May 272008
 

Be it the lack of an adequate digital remastering, the benefits of vinyl pops and scratches, or simply the satisfaction of watching a record spin around a turntable while magic sounds fill the room, what records are better on vinyl?

I’ll start with all Brian Jones-era Stones albums. The typically shoddy sound and pops and scratches present the band in all its tough, rock ‘n roll glory. Plus you never get distracted by hearing the acoustic guitar and piano on “Satisfaction”.

The Velvet Underground’s Loaded is much better on vinyl because no candy-ass team of engineers did a half-assed restoration of tape that was wisely snipped from “Rock ‘n Roll” and “Sweet Jane”.

Motown’s entire ’60s catalog, because the digital reissues sap the rhythm section of its punch, separating out individual drums, cymbals, and percussion. You shouldn’t be able to easily analyze the rhythm track on a Motown track; it’s for grooving, egghead!

The first Clash album. Nothing was lost in the grooves. Those songs sound terrible, in a good way. Hearing them better only makes them sound worse. Beside, it’s a sign that you were pretty cool if you bought it on vinyl when it came out.

Any one of the classic Neil Young albums. Who wants to hear Young in new jeans?

1950s rock ‘n roll. There’s nothing more to be heard that the original technology didn’t offer, and again, the surface noise adds to the toughness of the records.

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May 272008
 

Don’t just sit there, waiting for someone else to say what’s on your mind!

Many of you have heard this talk before, but for newer participants in the Halls of Rock I’ll say it again: This is your Rock Town Hall. Use the Comments section to register your dissent. Take the discussion down previously unseen paths. Knock a Townsperson off his or her high horse, if need be. Get Main Stage privileges and start your own threads. Check out the Archives. Have fun.

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May 262008
 

Actually, I mostly wanted to work the title of the following Ronnie Lane and Slim Chance song “How Come” into the title of this post, but how come we don’t talk much about Ronnie Lane? I’m game.

Lane’s first couple of post-Faces albums have some very strong moments of “small rock,” especially Anymore for Anymore, and his lead turns work with both Small and regular-sized Faces was always a treat. The album he did with Pete Townshend, Rough Mix, has its moments as well. Had multiple sclerosis not sapped his energy and cut his career and then life short, he seemed to have what it would have taken to age like one of those fine wines Hrrundivbakshi, described the other day.

Continue reading »

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May 242008
 


There are different schools of thought about the awarding of a Most Valuable Player in any sport. Some think the MVP should go to the “best” player. Some think it should only be awarded to a player who led his or her team to the playoffs. Some believe there are cases where the MVP can come from a team that didn’t make the postseason, provided that the player accounted for an inordinately large percentage of the team’s relative success. I’m going to apply this last line of thinking to what I consider Rock’s Most Valuable Drum Part (MVDP) of its time, Steve Gadd‘s distinctive, highly technical march rhythm that is the key to the success of Paul Simon‘s catchy but otherwise slight “50 Ways to Leave Your Lover”.

It’s hard to break down how much the success of that song depends on Gadd’s part, but I’m willing to say that it accounts for 70% of the song’s success. The “make a new plan Stan” lyrical device accounts for most of the rest of the appeal of the song, say 25%, with Simon’s delivery and the bass guitar accounting for the remaining 5%. That’s a lot of weight supported by a drum beat!

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May 232008
 

Fine Wine

Smelly Cheese

Recent plans and offlist discussions with fellow Townspeople have once again brought the issue of “aging well” to my mind. Being the Schau-obsessed person that I am, when I decided to dabble my 43-year-old toes in the world of live performance again, I officially hung up my rockin’ shoes and joined a ska band instead, being quite certain that the sight of me rockin’ out on stage would likely be a Very Embarassing Thing indeed.

Fine Wine

Smelly Cheese

Other Townsmen have told me that while they have no self-consciousness about doing the rock and roll thing at age (cough), they get irked when their musical efforts are automatically lumped into the category of the weekend rock and roll party warrior/Georgia Satellites and George Thorogood cover band member — as in, “oh, you play in a band? So does my husband — him and his friends played at our beach house a couple of summers ago; it was *great*!”

Fine Wine

Smelly Cheese

But some folks manage to pull the aging thing off with great aplomb, avoiding the need to slather on the Rock Of Olay, or chickening out to join a ska band, fer chrissakes. My question to our current musician townspeople is, how do you stay looking so young? What’s your secret? To those who have no stake in that game: what do *you* think makes certain rockers age like a bottle of fine wine, while others merely putrefy?

I look forward to your responses.

HVB

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