Grease was far too mainstream for my taste….Xanadu, her much less popular musical film about opening a roller disco with the help of her guardian angel, is how I remember her. Here’s the title track with her and Electric Light Orchestra.

My dad has this attachment to 50s rock and roll and he rightly believes everything in pop music was invented in the 50s and possibly the 60s.

I remember most of these songs (the british ones) coming out and me being fascinated by what could be done differently to what was then the mainstream. However pop quickly devolved through the 80s and I found myself meandering back in time, from late to early Talking Heads, from late to early Genesis and Floyd and Yes and Jethro Tull and Mike Oldfield and Fleetwood Mac, discovering the Beatles and the Beach Boys were actually good at some point, finding out Frank Zappa was a thing and discovering that yes, the guy who made late 20th century pop music up in his garage, with his searches for new sounds and writing his own music and lyrics was indeed one Buddy Holly in the 50s.

Anyway I found myself listening to a rather childish track by Basement Jaxx years later and could not quite put my finger on what made that one track work for me. All these bands that only have one really good track... Anyway what was going on was a Gary Numan sample.

So I went back and listened to some of this old stuff and I was really surpised that some of it still works.

But back in 1980 if you heard Numan, early Midge Ure Ultravox minus the ubiquitous title track of the album, Visage, or a couple of years later the Eurythmics you would hear a sound that was strikingly new and different.

Thinking back Peter Gabriels 3rd solo album (although itself very electronic) took me out of the electronic pop bandcamp and more into alternative rock. That and lucking into a friend who had an older brother who had all the old Genesis records also as sheet music including lyrics. That or David Byrne.

The main point is the music you like is the music you liked when you were 13.

YT Description: Among the sea of sound-a-like private-pressed Catholic lps that came out in
the 1960's and 1970's, Sister Irene O'Connor's 1976 album stands out with
its primitive drum machine and spooky, echo-laden vocals. Released in 1976
on the 'Alba House' label, the dual-titled Fire of God's Love/Songs to
Ignite The Spirit lp features several haunting and remarkable songs,
including the three below. In particular, the title track "Fire of God's
Love" strikes me as so otherwordly and uniquely eerie that I wonder how far
Sister Irene's O'Connor's seeming solipsism extended beyond music.

Comment hidden because you are ignoring dag. (show it anyway)

They're all good. The albums definitely get darker. A lot of his songs seem to be about death and loss as he's getting older - which suits me fine. My favorites on Morph the Cat are Brite Nightgown and Great Pagoda of Funn. The title track's good too - not sure what it means, but kind of ominous.

In reply to this comment by dystopianfuturetoday:
I did Kamakiriad and Nightfly back to back. I didn't know about Morph the Cat, so I'm downloading it right now.

In reply to this comment by dag:
Absolutely love the guy. Nightfly? Morph the Cat?

In reply to this comment by dystopianfuturetoday:
I'm rocking some Donald Fagen right now. Just thought you'd like to know.

I got to see Bowie at Madison Square Garden in 1976, on the Station to Station tour. I still listen to the bootleg from the Nassau Coliseum Long Island show from that tour, his band was so tight, they were amazing. Then came "Low" which along with "Station to Station" was Bowie at his peak for me. A lot of the "Heroes" album was pretty disposable but the title track really does stand out. I stopped listening to him after "Lodger".

Tags for this video have been changed from 'alien nation, title track, redneck agenda' to 'green day, american idiot, alien nation, title track, redneck agenda, 00s, 2004' - edited by kronosposeidon

Anybody know what the music is? I googled, but no joy.

EDIT: This is the answer:

"song is called 'aviva pastoral' by Nathan Larson.

its the title track of the film 'Palindromes'"

http://nathanlarson.com/film.html <-- and you can download the mp3 there.

Oooh yeah good spot: 'It was originally released as a two-record set in 1981...The title track "You Are What You Is" is an up-tempo pop rock style song that was released as a music video in 1984.'

Coolness.

In reply to your comment:
“Well that can be arranged . I'll toss a save at it when it's available.

In reply to your comment:
“This isn't obscure, but if you have a save burning a hole in your pocket a day from now... http://www.videosift.com/video/Garbage-Bleed-Like-Me-Title-track-from-4th-album
”

Well that can be arranged . I'll toss a save at it when it's available.

In reply to your comment:
“This isn't obscure, but if you have a save burning a hole in your pocket a day from now... http://www.videosift.com/video/Garbage-Bleed-Like-Me-Title-track-from-4th-album

This isn't obscure, but if you have a save burning a hole in your pocket a day from now... http://www.videosift.com/video/Garbage-Bleed-Like-Me-Title-track-from-4th-album

In reply to your comment:
“hmm I'll have to think on that, no obscure vids are popping into my mind at the moment. But I'm sure something will come up...

In reply to your comment:
“LOL, my pleasure - they're truly awesome.

Question the second is, which other obscure vid still needs to get sifted up?
”

Tags changed from "alien nation" to "alien nation, title track,redneck agenda" by gold star member Krupo.

Wikipedia:

"Heroes" (the quotation marks are part of the title, for reasons of irony)[1] is an album by David Bowie, released in 1977. Serving as the second installment of Bowie and Eno's "Berlin Trilogy" (the other two being Low and Lodger) "Heroes" is similar in sound to Low but more robust and visceral. Of the three albums, it was the most befitting of the appellation "Berlin", being the only one wholly recorded and mixed there. The mood of the record reflected the zeitgeist of the Cold War, symbolised by the divided city.

The title track remains one of Bowie's best known, a classic story of two lovers who meet at the Berlin Wall. The album is considered one of Bowie's best by critics, notably for the contributions of guitarist Robert Fripp (for which he flew in from the U.S. to record in one day).[2] It was marketed by RCA with the catch phrase, "There’s Old Wave. There’s New Wave. And there's David Bowie…"[3] The album made #3 in the UK and stayed in the charts for 26 weeks, but was less successful in the U.S. where it peaked at #35.

With "Heroes", Bowie again paid tribute to his Krautrock influences: the title is a nod to the track "Hero" on the album NEU! '75 by the German band Neu! while "V-2 Schneider" is inspired by and named for Kraftwerk's Florian Schneider; earlier in 1977, Kraftwerk had name-checked Bowie on the title track of Trans-Europe Express. The cover photo was inspired by Erich Heckel's Roquairol, as was that of The Idiot, one of Bowie's collaborations with Iggy Pop that was released the same year.[4]

Though "Heroes" included its share of dark and atmospheric instrumentals such as "Sense of Doubt" and "Neuköln", as well as the sprawling confessional "Blackout", after the melancholy and inward-looking Low it was regarded as a highly passionate and positive artistic statement.[5][6] This was evident not simply through "Heroes" the song but in the rocking opener "Beauty and the Beast" (released as the second single in January 1978), the raucous "Joe the Lion" and the light-hearted closer "The Secret Life of Arabia".

A number of the album's tracks were played live at Bowie's concerts the following year, captured on record as Stage (1978). Philip Glass adapted a classical suite, "Heroes" Symphony, based on this album, a companion to his earlier Low Symphony. The title track has been covered by numerous artists, whilst "The Secret Life of Arabia" was sung by Billy Mackenzie in 1982 on the British Electric Foundation LP Music of Quality and Distinction."

Title track of DJ Krust's 1st album - released 99. Very abstract stuff.

DJ Krust ( http://en.wikipedia.org/wiki/DJ_Krust )
Krust (or DJ Krust) is part of the Bristol based Reprazent collective, as well as releasing his own solo material. He is most famous in his own right for the mid 90s release 'Warhead' which was one of a handful of tunes released in early 1997 which saw Drum and Bass move towards a more stream-lined sound. 'Warhead' has been remixed several times by both Krust and other artists.Krust is also well known for his 1996 release "Angles" on V Recordings.

Saul Williams (http://en.wikipedia.org/wiki/Saul_Williams)
Saul Stacey Williams (born February 29, 1972) has been considered a powerful voice of the hip hop generation as a poet, preacher, actor, rapper, singer, and musician. He is most known for his blend of spoken word poetry and hip-hop and for his leading role in the independent film Slam.

On 3 October 1992, the Irish rock singer Sinead O'Connor was the musical guest on Saturday Night Live. For her first song, Sinead performed the title track from her most recent album, Am I Not Your Girl? with a full backing band. For her second, she went with "War," a song by Bob Marley that had once been banned for its apparent advocacy of violence. In a very risky move, musically speaking, Sinead performed the song a capella. Dressed all in white, surrounded by candles and (as usual) shaven-headed, she was a riveting sight. With NBC-TV's cameras focused in-tight on her, Sinead ended her "War" by crying for another one to begin. "Fight the real enemy!" she called, and, out of nowhere, produced a copy of a photograph of Pope John Paul II, which she ripped into pieces. There was stunned silence, and then the station went to a commercial.

The NBC switchboard was immediately inundated by complaints (supposedly 4,484 in all) called in by outraged viewers. Denunciations of Sinead's "blasphemy" poured forth from all kinds of religious figures and celebrities, including Frank Sinatra, who was quoted as saying he wanted to "punch" the singer "right in the mouth." NBC was eventually fined $2.5 million dollars by the Federal Communications Commission (FCC), which had never before fined the network for content aired on Saturday Night Live.

In the meantime, Sinead herself said nothing about what she'd done or why she'd done it. (Simply changing one of Marley's lines so that it referred to "sexual abuse" instead of "racial injustice," as Sinead had done in mid-song, hadn't been sufficient explanation and so the press was filled with lurid denunciations of her.) When she returned to the United States on 16 October 1992 to perform at a birthday concert for Bob Dylan at Madison Square Garden in New York, Sinead was greeted by a weird mixture of cheers and boos. Despite the severely divided response to her presence, she once again sang an a cappella version of "War." Once she was done, she staggered offstage, where she was comforted by Kris Kristofferson. Shortly thereafter, Sinead O'Connor permanently retired from the "pop" entertainment industry.

Eventually, Sinead O'Connor made her peace with the Pope. On 22 September 1997, in an interview with the Italian weekly newspaper Vita, she asked the Holy Father to forgive her. She claimed that her attack on the photo had been "a ridiculous act, the gesture of a girl rebel," which she did "because I was in rebellion against the faith, but I was still within the faith." Quoting St. Augustine, she went on to add, "Anger is the first step towards courage." Another courageous step Sinead took in the late 1990s was to join the congregation of the controversial Irish Bishop Michael Cox, who eventually ordained Sinead as a priest. Lacking a sense of humor, the Vatican has refused to recognize Sinead's membership in the priesthood, which the Pope considers "bizarre." This is a case of the pot calling the kettle black, but the Pope is right: Sinead's story is a bizarre one.

And NBC? In the informative and relatively even-handed biography of the singer that airs on VH1 as part of the cable TV station's on-going "Behind the Music" series, it's said that, "even to this day," NBC refuses to allow the photo-ripping scene to be re-broadcast by anyone. VH1 itself had to settle with a blurry shot of Sinead in mid-rip that was published by one of New York's tabloid newspapers. You can catch a glimpse, but you can't actually see what Sinead did that night in 1992: you can only hear about it, thanks to the Vatican's clout and NBC's cowardice.

This would seem a good point to talk about censorship. But it isn't -- not yet.

The Comedy Channel shows back episodes of Saturday Night Live several times a day. In early August 2001, I happened to see the episode in which Sinead O'Connor is the musical guest. Everything goes as it should -- dressed all in white, Sinead performs "War" a capella as her second number -- until the end of the song. There is no war cry, no identification of "the real enemy." Sinead doesn't hold up a picture of the Pope, but a picture of a cute little black boy, instead. And then the song is over, and Sinead stands, smiling, holding the picture behind her back, as the crowd applauds and cheers.

It took a while for it to sink in that NBC hadn't simply blacked out or removed the photo-ripping scene. Instead, NBC had gone beyond mere censorship and either had replaced the Pope-ripping sequence with another one (the song as it was performed in rehearsal?) or had digitally altered the broadcast so that there was apparently nothing in "the original" to black out or remove in the first place. Why would anyone want to block or cut out Sinead's impassioned plea for the children? In times of war, don't we tend to forget about the children, especially the cute little black ones? Nice bullshit, but it wasn't Sinead's.

Like the authors of textbooks on Soviet history, who had to keep changing the past so that it would conform with Stalin's latest purges, NBC has created its own Sinead O'Connor and is now passing her off as the original.