Best Song Survivor: 1990s/2000s Semifinal, Round Eight

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What is your least favorite song?


  • Total voters
    58
  • Poll closed .
When I think of Lemon, I think of Edge's hallucinogenic guitar work. It's so artificial and heavily processed that it sounds it's being transmitted from outer space, all while being strangely comforting and humane. That paradox is all over Zooropa and is what makes it such a brilliant album.
 
It's sad, but it wasn't going to win anyway. I'd much rather have The Fly or Until the End of the World be top dog for these two decades.

I'm surprised Zooropa has made the cut, though. It seems to be a very love it or hate it sort of song. Did you people forget to rally on its demise? :lol:
 
It's sad, but it wasn't going to win anyway. I'd much rather have The Fly or Until the End of the World be top dog for these two decades.

I'm surprised Zooropa has made the cut, though. It seems to be a very love it or hate it sort of song. Did you people forget to rally on its demise? :lol:

The Hive loves Zooropa.
 
Digitize, could you plz change my vote to Ultraviolet? I'm usually staunchly against vote changing, but goddammit Lemon is too perfect(o) to perish.
 
I never asked that too, but can you change my vote to Ultraviolet? Need to save Lemon. Thanks in advance.
 
Although I've been voting away all the while, I haven't commented on any of the previous rounds, even when Moment of Surrender was eliminated inexplicably early (to my ears it's better than anything left here), but the idea of Lemon going out and leaving Zooropa, The Fly and Ultraviolet is really baffling.

All of which makes this a great competition, by the way - i.e. completely unpredictable and a bit off-the-wall!
 
The Hive is a strawman that Nick created to make him feel better about people disagreeing with his opinions.

Perfectly summed up in a single sentence. I applaud you.

...see? Took me two sentences to clap my hands!
 
When I think of Lemon, I think of Edge's hallucinogenic guitar work. It's so artificial and heavily processed that it sounds it's being transmitted from outer space, all while being strangely comforting and humane. That paradox is all over Zooropa and is what makes it such a brilliant album.

I read a similar thing about Bowie's Heroes and how the microphone placement/recording was totally unusual and artificial, yet the vocal performance carries so much weight to it that a similar paradox was struck.
 
come onnnn, you can't keep all suddenly vote for Lemon out of nowhere and have it beat Ultraviolet which has been on the edge for a few rounds now!!! do the right thing guys
 
That would be a fantastic outcome. I'm in favor of a playoff round where everyone is forced to choose between the two. :up:
 
Change my vote from The Fly to UV.

Lemon deserves to stay.

The Fly should never have made it this far though >:/
 
I read a similar thing about Bowie's Heroes and how the microphone placement/recording was totally unusual and artificial, yet the vocal performance carries so much weight to it that a similar paradox was struck.

I think the mic placement thing was just having a few mics spread out with different noise gates on them. So as he belted out a little louder, the additional mics would pick it up. I guess it's artificial, but only subtly
 
I think the mic placement thing was just having a few mics spread out with different noise gates on them. So as he belted out a little louder, the additional mics would pick it up. I guess it's artificial, but only subtly

I always wondered why the vocals seem to change as the song goes on.
 
I always wondered why the vocals seem to change as the song goes on.

I was just going on memory of an old "Classic Albums" episode I saw ages ago. Here's a much better description

"The invention of a technique, called multi-latch gating by Jay Hodgson, common in classical music recordings for years, is often credited to producer Tony Visconti, whose use on David Bowie's "Heroes" may have been the first in rock. Visconti recorded Bowie's vocals in a large space using three microphones placed 9 inches (23 cm), 20 feet (6.1 m), and 50 feet (15.2 m) away, respectively. A different gate was applied to each microphone so that the farther microphone was triggered only when Bowie reached the appropriate volume, and each microphone was muted as the next one was triggered. "Bowie's performance thus grows in intensity precisely as ever more ambience infuses his delivery until, by the final verse, he has to shout just to be heard....The more Bowie shouts to be heard, in fact, the further back in the mix Visconti's multi-latch system pushes his vocal tracks [dry audio being perceived as front and ambience pushing audio back in the mix], creating a stark metaphor for the situation of Bowie's doomed lovers shouting their love for one another over the Berlin wall"
 
Wow thanks for posting that. I knew I wasn't just imagining things. That's why I can never listen to the single version, cos it drops you in halfway through, and you don't get the same build in the vocals. Really cool :up:
 
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