Toots and The Maytals - (I've Got) Dreams To Remember
(Jul 16, 2010 - 04:29) | apd wrote:
Did that predate Paul Simon's "Mother and Child Reunion"? I think that was 1972, and I'd heard that was the first international reggae hit. (Though not by a Jamaican artist, of course).
It kind of depends on how you define "reggae." Desmond Dekker's "Israelites" came out in 1968. From Wikipedia:
"Israelites" is a song written by Desmond Dekker and Leslie Kong that became a hit for Dekker's group, Desmond Dekker & The Aces.<1>Although few could understand all the lyrics, the single was the first UK reggae number one and the first to reach the US top ten.<2> It combined the Rastafarian religion with rudeboy concerns,<3> to make what has been described as a "timeless masterpiece that knew no boundaries".
Later in the Wikipedia article, the song is described as ska, not reggae. To many people, they are two sides of the same coin, or at least close cousins. Perhaps, mother and child?
Again, from Wikipedia:
It was one of the first ska songs to become an international hit, despite Dekker's strong Jamaican accent which made his lyrics difficult to understand for audiences outside Jamaica. In 1969 it reached the Top Ten in the United States, peaking at #9 on the Billboard Hot 100 singles chart. It hit number one in the United Kingdom,<5> Netherlands, Jamaica, South Africa,Canada, Sweden and West Germany.
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Neil Young - Throw Your Hatred Down
(Apr 10, 2010 - 06:32) | lmic wrote: Why we don't just insist that government do its job for the people, instead of making a popular fetish of caching weapons to defend against it, is beyond me.
This is one of the most incisive, spot-on observations I've read in a while. And concise! That's a load of cultural/political baggage packed into one sentence. Since you framed it in the form of a question (sort of), I'll take a crack at it.
I think people feel powerless and defeated by enemies and forces beyond their comprehension: the financial fat-cats and their clients in D.C.; globalism and the resulting displacement of an industrial class; rising secularism and strident atheism, which they interpret as an affront to the very essence of their identities as Americans; the impotency, loss of power and prestige of the U.S. in geopolitics; the shattering of the American Myth in countless ways. The list goes on and on.
Just as with urban gang-bangers who feel empowered by their weaponry, the tea-party folks, survivalists, militia-types, First Amendment obsessives, and other "fetishists," as you aptly refer to them, look to their weaponry as the last measure of their ability to bend the flow of history to their liking. Obama was right when he said these people "cling" to guns and religion when they feel distressed and powerless. In "Mr. Smith Goes to Washington" American mythology, redress of grievances and injustice is always just a courageous leader away. But now people see the hyper-partisanship and the influence peddling in D.C. as two sides of the same dysfunctional coin, so there's no point in looking to Washington for help. What's left? Pitchforks. Cynicism. Conspiracy theories. And a whole "news" network dedicated to perpetuating and exploiting this rage for its own selfish ends.
(What got into me? I don't think of myself as being very political. Hmmm...)
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Millenia Nova - Nothing Left to Fear
(Nov 01, 2009 - 07:07) | rollo_tomasi wrote:
I hear West Indian Girl as well...
I knew this sounded like someone other than all the other posters were saying, but neither the name of the band, nor any song fragments were coming to mind. Going through all the comments, I knew I'd know it when I read it, and then finally, quite a ways down, there it was. Now I can sleep tonight. Thanks.
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Björk - All Is Full Of Love
(Aug 20, 2009 - 09:26) | Man, I love this song! When she manages to be faithful to a melody and not get too "Bjorky," she can be magical. It helps that the melody itself is lovely, and that languid, sap-like bass line fits perfectly. The tune barely even needs the vocals, but this case the vocals really add a lot––not always true with Bjork, in my opinion, of course. My only quibble is that none of the instruments sound real, at least not the bass or drums. I think this tune is strong enough to stand up as is, but how much better it would be if she had had a real drummer and bass player! I'm not fundamentalist about this issue, as some people are. This song is an example of why. It can be done, and done well, without real instruments, but I'll never understand why so many artists make that choice.
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Ben Christophers - Hooded Kiss
(Jul 09, 2009 - 06:00) | ch83575 wrote: EniwaMan wrote:
Actually, it's called "eclectic." A friendly suggestion: you might want to load up your iTunes library with all the singers who project just the way you like it, and just sort of focus on that.
I appreciate the eclectic nature of RP, but sympathize with jone_ston. There seems to be quite a glut right now of weak male vocalists. My wife refers to them using a vulgar term for a part of the female anatomy, and recommends that I don't listen to them for fear of of the de-masculinization of her husband. I have to agree with her, the whiny emotional man is starting to get old.
A cursory look at your song ratings shows that you have good taste in music. Not surprisingly, given that you are a RP listener. And I'm sure you and your wife are lovely people, and I have no desire to start something. But if I may...
Although I haven't necessarily noticed the de-masculinization of male vocals that you speak of, let's just say for argument's sake that you and your wife have correctly spotted a trend. Well done.
But jone_ston's comment, the one that inspired my (admittedly, and uncharacteristically snarky) retort was not that male singers nowadays are whiny and emotional, but that they should sing louder and project. (He?) may well endorse your characterization of his original comment, but no matter; that only means that he shares you and your wife's opinion. I just think it's a weak claim. There is a long history of male vocal performance that could be placed into a "high and/or whiny" category, much of which I love, much I hate, and everything in between. Neil Young comes to mind. I don't like everything he's done, but in general, he comes close to deity in my musical cosmos. People always complain about his high and whiny voice. I can see why they say it, but I happen to love how he sings. It's honest and real, and moves me. I could list dozens of others that I love. And others, also high and whiny, that I can't stand, or ones that I can take or leave. I don't see this as a recent development, but that's OK. We can agree to disagree on that point.
My reply to jone_ston was a reaction to what struck me as a rather narrow vision for a very wide format radio service. I'm sure there are hordes of high, whiny, non-projecting singers who Bill and Rebecca are keeping outside the gates. And others who are let in. I won't like all of the ones that get in, but in general, I trust the gatekeeper. That's why I'm here.
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The Charlatans - Blackened Blue Eyes
(Jun 04, 2009 - 20:45) | Patti wrote:Now I remember what the opening reminds me of!! A old '60's Stones song; but I can't remember the name of it.  And I don't feel like digging out my vinyls (tho I did buy a turntable and I'm going to be burning all my records onto CD's). Patti M.
I had the same burning need to know, too, so I did your homework for you. It's a song called "We Love You." From Wikipedia:
"We Love You" is a rock song written by Mick Jagger and Keith Richards, first released as Decca single F12654 in the UK by The Rolling Stones on August 18,1967, with a B-side of "Dandelion". It went top ten in Britain, peaking at #8, but only made it to #50 in the United States where "Dandelion" (reaching #14) was promoted as the A-side.
The song is a droning Moroccan influenced anthem of defiance. Outwardly, it was a message from the band to its fans, expressing appreciation for support in the wake of their recent drug busts. It was also an ironic, tongue in cheek slap in the faces of the police harassing them and the Stones' true feelings about it, putting on a cooperative and friendly face while inside they were seething with anger and indignation (as is represented by Brian Jones' unforgettably surreal Mellotron in the background). "We Love You" is a psychedelic collage of jail sounds, Nicky Hopkins' foreboding piano riff, and otherworldly tape-delayed vocal effects, featuring a visiting John Lennon and Paul McCartney on high harmonies.
(end Wikipedia quote)
Kudos as always to Bill for noticing this and putting this song right after Paint it Black from the same era.
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Phil Collins - In the Air Tonight
(May 17, 2009 - 03:59) | mongoose01ca wrote: Guilty pleasure. Like ABBA.
But it does have one of the coolest drum breaks of all time, so that's gotta count for something.
I agree completely (well, maybe not the ABBA part, but even there, I can sort of get the appeal, even if it doesn't appeal to me).
I am with everyone who criticizes all the Phil Collins fluff-pop out there, but It should also be said that in this tune he shows that he gets the idea of musical tension, and exploits it well, right up to that drum break. And the crescendo continues beyond that, too. A guilty pleasure of mine too. Luckily, I've avoided classic rock radio, so it's not ruined for me.
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The Shins - Sea Legs
(May 17, 2009 - 03:20) | When I first heard this, my first thought was, "Man, these guys have clearly listened to their share of classical music from India (as I have)." The melody in that refrain, especially. It's not that it sounds completely lifted from a raga––the rhythmic structure and instrumentation are obviously not Indian, but the melody and vocal style really do sound heavily influenced, shall we say.
I was sure that others would have mentioned this, so I went back and read all the song comments. None! Can I really have been the first to notice this, or am I just off my rocker? I'm not a musician, so if I'm wrong, I'll defer to more informed opinion. I wonder further, whether this song even uses the usual (if that's not ethnocentric) pentatonic scale or if, instead, it uses an Indian scale. I tried to read about this on Wikipedia, but the article on the musical structure of the Indian raga was unreadable by a layman. Can all you ethnomusicologists (professional or amateur) weigh in? In any case, this song is just lovely.
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Peter Gabriel - Don't Give Up
(Nov 09, 2008 - 05:53) | kinocarol wrote: Am I the only person who thinks this song is incredibly saccharine and sentimental (and not in a good way?) I'm not a cynical person, but geez, I could happily live the rest of my life without EVER hearing "Don't Give Up" again. It reminds me of those horrible corporate posters with the slogans like "Courage" or "Leadership" over some cliche of a photo. Peter & Kate can both do MUCH better.
Based on the exuberance shown here for this song, I'd say yes, yours is a minority opinion. The thing is, I'd have probably agreed with you had I merely read the title and not listened to the song. Yes, "Don't give up" may be a hackneyed phrase whose overuse tends to diminish its meaning. But perhaps you've overlooked the fact that it was in the more-than-capable hands of an extremely gifted songwriter, and to me, that shines a whole new light on things. On top of that, there is the excellent musicianship on this tune from Peter, the band, and not least, from Kate Bush. Put it all together, and all is forgiven (for me anyway) for making heavy use of a cliche.
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Ben Christophers - Hooded Kiss
(Sep 30, 2008 - 20:18) | jone_ston wrote: Enough with the low-volume singing/recording, people! It's called projection!
Actually, it's called "eclectic." A friendly suggestion: you might want to load up your iTunes library with all the singers who project just the way you like it, and just sort of focus on that.
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Dengue Fever - Seeing Hands
(Jul 03, 2008 - 20:54) | nate917 wrote:
I can't believe what a debate this comment sparked. Let me clarify: First, saying that "we're being punished" was a humorous way of saying I don't like it. Obviously, I was not alone. Even more obviously, it was not an indictment of Bill and Rebecca, for God's sake. (More on this in the upcoming issue of DUH Magazine.) Second, "abysmal" was hyberbole. While 4.8 may not be truly abysmal (RP has defined 1 as abysmal, it being the lowest possible rating), it is still, relatively speaking, a very low overall rating on RP. I note that it has dropped to 4.7 since I called 4.8 abysmal. Third, the rating system is not simply a circle jerk. It is an aggregation (average?) of dozens of subjective opinions and thereby becomes somewhat of an objective opinion. While Bill is perfectly free to say, "hmm, lots of people don't like it, but I do," and keep playing it (and thanks, again, to Master of the Obvious for pointing that out), the chances are pretty good that Bill actually had a reason for incorporating a rating system into his (awesome) site, and I'm guessing it was to take our pulse from time to time. A 4.7 rating may not be a sufficient reason by itself to excise the song from the playlist, but it is certainly one reason that distinguishes it from songs with higher ratings. Fourth, "if you don't like it, hit the mute button" is a solid vote for the crap-shoot theory of radio listening, but it ignores both the rating system and the commentary pages which, I submit, are included by Bill to make it the best station he can within the limits of his own format and personal tastes in music. Bill publicly appreciates and encourages this commentary, perhaps because it helps him improve the station a whole lot more than the glib suggestion to just mute certain songs. Finally, in most cases, someone's statement that they don't like a particular song is not a statement that the station shouldn't foray into other types of music. I personally am always looking for new and different music to listen to, notwithstanding that I cannot stand this particular song. "I don't like this song" does not mean "I don't like international music." There's probably a name for the fallacy of jumping from the specific to the general like that. Whatever you call it, it's mistaken.
Your clarification leaves things still a bit muddled. You said a rating of 4.7 may not be sufficient reason to excise the song from the playlist. So what is it that you feel Bill should do with this 4.7 rating? I assume you don't want it played at status quo frequency. So if removing it is not justified, that leaves two other choices: play it less often, and not play it at all (same as removing it).
I'm not so uncomfortable with appeals to play a given song less often, but requests for removal make me squirm. We might all wish RP were a perfect representation of our own personalities and tastes, but that's what iTunes is for.
You suggest that aggregate ratings are no longer subjective, but rather constitute an "objective opinion." What is that (apart from an oxymoron)? Are you suggesting that, since the aggregate rating is below some magical number, say 5.0, then the listeners have spoken, and Bill should ...(what?) If there was demonstrable unanimity (ratings near 1.0), you might have an argument for removal from the playlist (or whatever it is you're now suggesting) But just because half of the raters (not listeners!) have expressed some negativity, we shouldn't forget that nearly the same number have rated it positively.
Then, for some odd reason, you attack the idea of muting what listeners don't care to listen to. How peculiar! It seems like what you're trying to say is that if Bill were to heed the messages he gets from listener comments and ratings and ....(again, not sure what you'd have him do—remove songs, make them appear only rarely?)....then we'd have no need to resort to the mute button, because we'd all be in Happy Radio-Land. Hey, I'm already there, man (but alas, I don't like every song I hear, and yes, there are a few I mute, and I don't see that as a flaw in RP). What on Earth is glib about exercising a choice to not hear a song, when we have that choice? People have all sorts of valid reasons for muting songs, even ones they love. Perhaps the mood or situation is not one they'd choose for that music. Perhaps it's been overdone elsewhere, and they'd prefer not to risk getting sick of the tune. By this logic, should we force ourselves to view a painting, exhibit, or art object at a museum when it may not conform to our taste, mood, interest, etc.? I don't understand your argument.
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Dengue Fever - Seeing Hands
(Jun 15, 2008 - 03:18) | nate917 wrote: As of this writing, 23% of all raters gave this a '1' and its overall rating is abysmal, yet RP plays it repeatedly. We're obviously being punished for something.
First, I wouldn't consider an overall rating of 4.8 to be "abysmal." On the low side, maybe, but not abysmal. Second, for those of us who listen regularly, as I do, there is probably one thing that binds us together, apart from a love of music. And that is a trust that Bill has good taste, and knows what he's doing, and we like the overall product. He mixes things up, and takes some chances. I appreciate that, even when I don't like a song that's a bit "out there." I happen to love this song, so obviously, I don't feel I'm being punished. But even on those rare occasions when I reach for "mute," I think it says more about me and my individual musical proclivities than about what acts of aggression Bill might be subjecting us to.
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Dengue Fever - Seeing Hands
(May 28, 2008 - 07:07) | Fabulous! Bumping this from 8 up to 9. Brilliant!
For much of my life I was where many of this song's naysayers are: those vocals are too......Asian. But then travel; friends from SE Asia; eating cheap, wonderful meals in funky Asian restaurants; teaching Asian kids for so many years now, both in Asia and in USA; these have completely eroded the weirdness factor for me. Now I have too many positive associations with vocals like this for me to hear this song as anything but cool. Wicked cool. What a great world this is! Let's keep it.
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Johnny Nash - I Can See Clearly Now
(May 20, 2008 - 07:34) | rantnraver wrote: One of the most over played abused songs in history...but listening to it as music - and not soundtrack or commercial fodder - it is an amazing performance of a great song.
Seems to me this would be a concise and effective response to the more-than-occasional complaints which arise whenever Bill decides to spin an old classic that also happens to co-exist in the FM Oldies/Classic Rock worlds. Good music is art, and context is so important to how we perceive it and to whether and how we appreciate any particular display of it. This might explain how casually, almost automatically we can change the station when a great, but worn out classic tune appears on an FM station. Great song, maybe, but it's just as ignorable in that context as it would be to see a spectacular Monet or Van Gogh on a billboard or in a TV commercial. Yet the same work when viewed in a context where good art is appreciated somehow lends itself to...appreciation. Radio Paradise, then, is like a museum. Unlike FM commercial radio, it's a showcase for musical appreciation, rather than a vehicle for someone to co-opt music for commercial gain.
As for this tune, brilliant, never gets old. The whole album is great.
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Faithless - Evergreen
(May 07, 2008 - 08:02) | HazzeSwede wrote: Anything without real drumming can´t score over five in my book.
While I share your appreciation for the physical skill in crafting music, and generally prefer that bands not resort to programmed, fake instruments, I guess I'm not as absolute about it. If you browse through my iTunes library, you'll find, even amongst my favorite tracks, a number of songs that have fake drums, fake orchestral backing, sampled vocal or instrumental riffs and whatnot. I'm not saying my opinion is any better, but I just think in most cases a great song shouldn't be reduced to, and is not limited by a single element. A song can be a complex creation, as with other art forms, as with life, as with a philosophy or a world-view. I don't write off friends because of a single flaw, and thank God they seem to give me the same slack! I know songs are not people, but just as with a person I love, when a song has so much going for it, sometimes the quibbles become non-issues.
This song is a good example. Would I like it better with real drums? Yes, but it has such rich vocals, warm and inviting background textures (many of which are probably sampled or programmed), great melody, and tasteful production that the lack of real drumming just doesn't matter to me.
And, by the way, not all fake instruments are of equal quality. Sometimes they sound horrible, but the drumming in this one sounds good to me, real or fake. Even when using machines, musicians make thousands of choices which, taken together, shape the way a song sounds and feels. Perhaps there is credit to be awarded for musicianship even when it's not an instrument, but rather an electronic device that is being used to good effect. Not always, certainly, but in many cases. My two cents.
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Feist - 1234
(Apr 21, 2008 - 08:08) | festerfree wrote: Turn off the TV if you don't want to hear your favorite bands in commericals, cause the fad now is to use cool "indie" music for commercials... that's a good thing for all musicians!
There is nothing wrong with making money off your work. Does anybody out there want to go to work and not get a check? At least Apple used her song and not EXXON. ha ha.
On the one hand, I disagree to the extent that the rules are different if you're an artist. For artists, the expression you're hoping to achieve is hard to separate from the medium in which it is expressed, which is why artists often have firm standards for how they are presented and represented. If she turned down an offer from McDonald's, but accepted Apple's offer, that says something about the medium or context in which she wanted people viewing her work. Her music (and this song in particular) has nothing to do with selling bad "food." But in an iPod ad, regardless of how you feel about iPods and Apple, the context is very different, and very much connected to what musicians are about. People may differ as to whether Apple is helping or harming the music business, but at least the commercial presents this song in a musical/artistic context rather than in an Egg McMuffin context. Which is what I think you were getting at with the Exxon vs. Apple comparison.
But on the other hand, I agree. Before the iPod ad, she was probably just another poor, talented, struggling artist, like so many. Who amongst us would turn down an offer like that? Even the McDonald's offer would be more temptation than most artists could endure. Hats off to those who can, though.
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Natalie Merchant - Saint Judas
(Apr 13, 2008 - 01:16) | doctec wrote: It sounds to my ears like she's trying to channel Tracy Chapman - and coming up a little short. Can blue girls sing the whites?
Comments like this make me squirm. Perhaps the poster didn't mean to imply it, but the subtext seems to be that white artists should be exceedingly circumspect about approaching "black" music (whatever that would mean). The manifest immorality of our slaving past notwithstanding, it remains true that, just as African DNA for centuries now has been part of American DNA, the rich musical and cultural influence that Africans and their descendants have brought us is now part of the DNA of American music. Nobody owns it, or has exclusive rights to it. There may once have been a time when it was "their music" and "our music," but those days are long gone, and good riddance. Music (of all kinds, from all places) is a gift to all of us. Sure, there are embarrassing examples of artists who dabble in influences out of their league, and these can be debated on their merits. But let's not try to erect boundaries here.
Now, it seems that lots of posters object to NM's mumbled enunciation of the lyrics, and while I disagree, I suppose it's a fair criticism. But others suggest that it might be a deliberate affectation, or copy of singers of one type or another. To which I say, so what? Imitation (channeling, aping, ripping off, etc.) to one person is "hearing the influence of..." to another person. I hear the influence of various things in this song, but it is Natalie, for better or worse, and for me, it has soul and originality. In spades. It evokes the same hot, steamy Southern milieu that Tom Waits' was shooting for (and hit the bull's eye) in "Chocolate Jesus." Should he also be criticized for stealing someone's culture? Let's not go there, folks.
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Lucinda Williams - Are You Down
(Mar 17, 2008 - 17:51) | As others have mentioned, the guitar playing is very tasty in this song, and the lyrics brilliantly convey both resolute finality (in dumping someone) and tenderness. But nobody has mentioned the drumming, which is the part that really draws me into this tune. I'm not a drummer, or even a musician, so I could well be incorrect here, but that drumming pattern seems original to my ear, and suits the song's mood perfectly.
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Chicago - I'm A Man
(Mar 06, 2008 - 21:50) | I was a bit surprised to find that this is the only song on the RP playlist from Chicago/Chicago Transit Authority. Despite the dizzying heights of suckage that this band attained later on, those first five or six albums had some real gems, and I'm not referring only to the ones we've all heard a zillion times on FM radio.
As for this song, it's good, but certainly no better than lots of their other early material, and no better than Stevie Winwood's version.
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Björk - Come To Me
(Feb 11, 2008 - 09:08) | I can't say I'm a big fan of Bjork's, but then, strangely, she's done at least two songs of the most transcendent beauty I can imagine: this one and "All is Full of Love." Come to Me is the music I'd want in my head if I suddenly found myself able to fly. I don't know, it's just a flying groove. And some of the sexiest (but not necessarily sexual) lyrics I know of. This song succeeds on every level, including her voice, which, as we all know, doesn't do it for everyone, myself included. An easy 10.
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Pixies - Where Is My Mind
(Feb 10, 2008 - 17:35) | I know, I'm a caveman, but I only heard this for the first time within the past year (Thank you again Bill!). At the time, I assumed it was contemporary, but then I checked Wikipedia. Turns out this came out 20 years ago! Amazing! Either these guys were WAY ahead of the curve, or music hasn't progressed much since then. I think it's the former more than the latter. Either way, this song is super cool!
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Suzanne Vega - In Liverpool
(Jan 06, 2008 - 18:12) | Egrey wrote: I second that.
Third!
I love that reverbed piano. Sounds like an ancient upright piano she found in a dusty closet. That repeating chord creates a delicious tension. You know the chord change is coming, HAS to come, and then, it's so satisfying when it finally comes. Weird how effective that is.
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Dave Matthews - Trouble
(Dec 31, 2007 - 18:18) | There are a few artists who, on balance I have to say I am somewhere in the "indifferent to dislike" range (Bjork and Alanis Morissette come to mind), and yet there are a few songs by these same artists that come close to godlike for me. Why is that? Dave Matthews is this kind of artist for me. I can live without most of his work, yet this song somehow succeeds on all levels. Great melody, interesting lyrics, cool groove, trippy guitars, an amazing tune! I don't understand it, but I don't fight it. I just enjoy it. Take pleasure where you can.
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Eddie Vedder w/ Nusrat Fateh Ali Khan - The Long Road
(Dec 22, 2007 - 23:46) | Pipes wrote: Get rid of Nusrat and it would be ok. The middle eastern "warble" is just annoying!
Eddie may be an acquired taste for some (one I haven't fully acquired), and the same may be said about N.F.A. Khan, a taste I HAVE acquired. But this collaboration was made in heaven. The melody, the voices, the arrangement, the instuments..."sublime" is the only word I can think of to describe this song. There is another good one by the same two musicians on this CD, which is a collection of songs by various singer/songwriters that were "inspired by" the movie. Also folks, despite any similarity (real or perceived) or common historical pedigree, N.F.A. Khan is from Pakistan (South Asia), not the Middle East. I believe the influence you hear is mainly from Persia (Iran).
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Smoke City - Underwater Love
(Nov 24, 2007 - 04:06) | I really love this tune! Trip-hop bossa nova reggae dub! And what's wrong with all you complainers about the "monkey" instrument? That's a crucial part of what gives this tune bounce! Gotta get up and dance when this one comes on.
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The Be Good Tanyas - Scattered Leaves
(Oct 16, 2007 - 19:44) | No doubt about it, Frazey has a unique voice, and usually that means some love it and some hate it (see also: Neil Young, Bob Dylan, Natalie Merchant, John Hyatt, Tom Waits, and many others) There's no accounting for taste. I absolutely adore her voice. Love the Tanyas! To indulge in a cliché, she could sing the phone book and make it sound good. I understand the voice thing is a deal killer for people who don't like it, but there is so much more about this song to love: the groove, the melody, the lyrics.... It's a 10 for me.
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Enigma - Return To Innocence
(Sep 29, 2007 - 17:41) | I cannot help but agree with some of the negative comments about this song, especially the trite lyrics. I shouldn't like it. A guilty pleasure, perhaps. But I disagree with the "nothing new" and "unoriginal" criticisims. The sort of tribal sounding chorus sounded really fresh and new when I first heard this song, and for me makes it most likeable. And as a musical idea, I don't see it as having been repeated to death (by Enigma, or anyone else), which allows it to retain its uniqueness. Not monumental, but for me, a very likeable tune.
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Natalie Merchant - This House Is On Fire
(Jul 01, 2007 - 06:41) | I'm somewhat surprised by the number of negative comments for this song, most of them having to do with her vocals. I can understand how a voice like hers (or any unique, unmistakable voice for that matter) can rub some people the wrong way, and nothing can be done about that. I happen to like her voice quite a lot, but it seems I'm in the minority about the Maniacs. Lots of folks liked her as a Maniac, but not as a solo act. Other way around for me. Other criticism has to do with her choice of genre, if Middle-East flavored, reggae-infused pop can be called a genre. I love reggae and am not a purist about western musicians dabbling in the music of other cultures. Nine times out of ten I'd probably not like the outcome if ten singers/bands that I like took a similar chance. But this one nails it for me.
(My first post, although I've been listening for five years or so.)
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