Fok! Muziek Trivia deel DCCLIII

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Op maandag 24 juli 2006 20:54 schreef Scrutinizer het volgende:
Knars has left the building

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Op maandag 24 juli 2006 22:37 schreef knars het volgende:

[..]

Ja, onverwachtse visite, excusez-moi!
Scrutinzer, jij zit er wel het dichts bij in de buurt. Leary wordt flink verafgood in de teksten van dat album. Ik wil echter een heel erg specifiek nummer horen.

Als het morgen rond het middaguur nog niet is geraden krijgt scrutinzer het punt omdat hij er tot nu toe het dichtste bij zit.

_{Die song moet op zich niet zo moeilijk zijn, heb al gezegd dat het om kant A van de elpee gaat en de tekst "Timothy Leary's dead - no no no he's out there, looking in" komt er prominent in voor.}

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Op maandag 24 juli 2006 22:33 schreef cafca het volgende:
bekende kop wel....

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Op maandag 24 juli 2006 22:50 schreef knars het volgende:
het nummer heet anders...

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Op maandag 24 juli 2006 22:19 schreef Scrutinizer het volgende:
[afbeelding]

Wie is dit? Ik zeg er maar even bij dat het een bassist is... en niet zo maar eentje

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Op dinsdag 25 juli 2006 08:21 schreef Mark het volgende:

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Da's Jack Bruce van Cream

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Op dinsdag 25 juli 2006 08:43 schreef iggy_in_the_house het volgende:
Madonna - Like A Prayer

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Op dinsdag 25 juli 2006 08:59 schreef Berkery het volgende:
dEUS?

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Op dinsdag 25 juli 2006 09:16 schreef peaceman het volgende:
David Lee Roth?

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Picking out an exact moment of at the sheer peak of its collective power can never be agreed on by fans, but if there's a strong candidate, " " would have to be it. It's not merely for the sharp performance but especially legendary production, which drop-kicked the tight-riffing number into a futuristic setting of space and action needed to fill silence. Starting with distant keyboards like a lost moan, it takes shape around direct bass line and then gets kicked up even further by the sudden echoed smack of drums. simple but devastating riff provides the counterpoint, and at the center of the straightforward charge is , celebrating the power of music and activity as a near-literal electric force for connection. After an amazing instrumental break, overdubs along with a skittering, nervous synth part adding even more of a thick surge to the music, the final jaw-dropping verse finds in perverse excelsis, his sudden scream of "And we could .....!" a perfectly timed moment of tension and blessed release. That the song ends on a slowing, breath-catching coda seems only appropriate after the jaw-dropping heights scaled — in recording, arranging, writing, and delivery, " " has a power few other songs share.

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Op dinsdag 25 juli 2006 10:58 schreef iggy_in_the_house het volgende:
Yuck, krijg er een gevoel van

Welk nummer ( ), van wie ( )?
[..]

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Op dinsdag 25 juli 2006 11:13 schreef Berkery het volgende:
Joy Division - Transmission?

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Op dinsdag 25 juli 2006 11:30 schreef Berkery het volgende:
Ik zat een tijdje met dat 'And we could' in mijn hoofd. Ineens viel het 'dèèèèèèènse'-kwartje

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Op dinsdag 25 juli 2006 11:48 schreef ranja het volgende:
Vroeger of Later van Robert Long?

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Other than "Ride My See-Saw," the six-and-a-half-minute opus "Legend of a Mind" is probably the most well-remembered cut off the Moody Blues' In Search of the Lost Chord album. Plenty of casual listeners probably still think the name of the song is "Timothy Leary" or "Timothy Leary's Dead," as those phrases are constantly repeated throughout the verses and the chorus, but the words "Legend of a Mind" are actually never spoken. The song begins as a typically Moody Blues folk-pop/rock tune with a bittersweet edge, but not too bitter. And, again in common with quite a few other Moody Blues songs, the tempo picks up and the song rocks harder as it swoops into the latter parts of the verses and the chorus, with some overriding mellotron lines carrying a counterpoint melody. The rhythm stutters a bit as they get to the title phrase, and then a brief turnaround sounds almost like a bagpipe trill before leading back into the verse. The band members go into almost a double-time of sorts on a brief section in which they bouncily extol Leary's virtues. This leads into what's perhaps the weakest part of the song, a long instrumental break in which the song slows down and stumbles along as flutes and mellotron duel with each other. The pace gradually picks up and the melodic and orchestral scope get grander, setting the stage for a more exultantly sung and speedier section in which Leary's astral powers are hailed in yet more fervent terms (for a few bars, in fact, piano chords pound out a repetitive riff). The song attractively changes keys at times during the final vocalizations of Leary's name, leading into a long instrumental psychedelic fadeout that stops with the downward buzz of an airplane (or a something that sounds much like an aircraft). The lyrics about Leary's powers are sung so straight-facedly one's almost tempted to think they might be subtly tongue-in-cheek, but most likely they were earnest. "Legend of a Mind" has attracted its share of detractors that find the lyric, and the by-association uncritical oh-wow praise of the psychedelic experience, naive and pompous. But, again like much of the Moodies' early work, it does have a good melody and a well-thought-out arrangement.