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Times are bad. Children no longer obey their parents and everyone is writing a book.
Cicero
Everything flows, nothing stands still.
Heraclitus
My cat's breath smells like cat food.
Ralph Wiggum
Sure, but where is the equivalent of Elvis, today?
Also, how time and perspective can add to understanding and depth of meaning.
Example. I always liked 'Everything I Own' by Bread (or for that matter other versions) assuming it to be a love song about a broken relationship. Then I found out it was about the death of David Gates dad....and when my own dad passed away, the sentiment of the song became so much more personal and powerful. I didn't just like the song, I was living it.
OT
You mean to tell me you're the chap who formed The Fall?
The words of the prophets are written on subway walls.
Wap-bap-a-lu-ba, a-lap-bam-boom.
A working class hero is something to be.
Mark E Smith IS The Fall!
Nah, I'm younger and better looking. I'm a big fan though, and he was surprisingly friendly the couple of times I met him.
Yeah, context is a powerful factor in our appreciation of a piece of music.
Funnily enough I couldn't stand The Fall when they were played on John Peel's show. But a few years back a mate gave me a copy of their Fall Heads Roll album. I think he did it to annoy me, and it sat unlistened on my desk for months, until one day, desperate for something to listen to, I stuck it on.
Track one comes on and features the World's most basic beat, hammered home, and then MES staggers in shouting and slurring like a pissed 60 year old tramp. And I loved it. I listened to the whole CD then played it again. And again. For weeks I listened to nothing else, then over the next few years bought their entire catalogue (expensive).
Maybe the context there is that I can relate to a shouty, drunk old man who hates everything.
Maybe.
The Fall were/are one of those Peel bands who I just didn't get at the time. Perhaps I should have another listen, one day when the time is right.
I've worked in radio for 25 years.
Something called "formatting" came strongly in the 90s...
Before that, my director didn't give a rats ass if I played the whole side of a Jarre album.
It was still vinyls back than. Twin Technics record players.
Formatting decides what kinda music you are allowed to play. Even it's length.
The market for these stations and the more avant garde ones are of course the same.
Hence... "sugar" always wins in the short term, over more digestible art.
I worked in ILR in the 80's, and briefly on the Voice of Peace anchored off the coast of Israel. Both as a DJ and producing various shows.
VoP was great, I was allowed play anything I wanted, to the entire region. And on-shore was treated like a minor pop star by the locals.
ILR, not so much. Toward the end of my ILR tenure, formatting came in much harder, with the idea of everyone sounding the same. The age of personality led presenting, and people who loved music, was being slowly strangled to death. So I slung my hook, and never looked back.
Same here broh... I lay my gloves on the table last year. At least for a year or two.
I still have an open job, but I need a couple of years doing my own stuff.
We were stars. Yeah, I remember that. VIP at the discos and restaurants. I've interviewed a ton of interesting artists over the years, and become friends with some.
Yeah I've heard that from quite a few people. Quite a few musicians who have a reputation for rudeness, or being difficult, can apparently be quite charming if you meet them. I suspect they just hate journalists.
I think that's the story of every Fall fan ever. With Captain Beefheart I bought Trout Mask because it's the best blah blah ever. And I listened to it. And I HATED it. But every 6 months I would stick it on because it had cost me a small fortune. And I'd still hate it. Then one day it just clicked and I listened to nothing else for 4 months.
The lyrics man, the damn lyrics. Did you ever hear his 'solo' album, where he did this weird Lovecraft thing. Or his Mouse on Mars collaborations (who when asked about him being difficult seemed perplexed by the question).
Somebody sent a link to this AV Club review and so I wasn't expecting much. That guy's an idiot. The album's great.
Unfortunately, the only Fall tour I ever saw was when Smith was touring with a broken leg. A sedentary and subdued (likely due to painkillers) Smith meant that the evening was mostly mid-tempo garage rock. I came for the loquacious rants, man!
I do love the records, though.
The video itself raised some very specific issues related to how pop music is created and how this affects/effects what you hear. He also provided supporting evidence. I don't think these points are accurately characterized as old people complaining about what young people produce. In general, the video talked about the economic forces which are reducing the diversity heard in the music as a way to minimize their financial risk. This phenomenon isn't limited to pop music and the criteria Hollywood uses to create movies is influenced similarly.
There can be artists that fall outside of the process described in the video, but the video does describe why this is less likely to happen than in the past for pop music. The most significant was the cost of marketing a new artist. I think it would interesting to have a discussion on the history of how music is brought or not to the attention of the mainstream listener in another thread.
While some of the posters on the thread maybe focused more on sharing their own point of view on why they don't enjoy current pop music, it's not the point of the video. As in many forums, posters don't always remain on point in a thread.
Might have posted this before: saw him interviewed on stage at the Hay festival a few years back, to promote his book. The journo asked long rambling questions that lasted several minutes. MES answer: 'yeah'. More long questions, followed by single word MES replies: 'nah', 'yeah', 'wot?' etc. Cue audience laughter.
I was the same as you with Trout Mask, took a while to grow, bought it to impress people (didn't work). I think I do this a lot - Nurse With Wound is another one, love them to bits now though.
I've got the Von Sudenfed album - love it, and a collaboration with Mark Blaney (not keen), not sure about the solo one though so will have to dig through the archives.
I read reviews of that tour, not a god one by all accounts. When I've seen them he's been terrifying though.
Hahaha
Fall gigs are notoriously hit and miss.
I love Nurse With Wound.
The guy's clearly very naive, and very young. Everything he complains about except compression (but substitute gated drums, or digital, or synthesizers) has been complained about in the past by some young fogey who doesn't like the modern pop stylings. And if he really believes the modern record industry is more manipulative than the one of the past. Oh boy...
Recent album Dark Fat has been played pretty constantly here for the last few months. Gives me an excuse to post my favourite YouTube vid here again:
A paraphrase of one of my favorite music business quotes:
"The record business has always been run by crooks. The only difference being that in the past, some of those crooks actually had good taste"
He didn't come across as naive to me. He did describe how the record industry used to do things in the past versus how they currently operate in terms of explaining why the music sounds the same and it wasn't limited to compression. Having more reasons and evidence to back them up makes for a stronger argument. Just because other people have used similar arguments in conjunction with complaints about pop music doesn't invalidate his conclusions.
Whether they're crooks or not, the video did present a multitude of reasons and evidence as to why the music industry is more focused on taking advantage of people's subconscious responses to music. He suggested that in the past the record industry had relatively little investment in new artists so they could see what the public's response was and invested in those the public liked. In contrast, he talked about how the modern record industry invests a lot more money in fewer people and uses technologies to appeal to our subconscious to minimize the risk of the public rejecting them. If this is true, it's become a matter of marketing a product based upon trying to get past any conscious resistance to it rather than having people who anticipate what the public's tastes are.
My Beefheart exposure was a wonky and crooked path.
First Beefheart album I got was in the 90s, Strictly Personal. I loved it. Next one was a Spotlight Kid, Clearspot combo album. Didnt much care for them. Years later hit on Safe As Milk, loved it right away as it sounded like Strictly Personal, even had a couple of the same tracks. Then, few years later... Trout, which I had to force myself to listen to. Never before nor since has there been an album for me that clicked on like a lightning bolt after several tortured listens. Was totaly addicted. Sweet sweet lightning.
For sure it's true. This is why chosen products are relentlessly rammed into our ears by every commercial - and in the case of the BBC non-commercial - radio station on the planet. And that product is largely to formula.
Yes, this has always been true to some extent. But in past times A&R men were always on the lookout for the next trend, as defined by what musicians were doing in bands and the reaction that new music was getting from the audience. But not now, I believe.
There are presenters with niche radio shows, and on-line channels for presenting new music. But getting on to the former still requires a record company to have signed an act, most of the time, before air play. The latter, is bogged down by too much stuff. For every one musician who is producing something great, or even a bit different, there are tens of thousand who aren't yet have access to the same platform. Of course, the likes of SoundCloud cannot employ A&R men, 'cause that would wreck their commercial model.
All the lot. Their spunk is gone dead. Motor-cars and cinemas and aeroplanes suck that last bit out of them. I tell you, every generation breeds a more rabbity generation, with india rubber tubing for guts and tin legs and tin faces. Tin people! It’s all a steady sort of bolshevism just killing off the human thing, and worshipping the mechanical thing. Money, money, money! All the modern lot get their real kick out of killing the old human feeling out of man. —D.H. Lawrence Lady Chatterley’s Lover
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A terrible affliction.