DOCSLIB.ORG

Ayden Graham Complete Song List 50S/60S/70S

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
Ayden Graham Complete Song List 50S/60S/70S ayden graham complete song list 50s/60s/70s 1. Nature Boy Eden Ahbez 2. Across The Universe The Beatles 3. All You Need Is Love The Beatles 4. Blackbird The Beatles 5. Dear Prudence The Beatles 6. Eleanor Rigby The Beatles 7. Hey Bulldog The Beatles 8. Michelle The Beatles 9. She Said, She Said The Beatles 10. Taxman The Beatles 11. Black Orpheus Luis Bonfa 12. Tonight Will Be Fine Leonard Cohen 13. All Along The Watchtower Bob Dylan 14. I Want You Bob Dylan 15. Mellow Yellow Donovan 16. Stand By Me Ben E. King 17. You Really Got Me The Kinks 18. Fever Peggy Lee 19. Could You Be Loved Bob Marley 20. One Harry Nilsson 21. Me and My Arrow Harry Nilsson 22. Moonshadow Cat Stevens 23. The Wind Cat Stevens 24. Wild World Cat Stevens 25. Ain't No Sunshine Bill Withers 26. Lovely Day Bill Withers 27. Use Me Bill Withers 28. Heart of Gold Neil Young 80s/90s/2000s 1. The Golden Age Beck 2. First Day of My Life Bright Eyes 3. Don't Panic Coldplay 4. In My Place Coldplay 5. Politik Coldplay 6. Yellow Coldplay 7. 9 Crimes Damien Rice 8. Amie Damien Rice 9. Cannonball Damien Rice 10. Cheers Darlin’ Damien Rice 11. Delicate Damien Rice 12. Elephant Damien Rice 13. The Blowers Daughter Damien Rice 14. The Animals Were Gone Damien Rice 15. Older Chests Damien Rice 16. Volcano Damien Rice 17. The General Dispatch 18. Any Day Now Elbow 19. Powder Blue Elbow 20. Lay Me Down Glen Hansard 21. A Falling Through Ray Lamontagne 22. Let It Be Me Ray Lamontagne 23. Float On Modest Mouse 24. Muscle Museum Muse 25. Where is My Mind The Pixies 26. Creep Radiohead 27. True Love Waits Radiohead 28. (Nice Dream) Radiohead 29. Karma Police Radiohead 30. Paranoid Android Radiohead 31. Everything In Its Right Place Radiohead 32. Idioteque Radiohead 33. Optimistic Radiohead 34. There There (The Boney King of Nowhere.) Radiohead 35. I Will (No Mans Land.) Radiohead 36. Kiss From A Rose Seal 37. If You Want Me The Swell Season 38. Bittersweet Symphony The Verve 39. Chocolate Jesus Tom Waits 40. Green Grass Tom Waits Celtic 1. Black Is The Colour Scotch-Irish Traditional 2. Ca' The Yowes To The Knowes Scottish Traditional 3. Dirty Old Town The Pogues 4. Molly Malone Irish Traditional 5. She Moved Through The Fair Irish Traditional 6. Spancil Hill Irish Traditional 7. Wild Rover Irish Traditional 8. Reel sets: The Air Tune, Drowsy Maggie, The Wind That Shakes The Barley, Music For a Found Harmonium, Haste to the Wedding, Mick's Knitted Triplets 9. Jig sets: Banish Misfortune, Connaughtman's Rambles, Morrison's Jig, The Kesh Jig, The Butterfly, Deirdre's Fancy, Merrily Kiss the Quaker 10. Hornpipe sets: King of the Fairies, Rights of Man, Boys of Blue Hill, Harvest Home 11. Airs/Waltzes: Lord Inchiquin, Planxty Irwin, Sheebeg, Shemoore, Planxty Fanny Powers, Roisín Dubh Classical: 1. Air in D J.S. Bach 2. Boureé in G J.S. Bach 3. Gavotte in G J.S. Bach 4. Jesu Joy of Man's Desiring J.S. Bach 5. Largo in F J.S. Bach 6. Minuet in G J.S. Bach 7. Canon Pachabel 8. Pavane Ravel 9. Wedding March Mendelssohn 10. Wedding March Wagner Jazz: 1. Nature Boy Eden Ahbez 2. Black Orpheus Luis Bonfa 3. Autumn Leaves Joseph Kosma 4. In a Mello Tone Duke Ellington 5. Caravan Duke Ellington 6. Coquette Django/Grappelli 7. I Found A New Baby Django/Grappelli 8. Minor Swing Django/Grappelli 9. Nuages Django/Grappelli 10. Stompin' at Decca Django/Grappelli 11. Blue Monk Thelonius Monk World: Janam Janam - from Dilwale Sanam Re - main theme Originals 1. Angel Dust Ayden Graham 2. Carousel Ayden Graham 3. Craving Ayden Graham 4. Gravity Ayden Graham 5. Jack Rabbit Ayden Graham 6. Little Light Ayden Graham 7. Prodigal Son Ayden Graham 8. Social Butterfly Ayden Graham 9. So What If I'm A Pipsqueak? Ayden Graham 10. Tracks By The Sea Ayden Graham 11. Traffic Lines Ayden Graham 12. The Tens Place Ayden Graham 13. Unreal Ayden Graham 14. Wooden Bones Ayden Graham 15. Would It Really Be So Bad? Ayden Graham .
Load more

Recommended publications
  • Lesson Plans and Resources for There There by Tommy Orange
    Lesson Plans and Resources for There There by Tommy Orange Table of Contents 1. Overview and Essential Questions 2. In-Class Introduction 3. Common Core Standards Alignment 4. Reader Response Questions 5. Literary Log Prompts + Worksheets 6. Suggested Analytical Assessments 7. Suggested Creative Assessments 8. Online Resources 9. Print Resources - “How to Talk to Each Other When There’s So Little Common Ground” by Tommy Orange - Book Review from The New York Times - Book Review from Tribes.org - Interview with Tommy Orange from Powell’s Book Blog These resources are all available, both separately and together, at www.freelibrary.org/onebook Please send any comments or feedback about these resources to [email protected]. OVERVIEW AND ESSENTIAL QUESTIONS The materials in this unit plan are meant to be flexible and easy to adapt to your own classroom. Each chapter has discussion questions provided in a later section. Through reading the book and completing any of the suggested activities, students can achieve any number of the following understandings: - A person’s identity does not form automatically – it must be cultivated. - Trauma is intergenerational -- hardship is often passed down through families. - A physical place can both define and destroy an individual. Students should be introduced to the following key questions as they begin reading. They can be discussed both in universal terms and in relation to specific characters in the book: Universal - How has your family cultivated your identity? How have you cultivated it yourself?
    [Show full text]
  • Bob Denson Master Song List 2020
    Bob Denson Master Song List Alphabetical by Artist/Band Name A Amos Lee - Arms of a Woman - Keep it Loose, Keep it Tight - Night Train - Sweet Pea Amy Winehouse - Valerie Al Green - Let's Stay Together - Take Me To The River Alicia Keys - If I Ain't Got You - Girl on Fire - No One Allman Brothers Band, The - Ain’t Wastin’ Time No More - Melissa - Ramblin’ Man - Statesboro Blues Arlen & Harburg (Isai K….and Eva Cassidy and…) - Somewhere Over the Rainbow Avett Brothers - The Ballad of Love and Hate - Head Full of DoubtRoad Full of Promise - I and Love and You B Bachman Turner Overdrive - Taking Care Of Business Band, The - Acadian Driftwood - It Makes No Difference - King Harvest (Has Surely Come) - Night They Drove Old Dixie Down, The - Ophelia - Up On Cripple Creek - Weight, The Barenaked Ladies - Alcohol - If I Had A Million Dollars - I’ll Be That Girl - In The Car - Life in a Nutshell - Never is Enough - Old Apartment, The - Pinch Me Beatles, The - A Hard Day’s Night - Across The Universe - All My Loving - Birthday - Blackbird - Can’t Buy Me Love - Dear Prudence - Eight Days A Week - Eleanor Rigby - For No One - Get Back - Girl Got To Get You Into My Life - Help! - Her Majesty - Here, There, and Everywhere - I Saw Her Standing There - I Will - If I Fell - In My Life - Julia - Let it Be - Love Me Do - Mean Mr. Mustard - Norwegian Wood - Ob-La-Di Ob-La-Da - Polythene Pam - Rocky Raccoon - She Came In Through The Bathroom Window - She Loves You - Something - Things We Said Today - Twist and Shout - With A Little Help From My Friends - You’ve
    [Show full text]
  • MTO 22.4: Thomas, Text and Temporality
    Volume 22, Number 4, December 2016 Copyright © 2016 Society for Music Theory * Margaret E. Thomas NOTE: The examples for the (text-only) PDF version of this item are available online at: http://www.mtosmt.org/issues/mto.16.22.4/mto.16.22.4.thomas.php KEYWORDS: Tom Waits, rhythm, hypermeter, popular music, lyrics, rhythmic irregularity, voice ABSTRACT: This article considers phrase structure, hypermeter, and lyrics in three songs by Tom Waits, examining the particular ways that temporal regularity and irregularity interact with poetic structure, musical style, and vocal performance in Waits’s music. Subtle and ambiguous hypermetrical shifts are uncovered in “Green Grass,” whereas “Black Wings” utilizes conspicuously conflicting phrase lengths to enhance its textural meaning. In “Dead and Lovely” Waits creates temporal disturbances by shifting the placement of four-measure phrases relative to hypermetrical downbeats and upbeats. Received July 2016 Introduction [1.1] American singer-songwriter Tom Waits opens his 2004 song “Green Grass” with this quatrain: Lay your head where my heart used to be Hold the earth above me Lay down in the green grass Remember when you loved me The four lines—each a directive—draw the listener into the song as they unfurl a rambling narrative packed with evocative imagery, wistful sorrow, and intimacy. It is a bold opening, and it encapsulates much of what is distinctive about Waits: the subject matter is dark and perplexing, and the poetic structure is irregular and a bit playful. The lines have 9, 6, 6, and 7 syllables, respectively. Their rhyme scheme plays out in two layers: a literal aaba pattern (“be,” “me,” “grass,” “me”), and an elongated near-rhyme pattern in lines two and four (“above me” and “loved me”).
    [Show full text]
  • GRAB a GRAMMY the Big News of Last Month About How It Felt to Win the As You Probably Know the Has to Be the Fantastic Victory Best Alternative Album
    1 News Updates COLDPLAY Coldplay Interview (10/99) Will Champion Profile E-ZINE • ISSUE 1 • 04.02 Interview with Phil Harvey GRAB A GRAMMY The Big News of last month about how it felt to win The As you probably know the has to be the fantastic victory Best Alternative Album. recording of the second at the 44th Annual Grammy Chris was thrilled: "Of course album is now complete and Awards. Jonny, Will, Guy and we're absolutely delighted to the mixing process has Phil were at the prestigious get this Grammy thing even begun. Chris also told me event in Los Angeles. though it's total nonsense, it's that he is very happy with the Chris was absent from the still good nonsense to win". results and assures me they have made a great album. ceremony as he was in I spoke to him just as the England in the studio working hour had swung into his 25th The band had a break after on the follow up to birthday and he was on his their time recording and Parachutes. I spoke to him way to the studio to play went off to do various things. Click to watch Interview piano. Chris visited the island of Haiti (Dominican Republic) as part of an Oxfam charity venture. This snippet is taken as it appeared in a local newspaper. British Coldplay rock star, Chris Martin, was in the DR last week. He came on an invitation from Oxfam United Kingdom to visit coffee farms in the southern province of San Cristobal.
    [Show full text]
  • Hyperreality in Radiohead's the Bends, Ok Computer
    HYPERREALITY IN RADIOHEAD’S THE BENDS, OK COMPUTER, AND KID A ALBUMS: A SATIRE TO CAPITALISM, CONSUMERISM, AND MECHANISATION IN POSTMODERN CULTURE A Thesis Presented as Partial Fulfillment of the Requirements for the Attainment of the Sarjana Sastra Degree in English Language and Literature By: Azzan Wafiq Agnurhasta 08211141012 STUDY PROGRAM OF ENGLISH LANGUAGE AND LITERATURE DEPARTMENT OF ENGLISH LANGUAGE EDUCATION FACULTY OF LANGUAGES AND ARTS YOGYAKARTA STATE UNIVERSITY 2014 APPROVAL SHEET HYPERREALITY IN RADIOHEAD’S THE BENDS, OK COMPUTER, AND KID A ALBUMS: A SATIRE TO CAPITALISM, CONSUMERISM, AND MECHANISATION IN POSTMODERN CULTURE A THESIS By Azzan Wafiq Agnurhasta 08211141012 Approved on 11 June 2014 By: First Consultant Second Consultant Sugi Iswalono, M. A. Eko Rujito Dwi Atmojo, M. Hum. NIP 19600405 198901 1 001 NIP 19760622 200801 1 003 ii RATIFICATION SHEET HYPERREALITY IN RADIOHEAD’S THE BENDS, OK COMPUTER, AND KID A ALBUMS: A SATIRE TO CAPITALISM, CONSUMERISM, AND MECHANISATION IN POSTMODERN CULTURE A THESIS By: AzzanWafiqAgnurhasta 08211141012 Accepted by the Board of Examiners of Faculty of Languages and Arts of Yogyakarta State University on 14July 2014 and declared to have fulfilled the requirements for the attainment of the Sarjana Sastra degree in English Language and Literature. Board of Examiners Chairperson : Nandy Intan Kurnia, M. Hum. _________________ Secretary : Eko Rujito D. A., M. Hum. _________________ First Examiner : Ari Nurhayati, M. Hum. _________________ Second Examiner : Sugi Iswalono, M. A. _________________
    [Show full text]
  • Led Zeppelin R.E.M. Queen Feist the Cure Coldplay the Beatles The
    Jay-Z and Linkin Park System of a Down Guano Apes Godsmack 30 Seconds to Mars My Chemical Romance From First to Last Disturbed Chevelle Ra Fall Out Boy Three Days Grace Sick Puppies Clawfinger 10 Years Seether Breaking Benjamin Hoobastank Lostprophets Funeral for a Friend Staind Trapt Clutch Papa Roach Sevendust Eddie Vedder Limp Bizkit Primus Gavin Rossdale Chris Cornell Soundgarden Blind Melon Linkin Park P.O.D. Thousand Foot Krutch The Afters Casting Crowns The Offspring Serj Tankian Steven Curtis Chapman Michael W. Smith Rage Against the Machine Evanescence Deftones Hawk Nelson Rebecca St. James Faith No More Skunk Anansie In Flames As I Lay Dying Bullet for My Valentine Incubus The Mars Volta Theory of a Deadman Hypocrisy Mr. Bungle The Dillinger Escape Plan Meshuggah Dark Tranquillity Opeth Red Hot Chili Peppers Ohio Players Beastie Boys Cypress Hill Dr. Dre The Haunted Bad Brains Dead Kennedys The Exploited Eminem Pearl Jam Minor Threat Snoop Dogg Makaveli Ja Rule Tool Porcupine Tree Riverside Satyricon Ulver Burzum Darkthrone Monty Python Foo Fighters Tenacious D Flight of the Conchords Amon Amarth Audioslave Raffi Dimmu Borgir Immortal Nickelback Puddle of Mudd Bloodhound Gang Emperor Gamma Ray Demons & Wizards Apocalyptica Velvet Revolver Manowar Slayer Megadeth Avantasia Metallica Paradise Lost Dream Theater Temple of the Dog Nightwish Cradle of Filth Edguy Ayreon Trans-Siberian Orchestra After Forever Edenbridge The Cramps Napalm Death Epica Kamelot Firewind At Vance Misfits Within Temptation The Gathering Danzig Sepultura Kreator
    [Show full text]
  • Slate Interview
    Tom Waits on His Grandma’s Pistol, His New Record, and Keith Richards By Seth Colter Walls | Posted Tuesday, Oct. 25, 2011, at 11:31 AM ET Tom Waits performs in Paris in 2008. Photo by PIERRE VERDY/AFP/Getty Images Tom Waits’ new record, Bad As Me, is his first album of brand new songs since 2004—though Waits will stop you right there and say that Orphans, a three-disc set of rarities from 2006, featured “a hell of a lot of what we call reconditioned songs,” new recordings of old standbys. “Who’s to say that when a song has been used it’s not any good anymore? Everybody’s all hung up on new, you know?” People aren’t just hung up on Bad As Me because it’s new. For the first time since Mule Variations, Waits has put out a record with the full range of his go-to song-forms. Real Gone (2004) went all-in on drum n’ dirge; the song-cycles Alice and Blood Money (both 2002) took their cues from stage works presented with director Robert Wilson. Bad As Me has the variety of instruments and composition styles of Rain Dogs and other Waits classics. I spoke with Waits about the new album earlier this month. Generally loath to speak in great detail about specific artistic choices, he says things like, “I’m not really conscious of those things,” or, “I’m not any different than anybody else.” Neither assertion may be true, but it’s best to let the man talk: He spins yarns mid-interview as impressively as he does on his records.
    [Show full text]
  • Tom Waits 2011.Pdf
    WILLISEEYOUTCfNIGHTONADOWNTOWNTRAINEVERYNIGHTISJUSTTHESAMEYOULEAVEMELONELYNOW TOM WAITS BY ROB BOWMAN § IS THE CASE Lord Buckley, and Charles Bukowski; the pri­ with a select few mal rock & roll crunch of the Rolling Stones; genre-defining the German cabaret stylings of Kurt artists such as Weill; the postwar, alternate world of invented Miles Davis, Bob instruments and rugged individualism o f avant- Dylan, and Joni garde composer Harry Partch; the proto-metal MitcheH,Tom Writs, blues of 1950s and 1960s Howlin’ Wolf and over the course of his nearly forty-year their extension into the w orld o f Captain B eef- career, has operated under the maxim “He heart’s late-i96os avant-rock; the archaic for­ not busy being born is busy dying.” Refus­ malism o f 19th-century parlor ballads; Dylan’s ing to stay still and rest on his laurels, Waits early- and mid-sixties transformation of the has continuously sought new influences, possibilities of language in the worlds of both dramatically reinventing himself and his art folk and rock; the elegance of pre-war Irving along the way. In Berlin, Cole Porter, the process, he has WAITS SEEM S and Hoagy Carmichael; forged a highly the sophistication of original, personal, TO HAVE NO postwar Frank Sinatra; and idiosyncratic LIMITS TO HIS and, more recently, the musical lexicon, bone-crushing grooves resulting in one of IMAGINATION of 1980s and 1990s the most distinc­ funk and hip-hop. In­ tive, rich, and diverse bodies of recorded deed, the art of Tom Waits has altogether tran­ work in American popular music history. scended time and, to some degree, place.
    [Show full text]
  • Off-Beats and Cross Streets: a Collection of Writing About Music, Relationships, and New York City
    University of Southern Maine USM Digital Commons Stonecoast MFA Student Scholarship 2020 Off-Beats and Cross Streets: A Collection of Writing about Music, Relationships, and New York City Tyler Scott Margid University of Southern Maine, [email protected] Follow this and additional works at: https://digitalcommons.usm.maine.edu/stonecoast Recommended Citation Margid, Tyler Scott, "Off-Beats and Cross Streets: A Collection of Writing about Music, Relationships, and New York City" (2020). Stonecoast MFA. 135. https://digitalcommons.usm.maine.edu/stonecoast/135 This Open Access Thesis is brought to you for free and open access by the Student Scholarship at USM Digital Commons. It has been accepted for inclusion in Stonecoast MFA by an authorized administrator of USM Digital Commons. For more information, please contact [email protected]. Off-Beats and Cross-Streets: A Collection of Writing about Music, Relationships, and New York City A THESIS SUBMITTED IN PARTIAL FULFILLMENT OF THE REQUTREMENTS FOR THE DEGREE OF MASTER OF FINE ARTS, UNIVERSITY OF SOUTHERN MAINE, STONECOAST MFA IN CREATIVE WRITINC BY Tyler Scott Margid 20t9 THE UNIVERSITY OF SOUTHERN MAINE STONECOAST MFA IN CREATIVE WRITING November 20,2019 We hereby recommend that the thesis of Tyler Margid entitled OffÙeats and Cross- Streets be accepted as partial fulfillment of the requirements for the Degree of Master of Fine Arts Advisor Florio -'1 4rl:ri'{" ¡ 'l¡ ¡-tÁ+ -- Reader Debra Marquart Director J Accepted ¿/k Dean, College of Arts, Humanities, and Social Sciences Adam-Max Tuchinsky At¡stract Through a series of concert reviews, album reviews, and personal essays, this thesis tracks a musical memoir about the transition from a childhood growing up in a sheltered Connecticut suburb to young adulthood working in New York City, discovering relationships and music scenes that shape the narrator's senss of identity as well the larger culture he f,rnds himself in.
    [Show full text]
  • Pink Floyd - Dark Side of the Moon Speak to Me Breathe on the Run Time the Great Gig in the Sky Money Us and Them Any Colour You Like Brain Damage Eclipse
    Pink Floyd - Dark Side of the Moon Speak to Me Breathe On the Run Time The Great Gig in the Sky Money Us and Them Any Colour You Like Brain Damage Eclipse Pink Floyd – The Wall In the Flesh The Thin Ice Another Brick in the Wall (Part 1) The Happiest Days of our Lives Another Brick in the Wall (Part 2) Mother Goodbye Blue Sky Empty Spaces Young Lust Another Brick in the Wall (Part 3) Hey You Comfortably Numb Stop The Trial Run Like Hell Laser Queen Bicycle Race Don't Stop Me Now Another One Bites The Dust I Want To Break Free Under Pressure Killer Queen Bohemian Rhapsody Radio Gaga Princes Of The Universe The Show Must Go On 1 Laser Rush 2112 I. Overture II. The Temples of Syrinx III. Discovery IV. Presentation V. Oracle: The Dream VI. Soliloquy VII. Grand Finale A Passage to Bangkok The Twilight Zone Lessons Tears Something for Nothing Laser Radiohead Airbag The Bends You – DG High and Dry Packt like Sardine in a Crushd Tin Box Pyramid song Karma Police The National Anthem Paranoid Android Idioteque Laser Genesis Turn It On Again Invisible Touch Sledgehammer Tonight, Tonight, Tonight Land Of Confusion Mama Sussudio Follow You, Follow Me In The Air Tonight Abacab 2 Laser Zeppelin Song Remains the Same Over the Hills, and Far Away Good Times, Bad Times Immigrant Song No Quarter Black Dog Livin’, Lovin’ Maid Kashmir Stairway to Heaven Whole Lotta Love Rock - n - Roll Laser Green Day Welcome to Paradise She Longview Good Riddance Brainstew Jaded Minority Holiday BLVD of Broken Dreams American Idiot Laser U2 Where the Streets Have No Name I Will Follow Beautiful Day Sunday, Bloody Sunday October The Fly Mysterious Ways Pride (In the Name of Love) Zoo Station With or Without You Desire New Year’s Day 3 Laser Metallica For Whom the Bell Tolls Ain’t My Bitch One Fuel Nothing Else Matters Master of Puppets Unforgiven II Sad But True Enter Sandman Laser Beatles Magical Mystery Tour I Wanna Hold Your Hand Twist and Shout A Hard Day’s Night Nowhere Man Help! Yesterday Octopus’ Garden Revolution Sgt.
    [Show full text]
  • The Most Depressive Songs of Radiohead
    The most depressive songs of Radiohead 150 000 1 500 000 listeners at listeners at Last.fm Last.fm 15 Step Jigsaw Falling Into Place Feral Fitter Happier There, There Bodysnatchers Cheerful Backdrifts Separator Go To Sleep My Iron Lung Airbag Packt Like Sardines In a Crushed Tin Box Burn the Witch Sulk House Of Cards Lotus Flower Little By Little Optimistic Myxomatosis A Punch Up At a Wedding Anyone Can Play Guitar Idioteque Sit Down. Stand Up I Might Be Wrong In Limbo Where I End and You Begin Bones Thinking About You Morning Mr Magpie Vegetable Morning Bell Lurgee (Nice Dream) The National Anthem Just 2 + 2 = 5 High And Dry Identikit Subterranean A Wolf At the Door Present Tense Homesick Alien Electioneering Bloom The Bends Karma Police You Blow Out Stop Whispering Black Star Prove Yourself Planet Telex I Can't How Do You? Decks Dark Ripcord Scatterbrain Climbing Up the Walls Morning Bell/Amnesiac Faust Arp Reckoner How To Disappear Paranoid Android Like Spinning Plates Lucky Completely Weird Fishes/ Arpeggi Knives Out Ful Stop Exit Music (For a Film) I Will Kid A Nude Give Up The Ghost Pulk/Pull Revolving Desert Island Disk Street Spirit (Fade Out) Let Down Doors Fake Plastic Trees No Surprises You And Whose Army? The Gloaming Daydreaming Depressing Creep Dollars & Cents All I Need Tinker Tailor Soldier Bullet Proof ... I Wish I Sailor Rich Man Poor Hunting Bears Was Treefingers Man Beggar Man Thief Pyramid Song Codex Everything In Its Right Glass Eyes Life In a Glasshouse Sail To The Moon Videotape The Tourist Place The Numbers Motion Picture We Suck Young Blood True Love Waits Soundtrack Hail To the The King Of A Moon Pablo Honey The Bends OK Computer Kid A Amnesiac In Rainbows Thief Limbs Shaped Pool Data source: https://data.world/rcharlie/gloom-index-of-radiohead-songs.
    [Show full text]
  • Rock Harmony Reconsidered: Tonal, Modal and Contrapuntal Voice&
    DOI: 10.1111/musa.12085 BRAD OSBORN ROCK HARMONY RECONSIDERED:TONAL,MODAL AND CONTRAPUNTAL VOICE-LEADING SYSTEMS IN RADIOHEAD A great deal of the harmony and voice leading in the British rock group Radiohead’s recorded output between 1997 and 2011 can be heard as elaborating either traditional tonal structures or establishing pitch centricity through purely contrapuntal means.1 A theory that highlights these tonal and contrapuntal elements departs from a number of developed approaches in rock scholarship: first, theories that focus on fretboard-ergonomic melodic gestures such as axe- fall and box patterns;2 second, a proclivity towards analysing chord roots rather than melody and voice leading;3 and third, a methodology that at least tacitly conflates the ideas of hypermetric emphasis and pitch centre. Despite being initially yoked to the musical conventions of punk and grunge (and their attendant guitar-centric compositional practice), Radiohead’s 1997– 2011 corpus features few of the characteristic fretboard gestures associated with rock harmony (partly because so much of this music is composed at the keyboard) and thus demands reconsideration on its own terms. This mature period represents the fullest expression of Radiohead’s unique harmonic, formal, timbral and rhythmic idiolect,4 as well as its evolved instrumentation, centring on keyboard and electronics. The point here is not to isolate Radiohead’s harmonic practice as something fundamentally different from all rock which came before it. Rather, by depending less on rock-paradigmatic gestures such as pentatonic box patterns on the fretboard, their music invites us to consider how such practices align with existing theories of rock harmony while diverging from others.
    [Show full text]