The first of the great epics. It swells when it should, then drops back down in the next measure. His voice is open and full of yearning, Van Zandt adds delightful harmony vocals in counterpoint, and a quasi-Farfisa organ noodles in the background. This would be a sad story of lost love and regret, but two elements elevate it: the lonely, hollow organ chords underneath the main melody, and the bridge.
So simple, yet so compelling. The first song Springsteen wrote for the album. The sense of duty, the courage. Ascending into … what? An optimistic, boisterous statement of intent. The emotion in the vocals is what sells the song.
Everybody jumps back in, though, as Bruce keens with anguish to close the track. Springsteen at his most dramatic and deliberately cinematic. Pure pop for modern people. He loosens up even more in the last verse, just after a warm and bubbly sax solo from Clemons.
It more than succeeds. Springsteen has a habit of writing songs for other people, then liking them so much he hangs on to them. The E Street Band is perfectly dialed into that groove, but Bruce plants it firmly back on his side of the road with sharp, incisive guitar solos that slice right through the beat.
A full-throttle rocker, the kind of song that the E Street Band eats for lunch. Initially an outtake from Born in the U. Springsteen delivers the best of his street-hipster cool alongside a musical arrangement that does the story justice. Just so much fun. Springsteen has a special knack for capturing the ritual of getting ready to go out on the weekend.
It was a ferocious, note-perfect tribute. Springsteen gave this one away, folks. He wrote it and gave it to Southside Johnny, who recorded and released a fine versionto be sure.
Southside is more Otis, Bruce is more Sam Cooke. The E Street arrangement is jazzy, dominated by piano, organ, cymbals, finger snaps, and the best part, the band singing on the choruses. His voice is filled with a mixture of resignation and desperation, which crashes against a frantic, agitated, full-on rock performance.
His voice carries exultation and relief, buoyed by ringing, heraldic guitar chords. Yes, the synthesizer comes in eventually, but the guitar and vocals are righteous enough to overlook it.
Anyway, the big, the big thing that these records had, you see, was that on it the audience was at least twice as loud as the band. When it moves you! It ranks as high as it does for two reasons: the power of the actual song, and how it absolutely improves any concert set list. Springsteen openly admitted that he stole the title of this song from Roy Acuff, but he liberally borrowed other elements from country music as well: the melody, the organ riff, and the stark brutality of the story.
After such an intense, emotional experience, the listener needs to breathe and recover. An unflinching portrait about hard choices, family ties, and our essential humanity. This one hits you right in the gut. InSpringsteen offered an unexpected explanation : He used to drive by one of his childhood houses all the time, and when he started seeing a therapist, he asked why he was doing it. Something went wrong, and you keep going back to see if you can fix it.
Plus, a decent guitar solo covers up the worst of the production garbage. Bruce spits out the words, while Nils Lofgren strums big, melodic chords.
This one still comes out on tours when he wants to make a particular point, but nowhere near often enough. This is the dark horse of the record, which is a pity. It sounds more modern, with an almost Gaelic atonal chanting of the first verse. Springsteen creates an entire world in less than five minutes. The cacophony of the opening brass and the funk of the chicken-scratch guitar send a clear message: The E Street Band has arrived.
Buon viaggio, mio fratello. The drum roll is fast-paced until the entire band comes in on the midpoint, and then once again before they break for the guitar solo, so elegant and full of tension. I always appreciated the balance of its construction: In the second verse, Johnny walks out on Mary Lou; in the fourth verse, a man gets stood up at the altar, subverting expectations.
This River outtake is one of the great lost Springsteen songs. Bruce sings his own counterpoint coming out of the left channel. At the end, the song kicks into another instrumental refrain, with Weinberg driving the beat for a few seconds before a melody swings back for the true reprise. A deliberately overwrought song. Springsteen toggles convincingly between world-weary and strung-out before blasting unrestrained into the choruses. Federici backs all of this with solemn, churchlike chords, and the whole band comes in swinging.
Bonus points for the tightly wound guitar solo. The most interesting, forward-thinking, experimental song of the post-reunion era. And somehow, it still has bona fide ties to everything that came before it. Even though he ultimately asked Michelle Moore to handle the rap verse. It soothes your heart and Album) your spirit, which is exactly what gospel is supposed to do. If you swapped out the references, this could be any tale of a man falling afoul of the law, getting trapped by his own mistakes.
You can easily imagine hearing it next to a campfire, sung by a lone cowboy roaming the Plains with a guitar strapped across his back. Springsteen played it solo acoustic in the Enormo-domes on the Born in the U.
The horns are hot from the first note, the guitar intro is already on fire. The gauntlet is immediately thrown down. When performed live, though, the song becomes something else. Federici was in his element in those moments, playing with an energy and a deftness that broadcasted his instinctive, deep-seated feel for the music. The lyrics are concise and precise; the images evocative and heartrending. The E Street Band are sounding the goddamn alarm, telling you to wake up and pay attention.
The guitars are a combustion engine, driving the energy up and pushing the song forward. The most breathtaking moment is the handoff to the sax solo, both at the bridge and the end: Bruce stops soloing under the rhythm line, and after just a breath, Clarence comes in for his solo, picking up the baton like he and Bruce are a pair of relay runners. Springsteen abandons the rhyming dictionary to tell a story about Wild Billy, G-Man, Hazy Davy, and Killer Joe on a soft summer night, lightning bugs flickering in the distance.
There are better boardwalk songs, better beach songs, and better tales of Shore legends. The best song on the first record. Bruce writes eloquently about his relationship with his father, the race riots in Asbury Park, the economic aftermath of white flight, and its ensuing impact on his generation, his neighbors, and his titular hometown.
People love this Album) for its old-timey singalong style, the repetition of the organ chords, and its general celebration of drinking, beer, and baseball.
On The River documentary, Bruce admits it was a mistake to leave this song off the album. Springsteen delivers a perfectly pitched vocal, full of anguish and longing, while Van Zandt adds harmonies in the chorus. The song has a more urgent pace, and the final solo is fervent and direct. The song has swung from tribute to triumph to remembrance, and powerfully so.
You can see physical scars today, if you drive up Springwood Avenue past the train station. The empty lots and boarded-up windows are still there. A great song like this one can transcend its original meaning, too.
When Springsteen chose to perform this song for America: A Tribute to Heroes, it was presented with quiet solemnity. At the first Jazzfest after Hurricane Katrina, it was about anger and survival. Are we missing anybody? So he sent out his guitar tech to pick up a four-track tape machine, set it up in his bedroom, and recorded a series of demos.
Probably not. Springsteen would have overthought it. In other words, tales in which people completely lose their way. When I interviewed Vega inI asked him what he thought when he first heard this song. His response? He needed a device to hide behind, though. This particular entry is tough. The track is undoubtedly high in the canon, but Springsteen never recorded a decent studio version.
The one on The Promise is turgid at best. Especially if you know what they're about. The "Dies Irae," a part of the Requiem mass taken from a 13th-century hymn. It describes the Last Judgment. Berlioz did manage to change the way the tune was used, however, when he quoted it in his aforementioned symphony, and it's been parodied ever since as in the Saint-Saens piece described above.
Creepiness incarnate at the beginning Which, coincidentally, is what the last movement is supposed to be about. John Cage : ''In the Name of the Holocaust'' manages to be more terrifying than most Nightmare Fuel by prepared piano alone. No lyrics, no ominous bells. Imaginary Landscape No. If anything, the video accompaniment here makes it even worse. George Crumb: "Black Angels". It will make you feel like insects are crawling up your skin.
Paul Dukas: " The Sorcerer's Apprentice " also has a very eerie atmosphere. Thanks to Disney's "Fantasia" the music actually became more unnerving. Bernard Herrmann 's score to the Hitchcock film Psycho would have been scary enough even without the imagery of the film. Mediaeval Baebes: "How Death Comes. Goes from scary whispering to shockingly loud. Most of Olivier Messiaen 's piano suite Vingt regards.
Some examples. Modest Mussorgsky : " Night on Bald Mountain " really sounds as if all demons from Hell are brought together. If you hear the scary music that Mussorgsky wrote for these passages you're actually glad that the original paintings that inspired him are lost. Ten minutes of the scariest music ever. The Dream of Jacob. In one of the bonus features for Inland EmpireLynch said one reason his wife divorced him may have been that he kept playing it on the stereo really loud.
Utrenjawhich seems to exist solely to make people scream. The chanting from the chorus is unnerving, and the rhythmic knocking sound sounds like a pair of skulls being smashed together. And then come the ear-splitting clanging and sirens. Most of his symphonic pieces; there's a reason that several of them were used as the soundtrack to The Shining. Let's not even think about what it says about Adrian Veidt that he apparently listens to them for fun. Here are a couple of links.
Sergei Prokofiev "Montagues and Capulets". Its intro is frightening enough, then atit goes into overdrive. Peter and the Wolf.
The music accompanying the cat trying to catch the little bird has a literal Jump Scare moment when the cat misses him. The threatening horns when the wolf leaves the forest. The music when the cat notices the wolf and quickly climbs the Camera Camera - The Teardrop Explodes - Piano (Cassette.
Scary enough, but then the wolf chases the duck and devours the poor creature, all accompanied by nervous music that makes little children's imagination go berserk.
The spooky flute representing the bird and the equally haunting bassoon representing the granddad slowly walking towards Peter. Maurice Ravel 's La valse lends itself to this trope with its disjointed melodies, jarring dissonances, and wild swings in mood and tempo.
It moves deeper into nightmare territory as it progresses, culminating in a violent climax that suggests a demonic orgy gone horribly out of control.
Gioachino Rossini has the second part of the William Tell Overture, appropriately labelled the "Storm" segment. The familiar portion with the full orchestra is probably the scariest of all.
Saint-Saens' "Danse Macabre" isn't exactly balmy, particularly the opening. You are forgiven in advance for jumping out of your seat 19 seconds in. Arnold Schoenberg: "Pierrot Lunaire". There had been lots of scary music made before Schoenberg, but he was the first person to make music creepy.
In fact, he's been so imitated by modern composers including on numerous horror film scores that it can sound a bit Dated. It's even worse after you watch the torture scene it's played during. The son refuses and begs his father to save him. The song got its nickname thanks to urban legends which are now thought to have been spawned by Holiday's record label, as the original Hungarian version was said to have inspired the suicides of anyone who heard Camera Camera - The Teardrop Explodes - Piano (Cassette, and indeed Seress took his own life in However, Holiday's version added a third verse which modulates to a major feel and suggests that the previous verses were merely a fleeting dream.
Still, the final lines - "Darling, I hope that my dream never haunted you My heart is telling you how much I wanted you" - leave many disturbingly unanswered questions.
Dmitri Shostakovich : "String Quartet, No. For real nightmare trips, plays his last two string quartets - especially No. Symphony No. But it kicks into full Nightmare gear in the second half, starting with the agitated strings and percussion. That builds up until it gives way to a relentless percussion cadence, which in turns alternates with violent outbursts from the rest of the orchestra. The music gives the impression of an unfeeling, unstoppable juggernaut destroying everything in its path.
Back in audiences weren't used to such threatening sounding introduction to a ballet. Of course, "The Rite Of Spring" has no happy subject to begin with: a ritual sacrifice of a young virgin in prehistoric Russia! The entire piece sounds brutal, primitive, loud and has a scary feeling to it. Especially first time listeners will almost certainly be unnerved. No wonder that a riot broke loose during its premiere in ! The second act "Introduction" and "Mysterious Circles Of The Young Girls" sounds even more threatening, because it remains so hauntingly calm and quiet for quite some minutes.
After the earth shattering noise of the first act this comes across as being silence before the storm. You think that's a nightmare? You can hardly stay calm during the final movement, La danse sacralewhether it's accompanied by the composer, an actual ballet performanceor any kind of musical score.
And if that wasn't disturbing enough, check out Pina Bausch's choreography. Very unnerving. YMMV on that, as it was meant to sound delicately sweet and heavenly, but it does so in a peculiarly Russian way.
There is a version on glass harmonica Tchaikovsky's original choice that might be even more unnerving. So hauntingly creepy that Walt Disney used it for his movie Sleeping Beauty in the scene where Princess Aurora is hypnotized by the Witch to go and prick her finger on the spinning wheel. Scott Walker : Many of his later releases, with the most horrific being 's The Driftwhich is less about music than it is the aural equivalent of a train ride through Hell.
A lot of Alexander Scriabin's late pieces are mysterious and spooky, but his Sixth and Ninth Piano Sonatas jump into creepy territory. The composer reportedly refused to play the sixth in public, fearing its darkness.
However, Berg's music was always highly emotionally charged, and the result of that combined with nightmarishness truly comes forth in his Three Orchestral Pieces. The last movement especially is terrifying in its madness. Based off of a quote from Psalm of The Biblethis piece is haunting and unsettling, from the chimes to the low pianos to the loud trumpets and drumbeats that sound exactly a tempest of God's fury and the Israelites' tortured weeping.
The vast majority of Steve Reich's music is Sweet Dreams Fuelbut there are a few notable exceptions. The work is split into three movements, with the first, titled "Before the War", being a light, upbeat nostalgic piece featuring Reich's governess and a former porter reminiscing about the trains, featuring an American steam whistle that is very deliberately pitched to sound bright and happy. The next, titled "During the War", is a darker, more stark piece about the suffering of Jewish people in Europe under the Nazis.
The second movement uses the sound of European steam whistles, which double as air-raid sirens, and they sound absolutely terrifying. The third, "After the War" is a somber reflection on Reich's own nostalgia and on the people who fled Europe during and after the war, riding the same trains Reich rode. The piece utilises snippets of interviews Reich conducted to develop melodies, which are played in time with the music.
Dark at the End of the Tunnel. The Language of Life. Everything but the Girl. Heading for Tomorrow. Same Place the Fly Got Smashed. Blackout in the Red Room. The Highwaymen. Eric Johnson. The Privilege of Power. Birds of Passage. House Party. My Romance. Mental Floss for the Globe.
Livin' Like Hustlers. Social Distortion. Representing the Mambo. Born to Sing. Act III. Behind the Mask. Fear of a Black Planet. Public Enemy. People's Instinctive Travels and the Paths of Rhythm. Lou Reed and John Cale. Nick Cave and the Bad Seeds. Johnny Gill. Last Decade Dead Century. Reading, Writing, and Arithmetic. Metaphysical Graffiti. Closer to the Flame. Charmed Life. When the Storm Comes Down. Flotsam and Jetsam.
Everybody Knows. Greatest Hits. The Revival. Shut Up and Dance. Tattooed Millionaire. Wilson Phillips. Doug Anthony All Stars. Element Ethan. Lock up the Wolves. Reflections of Passion. II: — A New Decade. Let the Rhythm Hit 'Em. The Ghost in Album). Hell to Pay. All the Stuff And More! Volume 1. Volume 2. The Internationale. Step by Step. A Catholic Education. Rolling Stone. ISSN X. Retrieved 19 March ISSN ISBN Retrieved 4 April HIT Entertainment. Retrieved 3 June Kelley Stoltz.
Retrieved 7 April Retrieved 5 May Archived from the original on 16 February Entertainment Weekly. The Guardian.
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