It starts with a lone synthesizer, infectious and hypnotic. You instinctively reach over to turn up the volume. You have to.
It's mesmerizing isn't it? Repetitive, but changing ever so slightly, lulling you almost into a trance until...
the piano comes pounding in! Headphones, left ear. Most bands probably would have kicked right into the guitar here, but the piano is brilliant. It's strong but muted compared to the noise you know this band can bring. It's a tease, they're holding back. The piano strikes the right chords but anticipation still builds...
enter the drums. Oh those amazing drums. Another layer added to the mix. No one plays them better.
but you know there's more coming. They haven't played all their cards yet.
Enter bass and vocals - simultaneously. Strong and loud, both delivered by masters. On the record the bass is almost understated, quick punches rather than rolling lines. More layers down. Almost all the pieces are in place but something is missing...
And there it is, the guitar comes in right on cue (headphones, right ear) - quick slashes, famous riffs, windmills.
Awesome.
A new voice appears, guitars and pianos, anthems are born, and magic is made. The song moves forward like a locomotive, steady rolling and then gaining speed. Here come those famous bass fills. Violins turn the song upside down and then the frenzy really begins.
Can anyone really play that fast? Yeah, it seems they can.
What a great fucking song. What a great fucking band.
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- Chloe Patent White Cyndi Tote
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- Dolce
Friday, April 3. 2009
You Know The Song


















SB
Baba O'Riley.
The Who.
From Who's Next.
I'm good ain't I Scott?
Heard it on the radio the other day and was reminded of it's brilliance, thought it deserved a write up.
SB