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This is a great album. In my top 10 all time. Skyway, The Ledge, Great songwriting. I know a lot of people like Alex Chilton. I'm partial to Can't Hardly Wait which is in my favorite top 3 indie tunes (yes, I think it's indie although it may not really be) all time along with Soul Meets Body by DCFC and Chinatown by Luna (Penthouse is an incredible album too).
That's a great one (love the "Jesus rides besides me, he never buys any smokes" line). Also Red Red Wine, The Ledge, I Don't Know, Shooting Dirty Pool, Valentine - all of it. A great record.
Ironic - tinny transistor sound is what i most closely w JB. It's all there, boy - every note, every beat tells you where it comes from, what's happening RIGHT NOW and where it's going, but my association with it comes thru the pillow of my childhood bed.
I Feel Good, Papa's Got a Brand New Bag, The Payback, Sex Machine, to name four. But just like you, I celebrate his entire catalog.
).
It's weird how music connects one to a place. There probably isn't a less Police-y place than New Mexico, but their first three humunahumuna-titled records just instantly take me back there."Turn on the VCR, same one I've had for years, James Brown on the T.A.M.I. show, same tape I've had for years."
7: When The World Is Running Down, You Make The Best Of What's Still Around, The Police, 1980
topnotch keyboard player, too. even more topnotch weasel jackhole who smoked for 30 yrs without ever buying a pack. as a founding member of Blood Oranges and in Son Volt now, Mark's contribution to alt-country is almost Rushmorian. he was even a Pretender for a short while.
That's some very nice blues guitar happening there.
Love it. But there really should be a word, phrase used to describe it other than "song". Track, gr00ve, perfume commercial, something. You knew i was going to say that and i wont have time to defend that stance til later in the day, but i gotsta get it on the record right now. Delicious as it is, calling Save My Soul a song insults a lot of work i admire.
I'm not super keen on having a semantic debate about what "song" means. I understand your perspective, though I don't share it. I don't have a purity test for music, one piece of music can't insult another (unless it's specifically designed to do so, e.g. spoof, parody, direct criticism). For me, if the sounds move me in some way, that's enough - it's music, it's a song. I don't need a particular structure, form, lyrical content, set of instrumentation, historical pedigree, etc. If I can get what you're putting out through your music, if you're communicating something that resonates with me, I'm on board, and I'll take it in the spirit in which it was given. Like this one - it gives me a sense of peace and warm comfort on multiple fundamental frequencies. The ability to provide that kind of feeling through sound (instruments, voice, etc.), that's music at its best to me.
This seems an odd thing to say, but I long ago gave up trying to make sense out of your musical lines-in-the-sand.
This one isn't really my thing, but it probably might maybe could be given the bolded as background. Context matters, right? Especially in something as subjective as music.
I missed this one. The Police are REALLY hit-and-miss for me. Some of their stuff I like a lot and some I like very little. Most of the time, I can't tell you why.Gr00vus said:
It's anything but semantic to me. But my efforts in this thread have been my present to you for your love of music & half-century on this planet, so i will not engage the debate. I'm becoming hungrier & hungrier to get back in the studio now, if only to show you & floppy & ukky & everyone how impossibly easy it is to gr00ve folks. 'til then, i'll leave you with my father's equivalent to Save My Soul and say that i find both equally pleasing & unimpressive.
That's them. The track is off an album called "Sound Boy Rock" - I don't think they're being particularly clandestine about their influences/who they're purloining things from. They have actual people playing actual instruments when they play live. They've also put out a ton of music you've probably heard but not known was them, and have collaborated with a lot of other artists to produce stuff.
oh- that's definitely different, then. chem bros, orbital are literally two guys pressing buttons while bopping their heads along. still fun 'live' (and loud) but not the same as people playing instruments.
I guess if its live actually seeing the music being recreated is important, the better the seats the more. But when it comes to a record or cd the main thing for me is what was created, not how hard it was to create.
In studio, Groove Armada are Andy Cato and Tom Findlay. On stage they'll throw a 4 or 5 piece or so out there and bring in a series of singers to do a song or two. For instance, here's them with Richie Havens - little by little. Here's them behind Candi Staton doing You Got The Love (unfortunately Candi's voice wasn't really up to it that day, tough for a 72 year old to bring it every night, the crowd was into it anyway). That's a live rendition of this track by The Source with Candi Staton, which is itself a remix of her original cut. On that same Sound Boy Rock album they did Love Sweet Sound with Candi. You can search youtube for more of their live shows - some good performances along the way.
fwiw- both orbital and chem bros put on great shows and appear to be making the music live... albeit by pushing buttons and playing 'stuff'. I saw kraftwerk on their computerworld tour- stumbled into their sound check while picking up my tickets, and they were all in the club space listening- not playing. while watching them that night, I had no idea if the whole thing was taped or not... still great.
Nobody can ever say a bad word to me about Kraftwerk. They created an entire genre that has never surpassed what they themselves laid down way back in the 1970s.
I really liked where The Police were headed when they were breaking up. I didn't mind the ska-oriented rhythms of their humunahumuna albums, but the dystopian sonic landscape they started creating here and carried on with in SynchronicityII was a wonderful direction by which to escape the suddenly-too-cute New Wave. But they done 'sploded.
Now that you've made me consider it, i am very excited to see if i can add more counterpoint & complicated structures to electronic music without losing the gr00ve.
I'll actually be very, and genuinely happy to hear it.
Oh, Robbie!
The videos do objectify women, but these models are being paid to help Robert sell his song. Models objectify themselves as a living. They are eye candy for the viewer. Robert doesn't even look at them. The women are clothed or wearing a one piece swim suit, and the videos are pretty tame for the most part. "Simply Irresistible" is the most provocative of the videos with the camera panning over the women's cleavage, they shake their butts, and they are kinda pumping each other dancing.
Robert and His Ladies was his shtick for a few videos. I didn't have a problem with it then, and I don't now.
What she said.The videos do objectify women, but these models are being paid to help Robert sell his song. Models objectify themselves as a living. They are eye candy for the viewer. Robert doesn't even look at them. The women are clothed or wearing a one piece swim suit, and the videos are pretty tame for the most part. "Simply Irresistible" is the most provocative of the videos with the camera panning over the women's cleavage, they shake their butts, and they are kinda pumping each other dancing.
