From: owner-loud-fans-digest@smoe.org (loud-fans-digest) To: loud-fans-digest@smoe.org Subject: loud-fans-digest V4 #163 Reply-To: loud-fans@smoe.org Sender: owner-loud-fans-digest@smoe.org Errors-To: owner-loud-fans-digest@smoe.org Precedence: bulk loud-fans-digest Tuesday, June 15 2004 Volume 04 : Number 163 Today's Subjects: ----------------- [loud-fans] gathering this Friday? [Aaron Mandel ] Re: [loud-fans] Napoleon Dynamite [Stewart Mason ] [loud-fans] The Great Unskilled (some of whom also seem unwashed) ["Rex.B] [loud-fans] Re: Felt [Stewart Mason ] [loud-fans] Finest Work-blog Pt 3 (?)... [Gil Ray ] ---------------------------------------------------------------------- Date: Mon, 14 Jun 2004 11:17:07 -0400 (EDT) From: Aaron Mandel Subject: [loud-fans] gathering this Friday? I'm going to be in San Francisco for a wedding this weekend, and it looks like I have Friday night free. Anyone up for hanging out? aaron ------------------------------ Date: Mon, 14 Jun 2004 12:55:11 -0400 From: Stewart Mason Subject: Re: [loud-fans] Napoleon Dynamite At 01:02 AM 6/14/2004 -0400, Dan Sallitt wrote: >If EC can copyright the phrase, I doubt the filmmaker could plead >ignorance successfully. Can one reserve rights to nicknames like that? > Song titles can't be copyrighted, so that any movie can steal the >title of any song. I'm sure that Costello has no legal claim to the name at all, but it does seem a bit tacky for the filmmaker to swipe a name that has such an obvious lineage and not cop to where he got it. It's like if Scott Miller had claimed that he'd never heard "A Horse With No Name." S ------------------------------ Date: Mon, 14 Jun 2004 10:39:44 -0700 From: "Rex.Broome" Subject: [loud-fans] The Great Unskilled (some of whom also seem unwashed) Jeffrey: >>Also: Rex asked (tongue in cheek?) whose singing Laurence's from >>Felt reminded him of: Yes, tongue in cheek... he sounds to me like a slightly more roboticized version of Lou. I don't hear the Verlaine thing nearly as strongly, maybe because I'm such a Verlaine obsessive. Lawrence is just generally in a lower register than Tom. I'm obviously in a tiny minority here, though. I like Felt but I only have the Absolute Classic Masterpieces collection, which I've only recently realized is less carreer-spanning than I though... any tips as to what to pick up first beyond that one? >>I've always though he sounds kinda like Tom Verlaine, >>actually (speaking of someone who can't sing, but whose vocals I like >>anyway. At least in studio - on the live recordings I've heard, I just >>wish he'd shut up and play his guitar...). Hee. Tom actually says he can't sing and play lead guitar at the same time, which is odd (A) because his whole career is predicated on doing just that, and (B) because many would have stopped him and agreed even before he could finish the sentence. Again... the ideal format for Television's 4th album: songs recorded live, with the vocals redone in the studio later. For god's sake. Aaron Milenski: >>It might sound "wrong" for him not to do it, but it might also >>sound better...I remember watching the VU reunion video and >>being really, really annoyed by his indifferent vocals, and then >>when he actually put some energy into a few songs I immediately >>remembered why I loved the band so much. That live recording is *so* infuriating, because musically it's wonderful across the boards, and when anyone but Lou is singing it's seriously transporting... a few of Cale's vocals choke me up every time I hear them. But to my ears every single one of Reed's lead vocals are so awful that they sound like willful attempts to destroy the songs, the concert, the band... which I think was his intent, whether or not he meant to do it by singing like ass. Bradley: >>Neil definitely has the talent to be unskilled. And as concerns his guitar >>playing, Neil is actually far more "skilled" than he might seem. I think the >>rawness and deceptive simplicity of his playing is a deliberate attempt to >>strip down to something that fits Neil's idea of musical honesty. He's no >>Steve Vai or anything, but he's got some skill. Oh, I agree, but people throw that "he can't really play but he makes it work anyway thing". Oddly some of his most recognizably "proficient" playing can be heard on Springfield records and his first solo album, but he also has gone there on some records you forget about because they're otherwise kind of boring, or genre-exercise-y... I mean, there is some terrific finger-picking lead work on "Are You Passionate?", but I forget that because I barely ever listened to it. >>I also might argue against the idea that his singing and playing at the >>same time compromises either. On most of his best records he's doing both >>at once--it's rare to hear great Neil Young where he isn't. I think I worded that poorly... I meant to say that most of what you'd said about Lou applied to Neil *except* for the playing/singing/compromise thing. I don't think anyone would say that about Neil, and I surely didn't mean to! - -Rex ------------------------------ Date: Mon, 14 Jun 2004 14:46:12 -0400 From: Stewart Mason Subject: [loud-fans] Re: Felt At 10:39 AM 6/14/2004 -0700, Rex.Broome wrote: >I like Felt but I only have the Absolute Classic Masterpieces >collection, which I've only recently realized is less >carreer-spanning than I though... any tips as to what to pick >up first beyond that one? There's an ABSOLUTE CLASSIC MASTERPIECES VOLUME 2 that covers the 1986-89 period, which would bring you up to speed. FOREVER BREATHES THE LONELY WORD is generally considered the masterpiece of the proper albums, but since my favorite Felt period is the two-guitar era covered by the first ACM, I'd consider the Cherry Red CD that has the first two albums, CRUMBLING THE ANTISEPTIC BEAUTY and THE SPLENDOUR OF FEAR, to be the best starting point. S ------------------------------ Date: Mon, 14 Jun 2004 19:19:39 -0700 (PDT) From: Gil Ray Subject: [loud-fans] Finest Work-blog Pt 3 (?)... Well, I ended up going back to the drum program and tweaking it. Revised some of the drum fills and got extra fancy and added a 2 1/2 beat of SILENCE...I hope it ends up as dramatic as it sounds.... Recorded the drum track with a good amount of reverb from my low-rent, but sorta trusty Alesis micro reverb. One of these days I'll learn how do hook all this up thru the recorder and add the effects when it's mix time. The primitive way I do it now, sounds alright to me. The drum track is just one track, but it sounds great. ****** Saturday I taped 2 rhythm guitar tracks. When in doubt....double it! It's nice to have one coming out of each speaker. It's a pretty simple part, but it is totally a HARD ROCK sound! Not bad for cranking the levels way up while I'm recording it. I'm playing my trusty Gibson SG through a Boss compressor and a Turbo Drive. My Fender Princeton is cranked up to.......2. The toughest times I have doing this project is getting a decent rhythm guitar sound at such a low volume, but this time, I messed around with mic placement and settings and I'm real happy with these tracks. So far this one's rockin' hard. Tuning is driving me absolutely bonkers. I really need to get the intonation worked on one of these days. I have 4 guitars: the SG, a Danelectro electric 12 string, an Aria Strat copy and a horrible Fender acoustic that looks cool (black!), but sucks playing wise (I did play it on Regenisraen on the record though!) I guess it took me a couple of hours to get the rhythm guitar tracks on tape. While I am in no way a perfectionist, I did take the time to get it close enough to live with. It's not an easy thing to play and have all of the mechanics working to get a good guitar track down. Consistency is the key here, and a good amount of patience is required. I messed around with the bass track and as usual, ran into the dreaded tuning nightmares. The way I seem to work is to create the song on guitar, program the drum track, record the drum track and rhythm guitar tracks and create the rest after that. It would really help if I had instruments that would be IN TUNE WITH EACH OTHER!!!!!!!( my bass is a Charvette, by Charvel. It's a stupid heavy metal kind of thing that I got for a hundred bucks. It's has a bizarre story behind the psychotic knife scratches on the fretboard...heavy metal girlfriend got angry at heavy metal boyfriend and took revenge on the fretboard. Still works tho....sorta.) Anyway, I think I came up with the bass part, and I'll just have to finesse the bass into tune.... Gil __________________________________ Do you Yahoo!? Friends. Fun. Try the all-new Yahoo! Messenger. http://messenger.yahoo.com/ ------------------------------ End of loud-fans-digest V4 #163 *******************************