yeah, it's woefulQuote:
Originally Posted by Wolfie
the last 90 seconds is "baby c'mon, c'mon baby c'mon" on repeat for over a minute
sounds like Liam's stopped thinking he's John Lennon, and started thinking he's Jim Morrison
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yeah, it's woefulQuote:
Originally Posted by Wolfie
the last 90 seconds is "baby c'mon, c'mon baby c'mon" on repeat for over a minute
sounds like Liam's stopped thinking he's John Lennon, and started thinking he's Jim Morrison
it seems a car crash of early VU and 'exile'-era stones. unfortunately ends up sounding something like a sub-par black rebel motorcycle club who were a sort've spiritualized/oasis tribute act themselves.Quote:
Originally Posted by tetsujin1979
It sounds exactly as I expected them to sound - bog standard, uninspired 70's rock by numbers that has nothing to say.Quote:
Originally Posted by tetsujin1979
Still hoping that Noel can produce something meaningful. I'd love to see him work with Dave Sardy again - he did a great job on the 6 Noel tunes that featured on last Oasis album.
Oasis becoming a democracy destroyed the band. Once Noel stopped doing everything, they were doomed.
Anyone catch "The Promise" over the Christmas. A documentary about the recording of Springsteens "Darkness on the Edge of Town"????
You've got to admire the work ethic and attention to detail but it must have driven the band demented. Days spent checking out drum sounds!!!!!
Didnt see it all but what I saw was very good filmaking. Fascinating insight to his writing process.
When Phil Spector produced the Ramones he made Johnny do the first chord to rock n roll high school over and over and over and ..........Quote:
You've got to admire the work ethic and attention to detail but it must have driven the band demented. Days spent checking out drum sounds!!!!!
and to be honest I'm sure he nailed it first time
Not to mention pulling a gun on them to keep them at it!
An extract offering an insight into the recording of "Loveless" by My Bloody Valentine.
"The vocal tracks were taped in Britannia Row and Protocol studios between May and June 1991. This was the first time vocalist Bilinda Butcher was involved in the recording. Shields and Butcher hung curtains on the window between the studio control room and the vocal booth, and only communicated with the engineers when they would acknowledge a good take by opening the curtain and waving".
According to engineer Guy Fixsen, "We weren't allowed to listen while either of them were doing a vocal. You'd have to watch the meters on the tape machine to see if anyone was singing. If it stopped, you knew you had to stop the tape and take it back to the top."
On most days, the couple arrived without having written the lyrics for the song they were to record. Dutt recalled: "Kevin would sing a track, and then Bilinda would get the tape and write down words she thought he might have sung".
In July 1991, Creation agreed to relocate the production to Eastcoate studio, following unexplained complaints from Shields. However, the cash-poor Creation Records was unable to pay the bill for their time at Britannia Row, and the studio refused to return the band's equipment. Dutt recalled, "I don't know what excuse Kevin gave them for leaving. He had to raise the money himself to get the gear out."
Shields' unexpected and random behaviour, the constant delays, and studio changes were having a material effect both on Creation's finances and the health of their staff. Dutt later admitted being desperate to leave the project, while Creation's second-in-command Dick Green had a nervous breakdown around this time. Green later recalled, "It was two years into the album, and I phoned Shields up in tears. I was going 'You have to deliver me this record'.
During this time, both Shields and Butcher became affected with tinnitus, and had to delay recording for a further number of weeks while they recovered. Concerned friends and band members suggested this was a result of the unusually loud volumes the group played at their shows. Shields dismissed these concerns as "Ill-informed hysteria".
Although Alan McGee was still upbeat and positive about his investment, the 29-year-old Green, who by this time was opening the label's morning post "shaking with fear", became a concern to his co-workers. Publicist Laurence Verfaillie, aware of the label's inability to cover further studio bills, recalled Green's hair turning grey overnight. "He would have not gone grey if it was not for that album", Verfaillie said.
With the vocal tracks completed, a final mix of the album was undertaken with engineer Dick Meany at the Church in Crouch End during the autumn of 1991; it was the nineteenth studio in which Loveless had been worked on. The album was edited on an aged machine that had previously been used to cut together dialog for movies in the 1970s. Its computer threw the entire album out of phase. Shields was able to put it back together from memory, yet when it came to mastering the album, to Creation's dismay, he needed 13 days, rather than the usual one day.
As the previously prolific band were unusually quiet, the UK music press began to speculate. Melody Maker calculated that the total recording cost had come close to £250,000; however, McGee, Green, and Shields dispute this. Shields argued that that estimated cost (and Creation's near-bankruptcy) was a myth exaggerated by McGee because the Creation owner "thought it would be cool."
According to Shields, "The amount we spent nobody knows because we never counted. But we worked it out ourselves just by working out how much the studios cost and how much all the engineers cost. 160 thousand pounds was the most we could come to as the actual money that was spent."
In Green's opinion, the Melody Maker's estimate erred on the low side, by £20,000. He said, "Once you'd even got it recorded and mixed, the very act of compiling, EQ-ing, etcetera took weeks on its own."[15] In a December 1991 interview, Shields said that most of the money claimed to have been spent on the album was simply "money to live on" over three years, with the album itself only costing "a few thousand". He also claimed that the album represented only four months work over two years.
Shields later said that most of the money spent was the band's own money, and that "Creation probably spent fifteen to twenty thousand pounds of their own money on it, and that's it. They never showed us any accounts, and then they got bought out by Sony." "
I've read that so many times over the years and it still brings a smile to me when I read this line: "On most days, the couple arrived without having written the lyrics for the song they were to record. Dutt recalled: "Kevin would sing a track, and then Bilinda would get the tape and write down words she thought he might have sung"."
And to think that that process created one of the greatest if not the greatest album ever committed to record.
My musical highlight of my life (that doesn't involve Daft Punk or The Prayer Boat) was being on a security stand at Primavera 2009 at MBV and singing Soon at the top of my lungs and swaying with tears in my eyes. I'm getting goosebumps thinking about it.
I'd say mixing Loveless was hell.
Q Magazine readers vote "OK Computer" the best album of Q's lifetime (established 1986).
More breaking news............World continues to spin on its Axis................
Would you believe "Beady Eye" debut album is commanding some great reviews - best thing to feature Liam since the mid 90's apparently!! (many would argue that would not be too difficult).Quote:
Originally Posted by Wolfie
Anyhoo, might be worth checking out afterall.
Where did I leave that humble pie?????
I tell you what I'm loving Bring the light now. Hated it at first..........got tickets for Troxy and Rock City now.
despite my misgivings, I got a ticket to the Beady Eye show in the Olympia in April
Hold the line fellas! It'll only end in disappointment.
I've an irrational and deep rooted dislike of Snow Patrol.
I think its the blandness.
Wouldnt call it irrational myself.
Meanwhile, a new opera opens on the 17th in London. Called Anna Nicole, and based on the life of everyone's favourite bubbly billionaire's widow. 'Twill be interesting to see how it plays out.
The White Stripes call it a day.
http://www.whitestripes.com/
Bound to to be a "Best of" in the offing so............................Quote:
Originally Posted by The Fly
..followed by the inevitable lucrative reunion tour sponsored by coke. i think it was thurston moore from sonic youth saying they lost a ton of money because they stayed together while many of their peers broke up and reformed!Quote:
Originally Posted by Wolfie
Radiohead announce new album - "King of Limbs".
http://http://indielibertines.net/radiohead-announce-new-album-the-king-of-limbs/
that Adele is seriously fcking talented.
Beady Eye - not as crap as I thought it'd be! Not willing to commit to it being good, as I was only half listening, but certainly wasn't "turn off that rubbish" standard.
Credit where its due - its a decent album. A bit of La's, Lennon, Beatles, the Who. It has no aspirations on pushing the boundaries but is comfortable in its own skin.Quote:
Originally Posted by Macy
Gallaghers is vocally very strong and the band sound is looser than the Oasis sound.
1 nil Liam. Over to you, Noel.
This excerpt relates to how, in the early 80's, Neil Young was sued by his own record lable for effectively "not being Neil Young enough".
The mans a legend. No more to be said.
"Young's next album, 1983's Everybody's Rockin', included several rockabilly covers and clocked in at less than twenty-five minutes in length.
Young was backed by the Shocking Pinks for the supporting U.S. tour. Trans had already drawn the ire of label head David Geffen for its lack of commercial appeal, and with Everybody's Rockin' following only seven months later, Geffen Records sued Young for making music "unrepresentative" of himself"
Beady Eye were in pole position for making the worst album of the year until the Strokes album came out. Andy Reid could do better.
Beady Eye album was a pleasant surprise, nowhere near as bad as expected it to be. One song does sound dangerously close to Beatles 'Get Back'.
Badly disappointed by The Strokes album.
Quote:
Originally Posted by twoenz
Sounds like the Strokes have blown it????????? I've only heard the single and thought it was quite good.Quote:
Originally Posted by Pauro 76
I think my next Strokes purchase will be the inevitable future release of a singles compilation album. They're becoming a good singles band with crap albums.
Credit where its due - I think Beady Eye album is very good. It won't rival Morrisey lyrically and its influences are quite obviously steeped in Beatles, Stones, Who and the La's. That said - if it sounds good, so what???
That tune "The beat goes on" is just infectious. Once you hear it, its on repeat play within the ol Brain box whether you like it or not.
"Beatles and Stones" is a great tune as well.
The strokes album? WTF?! I liked the first single as well....
Beady eye were very good live a couple of weekends back. Just about recovered from a weekend of binge drinking down in London. I just wish Liam would knock off the obsession with John Lennon's solo work.
Liam's voice sounds fantastic and it was good live as well. He seems motivated so I wouldn't be surprised if they go back to the studio this year.
A less than ringing endorsement of new Strokes album:
http://http://www.guardian.co.uk/music/2011/mar/17/the-strokes-angles-review
Neil Young compilation "Decade" on heavy rotation in the Wolfie gaff at the minute.
Some great stuff on there that covers 1966 to late 70's.
Anyone else heard it??
http://http://en.wikipedia.org/wiki/Decade_(Neil_Young)
From the Guardian, no thanks. Only worth reading for the footballQuote:
Originally Posted by Wolfie
without getting into the merits or otherwise of The Strokes' new album (ive only heard the single), that review sums up all that is wrong with music journalism for me. Needless snobbery, over indulgence with irrelevant, unrelated facts on and poor actual reviewing of the album itself.Quote:
Originally Posted by Wolfie
I hate music journalism, i just trust my ears.
I don't think it's a bad review. And that's not just cos I agree with it. In fairness, I can see why he had to fill out paragraphs with tenuous detail - there's very little to say about this record other than 'gob-smackingly gash'.
The album is starting to grow on me. I listened to it non stop yesterday. It's a grower.
if you thought that was bad, check out their reviews on the Beady eye album. I hate the music critics from the guardian. Kitty Empire think's she's the ****Quote:
Originally Posted by SkStu
I'm enjoying the new Strokes album. Tracks like "Under Cover of Darkness" "Machu Picchu" and "Taken for a fool" are among the best they've done- There's a lot less filler than the last album and a lot of tracks that are growers like "Life is simple in the Moonlight" or "Two Kinds of Happiness"
Me too, and the film critics are awful as wellQuote:
Originally Posted by shakermaker1982
I love Decade, unrelentingly great, hardly a duff track across the two CDs, and very few omissions. One of the best "Best of.."s ever compiled I'd venture.Quote:
Originally Posted by Wolfie
Just heard new Foo Fighters song Rope. Have to say not bad. However they did this with Pretender and ESPG was a crock of an album.
http://www.youtube.com/watch?v=kbpqZT_56Ns
Fingers crossed...
The world could do with some Grohl like this again...
http://www.youtube.com/watch?v=jLqeCdRvSL4
what the HELL happened to Santogold?