​

When discussing his decision to include The Velvet Underground, Bowie said: “Brought back from New York by a former manager of mine, Ken Pitt. Pitt had done some kind of work as a PR man that had brought him into contact with the Factory. Warhol had given him this coverless test pressing (I still have it, no label, just a small sticker with Warhol’s name on it) and said, ‘You like weird stuff—see what you think of this’. What I ‘thought of this’ was that here was the best band in the world. In December of that year, my band Buzz broke up, but not without my demanding we play ‘I’m Waiting for the Man’ as one of the encore songs at our last gig.”

https://faroutmagazine.co.uk/david-bowies-25-favourite-albums/

FULL LIST:

​The Velvet Underground & Nico – The Velvet Underground and Nico

​The Last Poets – The Last Poets

​Shipbuilding – Robert Wyatt

​The Fabulous Little Richard – Little Richard

​Music for 18 Musicians – Steve Reich

​Tupelo Blues – John Lee Hooker

​Blues, Rags and Hollers – Koerner, Ray and Glover

​The Apollo Theatre Presents: In Person! The James Brown Show – James Brown

​Forces of Victory – Linton Kwesi Johnson

​The Red Flower of Tachai Blossoms Everywhere: Music Played on National Instruments – Various Artists

​Banana Moon – Daevid Allen

​Jacques Brel is Alive and Well and Living in Paris – Cast Album

​The Electrosoniks: Electronic Music – Tom Dissevelt

​The 5000 Spirits of the Layers of the Onion – The Incredible String Band

​Ten Songs by Tucker Zimmerman – Tucker Zimmerman

​Four Last Songs (Strauss) – Gundula Janowitz

​The Ascension – Glenn Branca

​The Madcap Laughs – Syd Barrett

​Black Angels – George Crumb

​Funky Kingston – Toots & The Maytals

​Delusion of the Fury – Harry

​Oh Yeah – Charles Mingus

​Le Sacre du Printemps – Igor Stravinsky

​The Fugs – The Fugs

​The Glory of the Human Voice – Florence Foster Jenkins

​

​This post is not intended to provoke or foster unproductive debates; it is simply a reflection on the concept of musical influence, intended to be in line with the theme of this sub.

​Well, it is well-known that many people argue that because The Beatles were the first band to achieve global mainstream commercial success by writing their own repertoire, all subsequent bands that achieved worldwide success while writing their own songs were musically influenced by Lennon, Paul, George, and Ringo. However, this view confuses the influence exerted on the artistic field with the influence exerted on the dynamics of the music industry.

​I hope that an analogy with cinema can help illustrate this distinction. Suppose that, in 2010, I am a film director and I observe the growing public interest in the found footage subgenre, following the immense box-office success of Paranormal Activity (2007). Wanting to capitalize on this consumer interest, I decide to direct a film in that subgenre, but I seek aesthetic and technical inspiration entirely from Cannibal Holocaust (1980) - filming in a forest, for example, rather than a house. If my film becomes a box-office success because the audience wants to feel something similar to what they experienced with Paranormal Activity, it does not change the fact that, artistically, I was not influenced by the 2007 film, even though I commercially benefited from the market gap it fostered.

​Similarly, suppose that in 1968 I have a rock band and release a globally successful album with original compositions, drawing musical inspiration only from La Monte Young, Bo Diddley, and Ornette Coleman. There is no musical influence from The Beatles on my album. The commercial success of the Liverpool quartet may have drawn a lot of new audiences to my work, but the music itself was not influenced by them.

Although these things I am talking about may sound obvious to many, they are not to others.

​These perceptions are among the various factors that lead me to conclude that, musically, artists like The Velvet Underground, James Brown, and Kraftwerk are far more influential than The Beatles. But of course, I don't claim to possess the absolute truth, and I respect those who hold a different opinion on the matter.

Have You Ever Seen the Rain - Creedence Clearwater Revival.

​Durante toda a minha vida, sempre observei essa música agradando a todo tipo de público. Já vi muito ela ser tocada em churrascos, bares, comércios, séries, enfim, em diversos ambientes e circunstâncias. Já a vi agradar desde pessoas que não são muito chegadas em música a metaleiros, forrózeiros, funkeiros, axézeiros, reggaeiros, entre outros. Ela faz sucesso até hoje, não apenas na versão original, mas também em releituras de diversos gêneros. Acredito que existam pessoas que não curtam a música, mas, perante o que já observei, ela é a única que me parece chegar perto de ser uma unanimidade no quesito "agradar".

No final do clipe oficial de comemoração aos 50 anos da banda, um rapaz comenta que há algo "mágico" nessa música. Eu sempre senti isso também; é uma música maravilhosa que atravessa inúmeras culturas e várias gerações.

https://youtu.be/u1V8YRJnr4Q?si=XZT6JN-zoAh-uNs4

I’m not trying to drag the recent discussion from my previous post about Blink-182 and Green Day over here, but I think the topic in the title deserves its own dedicated post. Especially since nobody commented on the emo-rap angle in the previous thread, and, to this day, there hasn't been a post on this sub that broadly addresses this influence exerted by Blink.

​far as I am aware, Green Day does not exert any significant direct influence on the emo-rap scene or its subgenres. In contrast, one of the main reasons why I believe Blink-182 is as highly respected among Gen Z as Green Day is the massive influence they have had on emo-rap and related genres.

​This influence is clearly visible through Travis Barker’s extensive collaborations with artists like Juice WRLD, $uicideBoy$, Lil Wayne, Lil Uzi Vert, and Machine Gun Kelly, as well as the remix he produced for Lil Peep and XXXTentacion’s 'Falling Down.' By the way, Lil Peep was famously known for covering Blink songs and even sampled Tom DeLonge.

​Anyway, I wanted to open the floor for thoughts on this influence and how it has shaped the perception of Blink for younger generations.

Note: The image was created and published by Kerrang.

​I was born in 1995 and I've always noticed this, but I've always thought both bands are great and on the same "level". Personally, I actually prefer Blink. I’ve also noticed that among those born after 1995, Blink is generally considered on par with Green Day. However, among people who are around 38 years old today, Green Day generally seems to be held in higher regard.

Edit: Just to clarify, I’m not sure about what I said above - it’s just a very superficial observation. But, a stronger observation I’ve made is that people my age or younger generally see Blink on the same level as Green Day.

Edit 2: Personally, I only compare them in terms of their "level" regarding the magnitude of their cultural impact. I know many people compare them in terms of quality, but I think that's extremely subjective... I would say that FOR ME, Blink is better simply because it's the band I like more out of the two.

​

We all know Brian Eno's great, famous quote: "The first Velvet Underground album only sold 30,000 copies in its first five years, but everyone who bought one started a band."

​In this sense, do you think it's likely that we'll ever see a phenomenon at least a little bit similar to what happened with The VU again? I'm not asking exclusively about music; it could be in literature as well. After all, The VU was heavily influenced by writers such as Hubert Selby Jr., Delmore Schwartz and William Burroughs, and later became a major influence on literary figures such as Neil Gaiman, William Gibson, and Denis Johnson.

Photo: https://darkcircleroom4.blogspot.com/2015/04/nico-john-cale-brian-eno.html?m=1

Edit: yeah, it's also worth mentioning artists who have already gone through something similar to what happened to VU.

https://stereogum.com/2503577/ben-gibbard-explains-why-the-velvet-underground-are-better-than-the-beatles/news

Well, "best" is a subjective matter. For me, VU is also the best band ever, and in my view, the most musically influential rock band in history. Just keeping in mind that Kraftwerk - despite playing krautrock early on - isn't a rock band, but rather an electronic music band. I’ve already written about these topics in other posts; for anyone who wants to check out my take, I'll leave a link

https://www.reddit.com/r/LouReed/s/7EWViGGWYn

​Anyway, it’s undeniable that it’s really cool how Ben expressed his opinion, making it clear that he doesn’t care about pleasing everyone or being disrespected.

"There’s the sample in ‘Risingson’, which, once you notice it, you can’t not hear. Yet, it’s so easy to listen to the song without even hearing the glaringly obvious sample because it is blended in so well.

The song features vocal samples from The Velvet Underground’s ‘I Found A Reason’, which first appeared on their 1970 album Loaded. The tender track from the experimental pioneers sees Lou Reed sing heartwarming lyrics like 'I found a reason to keep livin’/ Oh, and the reason dear is you.' Massive Attack inserted Reed’s delivery of 'I found a reason' between the last 'Toy-like people make me boy-like' part and the first 'Dream on…' at the end of the track. The 'Ba-ba-ba-ba' sections are also cut up and manipulated, with these sections playing behind verses throughout the song.

It’s a very clever sample that blends so well into the song that many Velvet Underground fans have listened to ‘Risingson’ without hearing the sample. Despite Massive Attack’s smart use of sampling on Mezzanine, difficulties securing rights for the samples in ‘Exchange’ led them to step away from the technique for their next album, 100th Window."

https://faroutmagazine.co.uk/the-velvet-underground-sample-massive-attacks-risingson/

I also highly recommend checking out Massive Attack's great cover of 'I Found a Reason' ( https://youtu.be/YPe2dQNww7I?si=LZ\_r6ej8FgSj\_idK ) and my post about VU's great influence on electronic music starting from the late '60s ( https://www.reddit.com/r/EDM/s/THCe1lR3Va ).

Hi! After receiving great feedback for this "tree" on r/indieheads, I wanted to share it with you all. It was a labor of love that I poured my heart into, created with the help of fellow redditor rOCCUPY.

I'll leave the link in the comments.

​The goal of this tree was to trace the trajectory of alternative rock, from its primary roots up to the release of OK Computer.

​Regarding the curation, I adopted two rigorous criteria:

​Each track had to be simultaneously highly innovative and influential for alternative rock;

​I sought the widest sonic diversity possible.

​Note: Not every song on this list is strictly "alternative rock," but all of them were highly innovative and influential for this subgenre, whether in a direct or indirect way.

​As a result, we didn't repeat any artists, with the exception of The Velvet Underground.

As the title suggests, this is a PARTIAL genealogical tree; we recognize that it is impossible to mention every innovative and influential artist in just 100 tracks.

The term "genealogical tree" is in quotation marks because not every track in the list was necessarily influenced by all those that preceded it in the list itself.

Anyway, I hope everyone interested in music history as much as I am enjoys my humble work!

1913: Luigi Russolo – Risveglio di uma città

​1927: Blind Willie Johnson – Dark Was the Night, Cold Was the Ground

​1937: Robert Johnson – Hellhound on My Trail

​1944: Sister Rosetta Tharpe – Strange Things Happening Every Day

​1946: John Cage – Sonatas and Interludes for Prepared Piano

​1948: Pierre Schaeffer – Étude aux chemins de fer

​1948: John Lee Hooker – Boogie Chillen'

​1951: Howlin' Wolf – How Many More Years

​1951: Jackie Brenston and his Delta Cats – Rocket "88"

​1955: Bo Diddley – Bo Diddley

​1956: Karlheinz Stockhausen – Gesang der Jünglinge

​1958: Link Wray – Rumble

​1959: Ornette Coleman – Lonely Woman

​1960: La Monte Young – Composition 1960 #7

​1964: The Kinks – You Really Got Me

​1965: Bob Dylan – Like a Rolling Stone

​1965: The Sonics – The Witch

​1966: The Beatles – Tomorrow Never Knows

​1966: The Mothers of Invention – Help, I'm a Rock

​1966: The Byrds – Eight Miles High

​1967: The Velvet Underground – Heroin

​1967: The Velvet Underground & Nico – All Tomorrow's Parties

​1967: Pink Floyd – Interstellar Overdrive

​1968: The Velvet Underground – Sister Ray

​1969: MC5 – Kick Out the Jams

​1969: Captain Beefheart – Veterans Day Poppy

​1969: Silver Apples – Program

​1969: The Stooges – I Wanna Be Your Dog

​1969: Neil Young – Cinnamon Girl

​1970: Black Sabbath – Iron Man

​1970: James Brown – Funky Drummer

​1970: Sly & The Family Stone – Thank You (Falettinme Be Mice Elf Agin)

​1970: The Beach Boys – All I Wanna Do

​1971: CAN – Halleluwah

​1972: NEU! – Negativland

​1974: Death – Keep on Knocking

​1974: Brian Eno – Third Uncle

​1975: Patti Smith – Gloria

​1976: Ramones – Blitzkrieg Bop

​1976: Steve Reich – Music for 18 Musicians: Section I

​1976: Blondie – X Offender

​1977: Sex Pistols – Anarchy in the U.K.

​1977: Wire – Outdoor Miner

​1977: Television – Marquee Moon

​1977: Kraftwerk – Trans-Europe Express

​1977: David Bowie – "Heroes"

​1977: Suicide – Ghost Rider

​1977: Talking Heads – Psycho Killer

​1978: Throbbing Gristle – Hamburger Lady

​1978: Kate Bush – Wuthering Heights

​1978: Siouxsie and the Banshees – Hong Kong Garden

​1979: Joy Division – Transmission

​1979: Public Image Ltd – Careering

​1979: Gang of Four – Damaged Goods

​1979: The Clash – London Calling

​1979: Bauhaus – Bela Lugosi's Dead

​1979: Germs – Lexicon Devil

​1980: Devo – Whip It

​1980: The Fall – Totally Wired

​1980: The Cure – A Forest

​1980: Dead Kennedys – Holiday in Cambodia

​1980: Bad Brains – Pay to Cum

​1981: Glenn Branca – Lesson No. 1 for Guitar

​1981: R.E.M. – Radio Free Europe

​1981: Black Flag – Rise Above

​1981: Mission of Burma – That's When I Reach for My Revolver

​1982: New Order – Temptation

​1983: Cocteau Twins – Sugar Hiccup

​1983: Skinny Puppy – Dig It

​1983: Minor Threat – Salad Days

​1984: Hüsker Dü – Pink Turns to Blue

​1984: The Smiths – How Soon Is Now?

​1984: The Replacements – I Will Dare

​1985: The Jesus and Mary Chain – Just Like Honey

​1986: Fishbone – Party at Ground Zero

​1987: Public Enemy – Rebel Without a Pause

​1988: Sonic Youth – Teen Age Riot

​1988: Fugazi – Waiting Room

​1988: Dinosaur Jr. – Freak Scene

​1988: Talk Talk – The Rainbow

​1988: Living Colour – Cult of Personality

​1989: Pixies – Gouge Away

​1989: The Stone Roses – I Wanna Be Adored

​1989: Nine Inch Nails – Head Like a Hole

​1990: Depeche Mode – Enjoy the Silence

​1990: Jane's Addiction – Been Caught Stealing

​1991: Massive Attack – Unfinished Sympathy

​1991: My Bloody Valentine – Only Shallow

​1991: Nirvana – Smells Like Teen Spirit

​1991: Primal Scream – Loaded

​1991: Slint – Good Morning, Captain

​1992: Tori Amos – Crucify

​1992: PJ Harvey – Sheela-Na-Gig

​1993: Beck – Loser

​1993: The Flaming Lips – She Don't Use Jelly

​1993: Björk – Human Behaviour

​1993: Smashing Pumpkins – Cherub Rock

​1993: Bikini Kill – Rebel Girl

​1994: Portishead – Sour Times

​1997: Radiohead – Paranoid Android

Mine so far are these:

1900s: An Impossible Balancing Feat (1902 - Georges Méliès)

​1910s: A Dog's Life (1918 - Charles Chaplin)

​1920s: Sherlock Jr. (1924 - Buster Keaton)

​1930s: City Lights (1931 - Charles Chaplin)

​1940s: Rope (1948 - Alfred Hitchcock)

​1950s: Umberto D. (1952 - Vittorio De Sica)

​1960s: Ivan's Childhood (1962 - Andrei Tarkovsky)

​1970s: Mirror (1975 - Andrei Tarkovsky)

​1980s: Crimes and Misdemeanors (1989 - Woody Allen)

​1990s: Central Station (1998 - Walter Salles) and Audition (1999 - Takashi Miike). I couldn't narrow it down to just one here.

​2000s: Dancer in the Dark (2000 - Lars von Trier)

​2010s: I, Daniel Blake (2016 - Ken Loach)

​2020s: Perfect Days (2023 - Wim Wenders)

​

​Mine so far are these:

​1910s: A Dog's Life (1918 - Charles Chaplin)

​1920s: Sherlock Jr. (1924 - Buster Keaton)

​1930s: City Lights (1931 - Charles Chaplin)

​1940s: Rope (1948 - Alfred Hitchcock)

​1950s: Umberto D. (1952 - Vittorio De Sica)

​1960s: Ivan's Childhood (1962 - Andrei Tarkovsky)

​1970s: Mirror (1975 - Andrei Tarkovsky)

​1980s: Crimes and Misdemeanors (1989 - Woody Allen)

​1990s: Central Station (1998 - Walter Salles)

​2000s: Dancer in the Dark (2000 - Lars von Trier)

​2010s: I, Daniel Blake (2016 - Ken Loach)

​2020s: Perfect Days (2023 - Wim Wenders)

Well, some of us here are familiar with the famous 1995 interview for Mojo Magazine, in which David Bowie stated that the Velvet Underground had a deeper impact on modern music as a whole than the Beatles—not because the Beatles weren't immensely important, but because the VU's influence ran deeper and lasted longer among musicians across different generations and styles.

The "chameleon of rock" said:

"[...] It was the weird, marginal bands that nobody bought, like the Velvet Underground, that actually created modern music. [...] Tomorrow's culture is always dictated by artists. So, as much as many critics were saying how important the Beatles were, there were artists who would tip you off: 'Yes, they’re great, but have you heard the Velvet Underground?' [...]Well, there are indeed some British bands [post-1976] that claim to be influenced by the Beatles. But in reality, what they’re actually doing sounds more like 'Waiting for the Man'."

In my opinion, Bowie was right: The Velvet Underground had a massive impact on music as a whole, deeper in terms of innovation and influence over other musicians and bands than the Beatles. This doesn't diminish the Beatles' historical importance, but in terms of shaping new styles and musical experimentation, Bowie’s perspective was precise.

Bowie has also championed Lou Reed as the "most important writer in modern rock," in the interview he did with William Burroughs for Rolling Stone.

Also, check out the list "The 50 albums that changed music," published by the British newspaper The Guardian in 2006, which I’ve also shared here in the sub before:

1st Place – The Velvet Underground and Nico (1967)

"While it sold poorly on its initial release, this has since become arguably the most influential rock album of all time. The first art-rock album, it mixes dreamy, 'stoned' ballads (Sunday Morning) with raw, uncompromising sonic experimentation (Venus in Furs), and is famously wrapped in that 'banana' cover designed by Andy Warhol. Lou Reed’s lyrics depicted a Warholian New York underworld where hard drugs and sexual experimentation ruled. Shocking at the time, and still absolutely mesmerizing."

The Velvet's later albums were also highly influential. It’s important to research them as well.

I also recommend a 10-page essay that offers a deeper understanding of the importance of The Velvet Underground and Nico, which I also shared recently in a post on the sub: Aidan Levy. "The Velvet Underground and Nico (1967)" - Library of Congress (National Recording Preservation Board).

I suggest reading the full essay, but here is a short excerpt:

"[...] there is an argument to be made that the Velvet Underground is ultimately the most influential band in the rock canon. [...]

The Velvets became the quintessential 'rock band’s rock band,' the undisputed godfathers of punk. The band, according to Alex Ross, 'closed the abyss between rock and the avant-garde.' By uniting distant worlds, they opened the floodgates for a sea of subgenres: art-, avant-, and noise-rock.

'You can find the basis of entire sounds and styles of so many bands and stars in specific Velvets songs,' wrote Richard Hell.

A partial list of listeners who started a band would include: David Bowie, Jonathan Richman, Michael Stipe, Patti Smith, Iggy Pop, Debbie Harry, David Byrne, Henry Rollins, Kurt Cobain, Jack White, Vernon Reid, Kim Gordon, Thurston Moore, Melvin Gibbs."

It is also worth mentioning a lesser-known fact, which is the massive direct influence of the VU on electronic music, including all the early krautrock and industrial artists and bands like OMD, Depeche Mode, New Order, Massive Attack, and Justice.

Jim Reid of The Jesus and Mary Chain recently defended the view that the Velvet Underground is "culturally as important as the Beatles." But in his view, the Velvets were "light years ahead of everything else." He noted that "The Velvets and the Stooges were just like a road map. It was like we were receiving little signals from a parallel universe in the shape of Velvet Underground records."

It is also always worth remembering Brian Eno's classic quote. He said something like: "The first Velvet Underground album only sold 30,000 copies in its first five years, but everyone who bought one started a band."

​In 11th place on his amazing list of favorite albums of all time, he placed LCD Soundsystem's Sound of Silver with this description:

"This is the easily the best album of the last 10 years. I saw him recently, in London with Hot Chip, and it was absolutely fucking brilliant. James Murphy can do no wrong, and being an unlikely front man shouldn’t be any reason to stop you from being one. He just makes me think 'I wish I’d thought of that. I wish I’d written that song.' It can be hard to mix dance and alternative rock, but he does it brilliantly. I see a connection between what we did as New Order and what he does. The sad thing is, we were playing a tour in France with New Order and LCD were there, and they were all there on laptops. I saw them and thought, ‘Should I go over and say I think you’re fucking brilliant?’ And I decided: no."

https://thequietus.com/interviews/bakers-dozen/joy-division-new-order-stephen-morris-interview-favourite-records/12/

In his 2010 list of 13 favorite albums, Stephen Morris ranked Pawn Hearts by Van der Graaf Generator eighth and said:

"It’s another strange thing; you had to keep some records as secrets on the punk scene, but John Lydon was into [founding member of Van der Graaf Generator] Peter Hammill. There’s an idea that people would hide their Genesis records and get out The Damned ones if people came round. I didn’t hide mine, although I didn’t play them to Ian [Curtis] when he came round.

They’re a funny band, Van der Graaf Generator. At the time, with Pawn Hearts, all of your mates would say: 'Ooh, there’s a track that’s three days long… it’s pixie stuff'. But ‘A Plague Of Lighthouse Keepers’ is completely overblown, like a nightmare with saxophones. I suppose it’s the ultimate prog-rock album: it’s really overblown, but still of the terrifying. I really like Peter Hammill. He’s another guy who’s really unique – he has a really individual way of singing, and it’s very raw."

https://thequietus.com/interviews/bakers-dozen/joy-division-new-order-stephen-morris-interview-favourite-records/9/

​

“The most influential record of all time is ‘Never Mind The Bollocks’. People who are still working now in the music business did their shit because of that record. It’s the absolute left turn. There is no argument. It cannot be bettered. It’s scientifically factual.” - Noel Gallagher.

​Well, in my opinion, Never Mind the Bollocks is, at the very least, one of the top 10 most influential rock albums and the most influential punk album. But, also in my opinion, the most influential album in history is The Velvet Underground & Nico, as recognized by The Guardian, the Library of Congress, among many other authoritative sources. But nobody holds the absolute truth when it comes to the most influential album.

​Anyway, it's also very interesting to note that, contrary to what many might think, Noel understands that Oasis derives much more from the Sex Pistols than from the Beatles.

"It's that great lineage of The Sex Pistols into The Jam into The Smiths into The Stone Roses into Oasis..." (https://www.radiox.co.uk/artists/noel-gallaghers-high-flying-birds/noel-gallagher-recalls-first-time-stone-roses/)

Almost all of the albums on his amazing list bear a very high level of direct influence from The Velvet Underground.

https://thequietus.com/interviews/bakers-dozen/joy-division-new-order-stephen-morris-interview-favourite-records/2/

He himself always says that his main drumming influences are Moe Tucker and Jaki Liebezeit.

In first place on his list of albums, he placed Cale's Paris 1919, with this description:

"Towards the end of the list I was getting desperate, but Paris 1919 came to me straight away – it’s one of my all time favourite albums. It’s like the anti-Transformer; I see it as the antithesis of that record, and I definitely have more love for Paris 1919. I think it’s the best album John Cale’s ever made. It’s odd, because it’s a poppy record, but even his poppy records have sinister overtones. And I love ‘Child’s Christmas In Wales’. It’s a very Christmassy album. Do I play it a lot at this time of year? I’m forbidden from playing records at home. I put Berlin on at home once, and it just killed the room. I tried to make it better by playing some Motown, but the atmosphere had gone."

Uma das minhas três preferidas nesse sentido é "This Is The One'", música sensacional dos Stone Roses, que se consolidou como o hino não oficial do Manchester United desde o início dos anos 2000. Inclusive, existe uma forte parceria oficial entre a Adidas, o Stone Roses e o Manchester United, além de muitos vídeos virais com trechos do Beckham jogando pelo time e falando que é a banda preferida dele.

Aqui, uma explicação oficial de como a música se relaciona com a história do time:

https://www.manutd.com/en/news/five-famous-reds-discuss-man-utd-stadium-walkout-song-this-is-the-one-by-the-stone-roses

Também gosto para caramba de "Brasil Pandeiro" na versão dos Novos Baianos, que é frequentemente associada à Seleção Brasileira e foi, inclusive, usada em um novo clipe na cobertura da Copa atual pela Globo.

Também curto muito "World in Motion", do New Order, que foi a música mais usada na Inglaterra para embalar a Copa de 1990. O clipe contou com o NO e a Seleção Inglesa cantando juntos.

​

​The question isn't about which band the Gallaghers like the most, but rather which one had the biggest influence on their sound. In the letstalkmusic subreddit, many people argued that The Stone Roses, Sex Pistols, and T. Rex had more of an influence on the Oasis sound than The Beatles did, and I agree. However, I can't quite pinpoint exactly which band influenced them the most; I think it was The Stone Roses.

Quincy Jones was always a notorious fan of New Order; he even acted as executive producer on the 1988 remix of "Blue Monday," personally invited the group to play at the Montreux Jazz Festival—mainly to see them perform live—and, later on, highly praised the band in the 1993 documentary New Order Story.

​

"New Order was always different, as human beings, as musicians. They were funky and they had tight time, because naturally when you’re dealing with sequencers, the time’s gonna be nailed down with spikes, which I loved. And they knew how to really deal with dance music.”

​

https://www.forbes.com/sites/davidchiu/2024/11/10/how-quincy-jones-helped-launch-new-order-in-the-us/

​

https://www.nme.com/news/music/new-order-and-peter-hook-pay-tribute-to-quincy-jones-he-made-us-big-in-america-3809451

São riffs das excelentes músicas:

​Damaged Gods, do Gang of Four;

​Dreams Never End, do New Order;

​Tinindo Trincado, do Novos Baianos.

Pepeu Gomes comentou aprovando.