10
Mar 01

Keith Levene interview at PSF:

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Keith Levene interview at PSF: Glad to see that he rates Yes so highly.

6
Mar 01

THE SMITHS – “Hand in Glove”

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THE SMITHS – “Hand in Glove”

It was argued around these parts at another time that while Robert Plant was an awful singer, he was integral to Led Zeppelin because of the way his squawk floated over the bass-heavy sound. It is notable how similar the Smiths were in the early, superior, phase of their career: a ridiculous singer who couldn’t sing bleating beautifully over a bass-heavy rocking sound led by a virtuosic guitarist. Morrissey seems to serve the same function as the introductory harmonica in this song. And while wit and lyricism and crooning are all fine things, I’m not about to start buying Cole Porter records if you catch my drift and so I’ll take this over all the sweetly sung Wildeisms he’s offered since. The lurching beat and giant jangle provide the force that drives the cockily fearful howls.

17
Feb 01

when did motion learn to write like this?

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when did motion learn to write like this?: about the pixies, of all things.

16
Dec 00

see, music class

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see, music class was useful after all: i’m not sure this guy uses “atonal” and “ambient” the same way i do.

finally, a justifiable obsession

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the ultimate jason dean fansite. devoted to the christian slater character from heathers. features penetrating psychoanalyses of the character. don’t forget to sign heather’s suicide note.

12
Dec 00

CINDERELLA – “don’t know what you got ’til it’s gone”

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CINDERELLA – “don’t know what you got ’til it’s gone”

an argument that performance>composition:

this near-midler piano ballad perverted by tom keifer’s wounded-beast rasp. purring and whining sympathetically he leaves the impression of the lost uncivilized outsider.

jeff labar tries elegantly to understand.

5
Nov 00

what i listened to yesterday:

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what i listened to yesterday:

didn’t listen to anything till i got home from work. then:

sunny day real estate — “seven”: wanted to see if it was as hair-metal as i remembered. it was.

smashing pumpkins — siamese dream up through “geek usa” over dinner. anthemic, exciting, dramatic, poignant.

first six tracks from main — motion pool. tried studying through it first then realized how tired i was and how distracting the music was. switched off the lights and lay in bed for a while. found the music cold. switched it off.

seppuku — the awesome houses of earth’s innocents while i actually studied: at first i was disappointed at how little this recording seemed to live up to the intensity of this ottawa avant composition/improv group’s live shows. this time i started to like it better in an ambient/cageian kind of way. moments of beauty.

william walton — bagatelle no. 2/ reginald smith-brindle — prelude no. 2 and prelude no. 3: listened to myself practise these on the guitar.

listened to my processed indian harmonium piece while i tried to notate it. annoying task.

shellac — 1000 hurts while i studied some more. i’ve been very impressed by this album, my first shellac album. sparse, tight, biting, bitter. the out-of-phase guitar and bass parts at the end of “song against itself” are great. even the “canaveral” solo is growing on me.

at the pub, heard a mix of 80s and funk and disco stuff. the only songs i recognized were “sweet child o’ mine” and “le freak.”

as i went to bed: immersion — low impact. very pretty minimalism from colin newman and malka spigel. just when i thought straight minimalism might be over for me.

31
Oct 00

transcription of the actual radio on where chuck eddy made the controversial bone thugs comment:

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transcription of the actual radio on where chuck eddy made the controversial bone thugs comment:

seems like phil dellio misrepresented him in the critique linked below. he didn’t say “i haven’t decided if i want to like this yet” but “i haven’t decided whether phil wants me to like this.”

29
Oct 00

about that top 100 70s punk lps list

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about that top 100 70s punk lps list:

is it really that satisfying to arrive at a number divisible by 5? far too many records are listed for reasons amounting to “i can’t stand this but a lot of people seem to think it’s good” or “a good example of run of the mill dole queue punk rock” ( he actually says this!) this makes it a somewhat dry passionless read (as opposed, say, to ned’s wonderfully biased top 136 albums of the 90s list). it fails to make me at all interested in hearing a fall album (and why else list one?) if the most he can say about it is that a lot of people like it. anyone who’s reading a list like this probably already has an idea of what the most acclaimed records are.

how often are canons perpetuated just because albums (or books or films . . .) are supposed to be good? does anyone actually like dickens? i’ve heard of it, maybe met one or two people who did (and many more who made excuses for him) but by and large even the teachers and professors who were teaching the stuff put it down.

wasn’t punk supposed to be opposed to this mentality?

chuck eddy — iconoclastic genius or knee-jerk contrarian (or both)?

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chuck eddy — iconoclastic genius or knee-jerk contrarian (or both)?

an interview with eddy plus a critique by phil dellio, who raises some valid criticisms here. via www.rockcritics.com.