As he told American Songwriter in"Sometimes the songs got to coming too fast for me to write, and sometimes they still do. Burt Bacharach studied classical composition with French composer Darius Milhaud and was part of avant-garde icon John Cage's circle. But he chose pop music as a career and started writing songs with lyricist Hal David, who had a knack for matching wistful sentiments to Bacharach's unconventional jazz chords and constantly shifting time signatures.
With 3, songs to her name — including more than 20 Number One country singles —Dolly Parton has enjoyed one of country's most impressive songwriting careers.
Parton tapped her hardscrabble Tennessee-hills upbringing on songs like "Coat of Many Colors" and "The Bargain Store," and throughout the Seventies, her songs broke new ground in describing romantic heartache and marital hardship. On "Travelin' Man," from her masterpiece Coat of Many ColorsParton's mom runs off with her man, and on the gut-wrenching "If I Lose My Mind," also on that album, Parton watches while her boyfriend has sex with another woman.
But she doesn't do much joking around when it comes to the art of songwriting. The Who had a one-of-a-kind drummer, a brilliant bassist, a towering singer — and their songs featured some pretty impressive guitar playing too. But they would never have gone anywhere if Pete Townshend hadn't developed into an endlessly innovative songwriter.
Early tunes like their debut single "I Can't Explain" and the epochal anthem "My Generation" were fueled by adolescent angst, but with each passing year, Townshend became more and more ambitious, moving from a loose concept record about a pirate radio station 's The Who Sell Out to a groundbreaking rock opera about a deaf, dumb and blind pinball star 's Tommy to a double LP about a young mod facing with a form of split personality disorder 's Quadrophenia.
His output slowed down considerably by the mids and he's released a scant two albums in the past three decades. But what he accomplished in the Who's first 15 years transformed the possibilities of rock music. Chuck Berry wrote about teenage America. Holly had only been making records for a little less than two years when he died in a plane crash in at age Yet, in that brief career, he created an amazing body of work.
On songs like "That'll Be the Day," "Rave On," "Everyday," "Oh Boy," "Peggy Sue" and "Not Fade Away," his buoyant, hiccupping vocals and wiry, exuberant guitar playing drove home lyrics that seemed to sum up the hopes, aspirations and fears of the kids buying his records. After a failed attempt to make it in Nashville as a country artist, Holly returned to his native Lubbock, Texas, where he and his band the Crickets drove to producer Norman Petty's studio in Clovis, New Mexico, to cut a version of "That'll Day Be the Day" a song Decca Records had rejectedthat became a Number One single.
Its Oh So Quiet - Björk - Post (Cassette most influential folk singer in American history once described his creative process thusly: "When I'm writing a song and I get the words, I look around for some tune that has proved its popularity with the people. Guthrie's music, Bob Dylan wrote in Chronicles"had the infinite sweep of humanity.
But it's his ability to nail emotion that makes simple love songs like "Days" incandescent, and elevates a lonely meditation like "Waterloo Sunset" into what some consider the most beautiful song in the English language. I can't get rid of them. I go into something minute, then look at it, then go back into it. I was still called a soul singer," he once recalled.
I had discovered that my strength was not in the horns, it was in the rhythm. On classic albums like 's 12 Songs and 's Sail AwayNewman developed characters, explored ironies and embodied perspectives no one else of his time had even considered — "Suzanne" was sung from the point of view of a rapist, "God's Song" surveyed mankind with disgust from the Almighty's easy chair and "Sail Away" was a sales pitch from an antebellum slave trader to Africans on the wonders of America "Every man is free to take care of his home and his family".
Newman's early albums were commercial calamities, but he had a surprise hit with 's "Short People," a bitingly funny parody of bigotry, and he's gone on to enjoy a hugely successful second career writing soundtracks for movies like Toy Story and Monsters Inc.
Bone Burnett calls "Sail Away," "the greatest satire in the history of American music. After springing forth in as a sneering, splay-legged punk rocker with a knack for motor-mouth lyrics "I was always into writing a lot of words," he said in Following a series of early rock masterpieces like 's searing This Year's Model and 's soul-informed tour de force Get Happy! Costello's two-dozen or so best songs — "Beyond Believe," Radio, Radio," "New Lace Sleeves," "Watching the Detectives," "Oliver's Army" among them — make all those densely packed images and subtle wordplay roll by with almost Beatles-esque precision.
His ability to embrace diverse styles would lead to fruitful album-length collaborations with Paul McCartney, Burt Bacharach, his wife, jazz singer Diane Krall, and, most recently, hip-hop crew the Roots. Many bluesmen talked of sin and redemption. I have always trusted its purity, and I always will. Morrison was a hugely successful singer before he began writing songs and he never lost he idea that even the most intricate lyrics are meant to be sung and felt.
After becoming disillusioned with commercial pop following the success of his hit "Brown Eyed Girl," he went into a brief period of down-and-out seclusion, emerging the following year with his greatest statement, Astral Weekssinging "poetry and mythical musings channeled from my imagination" over meditative backing that wove folk, jazz, blues and soul. Throughout his career — but especially on a run of albums he recorded during the early Seventies that included 's Moondance and 's Veedon Fleece — Morrison has always rooted his ecstatic visions in a warm, commonplace intimacy perfect for his music's easy-flowing grandeur.
A collegiate creative writing student who played covers in bar bands and briefly held a job writing pop song knockoffs in the Brill Building era, Reed drew inspiration both from literature Sacher-Masoch's Venus in FursWilliam Burroughs' Naked Lunch and his own life — for example, the fellow Warhol collaborators that informed quintessential Reed character studies like "Candy Says" and "Walk on the Wild Side.
Reed was also a sound scientist who, with the Velvet Underground and after, advanced what was possible with simple chords and electric guitars. The pair's songs usually emerged from improvisatory writing sessions that began with just a handful of Leiber's lyrics. He'd accommodate the line — metrically, rhythmically. They married and started composing songs in the Brill Building inand split up in But the dozens of hit songs they wrote for girl groups and teen idols during that time often with producer Phil Spector pitching in were as close to raw erotic fervor as you could hear on the radio at the time: the Crystals' "Then He Kissed Me," the Shangri-Las' "Leader of the Pack," and — near the end of their partnership — Ike and Tina Turner's "River Deep — Mountain High.
However, when there were disagreements, it was very hard to leave it at the office and go home at night and change hats: 'Hi honey, what do you want for dinner? Prince's talents as a multi-instrumentalist, producer, arranger, bandleader and live powerhouse are peerless. But Its Oh So Quiet - Björk - Post (Cassette all builds off his songs, which transform funk, soul, pop and rock into a sound all his own.
He's had 30 Top 40 singles in his career, including five Number Ones. Lyrically, he tends to stick to one freaky subject. Neil Young's epic career has veered wildly from folk-rock to country to hard rock to synth-driven New Wave pop to rockabilly to bar-band blues.
Young's creakingly lovely acoustic ballads and torrential rockers draw on the same ageless themes: the myths and realities of American community and freedom, the individual's hard struggle against crushing political and social forces, mortality and violence, chrome dreams, ragged glories and revolution blues.
Young has released an astonishing 36 solo albums, five in the last two years. His best work "Ambulance Blues," "Powderfinger," "After the Goldrush" may have come in the Sixties and Seventies, but every single album comes with more than a few amazing moments. Songs like the soft-rock classic "Heart of Gold," his only Number One single, have led to an image of the tireless year-old legend as a lonely troubadour, but Young insists that's deceptive.
So if I look kind of sad, it's bullshit. Forget it. I'm doing good. Leonard Cohen was a dark Canadian eminence among the pantheon of singer-songwriters to emerge in the Sixties.
His haunting bass voice, nylon-stringed guitar patterns, and Greek-chorus backing vocals delivered incantatory verses about love and hate, sex and spirituality, war and peace, ecstasy and depression, and other eternal dualities.
A perfectionist known for spending years on a tune, Cohen's genius for details illuminated the oft-covered "Suzanne" and "Hallelujah. It's not a particularly generous mystery, but other people have that experience with matrimony anyway.
But he relaunched his career at age 74 and has continued to tour the world and make sensually luminous albums into the s. At 80, he's still our greatest living late-night poet. During Motown's mid-Sixties golden age, Brian and Eddie Holland and Lamont Dozier were the label's songwriting and production dream team.
All three began their careers as singers, but when they started working together behind the scenes, they made magic. But the music was pure delight: melodies that let vocalists' power and move gracefully through them, neatly cross-stitched into an array of instrumental hooks and forceful dance rhythms. Late in the Sixties, Dozier and the Holland brothers left Motown and launched a few record labels of their own; although many of the hits that followed for the likes of Freda Payne and the Honey Cone were credited to "Edythe Wayne," there was no mistaking the H-D-H sound.
The people I loved — Woody Guthrie, Dylan — they were out on the frontier of the American imagination, and they were changing the course of history and our own ideas about who we were. Unafraid of risk, Springsteen followed it with a long period of redefinition, making his sound and his stories ever more intimate on 's Tunnel of Love and later 's The Ghost of Tom Joad.
Since reuniting the E Street Band in he has been reconnecting to his earliest sense of inspiration and mission. Between andWilliams landed 31 songs in the U. Country Top Ten, with five more making the Top Ten in the year following his untimely death. No matter what mood he was channeling, Williams wrote with an economy and concision few songwriters in any genre have touched.
It takes economy and simplicity to get to an idea or emotion in a song, and there's no better example of that than Hank Williams. But he also penned darkly introspective masterpieces like "In My Room" and "God Only Knows," as well as groundbreaking symphonic masterpieces like 's Pet Soundswhich transformed the idea of rock album-making itself and inspired the Beatles' own masterpiece Sgt. Pepper's Lonely Hearts Club Band. Wilson would later blame his father and bandmates for the despair in his more somber writing.
With the completion of his aborted late-Sixties opus Smile inWilson reemerged to reclaim his title as a pop eminence who was once again capable of writing with incredible depth and beauty. Yet, despite the heights his music scaled, Wilson's songwriting methodology was deceptively simple.
Marley drank deep from American soul music; he briefly lived in Delaware during the late Sixties, where he worked in a factory. On early compositions like dance-floor-filling ska tune "Simmer Down" and the lilting pop gem "Stand Alone" he displayed mastery of sweet melodies and cleverly turned hooks that showed he could've easily done time on Berry Gordy's assembly line as well.
As Marley continued to find his voice in the early Seventies, his songs took on an unrivaled breadth and power, especially as he began yoking his skills as an anthemic craftsman to lyrics that raised the banner of Third World struggles against systemic oppression. In "Redemption Song," released a year before cancer took his life inhe gave us a protest anthem that still carries the universal power of a true global call to arms.
He was already writing his own songs as a childhood prodigy at Motown during the Sixties including the smash "Uptight It's Alright. As he hit his artistic stride on albums like 's Talking Book and 's Innervisionshe used the recording studio as his palette to create groundbreaking works of soulful self-discovery.
Most songwriters are inspired by an inner voice and spirit. Mitchell came out of the coffee-shop folk culture of the Sixties, and she became the standard bearing star of L. But her restless brilliance couldn't be confined to one moment or movement. Retrieved 10 September — via YouTube. Retrieved 28 December Retrieved 29 May Archived from the original on 7 April Australia's Music Charts Retrieved 20 January Dutch Top Single Top Retrieved 11 November Retrieved 9 April Retrieved 28 August Top Pop Singles.
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Takeaways from Trump aide's account of chaotic White House A White House press secretary and chief of staff to then-first lady Melania Trump paints a deeply unflattering picture of Donald Trump in a book out next week. Don Imus, Jerry Herman, and other notable people who died in Happy Birthday George Clooney! See who else looks fabulous over 50 Meghan, Duchess of Sussex: A life in photos. Matt Damon dishes on the making of 'Stillwater'. Oscars predictions: Peter Travers on who will win, who should win Oscar-winning director Spike Lee on the making of his latest film 'Da 5 Bloods'.
It describes the Last Judgment. Berlioz did manage to change the way the tune was used, however, when he quoted it in his aforementioned symphony, and it's been parodied ever since as in the Saint-Saens piece described above. Creepiness incarnate at the beginning Which, coincidentally, is what the last movement is supposed to be about.
John Cage : ''In the Name of the Holocaust'' manages to be more terrifying than most Nightmare Fuel by prepared piano alone. No lyrics, no ominous bells. Imaginary Landscape No. If anything, the video accompaniment here makes it even worse. George Crumb: "Black Angels". It will make you feel like insects are crawling up your skin. Paul Dukas: " The Sorcerer's Apprentice " also has a very eerie atmosphere. Thanks to Disney's "Fantasia" the music actually became more unnerving.
Bernard Herrmann 's score to the Hitchcock film Psycho would have been scary enough even without the imagery of the film. Mediaeval Baebes: "How Death Comes. Goes from scary whispering to shockingly loud. Most of Olivier Messiaen 's piano suite Vingt regards.
Some examples. Modest Mussorgsky : " Night on Bald Mountain " really sounds as if all demons from Hell are brought together. If you hear the scary music that Mussorgsky wrote for these passages you're actually glad that the original paintings that inspired him are lost.
Ten minutes of the scariest music ever. The Dream of Jacob. In one of the bonus features for Inland EmpireLynch said one reason his wife divorced him may have been that he kept playing it on the stereo really loud. Utrenjawhich seems to exist solely to make people scream. The chanting from the chorus is unnerving, and the rhythmic knocking sound sounds like a pair of skulls being smashed together. And then come the ear-splitting clanging and sirens. Most of his symphonic pieces; there's a reason that several of them were used as the soundtrack to The Shining.
Let's not even think about what it says about Adrian Veidt that he apparently listens to them for fun. Here are a couple of links. Sergei Prokofiev "Montagues and Capulets". Its intro is frightening enough, then atit goes into overdrive. Peter and the Wolf. The music accompanying the cat trying to catch the little bird has a literal Jump Scare moment when the cat misses him. The threatening horns when the wolf leaves the forest.
The music when the cat notices the wolf and quickly climbs the tree. Scary enough, but then the wolf chases the duck and devours the poor creature, all accompanied by nervous music that makes little children's imagination go berserk. The spooky flute representing the bird and the equally haunting bassoon representing the granddad slowly walking towards Peter. Maurice Ravel 's La valse lends itself to this trope with its disjointed melodies, jarring dissonances, and wild swings in mood and tempo.
It moves deeper into nightmare territory as it progresses, culminating in a violent climax that suggests a demonic orgy gone horribly out of control. Gioachino Rossini has the second part of the William Tell Overture, appropriately labelled the "Storm" segment.
The familiar portion with the full orchestra is probably the scariest of all. Saint-Saens' "Danse Macabre" isn't exactly balmy, particularly the opening. You are forgiven in advance for jumping out of your seat 19 seconds in. Arnold Schoenberg: "Pierrot Lunaire".
There had been lots of scary music made before Schoenberg, but he was the first person to make music creepy.
In fact, he's been so imitated by modern composers including on numerous horror film scores that it can sound a bit Dated.
It's even worse after you watch the torture scene it's played during. The son refuses and begs his father to save him. The song got its nickname thanks to urban legends which are now thought to have been spawned by Holiday's record label, as the original Hungarian version was said to have inspired the suicides of anyone who heard it, and indeed Seress took his own life Its Oh So Quiet - Björk - Post (Cassette However, Holiday's version added a third verse which modulates to a major feel and suggests that the previous verses were merely a fleeting dream.
Still, the final lines - "Darling, I hope that my dream never haunted you My heart is telling you how much I wanted you" - leave many disturbingly unanswered questions. Dmitri Shostakovich : "String Quartet, No.
For real nightmare trips, plays his last two string quartets - especially No. Symphony No. But it kicks into full Nightmare gear in the second half, starting with the agitated strings and percussion. That builds up until it gives way to a relentless percussion cadence, which in turns alternates with violent outbursts from the rest of the orchestra.
The music gives the impression of an unfeeling, unstoppable juggernaut destroying everything in its path. Back in audiences weren't used to such threatening sounding introduction to a ballet. Of course, "The Rite Of Spring" has no happy subject to begin with: a ritual sacrifice of a young virgin in prehistoric Russia! The entire piece sounds brutal, primitive, loud and has a scary feeling to it.
Especially first time listeners will almost certainly be unnerved. No wonder that a riot broke loose during its premiere in ! The second act "Introduction" and "Mysterious Circles Of The Young Girls" sounds even more threatening, because it remains so hauntingly calm and quiet for quite some minutes. After the earth shattering noise of the first act this comes across as being silence before the storm. You think that's a nightmare?
You can hardly stay calm during the final movement, La danse sacralewhether it's accompanied by the composer, an actual ballet performanceor any kind of musical score. And if that wasn't disturbing enough, check out Pina Bausch's choreography. Very unnerving. He was a big fan. I think he made them a little more layered.
I bought it because I was a Suicide fan — it was harder to find, it took me a while to get my hands on it.
I got one of the albums, there was a booklet thing inside… I was reading some of the things Alan Its Oh So Quiet - Björk - Post (Cassette said, I could recognise something in myself. I carry the booklet around with me. I always hated the idea of people going to a concert to be entertained. They had an excellent songwriter in a soulful, charismatic frontman. Who knows what they would have gone on to do, but Palm Tree is still to be very much enjoyed.
Jeffrey Foucault has that foundation and you can hear it in his voice, and feel it in his music. He talks about the streets, he talks about his life. He talks about the shit he knows. His flow and vocabulary is great. It totally influenced me. Even though I was going in that direction anyway.
Which considering it is a lo-fi DIY punk record knocked-out in probably a couple of takes, is pretty staggering. The whole thing just feels totally instinctive and effortless. From the title onwards, a more perfect teenage punk album you will not find. Their second LP. It sounds horrible but sexy music is a good way of describing it. On top of this, he had refined his songwriting to its most articulate — the lyrics were surreal and very tongue in cheek, more so than usual.
Then the melodies were all so precise; he recorded his last two records using amazing session musicians, interestingly enough, which seems to be the reason most people are not a fan of his later work. The word sterile gets tossed about frequently. How many other albums that feature a song comprised solely of one set of looped bells and a drumbeat leave you feeling so musically satisfied?
Funky as hell, and as political as heaven. His first live performance since leaving The Impressions. He had everything to prove, and spanked it with a Album) vinyl album. No small wonder that reggae stars, and then the rest took so much from him. This is pop. Pop is what they were doing and they were writing all these great songs, going on about the whole punk thing and not being embarrassed about writing great pop songs.
It feels like it was designed to be loved by me alone. Their early stuff is pretty straight-ahead indie rock, and I think this is very important to their sound, that they came from that background. If you like massive basslines, digital synths, and the drumming of the Talking Heads, then you should definitely listen. So he just recorded them live in this club called the King King. You can hear the whole atmosphere of the club. As for the band, Lester Butler was just one of the greatest ever harmonica players.
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