Men in rock never stood a chance outside of Ricky

Ricky and Roy Orbison could still stunt

And Issa haaaard
And Issa haaaaaaaard
And Issa HAAAAAAARD RAAAAAINssss a gonna fall

Highkey the most powerful song of the year but it lacks drums so it won't quite make my top 5

i missed this post somehow

but nah havent heard

This is why people hated Blonde

because it had drums? that was Bringin it

The newer Blonde

yeah im actually not feeling this I Will Follow Him song by Little Peggy March at all. the chorus is kind of irritating to me after some more listens

not a fan of the Ricky Nelson version either

ohhh drop the e

i didnt even notice tbh

ive listened to it at least a hundred times over the last eon and its only just starting to get old

been listening to all her other songs way way more lately tho cause theyre fresh

what about this one @RVI

pretty nice

favs so far are Believe What You Say, Lonesome Town, Hello Mary Lou

Man Roy really was stunting cinematic

"Like many of Orbison's songs, "In Dreams" rejects the verse-chorus-verse-bridge-chorus structure of the majority of rock and roll fare. Instead it mirrors the procession of falling asleep and becoming immersed in an elusive fantasy. It begins like a lullaby with minimal acoustic guitar strums, with Orbison introducing the listener to "A candy-colored clown they call the sandman" half-spoken and half-sung in a Sprechgesang fashion common in operas and other musical theater performances. The sandman puts him to sleep, where he begins singing about dreams of his lover. Drums pick up the rhythm to follow Orbison's lyrics further into subconsciousness, and a piano joins as the lyrics recount how Orbison spends time with her, accompanied by breathy backup singers. Orchestra strings counter his melody that has the effect of representing a singing voice in themselves.

Using a five- to eight-note range, Orbison's voice rises as he wakes up to find his lover gone. The song trips; the music stops and a staccato tattoo replaces it, as he cries when remembering she has left him. The climax is a powerful crescendo as he cries "It's too bad that all these things / Can only happen in my dreams", and the resolution follows his voice from falsetto to the final note an octave below as he sings "Only in dreams / In beautiful dreams", as all the instruments and singers conclude with him abruptly. The song never repeats a section. In two minutes and forty-eight seconds, it goes through seven movements with distinct melodies and chord progressions. The first two sections are sixteen bars each; the rest are only eight bars. In comparison to the standard form of pop songs in AABA — where A represents a standard verse, and B represents a variation, usually referred to as the bridge — "In Dreams", with each variation, can be represented as Intro-A-B-C-D-E-F."

Still on a soul kick?

not really, moved to 40s-50s rhythm and blues now instead. so still some crossover

ahh right. man Chuck Jackson had some bangers in '63 has this one called Another Day i cant even find a link for but its super weird you gotta hear it.

this gonna be one of my soul songs of the year too;

got gifted this recently amazing

was in the middle of the massive esoteric Elvis essay when Peggy March got this random namedrop that has had me scratching my head for the last week lol. Not sure if praise or shade

the woodrow wilson reference

i know you would actually dig this though, he basically frames the whole history of american music around a random ass handful of artists;

harmonica frank
robert johnson
elvis
sly stone
the band
randy f***ing newman

cant read half a paragraph without him bringing up the Band always known Greil as the king Dylan historian but Bob is hardly present in this book. from 1975.

damn thats an interesting "big 6" lol. ive barely heard anything from randy newman. and never heard of harmonica frank. also interesting to see no jazz artist

it was written in 1975 huh? must be an interesting perspective, dust describing dust

I Want To Hold Your Hand is definitely better in stereo neato guitar interplay always gonna get overshadowed by the f***ing handcaps smh

From Me To You, She Loves and I Want To Hold Your Hand back to back the chosen ones

these are getting harder and harder to rank

•spector mvp of the year without singing a note hm to the beedles, already had way too many bangers

•orbison with the most towering male vocal performance hm otis

•martha and for the female hm patsy

•dylan lyricist oty obv

•otis stealing sam and rays thunder as soul singer of the year

•merle and bobby bare coming for cash's title (which he held on to for now thanks to his wife writing Ring Of Fire)

•james burton (for ricky nelson) easily guitarist of the year since bo and chuck werent up to much

•little peggy march definitely rookie of the year and im praying she has another clutch like that in '64