Fok! Muziek Trivia deel CCCLIX

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Op zaterdag 2 april 2005 15:48 schreef Captain_Redbeard het volgende:
Chris Goss ??

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Op zaterdag 2 april 2005 15:50 schreef bartrid het volgende:
carl barat van de libertines?

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Op zaterdag 2 april 2005 15:51 schreef TheSilentEnigma het volgende:

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Nee??

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Op zaterdag 2 april 2005 15:53 schreef Scrutinizer het volgende:
Neil Young?

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Op zaterdag 2 april 2005 16:06 schreef bartrid het volgende:
Zakk Wylde?

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Op zaterdag 2 april 2005 16:08 schreef TheSilentEnigma het volgende:
Slash?

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Op zaterdag 2 april 2005 16:04 schreef Scrutinizer het volgende:

_{ik meen me te herinneren dat ie 'm weggeven heeft maar dat weet ik niet zeker}

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The guitar along with several others would be destroyed in a house fire in Chelsea, England in 1978.

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Op zaterdag 2 april 2005 16:18 schreef methodmich het volgende:
Keith Richards?

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" ? " was one of the strangest and most avant-garde Beatles songs. For all its weirdness, however, it wasn't devoid of some conventional melodic pop appeal, and it was used on the B-side of " ander lied " (as well as on the Magical Mystery Tour album and film). " ? " is the densest and most symphonic track from the Beatles' psychedelic period, with so many layers of sounds and effects that it takes quite a few listenings to get to the bottom of them. Sung and written by John Lennon (although credited to Lennon- McCartney), the ominous mood of the song is established by the opening two-note riff, inspired by the sound of a police siren. Swooping strings then embellish the sense that listeners are about to embark on something resembling a bad acid trip. The very first line is fair warning that listeners are not going to sit back and be entertained by a straightforward story, with its almost nonsensical string of pronouns, as if Lennon is taking absurdist revenge on all those 1963 Lennon- McCartney lyrics in which the composers determined to use as many "you" and "I" pronouns as possible. " ? " is, in fact, a stitching together of several fragments that could have been developed into entirely different songs, but what could have been a mess flows together quite well, aided by the esteemed producer George Martin. In the verses, Lennon cleverly alternates between similar, but not exactly similar, melodies in which the surreal images fly at a furious rate. It's free association which does not make sense — and Lennon always said they weren't intended to make sense — like sitting on a cornflake, penguins singing "Hare Krishna," and, most unforgettably, the yellow matter custard dripping from a dead dog's eye (the last of which was actually adopted from a British school children's rhyme). There's the brief sexual reference (about a girl letting her knickers down) that showed up in many a mid-'60s Beatles song, and what may be the first deliberate reference to another Beatles song ( "Lucy in the Sky With Diamonds"); " ? " itself would later be referred to in another Beatles track ( "Glass Onion"). At one point, " ? " suddenly derails into a burst of white noise jabber — as if a radio tuner has suddenly switched channels — and mournful strings introduce a dreamy line about sitting in an English garden that has no apparent melodic or lyrical relation to anything else in the composition. That detour is quickly steered back to the chorus, as if it's a miniature break from the nightmare (or from the absurd reality of life?). And what a strange chorus it is: Lennon declaring that he is ?, whatever that is, and is also ?, ending with a nonsense lyric, as responsive harmonies follow the ascending melody like a chorus of ghouls. The lengthy fade-out is no less weird than the rest of the track, with those ghoulish harmonizers (actually the Mike Sammes Singers) sounding like a children's nursery rhyme run amok and the memorable addition of dialog from a BBC broadcast of Shakespeare's King Lear (a snippet of dialog also appears earlier in the song). One would think that " ? " would actually scare away potential cover versions due to the complexity of its arrangement and its sheer oddness, but it has actually attracted its share of attempts over the years, including a heavy rock interpretation by Spooky Tooth, a damned strange one by British avant-garde musician Lol Coxhill, and another by 1990s Brit-pop stars Oasis.

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Op zaterdag 2 april 2005 16:51 schreef dolle_hond het volgende:
sufgerukte wallies

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Op zaterdag 2 april 2005 16:59 schreef bigshadow het volgende:
Dave matthews band?

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Op zaterdag 2 april 2005 17:03 schreef TheSilentEnigma het volgende:
Less than Jake?

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Op zaterdag 2 april 2005 17:10 schreef bigshadow het volgende:
euh...the mighty mighty bosstones?

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Op zaterdag 2 april 2005 17:15 schreef bigshadow het volgende:
Niet echt mijn genre, echt namedropping

Sublime misschien?

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Op zaterdag 2 april 2005 17:18 schreef Scrutinizer het volgende:

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Als jullie zo door gaan hebben we zometeen het hele lijstje Similar Artists wel gehad

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Op zaterdag 2 april 2005 17:25 schreef TheSilentEnigma het volgende:
Reel big fish

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Op zaterdag 2 april 2005 17:26 schreef bigshadow het volgende:

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Haha...ik ben altijd een beetje omslachtig

Ik hoor net dat de barbeque roept. afscheidsgok op The aquabats

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Op zaterdag 2 april 2005 19:01 schreef Berkery het volgende:
Tiamat

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Under the watchful eye of the record biz, and on the heels of Nirvana's huge commercial breakthrough, were curiously touted as the next big thing. Unsurprisingly, expectations would never be fully realized. Arguably one of the most influential and overlooked rock records of the '90s, not only threw the rule book out the window, it rewrote it, redefined it, and shook it to its core. Led by the classically trained , 's bludgeoning riffs combined with their noise-like, stop-go-stop-go minimalist attack unknowingly changed the face of aggro-rock. Its importance cannot be overstated. Relistening to today it's easy to understand why. From the -produced title track through " --- ," the band is relentless. On " --- ," spews "(weggehaald)" and later "(weggehaald)" As the hypnotic riff and 's piccolo snare echo throughout, the band thrashes through the song like a ten-ton hammer. Again, every song is colored by Teutonic riffs, with only " --- " hinting at a gasp of commercial accessibility.

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Op zaterdag 2 april 2005 20:33 schreef newbiedoobiedoo het volgende:
Soundgarden - Superunknown?

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Op zaterdag 2 april 2005 20:36 schreef Berkery het volgende:

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Die is ook niet bepaald 'overlooked' imo