Counting down to the Number 1 Song Of All Time! On screen is the latest song added to the Top 1000.
This is a "Work in Progress" so be patient.. please! (Ok.. Moan, what the hell)
Thursday, April 10, 2008
Number 511 - Orchestral Manoeuvres in the Dark
Number 511 OMD "Enola Gay" (1980) . .
Can you even fathom the feelings of the crew on board the aircraft that dropped the A-Bomb on Hiroshima that day? No, nor can I. To be honest I don't even know if I could under the circumstances. The crew didn't even get a choice, it was their job and they knew it was a way to end the 2ND World War. Under that circumstance I probably would have done the same thing. Even though hundreds of thousands died that day, the irony is, they probably saved more lives being lost in a war than Hiroshima itself.
did you say the green button? oh
These are the words of the pilot Colonel Paul W. Tibbets, Jr on the event many decades later ... "I'm proud that I was able to start with nothing, plan it, and have it work as perfectly as it did... I sleep clearly every night". In March 2005, he stated, "If you give me the same circumstances, hell yeah, I'd do it again." Whether you think dropping the A-Bomb is right or wrong, you have to put it into perspective ........ there has never been a World War since. So, will he be remembered as just a war maker? Or what he really is .... A decisive Peacemaker, who bought peace to the world as an alternative proposition. You choose. But whatever you choose, be thankful you and I don't have to make the same decisions.
the band that didnt bomb If OMD's debut album showed the band could succeed just as well on full-length efforts as singles, Organisation upped the ante even further, situating the band in the enviable position of at once being creative innovators and radio-friendly pop giants. That was shown as much by the astounding lead track and sole single from the album, "Enola Gay." Not merely a great showcase for new member Holmes, whose live-wire drumming took the core electronic beat as a launching point and easily outdid it, "Enola Gay" is a flat-out pop classic -- clever, heartfelt, thrilling, and confident, not to mention catchy and arranged brilliantly. The outrageous use of the atomic bomb scenario -- especially striking given the era's nuclear war fears -- informs the seemingly giddy song with a cut-to-the-quick fear and melancholy, and the result is captivating.
somethings on your tie ..
Far from being a one-hit wonder, though, Organisation is packed with a number of gems, showing the band's reach and ability continuing to increase. Holmes slots into the band's efforts perfectly, steering away from straightforward time structures while never losing the core dance drive, able to play both powerfully and subtly. McCluskey's singing, his own brand of sweetly wounded soul for a different age and approach, is simply wonderful -- the clattering industrial paranoia of "The Misunderstanding" results in wrenching wails, a moody cover of "The More I See You" results in a deeper-voiced passion. Everything from the winsome claustrophobia of "VCL XI" and the gentle, cool flow on "Statues" to the quirky boulevardier swing of "Motion and Heart" has a part to play. Meanwhile, album closer "Stanlow," inspired by the power plant where McCluskey's father worked, concluded things on a haunting note, murky mechanical beats and a slow, mournful melody leading the beautiful way. ~ [Ned Raggett, All Music Guide]
What does Rolling Stone think of OMD? A Brit synth duo with brains under their sleek haircuts and hooks aplenty programmed into their keyboards, OMD were the best of their genre -- while seldom forgoing the dance-floor punch of electronic pop, the band revved beyond the form's limits by stressing experiment over formula, melody over beat. From the beginning, OMD, featuring Liverpool's Paul Hum-phreys and Andy McCluskey -- and, subsequently, an ever-shifting cast of players -- feverishly joined inventive sound textures and odd themes ("Electricity," "Enola Gay") to undeniable riffs. With Architecture and Morality, they strained for seriousness -- and found it in a tribute to "Joan of Arc," the tough thud of "The New Stone Age," and the languor of "She's Leaving." Spacey instrumental passages mar the record, but a live drummer compensates. Dazzle Ships is about as recherché as mainstream music gets; a postmodern critique-celebration of technology, the concept album percolates with sound effects, treated vocals, and the occasional slice of strange loveliness. With Crush, pure, luscious melody rules. Disowned (of course) by the band's cult, Crush is OMD at its most purely pop -- "So in Love" and "Secret" are flawless singles. The Singles is radio music made in heaven.By 1991, Humphreys had split. And on Sugar Tax, McCluskey plays it pretty safe -- but "Pandora's Box," "Walk Tall," and nearly all of the album's 12 mechano-ditties make for dance-floor wonder. Liberator is even more dance-happy, though even less adventurous. ~ [Source: RS: (PAUL EVANS) From 2004's The New Rolling Stone Album Guide]
Welcome to "The Definitive 1000 Songs of All Time 1955 to 2005" & the Mellow Mix Volumes.This site is merely to question Rolling Stone Magazine's Top 500 Songs. Everyone has songs they
like and everyone has dislikes. Remember music is like clothing.. there are many styles,
so why on earth would all people want to wear jockey "Y" fronts???
Oh, & don't forget to RATE the songs. Ta