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Red Ant

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Everything posted by Red Ant

  1. Most of my "80s listening" was "avant-funk/no-wave" NY stuff that never made the big time - Defunkt, Ronald Shannon Jackson & The Decoding Society, Bill Laswell's various projects, James Chance & The Contortions, Jamaladeen Tacuma... and the Rochester/Veasley Band: [video=youtube;fF6CoWp_GiU]https://www.youtube.com/watch?v=fF6CoWp_GiU[/video] All of it sounded like crap production-wise, but I liked the liberties they were taking with the music, the genre-blending, etc...
  2. [QUOTE=Opposite Day;n32515171] That was completely off my radar, but with a little editing it would have made a great soundtrack for an '80s training montage. :lol:[/QUOTE] It would have been off mine as well, except for a friend who was their US booking agent. As soon as I heard I was like "OMG someone likes Gong as much as I do!!!" I was sold immediately :lol:
  3. [QUOTE=guido61;n32515176] But yet you just cited things of his he did that you like that came AFTER? ;)[/QUOTE] People can stumble and get back up, you know :D
  4. [QUOTE=guido61;n32515172] I never bothered to compare it to their earlier stuff, of which I was never much of a fan of anyway. It sounded like nothing I had ever heard before. First time I had ever heard samples used like that. [/QUOTE] Trevor'd been using that same Fairlight orch hit for years before then, its all over the Art Of Noise records, and a bunch of other productions he'd done. To my shame, I used it as well... I had access to the Fairlight through the NYU sound lab, and overused it shamelessly on my 1st ever "official" project, called "Intellectric", in 1984. Fortunately for everyone, the masters did not survive the years, and there were only a few thousand 12' singles pressed, so I never need worry about anyone actually hearing the music :lol:
  5. I never liked any Yes, tbh, and thought *at the time* it was better than anything they'd done since Bruford left, but for me it REALLY does not hold up today. Its more like Trevor Horn's shark-jumping moment
  6. Of course, Ozric Tentacles started out in the 80s, and I love the sh*t out of ANYTHING Ozric Tentacles [video=youtube;4f52hgmPAbw]
  7. Also Trevor Horn was amazing. I don't like everything he's done, but Frankie's "Relax" and Grace Jones' "Slave To The Rhythm" were masterful, production wise - very 80s, but I can still listen to either and appreciate the craftsmanship, and the HUGE sounding mixes.
  8. I loved it when it came out, and I saw every tour from Discipline to Three of A Perfect Pair, but I find it nigh unlistenable now, whereas I can listen to Lark's Tongue, Starless and Red and never tire of it. 80s KC is just too cold and mathematical for me now, and the production and sounds have a great deal to do with it. Here's one that does hold up for me still - a brilliant song is a brilliant song, and I think the production works beautifully. [video=youtube;onCpEJDfyg0] The Flat Earth is a brilliant album, and it still sounds incredible to me... all the glitz and polish of 80s production, but perfectly organic to the music and balanced with warmth, space and incredible stereo imaging.
  9. Huh? He played a 1st inversion Maj triad??? With a little sus4 thrown in? Genius! Seriously, whats so special about DMaj(sus4), BbMaj/D and Cmaj/D?
  10. 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.
  11. 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
  12. New and poorly understood recording tools, changing public tastes and cocaine
  13. It is, but listen to how much fuller, richer and warmer Off The Wall sounds in comparison.
  14. I'm less bothered by the ordinariness of the tone than the ordinariness of the songwriting.
  15. The best thing I can say about it is that it isn't nearly as bad as some other 80s productions. Its still too bright and too wet, imho. Here are some 80s productions that I do like. They have several common threads though, they're all early 80s, and have either Compass Point Studios, Eno and/or Rhett Davies in common. Remain In Light Gabriel IV My Life In The Bush Of Ghosts Avalon And then there were: PE - It Takes A Nation Of Millions Eric B & Rakim: Paid In Full Boogie Down Productions: Criminal Minded. They also had a common thread - nothing in music had ever sounded like these records before. edit: forgot Back in Black, which came out in 1980 and sounded awesome.
  16. [QUOTE=jorhay1;n32514540] The Oberheim sounds are GREAT. Your taste in synths is questionable by popular standards. Dave Smith, Korg, and Uli, are all currently spending and doing business in the neo-analog synth market because literally millions of people think AND FEEL the polar opposite of you. Not that there’s anything wrong with your taste. But please don’t casually act like what you’re saying doesn’t basically sound insane. [ATTACH=JSON]{"alt":"Click image for larger version Name:\t4A310C3B-083C-4168-B9A4-EBE50936A92F.jpeg Views:\t1 Size:\t108.6 KB ID:\t32514541","data-align":"none","data-attachmentid":"32514541","data-size":"full","title":"4A310C3B-083C-4168-B9A4-EBE50936A92F.jpeg"}[/ATTACH][/QUOTE] There's nothing wrong with Oberheim... its Bill Payne's use of it that I find annoying.
  17. [QUOTE=redEL34;n32514521] Yeah, how the hell could you NOT like that:lol: No, not me but yes you.[/QUOTE] Yeah I like it so much that I took part in a Little Feat tribute show JUST so I'd get to play this tune (and a few others I love) :lol: That's Lowell George's son Luke on the left, in the white overalls... not doin' much of anything :D [video=youtube;spB-SQ0_IM4]https://www.youtube.com/watch?v=spB-SQ0_IM4[/video]
  18. [QUOTE=jorhay1;n32514522]Strat: Mainly neck pick up, esp for lead. Bridge for sklanks and janks. I only use 2 & 4 positions for dweebs with laptops that care more about buzz than tone, and don’t know how to use a gate. But wtf is position 3, the middle pup only for? Been playing a strat all my life, and still don’t know. Seems like it’s only function is to be the double humbucker for neck and bridge pup.[/QUOTE] I felt the same about the middle pup till I got my current strat. Its like a seriously phat bridge pup, clear and bright, but with tight, punchy lows, mids forward, but with zero shrillness. Maybe its the 60 years of slow de-magnetization :lol:
  19. [QUOTE=redEL34;n32514518] I hear the tinny pickups, but it doesn`t ruin the song, per se.[/QUOTE] All the tunes and the performances on that album are so strong that no amount of cheesy phase-shift (or Bill Payne's annoying Oberheim synth sounds) can ruin them. IMHO, while Lowell George lived, they were the greatest live "rock" band of all, simply peerless. I love this one to death. [video=youtube;ux8GIu6ucs0]https://www.youtube.com/watch?v=ux8GIu6ucs0[/video]
  20. [QUOTE=redEL34;n32514508] Hey, It DID have a phase switch..:p[/QUOTE] Yeah, it sure did... Paul Barrere from Little Feat used to play one, AND through a phase shifter on top, waaay too much of the time. You can hear it all over "Waiting For Columbus". [video=youtube;8aq69jLkscw]https://www.youtube.com/watch?v=8aq69jLkscw[/video]
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