Modern Music: 2005-11-20

One of my favorite release...

about album:
Unlike some of Everett's other albums, most notably Electro-Shock Blues, Souljacker is mostly based on stories of outsiders rather than on Everett's own life. Characters were inspired from various sources, including circus freaks ("Dog Faced Boy") and a recording engineer with an abusive past ("Bus Stop Boxer"). German director Wim Wenders called "Woman Driving, Man Sleeping" his favorite Eels song. Wenders directed the video for the album's lead (and only) single, "Souljacker part I", which was released in the UK on 10 September 2001 and reached #30 in the singles chart. The second track on the album, "That's Not Really Funny", was used as the theme tune to the BBC's animated comedy, Monkey Dust.

Sunday, November 20, 2005

David Bowie:Let's Dance

Let's Dance is an album by David Bowie, released in 1983. It is a dance album

with co-production by CHIC's Nile Rodgers. It was a departure from Scary Monsters (and Super Creeps) for which Bowie received a bit of inside criticism; rather than joining the musical revolt against 1980s dance music, he had definitely joined the scene. Its title track has become a standard, and the album also featured the singles "Modern Love" and "China Girl", the latter causing something of a stir due to its suggestive promotional video. Oddly enough, "China Girl" was actually a new version of a song which Bowie had co-written with Iggy Pop for The Idiot. Let's Dance is also notable as a stepping stone for the career of the late Texan guitar virtuoso Stevie Ray Vaughan, who played on the album.

All songs written by David Bowie except "China Girl" lyrics and music by David Bowie and Iggy Pop, "Criminal World" lyrics and music by Peter Godwin, Duncan Browne, and Sean Lyons, "Cat People" lyrics by David Bowie, music by Giorgio Moroder.

David Bowie:Scary Monsters

Scary Monsters (and Super Creeps) is an album by David Bowie.

It was Bowie's final album for the label and his first since the so-called "Berlin Trilogy" of Low, "Heroes" and Lodger (1977-1979). Whilst critically a triumph, the trilogy had proved less successful commercially. With Scary Monsters, however, Bowie achieved a major coup on both counts, the music press heaping praise on the new album and public anticipation being high enough to ensure that it debuted in the UK charts at #1.
Amg:
David Bowie returned to relatively conventional rock & roll with Scary Monsters, an album that effectively acts as an encapsulation of all his '70s experiments. Reworking glam rock themes with avant-garde synth flourishes, and reversing the process as well, Bowie creates dense but accessible music throughout Scary Monsters. Though it doesn't have the vision of his other classic records, it wasn't designed to break new ground -- it was created as the culmination of Bowie's experimental genre-shifting of the '70s. As a result, Scary Monsters is Bowie's last great album. While the music isn't far removed from the post-punk of the early '80s, it does sound fresh, hip, and contemporary, which is something Bowie lost over the course of the '80s. [Rykodisc's 1992 reissue includes re-recorded versions of "Space Oddity" and "Panic in Detroit," the Japanese single "Crystal Japan," and the British single "Alabama Song."

Interview with David Bowie

Modern Music 80s Rock
The recurring statement through your ’70s

interviews was about trying to shake off that middle class ball and chain.

“I’m lumbered with that problem. I mean, I’ll have it for the rest of my life. Ha ha.”
Succumbing to it?
“I think so, yeah. I think I’ve accepted that situation. There’s no way I can make myself other than what I am. (Bowie pauses and bursts out laughing) Now that’s a funny thing for me to say
isn’t it? (Laughter) What a ludicrous thing to say, David! But it is somewhere in there, yes. One faces up to all these things. I’m armed with all these things, my problems with my own background, my own personal problems, or whatever. I’m not so detached from myself any more. I feel in touch. (Mimes peace sign, laughing) Hey, I feel in touch with myself!”

How do you think your 17-year-old self would feel if he were confronted with your 36-year-old self?

“My 17-year-old self would think, er, especially regarding the drift to where I’m presumably going, that self would probably think, ‘Aw what a waste,’ ha ha ha, ‘It’s going to be really boring.’
Ha ha. And I’d say, ‘You wait ’til you’re 36! Ha ha. You won’t think it’s quite so exciting just working in dark areas.’ Ha ha.”

Last year Lou Reed said he was quite prepared to write rock’n’roll songs for adults. On ‘Scary Monsters’ you seemed to be addressing the young still.

“Did it really feel like that? That’s interesting. You could probably answer that better yourself, but I would imagine it seemed like that because the instrumentation, the actual effects of the instruments and quality of production…”

When you purged yourself of the Victoria incident (you’ll recall the time Bowie arrived at Victoria Station in a Mercedes limo with a theatrical flourish of outriders, salutes and loaded
statements), you were saying it was some people of Berlin’s far left that swayed you. How did they approach you on the incident?

“The most illuminating conversation about that was with a couple of guys who really took me to task about the things I said about fascism in 1976, and they made me very aware of how much
thought one should put into what one does and says.
“They weren’t responsible for making me fi nish with that whole drug period or anything, but they set me up and caught me on a very bad day, you know, ha ha. (In a heavy Teutonic tone) ‘So you still a Nazi, David?’ Oh dear! Crumbs! They gave me a real ticking off and that really put me straight, I think.
“It really sorted that out in my mind about not being quite so fl ippant or fragmented or stupid or stoned out of my gourd to let myself get involved with those kinds of just hideous reflections…

“My problem is that after I’ve written something, or when I’ve started writing something, I then try to intellectualise what I’m doing, And that’s when the problems usually begin! Especially when you try and intellectualize when you’ve just done a gram of cocaine, ha ha, and the offcoming statement is usually something that one doesn’t want to refer back to a few years later.”

Are drugs completely out now?
“Oh absolutely! Drugs are no part of my writing or recording or anything. It’s impossible to

consider your life worthwhile, or the life of those around you worthwhile, if you’re just fractured like that. I mean, God knows what would have happened to my son if I was continually stoned over the last ten years. I probably wouldn’t have him. He certainly wouldn’t have wanted me.”

He seems quite a sober character, from what you were saying at the press conference about his love for maths.

“Yeah, he likes Madness, though. Loves them. I thought he was going to start liking A Flock Of Seagulls, which worried me a lot. But he saw them on television and fortunately decided
they weren’t for him. Ha ha.”

Seconds to go: panic!!! David Bowie is modifying his reappraisal of his legacy, rightly claiming his past work can be played as photojournalist snaps of the mood and atmosphere of the time they were written, when his publicist arrives to bring the interview to a close.

“If you want to conjure up the atmosphere of any particular period, well, for me I can do it quite easily by putting on one of those albums. If you put on ‘Station To Station’ it couldn’t be from any other period than when it was written.

“I don’t know how the songs feel onstage, not being an audience for my own work. I don’t know if people can still treat them as contemporary pieces…”
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interview:David Bowie 80s

And it’s not satisfying because it’s not very

useful, except – as Brian Eno would say – for setting up a new kind of vocabulary. Now I’ve got the vocabulary I’m supposed to do something with it! Ha ha.”

On the other hand the subliminal aspect of electronics allows one to speak more through the music than does rock’n’roll, where the vocabulary is so well known it has lost its effi cacy.

“That’s the promise, surely, yeah. It does speak in those terms,but I think also to reach a large audience they’re not willing to listen to music, or play the records, if they’re couched in terms
they’re not really familiar with.

“I mean, they’re not going to sit and listen to that kind of music and accept it. It’s like American television; the record buying public of America is still very much in the television format mentally and it is impossible for them to listen to something that doesn’t make its point in the fi rst 30 or 40 seconds. And I’m starting to subscribe to that at the moment.”

Previously you’ve said you’re not worried about your experiments losing your old audience, that you were content to pick up new audiences as you go along.
“Hmm.”
Are you effecting a reconciliation with your old audience?
“I don’t think so. The music I’m writing at the moment is probably going to reach a newer audience for me. But if I am going to reach a new audience, then I’m going to try and reach it with something to say, which is on a very obvious and simplistic level.I don’t want to be the grandfather of the new wave by any means.

“For me, I’m writing something that I’ve never really touched on before, which is a one-to-one situation. I mean an emotional situation between two people. Such a situation seems to take up
at least five of the tracks on the album. The love situation, the emotional situation between two people seems to have escaped me – or I’ve avoided it is probably nearer the truth – since
I started writing. Usually, it’s been the man in isolation and all that. Whether I’m becoming either one, comfortable or two, complacent with myself – I dunno which it is – but it is something I can feel I can now get involved with as a writer.”

I suppose the obvious question to that is: is it a response to your personal situation?
“Very much so. Are you married? So you don’t have children? I would never have thought it possible, but for me the one most enjoyable and hope-giving quality of my life over the past four of five years is my son.

“That’s had a very positive and strong bearing on whatever I intend to do in the future. I feel I have to make a commitment to something more altruistic to that which I’ve been concerned with before. If that sounds like a turnaround, then it’s a turnaround, and it has to be and I would have to face that charge. But I don’t think it will quell my natural inclination to want to experiment with music, though I think it will modify it greatly.”

You wouldn’t want anything you do to upset your son?

“It would make me refl ect on anything that would produce the kind of nihilistic quality which was part of my early music.

“Hopefully I was falling out of that anyway. That period had a lot to do with my problems as a human being. To produce that kind of music, though it’s interesting to look at someone really
fucked-up writing music, it’s not very helpful.

“The very simple problem is that we’re on a terrifying voyage and the effects that have been brought about by those causes are really quite transparent and obvious the need to belong to small tribal units when there seems to be too many other people about; the mistrust of somebody who is not from one’s own origins.
“Those kinds of things are so obvious that I guess maybe it’s quite a good idea to write

about them in a very obvious way. And I want to utilise videos to the same extent.

“It’s easy enough to glamorise a pop song. I’ve done that often enough in the past! You know, give it a surreal quality, kind of detached. That’s fi ne if you’ve got time to watch promos at that level, but these videos reach too many people and, anyway, there’s too many of those kinds of videos.

“So it occurs to me that it would be a very good idea to utilise those four minutes of space and try to make them say something simple and as hard-hitting and as hard-selling as a commercial,
but in terms of human quality and human life as opposed to, ‘This is the kind of outfi t, this the way you wear it and this is the kind of cool you have to have to be able to carry it off.’”

Is it easier to deal with complexities on film than it is in song?

“That is the problem I’m having, dealing with it in song format. Sometimes you can end up sounding neo-Dylan or something and that is already stylish and part of a particular cliquey kind of songwriting. I’m not very good at it yet. I’m still working on the one-to-one relationship, and from within that situation trying to create an overall humanist feeling.
“It is hard. I think Jim – Iggy Pop – is much better at it than me. If he could be manoeuvred into that kind of situation he could produce some stunning social observations.
“‘China Girl’ (by Pop and Bowie) is another track on the album. Now that’s a committed piece of writing, it’s a very strong piece. Where, for instance, the subject matter of ‘Let’s Dance’ is
nebulous. There is an undercurrent of commitment, but it’s not quite so straightforward…”

How do you feel about your legacy of songs in light of your present positive attitudes? Can you still sing them?

“Oh quite easily, yes. No problem at all. I’ve started listening to a lot of my old stuff, gone back to fi nd out what I was writing then and why. I guess they kind of stand up in their own place in time.

I don’t think of them, like, that’s a great old chestnut, sounding
good year after year, but they’re all interesting.

“With every song I’ve written I identify so much with the time and place that it was written in. It’s hard for me to shake off the particular year or particular trauma I was going through at the
time. It’s much easier for the audience to do that.”

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The interview:David Bowie

The interview

The strongest impression left by your press conference was your concern about the worthwhile nature of popular music.

“For me, personally. My business is my business and it just strikes me… er, I don’t really have the urge to continue as a songwriter and a performer in terms of experimentation – at this moment. I feel that at the moment I’m of an age – and age has an awful lot to do with it – I’m just starting to enjoy growing up. I’m enjoying being my age, 36, and what comes with it in terms of the body. It actually physically changes. Mentally and emotionally there are
big changes, especially if you have been thrust in front of popular and mass observation.

“If you’ve been observed, as I have for the last 12 years, well, you have to contend with that one way or another. You either care about it, or you don’t any more. You think, ‘Well, as I have this
platform, there’s something I can do with it.’

“And, frankly, I don’t think I would want to continue performing any more if I didn’t think I could do something hopeful and helpful with my music, both for myself and my audience.”

How do you define music that is “hopeful and helpful”? What evidence we have from you at the moment is a celebratory dance record, as opposed to something that points anywhere.

“Yes. I think it will have a lot to do with (adopting a mock preachy tone) people shouldn’t fight each other. People shouldn’t kill each other and people should try to live together.”
Isn’t that a little simplistic?

“Yes, it is simple.”

Your positivism seems to parallel that of Jack Celliers, the character you play in Nagisa Oshima’s Merry Christmas Mr Lawrence – leading by action and deed.

“Instead of intimating change try and do something about it.”

You identified pretty closely with the character, then?

“Yeah, I think I immediately identifi ed with him because of his own personal turmoils, his and mine stemming from different sources. With Celliers, he’s ridden with guilt most of his life
because of his relationship with his younger brother, which caused him to embrace that particular strength. That is pointed up a lot more in Oshima’s screenplay than it probably is in the book.

“I guess it’s the idea of through all my experimentations I have learned a lot and there must be something I can do with it on a very simplistic level now. I don’t have the urge to play around with musical ideas. At the moment. Any more.”

The present loss of urge to experiment… is that an indictment of the ‘Low’/‘Heroes’/‘Lodger’ period? Can’t humanity and technology sit together?

“It’s just another way of using my songs, I think I’m just a little tired of experimentation now. But electronics are rewarding in terms of playing around with atmosphere and trying to reach
different parts of the mind, funny corners of the mind…”

But there is a proliferation of synthetic instruments being used in that kind of icy cold vein.

“It’s such a wide sweeping statement that, at the moment, I feel it’s very hard to use those instruments without a kind of preconditioning already there. That if you use the synthesizer it
means this particular thing: that I’m part of this angular society.

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Serious Moonlight

Modern Music
David Bowie 80s Special
It’s been a long, strange, tripfor David Bowie from ‘Scary Monsters’ to ‘Let’s Dance’, lasting two movies and three years, plugged only by three bizarre single collaborations.

There was Bowie and Brecht on the excellent ‘Baal’ EP, Bowie and Moroder on ‘Cat People’, the
overblown melodrama of which makes perfect sense when heard over the closing credits of the film and,finally, the oddest of them all, Bowieand Queen on ‘Under Pressure’!

"Yes, I found that quite odd,” smiles Bowie. “I’m not quite sure how I got involved in that really. They turned up in Montreux, which is not far from where I live in Switzerland.Needless to say when groups come to town to record, they fi nd out where I live… so this is how I tend to see
a lot of bands, under the influence of Switzerland.”

Once the shock of Bowie working with Queen passes, it stands up surprisingly well, and Bowie’s
words are consistent with both the sentiments of ‘Scary Monsters’ and the positive Bowie to come – his new LP, ‘Let’s Dance’.

Despite the persistent line about Bowie’s inconsistency, he has always been remarkably constant in those matters he cares most about.

His concern for the young dates right back to Ziggy Stardust when he was first alerted to the awesome responsibility that goes with mass popularity. His “inconsistent” taking and shredding of masks, his cultural leaps are all ways of keeping that responsibility fresh and his audience on their toes.I mean, can’t a man change his mind without being hauled over hot coals for doing so?

If rock critics have generally been loath to acknowledge his integrity, preferring instead to see only the chameleon figure intent on protecting his privacy from public scrutiny, the Japanese director Nagisa Oshima chose Bowie to play a godlike prisoner of war Major Jack ‘Strafer’ Celliers in his upcoming film Merry Christmas Mr Lawrence precisely because he saw in him such a quality.

“People ask my why I cast actors from the world of rock,” remarks Oshima in the film’s publicity
notes. “It is because they are sensitive to what people want now, they are performers; their antennas are screwed on right and they don’t mind getting in there and having a go at the truth.”

The David Bowie sitting opposite is charming and chatty, laughing frequently to relieve the tension.

Now aged 36, he has never looked healthier. His sun-bleached hair is a natural straw colour, his face tanned an ochre brown by his recent working sojourns in Australia and the South Seas. He is spritely dressed in an olive green khaki blouse that emphasises his boyishness.

Within the confines of a 50-minute interview he is extraordinarily forthcoming about his work, revising opinions of his past in light of his present attitudes. Quite naturally he only lets slip so
much of himself as is relevant to what he is doing. Dare we expect more from our public figures?
Source:nme originals 80s

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David Bowie:Space Oddity

Space Oddity which is originally released as Man of Words/Man of

Music, is a 1969 album by rock musician David Bowie.

His first ever hit single, the super-topical "Space Oddity," had scored on the back of the moon landing that summer, and so distinctive an air did it possess that, for a moment, its maker really did seem capable of soaring as high as Major Tom.

Still the song with which Bowie is most often identified, "Space Oddity" was a largely acoustic number augmented by the eerie tones of the composer's Stylophone, a pocket electronic organ.

"Unwashed and Somewhat Slightly Dazed" reflected a strong Bob Dylan influence, with its harmonica, edgy guitar sound and snarling vocal. "Letter to Hermione" was a farewell ballad to Bowie's former girlfriend, Hermione Farthingale, who was also the object of "An Occasional Dream", a gentle folk tune reminiscent of the singer's 1967 debut album.

"Cygnet Committee", has been called Bowie’s "first true masterpiece". Commonly regarded as the album track most indicative of the composer's future direction, its lead character is a messianic figure "who breaks down barriers for his younger followers, but finds that he has only provided them with the means to reject and destroy him". Bowie himself described it at the time as a put down of hippies who seemed ready to follow any charismatic leader.

David Bowie:The Man Who Sold the World

The Man Who Sold the World, for most intents and purposes, is the

beginning of David Bowie's classic period.

The album was Bowie's first with the nucleus of what would become the 'Spiders from Mars', the backing band made famous by The Rise and Fall of Ziggy Stardust and the Spiders from Mars in 1972.

NME critics Roy Carr and Charles Shaar Murray have said of The Man Who Sold the World, "this is where the story really starts".

Much of the album had a distinct heavy metal edge that stands it apart from Bowie's previous releases, and has been compared to such contemporary acts as Led Zeppelin and Black Sabbath.
The album has been cited as influencing the goth rock, darkwave elements of work by artists such as and science fictionalSiouxsie & the Banshees, The Cure, Gary Numan, John Foxx and Nine Inch Nails.

Top 10 radiohead songs

#10 – 2 + 2 = 5 (Hail To The Thief)
This is the opening track to the band’s most recent, and indeed very strong album. It is a more rocking number which we have not been used to from Radiohead as of late, and so to open the new album with a song such as 2 + 2 = 5 catches the listener off guard, making the song seem all the better. Especially since at the start, it doesn’t seem like it’s going to rock that much at all. You get a bouncy, processed drumbeat and an oppressive but quiet guitar riff that rolls along with Yorke’s innocent voice at first. About halfway through the song suddenly bursts out of its shell, turning into a real rock monster of epic proportions. The drums pound into gear, the guitars become wild and distorted and wailing, and there is soloing all over the place as Yorke screams ”You have not been paying attention!” angrily. This song releases the tension perfectly and is a Radiohead classic already in my books.

#9 – Idioteque (Kid A)
Kid A is a great album, and that’s what it was good as, and album, a collection of songs. None of the songs could really be taken out and spoken of as “standout”. That is, except for this cheeky little dance number. When I say dance I mean dance, it has a dense backing thud that resonates throughout the whole song, and an upbeat, bouncing feel to it. But it is still Radiohead, thanks to Thom’s whining vocals, and they can pull off a dance tune just about as well as they can pull off any other type of song. There are of course stuttering processed drums and lots of atmospheric noises and bleeps and blips throughout this one, otherwise it wouldn’t be a dance tune! Seeing this one performed live is an experience, they turn it into an epic, and a lot more fun than it sounds when played in your home. Another signature tune of the band.

#8 – Knives Out (Amnesiac)
Taken from an exceedingly weird album, this one is an exceedingly normal sounding tune. Two guitars intertwine excellently in the forefront, creating a spooky, frightening riff and driving the song along at a pretty fast pace. Someone once said to me that this one is simply No Surprises from OK Computer played faster. I’m not sure I saw where he was coming from, but this one is certainly one of Radiohead’s finer and more disturbing tunes. Compared to the rest of Amnesiac, which is full of electronica, it’s a joy to hear the guitars. The two of them churn away, dominating the song, weaving a beautiful tune, and a couple of really neat instrumental parts. Yorke’s vocals add the perfect finishing touch to the intimidating, scary feel of this one.

#7 – The Tourist (OK Computer)
The closer on the album of the decade, this is the perfect easy-listening song, and one of the most beautiful and relaxing songs I know of. The guitar melody is heavenly, the vocals are pure, clean and innocent, the harmonies are even better, and the slow, sluggish pace of the track compliments all this and brings it together perfectly. Yorke owns the chorus of this one, sounding more anguished than ever as he stretches out words further than the limitations of most normal human beings. A big distorted solo almost begins early in the song, but holds off until later when it bursts out, not spoiling the calm, melancholy mood one bit. It all ends with the ting of a bell or something, very abruptly yet satisfyingly.

#6 – There There (Hail To The Thief)
The reason this one is placed so high is because it is one of those songs that just gets better and better with every single listen, it creeps underneath your skin and never crawls out. It is a dense and dark, but sleek and sexy tune. Oddly popping drums play a great beat, and some dominant groovy bass underlines the presence that this song has in the opening stages. Of course Yorke’s wail backs this up perfectly. Gradually the guitars work their way into the song, and at the end all the built up energy is released in a huge fiery ball of distortion and soloing as all instruments go into overdrive, and Yorke repeats ”We are accidents waiting to happen”. This one builds up and releases tension brilliantly, all throughout the song I particularly love the unexpected little bursts of drumming that eventually culminate in some steady thumping when everything goes crazy at the end. This one also featured the uber-cool video in the forest, one of the videos of the year 2003 in my estimation. The atmosphere of the song was captured perfectly in this excellent and slightly disturbing video.

#5 – Just (The Bends)
This is what you’ll get with this song. You will get some tremendous, inspired guitar work from Johnny Greenwood. Solos, tremolo picking, the lot. You will get a steady, harsh yet tuneful straight rock song. You will get a simple, refreshing, vibrant acoustic guitar that begins the song and plays all the way through it. You will hear a lot of heavy distortion, a lot of screeching and yelling from Thom Yorke, and some feedback. There will be some beautiful melodic guitar in the lead-up to the chorus, and some driving, forceful guitar when you finally reach it. You will get a quiet, almost acoustic break. You may hear a couple of absolutely ripping solos and an inspired, complex riff to close the song out. Basically what you’re getting is the finest noisy rock song Radiohead have ever done.

#4 – Karma Police (OK Computer)
A legendary Radiohead track, both when played live and generally in the eyes of nearly every fan of the band. This track is sinister to the max, with an evil, lurching piano line driving it along. The verses are reluctant, held back and you know there must be something big about to happen after them. There are short quiet spells where Yorke songs ”This is what you’ll get when you mess with us”, with soft piano, and the gentle squeaking of guitar chords being changed barely audible in the background. The crescendo is complete when the song goes into a more positive, chirpy mode of sorts, with the line ”Phew, for a minute there, I lost myself” carrying everything along. The piano steps up a gear, and Yorke lets loose. It just begs to be sung along to, the perfect ending to the song, and it all breaks down with a big ripping, fuzzy sound.

#3 – Paranoid Android (OK Computer)
This song has to be up here, as it showcases all the talent of this band. I have described it a couple of times before, so I’ll be brief. You get the start, the clicking, upbeat, punchy section with spooky atmospheric breaks where Yorke stretches out words again. Then two massive ripping guitar solo sections sandwich a beautiful vocal harmony part. This song relaxes, then attacks, then relaxes then attacks. It is tremendous, a six and a half minute epic, and worth every second of it

#2 – Pyramid Song (Amnesiac)
A stuttering, out of time masterpiece. That sums up this exquisite and beautiful piece of music. Pyramid Song is the immediate standout track on Amnesiac, starting off with a simple piano line and Yorke’s anguished vocals. The song soon builds up, spurred on by some hazy background noises, giving the impression of being underwater. Everything is so out of synch on this one that it all seems to fit perfectly, especially when the drums patter in, playing their own rhythm and fantastically unexpected and unpredictable fills. When the strings are added, swelling up in the background, you can just close your eyes and drift away, letting this gorgeous musical experience possess you. Pyramid Song is a work of art, no less than that.

#1 – Street Spirit (Fade Out) (The Bends)
And here we have it, the finest Radiohead song ever in this reviewer’s humble opinion. Surprised? You really shouldn’t be. This is a wonderful, refreshing, depressing, melancholy, intimidating, oppressive and brilliant tune. Any number of adjectives still could not describe it. It closes The Bends, and so could easily be shaken off and ignored by many. But how can you ignore that tremendous, melodic guitar riff that runs through the entire thing? How can you say you don’t love the dragging, lingering chorus that is extremely hard to sing (if you’ve ever tried to sing along to this one)? The image this one puts in my head is a starry night, pitch black, as that’s what the guitars in this one sound like, a bunch of twinkling stars. Particularly when the second, chiming guitar joins in later on, complimenting the first guitar more beautifully than anyone could care to imagine. Oh, how I love this song. It is Radiohead’s finest, for sure in my mind.

Modern Music

Friday, November 25, 2005

Modern Music Reviews

Monday, November 21, 2005

eels - souljacker

Sunday, November 20, 2005

David Bowie:Let's Dance

David Bowie:Scary Monsters

Interview with David Bowie

Mission, The - 1990 - Carved In Sand

interview:David Bowie 80s

The interview:David Bowie

Serious Moonlight

David Bowie:Space Oddity

David Bowie:The Man Who Sold the World

Top 10 radiohead songs

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