Muziek / Muziekgames / Greatest Hits of #2 (The J. Geils Band)!
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geplaatst: 30 oktober 2015, 19:22 uur
Nr 18: The Tinderbox (Of A Heart), 25 punten, genoemd 7x, hoogste positie: 4
Nr 1 van: Niemand
Listen to this track a few times and you're probably hooked for the rest of your life. Its tantalizing rhythm is one never to be forgotten, to be sung at any time, at any place. To this the band added a gorgeous background melody and then came up with yet another beautiful melody for the main vocals.
Anyone trying to describe The Tinderbox (Of A Heart) is likely to run into trouble straight away. How does one define its style? What's the structure of the song? Does it have verses and choruses? Is it loud or soft? Quick or slow? Lively or calm? And it's very hard to come up with any answers. It's generally soft, but it has some louder fragments. The background rhythm is very quick, but the main rhythm is slow. You can accept it as a lively song, but the main melody is soothing. There are no choruses or verses really, but one could argue the song consists of chorus only. As for its style, we may as well say the song is in a class of its own.
To find out what's going on take a careful look what's happening here. The ingenious thing about this track is that it was built in three layers. First of all there's the percussion - quick and very repetitive - every three and a bit seconds it starts over again. It's the most consistent part, although even here there are subtle variations and sudden drum rolls inbetween. But then there's a second rhythmic layer, mostly defined by the background vocals. The lyrics are hard to follow, but Liz appears to sing something like
Through the edge
Are beaten
You feel
Danger there
Now this is the main rhythm really. It's much slower - it repeats once in every four percussion parts, roughly once every 13 seconds. This secondary rhythm determines the pace of the song, dividing it into 'episodes' of 13 seconds each.
And then there's a third layer, where the main melody and lots of other variations are to be found. And those variations coincide exactly with the episodes of the main rhythm. A number of episodes feature the vocals of the main melody - and again we are provided with a few tantalizing lyrics on the inner sleeve of the LP version:
Tinderbox of a heart
Left a shell is all
Oh, and by the way: the phrase bloody and blunt can also be heard - it was later to become a song title on The Moon and the Melodies.
So the variety of the song is generated by all the different ways to fill the episodes. There are a few without any additions, one has whispered vocals, one has faint vocals, several have 'normal' vocals. Then at times there's a xylophone joining the rhythm section, in some places a guitar plays along as well. In the later parts some string instrument, probably generated by a keyboard, provides an additional majestic background.
The way Robin created a song out of such an unusual concept is truly exceptional. Tinderbox isn't just a fantastic song, it's pure magic.
The band played a similar but not quite identical version during one of their BBC sessions
Cocteau Twins - The Tinderbox (of a heart) - YouTube
Nr 1 van: Niemand
Listen to this track a few times and you're probably hooked for the rest of your life. Its tantalizing rhythm is one never to be forgotten, to be sung at any time, at any place. To this the band added a gorgeous background melody and then came up with yet another beautiful melody for the main vocals.
Anyone trying to describe The Tinderbox (Of A Heart) is likely to run into trouble straight away. How does one define its style? What's the structure of the song? Does it have verses and choruses? Is it loud or soft? Quick or slow? Lively or calm? And it's very hard to come up with any answers. It's generally soft, but it has some louder fragments. The background rhythm is very quick, but the main rhythm is slow. You can accept it as a lively song, but the main melody is soothing. There are no choruses or verses really, but one could argue the song consists of chorus only. As for its style, we may as well say the song is in a class of its own.
To find out what's going on take a careful look what's happening here. The ingenious thing about this track is that it was built in three layers. First of all there's the percussion - quick and very repetitive - every three and a bit seconds it starts over again. It's the most consistent part, although even here there are subtle variations and sudden drum rolls inbetween. But then there's a second rhythmic layer, mostly defined by the background vocals. The lyrics are hard to follow, but Liz appears to sing something like
Through the edge
Are beaten
You feel
Danger there
Now this is the main rhythm really. It's much slower - it repeats once in every four percussion parts, roughly once every 13 seconds. This secondary rhythm determines the pace of the song, dividing it into 'episodes' of 13 seconds each.
And then there's a third layer, where the main melody and lots of other variations are to be found. And those variations coincide exactly with the episodes of the main rhythm. A number of episodes feature the vocals of the main melody - and again we are provided with a few tantalizing lyrics on the inner sleeve of the LP version:
Tinderbox of a heart
Left a shell is all
Oh, and by the way: the phrase bloody and blunt can also be heard - it was later to become a song title on The Moon and the Melodies.
So the variety of the song is generated by all the different ways to fill the episodes. There are a few without any additions, one has whispered vocals, one has faint vocals, several have 'normal' vocals. Then at times there's a xylophone joining the rhythm section, in some places a guitar plays along as well. In the later parts some string instrument, probably generated by a keyboard, provides an additional majestic background.
The way Robin created a song out of such an unusual concept is truly exceptional. Tinderbox isn't just a fantastic song, it's pure magic.
The band played a similar but not quite identical version during one of their BBC sessions
Cocteau Twins - The Tinderbox (of a heart) - YouTube
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geplaatst: 30 oktober 2015, 19:24 uur
Telamon schreef:
Luigi, misschien doe je het bewust met die links, maar als je (embed) gebruikt zie je het youtube-filmpje erbij.
Luigi, misschien doe je het bewust met die links, maar als je (embed) gebruikt zie je het youtube-filmpje erbij.
Ja vrind. maar met 20 clipjes embedded laadt een pagina bijna niet meer. Dat staat in het jargon bekens als "the grey circle of death" - bij Adobe
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geplaatst: 30 oktober 2015, 19:27 uur
Nr. 17: Carolyn's Fingers, 29 punten, genoemd: 6x, hoogste positie:1
Nummer 1 van: DjFrankie
A few simple yet fabulous chords by an acoustic guitar provide the introduction to Carolyn's Fingers, but that is where simplicity ends, because this song is filled to the brim with many different instruments and special effects.
This track has so much happening at any one time it's almost impossible to describe all of what's going on. Take the vocal part. Liz starts out with some quite high notes (note the faint echo on that bit), but then later switches to much lower ones in the chorus (most bands would need two singers to achieve that). The two lines are obviously mixed together, and towards the end there are still more vocal lines to be heard.
Then there is the bass, not always clearly audible, but especially in the middle part Simon delivers some great chords. There is ample percussion of the light yet very busy sort so typical for Blue Bell Knoll.
The main guitar theme, as played in the first second, is repeated later on an electric guitar, both in elaborate and very trimmed down versions. We hear the occasional return of the acoustic guitar as well.
And despite all this complexity the structure of the song is simple. The main line and chorus, alternating with each other, are effectively just variations on the same theme. How is it the band were able to write a great song from just one single theme? Because there are so many instrumental permutations being performed between the beautiful first notes and the perfectly natural ending that most listeners will never even notice.
Cocteau Twins - Carolyn's Fingers (Official Video) - YouTube
Nummer 1 van: DjFrankie
A few simple yet fabulous chords by an acoustic guitar provide the introduction to Carolyn's Fingers, but that is where simplicity ends, because this song is filled to the brim with many different instruments and special effects.
This track has so much happening at any one time it's almost impossible to describe all of what's going on. Take the vocal part. Liz starts out with some quite high notes (note the faint echo on that bit), but then later switches to much lower ones in the chorus (most bands would need two singers to achieve that). The two lines are obviously mixed together, and towards the end there are still more vocal lines to be heard.
Then there is the bass, not always clearly audible, but especially in the middle part Simon delivers some great chords. There is ample percussion of the light yet very busy sort so typical for Blue Bell Knoll.
The main guitar theme, as played in the first second, is repeated later on an electric guitar, both in elaborate and very trimmed down versions. We hear the occasional return of the acoustic guitar as well.
And despite all this complexity the structure of the song is simple. The main line and chorus, alternating with each other, are effectively just variations on the same theme. How is it the band were able to write a great song from just one single theme? Because there are so many instrumental permutations being performed between the beautiful first notes and the perfectly natural ending that most listeners will never even notice.
Cocteau Twins - Carolyn's Fingers (Official Video) - YouTube
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geplaatst: 30 oktober 2015, 19:29 uur
Nr. 16: Cherry-Coloured Funk, 29 punten, genoemd: 7x, hoogste positie: 2
Nr 1 van: Niemand
The guitar playing the introduction to Cherry-Coloured Funk has that warm and rich sound so characteristic for the entire album. Despite the suggestive title the song can hardly be categorized as 'funk', although it's hard to tell how a 'cherry-coloured' variation should sound.
Against a steady background of guitar and bass Liz is easily taking the limelight here with a creative combination of vocal effects. Her unusually low notes in the verse are counterbalanced by very high-pitched ones during the chorus. Following the band's normal practice the two are eventually mixed together beautifully in the latter parts of the track. And just when everything seems ready for a standard fade-out the song treats us to an unexpected and highly original conclusion when everything just stops dead within seconds.
With its pleasant melody and rhythms Cherry-Coloured Funk is an appealing song without too many complexities. In the context of their Heaven Or Las Vegas album one could observe that it is really the first of a sequence of ever more elaborated compositions.
The band later used fragments of the song to create a totally different version for their Otherness project.
Cocteau Twins - Cherry Coloured Funk - YouTube
Nr 1 van: Niemand
The guitar playing the introduction to Cherry-Coloured Funk has that warm and rich sound so characteristic for the entire album. Despite the suggestive title the song can hardly be categorized as 'funk', although it's hard to tell how a 'cherry-coloured' variation should sound.
Against a steady background of guitar and bass Liz is easily taking the limelight here with a creative combination of vocal effects. Her unusually low notes in the verse are counterbalanced by very high-pitched ones during the chorus. Following the band's normal practice the two are eventually mixed together beautifully in the latter parts of the track. And just when everything seems ready for a standard fade-out the song treats us to an unexpected and highly original conclusion when everything just stops dead within seconds.
With its pleasant melody and rhythms Cherry-Coloured Funk is an appealing song without too many complexities. In the context of their Heaven Or Las Vegas album one could observe that it is really the first of a sequence of ever more elaborated compositions.
The band later used fragments of the song to create a totally different version for their Otherness project.
Cocteau Twins - Cherry Coloured Funk - YouTube
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Telamon
geplaatst: 30 oktober 2015, 19:30 uur
Mjuman schreef:
Ja vrind. maar met 20 clipjes embedded laadt een pagina bijna niet meer. Dat staat in het jargon bekens als "the grey circle of death" - bij Adobe
(quote)
Ja vrind. maar met 20 clipjes embedded laadt een pagina bijna niet meer. Dat staat in het jargon bekens als "the grey circle of death" - bij Adobe
Als jij op een vrijmibo rondloopt met de aanwezigheid van mooie en alcohol drinkende vrouwen, zoals je zelf schrijft, is het vrij suf om op je mobieltje de top 20 van CT te gaan zitten volgen.
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geplaatst: 30 oktober 2015, 19:33 uur
Nr. 15: Pandora, 30 punten, genoemd: 6x, hoogste positie: 2
Nr 1 van: Niemand
Pandora (mysteriously adorned with the indication for Cindy) is the track that brings a few calmer moments after the first four songs lavishly spent such huge quantities of energy and creativity.
It's the gentleness of the guitar section that makes Pandora flow by so easily. There are no loud chords to break the peace, no quick rhythms to disturb the quiet atmosphere. The percussion isn't particularly heavy either, though still typical for Treasure.
Under these circumstances Liz gets ample opportunity to show a few vocal variations, and she eagerly obliges. Most of the time two very different vocal melodies are mixed together, one very quick, the other much more stately. But note how she provides a few further melodies in what could perhaps be called the chorus, so that makes four in total.
Despite featuring the clearest vocals of the album the lyrics of Pandora remain shrouded in obscurity. A remarkable number of words appear to start with an 'F', and it has been suggested that Liz is simply reciting a list of names all starting with an 'F', but no one knows for sure.
Because of its quiet nature Pandora is perhaps the least striking song from the album, but its elegant vocals still make it a beautiful effort.
Cocteau Twins - Pandora - YouTube
Nr 1 van: Niemand
Pandora (mysteriously adorned with the indication for Cindy) is the track that brings a few calmer moments after the first four songs lavishly spent such huge quantities of energy and creativity.
It's the gentleness of the guitar section that makes Pandora flow by so easily. There are no loud chords to break the peace, no quick rhythms to disturb the quiet atmosphere. The percussion isn't particularly heavy either, though still typical for Treasure.
Under these circumstances Liz gets ample opportunity to show a few vocal variations, and she eagerly obliges. Most of the time two very different vocal melodies are mixed together, one very quick, the other much more stately. But note how she provides a few further melodies in what could perhaps be called the chorus, so that makes four in total.
Despite featuring the clearest vocals of the album the lyrics of Pandora remain shrouded in obscurity. A remarkable number of words appear to start with an 'F', and it has been suggested that Liz is simply reciting a list of names all starting with an 'F', but no one knows for sure.
Because of its quiet nature Pandora is perhaps the least striking song from the album, but its elegant vocals still make it a beautiful effort.
Cocteau Twins - Pandora - YouTube
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geplaatst: 30 oktober 2015, 19:36 uur
Nr. 14: The Thinner The Air, 31 punten, genoemd: 5x, hoogste positie: 1
Nr 1 van stoepkrijt
The Cocteau twins have always been remarkably strong in writing a suitable track to finish off an album. Most of the time a quiet track is performing this duty, and since Victorialand is rather a quiet album in itself one would expect the closing song to be written in similar fashion. But Robin and Liz rather outdid themselves in this case in creating what is surely the most melancholic effort of their entire career.
From the first chord of The Thinner The Air it is somehow clear that the last few minutes of the album have arrived. The constant repetition of a rather sad chord played on an acoustic guitar is foremost in creating an atmosphere of restraint. But all the other instruments are filled equally with grief, and as a result an atmosphere of farewell and sadness is predominant.
There is hardly a melody in the song, or a verse or a chorus. Halfway through Liz simply starts singing, a bit held back at first, but then she appears to allow her emotions to overtake her as she cries out her feelings in an unbelievable episode, where line after line is delivered in both sorrow and beauty.
Her energy soon leaves her and as her sadness takes over again her voice dies away and the song does likewise. In truth, the album could hardly have received a more fitting end.
Cocteau Twins, The Thinner the Air - YouTube
Nr 1 van stoepkrijt
The Cocteau twins have always been remarkably strong in writing a suitable track to finish off an album. Most of the time a quiet track is performing this duty, and since Victorialand is rather a quiet album in itself one would expect the closing song to be written in similar fashion. But Robin and Liz rather outdid themselves in this case in creating what is surely the most melancholic effort of their entire career.
From the first chord of The Thinner The Air it is somehow clear that the last few minutes of the album have arrived. The constant repetition of a rather sad chord played on an acoustic guitar is foremost in creating an atmosphere of restraint. But all the other instruments are filled equally with grief, and as a result an atmosphere of farewell and sadness is predominant.
There is hardly a melody in the song, or a verse or a chorus. Halfway through Liz simply starts singing, a bit held back at first, but then she appears to allow her emotions to overtake her as she cries out her feelings in an unbelievable episode, where line after line is delivered in both sorrow and beauty.
Her energy soon leaves her and as her sadness takes over again her voice dies away and the song does likewise. In truth, the album could hardly have received a more fitting end.
Cocteau Twins, The Thinner the Air - YouTube
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geplaatst: 30 oktober 2015, 19:38 uur
Nr 13: Lazy Calm, 31 punten, genoemd: 6x, hoogste positie: 3
Nr 1 van Niemand
Easily the longest track from Victorialand Lazy Calm is aptly named. Peaceful and serene the song provides a fitting introduction to the rest of the album, although there are also a few hints some livelier moments are to be expected.
The first few chords fill no less than a full three minutes. After a while a saxophone - played by Richard Thomas from Dif Juz - adds its melancholic contribution to the opening parts. The song remains instrumental throughout the first half while the pace is definitely no faster than that of a quiet stroll in the twilight.
When the accelaration does eventually happen it comes almost by surprise. Quicker rhythms and gentle vocals change the mood of the song into a much more optimistic affair. The chorus, although only repeated once, can almost be called catchy. A very simple but steady bass - fairly unusual on this album - results in an emphasized rhythm. The mood is optimistic and cheerful rather than melancholic.
After all that the song briefly returns to quiet mode once more. The saxophone makes another guest appearance and provides the final fading notes.
It is pretty tempting to think of the song as representing the entire album, symbolizing overall serenity with occasional bursts of activity. One could also see it as sketching a typical polar day, painting a lengthy darkness with a brief spell of daylight. Or one could just see it as a nice song, which may well be the most sensible approach.
Cocteau Twins - Lazy Calm - YouTube
Nr 1 van Niemand
Easily the longest track from Victorialand Lazy Calm is aptly named. Peaceful and serene the song provides a fitting introduction to the rest of the album, although there are also a few hints some livelier moments are to be expected.
The first few chords fill no less than a full three minutes. After a while a saxophone - played by Richard Thomas from Dif Juz - adds its melancholic contribution to the opening parts. The song remains instrumental throughout the first half while the pace is definitely no faster than that of a quiet stroll in the twilight.
When the accelaration does eventually happen it comes almost by surprise. Quicker rhythms and gentle vocals change the mood of the song into a much more optimistic affair. The chorus, although only repeated once, can almost be called catchy. A very simple but steady bass - fairly unusual on this album - results in an emphasized rhythm. The mood is optimistic and cheerful rather than melancholic.
After all that the song briefly returns to quiet mode once more. The saxophone makes another guest appearance and provides the final fading notes.
It is pretty tempting to think of the song as representing the entire album, symbolizing overall serenity with occasional bursts of activity. One could also see it as sketching a typical polar day, painting a lengthy darkness with a brief spell of daylight. Or one could just see it as a nice song, which may well be the most sensible approach.
Cocteau Twins - Lazy Calm - YouTube
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geplaatst: 30 oktober 2015, 19:39 uur
Hebben jullie dat ook dat alle beschrijvingen plotsklaps in het engels zijn? Moet ik ook nog nadenken in het weekend?
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geplaatst: 30 oktober 2015, 19:41 uur
Nr. 12: How To Bring A Blush To The Snow, 31 punten, genoemd: 6x, hoogste positie: 1
Nr 1 van Salvadore
Most of the nine tracks on Victorialand may be fairly laidback, but How To Bring A Blush To The Snow is one of the exceptions. Instead we are treated to a song of just vocals and guitar complementing each other beautifully at a rather quicker pace.
The first part of the song is quite interesting. It is as though the guitar is trying to find the right rhythm - and succeeding only after starting out the wrong way. In fact it starts out with a 3-3-3-3-3-1 rhythm, deceptively close to a real three-time but inserting the extra count in order to transform seamlessly into a regular four-time shortly thereafter.
The vocals are mixed together wonderfully well. The foreground voice providing the quicker and slightly louder parts with a softer background vocal taking care of the more relaxed bits - but at times the background takes over as the lead vocal. Meanwhile a second guitar line plays several different melodies and nicely fills in the gaps when Liz takes the occasional break.
Despite its cheerful character there is still a melancholic touch to the song. Perhaps it is Liz singing most of the quicker notes at one and the same pitch, perhaps it is something in the guitar or in the melody, but somehow the atmosphere fits in perfectly with the album's general mood of peace and serenity. One can easily picture the song to present an impression of a sunset in a polar landscape. And perhaps that is exactly how to bring A Blush To The Snow.
Cocteau Twins - How to Bring a Blush to the Snow - YouTube
Nr 1 van Salvadore
Most of the nine tracks on Victorialand may be fairly laidback, but How To Bring A Blush To The Snow is one of the exceptions. Instead we are treated to a song of just vocals and guitar complementing each other beautifully at a rather quicker pace.
The first part of the song is quite interesting. It is as though the guitar is trying to find the right rhythm - and succeeding only after starting out the wrong way. In fact it starts out with a 3-3-3-3-3-1 rhythm, deceptively close to a real three-time but inserting the extra count in order to transform seamlessly into a regular four-time shortly thereafter.
The vocals are mixed together wonderfully well. The foreground voice providing the quicker and slightly louder parts with a softer background vocal taking care of the more relaxed bits - but at times the background takes over as the lead vocal. Meanwhile a second guitar line plays several different melodies and nicely fills in the gaps when Liz takes the occasional break.
Despite its cheerful character there is still a melancholic touch to the song. Perhaps it is Liz singing most of the quicker notes at one and the same pitch, perhaps it is something in the guitar or in the melody, but somehow the atmosphere fits in perfectly with the album's general mood of peace and serenity. One can easily picture the song to present an impression of a sunset in a polar landscape. And perhaps that is exactly how to bring A Blush To The Snow.
Cocteau Twins - How to Bring a Blush to the Snow - YouTube
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geplaatst: 30 oktober 2015, 19:44 uur
Nr. 11: Sugar Hiccup, 34 punten, genoemd: 7x hoogste positie: 2
Nr 1 van
iemand
The Cocteau Twins have never been afraid to experiment with musical styles, rhythms or patterns. Blind Dumb Deaf was an early attempt to obtain creativity from repetition, and they explored similar lines during their Head Over Heels period with Hitherto and, in particular, Sugar Hiccup.
The main musical line of the song is a fairly slow guitar rhythm, repeated throughout the entire song. The sound is pleasant, very smooth and sees the band now totally abandoning their rougher edges from the Garlands era. There are subtle variations on the main theme, which none the less totally dominates the composition from start to finish. And although the lyrics as usual are either unintelligible or appear to make little sense the phrase Sugar Hiccup can not be missed: it occurs no less than 26 times!
All this makes Sugar Hiccup easy to recognize or remember, but it also results in a track awkwardly close to monotony. The main theme is quite strong, but it can still bear only so much repetition. Oddly enough though the Twins still decided to include this very track on both the Head Over Heels album and their Sunburst And Snowblind EP.
Several months later the band delivered a livelier version during one of their BBC sessions.
Cocteau Twins - Sugar Hiccup ( Album Version) - YouTube
Nr 1 van
iemandThe Cocteau Twins have never been afraid to experiment with musical styles, rhythms or patterns. Blind Dumb Deaf was an early attempt to obtain creativity from repetition, and they explored similar lines during their Head Over Heels period with Hitherto and, in particular, Sugar Hiccup.
The main musical line of the song is a fairly slow guitar rhythm, repeated throughout the entire song. The sound is pleasant, very smooth and sees the band now totally abandoning their rougher edges from the Garlands era. There are subtle variations on the main theme, which none the less totally dominates the composition from start to finish. And although the lyrics as usual are either unintelligible or appear to make little sense the phrase Sugar Hiccup can not be missed: it occurs no less than 26 times!
All this makes Sugar Hiccup easy to recognize or remember, but it also results in a track awkwardly close to monotony. The main theme is quite strong, but it can still bear only so much repetition. Oddly enough though the Twins still decided to include this very track on both the Head Over Heels album and their Sunburst And Snowblind EP.
Several months later the band delivered a livelier version during one of their BBC sessions.
Cocteau Twins - Sugar Hiccup ( Album Version) - YouTube
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geplaatst: 30 oktober 2015, 19:50 uur
Nr. 10: Garlands, 39 punten, genoemd: 8x, hoogste positie: 2
Nr 1 van : Niemand
The sound of this track almost defines the style of the early Cocteau music. It starts off with just a soft distorted guitar noise, gradually getting louder and louder, then the drum machine joins in and finally Liz enters with some unusually clear lyrics:
Garlands evergreen - Forget-me-not wreaths
Chaplets see me drugged - I could die in the rosary
The song is therefore opened by exactly those sounds that are most characteristic for the early Twins. Significantly perhaps it is not until the chorus has ended that the bass line starts.
The song maintains a steady rhythm throughout, with the bass providing the necessary melody lines whenever the guitar returns to playing distorted background sounds. The drum rhythm is addictive: note how it continuously hits one beat for six bars, then keeps quiet in the seventh and almost catches up with six quick beats in the eighth. Note also how the vocals are given just the odd bit of echo to add an impression of background singers. Nearly halfway through the song (just before the second chorus) a beautiful extra guitar melody is introduced, to give the song even more depth.
A final instrumental bit again features a heavily distorted guitar, the drum changes its rhythm slightly, and everything reaches a perfectly natural ending. In all then, this song constitutes one of the highlights of their early work.
An excellent live version was recorded during their first BBC session.
Cocteau twins - Garlands - YouTube
Nr 1 van : Niemand
The sound of this track almost defines the style of the early Cocteau music. It starts off with just a soft distorted guitar noise, gradually getting louder and louder, then the drum machine joins in and finally Liz enters with some unusually clear lyrics:
Garlands evergreen - Forget-me-not wreaths
Chaplets see me drugged - I could die in the rosary
The song is therefore opened by exactly those sounds that are most characteristic for the early Twins. Significantly perhaps it is not until the chorus has ended that the bass line starts.
The song maintains a steady rhythm throughout, with the bass providing the necessary melody lines whenever the guitar returns to playing distorted background sounds. The drum rhythm is addictive: note how it continuously hits one beat for six bars, then keeps quiet in the seventh and almost catches up with six quick beats in the eighth. Note also how the vocals are given just the odd bit of echo to add an impression of background singers. Nearly halfway through the song (just before the second chorus) a beautiful extra guitar melody is introduced, to give the song even more depth.
A final instrumental bit again features a heavily distorted guitar, the drum changes its rhythm slightly, and everything reaches a perfectly natural ending. In all then, this song constitutes one of the highlights of their early work.
An excellent live version was recorded during their first BBC session.
Cocteau twins - Garlands - YouTube
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geplaatst: 30 oktober 2015, 19:52 uur
Nr. 9: Donimo: 40 punten, genoemd: 8x, hoogste positie: 1
Nr 1 van johan de witt
Even according to their own standards the Cocteau Twins must have felt they had to come up with a spectacular song to end their landmark Treasure album. Starting out in quiet fashion Donimo builds up to an ever more dynamic mix of erupting vocals, percussion and guitars. Lasting well over six minutes the song testifies of the bands intentions to take all the time necessary to work out all their ideas into an epic masterpiece.
The structure of Donimo is unusual, to say the least, and challenges most traditional ideas about songwriting. Surely it makes no sense to 'pause' a song just after it has started for well over a minute just to build up tension? And how can you then put another minute of quiet instrumental music into the song? And what about having three clearly different vocal themes, all being repeated throughout, still none of them can be pinned down as a chorus?
Yet all this is exactly what Donimo is about. The three themes, all featuring in both vocal and instrumental versions, are woven together so expertly that the song's unity is never in any danger. Aggressive guitars are abundant in the heavier parts, but totally absent elsewhere. Sparse but loud percussion dominates some of the quieter parts, of which there are many, since two out of the three main themes are soothing and relaxed. The loudest theme is inserted whenever the action is needed most. Thus it sparks the song into real action after the first few minutes are simply used to create an air heavy with expectation. Midway through it injects further energy after a range of quieter parts, and finally it concludes the song with vocal overdubs tumbling over each other in a burst of activity.
On such a splendid album as Treasure it may have seemed impossible the band were to continue their tradition of producing something special for the last track. But even in the context of what many regard as the best album of their career Donimo stands out as a song of exceptional quality.
Cocteau Twins - Donimo - YouTube
Nr 1 van johan de witt
Even according to their own standards the Cocteau Twins must have felt they had to come up with a spectacular song to end their landmark Treasure album. Starting out in quiet fashion Donimo builds up to an ever more dynamic mix of erupting vocals, percussion and guitars. Lasting well over six minutes the song testifies of the bands intentions to take all the time necessary to work out all their ideas into an epic masterpiece.
The structure of Donimo is unusual, to say the least, and challenges most traditional ideas about songwriting. Surely it makes no sense to 'pause' a song just after it has started for well over a minute just to build up tension? And how can you then put another minute of quiet instrumental music into the song? And what about having three clearly different vocal themes, all being repeated throughout, still none of them can be pinned down as a chorus?
Yet all this is exactly what Donimo is about. The three themes, all featuring in both vocal and instrumental versions, are woven together so expertly that the song's unity is never in any danger. Aggressive guitars are abundant in the heavier parts, but totally absent elsewhere. Sparse but loud percussion dominates some of the quieter parts, of which there are many, since two out of the three main themes are soothing and relaxed. The loudest theme is inserted whenever the action is needed most. Thus it sparks the song into real action after the first few minutes are simply used to create an air heavy with expectation. Midway through it injects further energy after a range of quieter parts, and finally it concludes the song with vocal overdubs tumbling over each other in a burst of activity.
On such a splendid album as Treasure it may have seemed impossible the band were to continue their tradition of producing something special for the last track. But even in the context of what many regard as the best album of their career Donimo stands out as a song of exceptional quality.
Cocteau Twins - Donimo - YouTube
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geplaatst: 30 oktober 2015, 19:55 uur
Nr. 8: Seekers Who Are Lovers, 41 punten, genoemd: 6x, hoogste positie: 2
Nr 1 van: Niemand
The last song of their last album. And although the band was probably unaware of this at the time Seekers Who Are Lovers sounds as if they wanted to prove a point. Dynamic guitars, energetic foreground vocals cleverly mixed with dramatic background ones, a strong melody and some sound effects thrown in for good measure. No shortage of effort and a great result.
The first few seconds are already very telling. After two quick drum riffs and a wonderful guitar loop the air is heavy with expectation. Liz holds back just a bit at first, but as she gets into the chorus she sings with ever more conviction, supported by her own emphatic background contributions. The lyrics are apparently about love and all the emotions that go with it. When listening to the song it is hard not to experience the dramatic feelings as they are expressed by Liz.
The melody is strong enough to need no further additions, although the gusting wind at the end is an interesting way to close off the song, the album and effectively (they would release a few more tracks on CD-singles after this album) their career as the Cocteau Twins.
The band performed the song in a few other ways as well. A slightly different version during one of the BBC Sessions, and a totally different if not downright unrecognizable version on their Otherness project.
COCTEAU TWINS - Seekers Who Are Lovers - YouTube
Nr 1 van: Niemand
The last song of their last album. And although the band was probably unaware of this at the time Seekers Who Are Lovers sounds as if they wanted to prove a point. Dynamic guitars, energetic foreground vocals cleverly mixed with dramatic background ones, a strong melody and some sound effects thrown in for good measure. No shortage of effort and a great result.
The first few seconds are already very telling. After two quick drum riffs and a wonderful guitar loop the air is heavy with expectation. Liz holds back just a bit at first, but as she gets into the chorus she sings with ever more conviction, supported by her own emphatic background contributions. The lyrics are apparently about love and all the emotions that go with it. When listening to the song it is hard not to experience the dramatic feelings as they are expressed by Liz.
The melody is strong enough to need no further additions, although the gusting wind at the end is an interesting way to close off the song, the album and effectively (they would release a few more tracks on CD-singles after this album) their career as the Cocteau Twins.
The band performed the song in a few other ways as well. A slightly different version during one of the BBC Sessions, and a totally different if not downright unrecognizable version on their Otherness project.
COCTEAU TWINS - Seekers Who Are Lovers - YouTube
0
geplaatst: 30 oktober 2015, 19:57 uur
Nr. 7: Persephone, 42 punten, genoemd 10x, hoogste positie: 1
Nr 1 van Rudi S
Turn up the volume - Persephone is here to bring the house down. Screaming guitars, pounding drums, blistering vocals, they're all there. The result is easily the best hard rock song the band have ever done.
From the first stunning drum riff Persephone bursts out of the speakers like an uncaged tiger. The guitars come out in force - scorching, tearing in a tornado of sound and rhythm. The drums sound as if they're being played at absolute maximum power and are then still being amplified beyond that.
It would appear impossible to get any decent vocal performance against such a torrent, but how Liz proves otherwise! In an astounding display she shines brightly as she dominates the song. She needs every bit of vocal power to cope but even at this volume she still manages to sing. Loud, louder, and even louder the song goes. Vocal overdubs, more drum riffs, and crashing guitars come together into a crucible of sound, a pulsating performance, a blazing glory of hard rock music like the band have rarely performed.
How to finish such a breathtaking track? Unbelievably the song even has a rather neat conclusion. One moment everything is going at full strength, the next the song ends with a great collective fade-out. Depending on your stereo settings the ringing in your ears might just last a bit longer.
Cocteau Twins - Persephone - YouTube
Nr 1 van Rudi S
Turn up the volume - Persephone is here to bring the house down. Screaming guitars, pounding drums, blistering vocals, they're all there. The result is easily the best hard rock song the band have ever done.
From the first stunning drum riff Persephone bursts out of the speakers like an uncaged tiger. The guitars come out in force - scorching, tearing in a tornado of sound and rhythm. The drums sound as if they're being played at absolute maximum power and are then still being amplified beyond that.
It would appear impossible to get any decent vocal performance against such a torrent, but how Liz proves otherwise! In an astounding display she shines brightly as she dominates the song. She needs every bit of vocal power to cope but even at this volume she still manages to sing. Loud, louder, and even louder the song goes. Vocal overdubs, more drum riffs, and crashing guitars come together into a crucible of sound, a pulsating performance, a blazing glory of hard rock music like the band have rarely performed.
How to finish such a breathtaking track? Unbelievably the song even has a rather neat conclusion. One moment everything is going at full strength, the next the song ends with a great collective fade-out. Depending on your stereo settings the ringing in your ears might just last a bit longer.
Cocteau Twins - Persephone - YouTube
0
geplaatst: 30 oktober 2015, 20:00 uur
Nr. 6: Heaven Or Las Vegas, 53 punten, genoemd: 11x, hoogste positie: 4
Nr 1 van: Niemand
The band elected to name their album after this track, and if they felt the title track should represent the sound of the album one can only feel they made an excellent choice, for it is one of the more typical songs of the album.
Heaven Or Las Vegas is pretty much heaven for the lead vocals. Liz is singing majestically and with complete authority. The usual vocal overdubs are sparse - no more than just repeating the song title a few times in the chorus. The lyrics are tantalizingly close to making sense. Several words and fragments can definitely be made out, and the song title clearly occurs a number of times.
Although the vocals are easily the most conspicuous element of the song, they are beautifully balanced against Robin's guitar, which is in great shape here. Its warm sound provides a wonderful background for the vocal parts, and the long drawn-out chords in the few instrumental parts are just great. The interaction between the vocals and the guitar is noteworthy as well. Liz is liberally using syncopes - already beginning her part of the verse or chorus just before the guitar actually starts a new bar. This makes the rather quietly paced track much more playful and much less predictable.
Despite all this creative efforts Heaven Or Las Vegas is still one of the more straightforward songs of the album. It fittingly closes the first half of the album, which could also be called the 'less complicated' half. From here on listening to Heaven Or Las Vegas is like climbing a stairway to ever higher musical complexity.
Cocteau Twins - Heaven Or Las Vegas (Official Video) - YouTube
Nr 1 van: Niemand
The band elected to name their album after this track, and if they felt the title track should represent the sound of the album one can only feel they made an excellent choice, for it is one of the more typical songs of the album.
Heaven Or Las Vegas is pretty much heaven for the lead vocals. Liz is singing majestically and with complete authority. The usual vocal overdubs are sparse - no more than just repeating the song title a few times in the chorus. The lyrics are tantalizingly close to making sense. Several words and fragments can definitely be made out, and the song title clearly occurs a number of times.
Although the vocals are easily the most conspicuous element of the song, they are beautifully balanced against Robin's guitar, which is in great shape here. Its warm sound provides a wonderful background for the vocal parts, and the long drawn-out chords in the few instrumental parts are just great. The interaction between the vocals and the guitar is noteworthy as well. Liz is liberally using syncopes - already beginning her part of the verse or chorus just before the guitar actually starts a new bar. This makes the rather quietly paced track much more playful and much less predictable.
Despite all this creative efforts Heaven Or Las Vegas is still one of the more straightforward songs of the album. It fittingly closes the first half of the album, which could also be called the 'less complicated' half. From here on listening to Heaven Or Las Vegas is like climbing a stairway to ever higher musical complexity.
Cocteau Twins - Heaven Or Las Vegas (Official Video) - YouTube
0
geplaatst: 30 oktober 2015, 20:04 uur
Nr. 5: Ivo, 56 punten, genoemd:9x, hoogste positie; 1
Nr 1 van: dazzler aERodynamIC en mezelf
Never did the band create a more enchanting introduction to a song then when they wrote Ivo, the track which deservedly was given the honour to welcome the listener to their fantastic Treasure album. Softly, ever so softly a beautiful acoustic guitar makes its presence known, soon joined by Liz' crystal clear voice. And that is just the beginning of what turns out to be a symphony of beauty and high complexity.
Many different vocal lines turn up in the next few minutes, and that is not the only reason why it is hard to figure out exactly what is happening. The key appears to be changing a few times, the rhythm is difficult to grasp, bass, acoustic and electric guitars are intertwined, and just when you feel you've got it figured out another change comes along. There's just not a single moment in this song without its own surprise!
There's so much to discover in this song. Note the variation in the drums and Liz' rather witty vocals during what can be described as the chorus. Eventually an electric guitar briefly takes charge in an unexpectedly forceful episode, only to yield quickly to the acoustic guitar again as a final drum riff and Liz last contributions perfectly conclude it all.
The constant factor during all this is the sound. No matter whether the drums, the vocals, the acoustic or the electric guitar are dominating at any particular moment - at all times the overall 'sound colour' remains the same. A fantastic, warm sound, featuring Liz' incredible vocals, loud, spatial drums, cymbals and a mix of many guitars.
Throughout the entire album all tracks are bound together by this magical, impossible to define yet very recognizable sound. But nowhere is it turned into a song more beautifully than it is on Ivo.
The band admirably played Ivo during a BBC Session as well.
Cocteau Twins - Ivo - YouTube
Nr 1 van: dazzler aERodynamIC en mezelf
Never did the band create a more enchanting introduction to a song then when they wrote Ivo, the track which deservedly was given the honour to welcome the listener to their fantastic Treasure album. Softly, ever so softly a beautiful acoustic guitar makes its presence known, soon joined by Liz' crystal clear voice. And that is just the beginning of what turns out to be a symphony of beauty and high complexity.
Many different vocal lines turn up in the next few minutes, and that is not the only reason why it is hard to figure out exactly what is happening. The key appears to be changing a few times, the rhythm is difficult to grasp, bass, acoustic and electric guitars are intertwined, and just when you feel you've got it figured out another change comes along. There's just not a single moment in this song without its own surprise!
There's so much to discover in this song. Note the variation in the drums and Liz' rather witty vocals during what can be described as the chorus. Eventually an electric guitar briefly takes charge in an unexpectedly forceful episode, only to yield quickly to the acoustic guitar again as a final drum riff and Liz last contributions perfectly conclude it all.
The constant factor during all this is the sound. No matter whether the drums, the vocals, the acoustic or the electric guitar are dominating at any particular moment - at all times the overall 'sound colour' remains the same. A fantastic, warm sound, featuring Liz' incredible vocals, loud, spatial drums, cymbals and a mix of many guitars.
Throughout the entire album all tracks are bound together by this magical, impossible to define yet very recognizable sound. But nowhere is it turned into a song more beautifully than it is on Ivo.
The band admirably played Ivo during a BBC Session as well.
Cocteau Twins - Ivo - YouTube
0
geplaatst: 30 oktober 2015, 20:08 uur
Nr 4: Musette And Drums, 61 punten, genoemd: 8x, hoogste positie: 1
Nr 1 van Mjuman orbit
Having treated the listener to a wonderful collection of songs and styles Head Over Heels exceeds every possible expectation with a stunning finale, an inspired track that is bound to feature in every fan's list of favourite Cocteau tracks.
It's very hard to describe exactly what makes Musette And Drums such a special song. The crashing guitar is probably the key, played to the limit of its possibilities and with total conviction. It's the sheer emotion of the guitar that stands out. It cries out, howls, bellows, begs, shows a whole range of feelings and moods all through the track. Then there's this amazing part halfway through, where the main guitar is silent for 24 beats, increasing the tension to unbearable heights before it comes alive again. The final parts are loaded with agony, as the guitar seems to scream like a wounded animal, fruitlessly trying to escape from undescribable dangers.
Let's not forget the band were a twosome at the time. Did Liz ever sing with more empathy than she does here? Totally different from most other songs, she sounds desolate, desperate, and even her lyrics are unusually eloquent. Though most of the words appear to make little sense, among those that can be made out are tragedy and Juliet's, which capture the mood perfectly.
And what about the drums, probably not coincidentally mentioned in the title? Without knowing would you ever guess these were actually produced by a drum machine? It must have taken extraordinary skills to produce such fantastic rhythms that way, and the song is a tribute to Robin's talents in both writing the percussion parts and his ability to program the machine.
Musette And Drums is the ultimate track of the first part of the Cocteau Twins' career, a worthy conclusion of their first years. After this album Simon Raymonde was to join the band, and together they would reach new heights of creativity. But even at their peak they might have found only a few tracks could match the magic of Musette And Drums.
The band simply had to perform this song live, both during their BBC Sessions, and at their Saturday night live performance.
Cocteau Twins - Musette and Drums - YouTube
Nr 1 van Mjuman orbit
Having treated the listener to a wonderful collection of songs and styles Head Over Heels exceeds every possible expectation with a stunning finale, an inspired track that is bound to feature in every fan's list of favourite Cocteau tracks.
It's very hard to describe exactly what makes Musette And Drums such a special song. The crashing guitar is probably the key, played to the limit of its possibilities and with total conviction. It's the sheer emotion of the guitar that stands out. It cries out, howls, bellows, begs, shows a whole range of feelings and moods all through the track. Then there's this amazing part halfway through, where the main guitar is silent for 24 beats, increasing the tension to unbearable heights before it comes alive again. The final parts are loaded with agony, as the guitar seems to scream like a wounded animal, fruitlessly trying to escape from undescribable dangers.
Let's not forget the band were a twosome at the time. Did Liz ever sing with more empathy than she does here? Totally different from most other songs, she sounds desolate, desperate, and even her lyrics are unusually eloquent. Though most of the words appear to make little sense, among those that can be made out are tragedy and Juliet's, which capture the mood perfectly.
And what about the drums, probably not coincidentally mentioned in the title? Without knowing would you ever guess these were actually produced by a drum machine? It must have taken extraordinary skills to produce such fantastic rhythms that way, and the song is a tribute to Robin's talents in both writing the percussion parts and his ability to program the machine.
Musette And Drums is the ultimate track of the first part of the Cocteau Twins' career, a worthy conclusion of their first years. After this album Simon Raymonde was to join the band, and together they would reach new heights of creativity. But even at their peak they might have found only a few tracks could match the magic of Musette And Drums.
The band simply had to perform this song live, both during their BBC Sessions, and at their Saturday night live performance.
Cocteau Twins - Musette and Drums - YouTube
0
geplaatst: 30 oktober 2015, 20:10 uur
Nr. 3: Five Ten Fiftyfold, 65 punten, genoemd: 10x, hoogste positie: 1
Nr 1 van Zephyr
On Head Over Heels we find loud tracks and softer ones, quick rhythms and slower ones, and nicely in the middle there is Five Ten Fiftyfold, a typical track from this period.
The song is characterized to some extent by the frequently repeated title line, which makes the song easily recognizable. Liz is not holding back in this case: the chorus is sung with total dedication and at full volume. It is amazing to hear how quickly Liz was able to change her vocal style from the controlled contributions on Garlands to much more extrovert efforts as in this case and even more so in songs like Musette And Drums.
By now it was not uncommon for the band to record more than one vocal track to make Liz sing duets with herself. In this song however the second "voice" is performed by a saxophone, a rare feature on a Cocteau Twins record. As it turns out the two fit perfectly together, complementing each other very naturally.
All through the first half of the song the saxophone and vocals combination is so effective they totally dominate the proceedings. Towards the end though a brilliant guitar intermezzo by Robin makes you fully aware how fine a duo the two of them were at the time.
Cocteau Twins - Five Ten Fiftyfold - YouTube
Nr 1 van Zephyr
On Head Over Heels we find loud tracks and softer ones, quick rhythms and slower ones, and nicely in the middle there is Five Ten Fiftyfold, a typical track from this period.
The song is characterized to some extent by the frequently repeated title line, which makes the song easily recognizable. Liz is not holding back in this case: the chorus is sung with total dedication and at full volume. It is amazing to hear how quickly Liz was able to change her vocal style from the controlled contributions on Garlands to much more extrovert efforts as in this case and even more so in songs like Musette And Drums.
By now it was not uncommon for the band to record more than one vocal track to make Liz sing duets with herself. In this song however the second "voice" is performed by a saxophone, a rare feature on a Cocteau Twins record. As it turns out the two fit perfectly together, complementing each other very naturally.
All through the first half of the song the saxophone and vocals combination is so effective they totally dominate the proceedings. Towards the end though a brilliant guitar intermezzo by Robin makes you fully aware how fine a duo the two of them were at the time.
Cocteau Twins - Five Ten Fiftyfold - YouTube
0
geplaatst: 30 oktober 2015, 20:13 uur
Nr. 2: Lorelei, 69 punten, genoemd: 10x, hoogste positie: 1
Nr. 1 van: Telamon EttaJamesBrown
Lorelei - the famous rock in the Rhine. Legend has it a famous treasure is hidden nearby. One wonders whether this is where the inspiration for the album title came from. Lorelei, in any case, is a song as solid as a rock.
Following straight after the subtleties of Ivo, this track hits the unsuspecting listener like a freight train. A loud, overwhelming electric guitar dominates the song. Relentlessly it delivers deafening chords, ably assisted by the kind of loud drums and cymbals so typical of Treasure. Together they form a wall of sound, a curtain of noise, setting the stage for Liz, challenging her to perform yet another magical vocal trick.
And she does, of course. Her style in this case is possibly best described by 'whispering at full volume'. It makes the vocal part sound rather innocent, and the rising pitch and the subdued way of singing contribute to this impression of youth and naivety.
Despite holding back though Liz somehow manages to stay on a par with the loudness of the guitar and percussion. In fact halfway through the song, when she finally allows herself to erupt into a fantastic interlude at full vocal strength, she easily comes out on top.
Lorelei is one of the songs by the Cocteau Twins that could really be categorized as 'hard rock'. It's a genre the band only rarely played (although on Treasure they had one more go with Persephone) but as one had come to expect by now the band showed once more they could make any style work for them.
Cocteau Twins - Lorelei - YouTube
Nr. 1 van: Telamon EttaJamesBrown
Lorelei - the famous rock in the Rhine. Legend has it a famous treasure is hidden nearby. One wonders whether this is where the inspiration for the album title came from. Lorelei, in any case, is a song as solid as a rock.
Following straight after the subtleties of Ivo, this track hits the unsuspecting listener like a freight train. A loud, overwhelming electric guitar dominates the song. Relentlessly it delivers deafening chords, ably assisted by the kind of loud drums and cymbals so typical of Treasure. Together they form a wall of sound, a curtain of noise, setting the stage for Liz, challenging her to perform yet another magical vocal trick.
And she does, of course. Her style in this case is possibly best described by 'whispering at full volume'. It makes the vocal part sound rather innocent, and the rising pitch and the subdued way of singing contribute to this impression of youth and naivety.
Despite holding back though Liz somehow manages to stay on a par with the loudness of the guitar and percussion. In fact halfway through the song, when she finally allows herself to erupt into a fantastic interlude at full vocal strength, she easily comes out on top.
Lorelei is one of the songs by the Cocteau Twins that could really be categorized as 'hard rock'. It's a genre the band only rarely played (although on Treasure they had one more go with Persephone) but as one had come to expect by now the band showed once more they could make any style work for them.
Cocteau Twins - Lorelei - YouTube
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geplaatst: 30 oktober 2015, 20:15 uur
Nr. 1: Shallow Then Halo, 73 punten, genoemd: 9x, Hoogste positie: 1
Nr 1 van Premonition zaaf
As one of the lighter tracks from Garlands Shallow Then Halo still carries sufficient amounts of darkness to fit in well with the rest of the album. But there are also lots of indications that the band were destined to show much greater diversity.
It all starts out simple enough. A steady rhythm, a dark bass guitar, Liz producing a few rather desolate vocals. It's only after a minute or so that Robin joins in on guitar. So far it's all very much standard Garlands stuff. Fairly straightforward, and a bit gloomy. Pretty good, but not particularly striking yet.
The chorus, featuring a catchy, pleasant melody, introduces a much louder guitar, but things starts livening up quite a bit. Liz sounds much more dynamic - frequently allowing her voice to break towards the end of her lines. An instrumental part with heavily distorted guitars is followed by a few sound effects, but already Liz can hardly wait to take over again, throwing in a few loose phrases before bursting out into the chorus again. And as the song progresses she shows ever growing empathy and sings with an enthusiasm rarely found elsewhere on the album. Overdubs and stereo effects enhance her performance even further and Robin's guitar goes though great pains and distortions to stay on a par with her newly found energy. Towards the end Liz begins to sound truly merry, having a really good time. The band ends up sounding like having a party - enjoying themselves thoroughly, a far cry from the much darker introduction.
In a way the second half of this enchanting song already shows many features such as overdubs, lively vocals and attractive melodies, that would make Head Over Heels such a shining example of creative briliance. So for those with an ear for musical detail this song reads like a map of the band's recent history and near future.
Cocteau Twins - Shallow Then Halo - YouTube
Nr 1 van Premonition zaaf
As one of the lighter tracks from Garlands Shallow Then Halo still carries sufficient amounts of darkness to fit in well with the rest of the album. But there are also lots of indications that the band were destined to show much greater diversity.
It all starts out simple enough. A steady rhythm, a dark bass guitar, Liz producing a few rather desolate vocals. It's only after a minute or so that Robin joins in on guitar. So far it's all very much standard Garlands stuff. Fairly straightforward, and a bit gloomy. Pretty good, but not particularly striking yet.
The chorus, featuring a catchy, pleasant melody, introduces a much louder guitar, but things starts livening up quite a bit. Liz sounds much more dynamic - frequently allowing her voice to break towards the end of her lines. An instrumental part with heavily distorted guitars is followed by a few sound effects, but already Liz can hardly wait to take over again, throwing in a few loose phrases before bursting out into the chorus again. And as the song progresses she shows ever growing empathy and sings with an enthusiasm rarely found elsewhere on the album. Overdubs and stereo effects enhance her performance even further and Robin's guitar goes though great pains and distortions to stay on a par with her newly found energy. Towards the end Liz begins to sound truly merry, having a really good time. The band ends up sounding like having a party - enjoying themselves thoroughly, a far cry from the much darker introduction.
In a way the second half of this enchanting song already shows many features such as overdubs, lively vocals and attractive melodies, that would make Head Over Heels such a shining example of creative briliance. So for those with an ear for musical detail this song reads like a map of the band's recent history and near future.
Cocteau Twins - Shallow Then Halo - YouTube
0
zaaf
geplaatst: 30 oktober 2015, 20:19 uur
ha! zie je dat ik er kijk op heb 
goeie presentatie meneer fort!
goeie presentatie meneer fort!
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geplaatst: 30 oktober 2015, 20:19 uur
Zo dat was m weer, de Greatest Hits van the Cocteau Twins, genoeg om over na te praten nog misschien.
Ik wil DjFrankie johan de witt Zephyr Salvadore dazzler aERodynamIC Telamon EttaJamesBrown Mjuman orbit Rudi S Premonition zaaf stoepkrijt bedanken voor hun deelname. Ik hoop dat jullie net zo genoten hebben als ik.
Ik wil DjFrankie johan de witt Zephyr Salvadore dazzler aERodynamIC Telamon EttaJamesBrown Mjuman orbit Rudi S Premonition zaaf stoepkrijt bedanken voor hun deelname. Ik hoop dat jullie net zo genoten hebben als ik.
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geplaatst: 30 oktober 2015, 20:22 uur
Met dank aan het laatste lijstje van DjFrankie (9 punten) anders was ie 9e geworden. Het zag er trouwens heel lang naar uit dat ie rond de 15e plek zou eindigen...
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