Proposal by David Ignatius: “Just as the provenance of a work of art is
established by art historians and auction houses, we need technological tools
that will help confirm the provenance of facts.”
As a fan of a wide variety of popular (and not-so-popular) music from the 1950s (and sometimes even earlier) up through the present, one of my bucket list projects for years has been to put together a list of my 100 favorite songs of all time. At some point I decided that, once I got around to figuring that out, I could put it out on a blog, for the infinitesimally small proportion of the Internet world that might be interested. So, here we are. While the Top 100 will be a major focus, I also plan to post on a variety of other musical (and occasionally non-musical) topics, in which you may or may not be interested. (If a particular posting doesn’t ring your bell, you’re only a few clicks away from a dancing cat video on YouTube.)
Saturday, November 25, 2017
Friday, November 24, 2017
#166 Mr. Dieingly Sad – The Critters (1966)
Although
also released in 1966, this one could hardly be more different from its
predecessor on this list. (BTW, blame the misspelling on the record label
folks, not on songwriter Don Ciccone.) Its sound has been compared to that of
the Association and the Beach Boys, with chord progressions that are unusual
enough that I never did manage to master them when I was playing around with it
on the guitar back in the day. For a much longer ode to the song, see this entry by a fellow blogger.
#165 Happenings Ten Years Time Ago – The Yardbirds (1966)
The best of
many worthy Yardbirds singles (“Heart Full Of Soul”, “Shapes Of Things”, “I’m A
Man”, to name a few), this one stands out for one of the most original and
ear-shattering instrumental breaks in the history of rock, with two of the
generation’s greatest guitarists, Jimmy Page and Jeff Beck, trading riffs. (It
should be noted that then-blues-purist Eric Clapton was in the band earlier,
but left because “For Your Love” was too pop for his tastes.) It has been aptly
characterized as “frightening”, and apparently scared enough radio programmers
that it only got to #30 in the U.S. and #43 in Britain.
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