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|>>|| No. 12990
Been on a bit of a stoner rock youtube journey. Few good ones:
|>>|| No. 12998
Horslips are Ireland's greatest ever rock band. They shit all over U2, and I would say they slightly edge out the Cranberries.
By the way, when do you think that last song came out? It sounds 20 years more recent than the other two, but from my research, it actually came out in 1979.
|>>|| No. 13003
Posting this because I love the simple punchy beat and woozy instrumentation.
|>>|| No. 13004
I didn't like it at first, but it's grown on me.
|>>|| No. 13006
Derided at its time as a tepid, contrived synthpop piece from New Romantic's tail end through which singer Phil Oakey was allegedly staggering listlessly and with audible disinterest in the lyrics, it's arguably nowadays looked on as an 80s music staple.
The Human League didn't really drop the ball until their 1990 album "Romantic?", which was a failed attempt to revert to early 80s synthpop soundscapes, at a time when grunge was already on the horizon.
|>>|| No. 13008
WTF...a popular modern song that I actually enjoy.
I for one, welcome the 70s R&B revival.
|>>|| No. 13032
I hope the 'rona didn't kill the sound system. No longer in the scene, just occasionally happened upon them. A guaranteed good night if I found one.
|>>|| No. 13037
Top tier Japanamerican video game cheese, but it's so sincere that I love it.
|>>|| No. 13038
I think I used to listen to this on GamingFM, that online radio station with about 4 or 5 channels of videogame music.
|>>|| No. 13042
"Slave to the Rhythm" was actually written for Frankie Goes To Hollywood by Trevor Horn. The latter then decided at the last minute before he let FGTH have a go that it was more suited for Grace Jones. A ground-up reworking of the track then resulted in the swingin' little number that became one of the most iconic pop music singles of the mid-80s.
|>>|| No. 13052
Where have I heard this, was it on an advert?
Everyone now and again you lot remind me of the music I listened to when I was 15. What happened to it?
|>>|| No. 13054
That's easy, >>8980 is the key. Every genre of music from every decade you ever enjoyed has a foreign language equivalent somewhere, just waiting for you to discover it as though it's new releases. Best of all, they sing in mucky foreign languages so if the lyrics are as embarrassing as the lyrics of the stuff you listened to as a teenager, you don't have to find out.
|>>|| No. 13059
It's not the most amazing album but it does have some crackers. Cookie if you can identify the dialogue at 4:25 on Flowers In The Desert.
|>>|| No. 13060
Been watching Babylon 5 as of late and this song has been stuck in my head.
|>>|| No. 13061
I've been digging a lot of goth rock recently.
|>>|| No. 13063
Not sure if this belongs here or in the decent covers thread, but this absolutely does it for my inner ADHD 10 year old.
There's some mildy obnoxious fannying about until 2:12, but in my addled state I think it adds rather than detracts.
|>>|| No. 13073
Listening to this is like discovering a hidden DMX album.
|>>|| No. 13076
THIS WEEK, I AR BEEN MOSTLY LISTENING TO 80s CORPORATE LIBRARY MUSIC.
|>>|| No. 13079
I got a read Neil Yardley vibe from these.
The first tracks of these albums are tip top.
Then they seem to lose their way a bit.
|>>|| No. 13085
THIS WEEK I AR BEEN MOSTLY LISTENING TO SOUNDTRACKS FROM '70s ITALIAN SOFT PORN FILMS.
|>>|| No. 13087
Nice video etc. I must admit that the new generation are much more impressive than electroclash.
|>>|| No. 13098
Never realised that anti-depressants stop all emotions - that seems quite counter-intuitive.
|>>|| No. 13099
Emotional blunting and/or apathy is a common but not universal side-effect of antidepressants. We aren't really sure if it's an effect of the drug or a residual symptom of partly-resolved depression, i.e. you don't feel miserable any more but you don't feel good either. Research ethics rules make it very difficult to give healthy patients antidepressants just to see what happens.
|>>|| No. 13102
I just discovered this crazy track. I think I'm gonna jizz in my pants.
|>>|| No. 13106
Direct shot of breasts, but they're painted so that's okay.
>Was this intentional?
|>>|| No. 13108
I had an opportunity to see Skunk Anansie live recently, which I declined because I'm not really a live-music person, but now I can't stop listening to their songs and being reminded of how enormously fantastic Skunk Anansie are.
Here is Skin from Skunk Anansie, singing one of their ballads with none other than Luciano Pavarotti himself. Not only is it great because it's a good song which showcases Skin's incredible voice, but because it's Pavarotti, she just sings it in Italian with him. That's phenomenal.
|>>|| No. 13110
I saw her like 8 years ago in the Newcastle O2, and that was mildly disappointing because it was all new stuff. Has she conceded and realised that's what people want or are her gigs more oriented towards the new stuff?
She crowdsurfed a bit and I think I touched her at some point which was nice.
Saw the Smashing Pumpkins at the same venue around the same time and Billy Corgan told an audience member that he was ruining the vibe, then I looked into the smashing pumpkins documentaries and found out he was an egomaniacal bellend but still, good craic.
|>>|| No. 13111
I love small gigs with relatively big bands, like when they're well known amongst music people but not necessarily massive commercially, it's such a unique vibe.
My favourite is when I went to see Exodus about 10 years ago, and Gary Holt asked for a show of hands how many people bought the new album, then how many people downloaded it. There were far more hands for the latter, so he said "What the fuck, guys?" and someone yelled with the most perfect comedic timing "It's ten quid, ya cunt!"
|>>|| No. 13112
I saw Arctic Monkeys at the Leadmill the night their second album launched at midnight. They ended with Old Yellow Bricks, and sure enough everyone was bouncing around and singing along to a song that wasn't out yet. Alex Turner got a laugh out of it, at least, and they used to give out their music for free at gigs anyway.
|>>|| No. 13113
My favourite small gig, and it wasn't that small but it felt it, was seeing Queens of the Stone Age in 2018 in Tokyo. For a band you would think can sell out big arenas, this was a really intimate venue. I remember practically smelling Josh Homme and his er, drunken rambling.
|>>|| No. 13133
German Reggae, the video has Beastie Boys vibes.
|>>|| No. 13163
Jamaican Patois can be pretty unintelligible at the best of times, and being sung by a German, it's not going to help much.
|>>|| No. 13166
The percussion was later recycled for Spiller's Groove Jet (probably around 5:47).
|>>|| No. 13175
You'll have those 40 seconds stuck in your head for the rest of the week.
|>>|| No. 13178
I thought this guy looked and sounded familiar. How does he get away with it?
>Due to the failure of Johnny Moonshine, Jakobsen moved on in search of a newer, more 'annoying' sound. He chose the style of eurodance, which was just becoming popular in the mid 1990s, and began his career as the fake Indian "Dr. Bombay"
|>>|| No. 13179
>How does he get away with it?
Brownfacing and cultural appropriation hadn't been invented yet in the late 90s.
Although in the case of "Dr. Bombay", olivefacing might be the correct term.
The past always was a different country.
|>>|| No. 13180
I can't believe you didn't post this version - same tune, but the dancers are more appropriate for here.
|>>|| No. 13182
I don't know, looks a bit unpolished. Like it's what people at Leeds Community Centre get up to after their day job.
Quite likely, another song and video that couldn't be made today.
|>>|| No. 13184
Brian May was ahead of his time in celebrating ample posteriors, but I think naughty nannies aren't PC any more.
|>>|| No. 13188
From the days when you could listen to Oasis unironically because they were the stuff.
Curiously, there appears to be an Oasis tribute band stateside who call themselves Sally Can Wait.
|>>|| No. 13189
Do you reckon tribute band members have fights over who gets to dress up as which of the original band members?
|>>|| No. 13201
A one-hit wonder from the peak of classic French House, one of Stardust's members went on to form Daft Punk.
|>>|| No. 13202
>Do we really want to act as fat enablers?
Have you seen this place? Yes, yes we do.
|>>|| No. 13203
A surprisingly obscure record from the early days of Disco.
|>>|| No. 13204
I always get Demis Roussos mixed up with Glenn Medeiros. But you can have a lot of fun with obscure disco music; I think I have already spammed the "Songs in foreign languages" thread with the stuff I often listen to, so I won't post it here, but I've always thought The Ultimate Warlord by The Immortals needs more attention:
And German pop star Sandra (foreign, but sang in English) used to be in a disco group called Arabesque, whom I have recently started listening to but not always enjoying:
|>>|| No. 13205
Veering into space disco a bit there, eh.
> But you can have a lot of fun with obscure disco music
There's loads of modern club music these days which contains obscure disco samples. My guess is it's both because the rights to the sample will be cheap to obtain as it wasn't a big hit in its day, and most people won't know immediately that you've ripped off an old disco track.
A good place to investigate when a song sounds suspiciously 70s or even 80s is whosampled.com. It is by now a huge database of songs that sample other songs.
|>>|| No. 13206
This song was playing on the radio once while I was in the dying stages of a relationship with a lass. We were sitting on her couch on a Sunday night, in dead silence after a weekend of massively getting on each other's tits, but at that point in time I guess we were both still coming to grips with the realisation, you know, that point where you're looking down the barrel of inevitability but still can't believe your relationship is running through your hands like that. Where you know something's very wrong but you've run out of ideas how to fix it. So what wasn't helping at all was that this song suddenly came on, very accurately summing up our situation. I was going to ask her if I should change the station, but was worried that that would look like I was acknowledging it. So I just sat there waiting for the moment to pass, knowing full well that she was probably thinking the same.
We did break up the following weekend. And she told me that listening to that song with me was the moment she realised that it was actually over. Maybe I should have changed the station.
|>>|| No. 13207
>I guess we were both still coming to grips with the realisation, you know, that point where you're looking down the barrel of inevitability but still can't believe your relationship is running through your hands like that. Where you know something's very wrong but you've run out of ideas how to fix it.
I was talking to one of the younger lasses at work the other week about my most recent ex, like you do, just passing time filling them in on the gossip from your life and so on. I mentioned pretty much exactly this, how there's always that bit towards the end of a relationship where you've had an argument or some Big Event occured, and deep down, you know it's over from that moment on., but it takes a while to sink in.
I realised, when she responded with "Really? That's quite sad..." that she has never experienced it herself. She couldn't relate, because she's never been through it, the lad she's with now is her first proper relationship and she still has all that to come. For some reason that made me feel quite emotional, partially I think because it sort of puts the weariness and jading process of age into perspective. But also part of me just hopes she never does. I don't even really like this lass, she's a bit of a cunt frankly, but it's a horrible thing to go through and I remember how it was the first time I did. I wish nobody had to.
Anyway. Shite song, I've always thought it was quite impressive how massive Robbie Williams was at one point in the late 90s, and then just completely vanished into thin air over the turn of the millenium.
|>>|| No. 13208
>that she has never experienced it herself. She couldn't relate, because she's never been through it, the lad she's with now is her first proper relationship and she still has all that to come.
Ignorance is bliss. There's just a magic about your first love that's impossible to replicate with subsequent relationships. You'll never be as
naive wide eyed again, the more relationships you enter and break up again, the more there's always that sense of jadedness. Even if it's like, wow, this person is just so great, this is really going great, I've really met someone good this time, I'm so in love. In the back of your head, there'll always be that nagging thought that it could all just end badly again despite everybody's best intentions.
That was something that was absent from my first relationship. It was like the possibility of a breakup was just a distant rumour. Something that happened to other people, but not us. How could it. Because we were so perfect for each other. Which is why it knocked the shit out of me all the more when after two years, she suddenly told me she simply didn't love me anymore and no longer wanted to be with me. Pretty straightforward stuff really, there was no other lad in the picture (and believe me, I checked), she just didn't want me anymore. Something that millions of people deal with every day. But it was like a fall from paradise. Took me another two years and a few lukewarm romances and one night stands to get that out of my system again.
Self sage for rambling.
|>>|| No. 13209
>Which is why it knocked the shit out of me all the more when after two years, she suddenly told me she simply didn't love me anymore and no longer wanted to be with me.
You're giving me flashbacks to similar happening to me, to my mates and having to tell someone the same after I'd just grown apart from her. It equally hurts you over the long-term as well, loving someone is harder as you get older because you build up defences to the hurt that can come with it.
If only a 90s pop-superstar had a song for just such a predicament...
|>>|| No. 13210
I guess ARE Robs was the soundtrack to untold masses of relationships. Another one of my exes absolutely loved the song "Angels". As a result, I have many memories of us bonking each other's brains out to it.
|>>|| No. 13212
Hard to believe she's been dead almost eleven years now.
Still very powerful stuff.
|>>|| No. 13213
Try and have a bad time with this album in the sunshine. I dare you.
It even has a song about feeling sentimental for love you once had with someone after you've grown apart for our resident Robbie fanatics:
|>>|| No. 13214
This song has always been special to me. I was a younglad when it came out and I've enjoyed listening to it ever since. I've always liked the long winded, epic nature of many of Pink Floyd's songs and lyrics, and this track is no exception.
I want it played at my funeral one day, because it just has those lyrics that can be taken as somebody looking back on their life and the magic of their lost youth, and it just seems ideally suited for such an occasion.
|>>|| No. 13215
>it just seems ideally suited for such an occasion
Mate, nobody is going to want to stand in silence for nearly 8 minutes. You need something that can be played for about 30 seconds while the cremation curtain goes down and someone breaks down in tears to make it all about them.
I'm fairly confident an old mate will put on Making Plans for Nigel unless I can be arsed to make it explicit. Lyrics about being happy in his world and that. Unless I kill myself I suppose as then it gets quite macabre.
|>>|| No. 13216
I don't know if you have been to many funerals, but the ones I've been to, they were playing either some sort of generic moody music or a specific song that the deceased had requested. In any case, that song was then usually played in full at the beginning of the ceremony before the pastor or vicar or whoever else said a few words. I don't think it's asking too much to have people sitting through a few minutes worth of a song that may not mean much to them but which was special to you.
The last two to three minutes of High Hopes are kind of self repetitive anyway, so I'll forgive them if they fade it out before people get impatient.
A family member who was very dear to me requested My Way by Frank Sinatra. Also a good song for a funeral. For some reason, they were playing some kind of easy listening instrumental version of it, which really felt like it was missing the mark. Not sure why they did that. But it's probably best if I put down in writing somewhere that I want the actual song High Hopes played as it appeared on the album. Not some sort of Mike Flowers Pops ersatz.
|>>|| No. 13219
7am, Monday, and the week's already fucked. Thanks.
Why would they do that? Just why?
|>>|| No. 13221
I looked up the surfers because I'd like to piss up one their arses. Turns out they're a Hawaiian successionist or some such.
|>>|| No. 13222
Just the right kind of inoffensive mid-80s polished AOR summer sound.
Not the worst use of the Fairlight ARR1 patch.
|>>|| No. 13223
I'm weird about Billy Ocean; I really love two of his songs and don't care at all about the others. Depending on the Billy Ocean song I am currently listening to, I either love or despise him. Here are his two classics:
|>>|| No. 13224
>Not the worst use of the Fairlight ARR1 patch.
Far from the best though:
Crockett's Theme is sublime, but Moments in Love is better and I'll fight anyone who says otherwise.
|>>|| No. 13225
Also though, I like Paranoimia better.
Always been a big fan of Matt Frewer.
Billy Ocean had a decent career as a talented mainstream pop musician, but I wouldn't say that his contributions to music were groundbreaking.
|>>|| No. 13226
>Always been a big fan of Matt Frewer.
Literally just twigged to the fact that he played Moloch in Watchmen.
Am I being a massive racialist if I admit to confusing him with Ray Parker Jr?
|>>|| No. 13227
That is a weird version of the song Ghostbusters. The single version back in the day sounded markedly different.
|>>|| No. 13228
If you've never heard the experimental comedy mashups of Neil Cicierega before, you're about to go on an amazing adventure.
|>>|| No. 13230
I showed one of my mates Bustin' a few years ago, then he posted it on Facebook and it ended up a popular "meme" within our circle. But people attributed it's discovery to him, when it was me who'd shown him it, and I was always quite resentful about that.
|>>|| No. 13233
I remember hearing that when it was new, and believing it genuinely was the original version.
There's an excellent clip on Soundcloud somewhere of Kanye West's Niggas in Paris please don't ban me for saying it which is very similar to this, but I can't find it because it has some random title and any search for "Kanye West Soundcloud parody" brings up such awful shit that I refuse to look too hard.
|>>|| No. 13234
It's a shame that Mike Flowers didn't have more hits. But I guess you can only take ironic easy listening to a certain point before it becomes annoying. He did a collaboration with Cornershop a few years later but not much came of it.
Speaking of Cornershop -
And from the same era -
- which was nicked from Ad Gloriam by Le Orme:
|>>|| No. 13236
Den Harrow was the height of Italo Disco in the 1980s, shortly before the genre fizzled out, not without being a precursor to late-80s Eurodance and Hi-NRG.
Similarly to Milli Vanilli, Den Harrow alias Stefano Zandri couldn't sing for toffee but had the looks, so the producers hired studio musicians to sing his songs. Something which Zandri denies to this day, although there is ample proof.
|>>|| No. 13237
Italodisco was incredibly popular in the old Soviet countries as well. Eddy Huntington is from North-East England, but he cashed in on the perestroika gravy train with a song all about the USSR:
I'm pretty sure that's really him singing, although he's obscure enough that I can't be sure.
|>>|| No. 13238
Italo Disco really deserves credit for a certain kind of sound that you don't just associate with summer holidays in Italy circa 1985 as a weelad like I do, but it was a fresh take on early 1980s chiefly British synthpop from the likes of OMD, Human League and Yazoo, and even some early Depeche Mode before Vince Clarke left.
It ended up becoming somewhat formulaic, but it did establish many sound tropes that are to us today idiosyncratically "80s", like the octave bass or the synth arpeggio, or clean, smooth synth stabs and harmonies.
Some examples -
Laura Branigan and Raf released their versions almost at the same time, and they were neck and neck in some mainland European charts.
|>>|| No. 13239
I really can't get over my discovery that famous pop star Laura Branigan was effectively a tribute band for Italian music. Besides Self-Control, she also released Gloria, which was another Italian song.
Wikipedia says she had other hits, but I don't know them.
|>>|| No. 13240
I think you've got the influences partially backwards. There was a two-way street between Italo and synthpop, driven in part by the limitations of technology - everyone's sound took a huge leap forward every time they got their hands on a new piece of equipment. In the late 70s, Moroder and Marouani were making records that sounded incredibly modern. At the same time, OMD were basically a rock band with synths and The Human League were still breaking out from the shadow of Kraftwerk.
|>>|| No. 13242
The melody hook from "Gloria" was then arguably nicked by Jarvis Cocker. I say arguably; I don't think Umberto Tozzi ever asked him for a share, although it's blatantly obvious.
|>>|| No. 13243
> driven in part by the limitations of technology - everyone's sound took a huge leap forward every time they got their hands on a new piece of equipment
A lot of synth music by unknown and upcoming synth bands of that time was created on a Yamaha DX-7 which debuted in 1983, and possibly a handful of more expensive studio-owned synths. The DX-7 democratised early 80s synthpop, in that for the first time, it offered an affordable big-sounding digital synthesizer to semiprofessional acts on a shoestring budget hoping to make it big. Most bands stuck with the factory sounds of the DX-7 because while it was a technological mavel, it was notoriously difficult to program and elicit your own original sounds from it. Which in turn means that if you know a bit about the DX-7, you can spot a whole host of its factory sound patches in mid-80s synth music.
That said, it's worth noting that Italo Disco was mainly a producer-driven genre, in that there was no real grassroots Italo Disco movement of small upcoming bands creating a new sound or anything like that. It was more like a handful of Italian studio producers came up with this sound which then permutated throughout a string of different artists they produced over the years. A bit like Stock Aitken and Waterman did from the late 80s, although not quite with the stringent late-80s yuppie capitalist mass production ethic as SAW. Italo Disco was just a bit of southern European fun.
|>>|| No. 13249
It was only just now while looking up the song on youtube that I found out that it wasn't sung by Melanie Thornton of La Bouche.
|>>|| No. 13254
>How Much is the Fish?
I guess it's entertaining when she calls it that, but that's hardly the original version. The tune itself is decades, if not centuries old.
Here it is in Dutch in the 1970s:
I think the original is this one here, but I've never known if Alan Stivell made a career of reviving ancient music or if he was just writing it himself and passing it off as ancient Breton folk music:
|>>|| No. 13255
The tune dates back to the late 1920s.
Also, the fish was DM3.80, or about €3 in today's money.
|>>|| No. 13260
A friend spotted Andrew Eldritch at a bar in London once. He was just sitting in a corner booth by himself, with his mirror glasses on, having one Jack and Coke after the other and burning through a packet of fags like they were sweets.
|>>|| No. 13261
Your mum's really come out of her shell since the divorce.
|>>|| No. 13268
A one-off Australian music project from 1988. I bought their album a while ago because it was the only way to get this song in good audio quality, but the rest of the album isn't really noteworthy.
|>>|| No. 13276
Somewhat nicked from "Justify My Love" by Madonna.
|>>|| No. 13288
Daft Punk are the real stars of this track.
One of their best works ever.
|>>|| No. 13294
>gets by with an entire catalogue of collaborations with much better artists.
That's your answer right there.
And now for something entirely unrelated -
|>>|| No. 13296
"The White Room" was arguably one of the best albums of the early 1990s. It was both a high watermark of acid house and a jumping-off point for 90s eurodance.
|>>|| No. 13298
Very quintessentially mid-80s.
Including Mike Oldfield's increasing blandness as a musician.
|>>|| No. 13299
He's the man; they just should not let him sing. Ever, under any circumstances. Get someone else to sing and that song's no worse than his other not-famous pop releases.
|>>|| No. 13300
I'm struggling to find a reason for the blandness. I know he found himself in a really awful position with his contract with Virgin, signed at a time when neither he nor Richard Branson knew any better, and Virgin wanted him to be a bit more middle-of-the-road mainstream than the sort of thing he wanted to make, but this wasn't even a track from one of the particularly boring mid-80s albums he churned out to just to fill out the contract. It was a single released independently of any album or tour or anything excusable.
In the end, when he got to a point of having to still crank out three albums to complete the contract at the end of the decade, he put out two okay-but-still-bland albums and one massive "fuck you" to Virgin and Branson, which has some interesting stories to it in itself.
|>>|| No. 13301
I was with you until the guitar solo bit in the middle, which is actually pretty rad.
I've never understood the hype with him though. Maybe because I'm my age, not my dad's age, but I just don't get it with Mike Oldfield. Even Tubular Bells is just boring.
|>>|| No. 13302
It's still a pretty standard solo though. It's like he thought, ok, I need something to make this song just a smidgen less forgettable without going out of my way.
The problem with him wasn't that it was bad music as such. But it just had no "edge". It ticked all the boxes of mainstream pop of its era, but it just wasn't memorable. You just didn't want to listen to it over and over.
Even Trevor Horn, who was pulling pleasant, mainstream pop tunes out of his arse in the 80s by the dozens as producer for a whole host of acts, is still widely remembered for unique works like Slave To The Rhythm by Grace Jones, Frankie Goes To Hollywood's Relax, or ABC's Look of Love.
|>>|| No. 13305
Mike's mid/late 80s were a bit of a downer. His early stuff is decent, and his later stuff after he got out of his
enslavement contract with Virgin is a bit more interesting.
The first five minutes of this is him deliberately fucking with the executives at Virgin, including Branson himself. He has stated that his intentions were quite literally to put them off listening to it and, if they were still going after about three minutes, blow out their speakers. Also, YouTube now has a thing that shows you which parts people are rewatching and jumping to. Can you guess where he uses Morse to tell Branson to fuck off?
|>>|| No. 13306
Mike Oldfield did Moonlight Shadow, and I think he has wanted to make another one like that for most of his career because it was a huge hit and it's fantastic. I discovered this song of his on foreign online radio, and I think it was a massive hit in lots of European countries, but not this one at all. It's basically Moonlight Shadow all over again. I've probably posted it here before at some point, because not only do I absolutely love it, but also, this is one of the greatest fan-made YouTube music videos made from clips of other things that I have ever seen. It truly is a masterpiece.
If I haven't written this exact post before, when do you think "Man in the Rain" came out? Like I say, it sounds just like Moonlight Shadow so I would have guessed 1986 or thereabouts, but it actually came out in 1998.
|>>|| No. 13307
About the only song I really liked by Mike Oldfield from the late 80s was Earth Moving.
It's again not really a groundbreaking song, but as a socially awkward young teenlad who didn't know any better at the time, it kind of stuck with me. My nan, of all people, gave me the album for my birthday and it ended up becoming the soundtrack to my life for a brief time.
You can just imagine how that conversation went at the record shop. "Yes, can you tell me what kind of music young people today enjoy?" - "Well we have a big stack of unsold Mike Oldfield cassetes and I think your grandson will like this album".
"Earth Moving" was decidedly not his worst album of that time period ("Islands" was probably the low point). While one or two songs on Earth Moving are absolute shite (including "Innocent" featuring his girlfriend Anita Hegerland, who is also in the video to Pictures In The Dark), there are some that really aren't bad and are a break from the blandness. Even Maggie Reilly returned for one song with a decent effort.
Here's a playlist:
|>>|| No. 13308
It was written to be both a sort of follow-up to Moonlight Shadow and a radio-friendly single to promote the album it's from, which is best summed up as what if Tubular Bells but in turn of the century Ibiza.
|>>|| No. 13309
After the discussion of Mike Oldfield above, I have been recommended another pop song of his and it's honestly damn good. You can tell he's a brilliant musician, even if you don't like the song itself.
And the more I learn about Mike Oldfield, the more I think he's similar to Chris de Burgh. Chris de Burgh is also an extremely accomplished songwriter with close to zero musical credibility and only two hits that anyone has heard of, but who has an extensive back catalogue of perfectly good songs that you never hear. They feel like they should have been much bigger hits, but again, like Mike Oldfield, they're often pretty generic somehow.
|>>|| No. 13310
Chris de Burgh did have some pretty good songs in the 80s. But he was a bit of a budget Phil Collins.
Chris Rea is another artist who was kind of similar at the time.
This song always reminds me of evenings spent barrelling up the M1 with my older brother and his BMW E30, putting the lavish sound system he had just installed through its paces.
We're talking 12'' Magnat drivers on the tiny parcel shelf of an E30 coupe. Madness.
Other songs at the time that sounded great on that car hi fi system included Left To My Own Devices by the Pet Shop Boys and Holding Out For A Hero by Bonnie Tyler. And Find My Love by Fairground Attraction. Anybody remember Fairground Attraction?
|>>|| No. 13311
I'm not sure if Mark Knopfler is sufficiently uncool for this conversation, but he certainly fits in the category of "CDs your dad bought from a petrol station but you actually quite like".
On the topic of artists who had one big hit but a phenomenal back catalogue, Gerry Rafferty deserves your attention if you only know Baker Street. I think he's a man after our own hearts - a night owl, a drinker, sometimes a recluse, but only because he felt things too deeply.
|>>|| No. 13312
Dire Straits were a great band, with many iconic songs, but Mark Knopfler couldn't sing for toffee. Seriously, name one Dire Straits song where he gives a memorable singing performance.
In terms of "your dad's favourite music", there were still a few other artists from the 70s who branched out in the 80s into solo careers.
|>>|| No. 13313
Sultans of Swing, obviously. But then, I would argue they are a total one hit wonder and that song, while a masterpiece, was the only truly great one they ever put out.
It's pretty disappointing actually. I spent nearly 15 years honing my guitar playing abilities to the point I was able to perform a passable rendition of that song. Mark Knopfler is an extremely talented guitarist with an incredibly unique and recognisable playing style, but all that ever came out of it is that one song. Crying shame.
But I mean, it's fine. Sometimes a musician peaks early and never quite reaches the same heights again. A victim of their own lightning-bolt success. I feel much the same about my band's first "hit", which was actually meant as a bit of a piss-take pastiche of tropes on the scene we played in, but people lapped it up, and demanded more like it for the rest of our short lived career.
I've been thinking lately about how... For lack of a better word... Sexy Robert Plant is in this. He's verging on what the youngins these days call a femboy. I'm only about 10% gay max, on a good day, but I'd go there.
Was this acceptable back then, or did it provoke the same controversy and indignation as Ed Sheeran being non-binary or whatever the fuck nowadays?
|>>|| No. 13314
You seem to have forgotten about Brothers in Arms and Going Home.
>Was this acceptable back then, or did it provoke the same controversy and indignation as Ed Sheeran being non-binary or whatever the fuck nowadays?
You would 100% get your head kicked in for dressing like that, but getting your head kicked in was basically our national pastime in the 70s. Rock stars dressed like weirdos, but everyone expected them to dress like weirdos. Old people hated it because they hated everything about young people; young people loved it because old people hated it. That sort of thing has become controversial rather than simply a generational divide, because baby boomers refuse to acknowledge that they're old.
Once upon a time, people who hated gender-bending pop stars saw it as just another symptom of a society in an endless decline towards Sodom and Gomorrah; they were the same sort of people who hated swearing on TV, women expressing opinions and The Blacks. They had a secure personal identity as a common-sense defender of traditional values and heard voices in society that validated their identity.
These days practically everyone sees themselves as an open-minded liberal on most social issues, which causes massive amounts of cognitive dissonance when they find themselves being repulsed by something. Prudish people haven't gone away, they've just had to construct identities that allow them to believe that they aren't prudes.
My vote for the most fuckable glam rock femboy has to go to Steve Priest, the bassist out of Sweet. I cannot begin to imagine the number of confusing semis and sexual awakenings that man must have caused.
|>>|| No. 13315
Ahh, glam rock is kind of cheating really though, it doesn't count if they're practically in drag anyway. It has to be natural.
Burke Shelley out of Budgie had it in his younger days mind, in that "shy nerdy girl who reads Michael Moorecock novels" kind of way.
Maybe I'm just projecting and need a wank now though.
|>>|| No. 13316
I think David Gilmour is equally gifted as a guitar player, although his style is markedly different.
The second guitar solo at the end of "Comfortably Numb" is widely regarded as one of the best solos ever created. And I would agree.
Also, while a lot of people moan about recent 4K remasters of classic music videos, I think this one turned out quite well.
>Once upon a time, people who hated gender-bending pop stars saw it as just another symptom of a society in an endless decline towards Sodom and Gomorrah
I was a weelad in the 80s when Culture Club had their heyday, and it's hard for young people today to get an idea what kind of an impact Boy George's genderfluid, flamboyant homosexual persona had. Not few in the older generation were completely apoplectic and wanted to have him banned from TV entirely, or failing that, have him put in some kind of gulag to get all that sissy boy stuff out of him.
Nowadays, you could obviously say that he was decades ahead of his time.
|>>|| No. 13317
>Also, while a lot of people moan about recent 4K remasters of classic music videos, I think this one turned out quite well.
ok scrap that, I just watched it on my big TV screen, and it looks awful. All of the charm of the original 35mm film print is gone, it basically looks like they filmed it yesterday using a low-grade HD camera. It takes away the authenticity of it in a certain way.
I see the problem that many people have with these remasters.
|>>|| No. 13320
Gilmour is definitely one of the legends, very big personal influence for me actually, but in truth his playing style is quite conventional honestly. It's all pretty standard blues scale stuff with big long bends, rooted in that era of music where guitarists were just making the jump between BB King and Jimi Hendrix.
With Knopfler, what's impressive is that he has a quite unusual fingerpicking style that you'd normally hear in country or folk. He's picking the strings not just independently with his fingers, but sometimes with totally independent rhythms. I can't think of another player who does that for rock music. The dude has some serious chops, he just doesn't play the kind of big flashy solos that would get him recognised for it. And that's why I find it so weird that Dire Straits are almost totally shit.
Where Gilmour's work is pioneering (as is Floyd in general) is just achieving the effects and huge soundscapes they did, considering the technology of the time was so comparably primitive. Even their really early stuff does the kind of thing modern artists do by looping and manipulating samples, only achieved manually, in the late 60s. Lightyears ahead of their time.
Especially playing live- It's easy to forget they didn't have any AxeFX Quad Cortex Helix processors to take care of everything back then (although I suspect Gilmour might have been one of the people who pioneered wet/dry rigs, basically using multiple amps so you can blend the "clean" sound with effects at different levels), so they had to work for those sounds. People think Dave Gilmour's set up must have been crazy and complex, but he basically just had a couple of HiWatt heads, a Binson EchoRec and a Big Muff, and a lot of creativity.
|>>|| No. 13321
>Even their really early stuff does the kind of thing modern artists do by looping and manipulating samples, only achieved manually, in the late 60s. Lightyears ahead of their time.
I think that is also why Pink Floyd's music from that time sounds so authentic. You don't need to understand the finer points of sound editing to notice that an analog production sounds vastly different from most digital setups as they are used today.
One of the last artists to celebrate analog sound before the digital age was Lenny Kravitz on his 1991 album Mama Said. It was recorded entirely on analog instruments and equipment and has a unique warm acoustic feel which, at least in the beginning of digital sound processing in the early 90s, couldn't have been achieved using digital technology. From what a friend told me, there are nowadays many filter plugins for studio workstations that let you simulate analog sound, but they're apparently not quite the same if you have a frame of reference how analog sound actually sounded in the 70s and early 80s.
|>>|| No. 13322
I'd imagine there's some money to be made these days opening a very hipster "all analogue" recording studio. Lots of musicians are snobs about using all analogue vintage-style (if not genuinely antique) guitars and amps and what have you, but when they get into the studio it's all going through ProTools with a set of expensive Waves plugins anyway.
I suppose the trouble with that is nobody in the industry has the skills required to operate the old gear nowadays, and buying miles and miles of tape for your sessions must really eat into your margins. Plus it's an almost completely pointless exercise because most people are listening through digital mediums now, so only the handful of hardcore audiophiles buying your limited 100 print vinyl at the end of it will truly get to appreciate all the effort.
|>>|| No. 13323
Also, youngsters these days don't really invest in hi fi equipment anymore like our generation used to do, where a modular home audio system was pretty much a young teenlad's first serious investment that could cost you well over 500 quid. In late 80s, early 90s money, when that meant something. Or close to £1,000 in today's money.
My mates and I used to spend hours frequenting hi-fi shops and reading magazines, keeping up on the latest top of the line home stereo components, which we couldn't realistically afford anyway. So that when you finally had the money together for a mid-range Yamaha tape deck, you knew it was never going to be as good as the Nakamichi you were having wet dreams about.
Nowadays, just look at all the tiny £200 Bluetooth boom boxes that younguns have with them when they hang about at the park or beach. They make an improbably bass heavy, rich sound, but you don't have to listen all that closely to realise that it has nothing to do with high fidelity as you and I would understand it. And that is their frame of reference how music should sound. You can easily create entire albums with digital equipment that cater to that kind of sound, but again, it's not like it used to be.
|>>|| No. 13324
>I'd imagine there's some money to be made these days opening a very hipster "all analogue" recording studio.
Sadly not, but some people are still keeping the flag flying. Probably the greatest example is Steve Albini's Electrical Audio - a purpose-built facility designed specifically for no-nonsense rock recordings. It's only viable because Steve bankrolled it as a passion project. They charge $450/day for the small room and $650/day for the big room, which might just barely cover their costs.
If they were in it for the money, they'd just sell off all the gear to collectors - their microphone collection alone is probably worth the best part of two million quid.
A 2500ft reel of 2" tape currently costs £315, which holds either 33 minutes or 17 minutes of audio depending on how much treble you want. Large-format analogue mixing consoles are increasingly endangered, because they have much more value if they've been chopped up. Hardly anyone has the space or the inclination to keep a whole console in working order, but a lot of people will pay good money for a single channel strip as an input for their DAW.
|>>|| No. 13325
They've clearly used some kind of AI upscaling from a standard definition video rather than telecineing the original film print. The image is really contrasty and over-sharpened, it has the illusion of detail, but there's no real texture and no film grain.
Music videos tended to be shot on 16mm, which is inherently grainier than 35mm but has a wonderfully filmic look. You know when you're looking at 16mm, because it doesn't look like anything else and you can't really fake it.
I was listening to some old pirate radio recordings the other day and the thought occurred to me that I actually miss getting slightly bad reception. Obviously it was annoying to be fiddling about with your aerial, but you had the sense that you were listening to something live and direct. Every time the signal dropped out when you were going about town, it was a reminder that you were listening to a signal coming straight from a tower block. The experience wasn't being mediated by some massive American tech company and a load of incomprehensible fibre-optic gubbins, just an aerial on a rooftop and a hand-made transmitter in an old Quality Street tin.
You couldn't hear the station around the world, you couldn't even hear it on the other side of town. It was your station for your ends. If nobody had a C90 rolling, what you were hearing would be lost forever, surviving only in the memories of people who were tuned in at that precise moment. Legendary sets weren't uploaded to Soundcloud, they were passed from hand to hand as fourth-generation copies on hand-labelled cassettes. Obviously nobody would want to go back, but pirate radio fostered a sense of community that's impossible to replicate online.
|>>|| No. 13326
I buggered up the embeds there - the Last Christmas video was obviously shot on 35mm. Let's see if I can successfully copy and paste the right link...
|>>|| No. 13327
I've never gone out of my way to listen to jungle (or DnB in general) in my life, but it's a genre I feel completely intimately familiar with thanks to what seems like every single PS1 and early PS2 game having it in the soundtrack.
|>>|| No. 13328
>A 2500ft reel of 2" tape currently costs £315, which holds either 33 minutes or 17 minutes of audio depending on how much treble you want
And what about the long term availability of studio-quality magnetic tape?
On the end user market, nearly all the varieties of compact cassette audio tape available today are pretty horrible compared to the mid- to late 90s when audio tape was at its technological peak. Chrome and metal tapes are no longer made at all, you can only get new Type I tapes. A fact which is reflected in the price of new old stock tapes on eBay, where a brand-name chrome C90 from the late 80s to early 90s will now cost you upwards of £6.
But I guess when you look at the few and far between tape decks that are still produced today, you have no way of making use of the superior sound quality of chrome and metal. Those new tape decks are usually built around a cheap third-party Chinese mechanism (I think there's really only one manufacturer left in the whole world who keeps making them). Any Japanese deck from the early 90s in good nick will offer you better build and sound quality.
|>>|| No. 13329
>Music videos tended to be shot on 16mm, which is inherently grainier than 35mm but has a wonderfully filmic look. You know when you're looking at 16mm, because it doesn't look like anything else and you can't really fake it.
The Wall was filmed on 35mm though. And it, too, has a certain kind of look. It offers more realism than 16mm, while still having that "period" feel to it.
"Last Christmas" is an example of a 4K remaster which worked quite well. I think it has to do with the fact that they greatly adhered to the colour grading of the original and were careful with motion interpolation between frames.
The worst time for music videos was probably the late 80s to mid-90s when budget music videos were increasingly shot on standard definition first-generation CCD video cameras. They offered some improvements over tube cameras, but the technology wasn't quite developed enough yet. Whereas video filmed with tube cameras from the late 70s to early 80s had its own kind of endearing quality. Maybe because it is so instantly recognisable as being from that period.
|>>|| No. 13332
Pretty gripping version of the Verve classic.
|>>|| No. 13333
One of Stock/Aitken/Waterman's very early works from 1985.
Before they found their one size fits all formula and milked it to death.
|>>|| No. 13338
I can't believe you'd post a shortened version. Okay, so the last couple of minutes of the full one aren't really necessary, but it's meant to sound epic and being long really adds to that.
|>>|| No. 13339
Not a whole lot happens for the first few minutes of that long version, so I prefer the shorter version. Or at least the second half of the long version, which is what I ended up putting in the music folder on my phone, using Audacity to cut it.
|>>|| No. 13343
I had this stuck in my head for about two weeks, but couldn't remember for the life of me what it actually was. I warn you, it's very catchy.
|>>|| No. 13347
With the distance of all those years, it's kind of beautiful in its own right, perhaps the best song they ever did.
|>>|| No. 13348
Distance schmistance. It has always been my favourite Spice Girls song. Thank you for reminding me of it.
|>>|| No. 13351
Well it was bitter sweet at the time for me, because it was released not long after my first serious girlfriend broke up with me, and then whenever it was on the radio or on MTV, which was almost constantly, I was weeping a bit inside. But yeah, today it's just a very nice song from a bygone era to me.
Fuck, I'm old. It came out 24 years ago.
|>>|| No. 13352
With the right set of speakers, you could tear the house down with this song's intro.
|>>|| No. 13353
Say You'll Be There is probably the best Spice Girls song.
|>>|| No. 13355
This was a clue on Only Connect earlier. I'd have got the question right if I could remember what this was, but alas I drew a blank and thought it was something completely different.
|>>|| No. 13356
This nails mid-80s Top 40 sound to a T. And yet, a bit difficult to place, definitely 1984 to 1988, not Trevor Horn, not quite Stock/Aitken/Waterman either. Pre-HiNRG, but not by much. The closest song I can think of off the top of my head is Hey Music Lover by S'Express, mixed with some Italo Disco or German (non-Kraftwerk) synthpop stabs.
Good Linn drum claps though.
The hair and outfit on the pretend record sleeve are pretty much nicked 1:1 from Kim Wilde in the video to The Second Time. Only thing they changed is they photoshopped the front of it to be purple instead of turquoise.
|>>|| No. 13357
The start has a real vibe of New Order - Bizarre Love Triangle to it. Otherwise, maybe Stacey Q - Two of Hearts? That's a banger, whether it sounds like yours or not.
|>>|| No. 13358
also, I just found this -
This would have been ahead of the curve in 1982. Most of euro disco didn't sound like this until 1984. At a push, 1983.
|>>|| No. 13360
What happened to the 90s trend of hot chicks making moody songs? My memory is fucked but it feels like this kind of shit made up at least 25% of what I'd hear on the radio or see on MTV back then.
|>>|| No. 13361
PKJ needs to ring the Samaritans or something. Nice to see that Norman respects consent.
Can't wait for the new Norman Pain drop tomorrow.
|>>|| No. 13362
Wasn't that basically reborn as Dido, then Amy Winehouse, then Adele? I expect there'll always be a market for music for single women to drink gin to.
|>>|| No. 13363
Dido seemed like the last gasp, at least as far as mainstream radio exposure is concerned. The other two aren't attractive and they're more soul tribute acts than Authentically Moody.
|>>|| No. 13364
Dido peaked with the Love Actually soundtrack. Throw in White Flag maybe for good measure. After that, it was all middle aged dinner party music. Even the rest of the album Life For Rent was pretty underwhelming.
|>>|| No. 13369
One of Tim Simenon's less known Bomb the Bass tracks, but also from the album Into The Dragon, which featured Beat Dis.
|>>|| No. 13371
I always lump Possession in with the works of Christian rock singer Plumb, because they both had dance remixes that came out around the same time (2001-ish) which I really loved. And they blended in perfectly with all the other vocal trance of the time, even though in both cases, they're pounding remixes of incredibly inappropriate songs. Possession took its lyrics from love letters written to Sarah McLachlan by a deranged stalker (he sued her when he found out she'd plagiarised his words, then killed himself when it transpired she wouldn't actually be at the trial), and Plumb's Damaged is all about child molestation.
Whoo! Reach for the lasers!
|>>|| No. 13372
Another great 80s makeover.
I'm hearing Michael Sembello's Maniac, especially the Linn Drum once again.
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