Wednesday, February 16, 2005

C, V

Clash- From Here To Eternity (Live)

There was that old argument the purists used to make about how vinyl sounded just as good, if not better, than digital technology- sound waves converted to digital losing all of the extreme peaks and valleys, etc. Thing was, the thesis statement couldn’t even be considered unless you had a really, really nice stereo. If you were listening to punk records, chances were you didn’t- it was the thriftstore turntable with the broken arm or the Fisher-Price that didn’t connect to the rest of your system, the one with a stylus so heavy that it wore new grooves into the records.
The Clash always sounded great on vinyl, through the speakers of a cheap radio- the band’s energy and grit were more easily translated. Listening to the live record is like hunkering down in front of the old Fisher-Price- you can practically feel the cheap beer spittle hitting you in the face.

Coheed And Cambria- In Keeping Secrets Of Silent Earth 3

Do kids really listen to this? I mean, I know that C and C (Music Factory) have a single that gets a lot of airplay on the ‘alternative’ stations and everything, but on the record, it’s buried way in back of like five nine-minute operatic epics featuring flutes and lyrics about manning the turrets to ward off the coming attack of the orc army. I can’t see the emo army slogging all the way through the conceptual Rush-ian bits to get to the pop money shot. Thank goodness for file sharing.

Leonard Cohen- Death Of A Ladies Man

Whenever I play a Cohen record, it’s usually when the roommates are out and I’ve come home early from a dismal evening of work. Lights get shut off and candles get lit once the needle hits the wax. I make tea (black) and ponder the missteps that got me to where I am today. Heavy stuff, you know.
I don’t know the story behind Cohen getting hooked up with Phil Spector- I’m sure that I could find it online, but I’m not sure I care that much. I don’t like the man’s production, I have decided. The wall of sound is cool in theory, but the application to bands and musicians (Ramones, John Lennon, Sinkhole and Cohen) draws all the attention from the songwriting to the production style itself- “Phil Spector featuring the Ramones.” Maybe it’s because I don’t do coke or something; I don’t know. Having said that, though, ‘Don’t Go Home With Your Hard-on’ and the country-ish ‘Fingerprints’ are stunners.

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