Tuesday, January 11, 2005


are encouraged to click here. Of the 50, I guess I'd have to say some of my favorites are this one, this one, and this one (though I find that I like most of the selections).

Off of the top of my head, If I were to add to the list, I'd definitely include the following:

--U2, "Where the Streets Have No Name": the introduction. Simple organ chords that slowly build in loudness and intensity; then, add Adam Clayton's signature bass and The Edge's guitar. Especially effective in Rattle and Hum when, after an hour or so of black and white, Sun Devil Stadium explodes in sound and color to the opening of the song.
U2 (again), "In God's Country": the single bass line before the guitar solo. It makes one think that the song is going to venture off into the sunset of old Westerns. Perfect for the song, the theme, the moment.
--Al Stewart, "Year of the Cat": the bridge. Acoustic guitar, then electric guitar, then power sax. How come no one plays power sax anymore?
--Alphaville, "For a Million": the mysterious voices near the end of the song chanting: "And the cows in the pasture graze. And we know that we know what we know is the truth." No French post-modernist could be any more enticing, opaque, mystical, and nonsensical than this offering by German synth-pop gods.

There's more, but that is all I have time for right now (I'm way too busy).

If someone can suggest a good program for editing and creating small clips of music from standard MP3s, I might even try to pose a selection or two.

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