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The Best Piece of Music Ever Recorded... Ever!

 
 
Seth
01:21 / 14.06.05
Be Thou My Vision is probably the best song ever written in my book. But I'm not sure it has a definitive recorded version yet, so in the meantime...

Gabriel's Oboe and its variants from Ennio Morricone's The Mission OST is an obvious choice, but deserves mention because of that, not despite it. How can one piece of music so effortlessly evoke the Majesty and Humantity of Christ Incarnate? It floors me every time.

Brooklyn Zoo from Old Dirty Bastard's Return to the 36 Chambers: The Dirty Version is unbeatable for pure stomp along, testify to all that's Holy, clutching your balls beauty. The piano riff defies belief, it's the sound of one man's undisputable radiant brilliance over the tune of another man's undisputable radiant brilliance. Check it:

I'm the one-man army, Ason
I've never been tooken out, I keep MC's lookin out
I drop science like girls be droppin babies
Enough to make a nigga go crazy
Energy buildin, takin all types of medicines
Your ass thought you were better than
Ason, I keep planets in orbit
While I be comin with teeth, bitin more shit
Enough to make ya break and shake ya ass
Cause I create, rhymes good as a tasty cake mix
This style, I'm mastered in
Niggas catchin headaches, what? What? You need aspirin?
This type of pain, you couldn't even kill with Midol
Fuck around get sprayed with Lysol
In your face like a can of mace, baby
Is it burnin? Well fuck it, now you're learnin
How, I don't even like your motherfuckin profile
Give me my fuckin shit, CH-Chick-Bloaw!
Not seen and heard, no one knows
You forget, niggaz be quiet as kept
Now you know nothin, before you knew a whole fuckin lot
Your ass don't wanna get shot!
A lot of MC's came to my showdown
To watch me put your fuckin ass lo-o-ow down
As you can go, below zero
without a doubt I've never been tooken out
by a nigga, who couldn't figure
Yo by a nigga, who couldn't figure
Yo by a nigga, who couldn't figure
how to pull a fuckin gun trigger
I said, "Get the fuck outta here!"
Niggaz wanna get too close, to the utmost
But I got stacks that'll attack any wack host
Introducin, yo FUCK that nigga's name!
My hip-hop drives on your head like ra-a-ain
And when it rains it pours, cause my rhymes hardcore
That's why I give you more of the raw
Talent that I got will RZ-ock the spot
MC's I'll be bur-r-rnin, bur-r-rnin hot
Whoa-hoa-hoa! Let me like slow up the flow
If I move too quick, oh you just won't know
I'm homicidal when you enter the target
Nigga get up, act like a pig tryin to hog shit!
So I take yo ass out quick
The mics, I've had it my nigga, you can suck my dick
If you wanna step to my motherfuckin rep'
CH-Chick-Bloaw! Bloaw! Bloaw! Blown to death
You got shot cause you knock knock knock
"Who's there?" Another motherfuckin hardrock
Slackin on your mackin cause raw's what you lack
You wanna react? Bring it on back...


Fuckin' beautiful.

Mono's Halcyon, Beautiful Days is the perfection of the Godspeed You Black Emperor!/Mogwai blueprint. That probably sounds like a bold claim until you hear the electric guitar slowly build in, bringing to mind both a mandolin and the best symphonic drone-rock you can conceive. It's perfect instrumental rock music, somehow evocative of any and every mood you could want, touching and graceful. It's the best piece Steve Albini ever put his name to. You know from the outset how it will end, and when it happens... you just ain't gonna be prepared. Make sure you have it turned up loud...

I'm hoping this thread will teach me not to post on Barbelith after six pints of Cheeky Vimto...
 
 
Seth
01:56 / 14.06.05
And somehow Mono's A Thousand Paper Cranes is just as good. Anyone who posts about music on this forum who isn't listening to that music while they write isn't going to do justice to anything.
 
 
Chiropteran
18:33 / 14.06.05
Nigel Kennedy's recording of Vivaldi's The Four Seasons.

This recording (and especially the concert video) singlehandedly restored my dying faith in Classical* music performance. I grew up listening to mid-20th century recordings of Vivaldi - before "period practice" meant much of anything - that were bland, polite, uninspiring. Background music, dinner music. Modern performance of Vivaldi, and Baroque chamber music in general, was too alienated from life, the messy and passionate thing that it is, for me to find much in it.

As I got older, and began learning to play Vivaldi as well as listen to it, it became even harder to reconcile the tame, gelded Vivaldi of my old records with "The Red Priest" - Vivaldi himself - whom contemporary accounts described as literally frothing at the mouth with his eyes rolling back in his head as he played his solos at unheard-of speeds. (I was also listening to rather a lot of metal and industrial at the time, which did their part to shape my taste.) So, I decided to play Vivaldi the way I wanted to hear him. My approach wasn't terribly popular with my musical colleagues (nor, in truth, was I), but I did feel somewhat vindicated when I saw, on public television, Nigel Kennedy leading his chamber ensemble through The Four Seasons - he struck, I felt (and feel), a perfect balance between painstakingly-researched period technique and passionate contemporary temperment. His playing was lean and muscular like a coursing greyhound - so far from the flaccid dinner music I grew up with. In quiet moments his sound was as light and delicate as bird bones, and in the final Autumn Allegro he leapt clear off the stage to emphasize his downbeats. It was a performance that helped me realize, finally, once and for all, why we don't simply let this centuries-old music die.

That was years ago, and since then I have heard enough of the "right kind" of Classical music that Kennedy's Four Seasons no longer sounds as earth-shaking as it once did - it just sounds, now, like what The Four Seasons should sound like, which is a great achievement in itself.

I think I can honestly say that I would have given up the violin years ago if I hadn't heard and seen this performance.

*my comments here are restricted from roughly 1600 to the early 1800s, since the 19th century Romantic repertoire already had its share of intense and passionate champions.
 
 
Chiropteran
18:34 / 14.06.05
Oh, and yes: I'm listening to it right now.
 
 
Totem Polish
01:10 / 15.06.05
Red House Painters' cover of Silly Love Songs by Sir ('and don't you forget it' - Heather Mills) Paul Mcartney. For one because it takes an otherwise average song by an ex-Beatle, a historic fact which I believe retains some of it's credibility, and turns it into probably the most heart-breaking and expansive bit of classic rock burn out that ever existed. This pretty much distills the best of both bands for me, with Mark Kozelek turning on the epic noise guitar feedback thing he does so well on stuff like 'Katy song' from the first Painters self-titled lp and then steeping that in Macca's melodic simplicity. Therefore you have two generations of amazing musicians trading off on each others' strengths to create the most definitive statement of 20th century rock culture. It makes me go far too deep whenever I listen to it, particularly the line -

'How can I tell you about my loved one'

Something that captures the elusive subjectivity of love in such a pure and involved way that it never fails to widdle with my heart strings. Few bands make me cry without the intake of hideous amounts of weed, Mark Kozelek does it on pretty much every record. This song proves a lot about his power as a singer as well as the importance of what would seem as otherwise disposable rock posturings - I mean Wings, really!

End of earnest episode...now where's my 2 Live Crew cd?
 
 
at the scarwash
08:00 / 15.06.05
"En Relisant ta Lettre" by Serge Gainsbourg. From 1961's L'étonnant Serge Gainsbourg." This was probably the track that made me aware of exactly what lyrics were capable of. Oh, sure I'd learned by 17 to appreciate the wordplay of Morrissey, the fractured narratives of Tom Waits, the amazing powers of referentiality that the rappers I was starting to get into at the same time were capable of bringing to the table. But Gainsbourg, in this song showed me how a song could unzip itsel, could (I apologize for using the d-word) deconstruct itself as it was going. In this song, if you haven't heard it, Gainsbourg sings in a plaintive, sappy voice the words of a lover's letter to the beloved. And in a witheringly snide tone interlinearly comments (in the persona of the recipient) upon the spelling and grammar of the original text. It's a self-devouring love song. It's beautiful and terrifying:

T'as pas de cœur
Y a pas d'erreur
Là y'en a une
J'en mourrirai
N'est pas français

"Lonely Woman" by Ornette Coleman. I still feel it. I hear that frenetic ride symbol, and the shuddering double bass of the intro, and then Ornette and Don Cherry blast in like an apocalypse, like a kiss, like a whisper. I inhabit this piece of music like almost no other. I feel it. I am the lonely woman. This piece of music paints emotion like nothing else I've ever heard. It's so painful, so tender, and jazz still has never caught up to it. If I could accomplish 10% of what this song has done for me, then I will have done more with myself than I have ever expected

"The Classical," by The Fall. From Hex Enduction Hour. This record was my fourth Fall purchase, and I wsa already a committed initiate. And then I heard this. It's probably because it's the first track on the record, and it sounds like the entire history of rock and roll has fallen downstairs and shattered into pieces. In the end, I probably like "Hip Priest" or "Iceland" much more. But this track makes me cheer like a speeday full of NASCAR fans, it makes me want to break things for sheer joy of their beauty when they're broken. I'm not from the UK, but even I succumbed to the joys of the "highest British attention to the wrong details."
 
 
Benny the Ball
08:23 / 15.06.05
These Arms of Mine - Otis Redding, I don't think that a more heartfelt and pained song will ever be recorded, every note, every word comes straight from the lonliest and most loving part of Otis' soul. Makes all other songs sound like uncaring, unfeeling lymerics read by disinterested eight year olds.
 
 
matthew.
15:31 / 15.06.05
A Change is Gonna Come.

Sam Cooke.

Protest song.

Beautiful.
 
 
Spaniel
17:46 / 15.06.05
I think if you're going to post on this thread then you should make an effort to say a little more.

I still can't make up my mind, but if I settle on a tune I'll try to write no less than two hundred words.
 
 
uncle retrospective
18:53 / 15.06.05
Higher and higher by Jackie Wilson, I reckon has to be the finest song *ever*.
Why?
Do you have ears? I still have yet to find a song that will pick you up when your down and will have you dancing round the room when your up. Oh, and everyone has to try and sing along to the high backing vocals, you just can't resist it.
And if you can, your dead inside.
 
 
not-so-deadly netshade
04:47 / 16.06.05
Jesus! What a thread!

My short list?

Cooke's "Change Gonna Come"

Smokey's "Tears of a Clown" (not even The Beatles can touch this one)

Ronettes' "Be My Baby"

Stones "Jumpin' Jack Flash" (cliche? sure. but that middle section is a door into another universe)

And...I'm probably gonna get rapped in the mouth for this one but...."Bittersweet Symphony" which I will defend to the death.
 
 
Mistoffelees
06:06 / 16.06.05

Bob Dylan - The Man In Me (at the beginning of the Big Lebowski)

Deep Purple - Child In Time

The Jayhawks - Angelyne

Jean-Jacques Perrey - mary France

Morrissey - I can´t decide which song to pick!

Phish - Billy Breathes

Jackie Leven - Marble City Bar
 
 
haus of fraser
09:56 / 16.06.05
I think the point of this thread is to say WHY you like these songs lists are very very dull- like Boboss i'm trying to settle on suitable tracks but least make some effort.

re-read the thread summary by Seth:

In a last ditch attempt to get some passion and OTT music writing out of the Music & Radio forum, what is your favourite piece of music, ever? You can have more than one if you like, I'm praying it'll be a stupidly hyperbolic thread...

that's...

OTT music writing

not a list..


sorry to rant but please can you tell us why you like these songs...
 
 
ONLY NICE THINGS
10:46 / 16.06.05
Perhaps my eyes deceive me, but I seem to see an abstract that says:

In a last ditch attempt to get some passion and OTT music writing out of the Music & Radio forum, what is your favourite piece of music, ever?

Not:

In a last-ditch attempt to get some more words onto the Internet

Give. Reasons. Do. Not. List. Songs. This is not a My Guy profile of you. there is no My Guy profile of you, because nobody cares about you.

So, anyway. Bunch of possibles, but I'm going as a first choice for Station to Station, by David Bowie. Part of my love for this song is its sheer insanity. Picture the scene. Bowie has gone from introducing elements such as jazz piano into his work to producing a full-on soul album in Young Americans. Personally, beyond the title track, I have some problems with Young Americans, but it is certainly a fully-realised vision of an alternate approach to soul music. Having painstakingly assembled that facsimile, Bowie bundles into the rehearsal room and tells them that actually, he'd quite like to do atmospheric, ambient soundscapes with an edge of icy and entirely European menace. It's amazing they didn't lynch him.

So, Station to Station sees Carlos Alomar and Earl Slick essentially attempting to retool their entire modus operandi in the face of an utterly unreasonable request. And dang me if it doesn't work. Pre-Eno, Bowie has access neither to the depth and complexity of production or the electronic resources of Can or Kraftwerk, so instead we're looking at a sort of analogue ambient. The way StS coalesces remains for me fascinating - the way that frangementary little riffs of organ and guitar start to pull together into a mechanical, oddly loveless whole, underpinned by the rolling train noise switching from speaker to speaker. The entire first phase of the song is built on layers - instead of an instrument varying its delivery, another instrument is introduced. When Bowie's voice cuts in, and the guitar drops down to near-inaudible fretwork, you suddenly notice how much noise was being created. In particular the shimmering stray chord that morphs into Bowie's first word is quite shivery - there's a similar technique in "We Are the Dead", where it arguably works better, but here rather than dying off it launches the vocal - it's all about the forward motion.

Arguably after the start the rest of the song, following a pretty standard verse-chorus dynamic, is a let-down, but for me it rather extends the emotional affect of that opening through conventional means. Bowie's voice is pretty inhuman here. Lyrical analysis is probably outwith the field of discussion, but Bowie makes what are essentially the coke-sodden ramblings of a man gone wrong sound like he's trying to communicate a ransom demand - dislocated but urgent - a habit that emerges further and with more clarity on Heroes in particular. The way that the funk/soul-influenced instrumentation plays off a lyric influenced by Mitteleuropa, to the point of turning into a drinking-song at one point creates an odd hybrid. It's remarkable in the success with which it evokes European borders, European wars, long train journeys, refugee aristocrats and the consumption of enough snow to close Calgary airport.

Listening to it now, btw.
 
 
Spaniel
11:53 / 16.06.05
So this is to be a list thread, then. I imagine that's what Seth was hoping for.

For cryeye.
 
 
Mistoffelees
13:57 / 16.06.05
What do people need an explanation for? If you are interested, then listen to those songs, and then you may or may not understand, why people like them.

In the Thread summary he asks for "your favourite piece of music, ever", and that can be done by lists.

Anyway, what is to explain? I like those songs, because I like those songs. It´s as easy as that.
 
 
Spaniel
14:32 / 16.06.05
The abstract reads "I'm praying it'll be a stupidly hyperbolic thread..."

List threads are an ongoing frustation for many, many posters around these parts, and contributing to them is likely to bring the smack down. They tell the reader nothing more than this person likes x, and frankly why would I, or anyone else, be interested in that.

What's being asked here is that you engage with the community, that you argue your case, that you attempt persuade others to pick up your recommendations, that you show a little passion. If you don't feel capable of doing any of those things then don't bother posting.
In the last few months I've picked up some fantastic music because it was recommended on the Barb, music that I might have ignored had the posters not made a good case.

Bear in mind, Mist, that Barbelith isn't populated by your mates. We're not curious about you unless you earn it
 
 
Seth
15:12 / 16.06.05
If you are interested, then listen to those songs, and then you may or may not understand, why people like them.

I'm not interested. Because you didn't make them sound interesting.
 
 
ONLY NICE THINGS
15:38 / 16.06.05
I know it's a _bit_ of an extreme reaction, but is there a case for having "NO LISTS" as a modifier in a thread title, like "PICS" or "NSFW", and just deleting any list posts?
 
 
Jack Fear
17:07 / 16.06.05
Yes.

Yes, there is a case to be made for that. Had I the moderator powers, I would do it myself as a vigilante action.

ATTENTION SLACK-ASS BASTARDS: In the great classroom that is Barbelith, it is not enough to simply have the "right" answer; participation counts for 90% of your grade.

Posting a list w/o explanations = YOU FLUNK THE INTERNET.
 
 
Triplets
17:54 / 16.06.05
I'm not sure of favourite, but, it's a track I've always been able to come back to for the last, 10 years (or so?)

It's Messij by Cold Storage (apparently, consisting of one guy who worked for the sound team at Psygnosis). First appeared on the soundtrack of Wipeout 2097 for the Playstation (don't laugh!).

It's a minimalist piece of techno, and one could call it uninspired, I guess, but for a 15 year old Triplets it singularly get me hooked on techno and catapulted me into electronic music. With relentless drum beats it fits the game's pounding pace perfectly and the sampled female lyrics are just so energetic and upbeat it's great.

It's freeware and can downloaded here from the artist.
 
 
Triplets
17:59 / 16.06.05
To add: I think the reason I like Messij so much is, because, growing up in a fairly banal extro-Liverpool suburb, it was just so new and different for me. A track leading into a wholly new and unexplored genre and it's attendant subcultures. Gateway music.
 
 
Keith, like a scientist
21:03 / 16.06.05
the song I always come back to is Pavement "Summer Babe" from Slanted & Enchanted.

hyperbolic reason: there is something incredibly effortless about the song. a fairly simple song structure, simple instrumentation, simple melody, but it feels like walking around in the summer, with the sun on your face, but just the right amount of cool breeze flowing around you... peeking at beautiful girls through your sunglasses, and just taking in the beauty of it.

in the end, this would be my #1 "ever" song, but...of course, there are others, that fall shortly behind it, such as Lo Fidelity Allstars "Nighttime Story" because it is the instrumental beat equivalent of crying yourself to sleep at night when you are sad or heartbroken, with the absolute best album ending sample ever: "i had no idea it was going to end in such tragedy."

two ones from the somewhat "modern era." I have a couple others I would like to talk about it, but i will have to think of sufficiently worthy reasons for them ("Arabian Dance" and "Ziggy Stardust" spring to mind immediately).
 
 
Scrambled Password Bogus Email
14:25 / 17.06.05
The Koln Concert, by Keith Jarret.

Cos, you know, he made it all up there and then, on the spot, with no pages or nuffink. Improvised from start to finish.

And they weren't going to record it at all, but decided to at the very last moment. Which turned out to be a very Good Thing.

And it's, like, fucking amazing.

I mean, overdubbing endlessliy with processions of international standard session players (and claiming it was your band) and then getting Spike Stent or Jimmy Douglass or whoever to mix is one thing.

But - dudes - straight out the head, through the fingers, and onto tape, press and cut...now, that's something else.

That's Auld Skool!
 
 
Jamirus99
02:07 / 19.06.05
The first thing that jumps to my mind is the last song on Dream Theatre's new album, "Octavarium". Clocking in at more than 23 minutes, the song's a doozy....and it takes liberally from Muse; a great band, but certainly not the best, but there's something about this song that I can't get over.

However, I know the "real" best song to me has long been "Anna Lee" by The Exchange. YOu can listen to it on PureVolume....go do that!
 
 
electric monk
10:34 / 20.06.05
Krust and Saul Williams - Coded Language


Say what you will, call it hackneyed or whatever, but I've got it on the Media Player right now (quietly, the baby's sleeping) and it's proving damn hard not jump and dance around the room going "Urgh! Fuck! Ya!"

Whereas,
breakbeats have been the missing link connecting the
diasporic community to its drum woven past.
Whereas the quantised drum has allowed the whirling
mathematicians to calculate the ever changing distance between rock and stardom.
Whereas the velocity of the spinning vinyl, cross-faded, spun backwards, and re-released at the same given moment of recorded history , yet at a different moment in time's continuum has allowed history to catch up with the present.

We do hereby declare reality unkempt by the changing standards of dialogue.
Statements, such as, 'keep it real', especially when punctuating or anticipating modes of ultra-violence inflicted psychologically or physically or depicting an unchanging rule of events will hence forth be seen as retro-active and not representative of the individually determined IS.

Furthermore, as determined by the collective consciousness of this state of being and the lessened distance between thought patterns and their secular manifestations, the role of men as listening receptacles is to be increased
by a number no less than 70 percent of the current enlisted as vocal aggressors.

Motherfuckers better realize,
now is the time to self-actualize

We have found evidence that hip hop's standard 85 rpm when increased by a number as least half the rate of it's standard or decreased at three-quarters of it's speed may be a determining factor in heightening consciousness.

Studies show that when a given norm is changed in the face of theunchanging, the remaining contradictions will parallel the truth.

Equate rhyme with reason, Sun with season

Our cyclical relationship to phenomenon has encouraged scholars to erase the centers of periods, thus symbolizing the non-linear character of cause and effect.

Reject
mediocrity!

Your current frequencies of understanding outweigh that
which as been given for you to understand. The current standard is the equivalent of an adolescent restricted to the diet of an infant. The rapidly changing body would acquire dysfunctional and deformative symptoms and could not properly mature on a diet of apple sauce and crushed pears.

Light years are interchangeable with years of living in
darkness. The role of darkness is not to be seen as, or equated with, Ignorance, but with the unknown, and the mysteries of the unseen.

Thus, in the name of:
ROBESON, GOD'S SON, HURSTON, AHKENATON, HATHSHEPUT, BLACKFOOT, HELEN, LENNON, KHALO, KALI, THE THREE MARIAS, TARA, LILITHE, LOURDE, WHITMAN, BALDWIN, GINSBERG, KAUFMAN, LUMUMBA, GHANDI, GIBRAN, SHABAZZ, SIDDHARTHA,
MEDUSA, GUEVARA, GUARDSIEFF, RAND, WRIGHT, BANNEKER, TUBMAN, HAMER, HOLIDAY, DAVIS, COLTRANE, MORRISON, JOPLIN, DUBOIS, CLARKE, SHAKESPEARE, RACHMNINOV, ELLINGTON, CARTER, GAYE, HATHOWAY, HENDRIX, KUTL, DICKERSON, RIPPERTON, MARY, ISIS, THERESA, PLATH, RUMI, FELLINI, MICHAUX, NOSTRADAMUS, NEFERTITI,LA ROCK, SHIVA, GANESHA, YEMAJA, OSHUN, OBATALA, OGUN, KENNEDY, KING, FOUR LITTLE GIRLS, HIROSHIMA, NAGASAKI, KELLER, BIKO, PERONE, MAGDALINE, MARLEY, COSBY, SHAKUR, THOSE STILL AFLAMED, AND THE COUNTLESS UNNAMED

We claim the present as the pre-sent, as the hereafter.
We are unraveling our navels so that we may ingest the sun.
We are not afraid of the darkness, we trust that the moon shall guide us.
We are determining the future at this very moment.
We now know that the heart is the philosophers' stone
Our music is our alchemy
We stand as the manifested equivalent of 3 buckets of water and a hand full of minerals, thus realizing that those very buckets turned upside down
supply the percussive factor of forever.

If you must count to keep the beat then count.

Find you mantra and awaken your subconscious.
Curve you circles counterclockwise
Use your cipher to decipher, Coded Language, man made laws.
Climb waterfalls and trees, commune with nature, snakes and
bees. Let your children name themselves and claim themselves as the new day for today we are determined to be the channelers of these changing frequencies
into songs, paintings, writings, dance, drama,
photography, carpentry,crafts,
love, and
love.

We enlist every instrument: Acoustic, electronic.
Every so-called race, gender, and sexual preference.
Every per-son as beings of sound to acknowledge their
responsibility to uplift the consciousness of the entire fucking World.

Any utterance will be un-aimed, will be disclaimed -
two rappers
slain
Any utterance will be un-aimed, will be disclaimed -
two rappers
slain


Fuuuu-UCK! This should be Barbelith's theme song. This should be required listening in colleges across the land. This should be on every mix tape and mix CD EVAR!! This song should have a day of it's own declared by the UN on which we could, as a planet, collectively put this on our car and home stereos and just crank it up and dance it all out. Saul Williams voice and delivery are nothing short of brilliance encoded on plastic. His ever-increasing frenzy is perfectly timed and surpasses every limit you set for him in the back of your head. But doubt not. The Force is strong with this one. Krust's programming is near-flawless. The beats, I've noted, pull my heart into synchronization with them. I am under this song's power, and it lends me strength. My Berserker-Poet archtype is awakened. Approach me not, if you approach lightly.

Too bad the rest of the album is poo.
 
 
haus of fraser
16:54 / 20.06.05
Tainted Love by Gloria Jones

The original and the best version imho. From the opening trumpet blast you know its a winner- no disrespect to the more than adequate Soft Cell version (and the countless other covers of a cover that've come out over the years) but this song is pretty much perfect it brings a smile of joy to my face that no number of plays will take away from.

I remember discovering this lost moment of genius on a scratchy northern soul compilation that i inherited after a flatmate did a bunk from my old flat, leaving a couple of crap books and this record in the speed to leave. The record is good enough to forgive the extra on bills and rent i had to pay.

For those of you that think you know this song but haven't heard the original please hunt down this version- or PM me and I'll put it on a mix CD for you- you need to hear this track. Like Diana Ross or Martha Reeves but with grittier production. On a first listen you can't help but smile- you know the tune but suddenly its got soul- and lots of it.

Writing in this thread has prompted me to look up a little more about Gloria Jones- as I knew nothing about her- it turns out she was a one hit wonder who went on to become the partner of Marc Bolan and mother to their son. She was also the behind the wheel in the car crash that killed Bolan...

Imagine the perfect movie soundtrack mixed with a perfect summer party. This song screams soul and dancing. This is great dancing music, and everyone knows that Copey can't and shouldn't dance (its similar to Oliver Reed in Baron Munchausen) but with this on the stereo theres no stopping it!

Its made itself onto many many compilations and blasted its way across parties of anyone foolish enough to let me DJ, this song always brings a smile to my face.

Although there are a number of tracks that i could talk about being my favourite the recent mix CD thread brought this to mind- and there's nothing better than sharing a great great moment in music.

I may come back to this thread and write about other songs cos there's so many...

But again if you haven't heard this version beg, borrow or steal a copy cos its bloody great.
 
 
Brigade du jour
16:37 / 21.06.05
I reckon 'Les Fleur' by Minnie Riperton has got to be up there. It's one of those songs that just makes the heart beat a bit faster, then explode with joy and endless 'fuck yeah's seem to punctuate the fade-out.

cf. 'Elected' and to a lesser extent (and in a less bombastic and obvious way) 'God Only Knows' and 'Unfinished Sympathy'.

I'll be back in a year or two when I've remembered/discovered some more.
 
 
Mmothra
15:26 / 01.07.05
Every single moment of the o.s.t. to "The Harder They Come" is sublime but "The Rivers of Babylon" by the Melodians is my personal favorite...a perfect combination of soul and sensuality.

Another tune that easily qualifies is Bob Marley's "Soul Rebel".
 
 
Jack Fear
16:37 / 01.07.05
I know the "real" best song to me has long been "Anna Lee" ...

Another tune that easily qualifies is Bob Marley's "Soul Rebel" ...


YOU BOTH FAIL THE INTERNET.

SUPPORT YOUR ASSERTIONS

SHOW YOUR WORK
 
 
Brigade du jour
17:29 / 01.07.05
Blimey Jack, you're starting to sound like my GCSE art teacher ...
 
 
Brigade du jour
17:33 / 01.07.05
You've got a point though - I mean, not only is it explicitly stated in the summary that 'OTT music writing' is required, which probably means more than just 'ooh well, cos it's a great song' or something.

I for one haven't even heard OF a lot of the pieces mentioned here, never mind heard them, so I suppose a fairly detailed description might lead an unfamiliar reader to discover this ocean of unadulterated beauty for themselves.

Sorry about the art teacher thing, by the way. I didn't mean it.
 
 
Jack Fear
19:11 / 01.07.05
Actually, that's exactly the effect I was going for.
 
 
Brigade du jour
22:20 / 01.07.05
Jack, there's a strong streak of good in you, I just know it! Now please don't laugh at me if I trip over that easel again ...
 
 
Jack The Bodiless
21:10 / 03.07.05
Apologies if I kind of repeat myself from another thread, but this is my favourite song at the moment...

Silver Ginger 5 - 'Sonic Shake'

My favourite songwriter, and one of my favourite guitarists/singers/frontmen. Put simply, Ginger is the living spirit of rock n' roll, Lemmy having been content to trade off past glories for a good long while now. And 'Sonic Shake' - lead track from his 'glam' album with what now appears to be the one-off project, Silver Ginger 5 - is the dog's bollocks. Ginger throws away melodies, hooks and riffs on intros, b-sides and middle eights that lesser writers would base an album - a career on, and this is no exception. This is pure pop music, pure rock n' roll - a shade over three minutes long, and killingly loud, topped off with demented little kids screaming the chorus. You can almos hear the pyro going off with the opening riff (itself coming on like a brass section full of chainsaws, and only repeated once, in the background just before the final chorus). Fifties rock n' roll, sixties Motown, seventies glam, eighties punk, nineties metal, released in 2000 like no one told him that the words zeitgeist and gestalt don't gel. Guitar music to dance to, and mad as a bag of frogs.

"All aboard the super sonic SHAKE SHAKE SHAKE SHAKE!"

Fucking right. The rest of the album's stunning too, from 'Divine Imperfection's brass section and Supremes-style vocals bolted onto the chorus of an AC/DC blue collar bruiser, to 'The Monkey Zoo's melancholy phased guitars and synthesisers and constant, uplifting vocal harmonies, to 'Brain Sugar's loopy take on the Rolling Stones, and of course to the awe-inspiring 'Too Many Hippies (In The Garden Of Love)', a breakneck dance metal classic in a similar vein to Ministry's 'Jesus Built My Hotrod' - coming on like a cross between Atari Teenage Riot and Slade, crazed backing vocals courtesy of what sounds like the unholy trinity of Diamanda Galas, Aretha Franklin and Vic Reeves, the bridge namechecking icons of the peace and civil rights movement of the sixties who ended up dying violent deaths...

And the album's called Black Leather Mojo, just in case anyone missed the point. Class.
 
  
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