GENIUS FORUMS

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by Apocalyptica

Enter Sandman [Live] >> http://www.youtube.com/watch?v=0tN6_1dJveM

vou le vou ... ?

http://www.youtube.com/watch?v=GRDTBNVWKOw

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by Flowers

Dead Flies >> http://popup.lala.com/popup/2810527668268006401

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by Charlie Daniels

Still In Saigon >> http://popup.lala.com/popup/504966112808205362

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by Big Country

In A Big Country >> http://www.youtube.com/watch?v=0vhebiuuLqU

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The Gaslight Anthem & Bruce Springsteen

The '59 Sound >> http://www.youtube.com/watch?v=atmGYUsbahw

Wise move, Tomas. You were kind of pushing your luck. But I actually do Wichita Lineman, as it happens.

Dan Rowden wrote:Wise move, Tomas. You were kind of pushing your luck. But I actually do Wichita Lineman, as it happens.

Remember I'm blind/deaf in the left eye/ear. All is monotone. No stereo :-(

A couple/few (5, 6) of the youtube videos were no longer available. Thought to remove them as they were my favorites. I'd been amassing varied versions for a couple few years from their archives. The REM version was annoying, but I like Johnny Cash's version, but now that he's toast .. he had to go, too.

I've a couple karaoke versions for you. Do you actually have a (decent) singing voice or is/was Jeannie just talking off-the-cuff in that other thread? It's somewhat difficult to tell in your TalkingMen of the Absolute vids and the right eye wears out mighty fast staring at the screen. Gotta limit viewing time as a result, so the reliance in on the hearing in right ear.

I saw Elvis perform the song in 1975. Ditto Johnny Cash some time after in the 1980s..

BTW - Glen Campbell didn't write the song and his is amongst the worse/worst I've ever heard. I never cared for it when it hit am radio.

TomasI wrote:Do you actually have a (decent) singing voice or is/was Jeannie just talking off-the-cuff in that other thread?

Modesty aside, I would say I'm in the top 10 of singers (non-professional) in the Brisbane metro region. One of the funnier things that happens when you have a half decent voice is that people come up to you and demand that they saw you in a band just recently. They tend to be drunk, mind you. My voice is somewhere between Al Martino, Jay Black, Rob Orbison and Dolly Parton.

I think the top song musicians are those who can clarify, and make conscious, some of the human emotions, so that they express or explain somehow the causes for the suffering. For instance, Ron Sexsmith's "Secret Heart". Almost all of the best musicians reach only as high as this. Bob Dylan's "Just like a Woman", or "Don't Think Twice, It's All Right".

Otherwise, music is almost always maudlin, like old deaf alcoholics yelling at each other abusively because that's the only way they feel someone cares. Observing musicians and music addicts is like living with heroin-addicts, watching them maul themselves gleefully. Most music is just psychologically deafening maulings. Listen to a paragraph and meditate on it, but worth no more time, it's basically waste newspaper flapping against a gutter.

But there are some songs that can be interpreted fairly easily, if one is skilled and conscious enough, as enlightening. Some of Opeth's are like this, though there are always slips. These are the real gems, but they're extremely rare. The free-thinking composers and song-writers are so delightful, like Ozric Tentacles, but even they slipped badly, getting stuck into their ruts. They are afraid of freedom, the emptiness and unboundedness and meaninglessness, of music. The Infinite void in music and sound is almost always conventionalised into some stale style.

The above categories include instrumental music, since it is easy enough to hear how the composer has been inspired by psychological and emotional lines, e.g. Beethoven, Glass, Vangelis (to give some of the better examples of conscious composers who aren't absorbed in music as an egotistically reflecting activity, so much as trying to form a reflection in sound of something fundamental and true - psychologically). Most instrumental composers are terribly stricken by a need to follow sound-trends. It's struck me how frozen in time conventional music is; even academic avant-garde is frozen and conventional.

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Kelly Jones wrote:I like Ozric Tentacles, but even they slipped badly, getting stuck into their ruts. They are afraid of freedom, the emptiness and unboundedness and meaninglessness, of music. The Infinite void in music and sound is almost always conventionalised into some stale style.

Most artists get stuck in some style, they make it their home as well as a home for the listeners. But within some distinct sound a musician can find a lot of daring turns and switches as well as subtle variations, mostly for himself. It often doesn't translate into a whole different experience for the listener. There are hardly any musicians who keep pushing the envelope of change. And when they do, it's often still progressively less spirited and self-similar.

Nice visual clip for the tentacles: Ozric Tentacles - Fractal Eternal Wheel, for the unbound random blending and meaninglessness.

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by R.E.M.

It's The End Of The World As We Know It >> http://popup.lala.com/popup/576742279065143055

Kelly Jones wrote:I think the top song musicians are those who can clarify, and make conscious, some of the human emotions, so that they express or explain somehow the causes for the suffering. For instance, Ron Sexsmith's "Secret Heart". Almost all of the best musicians reach only as high as this. Bob Dylan's "Just like a Woman", or "Don't Think Twice, It's All Right".

Some of Dylan's stuff is comparatively insightful, but much of it is junk, like most music. I have his entire life's work on my hard-drive but cannot bring myself to listen to most of it.

Otherwise, music is almost always maudlin, like old deaf alcoholics yelling at each other abusively because that's the only way they feel someone cares.

This is absolutely true. One of the several reasons that I have, over the years, spent months at a time not doing karajoke is that most songs are too banal to stomach. If I limited myself to songs that had a relatively interesting lyric, I'd have a repertoire of about 3. In the end you have to tell yourself that some songs, despite their banality, have some sort of noble content/intent. It's not easy.

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by Billy Idol

Heroin >> http://popup.lala.com/popup/576742261881498213
Billy's lyrical version >> http://www.lyricsmode.com/lyrics/b/bill ... eroin.html

Dan Rowden wrote:

Kelly Jones wrote:I think the top song musicians are those who can clarify, and make conscious, some of the human emotions, so that they express or explain somehow the causes for the suffering. For instance, Ron Sexsmith's "Secret Heart". Almost all of the best musicians reach only as high as this. Bob Dylan's "Just like a Woman", or "Don't Think Twice, It's All Right".

Some of Dylan's stuff is comparatively insightful, but much of it is junk, like most music. I have his entire life's work on my hard-drive but cannot bring myself to listen to most of it.

That's why I only included two!

One of the several reasons that I have, over the years, spent months at a time not doing karajoke is that most songs are too banal to stomach. If I limited myself to songs that had a relatively interesting lyric, I'd have a repertoire of about 3. In the end you have to tell yourself that some songs, despite their banality, have some sort of noble content/intent. It's not easy.

I can imagine. I suppose if you took up an ancient instrument, like er hu, bagpipes, Baroque oboe, shakuhachi, or Maori nosepipes, then you wouldn't have much of an audience, except curious bypassers who might flick you a coin. There is something more lively and real in such eccentric instrumental music.

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I've always been too lazy to learn an instrument. In a sense, my voice is my instrument, and it just comes naturally.

Actually, doing karaoke has always been an interesting exercise in behaviour observation. People get really weird about music. Apart from odd-bods coming up to me and literally demanding that they've seen me playing in a band, I've had folk abuse me for being a professional singing at a karaoke (though some say this just to flatter). I get people constantly wanting me to sing particular songs for them and being miffed when I refuse - especially if I accept for one person and refuse them. If you have some sort of talent, people immediately feel they own you.

To give a rough idea of what sort of voice I have, in 15 odd years of doing karaoke all over Brisbane, I'm the only person I've seen do this song: Cara Mia. Mind you, it may just be because the song is dreadfully lame and I have no shame.

Watch for the dancers at 1:58. It's a true 60's classic. Embarrassing, really, but sort of funny.

Dan Rowden wrote:I've always been too lazy to learn an instrument. In a sense, my voice is my instrument, and it just comes naturally.

Well, it all depends what your standards are. And some instruments are very difficult to play even passingly well, e.g. oboe.

If you have some sort of talent, people immediately feel they own you.

It's only because you're performing publicly. Doing anything ostentatious in public is a signal that you're a performer; people will presume you're performing to them, so they will give you instructions. Even a man taking off his shirt in public will not be tolerated unless he performs pleasingly. Public space is not free.

To give a rough idea of what sort of voice I have, in 15 odd years of doing karaoke all over Brisbane, I'm the only person I've seen do this song: Cara Mia. Mind you, it may just be because the song is dreadfully lame and I have no shame.

Watch for the dancers at 1:58. It's a true 60's classic. Embarrassing, really, but sort of funny.

Not bad. I can understand it, and what it would do for people, but it wouldn't have that effect on me.

For another slightly psychotic afterword to courtship songs, try this.

I'm afraid I was too bored after 45 seconds of that song to continue.

The lyrics, if you're interested, are not about a woman at all, though oddly it is very difficult to tell the two objects apart.

Vivo per lei da quando sai la prima volta l'ho incontrata, non mi ricordo come mai mi è entrata dentro e c'è restata. Vivo per lei perché mi fa vibrare forte l'anima, vivo per lei e non è un peso.
[I live for her from when, you know, the first time I met her. I don't remember how she ever came to enter inside and stay there. I live for her because she makes my spirit vibrate strongly. I live for her and it's not a burden.]

Vivo per lei anch'io lo sai e tu non esserne geloso, lei è di tutti quelli che hanno un bisogno sempre acceso, come uno stereo in camera, di chi è da solo e adesso sa, che è anche per lui, per questo io vivo per lei.
[I live for her, also me, you know, and you aren't jealous. She is of / belonging to all those who have a need always on, like a stereo in a room of someone alone and now knows, that it's also for him. For this I live for her.]

E' una musa che ci invita a sfiorarla con le dita, attraverso un pianoforte la morte è lontana, io vivo per lei.
[She is a muse that invites us to open up her flowers with your fingers. Through a piano death is distant. I live for her.]

Vivo per lei che spesso sa essere dolce e sensuale, a volte picchia in testa ma è un pugno che non fa mai male. Vivo per lei lo so mi fa girare di città in città,
soffrire un po' ma almeno io vivo.
[I live for her who often knows to be sweet and sensual. At times she beats in my head but it's a punch that doesn't hurt. I live for her, I know it makes me travel city to city. I suffer a little but at least I live.]

E' un dolore quando parte. Vivo per lei dentro gli hotels. Con piacere estremo cresce. Vivo per lei nel vortice. Attraverso la mia voce si espande e amore produce.
[It hurts when she leaves. I live for her inside hotels. With extreme pleasure she grows. I live for her in the vortex. Through my voice it expands and produces love.]

Vivo per lei nient'altro ho e quanti altri incontrerò che come me hanno scritto in viso: io vivo per lei. Io vivo per lei sopra un palco o contro ad un muro...
Vivo per lei al limite. ... anche in un domani duro. Vivo per lei al margine. Ogni giorno una conquista, la protagonista sarà sempre lei.
[I live for her, I have nothing else, and how many others I will meet that like me have written in their face: I live for her. I live for her above a stage or against a wall... I live for her to the limit... also in a hard tomorrow. I live for her at the margin. Every day a conquering, the protagonist will always be her.]

Vivo per lei perché ora mai io non ho altra via d'uscita, perché la musica lo sai davvero non l'ho mai tradita. Vivo per lei perché mi dà pause e note in libertà
Ci fosse un'altra vita la vivo, la vivo per lei. Vivo per lei la musica. Io vivo per lei. Vivo per lei è unica. Io vivo per lei. Io vivo per lei. Io vivo per lei.
[I live for her because by now I have no other way out, because music, you know, truly I have never betrayed her. I live for her because she gives me pauses and notes in freedom. Should there be another life I would live it, I would live it for her. I live for her, music. I live for her. I live for her, the only one. ....... ]

{my translation}

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I think one probably needs to understand the Italian worship of the Madonna (mamma + the "mystique" of catholicism) to understand that song, or the pull of modern Italianate music. I think one of their most offensive words is "Dio cane", meaning, something like God is a mongrel (a bastard son by an unfaithful woman).

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Whoever wrote it wasn't interested in music, ironically. Comic!

"Vivo per lei ma lei non mi da il talento o l'arte, che sfortuna."
[I live for her but she doesn't give me talent or art, what bad luck.]

;-)

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This will take your heart there, all right.

Composed and performed by the great Hiromi Uehara.

http://www.youtube.com/watch?v=98JtaPWvSYM

I don't listen to music on the radioanymore, most sounds feel like you're being dressed in pink, being showered with the whines and moans of drug addicts, or meaninglessness. Most of it feels like braindeath. The odd song that moves me was far between random songs on the Radio, now, even some of the better lyrics fail at some point and I just can't take them serious any longer.

It does happen I feel like the odd classical instrumental song.( Edit, i am mostly for the asian-style classical music )

I don't listen to music on the radio either.

This is quite brilliant.

Another Hiromi composition.

Deep Into The Night

http://www.youtube.com/watch?v=VjJlYOGY ... re=related

Ah, not really my style, i guess :) (your newest link)