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Hit shuffle on your music player and talk about the first five songs that come up. As a bonus condition, I gave myself only each song's duration to write.
"Mad About You," Belinda Carlisle: And, man, what a song to start off with. What did I ever do to you, phone? Belinda Carlisle is responsible for some of the aggressively plastic tracks of the '80's (cf. "Heaven Is a Place on Earth"), and "Mad About You" honestly isn't that much better, but it is a bit more...restrained? Tasteful? than her usual fare, and there is genuine romantic emotion - real wistfulness in the stanzas, yearning in the chorus. It's an idealized abstraction of love that doesn't really exist, set in a close enough approximation of the real world.
"I'm Yours," Jason Mraz: Jesus Christ, phone. I'm not that familiar with Jason Mraz, but every mention of him I run across is coupled with an eyeroll or an "oh, God." Not sure what the fellow's done? I have no idea if he's deserving of such exasperation. To tell you the truth, this is upon examination too "hey, hot girl" to really be played all the way through or even not skipped most of the time, but I like the carefree, unadorned rhythm and almost syncopated singing. (Is it syncopation? Or is it the exact opposite of that? My music courses were never really clear on the subject.)
"I Can't Help Falling in Love with You," Elvis Presley: I tried getting into Elvis last summer. It didn't entirely stick, but a few tracks found their way onto my player. This one is grandly, richly romantic, if not in a particularly distinct way. Then again, these songs don't always need to be blindingly original, do they. Its leisurely pace and Presley's lingering vocals allow it a sweet depth.
"May It Be," Hayley Westenra: A good cover in that it casts the source material in a different light with a new take on the material rather than trying to repeat the original note for note. Enya's own great take is muted and comforting, yet Westenra's voice is radiant with hope and youth. I note that this song, even given its evergreen source material, has considerably longer legs than most film tie-in songs; it's becoming a new standard for modern Celtic artists.
"867-5309 (Jenny)," Tommy Tutone: No real explanation for this; it's just a good, catchy piece of '80's pop. The clarity of the guitars and vocals give it an irresistable exuberance.
Man, I expected at least one Silent Hill song to pop up.
.
"Mad About You," Belinda Carlisle: And, man, what a song to start off with. What did I ever do to you, phone? Belinda Carlisle is responsible for some of the aggressively plastic tracks of the '80's (cf. "Heaven Is a Place on Earth"), and "Mad About You" honestly isn't that much better, but it is a bit more...restrained? Tasteful? than her usual fare, and there is genuine romantic emotion - real wistfulness in the stanzas, yearning in the chorus. It's an idealized abstraction of love that doesn't really exist, set in a close enough approximation of the real world.
"I'm Yours," Jason Mraz: Jesus Christ, phone. I'm not that familiar with Jason Mraz, but every mention of him I run across is coupled with an eyeroll or an "oh, God." Not sure what the fellow's done? I have no idea if he's deserving of such exasperation. To tell you the truth, this is upon examination too "hey, hot girl" to really be played all the way through or even not skipped most of the time, but I like the carefree, unadorned rhythm and almost syncopated singing. (Is it syncopation? Or is it the exact opposite of that? My music courses were never really clear on the subject.)
"I Can't Help Falling in Love with You," Elvis Presley: I tried getting into Elvis last summer. It didn't entirely stick, but a few tracks found their way onto my player. This one is grandly, richly romantic, if not in a particularly distinct way. Then again, these songs don't always need to be blindingly original, do they. Its leisurely pace and Presley's lingering vocals allow it a sweet depth.
"May It Be," Hayley Westenra: A good cover in that it casts the source material in a different light with a new take on the material rather than trying to repeat the original note for note. Enya's own great take is muted and comforting, yet Westenra's voice is radiant with hope and youth. I note that this song, even given its evergreen source material, has considerably longer legs than most film tie-in songs; it's becoming a new standard for modern Celtic artists.
"867-5309 (Jenny)," Tommy Tutone: No real explanation for this; it's just a good, catchy piece of '80's pop. The clarity of the guitars and vocals give it an irresistable exuberance.
Man, I expected at least one Silent Hill song to pop up.
.
