style, she turns to mysticism over a direct discussion. This vision sets the stage for a grandiose piece. A sustained note kicks things off, serving as a heavenly backdrop throughout the song. The opening pairs a synthesizer with a drum machine. A simple arrangement, but the synth-line is striking, introspective and playful as it warbles. Kate Bush begins running immediately out the gate, layering her voice to both echo and harmonize. The song subtly evolves from there. The layered vocals grow frantic as the synth changes tone. After the bridge, an actual drum set kicks off and a guitar joins in. Both of these elements are sparsely used, popping in only to emphasize a phrase here and there. The backing vocals become a ghastly wail throughout the last two minutes. Though Bush set the scene with a bombastic electronic presence, the true strength in Running Up That Hill is how that bombast allows the other elements to slowly grow to life. Kate Bush has been an enduring figure because she crafts song as flashy as they are understated. The electronic elements immediately date this, but the complex arrangement similarly marks it as a high point for the era. Running Up That Hill reveals that showing age can be its own form of timelessness there is power in the ability to immediately conjure a bygone era. --- My top 100 games (with write-ups): https://foolfantastic.com/top-100-video-games-project/ <cite>CasanovaZelos posted [p:956539984] in CasanovaZe... [t:79452388]...</cite> <quote>85. Kate Bush Running Up That Hill (A Deal with God) (1985) from the album Hounds of Love https://www.youtube.com/watch?v=wp43OdtAAkM Key lyrics: Let me steal this moment from you now Running Up That Hill is a love song of a different caliber. Kate Bush, though apparently happy with her lover, deeply wishes to swap places so they can better understand one another. No matter the power of love, she suggests the gender roles of our society create an impenetrable barrier. In classic Kate Bush style, she turns to mysticism over a direct discussion. This vision sets the stage for a grandiose piece. A sustained note kicks things off, serving as a heavenly backdrop throughout the song. The opening pairs a synthesizer with a drum machine. A simple arrangement, but the synth-line is striking, introspective and playful as it warbles. Kate Bush begins running immediately out the gate, layering her voice to both echo and harmonize. The song subtly evolves from there. The layered vocals grow frantic as the synth changes tone. After the bridge, an actual drum set kicks off and a guitar joins in. Both of these elements are sparsely used, popping in only to emphasize a phrase here and there. The backing vocals become a ghastly wail throughout the last two minutes. Though Bush set the scene with a bombastic electronic presence, the true strength in Running Up That Hill is how that bombast allows the other elements to slowly grow to life. Kate Bush has been an enduring figure because she crafts song as flashy as they are understated. The electronic elements immediately date this, but the complex arrangement similarly marks it as a high point for the era. Running Up That Hill reveals that showing age can be its own form of timelessness there is power in the ability to immediately conjure a bygone era. </quote> ... Copied to Clipboard!
Snake5555555555 07/28/21 12:00:59 PM #284:	Such a powerful song, so glad to see it on the list. --- 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:956542361] in CasanovaZe... [t:79452388]...</cite> <quote>Such a powerful song, so glad to see it on the list. </quote> ... Copied to Clipboard!
CasanovaZelos 07/28/21 3:39:57 PM #285:	84. Daft Punk Around the World (1997) from the album Homework https://www.youtube.com/watch?v=dwDns8x3Jb4 Repeat a word enough times and it loses all meaning. Over the length of Around the World, the title is said well over a hundred times. To Daft Punk, this phrase is merely another note to play. A calculated choice, this monotonous, robotic phrase dominates our attention. Like a pair of master illusionists, Daft Punk are using the art of misdirection. By keeping us so focused on this one part, their subtler shifts are allowed to wash over us. Around the World perfectly balances the fine line house music necessitates to be infectiously danceable to a fault and then shift gears just enough to hold our attention. Not the vocals but the bass defines this song. Michel Gondry perfectly captured the feeling in the iconic music video. A prolonged ascent leads into a rapid fall, only for the process to repeat as though moving ever upwards. The other instruments skitter around this central bassline. The trick here is that Daft Punk are constantly dropping the instruments in and out. Around the World captures what separates good DJs from the merely passable. By relying on the same segments throughout, Around the World has a singular identity. But Daft Punk are also exploring how different combinations work together, spending just enough time with one mix before shifting into the next. Around the World has held up over the years because it plays well in two settings. As a club hit, it is the perfect type of song for zoning out and dancing few basslines are this slick. But for those of us listening intently at home, those slight changes make an engaging experience. --- My top 100 games (with write-ups): https://foolfantastic.com/top-100-video-games-project/ <cite>CasanovaZelos posted [p:956549210] in CasanovaZe... [t:79452388]...</cite> <quote>84. Daft Punk Around the World (1997) from the album Homework https://www.youtube.com/watch?v=dwDns8x3Jb4 Repeat a word enough times and it loses all meaning. Over the length of Around the World, the title is said well over a hundred times. To Daft Punk, this phrase is merely another note to play. A calculated choice, this monotonous, robotic phrase dominates our attention. Like a pair of master illusionists, Daft Punk are using the art of misdirection. By keeping us so focused on this one part, their subtler shifts are allowed to wash over us. Around the World perfectly balances the fine line house music necessitates to be infectiously danceable to a fault and then shift gears just enough to hold our attention. Not the vocals but the bass defines this song. Michel Gondry perfectly captured the feeling in the iconic music video. A prolonged ascent leads into a rapid fall, only for the process to repeat as though moving ever upwards. The other instruments skitter around this central bassline. The trick here is that Daft Punk are constantly dropping the instruments in and out. Around the World captures what separates good DJs from the merely passable. By relying on the same segments throughout, Around the World has a singular identity. But Daft Punk are also exploring how different combinations work together, spending just enough time with one mix before shifting into the next. Around the World has held up over the years because it plays well in two settings. As a club hit, it is the perfect type of song for zoning out and dancing few basslines are this slick. But for those of us listening intently at home, those slight changes make an engaging experience. </quote> ... Copied to Clipboard!
CasanovaZelos 07/28/21 4:22:13 PM #286:	83. Le Tigre Deceptacon (1999) from the album Le Tigre https://www.youtube.com/watch?v=wjNln9mXuTI Key lyrics: Wanna disco? Wanna see me disco? It is probably clear by now that I have a soft spot for dance-punk. Yet of all the dance-punk acts I love, few lean into the punk side like Le Tigre. Formed by Kathleen Hanna after her earlier band Bikini Kill fell apart, she carried her riot grrrl energy into the electroclash scene. Like other pre-2000s dance-punk acts, it is unclear whether there was any direct link between Le Tigre and its predecessors. Part of the fun of early dance-punk is how organically bands stumbled into the sound; a punk band simply has to toy with disco and it seemingly comes in a recognizable form. Kathleen Hanna is an unsung master of punk vocals. Deceptacon contains disarmingly bratty delivery, a type of rough mocking that can turn any song into a sonic assault. Yet she also suggests a playful side her vicious lines are clearly tearing into someone specific. The song is played at a frenetic speed, yet the minimal soundscape leaves a chill atmosphere. This leaves room for the guitar to occasionally shred to life, an uncommon presence that dominates any moment where it appears. The simple yet fast beat makes this a perfect club song. Hannas vocals work just as well on the dance side of things. She quotes a largely forgotten doo-wop spoof, her rhythmic delivery taking a purely sonic form. These bursts help emphasize the beat. Deceptacon is true to punk and dance in equal measure, a surprisingly rare feat despite an entire genre forming around this combination. --- My top 100 games (with write-ups): https://foolfantastic.com/top-100-video-games-project/ <cite>CasanovaZelos posted [p:956550375] in CasanovaZe... [t:79452388]...</cite> <quote>83. Le Tigre Deceptacon (1999) from the album Le Tigre https://www.youtube.com/watch?v=wjNln9mXuTI Key lyrics: Wanna disco? Wanna see me disco? It is probably clear by now that I have a soft spot for dance-punk. Yet of all the dance-punk acts I love, few lean into the punk side like Le Tigre. Formed by Kathleen Hanna after her earlier band Bikini Kill fell apart, she carried her riot grrrl energy into the electroclash scene. Like other pre-2000s dance-punk acts, it is unclear whether there was any direct link between Le Tigre and its predecessors. Part of the fun of early dance-punk is how organically bands stumbled into the sound; a punk band simply has to toy with disco and it seemingly comes in a recognizable form. Kathleen Hanna is an unsung master of punk vocals. Deceptacon contains disarmingly bratty delivery, a type of rough mocking that can turn any song into a sonic assault. Yet she also suggests a playful side her vicious lines are clearly tearing into someone specific. The song is played at a frenetic speed, yet the minimal soundscape leaves a chill atmosphere. This leaves room for the guitar to occasionally shred to life, an uncommon presence that dominates any moment where it appears. The simple yet fast beat makes this a perfect club song. Hannas vocals work just as well on the dance side of things. She quotes a largely forgotten doo-wop spoof, her rhythmic delivery taking a purely sonic form. These bursts help emphasize the beat. Deceptacon is true to punk and dance in equal measure, a surprisingly rare feat despite an entire genre forming around this combination. </quote> ... Copied to Clipboard!
CasanovaZelos 07/29/21 11:30:04 AM #287:	82. Future Islands Seasons (Waiting on You) (2014) from the album Singles https://www.youtube.com/watch?v=-5Ae-LhMIG0 Key lyrics: You know, when people change They gain a peace, but they lose one too Seasons (Waiting on You) feels like the little indie song that could. The lead single off Future Islands fourth album, Seasons seemed destined to obscurity. This sparse synth-pop sound might have been too understated to initially draw an audience. Future Islands took an appearance on David Letterman and absolutely ran with it. Before anyone knew the song itself, Samuel Herring upsold it on live TV. He sung with death metal growls, exaggerating the already heightened emotions. With Herrings unusual dance and frankly bizarre vocals, the Letterman performance went viral. By the end of the year, outlets like NME and Pitchfork were calling it the song of the year. The actual recorded version is effectively subdued. This is synth-pop at its most minimal, a few whirring electronic bits that kick the song off and then tone down almost immediately. As the synthesizer drifts from note to note, the guitar keeps up a wall of constant strumming. This is not a complex song by any measure, but the simple arrangement allows Herring to soar over it. Though lacking the iconic death metal growls (but still featuring a raspy edge), his natural performance journeys through several strong emotions. At once, he portrays grief and the sense of hope that follows. This is ostensibly a break-up song, but Herring tears through the very essence of the human experience. The Letterman performance did not shape my own opinion I actually watched it for the first time this morning, though knew what to expect having already seen the band live. But that performance did kick off the hype that led to my awareness of its existence. Its a numbing realization, to know how many bands must be sitting on something great, only needing a spotlight to turn their way. --- My top 100 games (with write-ups): https://foolfantastic.com/top-100-video-games-project/ <cite>CasanovaZelos posted [p:956575317] in CasanovaZe... [t:79452388]...</cite> <quote>82. Future Islands Seasons (Waiting on You) (2014) from the album Singles https://www.youtube.com/watch?v=-5Ae-LhMIG0 Key lyrics: You know, when people change They gain a peace, but they lose one too Seasons (Waiting on You) feels like the little indie song that could. The lead single off Future Islands fourth album, Seasons seemed destined to obscurity. This sparse synth-pop sound might have been too understated to initially draw an audience. Future Islands took an appearance on David Letterman and absolutely ran with it. Before anyone knew the song itself, Samuel Herring upsold it on live TV. He sung with death metal growls, exaggerating the already heightened emotions. With Herrings unusual dance and frankly bizarre vocals, the Letterman performance went viral. By the end of the year, outlets like NME and Pitchfork were calling it the song of the year. The actual recorded version is effectively subdued. This is synth-pop at its most minimal, a few whirring electronic bits that kick the song off and then tone down almost immediately. As the synthesizer drifts from note to note, the guitar keeps up a wall of constant strumming. This is not a complex song by any measure, but the simple arrangement allows Herring to soar over it. Though lacking the iconic death metal growls (but still featuring a raspy edge), his natural performance journeys through several strong emotions. At once, he portrays grief and the sense of hope that follows. This is ostensibly a break-up song, but Herring tears through the very essence of the human experience. The Letterman performance did not shape my own opinion I actually watched it for the first time this morning, though knew what to expect having already seen the band live. But that performance did kick off the hype that led to my awareness of its existence. Its a numbing realization, to know how many bands must be sitting on something great, only needing a spotlight to turn their way. </quote> ... Copied to Clipboard!
CasanovaZelos 07/29/21 12:02:48 PM #288:	81. Talking Heads This Must Be the Place (Nave Melody) (1983) from the album Speaking in Tongues https://www.youtube.com/watch?v=o9gK2fOq4MY Key lyrics: Home is where I want to be But I guess Im already there Talking Heads are rarely a band to wear their hearts on their sleeves. From Psycho Killer to Burning Down the House, the majority of their songs linger at an emotional distance. Even the highly resonant Once in a Lifetime is a bit esoteric in its meaning. This Must Be the Place (Nave Melody) is an outlier in its ordinariness. David Byrne sings from the heart, individual phrases still surreal but all capturing the warmth of a long-time love. The simplicity is embedded into the songs creation. To guarantee a sense of mundanity, Talking Heads handed off their instruments to one another. Through their inexperience, they play more for comfort than to impress. As David Byrne sings about looking for a place he has already found, every inch of this song is already familiar. Yet everything is played at such an understated pace that the repetition warms instead of annoys. This captures not the butterflies of falling in love but the contentment of knowing you have someone to rely on. Despite its relative simplicity, This Must Be the Place stills feels quintessentially Talking Heads. David Byrnes delivery is among his most powerful, while the little riffs they do manage fit neatly into their particular brand of New Wave. If all Talking Heads songs were this stripped down, they would get boring fast. Their general oddity is what makes This Must Be the Place feel so necessary among their body of work. After so many albums with cold exteriors, this song is their human heart. --- My top 100 games (with write-ups): https://foolfantastic.com/top-100-video-games-project/ <cite>CasanovaZelos posted [p:956576238] in CasanovaZe... [t:79452388]...</cite> <quote>81. Talking Heads This Must Be the Place (Nave Melody) (1983) from the album Speaking in Tongues https://www.youtube.com/watch?v=o9gK2fOq4MY Key lyrics: Home is where I want to be But I guess Im already there Talking Heads are rarely a band to wear their hearts on their sleeves. From Psycho Killer to Burning Down the House, the majority of their songs linger at an emotional distance. Even the highly resonant Once in a Lifetime is a bit esoteric in its meaning. This Must Be the Place (Nave Melody) is an outlier in its ordinariness. David Byrne sings from the heart, individual phrases still surreal but all capturing the warmth of a long-time love. The simplicity is embedded into the songs creation. To guarantee a sense of mundanity, Talking Heads handed off their instruments to one another. Through their inexperience, they play more for comfort than to impress. As David Byrne sings about looking for a place he has already found, every inch of this song is already familiar. Yet everything is played at such an understated pace that the repetition warms instead of annoys. This captures not the butterflies of falling in love but the contentment of knowing you have someone to rely on. Despite its relative simplicity, This Must Be the Place stills feels quintessentially Talking Heads. David Byrnes delivery is among his most powerful, while the little riffs they do manage fit neatly into their particular brand of New Wave. If all Talking Heads songs were this stripped down, they would get boring fast. Their general oddity is what makes This Must Be the Place feel so necessary among their body of work. After so many albums with cold exteriors, this song is their human heart. </quote> ... Copied to Clipboard!
Jesse_Custer 07/29/21 12:16:07 PM #289:	That Future Islands song has been on my playlist of favorite songs for awhile now ever since I discovered it, and I never seem to get tired of that song. <cite>Jesse_Custer posted [p:956576629] in CasanovaZe... [t:79452388]...</cite> <quote>That Future Islands song has been on my playlist of favorite songs for awhile now ever since I discovered it, and I never seem to get tired of that song. </quote> ... Copied to Clipboard!
CasanovaZelos 07/29/21 2:35:39 PM #290:	80. Bruce Springsteen Atlantic City (1982) from the album Nebraska https://www.youtube.com/watch?v=s-LIEr43_wk Key lyrics: Well now, everything dies, baby, thats a fact But maybe everything that dies someday comes back Nebraska finds Springsteen at his most bare, the instrumentation as sparse as his subjects are heavy. If The River represented crushed hope, Atlantic City is a place where hope was never allowed to form in the first place. The opening line finds the right balance between the specific and absurd; only those in Philadelphia had any reason to know Philip Testa until Springsteen referenced his death. The nickname Chicken Man immediately spins this song as a local myth Springsteen is going full folk here. The mere existence of Nebraska is one of those lucky incidents in music. Springsteen was trying to work on his next album and recorded a few demos to show his band. A few found their way onto the future album, Born in the U.S.A., but Springsteen was convinced to keep the sparse instrumentation for others. Nebraska is essentially a demo reel, capturing Springsteens energy in its rawest form. But even in demo form, Springsteen crafts a grand soundscape with Atlantic City. Though he plays alone, there are several layers. The acoustic guitar is played with great force, while a harmonica pops in after the chorus. A mandolin subtly joins the mix, adding a hollow, ghostly tone. Springsteen mixes in shouted vocals, an angered echo underpinning his more subdued lead. The chorus is a desperate plea, the words carrying a tiny hint of hope cut down by his anxious delivery. Springsteen has written plenty of songs about trying to escape a bad situation, but none so convincingly suggest impending doom like Atlantic City. --- My top 100 games (with write-ups): https://foolfantastic.com/top-100-video-games-project/ <cite>CasanovaZelos posted [p:956581222] in CasanovaZe... [t:79452388]...</cite> <quote>80. Bruce Springsteen Atlantic City (1982) from the album Nebraska https://www.youtube.com/watch?v=s-LIEr43_wk Key lyrics: Well now, everything dies, baby, thats a fact But maybe everything that dies someday comes back Nebraska finds Springsteen at his most bare, the instrumentation as sparse as his subjects are heavy. If The River represented crushed hope, Atlantic City is a place where hope was never allowed to form in the first place. The opening line finds the right balance between the specific and absurd; only those in Philadelphia had any reason to know Philip Testa until Springsteen referenced his death. The nickname Chicken Man immediately spins this song as a local myth Springsteen is going full folk here. The mere existence of Nebraska is one of those lucky incidents in music. Springsteen was trying to work on his next album and recorded a few demos to show his band. A few found their way onto the future album, Born in the U.S.A., but Springsteen was convinced to keep the sparse instrumentation for others. Nebraska is essentially a demo reel, capturing Springsteens energy in its rawest form. But even in demo form, Springsteen crafts a grand soundscape with Atlantic City. Though he plays alone, there are several layers. The acoustic guitar is played with great force, while a harmonica pops in after the chorus. A mandolin subtly joins the mix, adding a hollow, ghostly tone. Springsteen mixes in shouted vocals, an angered echo underpinning his more subdued lead. The chorus is a desperate plea, the words carrying a tiny hint of hope cut down by his anxious delivery. Springsteen has written plenty of songs about trying to escape a bad situation, but none so convincingly suggest impending doom like Atlantic City. </quote> ... Copied to Clipboard!
CasanovaZelos 07/30/21 1:58:17 PM #291:	79. A Tribe Called Quest Can I Kick It? (1990) from the album Peoples Instinctive Travels and the Paths of Rhythm https://www.youtube.com/watch?v=7D_JwgIM-y4 Key lyrics: Boy, this track really has a lot of flavor While hip hop was starting to lean more into gangster imagery, A Tribe Called Quest popped onto the scene to deliver the last great burst of golden age goodness. Built around a sample of Lou Reeds Walk on the Wild Side, Can I Kick It? is a low tempo jam. Though featuring little more than that sample, a simple beat, muted scratches, and a bit of background chanting, the mixing creates a musical journey. Just take the first verse, where everything but the beat drops out as Q-Tip raps. Halfway through the verse, the Lou Reed sample slides back in. This verse is followed by a wall of scratching and disparate samples. A similar structure occurs during Phife Dawgs verse, though the Lou Reed sample plays in small bursts through the first half. Can I Kick It? makes the most out of a small set. Then you get to the rhyme scheme. During Q-Tips verse, he rhymes with the same vowel sound every line, but subtly shifts the closing consonant. Each line hits with emphasis from the previous. Phife Dawg follows this with an even stronger two-syllable scheme. As far as pure rhyming goes, this is among the best music has to offer. The laidback presentation makes this all easy to digest, as if the Tribe really just wants to show off. But just to make sure everyone is playing along, the chorus is a simple yet effective call and response. This is a party song through and through, a vital dose from an era when hip hop was all about fun. --- My top 100 games (with write-ups): https://foolfantastic.com/top-100-video-games-project/ <cite>CasanovaZelos posted [p:956613765] in CasanovaZe... [t:79452388]...</cite> <quote>79. A Tribe Called Quest Can I Kick It? (1990) from the album Peoples Instinctive Travels and the Paths of Rhythm https://www.youtube.com/watch?v=7D_JwgIM-y4 Key lyrics: Boy, this track really has a lot of flavor While hip hop was starting to lean more into gangster imagery, A Tribe Called Quest popped onto the scene to deliver the last great burst of golden age goodness. Built around a sample of Lou Reeds Walk on the Wild Side, Can I Kick It? is a low tempo jam. Though featuring little more than that sample, a simple beat, muted scratches, and a bit of background chanting, the mixing creates a musical journey. Just take the first verse, where everything but the beat drops out as Q-Tip raps. Halfway through the verse, the Lou Reed sample slides back in. This verse is followed by a wall of scratching and disparate samples. A similar structure occurs during Phife Dawgs verse, though the Lou Reed sample plays in small bursts through the first half. Can I Kick It? makes the most out of a small set. Then you get to the rhyme scheme. During Q-Tips verse, he rhymes with the same vowel sound every line, but subtly shifts the closing consonant. Each line hits with emphasis from the previous. Phife Dawg follows this with an even stronger two-syllable scheme. As far as pure rhyming goes, this is among the best music has to offer. The laidback presentation makes this all easy to digest, as if the Tribe really just wants to show off. But just to make sure everyone is playing along, the chorus is a simple yet effective call and response. This is a party song through and through, a vital dose from an era when hip hop was all about fun. </quote> ... Copied to Clipboard!
RyoCaliente 07/30/21 2:26:55 PM #292:	This Must Be the Place is probably my favourite Talking Heads song and like top 5 songs of all time. It's so light, so pure, so perfect in what it sets out to do. --- How paralyzingly dull, boring and tedious! <cite>RyoCaliente posted [p:956614538] in CasanovaZe... [t:79452388]...</cite> <quote>This Must Be the Place is probably my favourite Talking Heads song and like top 5 songs of all time. It's so light, so pure, so perfect in what it sets out to do. </quote> ... Copied to Clipboard!
CasanovaZelos 07/30/21 2:38:44 PM #293:	78. Joy Division Atmosphere (1980) non-album single https://www.youtube.com/watch?v=1EdUjlawLJM Key lyrics: Your confusion, my illusion Worn like a mask of self-hate, confronts and then dies Atmosphere is a difficult song to digest, impossible to separate from Ian Curtiss suicide. This song was released as a single soon after and feels uncomfortably like a self-requiem. Even without this exterior knowledge, Atmosphere hits with unusual gravity. The drums give a sense of stumbling over and over again, one of the most striking beats in all of rock. Outside of Ian Curtiss tragic life, a sad truth about Joy Division is that the other members often get overlooked despite forming New Order. Curtiss vocals are powerful, but Stephen Morris gives Atmosphere and so much of Closer its weight. Of course, Atmosphere is among their best tracks because Ian Curtis delivers the strongest vocals of his career. The range he shows during the third verse is mesmerizing, with the penultimate shout of dont walk away coming across as a most despairing demand. Every line in this song is extended, Ian Curtis inching out every last drop of emotional vulnerability. Despite the dark atmosphere, Atmosphere is not without hope. Bernard Sumners keyboard comes in after the first verse and gives a meditative touch. When discussing the works of suicidal artists, it is key to remember that they were still alive while making their art. If Ian Curtis had not committed suicide, this would be remembered in a very different light a depressed man finding his voice and speaking up. Though Curtis did not win his battle, his works have lingered in the popular conscious for his ability to so perfectly express what is rarely said. In my darkest times, songs like Atmosphere remind me I am not alone in my troubles. --- My top 100 games (with write-ups): https://foolfantastic.com/top-100-video-games-project/ <cite>CasanovaZelos posted [p:956614873] in CasanovaZe... [t:79452388]...</cite> <quote>78. Joy Division Atmosphere (1980) non-album single https://www.youtube.com/watch?v=1EdUjlawLJM Key lyrics: Your confusion, my illusion Worn like a mask of self-hate, confronts and then dies Atmosphere is a difficult song to digest, impossible to separate from Ian Curtiss suicide. This song was released as a single soon after and feels uncomfortably like a self-requiem. Even without this exterior knowledge, Atmosphere hits with unusual gravity. The drums give a sense of stumbling over and over again, one of the most striking beats in all of rock. Outside of Ian Curtiss tragic life, a sad truth about Joy Division is that the other members often get overlooked despite forming New Order. Curtiss vocals are powerful, but Stephen Morris gives Atmosphere and so much of Closer its weight. Of course, Atmosphere is among their best tracks because Ian Curtis delivers the strongest vocals of his career. The range he shows during the third verse is mesmerizing, with the penultimate shout of dont walk away coming across as a most despairing demand. Every line in this song is extended, Ian Curtis inching out every last drop of emotional vulnerability. Despite the dark atmosphere, Atmosphere is not without hope. Bernard Sumners keyboard comes in after the first verse and gives a meditative touch. When discussing the works of suicidal artists, it is key to remember that they were still alive while making their art. If Ian Curtis had not committed suicide, this would be remembered in a very different light a depressed man finding his voice and speaking up. Though Curtis did not win his battle, his works have lingered in the popular conscious for his ability to so perfectly express what is rarely said. In my darkest times, songs like Atmosphere remind me I am not alone in my troubles. </quote> ... Copied to Clipboard!
CasanovaZelos 07/30/21 3:10:33 PM #294:	77. Bjrk Hyperballad (1995) from the album Post https://www.youtube.com/watch?v=kye1TOlAWWw Key lyrics: I imagine what my body would sound like Slamming against those rocks And when it lands Will my eyes be closed or open? Though layered in complexities, Hyperballad might just be Bjrks most straightforwardly beautiful song. Like many great Bjrk songs, it fuses together a string section and electronic elements to create something both classical and futuristic. The big difference is that Hyperballad largely lacks the tension between these distinct sounds. Both are used to make something positively uplifting. There is a hint of conflict with the heavy bass that opens the song, but a spurt of electronic beats during the chorus puts the mood at ease. The central contrast here is between the meditative verses and the joyous chorus, but they work together in perfect harmony. The lyrics are evocative, seemingly counter to the majestic soundscape by line but making a beautiful whole. This is a violent song, finding Bjrk tossing objects over a cliff and ultimately imagining throwing herself off as well. She is invoking the call of the void, those nightmarish considerations which cross our minds solely as reminders of their own possibilities. But she finds reassurance in these dark thoughts, recognizing her actual place in the world as far more comforting. Hyperballad finds happiness in the absence of darkness. Hyperballad is also a strong slice of early electronic-infused pop music. The beats that dominate the chorus are ready for the dancefloor, a pulse-pounding rhythm that suggest Bjrk is being carried away by thoughts of her lover. Yet while celebrating love, Bjrk focuses exclusively on moments of being alone. Just like the quiet ballad and electronic pop sections support each other without intersecting, Bjrk finds strength through love even on her own. --- My top 100 games (with write-ups): https://foolfantastic.com/top-100-video-games-project/ <cite>CasanovaZelos posted [p:956615750] in CasanovaZe... [t:79452388]...</cite> <quote>77. Bjrk Hyperballad (1995) from the album Post https://www.youtube.com/watch?v=kye1TOlAWWw Key lyrics: I imagine what my body would sound like Slamming against those rocks And when it lands Will my eyes be closed or open? Though layered in complexities, Hyperballad might just be Bjrks most straightforwardly beautiful song. Like many great Bjrk songs, it fuses together a string section and electronic elements to create something both classical and futuristic. The big difference is that Hyperballad largely lacks the tension between these distinct sounds. Both are used to make something positively uplifting. There is a hint of conflict with the heavy bass that opens the song, but a spurt of electronic beats during the chorus puts the mood at ease. The central contrast here is between the meditative verses and the joyous chorus, but they work together in perfect harmony. The lyrics are evocative, seemingly counter to the majestic soundscape by line but making a beautiful whole. This is a violent song, finding Bjrk tossing objects over a cliff and ultimately imagining throwing herself off as well. She is invoking the call of the void, those nightmarish considerations which cross our minds solely as reminders of their own possibilities. But she finds reassurance in these dark thoughts, recognizing her actual place in the world as far more comforting. Hyperballad finds happiness in the absence of darkness. Hyperballad is also a strong slice of early electronic-infused pop music. The beats that dominate the chorus are ready for the dancefloor, a pulse-pounding rhythm that suggest Bjrk is being carried away by thoughts of her lover. Yet while celebrating love, Bjrk focuses exclusively on moments of being alone. Just like the quiet ballad and electronic pop sections support each other without intersecting, Bjrk finds strength through love even on her own. </quote> ... Copied to Clipboard!
CasanovaZelos 07/31/21 12:48:19 PM #295:	76. Wilco Jesus, Etc. (2002) from the album Yankee Hotel Foxtrot https://www.youtube.com/watch?v=efq95Pfqt5U Key lyrics: Our love is all of Gods money Everyone is a burning sun Though the apparent 9/11 references were entirely incidental, the song being written before that day, Jesus, Etc. perfectly captured the spirit of America in the following years. This is Americana at its most melancholic, picturing skyscrapers packed together while the people inside could not feel further apart. The narrator comforts someone overwhelmed by this idea, of a place so dense yet cold. And his words are comforting, positing each and every one of us as a sun, first setting but then burning. Though we may feel as though we are drifting alone, we burn bright enough to make it through. Yankee Hotel Foxtrot captures a band in transition. Though Wilco started as an alternative country band, Jeff Tweedy wanted to push the group in bold new directions. The resulting album feels like a tour of possibilities, somehow managing a unified sound while each individual part takes a distinct direction. Jesus, Etc. is the sad violin song of the bunch, and its success is one of simple beauty. Wilco took an underutilized instrument and crafted a bold song around its potential in an uncommon style. All a great song needs sometimes is the right instrument. The key to Jesus, Etc. is how ordinary the violin sounds with the rest of the instruments. Much of the popular music that uses this instrument is doing so to create an elevated sound, to suggest something classical. The part in Jesus, Etc. is clearly written by a guitarist, focused more on forming a central riff. This down-to-earth structure captures the violin in a rare light, causing the whole song to shine with it. --- My top 100 games (with write-ups): https://foolfantastic.com/top-100-video-games-project/ <cite>CasanovaZelos posted [p:956641862] in CasanovaZe... [t:79452388]...</cite> <quote>76. Wilco Jesus, Etc. (2002) from the album Yankee Hotel Foxtrot https://www.youtube.com/watch?v=efq95Pfqt5U Key lyrics: Our love is all of Gods money Everyone is a burning sun Though the apparent 9/11 references were entirely incidental, the song being written before that day, Jesus, Etc. perfectly captured the spirit of America in the following years. This is Americana at its most melancholic, picturing skyscrapers packed together while the people inside could not feel further apart. The narrator comforts someone overwhelmed by this idea, of a place so dense yet cold. And his words are comforting, positing each and every one of us as a sun, first setting but then burning. Though we may feel as though we are drifting alone, we burn bright enough to make it through. Yankee Hotel Foxtrot captures a band in transition. Though Wilco started as an alternative country band, Jeff Tweedy wanted to push the group in bold new directions. The resulting album feels like a tour of possibilities, somehow managing a unified sound while each individual part takes a distinct direction. Jesus, Etc. is the sad violin song of the bunch, and its success is one of simple beauty. Wilco took an underutilized instrument and crafted a bold song around its potential in an uncommon style. All a great song needs sometimes is the right instrument. The key to Jesus, Etc. is how ordinary the violin sounds with the rest of the instruments. Much of the popular music that uses this instrument is doing so to create an elevated sound, to suggest something classical. The part in Jesus, Etc. is clearly written by a guitarist, focused more on forming a central riff. This down-to-earth structure captures the violin in a rare light, causing the whole song to shine with it. </quote> ... Copied to Clipboard!
CasanovaZelos 07/31/21 12:49:48 PM #296:	The list so far: 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 225. Elliott Smith - Waltz #2 224. Nusrat Fateh Ali Khan - Mustt Mustt 223. Arcade Fire - Sprawl II (Mountains Beyond Mountains) 222. Amy Winehouse - Rehab 221. Charles Mingus - Track C - Group Dancers 220. Rage Against the Machine - Killing in the Name 219. Janelle Monae - Tightrope 218. M.I.A. - Paper Planes 217. Soft Cell - Tainted Love 216. Elliott Smith - Between the Bars 215. Tim Buckley - Song to the Siren 214. The Beatles - Tomorrow Never Knows 213. M83 - Midnight City 212. Arcade Fire - Rebellion (Lies) 211. Arcade Fire - Wake Up 210. Johnny Cash - I Walk the Line 209. Art Ensemble of Chicago - Theme de Yoyo 208. Missy Elliott - Work It 207. Ramones - Blitzkrieg Bop 206. Violent Femmes - Blister in the Sun 205. 808 State - Pacific State 204. LCD Soundsystem - How Do You Sleep? 203. Bruce Springsteen - The River 202. Nirvana - Smells Like Teen Spirit 201. Courtney Barnett - Avant Gardener 200. Kendrick Lamar - i 199. Bruce Springsteen - Thunder Road 198. Nick Drake - River Man 197. Lucy Dacus - Night Shift 196. The Band - The Night They Drove Old Dixie Down 195. Buddy Holly & The Crickets - Peggy Sue 194. Bob Dylan - Hurricane 193. Lou Reed - Perfect Day 192. The National - Fake Empire 191. Nina Simone - Feeling Good 190. Roy Orbison - In Dreams 189. Sufjan Stevens - Should Have Known Better 188. Caribou - Can't Do Without You 187. The xx - Crystalised 186. Beck - Where It's At 185. Depeche Mode - Enjoy the Silence 184. Pixies - Debaser 183. Smashing Pumpkins - Tonight, Tonight 182. Solange - Cranes in the Sky 181. The Specials - Ghost Town 180. Todd Terje - Inspector Norse 179. Nick Cave - Into My Arms 178. Neil Young - Heart of Gold 177. Vampire Weekend - Hannah Hunt 176. Lorde - Royals 175. The Knife - Silent Shout 174. Hot Chip - Over and Over 173. Depeche Mode - Never Let Me Down Again 172. Slint - Good Morning Captain 171. The Velvet Underground - Venus in Furs 170. Bob Dylan - Subterranean Homesick Blues 169. Johnny Cash - Folsom Prison Blues 168. Nirvana - Lithium 167. Aldous Harding - The Barrel 166. David Bowie - Young Americans 165. Lou Reed - Walk on the Wild Side 164. Big Thief - Shark Smile 163. Burial - Archangel 162. Fleet Foxes - White Winter Hymnal 161. Townes Van Zandt - Pancho and Lefty 160. Chico Buarque - Construcao 159. The Beach Boys - Good Vibrations 158. Sonic Youth - Teen Age Riot 157. David Bowie - Lazarus 156. The Knife - Full of Fire 155. Dave Brubeck - Take Five 154. The Cure - Close to Me 153. James Brown - Get Up (I Feel Like Being a) Sex Machine 152. Funkadelic/Parliament - One Nation Under a Groove 151. !!! - Me and Giuliani Down by the Schoolyard 150. Lana Del Rey - Video Games 149. Nico - These Days 148. Justice - D.A.N.C.E. 147. Daft Punk - One More Time 146. Underworld - Born Slippy 145. Stardust - Music Sounds Better With You 144. The Orb - Little Fluffy Clouds 143. Jefferson Airplane - White Rabbit 142. Marvin Gaye - What's Going On 141. Elbow - One Day Like This 140. James Blake - The Wilhelm Scream 139. ANOHNI - Drone Bomb Me 138. Kate Bush - Hounds of Love 137. Bjork - Bachelorette 136. Los Fabulosos Cadillacs - Matador 135. Bob Dylan - Like a Rolling Stone 134. Billie Holiday - Strange Fruit 133. Robyn - Dancing On My Own 132. Bright Eyes - First Day of My Life 131. Bob Dylan - Tangled Up in Blue 130. Miles Davis - So What 129. Dr. Dre feat. Snoop Dogg - Nuthin' But a 'G' Thang 128. Joni Mitchell - A Case of You 127. The Supremes - Where Did Our Love Go 126. Big Thief - Not 125. Dead Kennedys - Holiday in Cambodia 124. Julee Cruise and Angelo Badalamenti - Falling 123. A Tribe Called Quest - Scenario 122. Kraftwerk - Trans-Europe Express 121. Jay-Z - 99 Problems 120. SOPHIE - Immaterial 119. The Beatles - A Day in the Life 118. Nat King Cole - Nature Boy 117. R.E.M. - Losing My Religion 116. OutKast - B.O.B. 115. New Order - Bizarre Love Triangle 114. The White Stripes - Seven Nation Army 113. Prince - Kiss 112. The Rolling Stones - Sympathy for the Devil 111. Yeah Yeah Yeahs - Maps 110. Yazoo - Situation 109. Caribou - Odessa 108. Aphex Twin - Windowlicker 107. The Beach Boys - God Only Knows 106. Johnny Cash - Hurt 105. R.E.M. - Nightswimming 104. The Who - Won't Get Fooled Again 103. Sharon van Etten - Your Love is Killing Me 102. FKA twigs - Cellophane 101. Curtis Mayfield - Move On Up 100. The Jon Spencer Blues Explosion - Bellbottoms 99. Pigbag - Papa's Got a Brand New Pigbag 98. Orange Juice - Rip It Up 97. Big Star - Thirteen 96. Nick Drake - Pink Moon 95. Spiritualized - Ladies and Gentlemen We Are Floating in Space 94. The Flaming Lips - Do You Realize?? 93. Four Tops - Reach Out I'll Be There 92. Kraftwerk - The Model 91. Stevie Wonder - Living for the City 90. TV on the Radio - Wolf Like Me 89. Paul Simon - Graceland 88. Brian Eno - Needles in the Camel's Eye 87. Mitski - Your Best American Girl 86. Kendrick Lamar - King Kunta 85. Kate Bush - Running Up That Hill 84. Daft Punk - Around the World 83. Le Tigre - Deceptacon 82. Future Islands - Seasons (Waiting on You) 81. Talking Heads - This Must Be the Place (Naive Melody) 80. Bruce Springsteen - Atlantic City 79. A Tribe Called Quest - Can I Kick It? 78. Joy Division - Atmosphere 77. Bjork - Hyper-Ballad 76. Wilco - Jesus, Etc. --- My top 100 games (with write-ups): https://foolfantastic.com/top-100-video-games-project/ <cite>CasanovaZelos posted [p:956641903] in CasanovaZe... [t:79452388]...</cite> <quote>The list so far: 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 225. Elliott Smith - Waltz #2 224. Nusrat Fateh Ali Khan - Mustt Mustt 223. Arcade Fire - Sprawl II (Mountains Beyond Mountains) 222. Amy Winehouse - Rehab 221. Charles Mingus - Track C - Group Dancers 220. Rage Against the Machine - Killing in the Name 219. Janelle Monae - Tightrope 218. M.I.A. - Paper Planes 217. Soft Cell - Tainted Love 216. Elliott Smith - Between the Bars 215. Tim Buckley - Song to the Siren 214. The Beatles - Tomorrow Never Knows 213. M83 - Midnight City 212. Arcade Fire - Rebellion (Lies) 211. Arcade Fire - Wake Up 210. Johnny Cash - I Walk the Line 209. Art Ensemble of Chicago - Theme de Yoyo 208. Missy Elliott - Work It 207. Ramones - Blitzkrieg Bop 206. Violent Femmes - Blister in the Sun 205. 808 State - Pacific State 204. LCD Soundsystem - How Do You Sleep? 203. Bruce Springsteen - The River 202. Nirvana - Smells Like Teen Spirit 201. Courtney Barnett - Avant Gardener 200. Kendrick Lamar - i 199. Bruce Springsteen - Thunder Road 198. Nick Drake - River Man 197. Lucy Dacus - Night Shift 196. The Band - The Night They Drove Old Dixie Down 195. Buddy Holly & The Crickets - Peggy Sue 194. Bob Dylan - Hurricane 193. Lou Reed - Perfect Day 192. The National - Fake Empire 191. Nina Simone - Feeling Good 190. Roy Orbison - In Dreams 189. Sufjan Stevens - Should Have Known Better 188. Caribou - Can't Do Without You 187. The xx - Crystalised 186. Beck - Where It's At 185. Depeche Mode - Enjoy the Silence 184. Pixies - Debaser 183. Smashing Pumpkins - Tonight, Tonight 182. Solange - Cranes in the Sky 181. The Specials - Ghost Town 180. Todd Terje - Inspector Norse 179. Nick Cave - Into My Arms 178. Neil Young - Heart of Gold 177. Vampire Weekend - Hannah Hunt 176. Lorde - Royals 175. The Knife - Silent Shout 174. Hot Chip - Over and Over 173. Depeche Mode - Never Let Me Down Again 172. Slint - Good Morning Captain 171. The Velvet Underground - Venus in Furs 170. Bob Dylan - Subterranean Homesick Blues 169. Johnny Cash - Folsom Prison Blues 168. Nirvana - Lithium 167. Aldous Harding - The Barrel 166. David Bowie - Young Americans 165. Lou Reed - Walk on the Wild Side 164. Big Thief - Shark Smile 163. Burial - Archangel 162. Fleet Foxes - White Winter Hymnal 161. Townes Van Zandt - Pancho and Lefty 160. Chico Buarque - Construcao 159. The Beach Boys - Good Vibrations 158. Sonic Youth - Teen Age Riot 157. David Bowie - Lazarus 156. The Knife - Full of Fire 155. Dave Brubeck - Take Five 154. The Cure - Close to Me 153. James Brown - Get Up (I Feel Like Being a) Sex Machine 152. Funkadelic/Parliament - One Nation Under a Groove 151. !!! - Me and Giuliani Down by the Schoolyard 150. Lana Del Rey - Video Games 149. Nico - These Days 148. Justice - D.A.N.C.E. 147. Daft Punk - One More Time 146. Underworld - Born Slippy 145. Stardust - Music Sounds Better With You 144. The Orb - Little Fluffy Clouds 143. Jefferson Airplane - White Rabbit 142. Marvin Gaye - What's Going On 141. Elbow - One Day Like This 140. James Blake - The Wilhelm Scream 139. ANOHNI - Drone Bomb Me 138. Kate Bush - Hounds of Love 137. Bjork - Bachelorette 136. Los Fabulosos Cadillacs - Matador 135. Bob Dylan - Like a Rolling Stone 134. Billie Holiday - Strange Fruit 133. Robyn - Dancing On My Own 132. Bright Eyes - First Day of My Life 131. Bob Dylan - Tangled Up in Blue 130. Miles Davis - So What 129. Dr. Dre feat. Snoop Dogg - Nuthin' But a 'G' Thang 128. Joni Mitchell - A Case of You 127. The Supremes - Where Did Our Love Go 126. Big Thief - Not 125. Dead Kennedys - Holiday in Cambodia 124. Julee Cruise and Angelo Badalamenti - Falling 123. A Tribe Called Quest - Scenario 122. Kraftwerk - Trans-Europe Express 121. Jay-Z - 99 Problems 120. SOPHIE - Immaterial 119. The Beatles - A Day in the Life 118. Nat King Cole - Nature Boy 117. R.E.M. - Losing My Religion 116. OutKast - B.O.B. 115. New Order - Bizarre Love Triangle 114. The White Stripes - Seven Nation Army 113. Prince - Kiss 112. The Rolling Stones - Sympathy for the Devil 111. Yeah Yeah Yeahs - Maps 110. Yazoo - Situation 109. Caribou - Odessa 108. Aphex Twin - Windowlicker 107. The Beach Boys - God Only Knows 106. Johnny Cash - Hurt 105. R.E.M. - Nightswimming 104. The Who - Won't Get Fooled Again 103. Sharon van Etten - Your Love is Killing Me 102. FKA twigs - Cellophane 101. Curtis Mayfield - Move On Up 100. The Jon Spencer Blues Explosion - Bellbottoms 99. Pigbag - Papa's Got a Brand New Pigbag 98. Orange Juice - Rip It Up 97. Big Star - Thirteen 96. Nick Drake - Pink Moon 95. Spiritualized - Ladies and Gentlemen We Are Floating in Space 94. The Flaming Lips - Do You Realize?? 93. Four Tops - Reach Out I'll Be There 92. Kraftwerk - The Model 91. Stevie Wonder - Living for the City 90. TV on the Radio - Wolf Like Me 89. Paul Simon - Graceland 88. Brian Eno - Needles in the Camel's Eye 87. Mitski - Your Best American Girl 86. Kendrick Lamar - King Kunta 85. Kate Bush - Running Up That Hill 84. Daft Punk - Around the World 83. Le Tigre - Deceptacon 82. Future Islands - Seasons (Waiting on You) 81. Talking Heads - This Must Be the Place (Naive Melody) 80. Bruce Springsteen - Atlantic City 79. A Tribe Called Quest - Can I Kick It? 78. Joy Division - Atmosphere 77. Bjork - Hyper-Ballad 76. Wilco - Jesus, Etc. </quote> ... Copied to Clipboard!
CasanovaZelos 07/31/21 12:55:16 PM #297:	8 more artists in my top 100 have lost their highest track Top 100 artists (with no remaining songs; artists from the most recent batch bolded): 1. Bob Dylan: "Tangled Up in Blue (#131) 3. Nick Cave: "Into My Arms" (#179) 6. The Beatles: "A Day in the Life" (#119) 9. R.E.M.: "Nightswimming" (#105) 10. Kraftwerk: "The Model" (#92) 11. The Rolling Stones: "Sympathy for the Devil" (#112) 13. Bjork: "Hyperballad" (#77) 14. Neil Young: "Heart of Gold" (#178) 15. Kendrick Lamar: "King Kunta" (#86) 16. Kanye West: "Monster" (#309) 17. Prince: "Kiss" (#113) 18. Tom Waits: "Time" (#790) 20. Brian Eno: "Needles in the Camel's Eye" (#88) 21. The Cure: "Close to Me" (#154) 24. Miles Davis: "So What" (#130) 25. Charles Mingus: "Track C - Group Dancer" (#221) 26. Leonard Cohen: "Suzanne" (#588) 28. Nirvana: "Lithium" (#168) 34. Arcade Fire: "Wake Up" (#211) 35. Stevie Wonder: "Living for the City" (#91) 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) 45. The National: "Fake Empire" (#192) 46. Joni Mitchell: "A Case of You" (#128) 47. St. Vincent: "Digital Witness" (#334) 49. U2: "One" (#434) 50. Pink Floyd: "Wish You Were Here" (#514) 51. Vampire Weekend: "Hannah Hunt" (#177) 53. The Police: "Roxanne" (#285) 54. Beastie Boys: "Sabotage" (#261) 55. Portishead: "Sour Times" (#254) 56. The xx: "Crystalised" (#187) 57. Wilco: "Jesus, Etc." (#76) 58. The Chemical Brothers: "Hey Boy Hey Girl" (#271) 60. The Kinks: "Waterloo Sunset" (#355) 61. Johnny Cash: "Hurt" (#106) 62. Creedence Clearwater Revival: "Fortunate Son" (#333) 63. Lou Reed: "Walk on the Wild Side" (#165) 64. Can: "Mother Sky" (#398) 65. Mogwai: "2 Rights Make 1 Wrong" (#399) 66. Nick Drake: "Pink Moon" (#96) 67. John Coltrane: "A Love Supreme, Part 1: Acknowledgement" (#661) 68. Aphex Twin: "Windowlicker" (#108) 69. Bob Marley: "Redemption Song" (#506) 72. Jay-Z: "99 Problems" (#121) 73. Depeche Mode: "Never Let Me Down Again" (#173) 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) 81. M.I.A.: "Paper Planes" (#218) 82. Bon Iver: "Skinny Love" (#262) 84. Caribou: "Odessa" (#109) 85. Green Day: "Basket Case" (#371) 89. SOPHIE: "Immaterial" (#120) 90. ANOHNI: "Drone Bomb Me" (#139) 91. Elvis Presley: "Suspicious Minds" (#387) 92. Fever Ray: "If I Had a Heart" (#236) 93. Beyonce: "Countdown" (#615) 94. Funkadelic/Parliament: "One Nation Under a Groove" (#152) 95. Paul Simon: "Graceland" (#89) 100. Robyn: "Dancing On My Own" (#133) --- My top 100 games (with write-ups): https://foolfantastic.com/top-100-video-games-project/ <cite>CasanovaZelos posted [p:956642049] in CasanovaZe... [t:79452388]...</cite> <quote>8 more artists in my top 100 have lost their highest track Top 100 artists (with no remaining songs; artists from the most recent batch bolded): 1. Bob Dylan: "Tangled Up in Blue (#131) 3. Nick Cave: "Into My Arms" (#179) 6. The Beatles: "A Day in the Life" (#119) 9. R.E.M.: "Nightswimming" (#105) 10. Kraftwerk: "The Model" (#92) 11. The Rolling Stones: "Sympathy for the Devil" (#112) 13. Bjork: "Hyperballad" (#77) 14. Neil Young: "Heart of Gold" (#178) 15. Kendrick Lamar: "King Kunta" (#86) 16. Kanye West: "Monster" (#309) 17. Prince: "Kiss" (#113) 18. Tom Waits: "Time" (#790) 20. Brian Eno: "Needles in the Camel's Eye" (#88) 21. The Cure: "Close to Me" (#154) 24. Miles Davis: "So What" (#130) 25. Charles Mingus: "Track C - Group Dancer" (#221) 26. Leonard Cohen: "Suzanne" (#588) 28. Nirvana: "Lithium" (#168) 34. Arcade Fire: "Wake Up" (#211) 35. Stevie Wonder: "Living for the City" (#91) 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) 45. The National: "Fake Empire" (#192) 46. Joni Mitchell: "A Case of You" (#128) 47. St. Vincent: "Digital Witness" (#334) 49. U2: "One" (#434) 50. Pink Floyd: "Wish You Were Here" (#514) 51. Vampire Weekend: "Hannah Hunt" (#177) 53. The Police: "Roxanne" (#285) 54. Beastie Boys: "Sabotage" (#261) 55. Portishead: "Sour Times" (#254) 56. The xx: "Crystalised" (#187) 57. Wilco: "Jesus, Etc." (#76) 58. The Chemical Brothers: "Hey Boy Hey Girl" (#271) 60. The Kinks: "Waterloo Sunset" (#355) 61. Johnny Cash: "Hurt" (#106) 62. Creedence Clearwater Revival: "Fortunate Son" (#333) 63. Lou Reed: "Walk on the Wild Side" (#165) 64. Can: "Mother Sky" (#398) 65. Mogwai: "2 Rights Make 1 Wrong" (#399) 66. Nick Drake: "Pink Moon" (#96) 67. John Coltrane: "A Love Supreme, Part 1: Acknowledgement" (#661) 68. Aphex Twin: "Windowlicker" (#108) 69. Bob Marley: "Redemption Song" (#506) 72. Jay-Z: "99 Problems" (#121) 73. Depeche Mode: "Never Let Me Down Again" (#173) 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) 81. M.I.A.: "Paper Planes" (#218) 82. Bon Iver: "Skinny Love" (#262) 84. Caribou: "Odessa" (#109) 85. Green Day: "Basket Case" (#371) 89. SOPHIE: "Immaterial" (#120) 90. ANOHNI: "Drone Bomb Me" (#139) 91. Elvis Presley: "Suspicious Minds" (#387) 92. Fever Ray: "If I Had a Heart" (#236) 93. Beyonce: "Countdown" (#615) 94. Funkadelic/Parliament: "One Nation Under a Groove" (#152) 95. Paul Simon: "Graceland" (#89) 100. Robyn: "Dancing On My Own" (#133) </quote> ... Copied to Clipboard!
CasanovaZelos 07/31/21 1:53:13 PM #298:	75. The Jesus and Mary Chain Just Like Honey (1985) from the album Psychocandy https://www.youtube.com/watch?v=7EgB__YratE Key lyrics: Walking back to you Is the hardest thing that I can do The noise pop sound of The Jesus and Mary Chain borders on paradox. As the band sifts through heavy guitar feedback, they somehow capture an understated calm. Part of this is in the droll vocal stylings of Jim Reid, singing half-energetically as if a chaotic force isnt brewing behind him. Another part is the Be My Baby drums that open the song, casting a steady beat that overpower the noise in its own way. This is another engineering success story, the mix putting these elements at the same level and letting them interact in seemingly contradictory ways. While writing about The Cure, I mentioned that their dark edge gives a heightened sense of sincerity to their fluffier pieces. Just Like Honey works on a similar level, but The Jesus and Mary Chain captures sonic unease with loving sentimentality in the same breath. The feedback operates like butterflies in the stomach, a flittering sickly feeling. Its a love song, sure, but one in which the narrator knows his love is not good for him as he desperately clings anyway. If anything, Just Like Honey cites Be My Baby to declare itself the logical conclusion of Phil Spectors Wall of Sound. The Jesus and Mary Chain are asking whether a cascade of instruments is necessary, or could simple guitar feedback simulate the constant presence? The answer appears to be yes no matter how noisy, the feedback takes a backseat to the typical song structure. Just Like Honey is an ordinary pop song grimed up for the 80s alternative scene. --- My top 100 games (with write-ups): https://foolfantastic.com/top-100-video-games-project/ <cite>CasanovaZelos posted [p:956643523] in CasanovaZe... [t:79452388]...</cite> <quote>75. The Jesus and Mary Chain Just Like Honey (1985) from the album Psychocandy https://www.youtube.com/watch?v=7EgB__YratE Key lyrics: Walking back to you Is the hardest thing that I can do The noise pop sound of The Jesus and Mary Chain borders on paradox. As the band sifts through heavy guitar feedback, they somehow capture an understated calm. Part of this is in the droll vocal stylings of Jim Reid, singing half-energetically as if a chaotic force isnt brewing behind him. Another part is the Be My Baby drums that open the song, casting a steady beat that overpower the noise in its own way. This is another engineering success story, the mix putting these elements at the same level and letting them interact in seemingly contradictory ways. While writing about The Cure, I mentioned that their dark edge gives a heightened sense of sincerity to their fluffier pieces. Just Like Honey works on a similar level, but The Jesus and Mary Chain captures sonic unease with loving sentimentality in the same breath. The feedback operates like butterflies in the stomach, a flittering sickly feeling. Its a love song, sure, but one in which the narrator knows his love is not good for him as he desperately clings anyway. If anything, Just Like Honey cites Be My Baby to declare itself the logical conclusion of Phil Spectors Wall of Sound. The Jesus and Mary Chain are asking whether a cascade of instruments is necessary, or could simple guitar feedback simulate the constant presence? The answer appears to be yes no matter how noisy, the feedback takes a backseat to the typical song structure. Just Like Honey is an ordinary pop song grimed up for the 80s alternative scene. </quote> ... Copied to Clipboard!
CasanovaZelos 07/31/21 2:53:03 PM #299:	74. David Sylvian and Ryuichi Sakamoto Forbidden Colours (1983) from the album Merry Christmas Mr. Lawrence OST https://www.youtube.com/watch?v=x1YkHJJi-tc Key lyrics: Ill go walking in circles while doubting the very ground beneath me Forbidden Colours is an exemplary film track, a bombastic scene-stealer that should be on the same cultural level as My Heart Will Go On or I Will Always Love You. Alas, the film to which it is attached was destined to obscurity, so it never received its moment in the spotlight. The song is the vocal version of the main theme, which itself has become a minor Christmas classic. Sakamotos ambient soundscape suggests an introspective wintry mood, like walking through the snow-blanketed woods. It captures the best qualities of modern Japanese film scores Joe Hisaishi, the composer for most of Miyazakis films, had been inspired by Sakomotos earlier band, and Merry Christmas Mr. Lawrence could just as easily have appeared in one of those majestic films. Like Julee Cruises Falling, David Sylvians Forbidden Colours recontextualizes a gentle theme into a love song. In this case, the song oozes with tension. Taking its title from a Yukio Mishima novel, Sylvian evokes homoromantic desires without so much as mentioning his loves gender. One can read shame in the lyrics, considering Sylvians insistent use of my love to refer to this other person. There is a crisis of faith, which Sylvian matches with crushing passion. Few songs so perfectly capture the tragedy of falling for someone you are not allowed though less taboo in this era, Sylvians powerful vocals echo so much unspoken historical grief. The result is something ageless. Though the instrumental version is meditative alone, it transforms into something altogether haunting and otherwordly when paired with Sylvian. --- My top 100 games (with write-ups): https://foolfantastic.com/top-100-video-games-project/ <cite>CasanovaZelos posted [p:956645212] in CasanovaZe... [t:79452388]...</cite> <quote>74. David Sylvian and Ryuichi Sakamoto Forbidden Colours (1983) from the album Merry Christmas Mr. Lawrence OST https://www.youtube.com/watch?v=x1YkHJJi-tc Key lyrics: Ill go walking in circles while doubting the very ground beneath me Forbidden Colours is an exemplary film track, a bombastic scene-stealer that should be on the same cultural level as My Heart Will Go On or I Will Always Love You. Alas, the film to which it is attached was destined to obscurity, so it never received its moment in the spotlight. The song is the vocal version of the main theme, which itself has become a minor Christmas classic. Sakamotos ambient soundscape suggests an introspective wintry mood, like walking through the snow-blanketed woods. It captures the best qualities of modern Japanese film scores Joe Hisaishi, the composer for most of Miyazakis films, had been inspired by Sakomotos earlier band, and Merry Christmas Mr. Lawrence could just as easily have appeared in one of those majestic films. Like Julee Cruises Falling, David Sylvians Forbidden Colours recontextualizes a gentle theme into a love song. In this case, the song oozes with tension. Taking its title from a Yukio Mishima novel, Sylvian evokes homoromantic desires without so much as mentioning his loves gender. One can read shame in the lyrics, considering Sylvians insistent use of my love to refer to this other person. There is a crisis of faith, which Sylvian matches with crushing passion. Few songs so perfectly capture the tragedy of falling for someone you are not allowed though less taboo in this era, Sylvians powerful vocals echo so much unspoken historical grief. The result is something ageless. Though the instrumental version is meditative alone, it transforms into something altogether haunting and otherwordly when paired with Sylvian. </quote> ... Copied to Clipboard!
CasanovaZelos 07/31/21 3:04:18 PM #300:	The 1980s are funny to me because I think it is my least favorite decade for music overall since the 60s, but it also has the most songs in my top 100. I think a lot of my top 100 choices have been rather atypical for the era - "Papa's Got a Brand New Pigbag" and "Forbidden Colours" are essentially one-offs. There's a lot of really interesting ideas going on in the 80s, but none of them became a dominant force. --- My top 100 games (with write-ups): https://foolfantastic.com/top-100-video-games-project/ <cite>CasanovaZelos posted [p:956645523] in CasanovaZe... [t:79452388]...</cite> <quote>The 1980s are funny to me because I think it is my least favorite decade for music overall since the 60s, but it also has the most songs in my top 100. I think a lot of my top 100 choices have been rather atypical for the era - "Papa's Got a Brand New Pigbag" and "Forbidden Colours" are essentially one-offs. There's a lot of really interesting ideas going on in the 80s, but none of them became a dominant force. </quote> ... Copied to Clipboard!
CasanovaZelos 08/01/21 11:55:43 AM #301:	73. Fleetwood Mac Go Your Own Way (1976) from the album Rumours https://www.youtube.com/watch?v=6ul-cZyuYq4 Key lyrics: If I could, maybe Id give you my world How can I when you wont take it from me? Rumours hits harder than pretty much every other breakup album because it captures both sides. Go Your Own Way finds Lindsey Buckingham casually lashing out, all while ex-lover Stevie Nicks is forced to sing along. Though the verses cut through Nicks specifically, the chorus is a classic burst of catharsis for everyone involved. Despite breakups causing a flurry of emotions, many songs reduce this to sadness or anger. Go Your Own Way instead captures the flippant glee of telling an ex to sod off, but not with so much force as to suggest they saw nothing of value in their relationship. Rather, this is the lonely cry of someone who felt like they werent getting what they deserved, grinning through their pain just to show they can move on. Part of the appeal is that Fleetwood Mac were doing this soft rock sound right as punk was taking off. But in spite of their lighter music, Fleetwood Mac suggested something just as raw in their emotions as those young men did with their simple instrumentation. If the punk movement was largely a rejection of artifice, Fleetwood Mac made an unlikely companion to the era. Go Your Own Way is also a structural masterpiece. The heavy acoustic strumming of the verses plays perfectly against the cohesive gliding of the chorus. In lieu of additional verses, the last two choruses are divided by two guitar solos. Despite the emotional complexity, Fleetwood Mac do not fall back on lyrics; there really arent many lines on this track. Instead, they let the instruments do the talking. And though these solos might not have the sonic intensity of a hard rocker, they express heavy emotions. --- My top 100 games (with write-ups): https://foolfantastic.com/top-100-video-games-project/ <cite>CasanovaZelos posted [p:956670544] in CasanovaZe... [t:79452388]...</cite> <quote>73. Fleetwood Mac Go Your Own Way (1976) from the album Rumours https://www.youtube.com/watch?v=6ul-cZyuYq4 Key lyrics: If I could, maybe Id give you my world How can I when you wont take it from me? Rumours hits harder than pretty much every other breakup album because it captures both sides. Go Your Own Way finds Lindsey Buckingham casually lashing out, all while ex-lover Stevie Nicks is forced to sing along. Though the verses cut through Nicks specifically, the chorus is a classic burst of catharsis for everyone involved. Despite breakups causing a flurry of emotions, many songs reduce this to sadness or anger. Go Your Own Way instead captures the flippant glee of telling an ex to sod off, but not with so much force as to suggest they saw nothing of value in their relationship. Rather, this is the lonely cry of someone who felt like they werent getting what they deserved, grinning through their pain just to show they can move on. Part of the appeal is that Fleetwood Mac were doing this soft rock sound right as punk was taking off. But in spite of their lighter music, Fleetwood Mac suggested something just as raw in their emotions as those young men did with their simple instrumentation. If the punk movement was largely a rejection of artifice, Fleetwood Mac made an unlikely companion to the era. Go Your Own Way is also a structural masterpiece. The heavy acoustic strumming of the verses plays perfectly against the cohesive gliding of the chorus. In lieu of additional verses, the last two choruses are divided by two guitar solos. Despite the emotional complexity, Fleetwood Mac do not fall back on lyrics; there really arent many lines on this track. Instead, they let the instruments do the talking. And though these solos might not have the sonic intensity of a hard rocker, they express heavy emotions. </quote> ... Copied to Clipboard!
Topic List	Page List: 1 ... 2, 3, 4, 5, 6, 7, 8, 9, 10

Board 8 > CasanovaZelos's Top 250 Songs Project (+) Yeah! (+)

Board 8 > CasanovaZelos's Top 250 Songs Project