50 years of Paranoid.
Has one band ever been so singularly responsible for creating an entire genre of music?
What music does everyone listen to?
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Deleted User 89
Re: What music does everyone listen to?
ha! i listened to that story on the way in to work this morning, and then proceeded to listen to the whole album
Re: What music does everyone listen to?
Great album. I can't listen to the song Paranoid. I think it's one of their worst.
Defense. Rebounds.
Re: What music does everyone listen to?
I like how Rollins points out the lack of music on the album, which is to say, the very musical use of space.
The beginning of War Pigs or Ironman is so brooding and enormous, though there’s so few notes even being played.
The beginning of War Pigs or Ironman is so brooding and enormous, though there’s so few notes even being played.
Re: What music does everyone listen to?
I don't think I've listened to it beginning to end in 20 years. My favs were Electric Funeral and Hand of Doom.
Defense. Rebounds.
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Deleted User 289
Re: What music does everyone listen to?
I don't give a damn if they are 110 years old now, when you watch these versions how can anyone say these guys were not one of the 10 greatest rock and roll bands of all time?
Re: What music does everyone listen to?
Not my favorite stones song, but yeah, greatest rock and roll group ever.
Defense. Rebounds.
Re: What music does everyone listen to?
The Rolling Stones are not my favorite band. But they are for sure the greatest of all time. Even to this day.
Re: What music does everyone listen to?
Um, yeah, no.....
The Beatles
By Elvis Costello
I first heard of the Beatles when I was nine years old. I spent most of my holidays on Merseyside then, and a local girl gave me a bad publicity shot of them with their names scrawled on the back. This was 1962 or '63, before they came to America. The photo was badly lit, and they didn't quite have their look down; Ringo had his hair slightly swept back, as if he wasn't quite sold on the Beatles haircut yet. I didn't care; they were the band for me. The funny thing is that parents and all their friends from Liverpool were also curious and proud about this local group. Prior to that, the people in show business from the north of England had all been comedians. Come to think of it, the Beatles recorded for Parlophone, which was known as a comedy label.
I was exactly the right age to be hit by them full on. My experience — seizing on every picture, saving money for singles and EPs, catching them on a local news show — was repeated over and over again around the world. It was the first time anything like this had happened on this scale. But it wasn't just about the numbers.
Every record was a shock when it came out. Compared to rabid R&B evangelists like the Rolling Stones, the Beatles arrived sounding like nothing else. They had already absorbed Buddy Holly, the Everly Brothers and Chuck Berry, but they were also writing their own songs. They made writing your own material expected, rather than exceptional.
John Lennon and Paul McCartney were exceptional songwriters; McCartney was, and is, a truly virtuoso musician; George Harrison wasn't the kind of guitar player who tore off wild, unpredictable solos, but you can sing the melodies of nearly all of his breaks. Most important, they always fit right into the arrangement. Ringo Starr played the drums with an incredibly unique feel that nobody can really copy, although many fine drummers have tried and failed. Most of all, John and Paul were fantastic singers.
Lennon, McCartney and Harrison had stunningly high standards as writers. Imagine releasing a song like "Ask Me Why" or "Things We Said Today" as a B side. These records were events, and not just advance notice of an album release.
Then they started to really grow up. They went from simple love lyrics to adult stories like "Norwegian Wood," which spoke of the sour side of love, and on to bigger ideas than you would expect to find in catchy pop lyrics.
They were pretty much the first group to mess with the aural perspective of their recordings and have it be more than just a gimmick. Before the Beatles, you had guys in lab coats doing recording experiments in the Fifties, but you didn't have rockers deliberately putting things out of balance, like a quiet vocal in front of a loud track on "Strawberry Fields Forever." You can't exaggerate the license that this gave to everyone from Motown to Jimi Hendrix.
My absolute favorite albums are Rubber Soul and Revolver. When you picked up Revolver, you knew it was something different. Heck, they are wearing sunglasses indoors in the picture on the back of the cover and not even looking at the camera … and the music was so strange and yet so vivid. If I had to pick a favorite song from those albums, it would be "And Your Bird Can Sing" … no, "Girl" … no, "For No One" … and so on, and so on….
Their breakup album, Let It Be, contains songs both gorgeous and jagged. I remember going to Leicester Square and seeing the film of Let It Be in 1970. I left with a melancholy feeling.
The word "Beatlesque" has been in the dictionary for a while now. I can hear them in the Prince album Around the World in a Day; in Ron Sexsmith's tunes; in Harry Nilsson's melodies. You can hear that Kurt Cobain listened to the Beatles and mixed them in with punk and metal.
I've co-written some songs with Paul McCartney and performed with him in concert on a few occasions. During one rehearsal, I was singing harmony on a Ricky Nelson song, and Paul called out the next tune: "All My Loving." I said, "Do you want me to take the harmony line the second time round?" And he said, "Yeah, give it a try." I'd only had 35 years to learn the part. It was a very poignant performance, witnessed only by the crew and other artists on the bill.
At the show, it was very different. The second he sang the opening lines — "Close your eyes, and I'll kiss you" — the crowd's reaction was so intense that it all but drowned the song out. It was very thrilling but also rather disconcerting. Perhaps I understood in that moment one of the reasons why the Beatles had to stop performing. The songs weren't theirs anymore. They were everybody's.
The Beatles
By Elvis Costello
I first heard of the Beatles when I was nine years old. I spent most of my holidays on Merseyside then, and a local girl gave me a bad publicity shot of them with their names scrawled on the back. This was 1962 or '63, before they came to America. The photo was badly lit, and they didn't quite have their look down; Ringo had his hair slightly swept back, as if he wasn't quite sold on the Beatles haircut yet. I didn't care; they were the band for me. The funny thing is that parents and all their friends from Liverpool were also curious and proud about this local group. Prior to that, the people in show business from the north of England had all been comedians. Come to think of it, the Beatles recorded for Parlophone, which was known as a comedy label.
I was exactly the right age to be hit by them full on. My experience — seizing on every picture, saving money for singles and EPs, catching them on a local news show — was repeated over and over again around the world. It was the first time anything like this had happened on this scale. But it wasn't just about the numbers.
Every record was a shock when it came out. Compared to rabid R&B evangelists like the Rolling Stones, the Beatles arrived sounding like nothing else. They had already absorbed Buddy Holly, the Everly Brothers and Chuck Berry, but they were also writing their own songs. They made writing your own material expected, rather than exceptional.
John Lennon and Paul McCartney were exceptional songwriters; McCartney was, and is, a truly virtuoso musician; George Harrison wasn't the kind of guitar player who tore off wild, unpredictable solos, but you can sing the melodies of nearly all of his breaks. Most important, they always fit right into the arrangement. Ringo Starr played the drums with an incredibly unique feel that nobody can really copy, although many fine drummers have tried and failed. Most of all, John and Paul were fantastic singers.
Lennon, McCartney and Harrison had stunningly high standards as writers. Imagine releasing a song like "Ask Me Why" or "Things We Said Today" as a B side. These records were events, and not just advance notice of an album release.
Then they started to really grow up. They went from simple love lyrics to adult stories like "Norwegian Wood," which spoke of the sour side of love, and on to bigger ideas than you would expect to find in catchy pop lyrics.
They were pretty much the first group to mess with the aural perspective of their recordings and have it be more than just a gimmick. Before the Beatles, you had guys in lab coats doing recording experiments in the Fifties, but you didn't have rockers deliberately putting things out of balance, like a quiet vocal in front of a loud track on "Strawberry Fields Forever." You can't exaggerate the license that this gave to everyone from Motown to Jimi Hendrix.
My absolute favorite albums are Rubber Soul and Revolver. When you picked up Revolver, you knew it was something different. Heck, they are wearing sunglasses indoors in the picture on the back of the cover and not even looking at the camera … and the music was so strange and yet so vivid. If I had to pick a favorite song from those albums, it would be "And Your Bird Can Sing" … no, "Girl" … no, "For No One" … and so on, and so on….
Their breakup album, Let It Be, contains songs both gorgeous and jagged. I remember going to Leicester Square and seeing the film of Let It Be in 1970. I left with a melancholy feeling.
The word "Beatlesque" has been in the dictionary for a while now. I can hear them in the Prince album Around the World in a Day; in Ron Sexsmith's tunes; in Harry Nilsson's melodies. You can hear that Kurt Cobain listened to the Beatles and mixed them in with punk and metal.
I've co-written some songs with Paul McCartney and performed with him in concert on a few occasions. During one rehearsal, I was singing harmony on a Ricky Nelson song, and Paul called out the next tune: "All My Loving." I said, "Do you want me to take the harmony line the second time round?" And he said, "Yeah, give it a try." I'd only had 35 years to learn the part. It was a very poignant performance, witnessed only by the crew and other artists on the bill.
At the show, it was very different. The second he sang the opening lines — "Close your eyes, and I'll kiss you" — the crowd's reaction was so intense that it all but drowned the song out. It was very thrilling but also rather disconcerting. Perhaps I understood in that moment one of the reasons why the Beatles had to stop performing. The songs weren't theirs anymore. They were everybody's.
Re: What music does everyone listen to?
50 years of Rolling Stones > 10 years of Beatles.
Re: What music does everyone listen to?
Wayne and Garth: who’s playing at the bar tonight?
Bouncer: The Shitty Beatles
They any good?
They suck.
Bouncer: The Shitty Beatles
They any good?
They suck.
Re: What music does everyone listen to?
I think it also says a lot that the Beatles sucked until Dylan got them stoned.
Re: What music does everyone listen to?
Didn't they quit playing live shows in '65? Rock and Roll bands play live.
Defense. Rebounds.
Re: What music does everyone listen to?
I don’t dislike the Stones, but they’re not the Beatles. Not really even close from a quality of music perspective. Zeppelin’s also better than the Stones musically.
Re: What music does everyone listen to?
There are two classic rock stations here, a bunch of country and a lot of Jesus. That's about it. The classic rock stations each play about 5 zepplin songs per hour. I can't listen to them any more.
Defense. Rebounds.
Re: What music does everyone listen to?
I guess you could say that you just can’t get no satisfaction?