I like the song “Still You Turn Me On” by ELP, but it contains what’s arguably the worst rhyme in the history of bad rhymes, which makes me cringe every time they get to it:
[QUOTE=ELP]
Every day a little sadder
A little madder
Someone get me a ladder
[/quote]
Oh, and regarding my love for The Smashing Pumpkins, I adore the song “Daphne Descends”, from the album Adore, but I thought the ending of that song (“You love him… you love him…”) was silly in 1998 and I feel the same way now.
Nirvana Drain You - Great little power-pop tune that just stops dead where the guitar solo normally goes. It drones on for about a minute while sounding like they felt they needed to do a soundcheck, then starts up again to finish. Cut out that “instrumental” break and it’s a great song.
Led Zeppelin Carouselambra I like 2 of the 3 sections of the song. Surprisingly, I actually like the disco synthesizer final third. For me it’s the middle section that’s a snooze.
My ex-girlfriend always tried to shut off Aerosmith’s Eat the Rich before the power belch at the end.
Jimmy Webb’s “MacArthur Park” is a great song, except for the line about the “strip-ed pair of pants.”
No, I don’t have a problem with the “someone left the cake out in the rain” line; that at least makes sense as a metaphor. The pants line makes no sense whatsoever (and I’ve heard that Webb omits it when he performs the song).
From the first Alan Parsons album, in the song A Cask of Amontillado, when he sings that word, “amontillado”, with the hard L sound, that just goes “clank” for me.
That made me wince just to read it. Someone slept through Spanish class it seems.
In regards to Sweet Home Alabama:
I just want to state for the record that being repetitive is not always a bad thing. For example, The Chambers Brothers Time Has Come To Day works. It builds, fades, changes, moves around. The song is going somewhere. (At least for the 4:30 version. The 11 minute version doesn’t.)
I just want to state for the record this song creeps me the hell out :eek:
That grates on my ears too, but it *is *an accepted English pronunciation. If you Google the word it’s the first pronunciation shown; in my old Webster’s it’s the *only *pronunciation given.
That one doesn’t bug me, but the lyric on “Ava Adore”: “It’s you that I adore/you will always be my whore” always makes me cringe. I’m not sure what exactly it is, but it just sounds so, I dunno, juvenile, forced or something. Most of Billy’s lyrics are a bit on the overdramatic teenager side, but that one in particular grates on me enough that that’s the only song on the album I regularly skip. (An otherwise perfect album.) I’ll never turn around on Machina, though. There’s a couple decent songs on there, but most of it sounds soulless and mechanical to me. “Paint-by-numbers Pumpkins” is my view of it–like they were trying formulaically to go back to their hard sound. I’ve listened to that album dozens of times, and it still just sounds hollow to me. Machina II is all right, though.
Oh this is one of my favorites! I was the same about the intro until I realized…it’s a musical metaphor for the theme of the song. If you listen closely, the music for the “rest of the song” is intertwined with the intro when it gets closer to that part. So intricate!! I’m sure there’s a musical term for it that would help me describe it better.
Then I love how they reprise the intro at the end of the song. It rocks!!!
“Last Night a DJ Saved My Life” was one of the dance classics of the early 80s…
until the sound of a flushing toilet(!) comes in at 3:27.
Actually I can roll with that thingy.
Agreed. And Kieth’s twerpy synth ending at the end of “From The Beginning” I find all gucky-yuck-uck.
The old west saloon ditty at the end of IMHO one of ELP’s more impressive numbers, “Bitches Crystal”, while incongruous as all get-out, gets my pass.
And thank-you for introducing me to Audacity.
I believe Face Intentionally Left Blank was referring to the Knack.
Unless if Jimmy Page did some mysterious sessions with them.
(lol - sure, two and a half months late - better late than never?):o
To borrow from an earlier thread of mine:
Wasn’t crazy about the cough in “Who Loves the Sun” by the Velvet Underground. Felt like they were trying to be all like “let’s make sure this isn’t radio friendly”.
Never been a big fan of the song, and that piano break is a major reason - definitely a quintessential example of song-shittery.
The first four minutes of the following tune? - FUCK THAT. (But the rest of it - S.F.G…Sheer Fucking Godliness):
(Actually the violin solo at 8:56 doesn’t really do it for me.)Huh. That part’s fine with me; it’s the “Baby’s so high that she’s flyin’” part I don’t like. Different voice, different tempo, takes you out of the story, what’s it even doing there?
Strongly agree with those who don’t like the last few seconds of “Big Yellow Taxi.”
Strongly disagree with those who don’t like the last half of “Layla.”
Showing my age, there are lots of pop songs that are half good music by a singer and half rap by a “featured” guest artist, and the rap parts spoil them for me. “Suit and Tie” by Timberlake is an example.
And to reverse the theme, Max Bruch’s Concerto in C has a ten-second crescendo that is one of my favorite passages of all time. The rest of the 25-minute piece is just filler to me.
Bwahahaah, in retrospect, you’re absolutely right. I have no idea what I was thinking, other than I can say those things about the “Fool In the Rain” solo.
But he’s singing from despair, he’s in an emotional “hole” and wants to “climb out”.
I see this is an old post but yesterday I was reading another thread referencing folk revival and that got me reading the Wiki page and that mentioned Chapin and I thought “I haven’t heard Taxi in forever. I barely remember it.” So I pulled it up on Youtube and hit this middle part and thought “Holy shit, this is God awful”.
“Love Will Find a Way” from Yes’s album Big Generator
It was bad enough that Yes was reformed with new members and produced for top-40 appeal. I can excuse and ignore the typical love song tripe lyrics. But I cannot abide the last line of the first refrain:
Here is my heart
Waiting for you
Here is my soul
I eat at chez nous
I EAT AT CHEZ NOUS??? It means “I eat at our kitchen.” Couldn’t they at least have something not so non-sequitur, like “My feelings are true?” How deep. I already had to suffer their selling out by rationalizing that they’re at least still putting out music, but that line just bugged the hell out of me. At least Jon Anderson got sick enough of it to spearhead Anderson Bruford Wakeman & Howe afterwards.
Well, not to pile on ELP but the acoustic guitar solo in the middle of “Take a Pebble” always drove me nuts - especially the hootin’ and hollerin’ and hand clapping at the end. Completely orthogonal to the rest of the song.