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Grumpy_Polecat

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Everything posted by Grumpy_Polecat

  1. How do you get a bass player to get off of your front porch? Pay for the pizza.
  2. I just found out I was hero of the day a while back.  Unfortunately I don't have any recollection of what I said to deserve this award.  Whatever it was I am sure to still agree with it though, so 'thanks'.

  3. All alone, or in twos The ones who really love you Walk up and down outside the Wall And when they've given you their all Some stagger, and fall After all it's not easy Banging your hearts against some mad bugger's wall (Is this the end, or the beginning?)
  4. 'Hot Poop' -- The last track on "We're only in it for the Money" was a sped-up* and reversed section from a different track ('Mother People'), which had been censored by the record company on the original release. (In later years the CD version was published replete with the naughty words). *Edit: It was in fact slowed waaay down so that it sounded sped-up when played at 33 1/3rd RPM. I said 'sped-up' in the same way as one might say 'unloosen'.
  5. Makes me glad that the whole 'spaceship' thing was just just a bad dream Jimi had one night. ('And you will never hear Surf Music again...')
  6. Well, yeah. Someone (you, perchance?) said this topic was a big kettle of subjectivity, and no truer words have been spoken. For me though it really comes down to the content. When I first heard Brittney Spears' 'Hit Me', I knew it was solid gold. I think that number would have worked even if it hadn't been over-produced. Though over-production certainly didn't hurt it, the production was transparent, as it should be. Now, while I really didn't care much for the content itself in this instance, it still shined through. So well in fact that the Zappa Brothers absolutely KILLED with it. (and furthered the over-production in the process...)
  7. Well, I thought we were talking about recording quality, not to be confused with production quality. Keeping with ZZ Top as the example, the production quality of all 50+ years is stellar. Esp. when Bill Hamm was the 4th member of the band. But 'First Album' -in all it's spartan, stripped-down, naked glory stands out. I feel like I need to mention Billie Holiday here as well. We don't REALLY, really, REALLY, really REALLY know what she sounded like. The equipment used, as well as the environment itself all converge into the end result, each adding its own color along the way. The beauty of the recording art is in NOT having to 'put it in post' (ie: fix it later). I read about Hendrix going from being a barely containable animal in the studio, mere moments from being given a plane ticket home to being fascinated with what Kramer was doing and staying up all night with him, helping and learning. Certainly one can admit that the stereo mixing for that album was stellar, even by today's standards. Stereo being a burgeoning thing still in 1967 makes it all the more a standout. But that was all 'post'. In computer vernacular they say GIGO, and it applies. One simply cannot polish a turd (even with 'autotune' -- Yven eth nioj!)
  8. Have you heard Van Halen's new album yet? (Don't feel bad. Neither has anyone else...)
  9. ZZ Top's First Album: No studio tricks. Or Dave Van Ronk's 'No Dirty Names'. I think you can hear a small plane flying in the background on one of the tracks. That effect was NOT planned; it was purely organic. Like bathroom reverb.
  10. What I find ironic is the suggestion that a rapper actually did something original which might be subject to copyright protection. AFAIC they all owe royalties to the Estate of Woody Guthrie.
  11. Well, they say that when you get to 69 you have to turn around, but I don't think that's what they meant. RIP and thanks for all the great entertainment! [video=youtube;cxvMGe8bK7o]
  12. Yes, but only because I have to pay a buck to hear more than the teasers (which, btw, I liked!)
  13. Just for you, Craig: (closest to original I have found) AND, a rework of the same number by a heavily jass-influenced 'folk' artist, with an added verse: (let's see if anyone can figure out how he REALLY played it...)
  14. I can't find a cite for this since I got it from a magazine some 40 years ago but Fats Domino said he didn't care if someone else made a buck on Blueberry Hill. He got paid and everyone else found a thrill too. Of course this is paraphrased, but that was his sentiment. It was certainly better for him than being a busboy or bellhop.
  15. As a semi-retired mechanic I can say with great authority, EVERYONE needs their auto tuned. Probably also needs a good bath too. I mean their car. of course!
  16. Thanks to all for the contributions and the conversation. Definitely some good stuff in here! It would have been nice had someone said 'Damn! That thing in the OP with Bonnie and Lowell was the most awesomest thing I ever heared, there is a more important matter which some of you have already chimed-in on. That is the line between artists, producers and consumers. Read on and we can see why directors and engineers are also on the list of problems/troublemakers. I never thought at the time that the song that launched MTV was prophetic but in hindsight and with the advantage of wide-angle mirrors I see it differently now. For some time now it has been very much a matter of how you LOOK, to the point that even if you're somewhat less than repulsive and have a strong number, actual prowess is secondary to what you look like WHILE DOING IT and this has become something that trumps real talent. Overproduction of audio was a natural follow-up. From this the matter worsens to point that Big Mama Thorton --were she to arrive on the scene today-- would never have been heard. There is far more on this about which I could pontificate but I'm still having browser issues on this box which are sufficiently aggravating that I'll have to resume this tack at a later moment.
  17. Funny you should say that. A local radio station who had branded as 'classic rock' since they launched in the late '70s has now adopted 'iconic rock' as their genre, whil still playing the same 50 songs.
  18. Big 10-4 on the historical value. Three examples come to mind: The original version of 'Sure Got Cold After the Rain' from Rio Grande Mud is vastly different from the Six Pack release. Both are still available, however. Zappa's 'Cruising With Reuben and The Jets' as a 'redo' is terrible and just sounds all wrong. I don't know of any sources for the original other then vinyl. This last example is a bit different. 'The Bomber' from the James Gang Rides Again included a passage from Bolero, which was deemed a copyright infringement and only could be heard on the first (limited) release. It was quickly redone with that part deleted and for many years the original was nowhere to be heard other than those early LPs. Now, Bolero is back and the other version exists only on physical media. In all cases I think it is of historical significance that ALL versions can be heard. By the way, ever wonder what Billie Holiday's voice REALLY sounded like?
  19. In regard to the original mix and its perceived peculiarities I think it is important to recall the context of the time in which it was done. While the technological limitations of the era are obvious, perhaps the bigger matter is one of 'what was going on in modern music as a whole?' This was after all still the psychedelic era, when doing weird things for the sheer purpose of being weird was in vogue and stereo recording production was a burgeoning technology. The comparison seems akin to putting a 1917 T-Model Ford up against a 1967 Cobra. That said, I still think the engineering of Are You Experienced? (same year as Sgt Pepper) is absolutely masterful and I wouldn't muck about with either of them.
  20. Wouldn't it technically be the 70th anniversary?
  21. Steve Miller (who was tutored by Les Paul while he was still in diapers -- I mean Steve, of course!) put out a BIG bunch of good stuff. Abra wasn't among them.
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