Music means everything to me. First and foremost—it’s a craft. Your average, run-of-the-mill musician just has a casual, surface-level relationship with the sound; they're just going through the motions. But a true master? An artist? They woo the music until it starts bleeding out everywhere—a liquid slurry of melodies and tones. As it travels through the air, that fluid thickens into this gelatinous mass that pierces the eardrums and merges directly with the brain, literally licking the cortex. Beyond that, I truly believe people perceive music at entirely different levels, which is why we see such endless debates over musical taste. Honestly, the easiest fix would be to sort "listeners" into distinct castes. You’d earn your way into the higher tiers by listening to thousands of new tracks and hundreds of albums—shedding old genres along the way to make room for new perspectives, complexity, melody, and pure sophistication.
Duane is the king of soul 🙏 but Betts is the master of melody, which is why "Brothers and Sisters" really hits the mark 🙏🙏🙏 🙏 for Rambling Man, 🙏 for Jessica, and a final 🙏 for the overall vibe of the album
nimblegull23 said:@Laura Long5, I just had a moment of clarity—honestly, a friend was just venting to me about how he can't make heads or tails of anything you guys are singing. 😕 I’ve listened to this CD so many times now that things are finally starting to click—it's getting just a little bit clearer. What’s the scoop? Thanks! 😁
Look, get this—the vocals are intentionally unintelligible because the lyrics tackle extreme taboo subjects that fly way over the head of the average, conventional American listener. After doing some actual digging, I managed to decode a few specific references... for instance: "French Razors" is actually a nod to the hardcore fan club supporting Tom from Big Brother; "Oceans and Meadows" is an exploration of the Oedipus complex set in the lower wetlands; "Red Signals" serves as a biting critique of American highway policy, specifically mocking the myth of "green waves" at traffic lights—basically pointing out that they don't even exist; and "That’s Not Edible" is a recurring mantra about the questionable quality of food served in US college dining halls.
In America, the big radio hits are always some Nelly or 50 Cent garbage, while over in England, they’re still obsessed with Bryan Adams' "Everything I Do" 👍 sitting at number one for 14 weeks straight.
Xena2000 said:Look, those are just numbers from a single Billboard Hot 100 chart... there are rock charts, other genre charts, and even the top album sales lists. For example, Evanescence sold five times more albums than 50 Cent, even though they never actually hit number one on the Hot 100.
I'm not sure what you're getting at—are you trying to say songs don't get played on the radio as much as they used to?
There—take a look... if you check the numbers... in a single year, about 4.5 different songs rotate through that number one spot on the Billboard Hot 100.
It feels like songs are just camping out on the charts way longer than they used to... I honestly don't think if someone like Nelly had a massive run like that 20 years ago—holding that number one spot for 10 weeks straight—it would have even been possible back then.
Look, if you actually care about music, you shouldn't be sitting around waiting for some TV network to spoon-feed you everything that matters! And honestly—if you didn't give a damn about what other people thought of your taste in tunes—you wouldn't be hanging out on this forum writing long-winded philosophical defenses of your playlist in 😉
Things were actually decent back when MTV used to play music videos of any kind... 🙄... seriously, just give me the Backstreet Boys over these obnoxious reality shows any day of the week.
