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Music is an important part of a society and culture,
and provides one of the most passionate and joyous forms of expression we can
know. Each song seems to have a life of it's own, with it's own features and
moods and meanings. Music grips our emotions and stirs them, making us feel
and think, perhaps differently then we would without music. In movies music
is used to enhance and develop anxiety, love, excitement and a full array of
impulses, indeed without it movies would be much less substantial. In our everyday
lives we use music to celebrate our existence and moods, especially in my case.
Music is an integral part of myself and my life, without music I may as well
cease to exist.
Over the last couple of years, I've developed
a sort of rating system that measures songs, albums and artists on a personal
scale. I call this system the CDE rating system, which is explained below. My
last trip to California landed me in a discussion with a couple friends, one
of whom worked at HSX and was very involved
in the music industry. I explained to them this rating system I use, and they
had mentioned hearing something about it before. If indeed this is an existing
system then I apologize for using it without proper accreditations, please let
me know and I'll offer that credit appropriately. However, to my knowledge,
this is a rating system I've developed on my own, based on how I personal rate
music.
The CDE Ratings: This system is called
CDE because each letter represents one of the rating categories. The letters
stand for Complexity, Drive and Epic. At first glance that may not seem to make
much sense, but each category is explained in more detail below. Each category
is rated with a number from 1 to 7, 1 being an exceptioanlly poor rating and
7 being an exceptionally high rating. The overall rating is calculated by adding
each of the three categories together for a total. Additional points may be
meritted based on other outstanding factors such as humor. Most overall ratings
will never reach 20 as this is considered an exceptional album/song/artist in
every category. I'm not a believer that there is any 'perfect' music in this
world. Anyway, on to the categories:
Complexity: This category of course measures
the detail and overall level of the music's complexity. It also is checked against
the 'Pop Formula' for originality and variance from being a commercial 'sell-out'.
The reason for this is that some musicians are only interested in money while
others have a real passion for music. This difference reflects strongly on the
complexity and originality of the artist's work. Classical and Techno usually
express strong Complexity.
Drive: Often having to do with the beat
and pace of a song, drive isn't only just how fast a tune is, but how much it
grips you and pushes you along. This is usually the 'catchiness' of music, the
ability to make you tap your feet and work it's way into your heart and mind.
Music with high drive is excellent for emotion control, though I think it's
important to note that driving tunes aren't necessarily happy or upbeat at all.
Ska and Alternative tend to have high Drive.
Epic: Measures the musical ability to take
you somewhere or tell a story. This often has to do with the lyrics of a song,
but can also be measured without lyrics if the song has an outstanding ability
to express being in a situation or place. Epic is perhaps the most conceptually
difficult category to grasp as it mainly has to do with personal experience
and interpretation, though I think certain songs or musicians tend to have this
quality in mamy people. Folk and Rap/Country usually express strong Epic qualities.
My Collection
| Duran Duran |
| Planet Earth (Record & Tape) |
. |
Rio (Tape & CD) |
. |
| Seven and the Ragged Tiger |
. |
Thank You (The Wedding Album) |
. |
| Liberty (Non-US Release) |
. |
No Ordinary EP (EP) |
. |
| Too Much Information (EP) |
. |
Decade: 10 Years (Tape & CD) |
. |
| Happy Birthday! Tribute Album |
. |
Electric Barbarella |
. |
| Medazzaland |
. |
. |
. |
| Orchestral Manouvres in the Dark (OMD) |
| Electricity (Tape) |
. |
The Pacific Age (Tape) |
. |
| Dazzle Ships |
. |
Crush |
. |
| Junk Culture |
. |
Pandora's Box (Tape) |
. |
| Architecture & Morality |
. |
Sugar Tax |
.. |
| The Best of OMD |
. |
. |
. |
| A-ha |
| East of the Sun West of the Moon (Tape &
CD) |
. |
Memorial Beach (Tape) |
. |
| Stay On These Roads (Tape) |
. |
Hunting High and Low |
. |
| Scoundrel Days (Tape & CD) |
. |
The Best of A-ha |
. |
| Nine Inch Nails (NIN) |
| Pretty Hate Machine |
. |
Broken |
. |
| March of the Pigs |
. |
The Downward Spiral (Tape) |
. |
| Further Down the Spiral |
. |
The Fragile (2 CD Set) |
. |
| King Missile |
| Mystical Shit |
. |
The Way to Salvation |
. |
| Happy Hour |
. |
Fluting on the Hump |
. |
| Self-Titled |
. |
. |
. |
| Tears For Fears (TFF) |
| Tears Roll Down |
. |
Elemental |
. |
| The Hurting |
. |
Saturnine Martial and Lunatic |
. |
| Raoul and the Kings of Spain |
. |
. |
. |
| U2 |
| War |
. |
Boy |
. |
| November |
. |
The Unforgettable Fire |
. |
| Joshua Tree (Tape) |
. |
. |
. |
| Seal |
| Crazy |
. |
Killer... On the Loose (Import) |
. |
| Self-Titled (Tape & CD) |
. |
. |
. |
| SoundGarden |
| SuperUnknown (Tape & CD) |
. |
Down on the Upside
|
. |
| Dream Academy |
| The Dream Academy (Tape & CD) |
. |
Remembrance Days |
. |
| Different Kind of Weather (Tape) |
. |
. |
. |
| The Church |
| Gold Afternoon Fix |
. |
Sometime Anywhere (2 CD set) |
. |
| Magician Among the Spirits (Plus Some) |
. |
. |
. |
| David Bowie |
| Fame and Fashion (Record & Tape) |
. |
Let's Dance (Record & Tape) |
. |
| Enigma |
| MCMXVII |
. |
Enigma 2 - The Cross of Change |
. |
| Stone Temple Pilots (STP) |
| Core (Tape) |
. |
Purple (Tape) |
. |
| Type O Negative (TO-) |
| The Origin of the Fesces (Tape) |
. |
October Rust |
. |
| World Coming Down |
. |
. |
. |
| The Verve Pipe |
| I've Suffered a Head Injury |
. |
Self Titled |
. |
| Frankie Goes to Hollywood (FGH) |
| Welcome to the Pleasuredome (Tape & CD) |
. |
Liverpool (Tape & CD) |
. |
| George Michael |
| Faith |
. |
Freedom '90 |
. |
| X-Files |
| The X-Files: The Album |
. |
Songs in the Key of X |
. |
| Cabaret Voltaire |
| Code (Tape) |
. |
Colours |
. |
| Chris Cornell |
| Euphoria Morning |
. |
. |
. |
| Barenaked Ladies |
| Maybe You Should Drive |
. |
. |
. |
| Johnny Hates Jazz |
| Turn Back the Clock |
. |
. |
. |
| Dave Matthews Band |
| Before These Crowded Streets |
. |
. |
. |
| Pink Floyd |
| The Division Bell (Tape) |
. |
. |
. |
| Billy Idol |
| Cyberpunk |
. |
. |
. |
| Thompson Twins |
| Into the Gap |
. |
. |
. |
| Artificial Joy Club |
| Melt |
. |
. |
. |
| Simple Minds |
| Good News from the Next World |
. |
. |
. |
| Des'ree |
| I Ain't Movin' |
. |
. |
. |
| Temple of the Dog |
| Self-Titled |
. |
. |
. |
| Public Image Limited (PIL) |
| That What is Not |
. |
Self-Titled |
. |
| Semisonic |
| Feeling Strangely Fine |
. |
Pleasure |
. |
| Del Amitri |
| Roll to Me |
. |
. |
. |
| The Shamen |
| Axis Mutatis |
. |
. |
. |
| Bryan Adams |
| So Far So Good (Tape) |
. |
. |
. |
| Silverchair |
| Frogstomp |
. |
. |
. |
| Sting |
| Dream of the Blue Turtles |
. |
. |
. |
| The Gone Jackals |
| Bone to Pick |
. |
. |
. |
| Erasure |
| Pop! 20 Hits (Tape) |
. |
. |
. |
All images and page designs are © 1998, 1999 Timothy Partee
Page last updated: October 16, 1999 - Contact Mr. Partee at: tpartee@furcen.org