Random Music Talk XXXVIII: robin-hood-brings-a-rainbow.gif

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Here it is!

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FYI, I notified Amoeba music of his blasphemy, and if he ever comes back to Los Angeles and tries to set foot in that store again, he'll likely be shot on sight.
 
I really don't see what is so outrageous about claiming that Let It Be is a stronger song than Imagine. Let It Be at least has a great, evocative solo from George, whereas Imagine is essentially just John summarizing the Communist Manifesto over three chords. It's really a tie for me, but an argument can be made for Let It Be as the superior track.
 
I really don't see what is so outrageous about claiming that Let It Be is a stronger song than Imagine. Let It Be at least has a great, evocative solo from George, whereas Imagine is essentially just John summarizing the Communist Manifesto over three chords. It's really a tie for me, but an argument can be made for Let It Be as the superior track.


For one thing, being more complex doesn't automatically mean something is better. Second, your take on John's lyric, is snarkily reductive, as it's something that goes beyond politics or causes (e.g. calling himself a "dreamer", "nothing to kill or die for") And since when does Karl Marx have a monopoly on utopian visions?

Let It Be is a popular song by one of the most-loved bands ever, but Imagine has become an iconic, inspirational, and universal anthem.
 
Hi, guys. What is up, guys? Did you do anything fun this weekend, guys?

Beirut and The National playing Fake Empire together is not even 1/10 as cool as thought it might be, guys.
 
Marr's done essentially nothing that's interested me since The Smiths. I'm even a really big Modest Mouse fan, and still think he hasn't provided anything of interest to them.
 
Electronic had a couple decent tunes

Even still, I think he gets a pass for being Johnny Marr and being in the Smiths. Same way Pete Townshend would get a pass for doing exciting after The Who
 
For one thing, being more complex doesn't automatically mean something is better. Second, your take on John's lyric, is snarkily reductive, as it's something that goes beyond politics or causes (e.g. calling himself a "dreamer", "nothing to kill or die for") And since when does Karl Marx have a monopoly on utopian visions?

From Lennon himself: "The song ... is virtually the Communist Manifesto, even though I am not particularly a communist and I don't belong to any movement. You see, 'Imagine' was exactly the same message, but sugar- coated."
 
Like John never downplayed anything he did before. I know it has much in common with those Marxist ideals, but it's precisely that sugar-coating that makes the song so effective and inspiring to people. That doesn't make it inferior, or less worthy. The song doesn't come off as a preachy treatise, but a positive, inclusive vision of how things could be.
 
Electronic had a couple decent tunes

Even still, I think he gets a pass for being Johnny Marr and being in the Smiths. Same way Pete Townshend would get a pass for doing exciting after The Who


Pete Townsend was the guy who wrote 90% ofthe music and lyrics for The Who, and had what I'd call a respectable solo career. Who Came First and Empty Glass are both great. Marr was a decent guitar played who came up with some good hooks, but Morrissey's lyrics and melodies are the main reason people worshipped The Smiths. Moz has made some great solo albums that in my opinion are worthy of being mentioned in the same breath as his previous work. Marr, on the other hand has just gone from collab to band to band without providing anything special. The difference between genius and talent, and he's a has-been.
 
Wow, nice coincidence there: I heard that record for the first time last night and I thought it was incredible, like the best parts of Smiths and Cocteau twins rolled into one.

Wow, that is a nutty coincidence.

I'm a huge fan of their first 2 albums...the 3rd I like, but not nearly as much as the other 2.

This song here is probably my favorite of theirs. Her voice just kills me.

Glad you liked it!
 
I know it has much in common with those Marxist ideals, but it's precisely that sugar-coating that makes the song so effective and inspiring to people.

Okay, but it can also be viewed as a compromise that has resulted in the song being misappropriated on a frequent basis. I read the song as a lamentation, but a lot of people take it in the complete opposite manner: as a statement of unabashed optimism. That interpretation then allows people to look at it as an affirmation of whatever it is that they believe - hence it being inscribed in Central Park, one of the foremost symbols of New York, a city that represents the country that was and continues to be the antithesis of everything that the lyrics represent.

To me, "God" is the much more powerful song precisely because it refuses to compromise its vision. That's how I appreciate Lennon most: as the scathing social critic rather than ameliorative dreamer.
 
Wow, that is a nutty coincidence.

I'm a huge fan of their first 2 albums...the 3rd I like, but not nearly as much as the other 2.

This song here is probably my favorite of theirs. Her voice just kills me.

Glad you liked it!

You're Not the Only One I Know is probably my favorite...the lyrics are heartbreaking, yet the melody is feather-soft. One of those tracks that puts you into a melancholy place immediately.

Late 80s/early 90s dream-pop is a beautiful thing.
 
Okay, but it can also be viewed as a compromise that has resulted in the song being misappropriated on a frequent basis. I read the song as a lamentation, but a lot of people take it in the complete opposite manner: as a statement of unabashed optimism. That interpretation then allows people to look at it as an affirmation of whatever it is that they believe - hence it being inscribed in Central Park, one of the foremost symbols of New York, a city that represents the country that was and continues to be the antithesis of everything that the lyrics represent.

To me, "God" is the much more powerful song precisely because it refuses to compromise its vision. That's how I appreciate Lennon most: as the scathing social critic rather than ameliorative dreamer.

Fair points, but that contradiction is also what made John so fascinating (and frustrating). And of course, he spent a great deal of the latter part of his life in NYC.

"God" is likely my favorite solo Lennon work, so you'll get no argument from me there, but I admire this dual nature of the guy more than just the cynical or idealistic side over the other.
 
FYI, I notified Amoeba music of his blasphemy, and if he ever comes back to Los Angeles and tries to set foot in that store again, he'll likely be shot on sight.

:lol: with the money I drop in that joint? I'll always be welcome.

I really don't see what is so outrageous about claiming that Let It Be is a stronger song than Imagine. Let It Be at least has a great, evocative solo from George, whereas Imagine is essentially just John summarizing the Communist Manifesto over three chords. It's really a tie for me, but an argument can be made for Let It Be as the superior track.

I don't see the big deal either. Is it Macca's disgusting beard in the video clip that puts everyone off? Does it have to do with the fact that Imagine is by John and Let it Be by Paul? I can agree that Let it Be has more cheese, but it's a more interesting song musically, thought Imagine probably has the better lyrics.
 
i'm pretty sure i don't love kooks. i'm not even sure what that is.

they've got that "oh-so-cool-wish-i-could-surf-my-whole-life-away-play-one-chord-from-this-and-girls-will-love-you" vibe. they're huge in Australia and I fucking hate it. the vocalist sucks too.

‪The Kooks 'Seaside'‬‏ - YouTube

http://www.youtube.com/watch?v=X0_dzob846E&feature=related

GOB is my favourite too. "Next episode..." bit is (good) bullshit most of the time, but there are a few cases where it does set up for the next one. Of course you like Portia, she's from Geelong!

I had forgotten that. She goes up a lot in my book. I love Tobias too. The marriage guidance scene was hilarious.
 
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