Mr. Moderator

Mr. Moderator

When not blogging Mr. Moderator enjoys baseball, cooking, and falconry.

Nov 212013
 
monochromeset

Know nothing.

Many moons ago, when I was so much older then, I used to work in a bookstore with a lot of other musicians and music lovers. It was as wonderful as a low-paying job could be at that time in a young person’s life. We worked hard. We played hard. We got 35% discounts on books. We were counted on by regulars who sought our advice on tracking down obscure books in their genre of choice. Those of us in bands were assured of getting a decent crowd of bookstore employees and their friends to show up for gigs.

A slightly older, wiser colleague who drummed for an established local band that helped introduce me and my little band to The Scene, as it was, lived in a high-rise apartment 2 blocks away from the bookstore. Once a week, we’d go to his apartment at lunchtime so we could get high and listen to records. We had similar tastes in ’60s and punk rock. Sometimes we’d listen to stuff we both already liked, such as Magical Mystery Tour or Sound Affects. Other times he’d root through his collection to play me deep cutz by a band I’d only known for its hit singles (eg, he’s still the only person I’ve ever known whose owned most if not all of The Beau Brummels‘ albums) or to find a somewhat obscure record I’d never heard. One day, while seeking an album that might earn him Turn-On Points, he pulled out a very silver album sleeve containing an album by a band called The Monochrome Set. The album must have been Strange Boutique. The cover was very silver, and I was really stoned.

That afternoon, I felt like I was hearing the greatest, off-kilter pop album since my beloved Positive Touch, by The Undertones. The rhythms were propulsive. The guitars jangled in jagged, unexpected ways. The melodies were ’60s-based but in no way slavishly devoted to that decade’s melodic conventions. The only thing that stopped me from running down to Third St. Jazz & Rock that afternoon, beside the need to get back to work and little spending money, was the singer’s voice, which had that dramatic, “overdone” English quality that sometimes puts me off from the likes of a Robyn Hitchcock.

Long story short: I never got around to buying a single album by The Monochrome Set, although I rode through the next few decades on the power of that high introduction, only buying and downloading individual songs from their albums over the last few years. All this time I’d never read a single article about the band, never seen a videotaped performance, and never even seen a still photograph of the band members. I knew nothing about The Monochrome Set, despite having kind of liked them since 1985. Then, a couple of weeks ago, I saw this video:

This is cool! These guys would have been really fun to see in their prime. They seem to have been ahead of their time, like a Hoboken band before the Hoboken scene really took root. I still know nothing else about the band, other than having been reminded that they were led by a guy with the excellent stage name Lester Square. I will probably take some time to read up on them. Perhaps you have some details to share. Meanwhile, I’m content to let my ignorance stay clear from this feeling of bliss.

Have you long liked an artist or band that you still know nothing about?

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Nov 202013
 
"Love those guys!"

“Love those guys!”

Mildly hip, white music fans are rejoicing over news that Big Boi and André 3000 will be reuniting OutKast in time for next year’s Coachella festival. Although no new OutKast recordings are planned, fans like Toby Wetland, 28, of Scottsdale, Arizona, can dream.

“I mean, like, it’s been so long since they’ve come up on my playlist” said an excited Wetland, outside his neighborhood Teavana. “I can’t even remember the last time I listened to their last album, whichever one it was—but it was incredible!”

At the Hanes Mall Teavana in Winston-Salem, North Carolina, Kayli Freebaugh, 31, gushed, “Oh my god, even though I skip over Big Boi’s tracks, there’s been an edge missing from André’s work.” She added, “I can’t wait to see hear what track advertisers pick up!”

Not all mildly hip, white music fans are ecstatic. Sipping a skinny Chai latte outside the Starbucks in Haddonfield, New Jersey, 37-year-old Adam Harrington gently rocked a 3-kid stroller and sniffed, “Unless Organized Noize is supplying the beats, I’ll stay tuned for whatever James Murphy touches next.”

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Nov 162013
 

As the classically trained musicians in Yes  hold down a cubed time signature while guitarist Steve Howe‘s wild runs through the Pixarlodian scale, focus on singer Jon Anderson. He shakes a single maraca, holding it close enough to the mic to be heard clearly. We’ve studied before the things singers need to do during long solos,  but Anderson’s single-maraca shake takes the cake.

Jon Anderson had brass balls, if for no other reason for singing the way he did. I listened to the awesome late-period Yes song “Going for the One” at the gym this morning. Anderson sings so high that he could have sung the song an octave lower and still cut through the fury of advanced chordings. Maybe that’s the range God intended his voice to occupy, and if that’s the case, He is a good god, for He gave Jon Anderson the brassiest balls in rock.

Battle Royale: Does anyone in rock have brassier balls than Jon Anderson?

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Nov 132013
 

loudness

iTunes Radio has taken it upon themselves to put an end to the Loudness Wars.

iTunes Radio now includes a new Sound Check algorithm, which limits the volume level of all tracks. In other words, it lifts the level of the quiet tracks and lowers the level of louder ones so they’re all the same. What makes this a threat to hypercompression is the fact that Sound Check can’t be defeated by the listener, the mastering engineer, the producer or the record label. What’s more, if a song is dynamically crushed, Sound Check might turn in down in a not exactly pleasing way, causing all parties involved to possibly rethink about going for so much level in the first place.

Read more: http://bobbyowsinski.blogspot.com/2013/11/the-beginning-of-end-of-loudness-wars.html#ixzz2kYhUTQ00
Under Creative Commons License: Attribution

Is this a good thing or a bad thing?

My gut feeling is that it’s not iTunes’ business to determine how loud or quiet anyone’s music is mastered. Screw iTunes! I like loud records. Sometimes I like quiet records. I bet Lou Reed’s turning over in his grave, because this doesn’t respect the way artists are meant to sound.

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Nov 132013
 

I had been a fan of all the Coen Brothers movies leading up to Miller’s Crossing, the brothers’ Irish mob genre-bender. The first time I watched that movie I sat there for over an hour thinking, “When the fuck is this thing going to go anywhere?!?!” Suddenly, one thing happened, then all hell broke lose. In the final 20 to 30 minutes I was dazzled. I walked away saying, “That movie was excellent!” My close, personal friend E. Pluribus Gergely, who I believe was sitting alongside me that night, couldn’t believe I was able to change my mind so quickly, so definitively. He still teases me about my ability to “do a Miller’s Crossing.”

I had a similar experience with the movie Lost in Translation. It was a total waste of my time until the party scene, with Bill Murray singing along to “More Than This.” From that point on the movie clicked, and I did a Miller’s Crossing. Patience has its virtues.

Sometimes the opposite occurs for me: I’ll be enraptured by a movie only to have it crash and burn in the final 20 to 30 minutes. The other night I found myself in this enraptured state as I watched the first hour-plus of a 1946 ghost-love story, A Matter of Life and Death (originally released in the US as Stairway to Heaven). I’d long heard about one of the co-directors, Michael Powell, who is name-checked by my favorite director, Martin Scorsese, at every opportunity, but I’d never actually seen any of his movies. This movie got off to a fantastic start! It simply looked amazing, like The Wizard of Oz‘s reverse twin sister, with earth scenes in color and heaven scenes in a pearly B&W/sepia tone. I’m a sucker for sepia tone. Plus it’s a ghost-love story, a genre I am a huge sucker for: all variations on Here Comes Mr. Jordan/Heaven Can Wait, The Ghost and Mrs. Muir, even Ghost itself… (I know, hard to believe considering how damn manly I am.) Anyhow, the movie was fantastic until the final act, which I don’t want to spoil but which worried me as soon as it got underway, introducing a device I’m highly skeptical of in movie storytelling. The movie crashed and burned over the final 25 minutes. It went from being one of the most spectacular pieces of futuristic film-making I’d ever seen to merely a brilliantly executed concept that ultimately fell apart and left me highly disappointed.

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