Normally whenever I have some new idea for a post cross my mind, I'll just add it to the bloated and schizophrenic pages of my main diary. However, I thought this concept was streamlined and simple enough. I should be able to stick to one theme for awhile until I inevitably lose interest and go on to the next thing that catches my fancy.
The song that kicked this all off for me was "The Rainbow" which opens the compellingly innovative "Spirit of Eden" by Mark Hollis and Talk Talk.
Certainly, the last two Talk Talk albums need no more evaluation at this point. For any discerning musicologists, such as the people that peruse this site, I imagine that most of us consider them to be classics. I'd like for you to consider, for a moment, what it must have been like to listen to this album for the first time in 1988.
Up to that point, Talk Talk had been a group that was in between the realms of the mainstream and the experimental. Although signs of the bands greater depth began to develop on their previous album, "The Colour of Spring", it wasn't until the opening track of this 1988 album that Mark Hollis' true musical vision took form.
So, as I said, picture yourself as a listener in 1988 (this is easier for some than others) and you've just purchased the new Talk Talk album. Not as a diehard fan, but as a casual listener:
"Gee, I sure do like "It's My Life" and "Life's What You Make It" I wonder what I'll be hearing on this new record."
"Ok, cool we've got like some keyboards and a, a trumpet, and what's that? Some distorted guitar?"
"Now it's almost been silent for a minute..."
"Alright here's some more guitar. Not heard anything of that texture from previou... is that a harmonica?"
"Ok, so they're going for some kind of bluesy thing here. Let's see, oh here are some vocals... wait the verse is over?"
"...Uh, what was that transition between the verse and the chorus?"
"What was the chorus?"
"What is this?"
"What is anything?"
etc. etc.
Mark Hollis is one of the only songwriters to actually make me question whether or not I'm listening to something that can still be called "pop music".
The level of composition he's working at on this track almost makes that feel like an insult.
If you've ever read anything that I've written on this site, then you know that I'm a sucker for anything that is D Y N A M I C. This is probably one of the best (if not the best) examples of what the power of dynamics are in a composition. Hollis' classical inspiration comes through in full force on this track in that it best relates to the sonic energy of a classical piece of composition. Particularly of note is that transition between the verses and the chorus. It's one of those times where everything is so smooth and seamless that the actual skill behind crafting something as brilliant as it is may go unnoticed.
Like Tiger Woods swinging a golf club.
Or Ken Griffey Jr. swinging a bat.
It seems so effortless as to render the observer mystified in it's presence.
There is some sort of magic going on here that is only inherently found in the best that this hominid species has to offer.
What a statement for this artist to make on their first of what was to be two of the greatest artistic achievements to ever be recorded.
Ok, now we get into something that is so iconic that I shouldn't need to write as much as I did for the last post. (To justify it's inclusion in this particular list.) Not many artists can claim to invent a genre of music with one song, but Black Sabbath invented Doom Metal with this track in 1970. (Which was released as a single BTW!)
And, as with the previous track, I urge you to consider what it must have been like to hear this for the first time in 1970:
"Oh, that's a weird cover. I think I'll buy this album. "Black Sabbath", well that's a bit edgy."
"Whoa, it's like, raining. That's cool."
"Oh no, what's happening? The record must be at the wrong speed. That guitar sounds all wrong."
Chief! Love the fact that you highlighted Spirit of Eden and painted the picture of how revelatory Talk Talk's masterpiece would've been (and still is) back in 1988! With a much deserved nod to Laughing Stock too, which might be its equal or even better. I've been going back and forth on these two for years, along with Hex by Bark Psychosis. Few, if any, genres, have 3 virtually equally great albums that are so-so-so-so close and so difficult to discern which order they should be in. Fortunately, this can only lead to listening to them more to try and (but fail to) figure it out _________________ Best Classical Best Films Best Paintings
Thanks Afterhours! I love that album by Bark Psychosis as well. Probably the closest another group has come to replicating the 'Mark Hollis' sound. If there was one.
The electric Bob Dylan came bursting forth on Highway 61 with what would become his most enduring troubadour ballad. Apparently it's quite possibly the "most acclaimed song all time", so I don't think I need to add any other commentary. We've all heard this one before.
Hollis' classical inspiration comes through in full force on this track in that it best relates to the sonic energy of a classical piece of composition. Particularly of note is that transition between the verses and the chorus. It's one of those times where everything is so smooth and seamless that the actual skill behind crafting something as brilliant as it is may go unnoticed.
Like Tiger Woods swinging a golf club.
Or Ken Griffey Jr. swinging a bat.
It seems so effortless as to render the observer mystified in it's presence.
^^Fantastic and very true. _________________ Attention all planets of the solar federation: We have assumed control.
Ok, now we get into something that is so iconic that I shouldn't need to write as much as I did for the last post. (To justify it's inclusion in this particular list.) Not many artists can claim to invent a genre of music with one song, but Black Sabbath invented Doom Metal with this track in 1970. (Which was released as a single BTW!)
And, as with the previous track, I urge you to consider what it must have been like to hear this for the first time in 1970:
"Oh, that's a weird cover. I think I'll buy this album. "Black Sabbath", well that's a bit edgy."
"Whoa, it's like, raining. That's cool."
"Oh no, what's happening? The record must be at the wrong speed. That guitar sounds all wrong."
"Wait, no, it's supposed to sound like that?"
"Uh, what is this guy talking about?"
(Figure in black that points at me)
"Mom? Pick me up. I'm scared."
Totally!!!
My offerings are the openings to BOTH The Cure's Pornography => "It doesn't matter if we all die! " and Disintegration...
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