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OT: The Semi-Annual, Taste Optional Music Thread: Post Your Mid-Winter Blues Music

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Deport Ogie said:
Also @BlindWillyMcHurt, sorry man, I know it's early but drinkie drink. Eno's on this album though possibly not this song. It's kind of argued over what his actual contributions are but it's generally accepted that a lot of the work he did was not credited because Tony Banks never wanted him involved in the first place.
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You probably already know this little aside but Collins and Eno actually met while Eno was recording "Tiger Mountain" and Genesis was doing "Lamb." They were using the same studio. The story goes that Genesis asked Eno to come down from his spot and help them put some vocals through his synths and other weird Eno shit. As payback... Eno asked if they would lend him Collins for a track (Mother Whale Eyeless). This led to Collins doing a bunch more tracks for Eno on "Another Green World" "Before and After Science" and "Music for Films."

I always thought that was pretty interesting for whatever reason. Eno's collab list is something else.
 
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BlindWillyMcHurt said:
You probably already know this little aside but Collins and Eno actually met while Eno was recording "Tiger Mountain" and Genesis was doing "Lamb." They were using the same studio. The story goes that Genesis asked Eno to come down from his spot and help them put some vocals through his synths and other weird Eno shit. As payback... Eno asked if they would lend him Collins for a track (Mother Whale Eyeless). This led to Collins doing a bunch more tracks for Eno on "Another Green World" "Before and After Science" and "Music for Films."

I always thought that was pretty interesting for whatever reason. Eno's collab list is something else.
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I knew there was some sort of quid pro quo but not the specific details, makes sense.

There was so much inbreeding between those early proto prog era groups. I don't know if it was just due to the musicianship required or the sort of pseudo-pretension of the genre.
 
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Deport Ogie said:
I knew there was some sort of quid pro quo but not the specific details, makes sense.

There was so much inbreeding between those early proto prog era groups. I don't know if it was just due to the musicianship required or the sort of pseudo-pretension of the genre.
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Hahaha... why not both?
 
Slightly OT to the music thread, but I got a bee up my ass about a month ago and did a complete gear reorganization because I decided I couldn't live without reverb and tremolo in my life anymore. Sold the 1965 Selmer T'n'B, bought a 1966 Fender Pro Reverb so I can play this all night long:

 
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HandshakeLine said:
Slightly OT to the music thread, but I got a bee up my ass about a month ago and did a complete gear reorganization because I decided I couldn't live without reverb and tremolo in my life anymore. Sold the 1965 Selmer T'n'B, bought a 1966 Fender Pro Reverb so I can play this all night long:

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This news makes me both sad and happy.

I'm a Fender amp stan so... happy. And it's a flippin' 66 so doubly so.

But that Selmer just seemed like so a cool amp. Kinda cranky though from what you've said.

Either way that's killer. Reverb is like... my main thing. And Fender does some of the best in-amp reverb.
 
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BlindWillyMcHurt said:
This news makes me both sad and happy.

I'm a Fender amp stan so... happy. And it's a flippin' 66 so doubly so.

But that Selmer just seemed like so a cool amp. Kinda cranky though from what you've said.

Either way that's killer. Reverb is like... my main thing. And Fender does some of the best in-amp reverb.
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I mean, it's basically a weird version of a JMP/Bassman. There are cooler Selmer amps to be honest, like the Thunderbirds or the Zodiacs. But also it had some insane iron curtain hackery done to it (e.g. someone replaced a blown OT with two smaller OTs wired in series?) and it was just too much amp when up and running (like a solid 60 watts or so). I basically swapped it for the Fender, which is the 35-watt version of the Blackface Twin and is basically stock (OG speakers, transformers, etc.), outside of a since-reverted Master Volume mod.

I did keep my 4-watt Selmer Little Giant though. Just played a solo show with it last week, in fact.
 
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HandshakeLine said:
I mean, it's basically a weird version of a JMP/Bassman. There are cooler Selmer amps to be honest, like the Thunderbirds or the Zodiacs. But also it had some insane iron curtain hackery done to it (e.g. someone replaced a blown OT with two smaller OTs wired in series?) and it was just too much amp when up and running (like a solid 60 watts or so). I basically swapped it for the Fender, which is the 35-watt version of the Blackface Twin and is basically stock (OG speakers, transformers, etc.), outside of a since-reverted Master Volume mod.

I did keep my 4-watt Selmer Little Giant though. Just played a solo show with it last week, in fact.
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Oh for sure... I just love oddball old gear that isn't confined to the "big" names.
 
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HandshakeLine said:
Speaking of which, did you (or anyone else) know that for a brief period of time, Magnatone Amps were made in Zelienople? I keep hoping I'll stumble on a 280 for $200 in like Oil City or something when I'm home.
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Indeed!

The only reason I know that though is because my friend (and bass player) stumbled upon an early 60s 5 watt Magnatone in semi-working condition for free-thirty and we were doing a bunch of research on it with the intent of having it restored. So we went down a bit of a rabbit hole.

Killer old amps... shit they mostly all were, then. Think it's kind of fascinating they are reissuing them, now.
 
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The RIs are pretty good! I played one of the 280-inspired ones in Berlin and it sounded amazing-- that trem/vibrato combo is fantastic. They're just stupidly expensive, and even more so here.
 
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HandshakeLine said:
The RIs are pretty good! I played one of the 280-inspired ones in Berlin and it sounded amazing-- that trem/vibrato combo is fantastic. They're just stupidly expensive, and even more so here.
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Yeah it's gotten really bad.

I could re-sell all of my gear that I've bought the last several years at a profit. Some of it at a heavy profit. Not even vintage just... regular stuff. My 68 DRRI is worth like 400 bucks more than I paid for it lol
 
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HandshakeLine said:
Slightly OT to the music thread, but I got a bee up my ass about a month ago and did a complete gear reorganization because I decided I couldn't live without reverb and tremolo in my life anymore. Sold the 1965 Selmer T'n'B, bought a 1966 Fender Pro Reverb so I can play this all night long:

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Learn this one too:



Saw them at the Graffiti in the mid 90's I think it was. Lux was quite the showman.
 
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Factorial said:
Learn this one too:



Saw them at the Graffiti in the mid 90's I think it was. Lux was quite the showman.
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I bought three cassettes from Eides when I was 14- Songs the Lord Taught Us, Darklands, and In Utero and I'll be damned if they haven't each defined my life.

Also that Kid Congo Powers "solo" on "Some New Kind of Kick" is my favorite guitar solo of all time I think. :laugh:
 
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HandshakeLine said:
I bought three cassettes from Eides when I was 14- Songs the Lord Taught Us, Darklands, and In Utero and I'll be damned if they haven't each defined my life.


I bought three cassettes from Eides when I was 14- Songs the Lord Taught Us, Darklands, and In Utero and I'll be damned if they haven't each defined my life.

Also that Kid Congo Powers "solo" on "Some New Kind of Kick" is my favorite guitar solo of all time I think. :laugh:
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I'd like this if I had the capability to.
 


"The audience, which consisted largely of bikers, was unusually hostile, and Iggy, as usual, fed on that hostility, soaked it up and gave it back and absorbed it all over again in an eerie, frightening symbiosis. "All right," he finally said, stopping a song in the middle, "you assholes wanta hear 'Louie, Louie,' we'll give you 'Louie, Louie.'" So the Stooges played a forty-five-minute version of "Louie Louie," including new lyrics improvised by the Pop on the spot consisting of "You can suck my ass / You biker Homophobic Slur sissies," etc."
 
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I've listened to the new Arcade Fire album these last days. I think its good but not great. Middle track pulling it down, even if there is some salvation in The Lightning I and II right after.

Don't know how they maintain the innocence. Even at their darkest, which isn't very dark or deep, there's that "love will conquer all" quality. I still like them a lot, but more and more I think they won't age that well with me. But maybe my love for them is just conditioned by it not being truly young love, as I was 27 when "Funeral" dropped. Different with Radiohead for instance. High school sweet hearts will always have a bit of a special place in your heart.
 
Tender Rip said:
I've listened to the new Arcade Fire album these last days. I think its good but not great. Middle track pulling it down, even if there is some salvation in The Lightning I and II right after.

Don't know how they maintain the innocence. Even at their darkest, which isn't very dark or deep, there's that "love will conquer all" quality. I still like them a lot, but more and more I think they won't age that well with me. But maybe my love for them is just conditioned by it not being truly young love, as I was 27 when "Funeral" dropped. Different with Radiohead for instance. High school sweet hearts will always have a bit of a special place in your heart.
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I listened to a little bit out of curiosity. I was also very impacted by Funeral. '04 was a breakout time for indie music, and I prejudged Arcade Fire as overhyped and probably not interesting. But the album hooked me immediately. Like, every song.

I was excited when they debuted on Conan. They looked nervous as hell, it was endearing.
 
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