fraroc

Joy Division (along with several other bands) shook things up, unlike bands like Green Day and Bon Jovi who played within a set of rules. I understand why Green Day and Bon Jovi have tons of fans. People enjoy the music. But they didn't do anything that raised the bar or challenged the musical status quo. I guess that's the point. Anyway, after Joy Division (and several other post punk bands) things were different. That's rock and roll.

How can you possibly say Bon Jovi didn't have raise the bar? Would there have been a Cinderella or a Britny Fox, for example, without BJ? And you want to talk about rulebreakers, BF's baby broke all of them.

 

http://www.youtube.com/watch?v=p2ZBKopvLI0

New York Dolls did it first and did it better.

 

Name one song NYD did that the average person would know.

The awnser to this question is Vito Bratta and John Petrucci.

 

Nuff said

 

 

I'm in a bit of a "screw the man and f**k the rules" mood

"Organic" is such a f***ing elitist epithet designed to try and tear down good synthesizer music from the 80s.

I think Ted Nugent is the reason why I'm having trouble being around a lot of classic rock and metal fans. Do you know what it's like to be surrounded by people who take his dumbfuck comments as gospel?

I'm not big on tribute bands

 

I guess when it comes to modern bands, you're damned if you do and you're damned if you don't.

 

Not true. Modern bands should be spending time developing their own sound, learning lessons from their influences without letting those influences define them, then writing timeless songs that people will connect with. If they do that well, they should at least find a respectable audience, if not possibly make an impact on the mainstream.

 

Fraroc doesn't understand that rock and metal is thriving today...he equates success with high chart positions.

 

Is a high chart position really that undesirable of a thing?

 

It's completely desirable, but if you do actually view it as the be all, end all purpose of making recorded rock or pop music, then you aren't looking at it right. chart success is great when it happens (its effects on a band's later output are debatable), especially if the music behind it is still great. But here's the thing, history shows us many bands' best albums are released before they have a chart smash hit, and even if the chart smash is their best album, the albums released following that success are rarely as good from a musical standpoint, even if they're commercially appealing and become smash hits. This doesn't have to be true, but most music fans will agree it too often is, though they debate about which bands this actually happened to. Metallica is a great example since most fans are of the consensus that their decline in quality (for those that see it that way, sorry Segue) more or less coincided with their mainstream acceptance and the smash hit that still is the Black Album. Commercial success puts a bad taste in people's mouths because it often results in less quality music for fans of the original band.

 

 

I think that's all besides Segue's point though. The point is that if your only determinant of success and quality is how well something does on the charts, you're depriving yourself a lot of joy in listening to great music that doesn't make it onto the charts. My album of the year last year spawned zero real hit singles and didn't make a lasting impact on the charts, but everyone who reviewed it and listened to it (myself much included) could not get over how incredible it was. Nobody really knows about MisterWives aside from maybe one song that isn't on the album they released last year, yet that album speaks to me to this day. I found out about MisterWives from a free iTunes single they released in 2014 and bought their debut EP because it was 6 songs for 4 dollars and I thought that was a steal. I really enjoyed it, but didn't enjoy the full album that followed quite enough to make a priority of buying it. It also didn't sell incredibly well despite the hype from the EP, so I didn't think I'd miss it much. Three years later they released a lead single that had me absolutely floored, followed by three more pre-album singles that eventually convinced me to pre-order a deluxe album package with a t-shirt and poster and connect the dots book I was so in love with what I was hearing. Nowadays I wish I'd bought the full debut album back when it came out. It's not as good as the second one, but I would've had that much more enjoyment of this band had I made a priority despite it not being that commercially successful. One of my other albums of the year last year was a one minute recommendation from my favorite youtube that I listened to on a whim and was absolutely in love with as well. It made like zero impact on the charts, but sounded like most everything I loved hearing in a pop rock band. Had I not been open to listening to something that wasn't making a dent on the charts, I'd have missed out on one of my favorite modern rock albums ever.

 

It's not being averse to chart success that's preferable, Fraroc, it's having the courage to look past chart success to find great music that isn't getting the recognition it probably deserves.

 

I think you and Segue are right. I mean, I love the band Daughter, and they're virtually unknown in the US. Whether they become top 40 or not doesn't change the fact that I genuinely love the music.

I'm not big on tribute bands

 

I guess when it comes to modern bands, you're damned if you do and you're damned if you don't.

 

Not true. Modern bands should be spending time developing their own sound, learning lessons from their influences without letting those influences define them, then writing timeless songs that people will connect with. If they do that well, they should at least find a respectable audience, if not possibly make an impact on the mainstream.

 

Fraroc doesn't understand that rock and metal is thriving today...he equates success with high chart positions.

 

Is a high chart position really that undesirable of a thing?

I'm not big on tribute bands

 

I guess when it comes to modern bands, you're damned if you do and you're damned if you don't.

First, let me say that I am very, VERY impressed with Greta Van Fleet, as they along with Ghost, are working to try and bring rock and metal back into the ears of listeners all over the world. Their music sounds very Led Zeppelin-esque, to the point where some people initially believed that their music was unreleased Zep songs.

 

When I first discovered Greta Van Fleet, my mind was brought back to another very Zep-esque band that came out decades prior to GVF, the (in)famous Kingdom Come. An extremely underrated band of the 80s hair metal period. However, the reason why I say "infamous" is because in the tail end of hair metal's halcyon years, Kingdom Come had kind of become a joke in the music industry due to Lenny Wolf's denial that they were inspired by Led Zeppelin (Citing AC/DC and Van Halen as their main influences). This lead to Jimmy Page himself openly accusing Kingdom Come of plagiarism and bands writing diss tracks about them. People even got pissed at Eddie Van Halen, who enjoyed them so much that they landed the opening spot on Monsters of Rock 88 where Van Hagar headlined.

 

Which really is a shame, because they had a lot of great material.

I refuse to participate in this thread anymore until the name is changed. I hate that crap TV show! :nya nya:

I literally started the thread with "f**k that show, they're usually boring and have bad taste"

 

The thing is they technically don't have bad taste (would having Geddy Lee on the show constitute as having bad taste?)

 

Personally, I always hated how they gave almost zero support to up and coming metal bands. Instead, Eddie Trunk would rather continue to suck UFO's ass about how amazing they are and how they should have been WAY bigger in the states and all that stuff.

Simmons pads called...they want your post back, fraroc.

 

Like there's anything wrong with being a Gen-Xer in a millennial body.

I fully believe that the production of rock music and metal, the way the music itself was mixed in the studio, was at an absolute peak in the 80s. In the 70s, studio music sounded way to flat and tinny, which makes heavy songs sound not heavy at all...And from the 90s onwards, the "Loudness wars" happened, in which any form of proper mixing was thrown out the window in favor of making the album sound as heavy as possible a la Vapor Trails and Death Magnetic.

 

In the 80s, the studio magic made the music sound so vibrant, almost atmospheric, it made every instrument shine on it's own. It's a perfect cross between heavy and light sounding music.

70 is slowly but surely becoming the new 50

 

Happy birthday Steven :)

I just got home from a concert. What did I miss? Lol

 

Someone trying to out-Fraroc Fraroc.

 

Mick

 

Often imitated, never duplicated lol

Neil didn't "give up" on Rush — he decided after 40 years that he didn't want to do a physically grueling job anymore, that involves a ton of travel and being away from his young daughter. I'd be excited if they ever did anything again but if 20 albums in 40 years isn't enough for you, I don't know what to tell you.

 

I agree when Neil said he was done, it was time for HIM to retire.

 

My frustration with Neil is with the way he handled it...he gave everyone short notice, and he took Geddy and Alex into retirement with him. It now appears there will be no Lee Lifeson "project."

 

They clearly weren't ready to call it quits at that moment picked by Neil. It would have been nice for Neil to acknowledge that and to publicly encourage his two lifetime co-workers to record together again.

 

 

.

 

Part of being a Rush fan is accepting the fact that even if Geddy, Alex and Neil are your personal heroes, they're not saints. Nobody's perfect 100% of the time. Personally, I always hated how Neil forced Ged and Al's hands into retirement even though they didn't want to, and to be honest, I'm also a bit disappointed in Geddy for not having a spine. He should have told Neil "Look, you may be done, but I'm not. I still want to perform, I still want to make new music, and whether you want to participate or not is your perogative."

 

I guess he's just too nice to do that.

Rush is over. They're not suddenly coming back to record new music. Also Geddy's voice is shot. Sad but you have to accept it

 

Geddy's voice is shot LOL

 

Who told you that, I wont accept that, :geddy: Lalalalalala

 

As a consistently good live singer his voice is certainly shot. He can still sing decent I'm sure but those longer live shows during Rush's final tours did his voice no favors. You're just a blind fanboy if you can't hear the decline in his voice.

 

That's why whatever he does next musically should be instrumental only. He's done enough with his voice. He should just focus on jamming out now in his later years. Give the pipes a rest, they've more than earned it.

 

That CA dvd. he was shot after Subdivisions, lol

 

and that was the opener.

 

Mick

 

Well they're the ones that made the mistake of releasing a Clockwork Angels live DVD and album from one of the last dates of the tour were everybody was tired and burnt out.

Rush is over. They're not suddenly coming back to record new music. Also Geddy's voice is shot. Sad but you have to accept it

 

f**k that, he sounded great on my show.

Basically, this channel on YT are these two Serbian guys who specialize in making foods in a primitive, outdoors setting, proving that you don't need fancy kitchen equipment to make amazing food.

 

 

 

Some of my favorite videos from them.

 

 

 

 

 

 

 

Well they managed to sell out MSG on their 40th anniversary tour, so I'd say they were on a pretty high echelon.

Blaze was awful, just listen to Fortunes of War. Man, those albums suck. Paul all day.

 

http://www.youtube.com/watch?v=15BI50hO34E&sns=em

 

Yeah, that’s pretty unenjoyable

 

PURE SHITE. PASS.

 

Strangely enough, the lower voice suits him much better. I'd rather listen to this than him attempting The Trooper, to be honest....that was tough to listen to.

Some dude on Facebook is claiming Ged never actually plays the keys while playing the bass. I need video proof of this to shut him down and am having zero luck.

 

Dude, tell this guy that he's clearly playing the parts to Subdivisions. I mean sure, that big workstation keyboard he toured with in the past years could be used as a digital piano, synthesizer, and a sampler and he's definitely used the keyboard as a sampler a few times, but he most definitely plays keyboards on most synth songs.

Signals had more keyboards than previous albums but to me the real shift happened when they parted ways with Terry Brown on Grace and went full-on in that direction. The end point is HYF — Presto and Roll the Bones still had keyboards on them but they weren't the focus anymore. Those three mid-80s albums are what I think of when I think about that era. Signals has more in common with Moving Pictures than it does with the three albums that followed it.

 

You know, a lot of Rush fans claim that Presto was the album where "the guitar came back", I would more say that it was the album where the bass came back. The only Song that Geddy still played a main keyboard part (meaning no bass guitar, just synth bass) on was Show Don't Tell, every other song, the keyboard was just an accent and was sampled live.

You sure about that?

 

http://www.youtube.com/watch?v=99P7uxHDpEc

 

I don't really count Scars because that's clearly a slap bass that's being played on the album version.

 

No clue why he didn't just play the bass part though.

Because it wasn't recorded with bass. Clearly.

 

https://en.m.wikiped...i/Presto_(album)

 

Really?

 

I find that rather odd, because it sounds just like slap bass.

Yes! This guy gets it. Also that distinctive Wal tone made the bass parts stand out more especially the solo in the middle of the song

 

I don't share a lot of the same opinions of most most Rush fans.

 

Its not about being a contrarian, it's about just being honest with myself and what I like.

La Villa is probably the only Rush 70s song that sounded much better with their live 80s sound aka ASOH and Presto tour renditions. I also liked how they shortened it up to just hit all the best parts minus the long build up or repetition

 

Unlike most Rush fans, I actually loved the ethereal chorus effects that Alex used in the Lerxst In Wonderland part during the Hold Your Fire tour. I think it worked a little better for the 80s sounds than the normal volume swells.

Signals had more keyboards than previous albums but to me the real shift happened when they parted ways with Terry Brown on Grace and went full-on in that direction. The end point is HYF — Presto and Roll the Bones still had keyboards on them but they weren't the focus anymore. Those three mid-80s albums are what I think of when I think about that era. Signals has more in common with Moving Pictures than it does with the three albums that followed it.

 

You know, a lot of Rush fans claim that Presto was the album where "the guitar came back", I would more say that it was the album where the bass came back. The only Song that Geddy still played a main keyboard part (meaning no bass guitar, just synth bass) on was Show Don't Tell, every other song, the keyboard was just an accent and was sampled live.

You sure about that?

 

http://www.youtube.com/watch?v=99P7uxHDpEc

 

I don't really count Scars because that's clearly a slap bass that's being played on the album version.

 

No clue why he didn't just play the bass part though.

Signals had more keyboards than previous albums but to me the real shift happened when they parted ways with Terry Brown on Grace and went full-on in that direction. The end point is HYF — Presto and Roll the Bones still had keyboards on them but they weren't the focus anymore. Those three mid-80s albums are what I think of when I think about that era. Signals has more in common with Moving Pictures than it does with the three albums that followed it.

 

You know, a lot of Rush fans claim that Presto was the album where "the guitar came back", I would more say that it was the album where the bass came back. The only Song that Geddy still played a main keyboard part (meaning no bass guitar, just synth bass) on was Show Don't Tell, every other song, the keyboard was just an accent and was sampled live.