p0tat0es: (fawk you arsehole)
I downloaded some Victor Wooten the other day, just to check it out, since I was curious and save for some Flecktones stuff here and there, haven't really listened to him.

Can dude play?  Yes.  He can play lots and lots and lots.  He can do things on the bass guitar that I will probably never be able to do. 

But smooth jazz is smooth jazz is smooth jazz.  And smooth jazz is fucking awful.

When I listen to a bassist, I want to hear soul, not "technique".  I want to hear the wood in the bass, not the pickups in it.  Dazzling chops to not a good song make.  And I guess that's kind of the crux of it - I think a lot of these virtuoso types are just lousy songwriters.  And I like good songs.  I can appreciate chops,  but gimme a good tune.  It's kinda like the difference between reading a guidebook or manual, as opposed to reading a work of fiction or a good history book.  They may be describing the same things, but there's no story in the manual.  OK, that's a lame analogy.  Sue me. 

And I'm not saying that having playing skills is diametrically opposed to having songwriting skills.  It just comes down to the application of them, and having a balance between them.   
p0tat0es: (fawk you arsehole)
OK. I think we're all (vaguely, at least) that the record industry has always been shady. Payola schemes happen now and again.

Sony just got dinged for $10 million for a payola scam. $10 million! Shit - they can just write that into their advertising budget.

But check this - read for yourself emails sent within Sony discussing their tactics. (It's kind of a big .pdf, just so you know.)

And turn off your radio.

(pdf link swiped from [livejournal.com profile] passenger86)
p0tat0es: (soundwave)
on CD:

Yann Tiersen & Shannon Wright - s/t: Yann Tiersen is the dude who did the music for Amelie, and Shannon Wright is just awesome. It's spooky and ambient but still rocks out in spots.

The Mooney Suzuki - Electric Sweat: Garage rock isn't usually my bag, but I've been listening to the Sonics a lot lately, and this CD was $4.00, so I figgered what the hell? Sure enough, it's pretty rockin'. From what I understand, the band teamed up with the folks behind Avril Lavigne's sonic drek, The Matrix, for their next record. Hrmph.

on cassette tape:

Quincy Jones - The Dude: It's soooo 1981. James Inghram raps. Abe Laboriel channels Larry Graham. A Dave Koz clone rips out some gross alto sax solos. You can practically hear the lleyo being snorted off the mixing board. I like it.

3 Mustaphas 3 - Heart Of Uncle: I've been aware of these guys since about 1989 when I read a review of one of their records in Spin and it sounded really cool. I'm sad that I never actually procured a record until now. They take a kitchen sink approach, throwing in Middle Eastern, Baltic, and Carribbean bits together with vocals in French, Italian, and Hindi, and it comes out sounding pretty sweet.

Orleans - Waking And Dreaming: You may recall that this album, which contained the 70s AM Gold hit "Still The One", also had one of the absolute worst album covers of all time*. Last night, [livejournal.com profile] veganguy and I were listening to it, trying to imagine the band in the studio making this record, and not being able to figure how they could take what they were doing seriously. Dude sounds just like Peter Cetera. The music sounds like post-good Chicago. You can hear the cocaine on this album even more clearly than on The Dude. Definitely worth the $0.50 I paid for it.


(* PS: I will pay good American dollars for a copy of Devastatin' Dave's Zip Zap Rap)
p0tat0es: (Default)
Despite becoming what is essentially Tiger Beat for the emo set, I still like the fact that Spin placed Public Enemy's It Takes A Nation of Millions To Hold Us Back above Nirvana's Nevermind in their Top 100 Albums of the last 20 Years list.

Does that sound like sacrilege coming from a native Seattlite? I'll tell you what: for me, PE held a lot more weight for me, more cultural import. Nirvana's record was a period piece. That's not to say it wasn't important - it killed hair metal dead, and it was nice to see a band from my little burg get some recognition on a national level. But I still get chills sometimes when I listen to Nations. I was 11 or 12 when I first heard the record, and it just blew me away. For all the so-called 'conscious' hip-hop that was coming out around then, I feel that PE was the most succinct and articulate and least pretentious (*cough* KRS One *cough*). It has retained most of its power over the years, as many of the topics they brought up are still relevant today.




[I just totally pulled this out of my ass. I'll go back and fix my spelling errors later. Gotta go home now.)

Dead Pool

Mar. 23rd, 2002 02:24 am
p0tat0es: (jack)
These are the musical acts I'd like to see get knocked off. Rubbed out. Sent to sleep with the fishes. Sent for a long ride on the short bus.

I chose these folks based not on their popularity per se, but on what I perceive to be their level of self-importance in the popular music arena. I can't take any of these jackasses seriously, and their "art" is anything but.

Here goes, in no particular order:

1) Creed
2) Celine Dion
3) Garth Brooks
4) Ja Rule
5) Kid Rock
6) Limp Bizkit
7) Tori Amos
8) Mariah Carey
9) Dave Matthews Band
10) Puff Daddy


What's your dead pool?
p0tat0es: (Default)
1) The prez of the RIAA's cracktastic rant against illegal music downloading. (Newsflash: the only people it's bad for are the record company execs)

2) Nelly Furtado and...er...Steve Vai.

3) Alan Jackson performing one of the biggest piece of shit songs I think I've ever heard. If you don't know the difference between Iraq and Iran, get a fucking map, jackass.

4) Hearing a Donnas song in a Target commercial. OK, so it wasn't exactly part of the Grammys. Whatever.

5) O Brother winning Album of the Year. Dig it. And T-Bone's sunglasses.

6) These little known awards: Native American Music Album: ``Bless the People--Harmonized Peyote Songs,'' Verdell Primeaux and Johnny Mike; Polka Album: ``Gone Polka,'' Jimmy Sturr; Recording Package: ``Amnesiac (Special Limited Edition)'' (Radiohead);

7) The gospeltastic finale. Good to see the Rev in action (that'd be the one and only Al Green, kids).

8) Well...I had more than 5, but not enough for 10. SOrry.
p0tat0es: (shark)
A verrrry small part of me makes me think that I could almost tolerate the Dave Matthews Band if only they'd lose the fucking Kenny G-ass soprano sax, and the smooth jazz violin.

But probably not.

They'd have to lose their entire fan base too. I'm allergic to frat kids and trustifarians.
p0tat0es: (they_ate_sand)
Gene Simmons' current media assault needs to come to an end.
p0tat0es: (Default)
this is a wee message to the bawbag that stole our robocop at the brighton show on the last british tour that wee did. you are a fanny. we canny play superheroes of bmx because of your theivery you fucking tit, give it back! i have friends in brighton who will hunt you down you cunt. do yourself a favour and send it to the po box and save yourself a lifetime of pain and suffering. wank

I like these guys. A lot. Even more now that I know they're Glasgow Celtic fans too.
p0tat0es: (Default)
Sugar Ray is, without question, a truly awful band. I will say this though: A) the singer has a pretty cool lookin' Les Paul, and B) their DJ is wearing a Mariners hat.
p0tat0es: (ooh-wee-ooh)
I went digging through the box that I keep my "second string" CDs in - my current CD racks top out at holding 750 or something, so until I get another 500-capacity rack, I have to keep some in a box off to the side. I hadn't really looked at any of these CDs since I moved in to my apartment a year and a half ago. Here are some of the gems I extracted:

Einstürzende Neubauten - Die Hamletmaschine
The Walkabouts - Dead Man Rise (I bought this solely to hear the original version of "Hangman", which Silkworm covered)
Michael Manring - Thonk (The biggest bass-player dork record I own)
Tom Tom Club - s/t (Hey, this sounds an awful lot like that one Mariah Carey song...)
Mr. Bungle - s/t
Lush - Lushlife (I never particularly liked this record, but dammit if "Ladykillers" wasn't the catchiest song of 1996)
AmRep - Peel Sessions (It's got Helmet, Surgery, Tar, and best of all, The Cows doing really fucked up versions of "You Are So Beautiful" and "How Dry I Am".)
The Wipers - The Best of Wipers and Greg Sage
The Crow soundtrack
Living Colour - Biscuits EP
Cardinal - s/t (this is so twee it makes me want to vomit.)
fIREHOSE - Live Totem Pole EP (they cover Public Enemy, the Butthole Surfers, Blüë Öÿstër Cült, Superchunk, and Wire)

There's a couple hundred more CD in that box that I won't bother to mention - chances are, ya wouldn't have heard of 'em anyway :)
p0tat0es: (Default)
For Michael Jackson's recent televised 30th Anniversary special, Jacko's skin was digitally color corrected to make it closer to the skin tone of the other Jackson brothers - the producers thought he looked too white. And Whitney Houston got Photoshopped to make her look less skinny and skeletal.
p0tat0es: (Default)
Wow. Ja Rule sucks.

I mean, really sucks.

I've heard flatulence more lyrical.
p0tat0es: (Default)
OK, still watching MTV2, which I thought was cool at first until they started playing all the videos that MTV1 would play if they actually ever played videos.

I'm sure I'm gonna get it for this, but I'm still sorta drunk, so here it goes:

Ed's List Of "Modern Rock-Adult Contemporary" Bands Of Recent Times That Suck*
(in no particular order)

Creed
Linkin Park
Korn
Limp Bizkit
Marilyn Manson
Matchbox 20
Third Eye Blind
Fuel
The Wallflowers
Vertical Horizion
Tonic
The Offspring
Three Doors Down
POD (I have a funny story about them. Later.)

Let me stop right there. I'm sure there's more, but it was a struggle for me to just remember the names of all these generic-ass rock bands. I feel that radio (excepting college and pirate stations) is not interested in any way, shape, or form in playing anything even remotely interesting, challenging, or fresh. It is all about money. Casual music listeners could give a rat's ass about what music is playing in the background - that's why soundalike metal, pop, and R&B groups sell millions of records. It's all interchangable and uninteresting. No one purchased Britney Spears' last record because they thought she was a talented singer - they plunked down their $17.99 for a little bit of her image.

Ack. Fuck the record industry. Fuck A&R reps. Fuck MTV. Fuck radio.

What happened to well-crafted, quality entertainment? I don't mean that in a let's-gather-the-family-round-the-TV-and-watch-Little House On The Prairie sort of way. It just seems like entertainers of the past could be looked to for not only appealing to the masses, but also appealing to the guitar dorks. Like me.

See I don't get MTV2: They just got done playing a Limp Bizkit video (I wonder how many kids who bought that record recognized the 14-year old Eric B. & Rakim sample in it), and then they cut to a interview snippet of Daniel Johnston. He should do a record with Wesley Willis. It Takes A Nation Of Schizophrenics To Tie Us Down.

OK. I think I'm done ranting.

Major labels aren't all bad. They're about 99% bad. For every Kid A there's an assload of Human Clays.




(* the asterisk means that all of the bands listed could tie for 1st place as suckiest bands, but really, Creed is easily the suckiest, followed closely by Third Eye Suckass and Matchass 20. I chose to omit sucky bands in other genres, because that would take up too much space.)
p0tat0es: (Default)
Last night I was deciding what CDs I was going to bring to work with me today. I dug out my old copy of Living Colour's Vivid. I haven't listened to this in a loooong time. I used to have it on a tape, with E.U.'s Livin' Large on the other side. (I think it was called Livin' Large...E.U. was the DC go-go band that did "Doin' The Butt" that was used in Spike Lee's School Daze.) But I digress. Living Colour was the band that inspired me to start playing bass. Seeing the video for "Cult of Personality" was the first time that I noticed that there were guitar players who did solos, and then there was always that other guy. I couldn't figure out why they held their guitar differently than other guys, and why they played it with their fingers instead of a pick. I think one of my sisters told me that is was a bass guitar. I just thought their bass player (Muzz Skillings) looked cool. I decided at that point that I wanted to be a bass player too.

That was when I was in the 8th grade. The only instruments I was familiar with at the time were turntables, drum machines, and samplers. You'd be hard pressed to find any tapes in my collection that weren't hip-hop. (I did buy the Beastie Boys' Polly Wog Stew not realizing that it was a punk record.) It wasn't until late in the 9th grade that I became able to pick out the individual parts of songs and hear how the guitars and bass and drums and vocals all interacted. (This came from joining the marching band.) It changed the way I listened to music drastically. From that point onward I could never listen to a song and not pick it apart. All the music I listened to as a kid reopened to me. I listened to ...And Justice For All and realized you couldn't really hear Jason Newsted anyway.

It was about this time that I also picked up the shitty little Peavy bass that was in my high schools band room and started messing around with it. (I think it was made out of pressboard or something.) I couldn't play anything, so I just tuned the strings to how I thought sounded good and pounded on it. It wasn't until junior year that I actually started playing with any regularity. Fast forward 8 years, and I still can't play like Muzz Skillings. Or Doug Wimbish, the NY session guy who joined after Living Colour parted company with Mr. Skillings. Wimbish is a badass too. And I had just missed seeing Vernon Reid (the guitarist) at the Knitting Factory by one night last time I was in Noo Yawk.

Just thought I'd share.

March 2015

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