Is there any interest in this? If I get replies - I'll assume yes and post more. Otherwise... :(
In real terms, I've been listening to the Commodo singles nonstop
The Wikipedia page for the album is fantatic. The producer, Teo Macero, contributed like a musician. "Go Ahead John" has its own section. Here's just a snippet...
Davis's trumpet and McLaughlin's guitar parts were heavily overdubbed for the recording. The overdubbing effect was created by superimposing part of Davis's trumpet solo onto other parts of it, through something Teo Macero calls a "recording loop". Macero later said of this production technique, "You hear the two parts and it's only two parts, but the two parts become four and they become eight parts.
This was done over in the editing room and it just adds something to the music [...] I called [Davis] in and I said, 'Come in, I think we've got something you'll like. We'll try it on and if you like it you've got it.' He came in and flipped out. He said it was one of the greatest things he ever heard".
DeJohnette's drums were also manipulated by Macero, who used an automatic switcher to have them rattle back and forth between the left and right speakers on the recording. In his book Running the Voodoo Down: The Electric Music of Miles Davis, Davis-biographer Phil Freeman describes this technique as "100 percent Macero" and writes of its significance to the track as a whole, stating:
This doesn't create the effect of two drummers. It's just disorienting, throwing the ear off balance in a way that forces the listener to pay close attention. The drums cease to perform their traditional function. Jack DeJohnette's beats, funky and propulsive on the session tapes, are so chopped up that their timekeeping utility is virtually nil.
Macero has diced the rhythm so adroitly that we are not even permitted to hear an entire drum hit or hi-hat crash. All that remains are clicks and whooshes, barely identifiable as drums and, again, practically useless as rhythmic indicators. Thus, the pace is maintained by Dave Holland's one-note throb and the occasional descending blues progression he plays. The feeling one gets from "Go Ahead John" becomes one of floating in space.
That's great, I hadn't read it before. It's such a creative album
The masculine urge to be neurodivergent and listen to the same handful of dark ambient songs over and over.
Flesh hierarchy - war Azazathoth. - cryo chamber
recently rediscovered Arcade Fire after not paying attention them for like almost a decade
Pete Seeger's American Industrial Ballads album which I have been changing the words to so as to reflect my work situation. Also Casey Jones the Union Scab is a much better song than Casey Jones the Engineer.
I really like Pete Seeger's music but could never get into him performing them for some reason, I like a lot of folk stuff and I like a lot of covers of his songs but I just can't seem to get into his versions as much.
I get that. For me it's because he puts a very clean facade on a lot of his music. There's one lyric in a song on this album where he goes "the bread is not so well/ the meat is all burned up/ and the coffee's black as HECK/" which is kinda funny but comparing stuff like that to the grittiness of other folk singers or the workers who he would have been supporting and it does give some weird vibes. I think you can hear it in the way he plays and sings too. Like an artist who isn't skilled enough to be lazy and sound good, but can still sound good because he was formally trained.
Also idk why but I never got very revolutionary vibes from him unlike some other folk artists. He did a lot for the movements, sacrificed a lot, and was a CP member for a long time, but he just didn't give off the vibe that he wanted heads to roll. I know that isn't the important part of a revolution (ideally it isn't even necessary) but I think maybe that's where some of the edge comes for other artists like Ochs or Guthrie .
Pardon me, excuse me, shit taste coming through.
One thing I've come to realize is that there is always cheesier power metal. My metal head brother will send me a link and be like check it out man, it's dwarf metal, they sing about digging holes. I love it. Power metal doesn't get enough love
been listening to velvet underground a lot and discovered probably the best VU track , yes it's better than european son, probably better than pale blue eyes, I just don't know yet which version is the best one.
I... I just never could truly get into VU or Lou Reed. I've been addicted to heroin, I'm on subs now, and I fucking love a few select songs like "Perfect Day" because I can feel what that song is about, in my bones, my veins. But most of VU/LR stuff just sounds like some dude, albeit in pain, spewing out into a microphone. Then again, I guess that could be said about any artist that one doesn't like. And this is just a generic bullshit criticism. Venus in Furs is pretty cool with its non-western modal structure.
Yeah there's some stuff that's incredibly blues influenced and I understand why would someone would have a hard time getting around it, but for all the blues rock songs with Lou Reed yelping, which certainly has its charm, there's also incredibly prescient stuff, like I'm Sticking With You which could be easily mistaken for a mid 2000s indie twee song, or just stuff that hasn't been made since by anyone else like All Tomorrow's Parties. Between the La Monte Young influenced droning prepared piano, the solemn singing of Nico or just how mean-spirited the song is in general, there's nothing that feel or sounds like it. I dunno. There's Ocean which I linked which is a proper psych rock song, with a slow mourning Lou Reed. I feel like there's stuff in VU's catalog beyond blues rock which sounds like you would like, is my point, not that you're wrong or anything.
Nah, you make excellent points and have provided plenty for me to consider. I know I haven't listened enough to give a fair critique. It's certainly not the blues inspirations (and the blues inflections even on non-bluesy songs) that get in the way of my appreciation, just... what seems to be a very inconsistent relationship with actual inspired song writing, I guess. Despite some gems, so much of what I've heard from Reed just struck me as uninspired and written with a level of talent that could have come from almost anyone with an interest in the culture at the time. But I totally admit there's just an element there I likely don't see. That said, I'll give it all another chance, thanks to your suggestions. It's appreciated.
big red machine ft anais mitchell - latter days
the fourth gayest Taylor Swift song cause yesterday was the kissgate anniversary
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