A cool vid posted by a guy at TOMB in ’07.
Loving the latest Built to Spill, Untethered Moon – quirky hard/prog rock with awesome guitar parts and sounds, varied arrangements, and I believe our own LC worked onnit.
Jason Isbell’s latest and last records is very good.
Latest Low, also.
Keef’s is OK, rather laid back and Americana-retro.
Love the Lanegan demos and the SoundGarden rarities releases.
Veruca Salt rocks and The Amazing is SoCal cool (especially amazing in light of their country of origin) and the Church’s is just aiight.
I like the new Wilco, also, as well as the Tweedy release,
The Sticky Fingers re-master is excellent because of the 2nd disc with alternate versions – production is very crisp, tho’.
Also loving the latest James McMurtry, and especially the new Eleventh Dream Day.
Daddy issues, some might say, but at 55 I still compare myselves to my father (RIP), especially concering his areas of expertise.
Went to change the oil and the thermostat on my old (’96 Dodge 1500 w/ 5.9L) this AM, had the tools out and the son standing by to assist.
Lemme see, loosen the tortion wheel and get the serpentine off, check.
Un-bolt the alternator – tight bitch, two bolts one nut, check.
Look it over, gotta un-wire the alternator, remove the cross brace, move the AC lines …
My daddy, and many is the time, would be out there all day cursing and fighting the thing and having me there to assist and be cursed at and help him fight it.
And it is fond memories that make me larf – about how miserable it was at the time.
Me, I put it all back together – that took a half hour of cursing and fighting (tho’ not at my kid) – and I’m gonna bring it in to the shop and for US$200 they can replace the thermostat and change the oil and I won’t hafta curse nothin’ but them and the bill.
I hope my kid eventually gets smarter than me, too.
In response to a TOMB question re whether the writer should purchase certain pre’s and compressors, I wrote:
If you intend to keep doing as you have done, then obtaining gear might be fun but not necessary.
Workflow-wise, if you like the sounds you have recorded, you may just be doing less adjustment if you continue to bring tracks to a “proper” studio.
Or not necessarily, and you may decide you don’t like the sounds you committed to, especially when using an arguably very colored piece of equipment like the UA stuff you list.
Finally, as a dedicated bedio-recordist, I can comment that the ISA1 is a very nice piece of kit, and unlikely to be “too much” in its coloration – I love mine.
Re the FMR gear, I really like the RNC as a clean and transparent compressor on vox, and the RNLA as a more colored compressor on vox and also on electric guitar amps.
Re Universal Audio pres, I prefer and own the UA110, more or less the solid state version of the 610 and use it on everything except drums (which I record on a Zoom R16); I also like the 710, which can be very flexible due to its combined S/S and tube topology. I have never been able to justify to myself the cost of the 610 or LA610, me, as so many nice pre’s and channel strips can be found for less than US$500 (used) – I use a Brick when I want an obvious and wooly tube sound for, say, DI bass or vocals, and a VC1Q when I want a channel strip (quickly set-up, convenient, nice tone and bright green!) or a Eureka (a total understated joy.)
In answer to a question at lostO, I posted:
“It was surprisingly difficult to mix.
Snarl called the drums, “myjazzything” and so I used a classic jazz progression (Cm7-Dm7-Ebmaj9-Dm7) and threw inna extra beat.
There are actually 2 basses, one has a chorus and the other some occasional reverse effect; prob’ly a lot of the mix difficulty is there attributable.
The guitar is in M/S with some auto-pan on sustained notes; of interest may be that I recorded it mono, then used a ribbon to record playback of just the guitar to create the side channels when I decided I wanted ’em.”
As postered at TOMB and now compiled here:
The Blue Oyster Cult, Tyranny and Mutation: how they played this stuff so in ’73 is beyond me, as well as why the first two records weren’t huge hits. Buck Dharma rules! I did have to tell a buddy who whined about the relatively quiet bottom end level, turn it UP.
Patterson Hood, Heat Lightening Rumbles in the Distance: this guy is an absolute treasure, this album a complete gem.
The Joy Formidable, Wolf’s Law: I really want to really like it, but it’s just OK, with that fucking basketball drum sound like Bush’s and that whiny Pumpkins-clone band’s latest.
Low, the invisible wrong: gets me high.
Mudhoney, Mudhoney: a work of grunge genius, what is not a oxymoron, dude.
Isidore, Life Somewhere Else: where Kilbey takes us to church, with a different congregation.
MBV, Isn’t Anything: I’m still listening to the original mixes these many years later, still trying to figure out why this stuff works, if what’s-name is a genius, and if I like it. I’ll have to listen again.
Danzig, Danzig II-Lucifuge: R. Rubin, B. O’Brien and J. Scott make this sound great, and the band, like on the first record, has silly songs, silly names and a bad enuff ‘tude to make it rock. Whatever happened to J. Christ?
Lou Reed, Animal Serenade: sheer misanthropic poetry, done with very little percussion, and F. Saunders as MVP.
Johnny Marr, The Messenger: I so want to like this, and don’t – over-produced and generic despite the very occasional flashes of genius.
Latest Bowie and Cave; I prefer the latter, so far.
Bowie’s latest is really growing on me.
Shooter Jennings, Black Ribbons: Wow! I’ve heard it once, I’ve gotta think about it, but it’s interesting as hell, some cool songs, lotsa weirdness with a political message.
Richard Thompson’s latest: Excellent, of course.
Echo & The Bunnymen, The Fountain: their last from a couple years ago, quite good inna mellow kinda way.
The National’s latest: love it.
Luna, lunapark: hadn’t heard this inna cuppla years, it’s aged surprisingly well, and such a cool band – I miss ’em.
The Cult, Choice of Weapon: it’s The Cult, like ’em or not – I do, about the only “current metal” band I listen to.
Miles Davis, Round Midnight: remastered, so tasty.
PJ Harvey, Rid of Me: loud and funny, intense and noisy, also interesting as hell.
Lucinda Williams – excellent guitar work and songs;
Thurston Moore – SY all the way-sounding;
Mark Lanegan – loverly dark pop;
Robert Plant – world-musicish, great sounds and performances;
Roco DeLucca – bought it for the Tchad Blake production, what is awesome, don’t care for the songs or singer;
U2 – how can this band be so under-rated? Only by being so omnipresent and annoying – it really is an excellent record.
Buncha live stuff offa NYCTaper, and Steve Wynn’s Northern Aggression, Jason Isbell’s Southeaster, Bob Mould’s eponymous, and latest Bryan Ferry, all of what I like (lotsa Marr on the latter – lotsa guitars).
Been really digging the latest My Bloody Valentine, especially cranked in the monitors – the production arrangements (by what I mean how he uses the delays and compressors and verbs and other FX and mutes and such) are excellent.
And completely different (but mebbe not so much), T-Ride’s eponymous release.
c. ’15 The Hungry Drunx
There ain’t no way
I can tell you
How to leave
With yer pride intact
Ain’t no joke son, It’s a fact
There ain’t no chance
Of gettin’ over it
You oughta know
Just what you lack
There ain’t no reason
Yer momma left you
Just was her time
To get on back
There ain’t no leavin’
The killin’ season
Now that the sun
has turned to black