OT- The most forgettable song you've ever heard

[martinrjensen]

There's a lot of them out there, you know the one's I mean. they cause you to swerve into parked cars while driving, Drop your head onto your keyboard at work, fast assleap.
Not bad, not good, just undistinguished, blah, plain vanilla (no reference to the bikes)type.
I wish I could start this list but I forgot their names, there are so many of them.

[rustychisel]

I don't remember. BA-BOOM-TISH

/thread

[1centaur]

To me, you are describing album filler, a term that will fade from the lexicon. How many hits were/are put on albums where you can't believe the rest of the songs are the best of the rest? Songs that get decent radio play actually have something catchy about them, even if they don't catch everyone, but album filler is soul deadening weed spawn by tired hacks looking for royalties without an ounce of passion - I've lived through and forgotten thousands of them.

[toaster]

Here's hoping this thread goes nowhere. :beer:

[echelon_john]

Well, there was the one about the Commerce Department, the one about the Department of Energy, and that other one....wait, it'll come to me....

[fiamme red]

Not exactly a song, but I'd say John Cage's 4′33″.

[Edited to add: I just saw Christian's post (http://forums.thepaceline.net/showpost.php?p=1031203&postcount=3) on another thread after I posted this. Great minds, etc. :) ]

http://solomonsmusic.net/4min33se.htm

The first performance of John Cage's 4'33" created a scandal. Written in 1952, it is Cage's most notorious composition, his so-called "silent piece". The piece consists of four minutes and thirty-three seconds in which the performer plays nothing. At the premiere some listeners were unaware that they had heard anything at all. It was first performed by the young pianist David Tudor at Woodstock, New York, on August 29, 1952, for an audience supporting the Benefit Artists Welfare Fund -- an audience that supported contemporary art.

Tudor placed the hand-written score, which was in conventional notation with blank measures, on the piano and sat motionless as he used a stopwatch to measure the time of each movement. The score indicated three silent movements, each of a different length, but when added together totalled four minutes and thirty-three seconds. Tudor signaled its commencement by lowering the keyboard lid of the piano. The sound of the wind in the trees entered the first movement. After thirty seconds of no action, he raised the lid to signal the end of the first movement. It was then lowered for the second movement, during which raindrops pattered on the roof. The score was in several pages, so he turned the pages as time passed, yet playing nothing at all. The keyboard lid was raised and lowered again for the final movement, during which the audience whispered and muttered.

[martinrjensen]

I can't believe you said that. I bet you ride a girls bikeHere's hoping this thread goes nowhere. :beer:

[martinrjensen]

I jsut googled that and "listened" to it on Youtube. Great. The strings were fantastic. Nice touch with that cough in the middleNot exactly a song, but I'd say John Cage's 4′33″.

[Edited to add: I just saw Christian's post (http://forums.thepaceline.net/showpost.php?p=1031203&postcount=3) on another thread after I posted this. Great minds, etc. :) ]

http://solomonsmusic.net/4min33se.htm

The first performance of John Cage's 4'33" created a scandal. Written in 1952, it is Cage's most notorious composition, his so-called "silent piece". The piece consists of four minutes and thirty-three seconds in which the performer plays nothing. At the premiere some listeners were unaware that they had heard anything at all. It was first performed by the young pianist David Tudor at Woodstock, New York, on August 29, 1952, for an audience supporting the Benefit Artists Welfare Fund -- an audience that supported contemporary art.

Tudor placed the hand-written score, which was in conventional notation with blank measures, on the piano and sat motionless as he used a stopwatch to measure the time of each movement. The score indicated three silent movements, each of a different length, but when added together totalled four minutes and thirty-three seconds. Tudor signaled its commencement by lowering the keyboard lid of the piano. The sound of the wind in the trees entered the first movement. After thirty seconds of no action, he raised the lid to signal the end of the first movement. It was then lowered for the second movement, during which raindrops pattered on the roof. The score was in several pages, so he turned the pages as time passed, yet playing nothing at all. The keyboard lid was raised and lowered again for the final movement, during which the audience whispered and muttered.

[BumbleBeeDave]

. . . by Philip Glass. BO-RING.

BBD

[thendenjeck]

seems to me this thread is an oxymoron

[toaster]

I can't believe you said that. I bet you ride a girls bike

:bike:

[jbrainin]

4'33" is still too influential--and notorious--a piece to ever be fairly considered as forgettable. I understand how many of its detractors would like to forget that they ever became aware of its existence, but that's not the same as being forgettable.

Not exactly a song, but I'd say John Cage's 4′33″.

[Edited to add: I just saw Christian's post (http://forums.thepaceline.net/showpost.php?p=1031203&postcount=3) on another thread after I posted this. Great minds, etc. :) ]

http://solomonsmusic.net/4min33se.htm

The first performance of John Cage's 4'33" created a scandal. Written in 1952, it is Cage's most notorious composition, his so-called "silent piece". The piece consists of four minutes and thirty-three seconds in which the performer plays nothing. At the premiere some listeners were unaware that they had heard anything at all. It was first performed by the young pianist David Tudor at Woodstock, New York, on August 29, 1952, for an audience supporting the Benefit Artists Welfare Fund -- an audience that supported contemporary art.

Tudor placed the hand-written score, which was in conventional notation with blank measures, on the piano and sat motionless as he used a stopwatch to measure the time of each movement. The score indicated three silent movements, each of a different length, but when added together totalled four minutes and thirty-three seconds. Tudor signaled its commencement by lowering the keyboard lid of the piano. The sound of the wind in the trees entered the first movement. After thirty seconds of no action, he raised the lid to signal the end of the first movement. It was then lowered for the second movement, during which raindrops pattered on the roof. The score was in several pages, so he turned the pages as time passed, yet playing nothing at all. The keyboard lid was raised and lowered again for the final movement, during which the audience whispered and muttered.

[jbrainin]

. . . by Philip Glass. BO-RING.

BBD

Ok, I'll bite:

"Knock, knock"
"Who's there?"

"Knock, knock"
"Who's there?"

"Knock, knock"
"Who's there?"

"Knock, knock"
"Who's there?"

Philip Glass.