Phil will spend his entire life doing close listenings of alt-rock one hit wonders.
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As a child, the "Three Lions" was one of the only cassette tapes I owned and through repeated listenings, it's taken on a more widespread meaning.
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But I came out of my first few listenings to "Chained To The Rhythm" convinced it was one of the most important pop hits of the past decade.
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I think about this record, some of the songs take a few repeated listenings to truly see what's going on, and to get the full impact of it, or at least it did for me.
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In an article in 1975 for The Times, "Live Composers, Dead Audiences," he pondered the difficulties that the visual, instant-gratification age presented for modern composers, whose works take time and repeated listenings to appreciate.
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Along with the album's release, there will be three fan pop-up exhibitions in celebration of Miller in Los Angeles, New York and Pittsburgh, which will feature intimate, front-to-back listenings of "Circles," as well as a multimedia art exhibition.
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While nothing in the world can truly prepare you for whatever he has in store—except maybe for repeated listenings of "Fast Car" by Tracy Chapman—here are some of Fleming's finest (slightly NSFW) musical moments to get you loose for the big day.
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The closing track on the album, Tema, is a miniature instrumental that slows things down yet continues to maintain repeated listenings.
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Gianluigi Gasparetti (26 March 1958 - 12 April 2013), known by the pseudonym Oöphoi, was an Italian ambient musician. He is perhaps best known for his role as the editor of Deep Listenings, an Italian magazine dedicated to ambient and deep atmospheric music,See "Hypnos Artists" at hypnos.com where he has featured interviews with many famous ambient artists including Steve RoachDeep Listenings Magazine, Spring 1995 at steveroach.com and Michael Stearns.
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Scott Yanow of AllMusic states "The interplay between the three musicians is impressive, and the subtle creativity makes repeated listenings of the modern mainstream music quite valuable. Recommended".
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All songs reaching this stage were mixed and re-numbered so that they were not played in the same order as previous listenings. The songs were played for 2 minutes each and voted upon.
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For The Village Voice, Jody Rosen commented that the song's chorus "edges toward rock and a melody durable enough to withstand countless repeated listenings".Rosen, Jody. "Class of 2005". Slate. 21 January 2005. Retrieved 7 October 2008.
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In his review for AllMusic, Scott Yanow states "David Ware's searching improvisations reward repeated listenings by open-eared listeners." The Penguin Guide to Jazz states "Passage To Music has something of Ayler's and Sander's Afro-mysticism and constitutes something of a personal initiation".
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Allmusic awarded the album 4 stars, stating: "In addition to a feature for Hoggard and tributes to the bebop generation and Andrew Hill, the most impressive piece is the title cut which has fragments of melodies from Africa and Asia. This subtle album rewards repeated listenings".
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Entertainment Weekly wrote "Even on repeat listenings, Moses' requisite I-want song -- called, lamely, All I Ever Wanted -- simply isn't memorable, no matter that the star-crossed royal helpfully whistles snatches of it in another scene." LA Weekly described it as "one of Stephen Schwartz's awful songs".
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Scott Yanow of Allmusic wrote: "Their repertoire (common chord changes) and cool jazz styles are not that surprising but both of the saxophonists sound quite inspired to be in each other's presence; they always brought out the best in each other. The melodic and boppish improvisations reward repeated listenings".
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The Allmusic review by Scott Yanow awarded the album 4 stars, stating: "The influence of Miles Davis' early fusion period is felt throughout the music but there is nothing derivative about the often-surprising results. As with Wayne Shorter's best albums, this set rewards repeated listenings.".Yanow, S. Allmusic Review, accessed July 4, 2011.
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The Allmusic review by Scott Yanow stated "The music is a mixture of composition and improvisation (it is often difficult to know which is which). Although it will not win any new converts who are put off by the complexity of Braxton's music, repeated listenings to these dynamic performances will result in listeners gain in better understanding and appreciating these masterful musicians".
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See Deep Listenings - The New Music Magazine Oöphoi's music can be characterized as being static, organic and minimalistic. It has an overall solid and monolithic feel to it, often integrated in a meditative and spiritual context. Created by using synths, singing bowls, flutes, and processed voices, his recordings have relatively slight harmonic variations. Gianluigi Gasparetti died in 2013 after a long illness.
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Magnus Gangstad Jørgensen (born 29 September 1985), better known as Philter is a Norwegian electronic music artist. He was born and partially raised in Molde and moved to Bergen at the age of ten. With the music project Philter, he is the artist on NRKs "urørt-page" (Untouched page) which has most downloads and listenings (over 800,000). He is signed to Nordic Records.
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April 26, 1986 In Jazz Journal Magazine, Simon Adams states that, " Eréndira is a set that bears repeated listenings, for this is no usual quartet offering of solos and accompaniment but four highly individual musicians given plenty of space to flaunt their skills. The resulting music, with its subtle textures and fine use of space, produces an album of rare beauty."Adams, Simon. Jazz Journal.
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Miller, Stephen. "Al Aronowitz, 77, a Writer Of 1960s Scene", The New York Sun, August 4, 2005. "Aronowitz claimed that Mr. Dylan composed "Mr. Tambourine Man" during a long night of repeated listenings to Marvin Gaye's "Can I Get a Witness" at Aronowitz's home in Berkeley Heights, N.J." He died of cancer in Elizabeth, New Jersey on August 1, 2005, at the age of 77.
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Audiophile Magazine called it "a swashbuckling feminist joyride" and praised its humor as "a raucous comedy that breaks all the rules". "Starstruck". Audiobook reviews, Audiophile Magazine, December 2010. The Charleston Gazette wrote that it was "considerably more evolved than a traditional radio drama", and that its complexity meant that "jokes fly by so fast that repeated listenings will be warranted.""Starstruck Comes To Life".
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He also noted that "the key is the use of the voice synthesizer". PopMatters reviewer Chris Massey, in his review of Europop, described his initial reaction to the song as being "really, really bad." However, he later stated in the review that after many repeated listenings of the song he "loved it." AllMusic editor Jose F. Promis described the song as a "hypnotic smash" in his review of Europop.
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Included are sendups of musicals, movies (Mary Poppins and Bond themes) and commercials, each lovingly and lethally delivered. There are 53 cuts in all, and most of them, like the show itself, stand up to repeated listenings. A treasure." Alan Sepinwall of The Star-Ledger was more critical, writing that "Unfortunately, Songs in the Key [...] used up most of the show's best musical inventory, leaving only assorted scraps for Go Simpsonic.
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Stereophonic Musical Listenings That Have Been Origin in Moving Film "Borat: Cultural Learnings of America for Make Benefit Glorious Nation of Kazakhstan" is the soundtrack to the 2006 mockumentary film Borat, released by (the heretofore nonexistent) "Kuzçek Records" in association with Downtown and Atlantic Records. The soundtrack was released digitally through the iTunes Store on October 24, 2006, and in stores and through other online music stores on Tuesday, October 31, 2006.
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In that case, the stanzas are combined freely, sometimes together with other types of cantiñas. Recommended listenings for this palo include most singers from Cádiz, like Chano Lobato, La Perla de Cádiz, Aurelio Sellé, but also general singers like Manolo Caracol or La Niña de los Peines. Also, you can listen "Mar Amargo" from Camarón and "La Tarde es Caramelo" from Vicente Amigo. It is one of the cante chico forms of flamenco.
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Sacha Baron Cohen's movie does not have a Đurđevdan river scene. In both soundtrack albums – Time of the Gypsies and Stereophonic Musical Listenings That Have Been Origin in Moving Film "Borat: Cultural Learnings of America for Make Benefit Glorious Nation of Kazakhstan" – it was credited to Goran Bregović, although he is not the author nor the singer of the song on these albums. However, he arranged the song. "A.I. Rising" (2018), a Serbian science fiction film, was originally entitled "Ederlezi Rising".
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Critical response to Bo Burnham has been mostly positive. Punchline magazine's John Delery praised both album and artist, calling the former "hysterical", and the latter as "the sole teenager in America these days that can speak in longhand." About.com's Patrick Bromley spoke well of Bo Burnham within its genre of musical comedy, saying that while the novelty or shock value of the traditional comedy album wore thin with repeated listenings, Bo Burnham was so dense with wordplay and double entendres that it begged for repeats.
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Usher, Dupri, Reid, and then-A&R; rep Mark Pitts each had their favorites among the forty, but decided to choose those which "came up consistently more". The collective was able to settle on fifteen of them, with two interludes completing the seventeen track list. Many songs were set aside for future use, including "Red Light" and a remix of "Yeah!". Usher and Arista held advance- listenings for the album, a few months before its actual release; he also appeared on TV guestings to promote Confessions.
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The Penguin Guide to Jazz states "There are signs on One Fell Swoop that he is looking back and rerunning some ideas from his own bottom drawer, reviving that Dixieland counterpoint which had tended to get unravelled and spun out at unrecognisable length in more recent years. The title track (two performances) and "Ode to Lady Day" are splendid performances" In his review on AllMusic, Scott Yanow states "The inside/outside music rewards repeated listenings, and the Lacy/Tyler match-up, helped by their contrasting but complementary styles, works quite well".
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Q magazine had mixed reactions to 1987, saying that there are "too few ideas being spread too thin". The magazine criticised some songs as "overlong" and questioned the overuse of sampling as "the impression of a random hotchpotch". Q also unfavourably commented that The JAMs' "use of the beatbox is altogether weedy". It liked some of its tracks: "there are some wickedly amusing ideas and moments of pure poetry in the lyrics while some of the musical juxtapositions are both killingly funny and strong enough to stand repeated listenings".
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When unveiling the new album with a full track-by-track rundown, Molko told the Scottish edition of News of the World: "It feels like a new beginning... we're reinvigorated, refreshed and ready to take on the world". From 29 to 31 May 2009 fans who signed up for Placebo's official mailing list received a unique code for logging into five listenings of the album in its entirety. At the beginning of August 2009, Placebo canceled a concert in Osaka, Japan, after singer Brian Molko fainted on stage.
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The song was then included in all of her six compilation albums, released sometimes between 1998 and 2013. The song also received positive reviews from music critics, with Daniel J. Levitin's This Is Your Brain on Music praises the song as "hold[ing] a certain appeal over many, many listenings." It also earned Abdul several nominations in the States, most notably including her first Grammy Awards nomination in the category of Best Vocal Performance, Female in 1990, and six other nominations for its music video at the 1989 MTV Video Music Awards.
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Allmusic's Rob Theakston said: "This 1971 session finds McGriff continuing to do like so many other jazz musicians of the time: embrace and adapt to the emergence of funk and soul into mainstream music, and recontextualize it in a jazz arena. The results are an unsurprisingly delicious slice of jazz-funk made from the finest ingredients. ... While McGriff's adventurous side is slightly tamed, it's that willingness to improv and blend together as a cohesive unit that makes Groove Grease such a tasty statement that is consistently fresh with repeated listenings".
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Not all commentary was positive, however. Matt Bradford, again from GamesRadar, listed the lockpicking on a list of "biggest nitpicks" with Infinite, criticising the inconsistency between her always cheerful or cocky lockpicking lines and current mood. bit-techs Edward Chester criticised Elizabeth's interrupting, pointing out how she never mentioned she was picking ammo up, would throw coins during voxaphone listenings and mid-fight, and how she would only start talking after big moments rather than regularly. Chester also criticised the inconsistency about whether the tears were a "strain" on Elizabeth or not.
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" Several reviewers drew parallels between mainstream pop acts and Annie. Entertainment Weeklys Raymond Fiore called the album an "addictive" debut where Annie "flaunts whispery Kylie cool and old-school-Madonna cheekiness", but added that "this sugar rush of an album proves…candy is best consumed in moderation." Hua Hsu of Blender magazine made a similar comparison, proclaiming Annie the "Kylie Minogue hipsters don't have to feel guilty about liking". Barry Walters of Rolling Stone touted how the album "comes packed with both instant surface fizz and quirky finesse that sustains repeated listenings", and ending his review, "Goodbye, Britney.
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Struck by the trauma of having discovered that Lord Micidial is his real father, Mario falls into coma. Micidial takes advantage of this to completely erase his memory with an instrument called "Scordammociopassat", and instructs him to make him a vulgar and corrupt journalist, the opposite of what he was in the past. Micidial then bribes all MTG members to tell Mario about his past, and locks his daughter Melany in a madhouse. Mario therefore becomes a full-fledged Micidial, and the MTG transforms itself from a simple newscast aimed at information into a television program devoted to sponsors and listenings.
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In his review for Allmusic, James Manheim notes that "the music is generally absorbing, and fans of Zorn and his followers may want to tease out the processes over repeated listenings". On All About Jazz Kurt Gottschalk said "Both players are extraordinarily sensitive in going toward and away from their instruments' orthodox voices. With her background in European avant-garde composition and improvisation, Courvoisier tends to bring more abstraction to the picture, whereas Feldman—with his long history as an interpreter and session player—is more the melodicist. But what's important is how well they intuit meeting grounds across the 11 pieces here".
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Peter Szendy (born 1966 in Paris) is a French philosopher and musicologist. He is the David Herlihy Professor of Humanities and Comparative Literature at Brown University. His Écoute, une histoire de nos oreilles (2001, English translation in 2008: Listen, A History of Our EarsUniversité Paris Ouest: List of publications) is a critique of Romantic and Modernist conceptions of listening. Paying close attention to arrangements as "signed listenings" and to the juridical history of the listener, Szendy suggests an alternative model based on deconstruction: listening, he argues (quoting C. P. E. Bach), is a "tolerated theft", and our ears are always already haunted by the ear of the other.
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While listening to classical music excerpts, those rated high in openness tended to decrease in liking music faster during repeated listenings, as opposed to those scoring low in openness, who tended to like music more with repeated plays. This suggests novelty in music is an important quality for people high in openness to experience. One study had people take a personality test before and after listening to classical music with and without written lyrics in front of them. Music both with and without lyrics showed some effect on people's self-reported personality traits, most significantly in terms of openness to experience, which showed a significant increase.
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"In My Country There Is Problem", also known as "Throw the Jew Down the Well" after the song's key line, is a song written by British comedian Sacha Baron Cohen for his comic character Borat Sagdiyev. It features in the episode "Peace" of the series 3 of Da Ali G Show, in the 'Country Music' segment of "Borat's Guide to the USA (Part 2)", that focuses heavily on the (positive) reaction of the patrons of an Arizona country and western bar to the antisemitic sentiments of the song. It appeared in Stereophonic Musical Listenings That Have Been Origin in Moving Film "Borat: Cultural Learnings of America for Make Benefit Glorious Nation of Kazakhstan".
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Smash Hits album reviews, November 1986 Number One magazine was impressed by the adult rock sound of many of the tracks, but feared that the album wouldn't stand up to repeated listenings. Nevertheless, they gave the album a 4 out of 5 rating, commenting that "Writing On the Wall sees the Fizzers moving ever further away from their light pop of old, [giving] a fair impression of American AOR rockers – in the most melodic way possible of course".Karen Swayne. Number One Magazine album reviews, November 1986 The newly established Q Magazine rated the album 3 out of 5 and favoured the tracks "Keep Each Other Warm" and "The Company You Keep".
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Chuck Eddy of Entertainment Weekly graded the album a C+ and felt that on Open Your Eyes, Yes were "Neither as self-indulgent nor as magnificent as they're capable of being," and thought the album would "never quite manage the down-to-earth hooks that have kicked their best cosmic explorations into high gear." Allmusic's Gary Hill rated the album 2 out of 5 stars, saying it "is not fully appreciated on the first few listenings. You really need to give this one the time to sink in." He listed "Open Your Eyes", "Universal Garden", "Fortune Seller", and "Wonderlove" as among the album's stronger songs, with "No Way We Can Lose" and "Man in the Moon" being weaker ones.
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Music critic Robert Christgau called the album "an ad hoc collaboration that sounds as good as it reads". Mark Deming at AllMusic described it as "[an] oddball delight from four truly gifted musicians", adding that while Kaiser, Frith and French's "avant-leaning art rock" is toned down by the presence of Thompson's folk-rock guitar, it does not detract from the album's appeal. In a review in the Santa Ana Orange County Register, Jim Washburn wrote that the album is "a fresh surprise even after repeated listenings", and called it "one of the year's best". He said "the four [musicians] take some amazing turns", from a "lunatic" cover of The Beach Boys' Surfin' U.S.A. to the "apocalyptic" "Drowned Dog Black Night".
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No. But what the album does have going for it is its overarching aesthetic: It's an album that has a nice enough groove throughout, and again, the quality of the production really cannot be overstated. Maybe London should have let the album speak for itself." Steven Goldstein of HipHopDX said, "Time off, a tighter central theme and spirited assists from some legendary producers makes Theophilus London’s second full-length his best yet. What’s being escaped is up to you, but Vibes succeeds in getting its listener to flourish in a world of champagne toasts, faceless women and impulsive dancing." Eli Schwadron of XXL stated, "Theophilus London’s musical ability is evident throughout Vibes, a mesh-mash of genres that come together to form one of the better listenings of 2014.
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"Hustler's Ambition" received generally favourable reviews from music critics. David Jeffries of AllMusic called the song "a clever number" and compared it to the material found on 50 Cent's debut album, Get Rich or Die Tryin, commenting that it "recall[s] the looser moments of his debut". Although Azeem Ahmad noted "Hustler's Ambition" to be more musically diverse that 50 Cent's previous work in his review of the song for musicOMH, he also wrote that "it's hardly inspiring to those expecting a slice of raw hip-hop", although he concluded that the song sounded better after repeated listenings and that 50 Cent had "once again hit the jackpot". Andrew Kahn of The Michigan Daily felt the song to be "by far [his] best solo song on the album", and also wrote that it sounded "superior to most of The Massacres tracks".
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His inspiration for the packaging was based on the song "Home" and the artwork reflects an urban scene of a house by a roadside; the liner notes provide closeups on the home and the artwork on the Compact Disc is the grass from the lawn. Sagmeister proceeded to create not only an image for the cover, but an entire three-dimensional model for the house, which was later released as the deluxe edition packaging. Upon repeated listenings to the album, he became convinced that there was a sinister element to the setting and provided clues to the "dark edge" of the scene, such as a discarded condom wrapper in the gutter, a man looking out the window with binoculars, and a gasoline canteen in the kitchen. The deluxe package comes in a tin with a microchip that plays a sound of someone walking down a hallway in the house and slamming a door when the package is opened.
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Allmusic critic Stephen Thomas Erlewine considered the song a highlight on Chesney's album, making note of how Strait and Chesney both "playfully soften the F in the title, making for a genuinely funny highlight" (thus making the line sound closer to "shit work"). Brady Vercher of Engine 145 gave it a "thumbs-down" rating, saying, "What makes this a bad song is that it’s dull and boring, with zero redeeming qualities. If music is supposed to make you feel something, then this song captures the monotony of 'shiftwork,' but who in their right mind is going to want to be bored when they listen to a song?" Kevin John Coyne of Country Universe, gave the song a B grade, saying that " the ’big ol’ pile of shiiiiiftwork” wordplay in the chorus is funny. It doesn’t hold up much on repeated listenings, however" and that the song "still manages to become a song about getting drunk in the islands".
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Now received generally positive reviews from critics. At Metacritic, which assigns a normalized rating out of 100 to reviews from mainstream publications, the album received an average score of 78, based on 11 reviews. In Entertainment Weekly, Tom Sinclair found Maxwell's New Age spiritual musings to be outside the R&B; mainstream and said "as mellowed-out as much of Now is, it's definitely not aural wallpaper, but a cohesive effort that rewards repeated listenings". Boston Herald critic Sarah Rodman said Maxwell had made the "truly terrific" Prince album the artist himself was no longer making while continuing to "distinguish himself from the current glut of overwrought and under- erotic r & b lotharios with his retro, almost absurdly soulful ways". Daryl Easlea from BBC Music highlighted the cover of the 1989 Kate Bush song "This Woman's Work" and deemed the album "grown-up, frequently gorgeous music that epitomises the very best in neo- soul".
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