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Old 11-01-2009, 02:05 PM   #3826
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Originally Posted by Hogan11 View Post
The instruments in question on that track are not only very noticable(sic)...
The synths are only noticeable in the intro. After that, they're pulled pretty far back in the mix for the most part. The congas are WAY back in the mix.

At any rate, your refusal to acknowledge talent when it manifests itself in a genre or era (or on an instrument) you personally dislike only makes you sound amateurish, provincial-minded, and musically immature.

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....but they're sounding the same as most production jobs of the 80's....meaning they haven't aged well at all, sound horribly dated today and yes....they are cheesy.
Yeah, we get it - you don't like synths.

And "produced in the 80s" = "bad."

Instead of saying "horribly dated" couldn't you at least be honest enough to say "unfashionable?" That's all you're really saying here, anyway.

Indeed, the fashion policing and taste-making in which you routinely engage is ultimately little more than (1) hubris and (2) a compensation for your inability to offer any actual intelligent analysis of the music.

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Sanborn was an insufferable pompous ass at times, much like yourself, so it's little wonder you'd feel that way.


Oh, the irony.

I'm not the one trumpeting myself as some kind of "historian" or music critic here.

I'm not the one sitting on the sidelines telling accomplished artists how they should be making their music while I produce nothing myself.

Oh well - it's safer than having to put your own music up here for a critique, eh?

At any rate, it's pretty clear that, in your mindset, "pompous" = "a little too sophisticated for Hogan to wrap his brain around."

(But then, most "music" critics probably couldn't play a C Major scale if their lives depended on it, so there's nothing exceptional about you in that regard.)
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Old 11-01-2009, 03:59 PM   #3827
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The synths are only noticeable in the intro. After that, they're pulled pretty far back in the mix for the most part. The congas are WAY back in the mix.

At any rate, your refusal to acknowledge talent when it manifests itself in a genre or era (or on an instrument) you personally dislike only makes you sound amateurish, provincial-minded, and musically immature.
And here we go with more condescending blather from the Ubermusician. He started out okay with the first paragraph, but he just can't go without dropping some disparaging remarks upon those who disgree with him. Because, if you do, then you're "amateurish, provincial-minded, and musically immature"

Yawn.

Quote:
Yeah, we get it - you don't like synths.
Wrong again Ubermusician. Never said anything of the sort. I was talking about the style, not the instruments themselves, but you just keep grasping at straws because someone dared to disagree with you and you need to prove yourself right at all costs instead of accepting the notion that people can have different opinions other than your own.

Quote:
Instead of saying "horribly dated" couldn't you at least be honest enough to say "unfashionable?" That's all you're really saying here, anyway.
Couldn't you be honest enough to admit that overall sound mid-80's hasn't aged very well?..wait, what am I saying?? To do that, you'd have to conceed something and we all know you'd never do that no matter what! My bad....whatever was I thinking??


Quote:
Indeed, the fashion policing and taste-making in which you routinely engage is ultimately little more than (1) hubris and (2) a compensation for your inability to offer any actual intelligent analysis of the music.
IOW's if you dare to disagree with the "in depth" opinion of the Ubermusician, then you don't know what you're talking about and don't have a valid opinion. We've been through this whole song and dance of yours pages ago. You treat differing opinions here like it's the W&P Room (no civil discussion, just condescending attacks) and it's the main reason why no one likes to have a conversation with you on this (or any other subject) in the entire forum.

Quote:
I'm not the one trumpeting myself as some kind of "historian" or music critic here.

I'm not the one sitting on the sidelines telling accomplished artists how they should be making their music...yadda, yadda, yadda Zzzzzzzzzzzzzzzz
And here the Ubermusician offers up nothing but more of the same (condescension, disparaging remarks, personal attacks, etc, etc.).

I could keep on giving you what you give out, but I think I'm going to be the better man here. It's time I follow the advice of the PM's and rep I get and just place you on ignore from here on out. They were right, despite the interesting clip here and there, it's just not worth the time or effort anymore.
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Old 11-01-2009, 11:32 PM   #3828
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And here we go with more condescending blather from the Ubermusician.
^ Perfect characterization of your initial zingers re: "cheesy" synths, congas, etc.

Just about every other word you write about music drips with the condescension and arrogance of a person who feels he has the right to sit on the sidelines and judge accomplished artists while producing nothing of any musical consequence himself.

The arrogance and condescension of a "reviewer" who thinks other people should listen to or buy a record just because he tells them it's OK or hip to like that record.

Anyway, if having the audacity to suggest that you should actually know a thing or two about music before you hype yourself as some sort of taste-making critic makes me "condescending," then guilty as charged, I guess.

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Wrong again Ubermusician. Never said anything of the sort. I was talking about the style, not the instruments themselves...
Like hell you were.

You didn't say anything about styles - you just crapped on an entire decade (i.e., "typical 80s production") and an instrument (synth.)

At any rate, as I said, the synth sound on that track is not what I'd call "dated." It's not like he's playing an Arp Odyssey or a Moog or something.
Patches like the one he's using are still used on a lot of projects nowadays.

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Couldn't you be honest enough to admit that overall sound mid-80's hasn't aged very well?..
According to whom?

Oh, that's right - the fashion police and arbiter of taste (read: Hogan.)

It's all in the ear of the beholder (a concept you will never understand.)

BTW, FWIW, there are certain synth sounds that, in my opinion, haven't aged well, but that doesn't stop me from judging the music being played on them on its own merits.

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I could keep on giving you what you give out, but I think I'm going to be the better man here. It's time I follow the advice of the PM's and rep I get and just place you on ignore from here on out. They were right, despite the interesting clip here and there, it's just not worth the time or effort anymore.
Translation:

"I just got my covers pulled, so I'm taking my toys and going home."
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Old 11-02-2009, 06:47 AM   #3829
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As I'm sure this was more of his usual bullshat in response to my last post...

This message is hidden because L.A. BRONCOS FAN is on your ignore list.

and now, back to the spirit of the thread. It's a Bobby "Blue" Bland kinda day

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Old 11-02-2009, 09:00 AM   #3830
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Hey Hogan--How is the new Yo La Tengo? I've been meaning to pick it up but it keeps slipping my mind.
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Old 11-02-2009, 03:15 PM   #3831
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Tech N9ne K.O.D. His best cd since Anghellic but still not on that level.
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Old 11-02-2009, 11:13 PM   #3832
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As I'm sure this was more of his usual bullshat in response to my last post...
Whatever gets you through the night, Mr. Fashion Policeman.

Have fun holding up those score cards.
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Old 11-02-2009, 11:37 PM   #3833
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Hey Hogan--How is the new Yo La Tengo? I've been meaning to pick it up but it keeps slipping my mind.
YO LA TENGO - POPULAR SONGS

Rating - 3 1/2 Stars (on The Dave Marsh scale of a block to 5 stars)

I have no doubt long time fans of the band will be content with this, the bands first album since 2006. Popular Songs (a title that's firmly tongue in cheek) is a holding pattern, offering more of the same directions explored in previous efforts with a variety of variation. The new wrinkles here are added strings that don't rob the band of it's power (a problem that R.E.M. never recovered from) and a one-off flirtation with classic Motown soul never before attempted in the entire catalog.

Things start off neo-psychedelically with "Here To Fall", a keyboard based mind**** romp augmented by tasteful backing strings that never overshadow the song or it's trippy inclinations. There's nothing like it previously in the band's catalog.
Avalon is a good to great slice of mid-tempo jangle pop. I thought this track had Georgia's vocals on it initally, but after seeing the band play it live, it's actually Ira singing it in a high-pitched voice. It's a beautiful song and maybe stood a better chance of breaking out had Ira sang it in his normal voice, oh well.
BY Two's is an ambient track circa "And Nothing Turned Itself Inside Out". Very slow and atmospheric with a dry Georgia vocal. I once asked Ira about tracks like this and he said to me that they are really showcases for the band's love of the ebow......you can expect one track like this per disc for the remainder of the band's career. It's up to you whether or not you use it as an intermission.
Nothing To Hide is a fuzztone three chord indie rocker with an Ira "solo" dripping in feedback and recalling the ghost of Robert Quinne. It's as thrilling as it is awesome.
Periodically Double Or Triple, with it's catchy, funky bassline is the band's entry for dance pop radio airplay. The tracks accessability is ultimately underminded by weirdness in the bridge, making a wide audience unlikely. Still, it's synths and bassline make it probably the most likeable song on the disc at first listen. This is the track most recalled when people are asked about this disc and with good reason.
If It's True is my personal favorite. A classic bit of Motown soul, colored by strings, a Hammond organ and with call and response vocals by both Ira and Georgia. The band never before attempted anything like this and they succeed beyond expectations.
I'm On My Way, When It's Dark & All Your Secrets are low key, adult pop done as you'd come to expect from the band. Each could fit comfortably on "I Can Feel The Heart Beating" or "I'm Not Afraid Of You" with ease and very well may be holdovers from the last album, although none of them feel like outtakes.
The final three tracks on the disc collectively run just a bit longer than the previous nine. They make for demanding listening and bring down the disc as a whole. Perhaps as a reaction to the overall pop leanings of the initial tracks, More Stars Than There Are In Heaven recalls Big Day Coming with it's hypnotic keyboard loop and slow pace for close to 10 minutes.
Perhaps the most unbearable track on the disc, The Fireside is a spare, acoustic arrangemnt that drifts for 11 minutes without variation of any kind. It's sleep inducing drone recalls I Can Hear The Heart Beating As One's "One PM Again" If that does cause you to dose off, then you'll be awaken rudely by And the Glitter Is Gone, a 16 + minute Ira guitar freakout jam drenched in ear-splitting feedback.

I awarded the album 3 1/2 stars, meaning that it has appeal to fans of a particular style and/or is of interest to established fans of a particular artist, but the work is unlikely to attract new fans or win over detractors of an artist's previous works.

That's how I see it Inferno. I personally think you would like it, but I'd direct newbies to other albums before this one if they were being introduced to the band for the first time. Once you get it, lemme know if you agree or disagree with this assessment. I would be most interested in your opinion of it.

Hope this somehow helps.
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Old 11-02-2009, 11:55 PM   #3834
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Check this out Inferno, this is from the Cleveland show I was at. A surprise Paul Revere cover that I thought was as funny as it was great.



Look closely and you'll see me in front of Ira. I didn't get the chance to interact with them much at this show, as I was pretty ill at the time, so no pics...they were cool though. Hope you get to see them at some point, it's well worth it.
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Old 11-03-2009, 05:06 AM   #3835
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Old 11-04-2009, 07:25 AM   #3836
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Earlier this summer, the full sets of various Woodstock performances were released for select artists in limited edition. (Santana, Johnny Winter, Jefferson Airplane, Janis Joplin and Sly And The Family Stone). This wild show is the best of the lot. Every bit as manic as the film clips everyone has seen. The problem with these sets is they're paired with the album that was out at the time as a twofer. Which is fine if you're a newbie, it's a pain in ass for people who already own the studio sets. This set was paired up with Stand! which I've had for over thirty years in various formats. They could've at least remixed it or something or paired it up with more live stuff from another show from the era.
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Old 11-05-2009, 06:31 PM   #3837
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Old 11-06-2009, 06:20 PM   #3838
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Old 11-09-2009, 12:37 AM   #3839
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Old 11-11-2009, 08:40 PM   #3840
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Old 11-13-2009, 09:56 AM   #3841
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Ok so I come into this thread and I read about KD LANG and Limp bizkit. wow
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Old 11-13-2009, 10:34 AM   #3842
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Ok so I come into this thread and I read about KD LANG and Limp bizkit. wow
The thread is over 150 pages long. I'd be shocked if there were any musicians or bands in all of history not mentioned at least once.
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Old 11-13-2009, 11:28 AM   #3843
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True, those just caught my eye.

COOOOOonnnSTANT Craving
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Old 11-13-2009, 01:57 PM   #3844
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The thread is over 150 pages long. I'd be shocked if there were any musicians or bands in all of history not mentioned at least once.
I didn't see any Tap mentioned last time I went through it

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Old 11-13-2009, 04:04 PM   #3845
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I didn't see any Tap mentioned last time I went through it

...talk about mudflaps, my girls got 'em!
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Old 11-13-2009, 04:27 PM   #3846
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Alright folks.

P I X I E S



...came through Oakland last weekend and I witnessed the whole mess.

The fathers (and mothers...Kim Deal has her own footprint) of everything that has come through the post-punk genre from Nirvana to Pavement to Weezer to Modest Mouse to Animal Collective to whatever new digs are in your CD player now was basically birthed through the line of the Pixies' 1989 tour de force Doolittle. It resonates with a kind of surrealism that cannot be sensed and rationalized like any other set of musicians ever to set foot in a studio have been able to articulate. The Pixies' Doolittle was a sort of avant-garde masterwork with the depth and imagery of the surrealist masters of the early 1900's.



Anyway, the Pixies current tour revolves around the 20th anniversary of the release of Doolittle. They opened the set with a showing of Dali's Un chien andalou which was accompanied by a modern, moody soundtrack. It set an eerie, unsettled tone to the set. The classic eyeball slicing scene is particularly disturbing. Its important to know that this movie was influential in the writing process for Doolittle. "Debaser" contains several allusions to the short film and its themes are present all the way through the album. Un chien andalou was followed by 4 of the B-Sides released with the singles of "Here Comes Your Man" and "Monkey Gone to Heaven"...including a couple of my Pixies faves "Bailey's Walk" and the joyous "Manta Ray".

They followed the B-Sides with an in-sequence run through the entire album of Doolittle, which was played to perfection. I saw them in 2004 and this performance was immaculate in comparison. There was no posturing, there was no cheapness about the show. It was raw and rough and right on time...just like a Pixies show should be. The highlights of the show for me were the performances of "Manta Ray", "Tame", and "Silver", which were essentially the extensions of the moods of the show. Beautiful in all respects, really. Joy, violence, loneliness...all juxtaposed like figures in a Dali.

The lights and effects were interesting and added alot to the presentation. You could tell that the Pixies are enjoying themselves on this tour and are probabably enjoying their commercial success (which is well-deserved) stateside as well.

The show was closed with two encores, which included 5 songs.

Best show I have seen. Wonderful.


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Old 11-13-2009, 04:48 PM   #3847
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Alright folks.

P I X I E S



...came through Oakland last weekend and I witnessed the whole mess.

The fathers (and mothers...Kim Deal has her own footprint) of everything that has come through the post-punk genre from Nirvana to Pavement to Weezer to Modest Mouse to Animal Collective to whatever new digs are in your CD player now was basically birthed through the line of the Pixies' 1989 tour de force Doolittle. It resonates with a kind of surrealism that cannot be sensed and rationalized like any other set of musicians ever to set foot in a studio have been able to articulate. The Pixies' Doolittle was a sort of avant-garde masterwork with the depth and imagery of the surrealist masters of the early 1900's.



Anyway, the Pixies current tour revolves around the 20th anniversary of the release of Doolittle. They opened the set with a showing of Dali's Un chien andalou which was accompanied by a modern, moody soundtrack. It set an eerie, unsettled tone to the set. The classic eyeball slicing scene is particularly disturbing. Its important to know that this movie was influential in the writing process for Doolittle. "Debaser" contains several allusions to the short film and its themes are present all the way through the album. Un chien andalou was followed by 4 of the B-Sides released with the singles of "Here Comes Your Man" and "Monkey Gone to Heaven"...including a couple of my Pixies faves "Bailey's Walk" and the joyous "Manta Ray".

They followed the B-Sides with an in-sequence run through the entire album of Doolittle, which was played to perfection. I saw them in 2004 and this performance was immaculate in comparison. There was no posturing, there was no cheapness about the show. It was raw and rough and right on time...just like a Pixies show should be. The highlights of the show for me were the performances of "Manta Ray", "Tame", and "Silver", which were essentially the extensions of the moods of the show. Beautiful in all respects, really. Joy, violence, loneliness...all juxtaposed like figures in a Dali.

The lights and effects were interesting and added alot to the presentation. You could tell that the Pixies are enjoying themselves on this tour and are probabably enjoying their commercial success (which is well-deserved) stateside as well.

The show was closed with two encores, which included 5 songs.

Best show I have seen. Wonderful.

FWIW, They'll be in Denver @ The Filmore the 16 & 17

Tickets still available
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Old 11-18-2009, 09:01 AM   #3848
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Old 11-18-2009, 07:39 PM   #3849
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Released yesterday, one of the better sets of shows from the '70 tour
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Old 11-18-2009, 08:43 PM   #3850
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Alright folks.

P I X I E S



...came through Oakland last weekend and I witnessed the whole mess.

The fathers (and mothers...Kim Deal has her own footprint) of everything that has come through the post-punk genre from Nirvana to Pavement to Weezer to Modest Mouse to Animal Collective to whatever new digs are in your CD player now was basically birthed through the line of the Pixies' 1989 tour de force Doolittle. It resonates with a kind of surrealism that cannot be sensed and rationalized like any other set of musicians ever to set foot in a studio have been able to articulate. The Pixies' Doolittle was a sort of avant-garde masterwork with the depth and imagery of the surrealist masters of the early 1900's.



Anyway, the Pixies current tour revolves around the 20th anniversary of the release of Doolittle. They opened the set with a showing of Dali's Un chien andalou which was accompanied by a modern, moody soundtrack. It set an eerie, unsettled tone to the set. The classic eyeball slicing scene is particularly disturbing. Its important to know that this movie was influential in the writing process for Doolittle. "Debaser" contains several allusions to the short film and its themes are present all the way through the album. Un chien andalou was followed by 4 of the B-Sides released with the singles of "Here Comes Your Man" and "Monkey Gone to Heaven"...including a couple of my Pixies faves "Bailey's Walk" and the joyous "Manta Ray".

They followed the B-Sides with an in-sequence run through the entire album of Doolittle, which was played to perfection. I saw them in 2004 and this performance was immaculate in comparison. There was no posturing, there was no cheapness about the show. It was raw and rough and right on time...just like a Pixies show should be. The highlights of the show for me were the performances of "Manta Ray", "Tame", and "Silver", which were essentially the extensions of the moods of the show. Beautiful in all respects, really. Joy, violence, loneliness...all juxtaposed like figures in a Dali.

The lights and effects were interesting and added alot to the presentation. You could tell that the Pixies are enjoying themselves on this tour and are probabably enjoying their commercial success (which is well-deserved) stateside as well.

The show was closed with two encores, which included 5 songs.

Best show I have seen. Wonderful.

Awesome. They're in Chicago this week...but I'm poor, so I probably won't make it. Doolittle is undoubtedly one of (if not the) most influential albums of the last 25 years. And one of the outright best.
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