Other music and recommendations.
Mallard No. 22 wrote:John was re-invigorated with 'Coming Up' apparently. It encouraged him to get back into the studio.
Yes...in fact "Coming Up" and the rest of "McCartney II" sparked John's competitive nature since he believed it was the best solo effort by Paul...Also, John wanted to capitalize on a few others who claimed they were influenced by Yoko (which included the B52s)......He seemed somewhat vanilla on most of his "Double Fantasy" tracks, but he seemed to push the envelope with Yoko's...that lead to "Walking On Thin Ice" which features some of the best guitar work John ever did...lord..we'll obviously never know what that was all going to lead to!
I find it ironic that John considered Double Fantasy to be his "Heroes" when McCartney II is the one that sounds more like "Heroes", and indeed the entire Berlin Trilogy. McCartney II was essentially Paul's Low, much more than it was his Trans.
AdvertBreak wrote:I find it ironic that John considered Double Fantasy to be his "Heroes" when McCartney II is the one that sounds more like "Heroes", and indeed the entire Berlin Trilogy. McCartney II was essentially Paul's Low, much more than it was his Trans.
Yeah..John was also inspired by doing a rock video similar to Bowie's "Ashes to Ashes", but honestly had no vehicle..... But "McCartney II" was so eclectic in varying in its music range.... I was 3 years old when it was first released and I even was listening to it then!
Regarding "Double Fantasy" it was John's first release after his five years hiatus and the musical landscape had dramatically changed during that time and only a couple of his own songs on that album sounded "modern".....Perhaps "Clean Up Time" and "I'm Losing You"...."Beautiful Boy" to a certain extent... "Watching the Wheels" had a vintage Lennon vibe to it.....
Led Zeppelin's (best song) In the Evening has always struck me as one with huge crossover appeal. Bar maybe that buried half-solo in the middle, it wouldn't be so out of place from (I'm going there) PiL.
That guitar sound oh baby.
That guitar sound oh baby.
AdvertBreak wrote:Led Zeppelin's (best song) In the Evening has always struck me as one with huge crossover appeal. Bar maybe that buried half-solo in the middle, it wouldn't be so out of place from (I'm going there) PiL.
That guitar sound oh baby.
Always..always been among my LZ faves... Excellent choice there!
Hmmmmm......someone define what genre this reminds you of? https://www.youtube.com/watch?v=LJTGimyf0r8" onclick="window.open(this.href);return false; I could hit on several... just ahead for 1966!
Check them out further on youtube....Really amazing... then..if you never have.... check out some MC5 and the Stooges... Both Detroit bands (where I'm originally from) and were immersed in Punk and Metal very early on!AdvertBreak wrote:That's a strange track. I thought they were garage rock/protopunk. That's like pulsating techno.
AdvertBreak wrote:I will do. That track instantly got be interested.
Yeah....they somewhat remind me of a 60's Stranglers to a certain extent... Another band whose songs sound like an absolutely different genre than just punk!
Agreed..."Golden Brown" to me is "Chamber Music" than "New Wave"......"Waltzinblack" has such a celestial feel to it....both very well orchestrated.....AdvertBreak wrote:Stuff like Waltzinblack and Golden Brown are the least new wave-y things that are considered new wave, in my ears.
I want to elaborate on my first choices.AdvertBreak wrote:Songs which are typified with one genre but remind you, or straight out sound like others
Genesis - The Brazilian (electronica, acid house)
R.E.M. - What's the Frequency, Kenneth (Britpop)
Bachman-Turner Overdrive - You Ain't Seen Nothing Yet (indie pop)
A lot of prog rock (alternative rock)
So yeah, can get controversial.
The Brazilian is the least prog (and least rock) thing Genesis did. Considering the entire track is electronic (apart from "when they poke Mike with a stick at the end to wake him up to play some chords"), its definitely an off-kilter dance track that wouldn't sound out of place in an old skool electro mix. And by electro, I mean both sorta ravey, acid music and also (especially in fact) actual instrumental hip hop 'electro' music - as in Herbie Hancock's Rockit or Paul Hardcastle's 19. It sounds like people who know their club music. No way could this be the work of a guitar band. And yet it is!
And yet Darren Lock says its amongst the most prog things they ever did. Simultaneously the least and most prog thing they ever did, hey? It's proggy because you can still imagine a prog band making it in the 80s. Yeah, it has Simmons, but an instrumental with the freaky, beardy keyboard work, and that brief guitar solo. But yeah, crossover appeal without a doubt. Play it next time you play electro music, you'll be surprised.
What's the Frequency, Kenneth is supposed to have a grunge influence but to me sounds much more like its British opposite. It would sound out of place to me in a grunge mix, but not in a Britpop mix. It sounds so much like Shed Seven/sub-Oasis/Bluetones sort of bands in fact that I'm starting to think this apparent dividing line between Britpop and grunge is thinner than I'd thought. Everything about it screams Britpop to me.
You Ain't Seen Nothin' Yet has jangle pop guitars. The only time the classic rock guitar sound comes in is during the chorus, which is the out of place bit anyway. The drums aren't miles away either. Just get rid of the chorus and the voice, and it will sound pretty indie pop and twee.
And as for prog rock sounding like certain alternative rock, well that's obviously true. I shouldn't even have to name examples. You can't even be a post-80s prog band without also being considered alternative rock.