I never play my copy of Two Houses (and I feel vaguely disloyal!) because pretty much the only song I'm willing to hear repeatedly is 32 Down, and that's because it's DS-related.
I have a dorky love for "Ride Forever", but I don't listen to the one from the album. I like the DS Soundtrack version better, so it's probably a DS fannish thing. 32 Down is the first DS related song I heard, I downloaded it right after I saw MOTB for the first time, for no real fannish reason other than I love Celtic-ish music. I knew nothing about it other than it sounded good really, really loud. And still, I play the soundtrack version, for the dialogue at the end.
I really like "Blind Man," I think it's got great lyrics (what other country song has the word "reprobate"?). Also "Desert and Rain", but I have to be in the mood for it. "After the War" is one of the most boring songs I know. It's a textbook country song (I grew up with country music. This is generic). No imagination.
L&C, on the other hand, is totally brilliant - it's not even in a genre I'm enthusiastic about
Oh, it's the better album, absolutely. I wish I could glom on to "Blame it all on Nashville", because the idea of the type of song my mother calls "shit-kickin' music based on the text of Hamlet is just fecking brillant. It's unfortunate that I pretty much hate it. *headdesk* Fortunately, though, there's "Clouds" to make up for it. Lyrically, it's fantastic. The (most likely completely unconscious) irony of "you know that I miss your mouth" coming from that mouth. "I need you in the darkest way"? *shivers*. And the Random Ilian Gonzalez reference, which is just a complete geekout for me. Did I mention I love this song?
Also "Paris", which has no genre. I wouldn't know how to classify it. "Songs that start out with consonant porn" isn't a category I've heard at the Grammys", so, um. Again with the brilliant lyrics. "If Jesus left his thumbprint on the artificial marble, how come we have no forgiveness for the ones who've lost their way." Fecking gorgeous.
The brilliance of "Family Matters" has me convinced that "After the War" was written by a pod person (Seriously, this one's in my top ten favourite songs). I still can't figure out why they didn't use it for marketing instead of the ones they did pick. Tie-ins with DS, yes, but that doesn't explain "Voodoo" (which I didn't like at first, but it's grown on me. Jury's still out on the video).
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This didn't start out as a record review, really. Or a two-part comment.
Date: 2006-12-01 04:24 pm (UTC)I have a dorky love for "Ride Forever", but I don't listen to the one from the album. I like the DS Soundtrack version better, so it's probably a DS fannish thing. 32 Down is the first DS related song I heard, I downloaded it right after I saw MOTB for the first time, for no real fannish reason other than I love Celtic-ish music. I knew nothing about it other than it sounded good really, really loud. And still, I play the soundtrack version, for the dialogue at the end.
I really like "Blind Man," I think it's got great lyrics (what other country song has the word "reprobate"?). Also "Desert and Rain", but I have to be in the mood for it. "After the War" is one of the most boring songs I know. It's a textbook country song (I grew up with country music. This is generic). No imagination.
L&C, on the other hand, is totally brilliant - it's not even in a genre I'm enthusiastic about
Oh, it's the better album, absolutely. I wish I could glom on to "Blame it all on Nashville", because the idea of the type of song my mother calls "shit-kickin' music based on the text of Hamlet is just fecking brillant. It's unfortunate that I pretty much hate it. *headdesk* Fortunately, though, there's "Clouds" to make up for it. Lyrically, it's fantastic. The (most likely completely unconscious) irony of "you know that I miss your mouth" coming from that mouth. "I need you in the darkest way"? *shivers*. And the Random Ilian Gonzalez reference, which is just a complete geekout for me. Did I mention I love this song?
Also "Paris", which has no genre. I wouldn't know how to classify it. "Songs that start out with consonant porn" isn't a category I've heard at the Grammys", so, um. Again with the brilliant lyrics. "If Jesus left his thumbprint on the artificial marble, how come we have no forgiveness for the ones who've lost their way." Fecking gorgeous.
The brilliance of "Family Matters" has me convinced that "After the War" was written by a pod person (Seriously, this one's in my top ten favourite songs). I still can't figure out why they didn't use it for marketing instead of the ones they did pick. Tie-ins with DS, yes, but that doesn't explain "Voodoo" (which I didn't like at first, but it's grown on me. Jury's still out on the video).