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Post by agentmosco on Aug 18, 2010 13:55:16 GMT 1
Come on Sherriff, get the finger out, it's officially past 'mid-August'
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SheriffFatman
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Post by SheriffFatman on Aug 31, 2010 22:52:40 GMT 1
Sorry, you're absolutely right. Make that very late August...
God Save The Queen by The Sex Pistols Hmmm, 500 words on one of the most written about (if not universally loved) singles in rock history. Tricky. Oh well, here goes….
God Save The Queen was released to acclaim and disgust in equal measure in May 1977, when I was five weeks old. Fourteen years later a fascination with the history of pop music lead me to buy the legendary album, Never Mind The b****cks Here’s The Sex Pistols, on cassette, and that, I think, was the first time I heard this song, although I’d already read enough to know what to expect. I was not disappointed – even though it was enough years after the silver jubilee for me to not even be sure what a silver jubilee was, the bile, anger and sheer punk attitude that comes through every aspect of this recording was very powerful. Also, in 1991, it was quite refreshing to think that there was once a time when people who made the charts actually had something to say, even if I was too young to remember it.
It’s hard to pick out particular things about God Save The Queen that are especially brilliant, it’s the whole package that makes it what it is. As with a lot of early punk, the guitar playing is so rudimentary it sounds like it was recorded in a bucket, but this just adds to the feeling that old established ways of doing things are being swept aside, in music as well as in politics. Johnny Rotten’s snarling sarcasm, from the title onwards, is also unmatched in music before or since. You can certainly question his ability as a singer, but there’s no one I can think of who has been better at using their vocal style to get their point across.
Releasing this single at the time of the silver jubilee was, of course, a master stroke. Being banned by the BBC and not stocked by several record shops greatly enhanced the feeling that this was an anti-establishment movement, and the record’s marketing was done for it. Ever since it peaked at number 2, behind Rod Stewart’s somewhat more calming First Cut Is The Deepest, there have been claims of a conspiracy to keep it off the top spot so as not to offend Her Maj. As far as I can tell there is no evidence to support this, the media have just found it too good a story to worry about whether it’s true or not, and it’s been repeated time and again over the years.
The one truly amazing thing about this record when you think about it is that 27 years later the very same monarch is still reigning over us. Rotten’s prediction that she had “no future” proved considerably wide of the mark. The monarchy was not overthrown, the tourists are still coming, and Bonnie Prince Charlie waits in the wings to carry the whole sorry shambles on for God knows how much longer. Music can be incredibly powerful, but there’s some things just too well established, too entrenched in tradition for the people in charge to see sense. Even so, on the off chance that Charles, William or whoever else do eventually wind up our democracy’s greatest anomaly, I will have this track ready to play loud.
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SheriffFatman
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Post by SheriffFatman on Aug 31, 2010 23:30:45 GMT 1
Goddess On A Hiway by Mercury Rev Anyone who has read many of these reviews (anyone?!) will realise by now that I spent a lot of time in the late 90s and early noughties listening to Mark and Lard on Radio 1. Maybe they happened to be on air during a very exciting period for music, or maybe I was just more receptive to new stuff back then, but their musical taste has had a major influence on what is essentially I suppose a list of my 1000 or so favourite songs. Goddess On A Hiway was their favourite new release one week in November 1998. On that occasion, as they often joked tended to be the case with songs they championed, it wasn’t a hit, but after quite a bit of airplay it was re-issued and went to number 26 in August 1999.
Starting with the kind of piano introduction that sounds familiar even when you’ve never heard it, the song begins with the smooth and very American vocals of lead singer Jonathan Donahue, and lyrically what I believe is called homonymy, as he sings “well I got us on a highway”, later changing to “she’s a Goddess on a highway”, which in his accent sounds like the exact same thing. It’s a charming trick, and the interchanging between the two kind of draws you in and makes you listen to the whole thing.
The verses mostly consist of one line repeated a second time, in between dreamy, soaring choruses of “and I know it ain’t gonna last”. None of it makes much sense, but the smoothness of the vocals, gorgeous lyrics and soaring synths give the impression of floating in space. I loved this track so much I bought the album, Deserter’s Songs, the whole of which has a kind of spacey theme. It’s sounds quite like the Eels, except that Mercury Rev are looking up at the stars instead of through the gap in their neighbours’ curtains. There’s another single, Delta Sun Bottleneck Stomp, which was nearly as good as this one, and the whole album is pretty good. Not sure why they weren’t more successful or what they’ve done since, but I definitely recommend checking this out, you’ll not be disappointed.
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SheriffFatman
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Post by SheriffFatman on Aug 31, 2010 23:31:45 GMT 1
Going Underground by The Jam Paul Weller is a walking contradiction when you think about it – everyone knows he’s a boring tosspot, even, deep down, the few people who still buy his records, but at the same time everyone also knows that he once stood astride post punk indie rock music as the single most important person the genre had ever known. Going Underground may have turned into a staple of pub jukeboxes everywhere, but in March 1980, when it entered the charts at number 1, knocking off the painfully twee Together We Are Beautiful by Fern Kinney, it must have seemed to anyone who really liked good music as though all their dreams had come true.
This was no mean feat either. Though this may seem bizarre in 2010, last time anyone had entered the charts right at the top it was Slade with Merry Xmas Everybody seven years earlier. Going Underground wasn’t The Jam’s first single, but it was their first of four chart toppers, so by this point they had clearly built up something of a loyal following. If you actually go back to listening to the record properly outside of a social setting it is clear why too.
The first thing that strikes the listener about Going Underground is the melody – The Jam’s Motown influence was really laid bare on later single A Town Called Malice, but at this stage it was already clear they had an incredible knack for writing a catchy tune. Before any attention is paid to the words the listener has the urgent need for foot tapping, and should a dance floor be nearby some sort of unconventional flailing around and jumping might be in order too. The Jam sound like dancing was the furthest thing from their minds when this was recorded, but that is really the secret to the track – it is both very serious and riotously enjoyable at the same time.
The serious part comes from the lyrics, which, apart from the “I’m going underground” chorus, are quite difficult to make out. Essentially, the song seems to be a criticism of excessive government defence spending, and of the public who turn a blind eye to it when faced with a ballot box. With anti nuclear sentiment a pretty big issue in the early 80s, NME journalists and the like must have thought they had found the new messiah in Weller, a man with a gift for combining a left wing cause with a killer tune. You can see how they might have bigged him up so much that his singles flew to the top of the charts.
Personally, regardless of how many lager filled Wetherspoons customers I’ve heard bellowing the chorus, and even regardless of how many times You Do Something To Me has had me contemplating self harm, Going Underground remains one of my favourite ever tracks to reach number one. In fact when Sex On Fire was at its peak, I trawled the record books to find the last time a record that good had spent three weeks at the top, and this was it, 28 years earlier. Truly a great moment in pop history.
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SheriffFatman
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Post by SheriffFatman on Aug 31, 2010 23:57:11 GMT 1
Gold by Spandau Ballet The first time I remember ever hearing this track was in 2000, being driven round a Cornish town centre in the back of a small car by a friend of my girlfriend while her seemingly deranged boyfriend hung out of the sun roof bellowing the chorus to anyone who would listen. I didn’t know these people very well, having only recently met them all, and they were as astounded at me not knowing Gold already as I was at them liking it so much. I guess my collecting of old number one singles had lead to me overlooking some well known hits that never actually topped the chart – Gold reached number 2 in the summer of 1983, thwarted by the only slightly less ridiculous Give It Up by KC and the Sunshine Band.
To put this incident into context, there were a lot of art students where I was at university, in fact it was an art college so I was the odd one out not them, and irony was a big theme at the time. They were not meaning to give the impression that they actually liked Gold, they were simply celebrating the ridiculous, overblown, pure eighties feel of the track. They would probably have argued that they were really making a point of how bad it was. The problem with that is that it wasn’t bad at all, just dated, and I strongly suspected that really they actually liked the song a lot, they had just tried to create an intellectual argument that gave them the ability to listen to the song very loud in public without admitting it. In 2010, this all sounds very Don’t Stop Believing.
Spandau Ballet have, of course, since become a byword for everything that was naff about early eighties music, especially the New Romantic movement. I agree with a lot of this – men earnestly singing disco music in suits while surrounded by mirrors and dry ice is several bad ideas rolled into one. However, that doesn’t necessarily mean that the music is bad, and although in a way it was, there is still something irresistible about Gold. Maybe it’s the cast iron certainty in Tony Hadley’s voice, present despite the lyrics being daft at best, or maybe it is the fact that he sounds so serious when the music sounds so happy. Whatever, the truth is I really like Gold, and unlike some people I’m not afraid to admit it.
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Post by o on Sept 9, 2010 21:29:31 GMT 1
Goddess on a hi-way I love. The Jam I have grown to love, Gold, no, Muscle bound was about their only song I could take
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SheriffFatman
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Post by SheriffFatman on Sept 22, 2010 13:52:25 GMT 1
Gold Digger by Kanye West featuring Jamie Foxx As I have mentioned before, in the mid noughties I took my eye of the ball as far as pop music is concerned. I was awakened from my slumber in 2007 by the gift of an iPod and the subsequent discovery of iTunes, but during the period in between some great records slipped under my radar.
I vaguely remember hearing Gold Digger on the radio around the time it was released in 2005, but I didn’t consider buying anything by Kanye until I was drawn in by Homecoming, the third single off his next album, released in 2008. That was so good I started trawling iTunes for his older stuff, and after listening to this a few times I couldn’t believe I’d ignored it. After all, it’s not like it was an underground success that was easy to miss, it reached number 2 in the charts.
There are many things that make Gold Digger so good, but the most obvious is the incessant, slightly odd sounding chorus, which opens the track and appears behind the rapping at various points too. It’s sung by Jamie Foxx, an American actor, comedian and singer who I had never heard of, but who won an Oscar for his portrayal of Ray Charles in the film Ray, and it is actually an interpolation of a Ray Charles song I’ve also never heard of called I Gotta Woman. It manages the trick of being oddly disjointed from the rest of the track, but a compelling part of it too. I’ve never heard Foxx do anything else, and can’t help thinking if he tried singing whole songs in that slightly constipated style he’d not get very far, but here it works perfectly.
Then of course there is Kanye himself. He has a lot to say about ladies who are only after men for their money, and it is topical, funny and catchy in equal amounts. For quite a bit of the track he seems to be warning fellow millionaires about the financial impact of divorce. This is surprising considering hip hop stars usually go out of their way toseem down with the kids, but tantalising stories such as the one about a sports star whose “baby moma’s car and crib is bigger than his” are bound to keep the audience listening. The line “You will see him on the TV any given Sunday, Win the Superbowl and drive off in a Hyundai” is just down right funny, even though you know he’s quite serious.
It’s always good to discover great hip-hop, because there’s so much of it out there that’s crap. Even when the rest of the world discovered it three years before you the feeling remains the same, and this track is now just a small part of the Kanye West section on my iPod.
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SheriffFatman
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Post by SheriffFatman on Sept 24, 2010 12:55:00 GMT 1
Golden Brown by The Stranglers There are not many tracks on my iPod that sound a bit like a medieval madrigal and are dominated by the sound of a harpsichord, but Golden Brown is one of those moments in pop history that will always sound unique whatever you put it next to. Released in December 1981, it could really be from any time since pop began, there’s nothing about it that suggests any decade over another.
The harpsichord I mentioned is the dominating factor here – it starts the track and rolls on throughout, a fascinating piece of music, enchanting despite being quite flat, written by the bands keyboard player, Dave Greenfield, and drummer Jet Black. The gentle tweaking of an electric guitar I places over the top perfectly complements the melody, and along with the deep, barely audible backing vocals that crop up in places would make a brilliant almost-instrumental, with a catchy but relaxing fell akin to Fleetwood Mac’s Albatross, without the main vocals even added in. The actual lyrics to the song, however, created a certain amount of controversy and give the whole thing a much more sinister feel when you actually think about them.
In the early 80s Radio 2 was very middle of the road, it played music specifically aimed at the two generations above the people who were listening to Radio 1. It made Golden Brown its single of the week which surprised a lot of people as The Stranglers were seen as a post punk act who were clearly not aiming for that market. That’s really just a reflection of how unusual the music is though, and it’s lilting refrain probably fitted in quite well with whatever else the station was playing at the time. The problem with this though is that it brought the track quite a lot of attention, and when a song becomes popular there’s bound to be a few people who start wondering what the words mean.
The thing is, as the band’s vocalist Hugh Cornwell said in 2001, “Golden Brown works on two levels. It’s about heroin and also about a girl”. The Stranglers were by no means the first act to record a song about their relationship with that all consuming brown substance, but at least the Velvet Underground had the decency to call their tribute to the drug Heroin so that radio stations knew not to play it.
In the end, The Stranglers just about got away with it. The fact that the words could also be applied to a relationship with a woman just about sufficed, and the song was a radio favourite throughout the 80s, even though everyone knew what it was really about. In February 1982 it actually peaked at number 2 in the charts behind The Jam’s Town Called Malice, in what must surely be one of the all time greatest top twos. It remains popular on compilation albums and aldult rock stations to this very day, a genuine oddity which on paper sounds like it shouldn’t work at all, but does brilliantly.
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borneoman
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Post by borneoman on Sept 24, 2010 13:04:38 GMT 1
not many favourites of mine in your 'G' section
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SheriffFatman
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Post by SheriffFatman on Oct 8, 2010 13:20:38 GMT 1
not many favourites of mine in your 'G' section That's a shame! What great songs beginning with G am I missing? What don't you like about the ones I've reviewed? Call me vain, but I would love it if these reviews sparked some debate, I am very open to criticism (although still more open to compliments of course!).
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Post by o on Oct 8, 2010 13:35:51 GMT 1
Some G's I thought I might see, Gimme Shelter by the Stones, Get it on - T Rex, and for me it has to be Gimme Sympathy by Metric, winner of Havenvision and the Champs League Final of Havenvision I'm alosy hoping Gold Lion might be coming up...
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SheriffFatman
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Post by SheriffFatman on Oct 8, 2010 14:08:40 GMT 1
Golden Skans by The Klaxons Writing these reviews is an education, albeit in pointless pop trivia that I’m probably never going to find any other use for. Until ten minutes ago I had planned to start this one with “The Klaxons’ debut single, Golden Skans was released in…”, but I have now find out they’d actually been around for a while before I’d ever heard of them. The expectation these days is for acts like this to come along with a big debut hit, have success with the album and possibly a follow up single, disappear for about a year and a half and then come back with a poor second album which people only buy in the hope it will be as good as the first one, and are disappointed. I had no reason to think the Klaxons’ career path was any different, but it was a bit.
Golden Skans was in fact The Klaxons’ fourth single, and the third from their debut album Myths Of The Near Future. It was clearly the song that broke them in the mainstream however, reaching number 7 in the charts at a time when it was becoming increasingly unusual for alternative acts to even dent the top 40. Released in January 2007, it was only four months later that NME named it at number 40 in its list of the 50 Greatest Indie Anthems Ever. Somewhat unsurprisingly given that accolade they also named it their single of the year, although they did at least wait until December to do this.
One of the reasons Golden Skans did so well must be that it is not actually indie at all in the traditional sense of miserable blokes with soaring guitar riffs. Instead it takes elements of that genre and combines it with much more modern sounding keyboard backing and vocal harmonies, and a song structure that is similar to a lot of late noughties pop and dance music. Wikipedia classifies the track as New Rave – I have no idea what that means, but I guess it’s something similar to what I just described.
The other think that is immediately apparent is that the tune is insanely catchy. It has a lot of lyrics that are hard to follow, but to sing along all you need to remember is “dooby dooby dooby dooby do – ahhh” and you’re away. When a band has a hook like that they pretty much have a hit – whatever else they do with it is up to them. What the Klaxons did was write a song about a kind of torch called a Golden Scan, improbable and a bit mystifying, but not apparently a bar to success.
Sadly The Klaxons’ career hasn’t got a lot further since 2007. They had a hit with an unlikely but clever cover of an old dance track called Not Over Yet, but then their second album only just scraped the top 10 and its biggest hit, Echoes, limped to number 55 in August this year. It is hard for indie bands to break through these days, and while Golden Skans was easily good enough to put The Klaxons in the spotlight, it looks like they don’t have much chance of staying there.
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SheriffFatman
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Post by SheriffFatman on Oct 8, 2010 14:12:33 GMT 1
Some G's I thought I might see, Gimme Shelter by the Stones, Get it on - T Rex, and for me it has to be Gimme Sympathy by Metric, winner of Havenvision and the Champs League Final of Havenvision I'm alosy hoping Gold Lion might be coming up... Hmmm, there's loads of Stones in this list but Gimmie Shelter was never one of my favourites. Not sure why Get It On isn't here actually, I love that track. Must have been having an iPod purge some time and that was a victim! I have never heard of Metric (or Havenvision for that matter - what am I missing?) and don't even know Gold Lion is by. Hope you like Golden Skans though...
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SheriffFatman
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Post by SheriffFatman on Oct 8, 2010 14:13:10 GMT 1
Golden Skans by The Klaxons Writing these reviews is an education, albeit in pointless pop trivia that I’m probably never going to find any other use for. Until ten minutes ago I had planned to start this one with “The Klaxons’ debut single, Golden Skans was released in…”, but I have now find out they’d actually been around for a while before I’d ever heard of them. The expectation these days is for acts like this to come along with a big debut hit, have success with the album and possibly a follow up single, disappear for about a year and a half and then come back with a poor second album which people only buy in the hope it will be as good as the first one, and are disappointed. I had no reason to think the Klaxons’ career path was any different, but it was a bit.
Golden Skans was in fact The Klaxons’ fourth single, and the third from their debut album Myths Of The Near Future. It was clearly the song that broke them in the mainstream however, reaching number 7 in the charts at a time when it was becoming increasingly unusual for alternative acts to even dent the top 40. Released in January 2007, it was only four months later that NME named it at number 40 in its list of the 50 Greatest Indie Anthems Ever. Somewhat unsurprisingly given that accolade they also named it their single of the year, although they did at least wait until December to do this.
One of the reasons Golden Skans did so well must be that it is not actually indie at all in the traditional sense of miserable blokes with soaring guitar riffs. Instead it takes elements of that genre and combines it with much more modern sounding keyboard backing and vocal harmonies, and a song structure that is similar to a lot of late noughties pop and dance music. Wikipedia classifies the track as New Rave – I have no idea what that means, but I guess it’s something similar to what I just described.
The other think that is immediately apparent is that the tune is insanely catchy. It has a lot of lyrics that are hard to follow, but to sing along all you need to remember is “dooby dooby dooby dooby do – ahhh” and you’re away. When a band has a hook like that they pretty much have a hit – whatever else they do with it is up to them. What the Klaxons did was write a song about a kind of torch called a Golden Scan, improbable and a bit mystifying, but not apparently a bar to success.
Sadly The Klaxons’ career hasn’t got a lot further since 2007. They had a hit with an unlikely but clever cover of an old dance track called Not Over Yet, but then their second album only just scraped the top 10 and its biggest hit, Echoes, limped to number 55 in August this year. It is hard for indie bands to break through these days, and while Golden Skans was easily good enough to put The Klaxons in the spotlight, it looks like they don’t have much chance of staying there.
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Post by o on Oct 8, 2010 15:09:55 GMT 1
Some G's I thought I might see, Gimme Shelter by the Stones, Get it on - T Rex, and for me it has to be Gimme Sympathy by Metric, winner of Havenvision and the Champs League Final of Havenvision I'm alosy hoping Gold Lion might be coming up... Hmmm, there's loads of Stones in this list but Gimmie Shelter was never one of my favourites. Not sure why Get It On isn't here actually, I love that track. Must have been having an iPod purge some time and that was a victim! I have never heard of Metric (or Havenvision for that matter - what am I missing?) and don't even know Gold Lion is by. Hope you like Golden Skans though... I do like Golden skans, good choice Havenvision happens in the music forum once every few months, basically we all choose a non top 40 hit, and then vote on each others songs, scoring then 12 10 8 etc... Tis good fun. Gold Lion is by the Yeah Yeah Yeahs That and Turn into, gorgeous songs.
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borneoman
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Post by borneoman on Oct 10, 2010 16:08:28 GMT 1
I kinda like Golden Skans, doesn't make me wanna buy any Klaxxons albums but at least it's tolerable...
Can't think of many G's I like?? Moby's Go... Ash's Girl from Mars and Goldfinger... my ultimate fav G would have to be Tori Amos' Gold Dust but that's not a very well known one... oh and Damien Rice's Grey Room but that's not very popular either...
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SheriffFatman
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Post by SheriffFatman on Oct 11, 2010 13:34:43 GMT 1
Gone Till November by Wyclef Jean Apart from the occasional mix up, I am usually pretty good at remembering release dates. With this track though I was genuinely amazed when I looked it up today and found it was over 12 years old. As people of a certain age say, it seems like only yesterday.
I suppose the main reason for my confusion is that at the time of its release, in May 1998, I was far too interested in indie music to be listening to virtually anything else. It was only after hearing Perfect Gentleman in 2001 that I became interested in Wyclef, and went out and bought his second album, The Ecleftic. That came with a bonus disc of tracks from previous album The Carnival, which is how this track came into my life. It’s not a work of hip-hop genius or anything, in fact it seems to have made its way onto my iPod when I got it in 2007 and stayed there without me noticing, but it is a nice enough song.
The song is introduced as a track to be played to young ladies as they weep about the absence of their partners who have had to make “long trips down south” to “Virginia, Baltimore, all around the world” for work. It is a familiar theme for me, as I also regularly make long trips down south, in fact I’m delivering training in Surrey this week. I’m not sure Wyclef would really be much consolation to the wife though to be honest, and anyway I’ll only be gone till Thursday.
Intriguingly Wikipedia claims that Bob Dylan made a cameo appearance in the video to this track, as Wyclef sings the line “I’m knocking on heaven’s door like Bob Dylan”. That would be great if it was true, and would add extra weight to my championing of a record which admittedly isn’t the strongest on this list, but the problem is try though I might I can’t actually hear that line in the lyrics. I’ve looked the words up online too and there’s no Dylan to be found anywhere, which is a little disappointing. Maybe there’s an extended version somewhere that I haven’t heard.
Wyclef recently failed in an attempt to stand for election as the president of Haiti. I have a lot of respect for him – The Ecleftic was a brilliant album with an incredibly broad range of influences and collaborations, but would any of that made him a good politician? Maybe no worse than Haiti has already I guess, but anyway he had his candidacy refused because he had not been resident in the country for long enough. I have a feeling that the world is better off with him concentrating on his music anyway.
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borneoman
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Post by borneoman on Oct 12, 2010 12:29:12 GMT 1
not a big fan of Wycleef or any of the Fugees myself. Gone til November might be his only decent solo song, I'll give you that but some of his other singles were utter rubish, I remember some covers or songs bsed on samples, didn't he do Another One Bites the Dust?? and Wish You Were Here?? Imho the Fugees are the most over-rated band ever. Their whole success is based on a very inspired cover, and that's it. One single cover. For me, that's almost X Factor territory so don't really see the talent in there...
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SheriffFatman
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Post by SheriffFatman on Oct 12, 2010 13:31:19 GMT 1
Completely disagree! I reckon Wyclef is one of the most creative people in hip hop over the last 15 years. Certainly not everything he has done was brilliant (the Fugees cover of No Woman No Cry was a bit painful), but I give him top marks for not being afraid to experiment or show his multiple influences.
He did cover Wish You Were Here, yes. I thought it was actually quite a funny track, and he even makes it clear on there that the reason he was doing it was to introduce people to Pink Floyd who wouldn't necessarily hear them. Who could possibly argue with that?
Killing Me Softly was of course a very well chosen cover, but also brilliantly done. Ready Or Not was also a blinding record, based on an Enya sample, which sounds ridiculous but which was so good Mario Winans had a number one single with the exact same piece of music.
My favourite Wyclef solo track is Perfect Gentleman - unlike so many people in rap, he doesn't take himself too seriously, or at least he didn't until the presidential race in Haiti became an issue.
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borneoman
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Post by borneoman on Oct 13, 2010 8:39:17 GMT 1
haha sorry for me they're not that far from being UB40 They were lucky with the Roberta Flack cover and they've lived from that ever since
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