As far as evaluating a song based on the ratings it gets here at RP, I think it's a little inaccurate. People are more apt to rate songs that they really like (and, to a lesser degree, dislike) and not ones that they feel only average about. So I think that skews the results quite a bit toward the positive. As for me, I hate AC/DC and give it a 2. If there is one thing I can't stand it's crotch-rock. I know people just like to "rock out", but I've NEVER had those primal urges crop up in my musical leanings. Sorry!

steeler wrote: Good call!

GungaDan wrote: So, in your opinion, the only music worth listening to is music with vocals?

Not over-dubbed, one guitar.

I was first introduced to Kate Bush during a music history class while I was attending Full Sail, a huge audio and film school in Orlando. We had (naturally) these big, fantastic sounding monitors in the classroom and the teacher put on the title track from 'The Dreaming'. It was mesmorizing. Strange, melodic, sometimes downright odd, inventive, passionate, dramatic. I was hooked.

Kristen Hersh's songs mesmorize me. Strange chord changes and vocal melodies. Haunting and bizarre.

Hey, my favorite Bob Marley song. Love the lyrics, the groove and the melody. Yes, the reggae beat can seem monotonous to those who haven't latched on to the melody yet, but you can say that about any genre of music, including bluegrass, country, hip hop, classical...

Hannio wrote: What exactly is cliched? It irritates me to no end when people don't support their ideas and just state this or that sucks. Please, explain yourself.

Bjork is, for me, one of those artists that comes up with these melodies, vocal inflections and chord progressions that just reach inside me and grab me by the soul, much like Tori Amos or Kate Bush. They can be devastatingly haunting and beautiful, downright depressing or catchy as anything you'll hear on pop radio. This song is very much tied to the soundtrack of Dancer in the Dark, so I'll always associate it with that, but it's a great piece of work on its own. The soundtrack, along with the ones from The Wicker Man and Magnolia, is one of the best fitting soundtracks to any film. They are inextricably linked.

What a great group! And what a shame they are no more (with Mary Fahl anyway). This second album I find a little better than the first. The songs are stronger overall. But both are first rate regardless.

My favorite piece on this soundtrack album. Incredibly moving vocal lines, rhythm and instrumentation. Quite mysterious sounding. Excellent.

I've always loved the line "The traffic lights turn blue tomorrow." Great double-entendre and visual image.

CC is one of my favorite bands and this song in particular I love. Adam Durtiz's lyrics about running from place to place, to or away from women and experiences, have always stuck a chord with me. His plaintive vocal melodies are often moving, though I do agree that sometimes, particularly on August and Everything After, he does "whine" a bit much by drawing out the ends of songs with his expressive" vocal blatherings. Too much sometimes, even for me. Funny enough, most CC fans consider their first album their favorite, since it's probably the first one they were exposed to, but I didn't get into them until This Desert Life and I like their first album the least. Having said that, part of the appeal of CC is that each album is dependably good and spaced far enough apart where you don't get sick of hearing the similarities from album to album so soon.

It's a shame that they peaked so early (second album). They've actually released 4 or 5 albums since which by all standards are pretty decent, but none measure up to this one. The lyrics are often a bit too heart-on-sleeve for me and sometimes just downright corny, such as this line from "The Dolphin's Cry": The way you're bathed in light reminds me of that night god laid me down into your rose garden of trust Rose garden of trust?! Is THAT what we're calling it these days?

The first time I heard this track I thought "Tori". The opening piano section is deep and moving, just like Tori. Even the verse section's starkness reminded of Tori. But the chorus is all her's. Good stuff.

One of my favorite PG songs. Hauntingly beautiful, yearning and aching, nearly meditative and on top of all that rhythimcally interesting. A solid 9.

I do a nice fingerstyle version of this classic song. Nice to hear here. Here...hear.

Very straight forward cover; not horrible, but completely uninspired. I've never heard of her but at least an original song would be better to hear for the first time, you know?