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Post by G on Apr 14, 2009 14:15:23 GMT
Sounds interesting - i'll probably hate them Me? It's Crooked Timber and Crack The Skye all the way...
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Post by barrythief on Apr 15, 2009 12:43:30 GMT
Sounds interesting - i'll probably hate them I wouldn't be at all surprised...............will play them at you on the way over this weekend.
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Post by G on Apr 16, 2009 7:55:43 GMT
Oh great
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Post by G on Apr 24, 2009 10:32:10 GMT
Saw ACDC for the first time at the NEC last night. Jesus fucking Christ they were good.
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Post by missingfingers on Apr 28, 2009 17:22:44 GMT
Saw ACDC for the first time at the NEC last night. Jesus fucking Christ they were good. Yeah I work at the NEC and general word was they were amazing, only had their double live album which was enjoyable but there is only so much hi hat snare and kick you can take before you wanna scream "At least mix it up a little drummer" I am listening to the contrasting combo of Every Time I Die and Frank Turner
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Post by barrythief on Apr 29, 2009 8:06:32 GMT
I am listening to the contrasting combo of Every Time I Die and Frank Turner is that some sort of mashup?
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Post by G on Apr 30, 2009 9:39:45 GMT
missingfingers - I must respectfully disagree. If you're pining for variety then you're missing the whole point of AC/DC. The absolute fundamental basic essence of their music is the idea that if you can get an idea across with the absolute minimum of musical faff, then that's not just OK, but it's actually the best way to do it, and something to aspire to. Cut out that fat until there's nothing but meat, and if you're left with a scraggy bit of stewing steak instead of fillet, then you know it's time to head back to the butchers for a better cut. I'm a firm believer that there are two ways to look at riff writing - if a riff can achieve the same result *and* you can add some extra twiddles, then some would say that's a bonus. I'd disagree. If you can take that same riff and achieve the same result by stripping out a bunch of faff, *then* you've made it better. The ultimate riff to which I aspire is a single chorder, and the drummer only needs to smack his crash at the appropriate time OK, so i'm ranting now, but this is probably my favourite pet subject. I can't imagine how much time the rest of LSB have had to put up with my rantings about simplicity and subject/objective quality in music (and how AC/DC are the objectively greatest band in Rock). You can insult my family, but complaining about the lack of variety in Phil Rudd's playing is a step too far
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Post by missingfingers on Apr 30, 2009 14:13:59 GMT
missingfingers - I must respectfully disagree. If you're pining for variety then you're missing the whole point of AC/DC. The absolute fundamental basic essence of their music is the idea that if you can get an idea across with the absolute minimum of musical faff, then that's not just OK, but it's actually the best way to do it, and something to aspire to. Cut out that fat until there's nothing but meat, and if you're left with a scraggy bit of stewing steak instead of fillet, then you know it's time to head back to the butchers for a better cut. I'm a firm believer that there are two ways to look at riff writing - if a riff can achieve the same result *and* you can add some extra twiddles, then some would say that's a bonus. I'd disagree. If you can take that same riff and achieve the same result by stripping out a bunch of faff, *then* you've made it better. The ultimate riff to which I aspire is a single chorder, and the drummer only needs to smack his crash at the appropriate time OK, so i'm ranting now, but this is probably my favourite pet subject. I can't imagine how much time the rest of LSB have had to put up with my rantings about simplicity and subject/objective quality in music (and how AC/DC are the objectively greatest band in Rock). You can insult my family, but complaining about the lack of variety in Phil Rudd's playing is a step too far Is Phil Rudd his name, from listening I thought it was 80's Akai Drum Machine I know what your saying, such as I have always thought that if a riff can grab you by the goolies with nothing else other than a simple driving beat then its a thing of beauty. I do enjoy that part of AC/DC but not the parts on the live album where Angus's guitar track pans from hard left to hard right and back again for no reason, thats just annoying.
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Post by missingfingers on Apr 30, 2009 14:16:13 GMT
I am listening to the contrasting combo of Every Time I Die and Frank Turner is that some sort of mashup? mmm thats not a bad idea ;D
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Post by G on Apr 30, 2009 15:23:46 GMT
missingfingers - I must respectfully disagree. If you're pining for variety then you're missing the whole point of AC/DC. The absolute fundamental basic essence of their music is the idea that if you can get an idea across with the absolute minimum of musical faff, then that's not just OK, but it's actually the best way to do it, and something to aspire to. Cut out that fat until there's nothing but meat, and if you're left with a scraggy bit of stewing steak instead of fillet, then you know it's time to head back to the butchers for a better cut. I'm a firm believer that there are two ways to look at riff writing - if a riff can achieve the same result *and* you can add some extra twiddles, then some would say that's a bonus. I'd disagree. If you can take that same riff and achieve the same result by stripping out a bunch of faff, *then* you've made it better. The ultimate riff to which I aspire is a single chorder, and the drummer only needs to smack his crash at the appropriate time OK, so i'm ranting now, but this is probably my favourite pet subject. I can't imagine how much time the rest of LSB have had to put up with my rantings about simplicity and subject/objective quality in music (and how AC/DC are the objectively greatest band in Rock). You can insult my family, but complaining about the lack of variety in Phil Rudd's playing is a step too far Is Phil Rudd his name, from listening I thought it was 80's Akai Drum Machine I know what your saying, such as I have always thought that if a riff can grab you by the goolies with nothing else other than a simple driving beat then its a thing of beauty. I do enjoy that part of AC/DC but not the parts on the live album where Angus's guitar track pans from hard left to hard right and back again for no reason, thats just annoying. I haven't listened to that live record for a long time... the only excuse I could imagine for paning him around the mix would be to reflect him running around? That's pretty tenuous, I know Crap like that gets right up my nose too. I still wince when I think about the bit in Harryhausen where we decided to add an extra track of my guitar over on Oli's side to balance things out. It's the only time we've ever deviated from the formula, and man do I regret it That's another of my favourite rants right there: "If that's how you do it onstage, then that should be how you do it on the record - if you want rhythm guitar under that solo, or keyboard parts on your record (if you must), then you must have someone in your band who can do it live, otherwise you are a band of dirty musical cheaters" P.S. Re: Akai - Touche'
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Post by G on Apr 30, 2009 15:37:07 GMT
missingfingers - I must respectfully disagree. If you're pining for variety then you're missing the whole point of AC/DC. The absolute fundamental basic essence of their music is the idea that if you can get an idea across with the absolute minimum of musical faff, then that's not just OK, but it's actually the best way to do it, and something to aspire to. Cut out that fat until there's nothing but meat, and if you're left with a scraggy bit of stewing steak instead of fillet, then you know it's time to head back to the butchers for a better cut. I'm a firm believer that there are two ways to look at riff writing - if a riff can achieve the same result *and* you can add some extra twiddles, then some would say that's a bonus. I'd disagree. If you can take that same riff and achieve the same result by stripping out a bunch of faff, *then* you've made it better. The ultimate riff to which I aspire is a single chorder, and the drummer only needs to smack his crash at the appropriate time OK, so i'm ranting now, but this is probably my favourite pet subject. I can't imagine how much time the rest of LSB have had to put up with my rantings about simplicity and subject/objective quality in music (and how AC/DC are the objectively greatest band in Rock). You can insult my family, but complaining about the lack of variety in Phil Rudd's playing is a step too far Is Phil Rudd his name, from listening I thought it was 80's Akai Drum Machine I know what your saying, such as I have always thought that if a riff can grab you by the goolies with nothing else other than a simple driving beat then its a thing of beauty. I do enjoy that part of AC/DC but not the parts on the live album where Angus's guitar track pans from hard left to hard right and back again for no reason, thats just annoying. I haven't listened to that live record for a long time... the only excuse I could imagine for paning him around the mix would be to reflect him running around? That's pretty tenuous, I know Crap like that gets right up my nose too. I still wince when I think about the bit in Harryhausen where we decided to add an extra track of my guitar over on Oli's side to balance things out. It's the only time we've ever deviated from the formula, and man do I regret it That's another of my favourite rants right there: "If that's how you do it onstage, then that should be how you do it on the record - if you want rhythm guitar under that solo, or keyboard parts on your record (if you must), then you must have someone in your band who can do it live, otherwise you are a band of dirty musical cheaters" P.S. Re: Akai - Touche'
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Post by G on Apr 30, 2009 15:38:33 GMT
Apology 1) - Double post Apology 2) - Unforgivable misspelling of "panning"
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Post by missingfingers on Apr 30, 2009 19:51:09 GMT
Totally agree with the perform it live theory, my pet hate is bands that add members without them ever really becoming a member. I remember Green Day just suddenly having another guitarist, Stereophonics overnight became a 5 piece, even RHCP now have a second guitar player who stands at the side stage playing on certain tracks. The biggest joke was when Hundred Reasons added keyboards to their line up, I mean whats that all about, why dont these bands just write songs they can play live with the current members or just come out and say "sorry we can no longer write good songs and play them live as our current line up so will be adding members but they wont really be proper members in promo shots and the like, just hired hands who help us become a fraud
RE panning - never thought about the whole angus running about theory, it would make sense but thats a little anal on the mixing front.
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Post by G on May 7, 2009 15:35:13 GMT
One of the numerous perks of my imminent marriage is that we've finally taken the terrifying leap of amalgamating our CD collections after years of their living on separate shelves. Losses and gains are rife - whilst i'm 'inheriting' a fair few chunks of crap that neither of us listen to any more, for every dusty Charlatans CD there's a Monster Magnet album that I never got around to buying, every mildly unwelcome Doors record has it's nemesis in The Illuminati or a great slab of Hellacopters. All in all it's a massive net win for all concerned, and as anyone who's ever spent a glorious afternoon alphabetimacating their collection will attest, there's nothing like it for reintroducing yourself to music that you've not listened to for ages. Whats more, i'm finally getting around to getting them all onto the PC, so no musical stone will remain unturned over the coming weeks.
Today's hidden gem: Twilight by Annie Christian
On paper I should hate this. Essentially it's post-The Bends late 90s indie rock with a small rocket up it's jacksie (albeit only with the for some of the time). Despite the bad prognosis and a tendency for the odd moment of preening bowel-gazing this record completely and utterly gets me every time. I can't explain why, but i'd forgotten quite how much I love it.
Highlight: Nothing's Real is just a perfect, perfect song. A true 100%er. It was hearing that on a Kerrang! CD that prompted someone (me or Ryan, I don't remember) to acquire a copy of the album. I think.
Go check your CDs, for there be hidden treats.
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Post by G on May 13, 2009 9:04:31 GMT
Clandestine Joy Of The Day: Last Action Hero Soundtrack I am not ashamed of my love for this film, nor it's soundtrack. Not only does it tick all of the appropriate boxes that the content of the (glorious) film dictates (chest beating uber-rock, big names, overblown ballads, noodly background chuggola), but it also features the best Anthrax track that these (admittedly far from 'Thrax-committed) ears have encountered.
Say it out loud: "My name is <insert name here> and I am proud to love Last Action Hero."
Feels better, doesn't it.
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