This track kicks off with Drama’s “Left, Right” over a mash of Roy Orbison’s “You Got It” and Jermaine Stewart’s “We Don’t Have To Take Our Clothes Off.” Gotta love that spray paint can rattling noise over Orbison singing. Second part kicks off with “Push It” by Salt-N-Pepa over Nirvana’s “Lithium,” which is an insanely creative appropriation of that grunge riff. It’s interesting that Girl Talk opted out of the instantly recognizable (to ’90s kids) hook of the Salt-N-Pepa song, that synthey “bah, BAH bah bah bah…” and instead just used the rap and some of the beat I think.
This track definitely starts low and crescendos by the end, with Ludacris’ verse from Fergie’s “Glamorous” over Earth, Wind & Fire’s “September.” The “take your broke ass home!” chant over EWF’s “bah-dee-yah” refrain is just awesome. The song caps off with Beach Boys’ “God Only Knows” over what I’m assuming is chopped up beats from Gloria Estefan and Miami Sound Machine’s “1-2-3” OR Diddy Feat. Keyshia Cole’s “Last Night,” but in reality I can’t hear the beat element in either of those original tunes.
Overall, not one of my favorites off of this album. There are some alright mash-ups (EWF x Luda is pretty great), but no real “oh no he didn’t!!” moments like many of the other tracks.
One of the many understated beauties off of Corinne Bailey Rae’s self-titled debut album. The entire album is essentially an experiment of combining jazz, folk and soul genres and seeing what happens. The result is fantastic, and it’s probably only made better by the fact that you can occasionally hear CBR’s soft English accent in her voice. So pretty. This song is, as many of this album’s songs are, easily ignored. “Ignore” has too negative of a connotation, what I mean is that it very easily fades into the background of the listener’s environment. If you want to truly hear this song, get some headphones and quiet everything else down. What is she singing about? I never know. I never really need to though, because her voice naturally emanates a kind of melancholy in the way she hits notes, how she controls her breath and the cadence of her lyrical lines. I just gave this song a solid three listens in a row, and I still don’t know what the song is about, but I sure do know she’s heartbroken. I love CBR and this song for that reason; she has this emotional command over her voice that is memorizing, but only if you work for it. The second you start to pay attention, she’s got you hooked.
I’ve been a little nervous to get a song like this in this series. What the heck do you write about one of Thriller‘s deeper tracks, let alone the arguable grand daddy of them all? I’m just going to take it at face value and run with it.
So I’m a huge fan of this song, mainly because I’ve only really known it for no longer than 10 years. One of the very few advantages of not growing up on secular music is the older-aged discoveries of all of this incredible music I essentially missed out on (I’m looking at you, Doobie Brothers’ “What A Fool Believes”). This is one of those songs that I never listened to as a kid and subsequently never got sick of. However, contrary to popular belief, I hate hearing this song at weddings or organized group events where I’m expected to dance to it. As much as I love this song, it’s just a little too slow for me (or most white people at the weddings I go to) to feel comfortable dancing to it. It’s almost too stripped down for reserved people to feel able to let loose and dance.
But it’s exactly that sparceness that makes this tune so great. The drums, that ridiculously catchy bass line, the funky rhythm guitar, each element here has been meticulously chosen to form this cohesive end product. Like nearly everything on Thriller, it’s a beautiful example of how MJ knew how to write an infectiously catchy tune and what a genius producer Quincy Jones was/is.
Easily one of my Top 3 Favorites off of Discovery, my favorite Daft Punk album. One of only two legitimately slow songs on the album, this is just a heartfelt and romantic song sung by a robot. One of the greatest things that Daft Punk has ever been able to do is play with this robot persona they’ve had for almost 20 years and juxtapose it alongside true emotion in their music. This song is all blips and bloops and synth and yet it’s got this inherently sad feeling to it. This robot is pleading for love and connection. This song exudes the most authentic emotion capable from artificial intelligence. This song is the best way to slow down the relentless pace of great song after great song on Discovery.
My iPod must be sad today cause it grabbed three sad songs out of 1000. Here is another pretty depressing song about the heartbreak of being left and the remorse of leaving. This is one of the songs that originally hooked me from Rumours. I’m not in love with Stevie Nicks’ voice, but it grabs me in this song. “Dreams of loneliness, like a heartbeat, drives you mad, in the stillness of remembering what you had…” Yikes. Hell hath no fury, amiright Justin? I also love the under-instrumentation in this tune. The verses are basically just the steady drum beat and heartbeat-like bass line, with the occasional sliding guitar riff thrown in. There’s not a lot more on top of that, and that serves to highlight Stevie’s part even more. This is a very pretty, very sad song off of a decently happy album.