rock, There is also an early warning about the destructive temptations of fame as the young Kendrick is invited to join hip hop’s tradition of riotous excess and lose himself in an acid bath of liquor and oblivion. But these are nonetheless amongst the most hypnotic lines in pop. The once-alien online platform adopted during the tumultuous era of Kid A has slowly come full circle, not unlike the band themselves, and ended up providing the perfect place to find “everything in its right place”. Springsteen was at that time engaged to actress/model Julianne Phillips though he had already experienced a connection to his future wife Patti Scialfa, recently joined the E-Street Band as a backing singer. EP, “She done it with a doctor on a helicopter/ She's sniffin in her tissue/ Sellin' the Big Issue.” There is shameless revisionism and then there is claiming that Noel Gallagher is a great lyricist. Boy in da Corner goes heavy on cold, uncomfortably disjointed beats, synths that emulate arcade games and police sirens, and Dizzee himself delivering bars in his trademark, high-pitched squawk. “We’ve had different chapters in Radiohead life. But, as Murphy desperately reels off all his cutting-edge influences, it’s the seam of genuine pain running through the lyrics that give it its universality.
EP, “Take me out tonight/Take me anywhere, I don't care/I don't care, I don't care.” As with Leonard Cohen, you could spend the rest of your days debating the greatest Morrissey lyrics. Half a century on, all you have to do is put electricity through The Velvet Underground & Nico to realise that he was right. Glitter ball magic. And what happens next? Inspired by the scene from Scarface in which Tony Montana sees a blimp with the message “The World is Yours” during a visit to the movie theatre, it feeds back to the rapper’s own belief that certain signs will appear to convince you that you’re on the right track. Body Talk is simply jammed with great songs. “Everything gets thrown up in the air with coronavirus, so a lot of ideas are being mooted. Closer may be a final flowering, but Unknown Pleasures is more tonally consistent, utterly unlike anything before or since.
It spoke to digital alienation, even though it predated Facebook and Twitter and Myspace. The mournful enigma of McCartney’s “For No One” and the psychedelia of Lennon’s “Tomorrow Never Knows” and “She Said, She Said” can still leave you standing hypnotised over the spinning vinyl, wondering if the music is coming out or being sucked back in. EP, "I like my baby hair, with baby hair and afros / I like my negro nose with Jackson Five nostrils / Earned all this money but they'll never take the country out me / I got hot sauce in my bag, swag." That’s what we’ll figure out next.” Leonard Bernstein’s sophisticated score is a melting pot of pop, classical and Latin music; Stephen Sondheim’s lyrics sharp as a flick knife. Nobody captured the violent tumult of the end of the Sixties better than Mick, Keith and co. Their one masterpiece to rule them all was, of course, “Gimme Shelter”. CH, An unprecedented 220 hours of studio experimentation saw George Martin and The Beatles looping, speeding, slowing and spooling tapes backwards to create a terrifically trippy new sound. These two passers have been at the top of the league for decades now, but this game could have legacy-defining implications. Stitched together with the utmost care, as if he were writing a play with a beginning, a middle and an end, the album is a landmark in both pop and in art. Companion album The Great Gospel Women is a marvel, too. Want an ad-free experience?Subscribe to Independent Premium.
EP, “I’m losing my edge / To all the kids in Tokyo and Berlin / I'm losing my edge to the art-school Brooklynites in little jackets and borrowed nostalgia for the unremembered Eighties.” One of the best songs ever written about ageing and being forced to make peace with the person you are becoming. This artistic and physical and emotional labor—and the baffled rapture with which Radiohead fans followed it, on and offline—is a core component of author, critic, podcaster, and Ringer luminary Steven Hyden’s new book, This Isn’t Happening: Radiohead’s Kid A and the Beginning of the 21st Century.
HB, Compared to the blues, the incalculable influence of gospel music on pop, soul and rock ’n’ roll has been underplayed. Pepper’s Lonely Hearts Club Band – written by a 16-year-old Paul McCartney – is one of the greats for how it encapsulates a kind of love that is less appreciated in musical form. EP, "I'm the mild, money-getting style, rolling foul/ The versatile, honey-sticking wild golden child/ Dwelling in the Rotten Apple, you get tackled/ Or caught by the devil's lasso, s*** is a hassle" Nas addresses both himself and his future progeny on one of the best tracks from his faultless debut Illmatic. Twenty years ago Friday, Radiohead released Kid A, the landmark experimental record that declared the most interesting rock band in the world wanted to do more than just rock. This compilation captures them at their early Sixties peak. Thanks to a mysterious and thriving and relatively nontoxic newish phenomenon called “the internet,” early word on the uneasy gestation of Kid A—via terse interviews, via mixed reviews of recent live gigs, via guitarist Ed O’Brien’s cheerful but worrisome online diary—suggested that Radiohead intended to deconstruct, if not outright demolish, the very notion of Radiohead, thoroughly and laboriously. Marijuana for breakfast: The Beatles and the making of Help! What sets apart the Public Library from Aphex Twin’s archive (and EMI’s ham-fisted attempt at box-setting Radiohead’s discography) is how heartwarming it is to see Yorke and co embrace a history they once seemed dead set on disowning. Independent Premium Comments can be posted by members of our membership scheme, Independent Premium. There’s an underlying altruism in their work that often gets overshadowed. CH, Though her 1971 album, Blue, is usually chosen for these kinds of lists, Mitchell surpassed its silvery, heartbroken folk five years later with a record that found her confidently questioning its culturally conditioned expectations of womanhood. HB, Kurt Cobain had one goal with In Utero: to pull Nirvana away from what he dubbed the “candy-ass” sound on Nevermind – the album that had turned them into one of the biggest rock bands on the planet – and take them back to punk-rock. Liam Gallagher took to Twitter to tell his 3.4 million followers that they can expect some exciting news, seemingly about new solo material, next week. He sings – with a gently swaying, almost resigned delivery – surrealist lyrics that likens a past relationship to a brief high, from the perspective of the comedown that follows. Oh no. More importantly, and more personally, it would suggest the fans owe them nothing at all – promoting a mutual respect that belies a widely held perception that they are somewhat aloof with their audience. 90s, Let England Shake digs deep into the soil of the land, where buried plowshares lie waiting to be beaten into swords. RO, “I don't believe in an interventionist God / But I know, darling, that you do / But if I did I would kneel down and ask Him / Not to intervene when it came to you." Lamar is widely acknowledged as one of contemporary hip-hop’s greatest lyricists. Revisiting the music, hype, and legacy of Radiohead’s experimental masterpiece, a record that challenged expectations and blew minds in dorm rooms throughout the world. I let them be. EP, “Jesus died for somebody's sins but not mine/ Meltin’ in a pot of thieves/ Wild card up my sleeve/ Thick heart of stone/ My sins my own/ They belong to me” The song that launched a thousand punk bands. Undeniable. All of that and Bowie makes the line “it’s not the side effects of the cocaine…” feel like a proclamation of ancient wisdom. Oh no no no no no, no one ever did teen heartbreak quite like the Shangri-Las. This explains how my memory of my buddy Chas attempting to mind-meld with his stereo as Yorke mumbled “Ice age coming / Ice age coming” can be both delightful and upsetting, the fame-addled rock star stuck halfway between overly paranoid and not paranoid enough. There are tracks that drip with sex, and love songs like “Adore”, which remains one of the greatest of all time.
It's not like us fans are going to complain about having too much Radiohead.
“Venus in Furs” is a jangling, jagged-edge drone about a sex whipping not given lightly.
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