From: owner-loud-fans-digest@smoe.org (loud-fans-digest) To: loud-fans-digest@smoe.org Subject: loud-fans-digest V6 #169 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 Monday, August 28 2006 Volume 06 : Number 169 Today's Subjects: ----------------- Re: [loud-fans] worked ["Michael Zwirn" ] Re: [loud-fans] worked ["Michael Bowen" ] [loud-fans] my swap review belated [2fs ] Re: [loud-fans] worked [Michael Zwirn ] Re: [loud-fans] my swap review belated ["Paul King" ] Re: [loud-fans] my swap review belated [2fs ] ---------------------------------------------------------------------- Date: Sun, 27 Aug 2006 07:37:20 -0500 From: "Michael Zwirn" Subject: Re: [loud-fans] worked > Michael Z: since you started this, what's your Lala nickname anyhow? Perhaps unhelpfully, my Lala nickname is my Hebrew name (which won't transmit over listservs anyway) plus "(all art please!)". But here's a secret: Go to the members tag and search by my last name; you'll find me there. (Similarly, search for "mandel" in the members tag and you'll find JJRJ, etc.). Michael W. Zwirn michael@zwirn.com http://www.zwirn.com ------------------------------ Date: Sun, 27 Aug 2006 13:47:59 -0400 From: "Michael Bowen" Subject: Re: [loud-fans] worked I just put my stuff up under the pseud milkbone. MB ------------------------------ Date: Sun, 27 Aug 2006 16:23:29 -0500 From: 2fs Subject: [loud-fans] my swap review belated Sometime in early spring, Bradley Skaught sent me a mix titled "Dragging the Lagoon Was a Disaster" (from a line from the Destroyer track, below). Here's the track listing, with some comments: Field Music "You're Not Supposed To" - I've heard several tracks from these guys and have liked all of them. I should actually spend money to buy this one directly (instead of just hoping it pops up from lala.com...) The a cappella opening is a bit odd - but once the song proper starts, their distinctive piano and rhythmic structures identify the band for me (and this is based on like three songs). Lindsey Buckingham "Shadow of the West" - I think I have this on an LP (which is to say I haven't listened to it for years). Kind of a vaguely country-ish lope to this one - not my favorite LB track. The Moore Brothers "Waves of Wonder" - There are one or two moments here where the melodic line and the sound of one of the singers' voices remind me startlingly of Paul Simon - I suppose the Simon & Garfunkel comparison then is slightly obvious, but sonically it isn't, if that makes any sense. For one thing, on this song at least they use one acoustic and one electric guitar (although both are generally strummed rhythm rather than the electric playing lead). It's a comparison that makes sense after you think of it but doesn't hit you over the head as you hear the song. Neko Case "The Needle Touched Down" - Another CD I really should just go ahead and buy. From her more countryish beginnings she's developed a distinctive style that draws from several genres without being *of* any of them. And of course there's her voice. And on this track, a cello (which I'm always a sucker for). Destroyer "Watercolours into the Ocean" - I would think Dan Bejar would be a favorite here: like Scott, he's an idiosyncratic, sometimes inscrutable, but always intelligent and impassioned lyricist, and as a songwriter he can sometimes be a bit complex but also melodic and catchy. Of course he's the special guest star in some New Pornographers tracks (probably where more folks have heard his work) but I find his work in Destroyer more intriguing. Plus - there's a Dan Bejar Drinking Game - < http://www.zoilus.com/documents//2005/000639.php#more> - which really does get at a lot of his particular idiosyncrasies... Morrissey "In the Future When All's Well" - I've liked the last two Morrissey CDs better than much of what he'd done for the last few. It's not that he's doing anything radically different than the established notion of what Morrissey does - in fact, it's more that he *is* doing that: I think he went through one of those periods where he was thinking he'd become too familiar, and decided to experiment. That's probably necessary - and even if not always successful, often serves to rejuvenate an artist even if they return to what they're most inclined to do. I think also, comparing this with early Morrissey solo and the Smiths, he's learned to use his voice much better. His singing has always had personality, of course - but sonically it sometimes left some things to be desired... The Raconteurs "Steady, As She Goes" - As predictably as night follows day (and every bit as cliched), after all the critical oohs and ahs the White Stripes received, their last CD got drubbed, their fans derided as shallow trend-followers, etc. Whatever. Anyway, Jack White did something smart here - - by doing something unexpected and teaming up with Brendan Benson (who needs no intro here - although it is funny to read very young critics' reviews of this CD, who clearly don't have a clue that Benson has his own career and critical success) to make a stylistic left turn. I haven't picked up this CD yet (noticing a trend?) but while you could almost imagine this as a White Stripes song (particularly for its first few bars, until the singing starts), the combination of that with Benson's popcraft makes an interesting combo deal. Cilla Black "Surround Yourself with Sorrow" - Okay, once you get past the fact that the opening sounds *exactly* like yr stereotypical Action News Tonight bumper ('70s vintage), you have a nice late-sixties pop-R&B number (with that fun picked-bass sound). Some of the orchestration is a bit much (the second verse - moments remind me of the intentionally carnival-like orchestration Steve Nieve did on parts of Imperial Bedroom) but mostly not a problem. The Smoke "Waterfall" - There were a couple of '60s acts called "Smoke" or "The Smoke," no? Not sure which one this is. Anyway, I like the melody and chords here. Very reverb-y, in your mid-sixties ballad style. The Moore Brothers "Bury Me Under the Kissing Teens" - Stylistically not dissimilar from the other Moore Brothers track here (except the electric guitar appears to be missing). This one definitely reminds me of someone...but damned if I can figure out who. Irma Thomas "Ruler of My Heart" - Opening has that kind of dreamy '50s-ballad rhythm like "I Only Have Eyes for You," with loads of "ooh"ing female backing vocals. Somewhat strange production wherein the horns aren't any louder than the subdued backdrop to the verses (while Thomas's voice is way upfront throughout). I also like the piano. The Everly Brothers "I'll See Your Light" - Curious to hear their vocals set against a sort of pop-psychedelic production... Kelley Stoltz "The Rabbit Hugged the Hound" - Despite liking some of Stoltz's other tracks, this one refuses to lodge itself in my head. I'm not sure why though - nothing I overtly object to; I just keep forgetting it as soon as it's gone. Dee Dee Warwick "Worth Every Tear That I Cried" - Yes, Dionne's sister. Anyway: I like the galloping drum track, and a nice chorus as well. The bridge, despite being as harmonically conventional as possible, nonetheless works really well here. Robert Pollard "I'm a Strong Lion" - The opening of this one reminds me of something I can't put my finger on - might even be a Scott Miller song... Anyway, I like the CD this is from quite a bit - he seems to have focused more than he sometimes does. This is a pretty direct, straightforward track with a catchy chorus, broken up at the end by those Lennon-y triplets. I like the synth break as well. Dumptruck "Alive" - this is another band that never quite connects with me for no particular reason I can discern. Not bad...but it just evaporates for me, even though the verse melody has an appealing moodiness. Jenny Lewis with the Watson Twins "Rise Up with Fists" - Lewis has a pretty classic voice - and this is one of those tracks that meets at a stylistic halfway point between classic R&B and classic country (something that was once fairly common). Jon Langford "Gold Brick" - I know he's Welsh but man he sounds Irish here. Langford's been exploring a productive melding of lots of classic American sounds lately, such as the Hammond here, and his lyrics remain compassionate and engaging. Yep: another one I've been intending to buy but haven't yet... Karl Blau "Crashing Waves" - A long track, a bit hard to get a handle on...relaxes into a long vamp based on a sort of classic R&B figure, with horns that sound a bit more jazzy and individual rather than ensemble-like (I think it's the way they're recorded). Barclay James Harvest "Pools of Blue" - I remember hearing about these guys back in my prog-rock days (they're the answer to the trivia question "what band provided the name for Pink Floyd's British label?"), but I've heard them hardly at all. A lot of mellotron, but in the background. The melody in the chorus is familiar somehow (maybe I heard this on late night radio in the '70s or something). Arctic Monkeys "A Certain Romance" - At this point in the mix, a faster, more active track like this one works well (a lot of the previous tracks were slow to midtempo - although if I recall Bradley's tolerance for albums with tracks of similar tempo is a bit higher than mine). A pretty long instrumental intro. We get that sort of late-'70s/early-'80s rhythm guitar on the offbeats thing, which then switches to a single-note countermelody during the second part of the verse. Sort of a rambling effect due to there being no real chorus, dynamics being altered instead to give the song structure. Rhett Miller "Brand New Way" - I'm trying to think of the well-known song with this rhythm (6/8; "buh-dump buh-dump dah dah dah") but (as is apparently usual for me today) can't come up with it. Anyway, kind of a classic '60s pop feel to this one, supported by its orchestration (which is mixed fairly subtly though). Nice track. Paul Revere & the Raiders "I Don't Know" - Along with the Everly Brothers track, continuing a theme here of well-known artists moving a bit away from the style you might expect: this time, it's a sort of quiet, contemplative ballad. A long, Beatle-esque coda (repeating the phrase - think of "Hey Jude" maybe). Anyway, an intriguing batch of tracks - thanks, Bradley. I will try to talk about the most recent mix I received (Stewart's) rather more promptly... - -- ...Jeff Norman The Architectural Dance Society http://spanghew.blogspot.com ------------------------------ Date: Sun, 27 Aug 2006 18:18:27 -0400 From: Michael Zwirn Subject: Re: [loud-fans] worked On Aug 27, 2006, at 1:47 PM, Michael Bowen wrote: > I just put my stuff up under the pseud milkbone. Holy cow. You entered 780 discs TODAY? I think I'd find that a bit exhausting, although lala's interface is pretty swift for entering collections. Regardless, welcome! Trade away. Michael last played: Lloyd Cole, The Negatives (a trade on Lala.com and a very good one) ------------------------------ Date: Sun, 27 Aug 2006 19:20:53 -0400 From: "Paul King" Subject: Re: [loud-fans] my swap review belated On 27 Aug 2006 at 16:23, 2fs wrote: > > Rhett Miller "Brand New Way" - I'm trying to think of the well-known song > with this rhythm (6/8; "buh-dump buh-dump dah dah dah") but (as is > apparently usual for me today) can't come up with it. Anyway, kind of a > classic '60s pop feel to this one, supported by its orchestration (which is > mixed fairly subtly though). Nice track. > Wouldn't that "well-known song" be "Brand New Key" by Melanie? Not only does the Melanie version have a '60s feel, it was actually *recorded* in the '60s! (1971 actually, but close enough ...). Paul King ------------------------------ Date: Sun, 27 Aug 2006 20:07:43 -0500 From: 2fs Subject: Re: [loud-fans] my swap review belated On 8/27/06, Paul King wrote: > > On 27 Aug 2006 at 16:23, 2fs wrote: > > > > > Rhett Miller "Brand New Way" - I'm trying to think of the well-known > song > > with this rhythm (6/8; "buh-dump buh-dump dah dah dah") but (as is > > apparently usual for me today) can't come up with it. Anyway, kind of a > > classic '60s pop feel to this one, supported by its orchestration (which > is > > mixed fairly subtly though). Nice track. > > > > Wouldn't that "well-known song" be "Brand New Key" by Melanie? Nope. That one's in 4/4 - the Miller song is in 6/8. To be a bit more specific about the rhythm of the Rhett Miller song: ^ ^ ^ ^ ^ ^ ^ 1 & 2 & 3 & 4 & 5 & 6 & Make sure that's in a monospace font... Uh, it's like "Take Five" only in 6 instead of 5? - -- ...Jeff Norman The Architectural Dance Society http://spanghew.blogspot.com ------------------------------ End of loud-fans-digest V6 #169 *******************************