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Opposite Day

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Posts posted by Opposite Day

  1.  

    I love a lot of the 80s synth stuff. Tears for Fears. Simple Minds. Howard Jones. Some of that production is dated now, of course, but I loved it at the time. Fresh and groundbreaking and I was soooo “please don’t make hear another southern rock thing ever again!” at the time.

     

    The prog bands? Well it was either go that route or go home. “Tormato”, anyone? Can I get a shout out for King Crimson’s “Discipline” though? Love that album and the production.

     

    Billy gets a pass from me because I heard him say once that he came up with the idea of “Uptown Girl” while sitting at a table in a bar with Elle McPherson (who he was dating at the time), Christie Brinkley and Whitney Houston and he was like “WTF? How did I end up HERE?”

     

    Sometimes it’s best to just roll with it. :)

     

    :D

    Don't kill the whale, bro!

     

    Still take that over Big Generator any day.

  2.  

    True. But the fact is those production styles wouldn’t have worked in the 80s. And I certainly understood the need for updating sounds at the time and I don’t hate the 80s stuff as much as some people here. But that Arif Mardin thing? Wow. Made David Foster sound restrained and subtle. :lol:

     

    Ain't Nobody was '83, but yeah.

     

    In my mind there is the good 80s that includes Van Halen, hair bands up to and including Ratt, but not Poison, and of course it's the golden age of hip hop.

     

    And then the bad '80s, which include synth pop bands (special exemptions for Human League, Soft Cell, Kajagoogoo and Duran Duran), Van Hagar, Madonna, etc.. And there was something about the '80s that completely tainted all the '70s prog rock bands. It was really uncanny how bands like Yes and Rush seemed to be like, "hey we tried being good, let's try sucking now! I bet our Album sales will double!" which of course they did. Not just prog bands actually. Billy Joel went from tunes like "The Stranger" to "Uptown Girl." What the hell happened? :lol:

    • Like 2
  3. Stopped by a friend’s house for dinner and he has some music playing in the background and an Arif Mardin 80s production — Chaka Khan’s “Through the Fire”, which I probably haven’t heard since the 80s—comes on and I thought immediately if this thread. :lol:

     

    gawdawful!

     

    :barf:

     

    It's definitely no "You've Got the Love" or "Ain't Nobody."

  4.  

    Meh. Even for 80s hair metal, its mediocre... I had to pull up a youtube to ever remember what it sounded like. VH was still king of the memorable intro riff back then.

     

    It took me years to figure that riff out exactly! :mad2: He takes a Police/Eddie Brickell chord and pushes the top two notes up a half step turning it into major triad with the 3rd in the bass. Pretty slick!

     

    Of course you're right though, Eddie was the king.

  5.  

    Not a clue... had to look it up. And yep, every example of awful 80s production, prominently displayed - thin, overprocessed guitars with way too much verb, massively wet drums (and vocals), no low end to speak of, everything is super shiny and brittle :lol:

     

    Hehe, I figured that would epitomize your eightiesphobia. :lol:

     

    Still has one of the best opening guitar riffs ever though on "Lay it Down."

  6.  

    It probably just needed a three-prong plug and a general servicing. I'm kind of surprised you thought it weighed so much - IMHO they're the Twin that is actually useful in the real world - not as over-powered (and less likely to kill rodents and frighten small children if you turn it up past 2), it's still a 2x12, and they're lighter. IMHO, it is one of the best amps Fender ever made... at least until they released the mid-70s Ultra-Linear 70W versions.

     

    I used to have a Super Six Reverb (for cleans) that I ran along with a Mesa Boogie 1x12 combo (for leads and crunch), so I think I have you beat on the masochistic heavy amp scale. ;)

     

     

    Heh, well now I'm used to a vox modeling amp which is much lighter. For a while I was using a half-stack, H&K Triamp. Looked great, sounded great. And I couldn't get it up to 1 without making everyone's ears bleed. That was my masochism phase. :D Many years ago, missing the pro, I bought a Fender Twin reissue hoping to recapture some of the pro's glory. The sound that came out of that thing was totally sterile and lifeless. No comparison. :(

     

    Probably the best sound I ever had at a gig was the pro and my friend's dad's silver face twin which I borrowed. I went in to an SGX 2000, one of those cheesy '80s multi-effects processors. It had stereo outs, one to the pro, one to the twin. Also we rented a smoke machine. It was glorious!!

     

    It's really a pet peeve of mine that a company will make a magnificent product like that that people love and then "reissue" under the same name a clearly inferior product. How hard is it really just to make the exact, same thing? Old fender amps, the original whammy pedal, griswold cast iron pans, etc. :mad2: And of course used originals become obnoxiously expensive.

    • Like 1
  7. I can't stand VH, but this was a massively legit run:

     

    VH

    VH2

    Women And Children First

    Fair Warning

    Diver Down

    1984

     

    Yeah, I was gonna go

     

    Fair Warning, Diver Down, 1984, with DD being probably the weakest of the entries, but I still consider the other two the best hard rock records of all time. And DD still has "The Full Bug" and "Little Guitars." :rawk:

    • Like 1
  8.  

    Probably that, as talented as they may have been at playing live, they were never at the skill level of the musicians he generally worked with.

     

    [video=youtube;T0gEkdOhnDc]

     

    Man, that guy kinda makes me wish I learned how to play piano!

     

    To a certain extent it's apples and oranges. Guys like that are expected to be able to play everything well. Artists like the Beatles just do their own thing, so it's addition by subtraction. Even with the magnificent talent of players like those on the stage, it's hard to have the same intimacy with their material as an artist does with the style he creates as an extension not just of their ability, but of his self.

  9.  

    A long time ago in a different life we had a three fingered bass player. No, this isn't a story about him but he was a phenomenal player but he also had an affinity for old television show themes. He came up with an idea that we do a short medley of a few of those song as part of one of our sets. You'd be surprised how people got off on that, especially if we waited to the last set when most of them are inebriated by the vice of their choice. We only did it for a couple of years until we got a new bass player and one night we asked ourselves what we were doing this for. But it was kind of fun after playing 60s rock all night, week after week, year after...well, some of you know what I mean.

     

    Nice! I'm trying to sell my band on a similar medley idea right now. :lol: Plus it would be nice to have the Star Trek fight theme in our back pocket in case a bar fight ever breaks out.

  10. Back when I was obsessed with being Ynwie J. Lynch-Van Halen, I would have loved the vindication of having Quincy Jones join me in throwing shade at what I considered a massively overrated band. But I gotta admit the sheer breadth of their catalogue alone is worthy of respect. For every Beatles song that's not your cup of tea, there are probably five that'll at least have you tapping your feet. There are different ways of appreciating music, and one that is more common among musicians is by way of awe. I think we can dismiss stuff that doesn't inspire it. But it's probably at least as valuable to produce music that just gets the dopamine flowing regardless of how impressive it is.

    • Like 2
  11. We've all had it happen. It's all how you digest it afterwards.

     

    At a particularly flawed gig, on my part, I was ready to hang myself in shame over many of the same mistakes, and more. We had a loyal following and some of the regular women came up to me after the show and were just beaming, saying they loved the show and how out-of-the-box my playing was that night. :facepalm::rolleyes2:. I said a bit too much and got down on myself and my playing, telling them they weren't musicians and didn't understand all of the technical mistakes I made. At that point, they got angry with me for putting down their "guy". After that, I learned to back off with the self criticism in front of fans. Be gracious with yourself and with the fans and they'll love you for it. Then after everyone has gone home, the band can have a sit down the next day and evaluate the performance, take in lessons learned, and promise the won't-dos-again.

     

    Hehe, been there. Had some compliments from some women once and I was halfway through explaining how they were both right and wrong to praise me, as I had equal moments of brilliance and clumsiness, and they were like, "just say thanks. :D:0." To a certain extent we have to get over ourselves when relating with non-musicians, who mostly just want to be entertained and don't care that much how you snuck in that phrygian dominant lick or whatever. A lot of the time I think you make a better impression if you look like you're playing well than if you're actually playing well. :lol::0

    • Like 3
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