08 August 2007

The Penultimate Entry

With everything that's been going on (school, family stuff, money concerns, porn getting boring), you would think that I forgot about The Project, where I try to determine what the best song I ever heard is. While it is true that I have been quite busy, I have been sticking to The Project with a devotion that holy men should have to their parishioners, or politicians to democracy.

So I have, at last, figured out what is the best song I have ever heard. My favorite song of my life, up to this point, and most likely for the rest of it.

In the beginning, I figured it would be an instrumental of some sort. Lyrics tend to steer you towards a feeling or thought, and I wanted a song that was everything to me: happy, sad, energetic, angry, contemplative. It would have to be a song that I could listen to after I got a new job; after the first kiss from a new woman in my life; and, of course, it would have to work after I was fired from that job and the bitch left me.

That puts Mozart out of the running right there. His genius is in the creation of mood; if Wolfie wanted you to cry, you'd cry; he could make you laugh, hate, grow tense, even fall in love, in his compositions. While his power is great, it doesn't serve the need I have.

So, that left about one hundred twenty instrumental compositions to go through. Not easy.

I do want to point out one anomaly: "Lateralus" by Tool. It is, far and away, my favorite Tool song, and the best song with lyrics that I have heard. It soothes me when I am troubled, and energizes me when I am tired. When first dating M, I listened to it constantly, as if Maynard was telling me what to do in order for this thing to work out. It did, for a time. It works in just about every situation that I have listened to it, and it certainly lives up to the top criterion of being all things to me.

But it has lyrics. It is the honorable mention in the group, and worthy of great praise. Check it out, if you haven't. If you're a math geek, you'll love the hidden Fibonacci sequences in the song.

Back to task. I got it down to ten, and here they are:

  1. Symph. no. 7 im Emaj, 2nd Movement - Hans Bruckner (he made cathedrals of sound, and this is the best example)
  2. Midnight - Jimi Hendrix (it may have been mostly improvised, but without Jimi, every guitar solo that i love wouldn't exist)
  3. Miami Vice Theme - Jan Hammer (sure, you laugh, but you know it's a JAM, baby!)
  4. Orion - Metallica (the song that proves that Metallica once had talent and can compose, not write, a truly epic piece)
  5. Lemminkainen's Return Op. 22 No. 4 - Jean Sibelius (this was the composer whose music led to the founding of a nation; no one else in music can make that claim)
  6. Treadstone Assassins - John Powell (music score is the real child of "classical" music; it must evoke a mood, complement the images being seen, stand on its own without being distracting, and do this in less than three minutes: and i love it when a composer marries more than one genre, here it's groove rock, great string composition, and a thumpin' bass beat)
  7. Medulla Oblongata - The Dust Brothers (another soundtrack entry, and a great one: first, it's the only album with The Dust Brothers on their own; it's for my favorite movie of all time; and it just fucking grooves, man! that bass line! those bells!)
  8. Suite for Solo Cello No. 1 in G, BWV 1007: I. Prélude - Yo-Yo Ma (the most recognized cellist ever playing a challenging piece so flawlessly you forget you're listening to anything, the whole world swims and you're in it, totally; it's like beauty singing)
  9. Battle Without Honor or Humanity - Tomoyasu Hotei (what a groove this is; nothing more to say)
  10. Amazing Grace - Massed Pipes and Drums of Caledonia (every time i hear this song, i weep; it's the sound of hope in the face of defeat; it's a mother's cry whose son has gone to peace for following his dream; it is perseverance and holiness and strength; it is Scotland)
"So , which one is it, Zeepdoggie? The suspense is killing us!" is what you would be shouting, were we in some park rally. Well, first, I want you all to have a chance to check out the top ten before I reveal my number one. I do this for two reasons: so that you can groove to some awesome tuneage; and then you can all either agree with me or call me an idiot, not because I usually am and calling me that is like reflex for you all, but because you've heard the evidence and have weighed it accordingly. That, and I would like to hear some guesses from you all as to what is my number one.

I am a worse tease than Cara Tomkins. "Tell me I'm pretty! Oooh, you're hard! I am so excited! Oh, you've touched my boobies...now I go home."
Some wounds never heal...

-Zeepdoggie

3 comments:

Anonymous said...

Just in case you're going to pick the Back Prelude, let me suggest you go off the path beaten by Yo-Yo Ma and try Edgar Myers's version on, of all things, the bass. Ma is fast and furious and shows off his virtuosity fer sure, but Myers just, well, nails it.

But one day, some bitch might totally break your heart while you're listening to it, and then the Prelude will belong to her.

Zeepdoggie & GringO said...

Ah, but that would violate it from the rules of The Project, since I hadn't heard it before the commencement of this great task.

Thanks for the suggestion, though. I tend to prefer cello to bass; it is soooo much sexier.

Anonymous said...

Sorry, didn't know the rules. But you should check out the recording, anyway. He's in his highest register, doing the damndest imitation of a cello. And yeah, cellos are totally hot.