The third in a series of “big songs” - although this has plenty of variety through its near-13 minute length, it sounds more like one song that the previous two, which were constructed from separate initial ideas merged into one.
The second in a trio of “big songs” - long, relatively complex songs that sound like they were the product of putting together separate pieces into one. Like Jesus of Suburbia, Paranoid Android was also made exactly that way.
The first in a trio of “big songs” - long, relatively complex songs that sound like they were the product of putting together separate pieces into one. Jesus Of Suburbia was made exactly that way.
This is the song that actually triggered the idea of doing a songs blog. I declared on ^link(twitter) that this is a song that I felt I could never truly tire of, and that inspired the idea of a “Songs I’ll Never Tire Of” blog. The crap blog name held me back from actually starting something, but eventually I got around to it, renamed it, and here we are.
This tune was released after R.E.M.’s popularity peak, but to me it still stands out as the highlight track from a pretty-decent catalogue.
Prefab Sprout were a pretty popular band in the 80s that, to be honest, I didn’t really like that much. But 20 years later I heard about singer Paddy McAloon’s solo record and it’s a fascinating story, which resulted in an amazing album. In 2019, this album was re-released under the Prefab Sprout banner.
I Trawl The Megahertz is the second in a pair of “spoken word” records.
The first of two “spoken word” songs, this is the tale of Waldo Jeffers, who misses his girlfriend Marsha after she returns home when school ends. He decides to post himself in a box to see her.
It doesn’t end well for Waldo. “That schmuck.”
I’m definitely not an aficionado of classical music, so it’s probably inevitable that my tastes in contemporary classical are at the more populist end of the scale, but this is a beautiful, emotional, piece. You probably wouldn’t file it under “easy listening”, though.
After a disco period, Jamaican model and singer Grace Jones brought out a dub-heavy reggae album of covers in 1980, and had a hit single with her version of The Pretenders song Private Life.
Arguably even more astonishing is her take on Joy Division’s She’s Lost Control, which formed the B-side of the single.
After a period as a guitar-based rock band that saw Sparks earn considerable commercial success, they teamed up with Giorgio Moroder to execute a complete change of direction. As it turns out, there would be several more such big changes throughout the band’s career - which is still going strong.