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Eh, I don't think anyone else is going to play. > snif! <

  1. The daylight's fading slowly, but time with you is standing still - The Corrs, "Breathless"
  2. We're coming to the edge, running on the water - Carly Simon, "Let the River Run"
  3. If you loose your faith, babe, you can have mine - Everything but the Girl, "We Walk the Same Line"
  4. I remember the nights I watched as you lay sleeping - Sarah McLachlan, "I Will Not Forget You "
  5. She can kill with a smile, she can wound with her eyes - Billy Joel, "Always a Woman"
  6. You ought to see your face; you ought to hear your voice - Freedy Johnston, "Perfect World"
  7. Workin’ Friday night down at the Alley - Carrie Newcomer, "Bowling Baby"
  8. Operator, well, could you help me place this call? - Jim Croce, "Operator (That's Not the Way It Feels)"
  9. It was 100 degrees as we sat beneath a willow tree - Death Cab for Cutie, "Crooked Teeth"
  10. "The problem is all inside your head", she said to me - Paul Simon, "50 Ways to Leave Your Lover"
  11. She says it's been so long she can't remember when - Mary-Chapin Carpenter, "There's a Keeper for Every Flame"
  12. Desert loving in your eyes all the way - Culture Club, "Karma Chameleon"
  13. Darling don't you understand, I feel so ill at ease - Annie Lennox, "The Gift"
  14. Turned on the weather man just after the news - Sting, "Heavy Cloud, No Rain"
  15. He had a dream haunting him at night - October Project, "Funeral in His Heart"
  16. While the poor people sleepin' with the shade on the light - Steely Dan, "Show Business Kids"
  17. I've been sitting up waiting for my sugar to show - Joni Mitchell, "Car on a Hill"
  18. Hey, your glass is empty / It's a helluva long way home - Sarah McLachlan, "Good Enough"
  19. Walking like a ghost in my own movie - Carrie Newcomer, "Seven Dreams"
  20. Lights out tonight, trouble in the heartland - Bruce Springsteen, "Badlands"
  21. Just a kiss, just a kiss / I have lived just for this - k.d. lang, "Miss Chatelaine"
  22. I am just a poor boy, though my story's seldom told - Simon & Garfunkel, "The Boxer"
  23. You look frenzied, you look frazzled, peaked as any alp - the musical Pippin, "The Right Track"
  24. Is it too much to ask? I want a comfortable bed that won't hurt my back - Mary-Chapin Carpenter (or Lucinda Williams) "Passionate Kisses""
  25. When the road gets dark, and you can no longer see - John Hiatt, "Have a Little Faith in Me"
  26. Out on the street - you'd better get on home - Heart, "Kick It Out"
  27. The language of love slips from my lover's tongue - Eurythmics, "Who's That Girl?"
  28. And now I'm all alone again, nowhere to turn, no one to go to - the musical Les Miserables, "On My Own"
  29. Tell me, where did Helen go? This is where she had her dwelling - Sydney Carter (best known for "Lord of the Dance" - the song, not the show), "Like the Snow"
  30. If I could turn the page / In time then I'd rearrange just a day or two - Fleetwood Mac, "Little Lies"
  31. Johnny take a walk with your sister the moon - U2, "Mysterious Ways"
  32. I'll buy you six bay mares to put in your stables - Jethro Tull, "The Whistler"



( 7 comments — Leave a comment )
Oct. 4th, 2008 02:29 am (UTC)
Tull, d'oh! I knew THAT last one seemed familiar but I couldn't quite place it. There's a bunch of others here that I've heard a few times, but not nearly often enough to have really internalized lyrics, but I'm downright embarassed to have missed something from Songs from the Wood.
Oct. 4th, 2008 02:51 am (UTC)

Some of those are among my personal top 20: Mysterious Ways, The Whistler, Car on a Hill, Passionate Kisses, and We Walk the Same Line among them. I do like Paul Simon, but oddly enough, I don't love his stuff with the passion I feel for some of the others - probably because he tends to be cerebral rather than passionate himself.

I love "Songs from the Wood." I was just telling Zilch that her latest thing - the autumn storm story - made me think of "Fire at Midnight." I also like the tune "Moths" from the "Heavy Horses" album.

Oct. 4th, 2008 10:46 am (UTC)
Heh. I don't mind Paul Simon, but your comment up there about him pretty much nails down why I've never cared for Steely Dan; too polished and smooth and precise and cerebral to the point where it feels absolutely cold to me. I prefer stuff that leaves some raw edges showing. (Simon never bugged me quite as much -- the imperfection of his reedy little voice went a long way to balance out the detachment of the writing...although it's probably no coincidence that the only things of his I liked enough to want to buy were Graceland and Rhythm of the Saints, where there's enough passion coming from the guest musicians to swing the scale even further towards emotion.

Moths and Fire at Midnight are huge favorites of mine, and really, if you'd only used something from Broadsword... instead, there's no way I could missed it then!
Oct. 8th, 2008 01:49 am (UTC)

Hmmm ... actually, Steely Dan's "Rikki Don't Lose That Number" is one of my favorites. The little opening bossanova riff can pull me right out of a blue funk if I hear it randomly on the radio. I think that on the more wistful numbers ("Deacon Blues," also, for example), the nasal, cynical tone in the vocals sounds like he's trying to be tough and cover up feelings, so it works for me on that level. And I love some of their more foot-stomping numbers, like "My Old School" and "Boddhisatva."

I think my favorite Paul Simons are from the Simon & Garfunkel days - deep cuts from Bridge Over Troubled Water: "Only Living Boy in New York" for a slow number (that one can make me tear up, in the right mood), and ""Keep the Customer Satisfied" for something more raucous.

It's perhaps ironic that of Tull's three folkloric albums, I like Broadsword the least ... ah, well.

Oct. 8th, 2008 06:12 am (UTC)
Oh, and never mind the words, just hum along and keep on going...
Heh...don't get me wrong, it's not like I scream and run to switch the radio off if Steely Dan comes on. I don't hate it, but it just doesn't make me *feel* anything, good or bad -- it might as well be exquisitely well-crafted elevator muzak for the way I just sort of slide off it emotionally, pleasant in a forgettably empty sort of way. But in general I tend not to respond to stuff that's really polished and highly produced -- about the only exception is some types of dance music, and those mostly only work for me because they go straight to the feet and hips, rather than the heart or brain. More generally speaking, though, I do very often tend to connect the strongest with stuff that has a bit of a rough edge of dissonance or lack of polish, particularly around the voals -- an awful lot of my favorite singers have fairly weak, rough, or limited voices, but they're very expressive in spite of it all. (I'm reminded of a comment made by I think it was Roseanne Cash, when some interviewer said something about how her father couldn't really sing -- "Well, yes, but it's the *way* he doesn't sing...")

And hee, that'd be Broadsword, Heavy Horses, and Songs From the Wood, right? Inevitably, Broadsword is my favorite of the lot. I like all three but the earlier two are somewhat marred by muddy production, and Heavy Horses is particularly uneven for my tastes lyrically and in song progression. Broadsword, I like the general sonic side of the production and crunchier guitars better, it all flows really well as a whole, and I connect more strongly with the lyrics -- Pussy Willow and especially Slow Marching Band hit painfully close to home, I can never listen to that last one without tearing up... (Issues? What issues?)
Oct. 10th, 2008 07:46 pm (UTC)
Re: Oh, and never mind the words, just hum along and keep on going...

What's funny is that when I hear a group that really seems to have it together - really tight - I feel sort of exhilirated - "Wow, listen to how they're all really working together on this!" Even if there's a certain amount of after-production, I still have that kind of feeling. I think it's from when I went to art-and-music camp and listened to all the orchestra geeks working together, and also I sang in madrigal choir there as my elective. So to me, that very polished sound seems, more often than not, to be the result of some very unglamorous hard work. And they may have cared very much while they were doing that work, even if the result seems overly pristine and mannered.

Songs really can get charged with meaning. Dan Fogelberg's "Leader of Band" is on one level a piece of sentimental easy-listening tripe. On the other hand, to me and the Mr., it represents his father: "My life has been a poor attempt to imitate the man/I'm just a living legacy of the leader of the band."

Oct. 10th, 2008 09:31 pm (UTC)
Re: Oh, and never mind the words, just hum along and keep on going...
*nods* I get that "yes, they're ON and it's glorious" vibe from live music pretty frequently, and it's a huge part of what draws me to live shows -- but for some strange reason it just doesn't come through for me in the same way on studio work. I'm not allergic to glossy production and serious musicianship, but that sort of thing rarely grabs me for its own sake. So I often need another really strong hook, generally the vocals -- October Project is a good case, they're very lush and glossy and Mary Fahl's voice is rather mannered, but it's also quite expressive and has the sort of smoky alto timbre that I particularly enjoy; that, in conjunction with the lyrics, makes it all click for me, but replace Fahl with a singer who's less distinctive or less of a match for my tastes, like the soprano on harmony, and it wouldn't have made nearly as strong of an impression. That's sort of the way Steely Dan hits me -- the vocals don't actively turn me off, but they don't particularly appeal to me, either; with a different vocalist, they might have grabbed me more.

Vocals can absolutely kill things for me even when I really like everything else that's going on around it, too -- Rush is pretty much the textbook case, since at one point it seemed like I was absolutely surrounded with obsessive Rush fans. I enjoy the instrumental bits, but the minute Geddy Lee opens his mouth I want to cover my ears...

Some of that may be that I'm no musician and have pretty much negative musical aptitude, so there are lots of technical things a more music-geek type might focus on strongly that really don't speak to me. This tended to come up a lot with the ex, who had a lot of formal musical training and played multiple instruments -- a typical case was his reaction the first time he heard Johnny Cash's cover of Sting's I Hung My Head". He was sputtering that it was absolutely ruined because all of the tricky stuff in the original arrangement was stripped away; I thought it was an improvement emotionally, because while the original song is pretty and well-played and I'm fairly fond of Sting's voice, he gives it pretty much the same delivery he'd use for a love song, while Johnny Cash's quavery vocals sound more like a man who's overcome with guilt and facing his own death. I don't mind that the actual music has been simplified because it winds up feeling more like the raw folk song the lyrics resemble. So while I like both versions well enough, the original just doesn't have the satisfying emotional resonance the simpler cover does for me.

(It's not that I have a problem with there being a bit of a sonic mismatch between the overall tone of the music and vocals and the actual lyrical content, either -- there's a lot of stuff I like that sounds perfectly peppy and cheerful until you pay really close attention to the words being sung. That's pretty much a case-by-case basis for me, sometimes it works and sometimes it doesn't; but it's definitely more likely to work if the tone is something that appeals strongly to me for its own sake.)
( 7 comments — Leave a comment )


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