KarmaPolice
Footballguy
Happy Thanksgiving, MAD31ers!
Many thanks for all the incredible music and discussions over the years!
Many thanks for all the incredible music and discussions over the years!
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MAD - Artist - Round 4 - #5's have been posted (11 Viewers)
- Thread starter Zegras11
- Start date
Pip's Invitation
Footballguy
Would have been their 1970 release if Odessa had been a hit.
Mister CIA
Footballguy
Mister CIA
Footballguy
Got my borother to check out my fancy headphones and cranked up some Ty Segall's Every 1's a Winner cover.
I landed a Rick Roll jab.
I landed a Rick Roll jab.
Zegras11
Footballguy
16's PLAYLIST
16's
16's
| The Walkmen | Scoresman | The Love You Love |
| The Clash | kupcho1 | Janie Jones |
| Ryan Star | Yambag | So Ordinary |
| Yes | Yo Mama | I See You |
| Built To Spill | The Dreaded Marco | Else |
| Johnny Marr | Eephus | Johnny Marr--Walk Into the Sea |
| The Pretty Reckless | Raging Weasel | My Bones |
| Jeff Tweedy | Dr. Octopus | Via Chicago |
| Journey | KarmaPolice | She Makes Me (Feel Alright) |
| Lindsey Stirling | -oz- | Lose you now |
| Triumph | Pip's Invitation | Blinding Light Show/Moonchild |
| Our Lady Peace | MAC | Carnival- YouTubeAuf YouTube findest du die angesagtesten Videos und Tracks. Außerdem kannst du eigene Inhalte hochladen und mit Freunden oder gleich der ganzen Welt teilen.
www.youtube.com
|
| Mötley Crüe | JWB | Same Ol' Situation (S.O.S.) https://open.spotify.com/track/1090YWYmufPxxFEDAmU8Hn |
| The Airborne Toxic Event | Zegras11 | PapillonPapillonThe Airborne Toxic Event · The Airborne Toxic Event (Deluxe Edition) · Song · 2009
open.spotify.com
|
| Annie Lennox | Mrs. Rannous | 17 Again17 Again - Remastered VersionEurythmics, Annie Lennox, Dave Stewart · Peace · Song · 1999
open.spotify.com
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| Whitney Houston | Charlie Steiner | I'm Every WomanI'm Every WomanWhitney Houston · The Bodyguard - Original Soundtrack Album · Song · 1992
open.spotify.com
|
| My Morning Jacket | landrys hat | Heartbreakin Man |
| Robyn | John Maddens Lunchbox | SayIt - Röyksopp and Robyn- YouTubeAuf YouTube findest du die angesagtesten Videos und Tracks. Außerdem kannst du eigene Inhalte hochladen und mit Freunden oder gleich der ganzen Welt teilen.
m.youtube.com
|
| Tim Maia | Don Quixote | I Don’t Know What to Do with Myself- YouTubeAuf YouTube findest du die angesagtesten Videos und Tracks. Außerdem kannst du eigene Inhalte hochladen und mit Freunden oder gleich der ganzen Welt teilen.
youtu.be
|
| Parliament Funkadelic | Uruk-Hai | Pinocchio Theory The Pinocchio Theory (youtube.com) |
| Lord Huron | KarmaPolice | Harvest MoonHarvest Moon - Recorded at Spotify Studios NYCLord Huron · Spotify Singles · Song · 2018
open.spotify.com
|
| R.E.M. | Tuffnutt | Ebow the Letter- YouTubeAuf YouTube findest du die angesagtesten Videos und Tracks. Außerdem kannst du eigene Inhalte hochladen und mit Freunden oder gleich der ganzen Welt teilen.
www.youtube.com
|
| Radiohead | Titusbramble | A Wolf At The Door |
| Candlebox | Mt.Man | Vexatious |
| Eddie Vedder | Tau837 | Hunger Strike- YouTubeAuf YouTube findest du die angesagtesten Videos und Tracks. Außerdem kannst du eigene Inhalte hochladen und mit Freunden oder gleich der ganzen Welt teilen.
www.youtube.com
|
| The Bee Gees | zamboni | Spicks and Specks |
| Fred Eaglesmith | Mister CIA | Ordinary Guy- YouTubeAuf YouTube findest du die angesagtesten Videos und Tracks. Außerdem kannst du eigene Inhalte hochladen und mit Freunden oder gleich der ganzen Welt teilen.
www.youtube.com
|
| Ringo Starr | krista4 | I'm the Greatest |
| Big Room/Deep Big Room | zazale | Ninja |
Mrs. Rannous
Footballguy
Round 16 - 17 Again - The Eurythmics
From their album Peace.
From their album Peace.
The Dreaded Marco
Footballguy
Favorite 17s
Leave It - another from 90125 that I had pretty much memorized.
The Beat(en) Generation - sad he didn’t play this at his show in SLC a few weeks ago
Who You Selling For - I guess I enjoy their mellower side
What Light - 3 or 4 songs from this album might have made my Wilco list.
Just the Same Way - damn, another song by Journey that I like. Gotta play them more.
Gideon - top 5 MMJ for me, especially live.
Pretty Persuasion - didn’t make my top 31 but still a favorite.
Leave It - another from 90125 that I had pretty much memorized.
The Beat(en) Generation - sad he didn’t play this at his show in SLC a few weeks ago
Who You Selling For - I guess I enjoy their mellower side
What Light - 3 or 4 songs from this album might have made my Wilco list.
Just the Same Way - damn, another song by Journey that I like. Gotta play them more.
Gideon - top 5 MMJ for me, especially live.
Pretty Persuasion - didn’t make my top 31 but still a favorite.
John Maddens Lunchbox
Socialism for Dummies
#16 - Röyksopp and Robyn - SayIt
- YouTube
Auf YouTube findest du die angesagtesten Videos und Tracks. Außerdem kannst du eigene Inhalte hochladen und mit Freunden oder gleich der ganzen Welt teilen.
m.youtube.com
Producer - Röyksopp
Writer - Röyksopp and Robyn
Chart Positions - Did Not Chart
Album - Do It Again EP
Year - 2014
Collaborator History - Röyksopp and Robyn first collaborated on the Norwegian bands 2009 album Junior on the Girl and the Robot track. https://m.youtube.com/watch?v=sPqnxFgCrhg&pp=ygUbZ2lybCBhbmQgdGhlIHJvYm90IHJveWtzb3Bw
That track would have been top 10 here, but it was already on the Röyksopp playlist I did.
They then collaborated on the None of Dem track on the Body Talk series by Robyn. It didnt make the Röyksopp list and wont here cause its crap.
Then came the Do It Again EP project where both werent ready to do a full album and both had some ideas that worked with each other.
Monument has the version on both the Do It Again EP and a different version Monument TIE on the next Röyksopp album. Both versions would have made this list
Do it Again was the stomping lead single and easily makes the top 10 here.
The other 2 non included tracks Every Little Thing and Inside the Idle Hour Club were considered. The former very seriously. Neither made the Röyksopp list.
This track included here was the one I wanted most on Robyns list.
Key Lyric -
Vocalist - Robyn (Human) Röyksopp (Non Human)
Say it!
Say it!
(I want you)
Say it!
I
(I)
Want
(Want)
You
(You)
(Again)
Notes - This track can best be described as eccentric, which plays to the strengths of Robyn. Once I put the rule of one track for Röyksopp/Robyn, when in reality 6 or 7 were strong considerations, the style of track was important. This track is simply one few people get, but I am one of them.
Next up - A track that is all dance. From her 3rd album “Don’t Stop the Music”
Yo Mama
Footballguy
Yes #16 - I See You
Album - Yes (1969)
This was my favorite (re)discovery from their first album. So much going on musically, showing off some jazzy sections and even (to me) some swing / big band notes.
This was a cover of a song from The Byrds. Blame David Crosby for some of the cheesy abstract lyrics:
Everywhere behind your hair over there
I see you
I love you at your door second floor first world war
I love you
Album - Yes (1969)
This was my favorite (re)discovery from their first album. So much going on musically, showing off some jazzy sections and even (to me) some swing / big band notes.
This was a cover of a song from The Byrds. Blame David Crosby for some of the cheesy abstract lyrics:
Everywhere behind your hair over there
I see you
I love you at your door second floor first world war
I love you
-OZ-
Footballguy
Lindsey Stirling -oz- Lose you now
I know nothing about MAKO, but he pairs well with Lindsey in the most sentimental song on this list.
Apparently he’s a music producer, singer, songwriter, composer, and DJ from Los Angeles who is mostly known for EDM.
a vocal reimagining of Stirling's instrumental track "Guardian" from 2019's "Artemis" and a tribute to her late father, and her friend and former bandmate Jason Gaviati who died in 2015. For anyone who has lost a loved one, this might hit right in the feels.
In a press release, Stirling explained that when hearing Mako's contribution to the original for the first time, she broke down due to its raw emotion. "I am so grateful for Mako for the lyrics he wrote to 'Lose You Now' because he perfectly captured the feelings I’d never been able to put into words," she said. "I actually balled like a baby the first time I heard his version”
I wish I could remember every second we had
I know I tried to count 'em all one by one, one by one
But you don't get 'em back, you don't get 'em back
Take every memory we've ever had
Oh I wanna live 'em all one by one, one by one
And I swear that I'm not gonna lose you now
Keep you in my life somehow
And even when the lights go down, down
I could never lose you now
And еven though we're not so closе here
Maybe you can pick me up still
'Cause I can't stop falling down, I can't stop falling down
And I'm not gonna lose you now
next up stars a lead singer for a band I’m not embarrassed that I’ve confused for a MAD favorite at times.
Uruk-Hai
Footballguy
#16 Bootsy Collins - "The Pinocchio Theory"
I've been using "Bootsy Collins" as the name of the artist on these selections but, on the first couple of albums, the group was called "Booty's Rubber Band". I bring this up for a reason that cannot be coincidence.
In the late '60s, before Bootsy joined James Brown, he formed a group called the Pacemakers. One of the guys in the band was named Philippe Wynne. Wynne left the group before Brown signed them (because James' previous band had all quit and he needed a replacement) and the remaining members became the J.B.s. When Brown fired Bootsy for dropping acid before a concert, Wynne asked Bootsy to join a new group Philippe was with called the Spinners. Collins declined and soon hooked up with George Clinton. But he & Wynne remained close.
In 1976, the Spinners released one of their biggest hits - "Rubberband Man". Also in 1976 the first Booty's Rubber Band album came out. There's no freaking way these two events aren't related.
Wynne ended up appearing Funkadelic's 1979 hit "(Not Just) Knee Deep". Circle of life and all that, I guess. But I can't imagine a world where Bootsy Collins joins the Spinners
Anyway, "The Pinocchio Theory"........ It's off of his 2nd "solo" LP and was the biggest hit he had had to date. It's typical Bootsy madness, though with a few less gimmicks than would show up on later songs. It's also a crossover of sorts with what Parliament was doing with its "Sir Nose" character. The catch phrase on this one is "don't fake the funk or your nose will grow" (hence the song's title).
There's also a moment in it that still cracks me up to this day: There's a point where Bootsy hollers out "SING!" to his band and no one sings. Then you hear Bootsy go "oh" like he got it wrong.
Next, another searing piece of funk rock from Funkadelic.
I've been using "Bootsy Collins" as the name of the artist on these selections but, on the first couple of albums, the group was called "Booty's Rubber Band". I bring this up for a reason that cannot be coincidence.
In the late '60s, before Bootsy joined James Brown, he formed a group called the Pacemakers. One of the guys in the band was named Philippe Wynne. Wynne left the group before Brown signed them (because James' previous band had all quit and he needed a replacement) and the remaining members became the J.B.s. When Brown fired Bootsy for dropping acid before a concert, Wynne asked Bootsy to join a new group Philippe was with called the Spinners. Collins declined and soon hooked up with George Clinton. But he & Wynne remained close.
In 1976, the Spinners released one of their biggest hits - "Rubberband Man". Also in 1976 the first Booty's Rubber Band album came out. There's no freaking way these two events aren't related.
Wynne ended up appearing Funkadelic's 1979 hit "(Not Just) Knee Deep". Circle of life and all that, I guess. But I can't imagine a world where Bootsy Collins joins the Spinners
Anyway, "The Pinocchio Theory"........ It's off of his 2nd "solo" LP and was the biggest hit he had had to date. It's typical Bootsy madness, though with a few less gimmicks than would show up on later songs. It's also a crossover of sorts with what Parliament was doing with its "Sir Nose" character. The catch phrase on this one is "don't fake the funk or your nose will grow" (hence the song's title).
There's also a moment in it that still cracks me up to this day: There's a point where Bootsy hollers out "SING!" to his band and no one sings. Then you hear Bootsy go "oh" like he got it wrong.
Next, another searing piece of funk rock from Funkadelic.
Last edited:
Pip's Invitation
Footballguy
| Lord Huron | KarmaPolice | Harvest Moon |
| R.E.M. | Tuffnutt | Ebow the Letter |
Pip's Invitation
Footballguy
I said there was another one aside from Red Hot Mama that put most rock bands of the time to shame. Maybe this is what we're getting next?
Charlie Steiner
Footballguy
16. I'm Every Woman (The Bodyguard: Official Soundtrack, 1992)
The third single from The Bodyguard soundtrack to be released, Whitney's cover of Chaka Khan's 1978 hit, I'm Every Woman was released while I Will Always Love You was still #1 on the Billboard Hot 100. It reached #4 in the U.S. and enjoyed similar success in charts from many other nations across Europe. As a side note, even though Whitney had provided backing vocals for Chaka Khan's recordings before she started her own solo career, she did not sing on Khan's version of this song.
Once again, music critics were of two minds about Whitney's latest offering: from 'first-rate urban pop' and 'triumphant' to 'a xerox of Chaka Khan's performance' and 'overwrought remake'. My favorite review of the bunch came from USA Today:
She adds surprises: Chaka Khan's "I'm Every Woman" becomes sweaty house music.
The third single from The Bodyguard soundtrack to be released, Whitney's cover of Chaka Khan's 1978 hit, I'm Every Woman was released while I Will Always Love You was still #1 on the Billboard Hot 100. It reached #4 in the U.S. and enjoyed similar success in charts from many other nations across Europe. As a side note, even though Whitney had provided backing vocals for Chaka Khan's recordings before she started her own solo career, she did not sing on Khan's version of this song.
Once again, music critics were of two minds about Whitney's latest offering: from 'first-rate urban pop' and 'triumphant' to 'a xerox of Chaka Khan's performance' and 'overwrought remake'. My favorite review of the bunch came from USA Today:
She adds surprises: Chaka Khan's "I'm Every Woman" becomes sweaty house music.
zamboni
Footballguy
Here we go way, way back to 1966 when the band was situated in Australia and had not yet migrated back to England (that would happen the next year). A bouncy, piano-based song that was very much reminiscent of the times. The first time I heard it, I though that could have fit nicely on the Zombies' classic album Odyssey and Oracle a few years later. Given how often Barry had other artists in mind, maybe he was thinking of the Zombies here - who knows. As for the song title, for obvious reasons, no way it would fly nowadays. There does not seem to be a lot of info out there, but from what I've gathered it is synonymous with "bits and pieces." Perhaps @John Maddens Lunchbox can shed some light.
The Bee Gees zamboni Spicks and Specks
Uruk-Hai
Footballguy
I'm not sure which you're thinking of. I'll say that I have more than one coming that - IMO - fit your criteria for that era. Three in fact, and that's not counting the one that I reckon everyone expects.
Uruk-Hai
Footballguy
This is really good. I think I prefer Khan's version, but I couldn't argue for more than three seconds against someone who prefers Houston's take. Chaka's feels a little looser to me, which I think fits the song better - but that's just me. Whitney's version absolutely deserves all of the success it had/has.
Uruk-Hai
Footballguy
I was trying to think of something to compare this song to that would have been around in 1966.Here we go way, way back to 1966 when the band was situated in Australia and had not yet migrated back to England (that would happen the next year). A bouncy, piano-based song that was very much reminiscent of the times. The first time I heard it, I though that could have fit nicely on the Zombies' classic album Odyssey and Oracle a few years later. Given how often Barry had other artists in mind, maybe he was thinking of the Zombies here - who knows. As for the song title, for obvious reasons, no way it would fly nowadays. There does not seem to be a lot of info out there, but from what I've gathered it is synonymous with "bits and pieces." Perhaps @John Maddens Lunchbox can shed some light.
The Bee Gees zamboni Spicks and Specks
You know who it sounds like to me? The Monkees, and I mean that as a high compliment. The production would have been different had it been done by L.A. pros, but the song dynamics reminds me of those records.
Nice choice.
zamboni
Footballguy
Monkees is a good call as well - I can envision Davy Jones singing this.I was trying to think of something to compare this song to that would have been around in 1966.Here we go way, way back to 1966 when the band was situated in Australia and had not yet migrated back to England (that would happen the next year). A bouncy, piano-based song that was very much reminiscent of the times. The first time I heard it, I though that could have fit nicely on the Zombies' classic album Odyssey and Oracle a few years later. Given how often Barry had other artists in mind, maybe he was thinking of the Zombies here - who knows. As for the song title, for obvious reasons, no way it would fly nowadays. There does not seem to be a lot of info out there, but from what I've gathered it is synonymous with "bits and pieces." Perhaps @John Maddens Lunchbox can shed some light.
The Bee Gees zamboni Spicks and Specks
You know who it sounds like to me? The Monkees, and I mean that as a high compliment. The production would have been different had it been done by L.A. pros, but the song dynamics reminds me of those records.
Nice choice.
krista4
Footballguy
16. I'm the Greatest from Ringo (1973)
Previously ranked #17 - prior write-up below
This song was written by John for Ringo’s third studio album, Ringo. In addition to John’s song, the album featured three songs written or co-written by George, and one song written by Paul (we’ll get to some of these later), plus appearances by Marc Bolan, 80% of The Band, Billy Preston, Harry Nilsson, Klaus Voormann, Nicky Hopkins, James Booker, and the ubiquitous Jim Keltner. This marked the first time that all four Beatles participated in a post-Beatles album.
This record was hugely successful both with critics and the public, having gone Platinum and reached #2 on the US charts, and continues to be considered Ringo’s best post-Beatles work. With the first two singles from the record (“Photograph” and “You’re Sixteen”) having reached #1, Ringo was out of the gate faster than John, who had yet to score his first chart-topper, leading John to send Ringo the following telegram: “"Congratulations. How dare you? And please write me a hit song."
This particular song, though written by John, fits into the huge pantheon of “Ringo relives the past” songs that I’ve mentioned previously – in addition to all the Liverpool songs we previously discussed, we have others already discussed such as “Gone Were the Days,” “Write One for Me,” and “Fading In and Out,” plus the following that all name-drop Beatles songs: “Choose Love,” “After All These Years,” “Devil Woman,” “Postcards from Paradise,” “Love First Ask Questions Later,” “Early 1970”…shall I go on? No, I shan’t.
John hadn’t written the song with Ringo in mind, but he knew that singing it himself would be taken poorly given the conception that he had a rather healthy ego. So instead he tweaked the lyrics in order to put it in the hands of wholly unpretentious Ringo, who gives a terrific tongue-in-cheek performance. I love the Sgt Pepper’s-type applause and Ringo’s gradual build to the declaration, inspired by the Beatles meeting Cassius Clay in 1964, that “I’m the greatest!”
In addition to writing the song, John plays piano and provides backing vocals on it, with Voormann on bass and Preston on organ, plus…George! Having already agreed to help Ringo with the record, George happened to call the studio to check on the sessions at the time that the other four were working on the song. When the record’s producer said George was on the phone, John had him relay the message to bring his guitar and get down there to “help my finish this bridge!” George complied, sparking rumors of a full Beatles reunion that was never to take place. Instead, this was the last time that three Beatles would work in a recording session together until “All Those Years Ago” in 1981.
Previously ranked #17 - prior write-up below
This song was written by John for Ringo’s third studio album, Ringo. In addition to John’s song, the album featured three songs written or co-written by George, and one song written by Paul (we’ll get to some of these later), plus appearances by Marc Bolan, 80% of The Band, Billy Preston, Harry Nilsson, Klaus Voormann, Nicky Hopkins, James Booker, and the ubiquitous Jim Keltner. This marked the first time that all four Beatles participated in a post-Beatles album.
This record was hugely successful both with critics and the public, having gone Platinum and reached #2 on the US charts, and continues to be considered Ringo’s best post-Beatles work. With the first two singles from the record (“Photograph” and “You’re Sixteen”) having reached #1, Ringo was out of the gate faster than John, who had yet to score his first chart-topper, leading John to send Ringo the following telegram: “"Congratulations. How dare you? And please write me a hit song."
This particular song, though written by John, fits into the huge pantheon of “Ringo relives the past” songs that I’ve mentioned previously – in addition to all the Liverpool songs we previously discussed, we have others already discussed such as “Gone Were the Days,” “Write One for Me,” and “Fading In and Out,” plus the following that all name-drop Beatles songs: “Choose Love,” “After All These Years,” “Devil Woman,” “Postcards from Paradise,” “Love First Ask Questions Later,” “Early 1970”…shall I go on? No, I shan’t.
John hadn’t written the song with Ringo in mind, but he knew that singing it himself would be taken poorly given the conception that he had a rather healthy ego. So instead he tweaked the lyrics in order to put it in the hands of wholly unpretentious Ringo, who gives a terrific tongue-in-cheek performance. I love the Sgt Pepper’s-type applause and Ringo’s gradual build to the declaration, inspired by the Beatles meeting Cassius Clay in 1964, that “I’m the greatest!”
In addition to writing the song, John plays piano and provides backing vocals on it, with Voormann on bass and Preston on organ, plus…George! Having already agreed to help Ringo with the record, George happened to call the studio to check on the sessions at the time that the other four were working on the song. When the record’s producer said George was on the phone, John had him relay the message to bring his guitar and get down there to “help my finish this bridge!” George complied, sparking rumors of a full Beatles reunion that was never to take place. Instead, this was the last time that three Beatles would work in a recording session together until “All Those Years Ago” in 1981.
Pip's Invitation
Footballguy
16. Blinding Light Show / Moonchild
Album: Triumph (aka In the Beginning; Canada, 1976) and Rock & Roll Machine (International version, 1978)
Writers: Rik Emmett, Chris Brockway and Denton Young
Lead vocals: Rik Emmett
Chart History: None
Video?: No
Lyrical category: Vaguely political (I think; maybe just vague)
"Blinding Light Show/Moonchild" is the oldest song in my Triumph top 31 (and only selection from their debut) and may be the oldest song released on any of Triumph's albums, as the "Blinding Light Show" portion of the medley is the only Triumph track confirmed to have dated from Act III, Rik Emmett's pre-Triumph prog band. I presume that co-writers Chris Brockway and Denton Young were other members of Act III.
As you might expect from a song that began its life with a prog band, this is one of the two proggiest Triumph tracks (the other is a three-part suite on their second album), and is the longest song to make my top 31, clocking in at almost 9 minutes. The most obvious comparison is to Rush, especially at the beginning of the song, which opens with a triumphant, majestic riff that could easily fit in one of Rush's epics and then transitions into a spacey, hushed passage that sets up the verses. As these progress, Emmett's vocals rise in expressiveness and Mike Levine deploys some interesting countermelodies on bass that are reminiscent of what we would hear from Rush's Geddy Lee. At around the 3-minute mark we get some interesting shading from synthesizers, introducing a technique that would be deployed for the rest of Emmett's time in the band.
And then all of the sudden the song fades in to a classical guitar solo. This is the "Moonchild" part of the medley, credited to Emmett alone. Every Triumph album while Emmett was with them had a classical guitar solo, and starting with Just a Game, they were standalone pieces or intros to another song, but on the first two albums, they appeared in the middle of other songs. After a pleasant first minute, the classical guitar reprises the riff heard during the verses of "Blinding Light Show" and then spacey synths kick in. After a minute of that, we get some lively fingerpicking, and at 5:43, a perfect transition back into electric guitars and the remainder of "Blinding Light Show."
This minute is where Rik Emmett announced himself to the world as a top-notch guitarist. The riff is fast and furious and the solo layered on top of it is absolutely dazzling. Then the song transitions into a new majestic riff and Emmett sings the concluding verses. It ends with a spacey passage in which Emmett and Levine double each other and the synths convey a sense of wonder. Ending with a thunder sound effect, as prog songs back then did.
As "Blinding Light Show" was written before Emmett joined Triumph, it doesn't neatly fit into any of the band's usual lyrical categories, and is much more abstract that what the band would typically write. But there are hints of the "ordinary people being manipulated" theme that would become a favorite of Emmett's, though here, it seems to be in the context of musicians and their fans being manipulated by greedy music-industry executives.
And while the crowd keeps
Calling out "Hoorah"
Their greedy hands
Keep clutching out
"Hoorah, hoorah, hoorah"
The aimless mob is calling out
"Hoorah"
And unseen candles
Burning out
"Hoorah, hoorah, hoorah"
The blinding light show
The blinding light show
And the sounds of truth
Ring hollow
In this pretense world of show
And the footlights
Burn their pathways
As the profits come and go
And the seeming some-day singer
Lives the Carney Barker's dream
Selling all by saying nothing in
The language of a scream
The language of a scream
Given its history, this track is an outlier in Triumph's sound, even within the context of the first album, most of which is filled with Zeppelin-isms and other touchstones of mid-70s "boogie rock" -- one track even has a talk box! While "Blinding Light Show/Moonchild" isn't reflective of the sound Triumph would develop going forward, it is the most sophisticated and adventurous track on the debut album, and is very much in the spirit of their subsequent music.
With its spectacular dynamics, it is no surprise that "Blinding Light Show/Moonchild" was a concert staple, with Emmett playing the "Moonchild" portion on electric, appearing consistently from the band's first gigs to the Never Surrender tour. It surfaced a few times after that, including at both of the band's 2008 reunion gigs, and appears on the official release of the Sweden Rock Festival gig from that year.
Live version from the Canada Jam in 1978; this festival performance was Triumph's highest-profile gig up to that point: https://www.youtube.com/watch?v=aHd9iYxvn-A
Incomplete live version from Toronto in 1978: https://youtu.be/r2piagRsA50?t=970
Live version from Chicago in 1979, broadcast on FM radio: https://youtu.be/q5kzeyQJNUU?t=1043
Live version from Cleveland in 1981, recorded for the King Biscuit Flower Hour: https://www.youtube.com/watch?v=7A5DMGH9tmI
Live version from Baltimore in 1982, not included on the MTV broadcast of this show: https://www.youtube.com/watch?v=Nkmbtiudyxo
Live version from Ottawa in 1982, broadcast on FM radio: https://youtu.be/O2TLUhfbrm4?t=1175
Live version from Montreal in 1985: https://www.youtube.com/watch?v=j3AEQw_1vo4
Live version from Sweden Rock Festival in 2008: https://open.spotify.com/track/3Gw1FJ3Ar5YKTdLNrgltzD?si=964b9c5c23f644b9
At #15, we start getting to the chalk -- most of the selections from here on out are songs that would rank highly on a consensus list from Triumph die-hards -- and visit a song consistent with the band's favorite theme of turning negatives into positives.
Album: Triumph (aka In the Beginning; Canada, 1976) and Rock & Roll Machine (International version, 1978)
Writers: Rik Emmett, Chris Brockway and Denton Young
Lead vocals: Rik Emmett
Chart History: None
Video?: No
Lyrical category: Vaguely political (I think; maybe just vague)
"Blinding Light Show/Moonchild" is the oldest song in my Triumph top 31 (and only selection from their debut) and may be the oldest song released on any of Triumph's albums, as the "Blinding Light Show" portion of the medley is the only Triumph track confirmed to have dated from Act III, Rik Emmett's pre-Triumph prog band. I presume that co-writers Chris Brockway and Denton Young were other members of Act III.
As you might expect from a song that began its life with a prog band, this is one of the two proggiest Triumph tracks (the other is a three-part suite on their second album), and is the longest song to make my top 31, clocking in at almost 9 minutes. The most obvious comparison is to Rush, especially at the beginning of the song, which opens with a triumphant, majestic riff that could easily fit in one of Rush's epics and then transitions into a spacey, hushed passage that sets up the verses. As these progress, Emmett's vocals rise in expressiveness and Mike Levine deploys some interesting countermelodies on bass that are reminiscent of what we would hear from Rush's Geddy Lee. At around the 3-minute mark we get some interesting shading from synthesizers, introducing a technique that would be deployed for the rest of Emmett's time in the band.
And then all of the sudden the song fades in to a classical guitar solo. This is the "Moonchild" part of the medley, credited to Emmett alone. Every Triumph album while Emmett was with them had a classical guitar solo, and starting with Just a Game, they were standalone pieces or intros to another song, but on the first two albums, they appeared in the middle of other songs. After a pleasant first minute, the classical guitar reprises the riff heard during the verses of "Blinding Light Show" and then spacey synths kick in. After a minute of that, we get some lively fingerpicking, and at 5:43, a perfect transition back into electric guitars and the remainder of "Blinding Light Show."
This minute is where Rik Emmett announced himself to the world as a top-notch guitarist. The riff is fast and furious and the solo layered on top of it is absolutely dazzling. Then the song transitions into a new majestic riff and Emmett sings the concluding verses. It ends with a spacey passage in which Emmett and Levine double each other and the synths convey a sense of wonder. Ending with a thunder sound effect, as prog songs back then did.
As "Blinding Light Show" was written before Emmett joined Triumph, it doesn't neatly fit into any of the band's usual lyrical categories, and is much more abstract that what the band would typically write. But there are hints of the "ordinary people being manipulated" theme that would become a favorite of Emmett's, though here, it seems to be in the context of musicians and their fans being manipulated by greedy music-industry executives.
And while the crowd keeps
Calling out "Hoorah"
Their greedy hands
Keep clutching out
"Hoorah, hoorah, hoorah"
The aimless mob is calling out
"Hoorah"
And unseen candles
Burning out
"Hoorah, hoorah, hoorah"
The blinding light show
The blinding light show
And the sounds of truth
Ring hollow
In this pretense world of show
And the footlights
Burn their pathways
As the profits come and go
And the seeming some-day singer
Lives the Carney Barker's dream
Selling all by saying nothing in
The language of a scream
The language of a scream
Given its history, this track is an outlier in Triumph's sound, even within the context of the first album, most of which is filled with Zeppelin-isms and other touchstones of mid-70s "boogie rock" -- one track even has a talk box! While "Blinding Light Show/Moonchild" isn't reflective of the sound Triumph would develop going forward, it is the most sophisticated and adventurous track on the debut album, and is very much in the spirit of their subsequent music.
With its spectacular dynamics, it is no surprise that "Blinding Light Show/Moonchild" was a concert staple, with Emmett playing the "Moonchild" portion on electric, appearing consistently from the band's first gigs to the Never Surrender tour. It surfaced a few times after that, including at both of the band's 2008 reunion gigs, and appears on the official release of the Sweden Rock Festival gig from that year.
Live version from the Canada Jam in 1978; this festival performance was Triumph's highest-profile gig up to that point: https://www.youtube.com/watch?v=aHd9iYxvn-A
Incomplete live version from Toronto in 1978: https://youtu.be/r2piagRsA50?t=970
Live version from Chicago in 1979, broadcast on FM radio: https://youtu.be/q5kzeyQJNUU?t=1043
Live version from Cleveland in 1981, recorded for the King Biscuit Flower Hour: https://www.youtube.com/watch?v=7A5DMGH9tmI
Live version from Baltimore in 1982, not included on the MTV broadcast of this show: https://www.youtube.com/watch?v=Nkmbtiudyxo
Live version from Ottawa in 1982, broadcast on FM radio: https://youtu.be/O2TLUhfbrm4?t=1175
Live version from Montreal in 1985: https://www.youtube.com/watch?v=j3AEQw_1vo4
Live version from Sweden Rock Festival in 2008: https://open.spotify.com/track/3Gw1FJ3Ar5YKTdLNrgltzD?si=964b9c5c23f644b9
At #15, we start getting to the chalk -- most of the selections from here on out are songs that would rank highly on a consensus list from Triumph die-hards -- and visit a song consistent with the band's favorite theme of turning negatives into positives.
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Yambag
Footballguy
For me, I identified with this song as a push for self-reflection and positive change. I felt I had lost myself in my failed marriage and this song helped me realize that I had to leave that person behind and move forward. Fun fact, it was also the song that played on my MySpace page, way before things went south with that relationship.
KarmaPolice
Footballguy
#16: JOURNEY - SHE MAKES ME (FEEL ALRIGHT)
www.youtube.com
Here is where I circle back to saying that I was surprised over and over with Journey's earlier albums and the different types of 70s rock and artists I heard in their music. Here they display a little more of a heavy lean that gave me vibes of bands like Mountain and others. Definitely not what I was expecting from Journey based on name and reputation. I am surprised that more songs from Look Into the Future didn't make the cut. This is where I make the suggestion to listen to that album to anybody interested in diving in more. We just have 1 more in the top 5 to get to from the album, otherwise we are done. I will include the album closer here as a bonus as another harder song. This one is a little more proggy and gave me Deep Purple vibes....
www.youtube.com
Next: We finally break the seal on the last album of the era. I found Departure inconsistent, but top heavy. There are 3 tunes in the top 15, and we will start off with a kick *** harmonica solo!!!
- YouTube
Auf YouTube findest du die angesagtesten Videos und Tracks. Außerdem kannst du eigene Inhalte hochladen und mit Freunden oder gleich der ganzen Welt teilen.
www.youtube.com
Here is where I circle back to saying that I was surprised over and over with Journey's earlier albums and the different types of 70s rock and artists I heard in their music. Here they display a little more of a heavy lean that gave me vibes of bands like Mountain and others. Definitely not what I was expecting from Journey based on name and reputation. I am surprised that more songs from Look Into the Future didn't make the cut. This is where I make the suggestion to listen to that album to anybody interested in diving in more. We just have 1 more in the top 5 to get to from the album, otherwise we are done. I will include the album closer here as a bonus as another harder song. This one is a little more proggy and gave me Deep Purple vibes....
- YouTube
Auf YouTube findest du die angesagtesten Videos und Tracks. Außerdem kannst du eigene Inhalte hochladen und mit Freunden oder gleich der ganzen Welt teilen.
www.youtube.com
Next: We finally break the seal on the last album of the era. I found Departure inconsistent, but top heavy. There are 3 tunes in the top 15, and we will start off with a kick *** harmonica solo!!!
Tau837
Footballguy
Eddie Vedder Tau837 Hunger Strike
- YouTube
Auf YouTube findest du die angesagtesten Videos und Tracks. Außerdem kannst du eigene Inhalte hochladen und mit Freunden oder gleich der ganzen Welt teilen.
"Hunger Strike" is one of the most iconic songs by Temple of the Dog, a supergroup formed in 1990 as a tribute to Andrew Wood, the late lead singer of the Seattle bands Malfunkshun and Mother Love Bone. The band featured members of Soundgarden (Chris Cornell and Matt Cameron) and Pearl Jam (Eddie Vedder, Jeff Ament, Stone Gossard, and Mike McCready).
The song was released in 1991 as part of the self-titled album, "Temple of the Dog," and is often celebrated as one of the greatest collaborations in rock history. It peaked at #4 on the Billboard Mainstream Rock Tracks chart and #7 on the Billboard Modern Rock Tracks chart. Impressively, this was the first recording studio experience for McCready and Eddie, and this was the first song released that featured Eddie as a vocalist.
Cornell wrote "Hunger Strike" and described the song as a simple expression of the frustration and guilt he felt about wealth and privilege in a world where many suffer from poverty and hunger. The duet symbolizes unity, with both Cornell and Eddie delivering heartfelt lines that emphasize the importance of empathy and standing together in the face of societal injustices.
The song’s power comes from the interplay between Cornell and Eddie, whose voices complement each other perfectly. Cornell's vocals are powerful, soaring, and emotional, and his delivery embodies a sense of urgency and frustration. Eddie's deeper, resonant tone provides a grounding counterpoint to Cornell’s intensity. Cornell has stated that Eddie's participation elevated the song to new heights, with the collaboration giving the track its unique and timeless quality.
Cornell on Eddie's participation:
Eddie on his participation:
Musically, the song is built on a repeating chord progression, giving it a meditative and hypnotic feel. Gossard and McCready provide a restrained but effective instrumental backdrop, with clean, chiming guitar lines that emphasize the song's reflective tone.
Although "Temple of the Dog" initially received modest attention upon its release in 1991, the album and "Hunger Strike" gained widespread recognition after the rise of Soundgarden and Pearl Jam in the grunge movement over the following year. The song became one of the defining tracks of the early 1990s, earning praise for its sincerity and powerful message. Critics and fans alike have hailed "Hunger Strike" as a standout moment in alternative rock, often pointing to its heartfelt lyrics and the chemistry between Cornell and Eddie.
"Hunger Strike" has been performed live by both Temple of the Dog and Pearl Jam, often as a tribute to Cornell after his passing in 2017. The song remains a poignant reminder of his legacy and the collaborative spirit of the Seattle music scene.
This is the second time we have seen this song in a MAD countdown. In MAD Round 2, @Raging weasel ranked the song #1 in his Cornell playlist, which IMO says a lot considering the extensive catalog Cornell built, including with Soundgarden and Audioslave.
John Maddens Lunchbox
Socialism for Dummies
I was wondering if this one would turn up. Excellent choiceHere we go way, way back to 1966 when the band was situated in Australia and had not yet migrated back to England (that would happen the next year). A bouncy, piano-based song that was very much reminiscent of the times. The first time I heard it, I though that could have fit nicely on the Zombies' classic album Odyssey and Oracle a few years later. Given how often Barry had other artists in mind, maybe he was thinking of the Zombies here - who knows. As for the song title, for obvious reasons, no way it would fly nowadays. There does not seem to be a lot of info out there, but from what I've gathered it is synonymous with "bits and pieces." Perhaps @John Maddens Lunchbox can shed some light.
The Bee Gees zamboni Spicks and Specks
Bits and pieces is essentially correct. Its derived from the british term spick and span.
Nothing racial in its connotation at all.
Britain and Australia do not get a lot of latina people to this day, so the racial overtones were not implied in any form on the lyrics.
The lyrics
Spicks and Specks" explores themes of loss, longing, and the persistent memories that continue to resonate in one's mind, even after relationships have ended. It conveys a sense of wistfulness and longing for the past.
This was the Bee Gees 12th or 13th single in Australia. They migrated as young boys to Queensland.
Only the second song to get higher than 75. And the first to go top 10.
Soon as it was a hit they returned to the UK.
Such is the total lack of racial intentions in the song title.A long running quiz show in Australia for the last 20 years is entitled Spicks and Specks https://en.m.wikipedia.org/wiki/Spicks_and_Specks_(TV_series).
When the app of the game was release it was banned/censored by Apple to much incredulation to Australians. It would never have occured to the Brothers Gibb, the developers of the quiz show or 99% of Australians that it was a derogatory word. Its just not used. Except to refer to the Bee Gees song.
John Maddens Lunchbox
Socialism for Dummies
I love ebow the letter. Would be top 10 REM for me. Maybe as high as 3.
The Dreaded Marco
Footballguy
Same here.
kupcho1
Footballguy
Well, we've reached the midway mark with Janie Jones, the 5th off the debut. It's a song about an average working stiff that relies on drugs ("He's in love with gettin' stoned, woah") and prostitutes (in this case Janie Jones) to get through life.
The Clash kupcho1 Janie Jones
An' he knows what he's got to do
So he knows he's gonna have fun with you
You lucky lady!
An' he knows when the evening comes
When his job is done he'll be over in his car for you
kupcho1
Footballguy
Randon walk time
I like this one a lot, just like the rest of the Bootsy selections. Appreciated the insight into rubberband man as well.
This is one I am not at all familiar with as I'd kinda sorta checked out on Eurythmics well before 1999, probably mid- to late-80s. This is a nice song that shows off her voice well. I vaguely recall that there was a movie of the same name that I've never seen and assumed this was a song made for the movie. Not the case as the movie didn't come out until 10 years later.
Annie Lennox Mrs. Rannous 17 Again
17 Again - Remastered Version
Eurythmics, Annie Lennox, Dave Stewart · Peace · Song · 1999
I'm not really into country music, but I do like some steel guitar on occasion, and this song seems to have a little of that.
I like this one a lot, just like the rest of the Bootsy selections. Appreciated the insight into rubberband man as well.
Raging weasel
Footballguy
The 17's
Known and liked songs
Leave It
Just the Same Way
Too Much Thinking
I Will Always Love You
Insignificance
To Love Somebody-top 3 for me
Only You (And You Alone)
New to me likes
Stab
The Upside
Hope
California
Gideon
Theme From the Black Hole
Mine Forever
Sweet Summertime
Known and liked songs
Leave It
Just the Same Way
Too Much Thinking
I Will Always Love You
Insignificance
To Love Somebody-top 3 for me
Only You (And You Alone)
New to me likes
Stab
The Upside
Hope
California
Gideon
Theme From the Black Hole
Mine Forever
Sweet Summertime
KarmaPolice
Footballguy
#16: LORD HURON - HARVEST MOON
Holy crap - a cover from me!! Yeah, it was probably no secret at least who the artist being covered was going to be. @shuke has seen them more than I have, but I feel like Harvest Moon is a live staple for Lord Huron. I think I've seen him do it live 2 or 3 times as least, and it's always a crowd pleaser. I think his voice does it justice and the themes fit in with what Lord Huron is about as well. I love both versions of this one, so I'd be curious on input here. I also liked that the version for the playlist was "live" version, and that was a nice find I came across for research. There was another song on this Spotify Studio single we will get to a bit later. The same version isn't on youtube, so there is just a random live version in the link...
www.youtube.com
Next: we will get to the song The Yawning Grave (#27) flows into.
Holy crap - a cover from me!! Yeah, it was probably no secret at least who the artist being covered was going to be. @shuke has seen them more than I have, but I feel like Harvest Moon is a live staple for Lord Huron. I think I've seen him do it live 2 or 3 times as least, and it's always a crowd pleaser. I think his voice does it justice and the themes fit in with what Lord Huron is about as well. I love both versions of this one, so I'd be curious on input here. I also liked that the version for the playlist was "live" version, and that was a nice find I came across for research. There was another song on this Spotify Studio single we will get to a bit later. The same version isn't on youtube, so there is just a random live version in the link...
- YouTube
Auf YouTube findest du die angesagtesten Videos und Tracks. Außerdem kannst du eigene Inhalte hochladen und mit Freunden oder gleich der ganzen Welt teilen.
www.youtube.com
Next: we will get to the song The Yawning Grave (#27) flows into.
rockaction
Footballguy
I just saw the video for "Heaven Knows" by The Pretty Reckless.
Welp. My death has apparently been greatly exaggerated.
Welp. My death has apparently been greatly exaggerated.
Yambag
Footballguy
This is
This is what makes REM so great and tough to rank. This song did not make my top 31, actually I didn't even consider it.
John Maddens Lunchbox
Socialism for Dummies
Oddly this was their highest charting song in the UK until another one beat it in 1999.
My number one went top 30 there as an afterthought single that had low expectations. Similar in style.
Mt. Man
Footballguy
Candlebox #16
Song: Vexatious
Album: Disappearing in Airports (2016)
(youtube version) CANDLEBOX - Vexatious (Official Lyric Video)
(Live version) Vexatious By Candlebox Live In Grand Rapids 6 22 23
Can you do what's been done?
Can you shine in the sun?
So isolated!
Can you make it a day
Without making your way
Making your way to the edge
–
Huh, another playlist title? Candlebox is racking those up. Though honestly, I’m surprised that it wasn’t “Ordinary Guy? I’m the Greatest Ninja”.
Vexatious (or, if you prefer, Vex. A. Tious) is another high energy rocker at heart. I’m especially fond of the drum work by Dave Krusen on this track, and part of its rise this high is the solo. I went for the version from “Disappearing Live”, which was recorded in Long Island, New York and includes 7 songs. 3 of them (including Vexatious) have shown up in this countdown, though the one yet to come doesn’t originally appear on this album.
As far as the meaning goes, you can probably pick a good portion of it up. But let’s go back to Kevin Martin here. He’s said: “'Vexatious' is about the social networking-obsessed, unlimited bragging rights society we live in, where people come off as entitled yet so insecure,". So, you know, not so much the M-AD lifestyle in general.
–
Next on the countdown, my guy, my buddy, mi amigo.
Song: Vexatious
Album: Disappearing in Airports (2016)
(youtube version) CANDLEBOX - Vexatious (Official Lyric Video)
(Live version) Vexatious By Candlebox Live In Grand Rapids 6 22 23
Can you do what's been done?
Can you shine in the sun?
So isolated!
Can you make it a day
Without making your way
Making your way to the edge
–
Huh, another playlist title? Candlebox is racking those up. Though honestly, I’m surprised that it wasn’t “Ordinary Guy? I’m the Greatest Ninja”.
Vexatious (or, if you prefer, Vex. A. Tious) is another high energy rocker at heart. I’m especially fond of the drum work by Dave Krusen on this track, and part of its rise this high is the solo. I went for the version from “Disappearing Live”, which was recorded in Long Island, New York and includes 7 songs. 3 of them (including Vexatious) have shown up in this countdown, though the one yet to come doesn’t originally appear on this album.
As far as the meaning goes, you can probably pick a good portion of it up. But let’s go back to Kevin Martin here. He’s said: “'Vexatious' is about the social networking-obsessed, unlimited bragging rights society we live in, where people come off as entitled yet so insecure,". So, you know, not so much the M-AD lifestyle in general.
–
Next on the countdown, my guy, my buddy, mi amigo.
Pip's Invitation
Footballguy
Thoughts on the #16s of artists I know well:
Yes -- I took "I See You" in the covers countdown. What I wrote (in part) there:
"Yes did not come out as a fully formed "prog" band. That genre hadn't really solidified yet, nor had the band acquired two of its most renowned instrumental wizards, Steve Howe and Rick Wakeman. Rather, the first two Yes albums (despite some questionable orchestration decisions on the second one) are adventurous and charming, and very much within the contemporary practices of mixing originals with covers and of carrying on the genre-hopping and eclectic experimentation of mid-60s bands like the Byrds and the Beatles. (It is no accident that these records also contain Beatles and Buffalo Springfield covers.)
The Yes version of I See You keeps the main structure of the Byrds' version but ups the jazz quotient, lengthening the song and creating plenty of room for solos, but also remaining very much a group effort, with the force of the rhythms and melodies never being undermined. This is the track from the debut album that best showcases the talents of bassist Chris Squire and drummer Bill Bruford, who would go on to amass legions of devotees of their instrumental prowess. It is also the best performance that original guitarist Peter Banks gave during his two-album tenure. The band improved in skill when Howe replaced Banks for their third album, but the freewheeling, charming vibe the band gave off here also left with him. Starting in 1971, Yes became Serious Business."
Tweedy/Wilco -- "Via Chicago" is one of Wilco's most emotional songs and you can tell by the fan reaction when they perform it, especially in Chicago. I don't think the distortion at the end serves it particularly well, but that's a minor quibble.
My Morning Jacket -- "Heartbreakin' Man" is another winner from The Tennessee Fire, and another that comes alive onstage when freed from the extremely low-fi production of the debut album.
P-Funk -- "The Pinocchio Theory" is some seriously deep funk. The word "funk" appears in this one almost as much as it does in a certain Funkadelic song from the following year. This is another arrangement that wouldn't sound out of place on a Zappa album.
Bee Gees -- "Spicks and Specks" does indeed sound like a Monkees song. In fact, if someone said this was the original take of "Daydream Believer" before it was rearranged and given new lyrics, I would ... believe ... them.
Yes -- I took "I See You" in the covers countdown. What I wrote (in part) there:
"Yes did not come out as a fully formed "prog" band. That genre hadn't really solidified yet, nor had the band acquired two of its most renowned instrumental wizards, Steve Howe and Rick Wakeman. Rather, the first two Yes albums (despite some questionable orchestration decisions on the second one) are adventurous and charming, and very much within the contemporary practices of mixing originals with covers and of carrying on the genre-hopping and eclectic experimentation of mid-60s bands like the Byrds and the Beatles. (It is no accident that these records also contain Beatles and Buffalo Springfield covers.)
The Yes version of I See You keeps the main structure of the Byrds' version but ups the jazz quotient, lengthening the song and creating plenty of room for solos, but also remaining very much a group effort, with the force of the rhythms and melodies never being undermined. This is the track from the debut album that best showcases the talents of bassist Chris Squire and drummer Bill Bruford, who would go on to amass legions of devotees of their instrumental prowess. It is also the best performance that original guitarist Peter Banks gave during his two-album tenure. The band improved in skill when Howe replaced Banks for their third album, but the freewheeling, charming vibe the band gave off here also left with him. Starting in 1971, Yes became Serious Business."
Tweedy/Wilco -- "Via Chicago" is one of Wilco's most emotional songs and you can tell by the fan reaction when they perform it, especially in Chicago. I don't think the distortion at the end serves it particularly well, but that's a minor quibble.
My Morning Jacket -- "Heartbreakin' Man" is another winner from The Tennessee Fire, and another that comes alive onstage when freed from the extremely low-fi production of the debut album.
P-Funk -- "The Pinocchio Theory" is some seriously deep funk. The word "funk" appears in this one almost as much as it does in a certain Funkadelic song from the following year. This is another arrangement that wouldn't sound out of place on a Zappa album.
Bee Gees -- "Spicks and Specks" does indeed sound like a Monkees song. In fact, if someone said this was the original take of "Daydream Believer" before it was rearranged and given new lyrics, I would ... believe ... them.
shuke
Black Ice Skeptic
Uruk-Hai
Footballguy
Funny you mention Zappa......
I don't know if you've been listening this weekend, but XPN is doing a thing this holiday where they pick a year and play and hour's worth of songs from that year. The years are in random order, not chronological (I've heard two different 1973 hours, more than a day apart). Anyway, they were doing 1979 and Zappa's "Dancin' Fool" was played. I hadn't heard that thing in decades, but it reminded me of some of P-Funk's spoof-ier stuff. If he & George didn't have each other on speed dial, it sure seems like they did.
I'm sure someone on the internet has done a survey of which P-Funk songs use the word "funk" the most
I've got some coming that may give this one a run for its money.
KarmaPolice
Footballguy
Well, I am wrong on that and glad I saw the shows I did. Huh.
Pip's Invitation
Footballguy
Their cause is just, so they can bring this funk to us.Funny you mention Zappa......
I don't know if you've been listening this weekend, but XPN is doing a thing this holiday where they pick a year and play and hour's worth of songs from that year. The years are in random order, not chronological (I've heard two different 1973 hours, more than a day apart). Anyway, they were doing 1979 and Zappa's "Dancin' Fool" was played. I hadn't heard that thing in decades, but it reminded me of some of P-Funk's spoof-ier stuff. If he & George didn't have each other on speed dial, it sure seems like they did.
I'm sure someone on the internet has done a survey of which P-Funk songs use the word "funk" the most
I can see the point about "Dancin' Fool." It takes the p!ss out of disco culture, and there were some P-Funk songs that did the same.
Pip's Invitation
Footballguy
There are 524 Lord Huron shows listed on setlist.fm. 24 of them have Harvest Moon in the setlist. The actual number is probably higher since some shows don't have documented setlists. But it certainly doesn't seem to be a regular thing. By comparison, the most-played song has been documented to appear 328 times.Well, I am wrong on that and glad I saw the shows I did. Huh.
KarmaPolice
Footballguy
There are 524 Lord Huron shows listed on setlist.fm. 24 of them have Harvest Moon in the setlist. The actual number is probably higher since some shows don't have documented setlists. But it certainly doesn't seem to be a regular thing. By comparison, the most-played song has been documented to appear 328 times.Well, I am wrong on that and glad I saw the shows I did. Huh.
Very weird. Well, I associate the song with Lord Huron now from a couple shows. I never thought to verify songs played like that, thanks.
Mt. Man
Footballguy
The #16s were very high quality to my ears, one of the strongest playlists so far. I could’ve highlighted (almost?) twice as many songs as I usually do. It’s implied that I usually pick a top (whatever #) even if I like more songs, and it’s incredibly true here.
Selected (And Shuffled) Favorites
My Bones - The Pretty Reckless
Blinding Light Show/Moonchild - Triumph. Very proggy. And dare I say “Blinding Light Show” is somewhat Floyd-like?
So Ordinary - Ryan Star
I Don’t Know What To Do With Myself - Tim Maia
Heartbreakin Man - My Morning Jacket
Lose You Now - Lindsey Stirling & Mako
Same Old Situation (S.O.S) - Motley Crue
Via Chicago - Jeff Tweedy
I’m Every Woman - Whitney Houston
Janie Jones - The Clash
Shuffle Adventures
The combo of Radiohead’s “A Wolf at the Door” and “E-Bow the Letter” from R.E.M. came together relatively early in the playlist. Two songs I almost included above, though being here is appropriate too.
Selected (And Shuffled) Favorites
My Bones - The Pretty Reckless
Blinding Light Show/Moonchild - Triumph. Very proggy. And dare I say “Blinding Light Show” is somewhat Floyd-like?
So Ordinary - Ryan Star
I Don’t Know What To Do With Myself - Tim Maia
Heartbreakin Man - My Morning Jacket
Lose You Now - Lindsey Stirling & Mako
Same Old Situation (S.O.S) - Motley Crue
Via Chicago - Jeff Tweedy
I’m Every Woman - Whitney Houston
Janie Jones - The Clash
Shuffle Adventures
The combo of Radiohead’s “A Wolf at the Door” and “E-Bow the Letter” from R.E.M. came together relatively early in the playlist. Two songs I almost included above, though being here is appropriate too.
Pip's Invitation
Footballguy
I can see that, though I think the Rush similarities are more obvious. From a chord-progression standpoint, I think the Floyd song it's most similar to is "Hey You," which was written after this song.
Mrs. Rannous
Footballguy
Well, the Umlaut playlist is pretty much ready to go. What a long strange trip it's been. Everyone should find something new and different here.
Yo Mama
Footballguy
Süper ěxcïted!
Eephus
Footballguy
Marr #16 / Solo #6 - Johnny Marr - "Walk Into the Sea" (2016)
This is from Johnny's third solo album Call the Comet which is a loose concept album about a dystopian post-Brexit future. But this song is more about the sensory overload of walking into the sea and feeling its power. I don't think "Walk Into the Sea" has anything to do with "March Into the Sea" which was the opening track of the Modest Mouse album that Johnny played on.
This song is one of the more musically adventurous compositions in his solo catalog. It opens with a descending piano chord pattern followed by a repeated guitar line and surging strings that show the influence of his film work. The intro builds for a minute and a half before the vocals kick in. The verse is relatively sedate but then the band crashes in with a spoken word section over a background of power chords and heavy drums. The two musical motifs combine as the song continues to build to its conclusion with "hope breaks on me" and "take me down" repeated like mantras.
This is from Johnny's third solo album Call the Comet which is a loose concept album about a dystopian post-Brexit future. But this song is more about the sensory overload of walking into the sea and feeling its power. I don't think "Walk Into the Sea" has anything to do with "March Into the Sea" which was the opening track of the Modest Mouse album that Johnny played on.
This song is one of the more musically adventurous compositions in his solo catalog. It opens with a descending piano chord pattern followed by a repeated guitar line and surging strings that show the influence of his film work. The intro builds for a minute and a half before the vocals kick in. The verse is relatively sedate but then the band crashes in with a spoken word section over a background of power chords and heavy drums. The two musical motifs combine as the song continues to build to its conclusion with "hope breaks on me" and "take me down" repeated like mantras.
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I should mention that not all of these are on Spötify. I'm gonna try, but I will not compromise on quality or weird.
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