Fast Times at Ridgemont High ruined that song for me.
Kashmir is the aural equivalent of riding a camel at high noon through the Saraha desert. It takes forever and is a boring-ass trip.
The River Rouge and Mexicantown areas. Nothing ritzy about south of downtown Detroit. No need to take south so literal, Detroit is much larger than just downtown.
“Stranglehold” by Ted Nugent. Great solo, but once I paid attention to the lyrics I realized it was downright misogynistic, plus Nuge is a fascist asshole now.
Low Spark of High-Heeled Boys by Traffic. My college roommate played it to death to the point where I immediately change the station if it comes on. I’m 73.
And as a native, there is no such thing as “South Detroit”.
Yeah, people are getting too hung up on cardinal directions. Yes, there is a south side of Detroit, the same way there’s a north, south, east and west side of any city. But there’s no place called South Detroit, and no one would talk about the south side as a specific part of the city.
The comparison to East California from Kim Wilde is apt.
Oh, good one. Such a great song, and I can’t tolerate thinking about Nugent for more than 5 seconds.
I’m Led Zeppelin’d out. It’s kind of my own fault, I didn’t think it was possible to over-listen to them, but somehow I’ve managed it. Except for That’s The Way, I’m still chewing on that one.
for personal reasons… I will blubber like a baby if you play it around me.
“The Ballad of Hollis Brown” by Bob Dylan. I love Dylan, it’s a fine song from a writing standpoint, but it is too damn depressing ever to listen to again.
“The Thresher” and “The Scorpion Departs but Never Returns” by Phil Ochs. I don’t like hearing about or thinking about doomed sea voyages to begin with, and OMG, if it’s a submarine, that adds an extra level of claustrophobia that I just cannot deal with.
N.B., I love 1960s folk music and have a high tolerance for songs about tragic subjects, I just really can’t with those three in particular.
Very true, but if you ask someone where East Philly is, that person will look at you askance, and then your feelings will be hurt.
Piano Man- that song would depress a hyena.
Lucille by Dolly- If your man is worth a plug nickel, then she cant take him away.
Songs which repeat over and over and over- “This song is just six words long” said it all.
Lying Eyes, Eagles.
Exactly. The point is that locals to those cities (Philadelphia, Detroit, Chicago, etc.) don’t use those terms to define portions of the cities/areas in question. The songs in question are, AFAICT, written by people who aren’t from those areas (“The Night Chicago Died” was written by two Englishmen who had never been to Chicago), and just like with a book or a TV show, if they use a term that doesn’t ring true to people who are from there, they will get mocked for it.
I used to have a baseball game on the radio on my drive home from work, and the song they absolutely beat into the dirt between first and second was Long Cool Woman in a Black Dress. It has been a while since I heard it, so I might be able to appreciate it now, but boy did they wear it out.
What I really cannot listen to now, though, is Boston. You pick. Any of it. I did used to appreciate them, but since I have moved on to actual art, their crap sounds so totally commercial to me that it is well beyond my tolerance. As I see it, Boston was one of the major driving forces that caused the rise of punk rock.
I probably listened to that first album 500 times. What makes their music sound “commercial,” IMO, is that their music is entirely and uniquely the vision and work of Tom Scholz, who is an engineer by training, and who meticulously worked in the studio (for years, on most of their albums) to make the sound exactly what he wanted.
I guess I use “commecial” as a synonym for “over-produced”. To me, Boston has no reachable affect, in the same way that Manfred Mann’s Earth Band seemed to utterly strip away the emotional content of those Bruce Springsteen songs, replacing it with vacuous gloss. Oddly, I can listen to and appreciate Eno, which is very clean and highly produced – but, at least Eno is weird and challenging.
Contrary to a lot of the thread, most of the music I’ve loved over time hasn’t dropped down below a 2/5 for me, most still holding at 3 or even 4. But, I’ll admit, even as a child of the 80s (6-16 for me) there are songs that as mentioned, I no longer feel comfortable with myself for still enjoying. I can listen to them but I can’t defend them. And that does reduce my joy substantially.
Probably the biggest exception hits some of the worst concerns with over-produced, lacking in meaning, and popular for no reason but the peppiness: “Mickey” (1982). When I got access to cable TV in 5th grade, this was still a big thing, in part due to the shortage of actual music videos as things were changing.
Selling itself on high energy, an attractive young women bouncing around as cheerleaders (and they were), and a semi infectious beat. I mean, my high school (a few years later) made variants a part of several at school booster events… and that’s when it started to turn sour.
By the aughts, for me, it was totally done, and it came up on every “80’s weekend” on the radio stations I enjoyed. I don’t hate it to be precise, but I’m so done with it that it’ll make me cut it out of any 80’s playlist or stream I’m listening too.
I close second is “Wake me up (before you go go)” by Wham, in that the music and pacing just feels like the musical equivalent of nails on a chalkboard. But I never liked it much in the first place, probably a 2/5 at the time, and a 1/5 now. It just grates for reasons I cannot rationally articulate.
Are you confusing Dolly Parton’s “Jolene” with Kenny Rogers’s “Lucille”?
Or BB King’s “Lucille”?
My example upthread is a rather lone one: once a cut gets under my skin it tends to stay there. I also started avoiding rock radio like the plague in the early 80’s once I realized the music had become product and not art anymore, so a lot of those old classics never got overplayed for me (I think Stairway to Heaven remains a stellar track no matter how many times it got played, and I recently even got into Freebird, yeah shock and shame, sue me).