Good song but aaaaarrrrghhhh! that drum sound splat! splat! splat!
Human being shows that he can sound like an awful drum machine.
It is a drum machine, obviously mimed. Wtf was this collective madness that descended in the 80s where they used drum machines to replicate real drummers? It was fine with stuff like Depeche Mode/Human League where they are obviously electro records, but why try to pass off a machine as the real thing?
Good song but aaaaarrrrghhhh! that drum sound splat! splat! splat!
Human being shows that he can sound like an awful drum machine.
It is a drum machine, obviously mimed.
Really? Well.
Wtf was this collective madness that descended in the 80s where they used drum machines to replicate real drummers? It was fine with stuff like Depeche Mode/Human League where they are obviously electro records, but why try to pass off a machine as the real thing?
Musicians were testing out the new toys and techniques. Nothing wrong with that, tho it left us with a lot of albums that we now wonder how much better they'd been without so many machines replacing humans.
Good song but aaaaarrrrghhhh! that drum sound splat! splat! splat!
Human being shows that he can sound like an awful drum machine.
It is a drum machine, obviously mimed.
Really? Well.
Wtf was this collective madness that descended in the 80s where they used drum machines to replicate real drummers? It was fine with stuff like Depeche Mode/Human League where they are obviously electro records, but why try to pass off a machine as the real thing?
Musicians were testing out the new toys and techniques. Nothing wrong with that, tho it left us with a lot of albums that we now wonder how much better they'd been without so many machines replacing humans.
I always use the "Never Gonna Give You Up" analogy. If it it had been recorded by a group of crack Motown (or similar) musicians in the 60s 0r 70s it would be a great record. As it it is, it's this clanking over-busy backing track with a great vocal on top. In a lot of cases the second half of the 80s threw up some great pop records despite the production.
I always use the "Never Gonna Give You Up" analogy. If it it had been recorded by a group of crack Motown (or similar) musicians in the 60s 0r 70s it would be a great record. As it it is, it's this clanking over-busy backing track with a great vocal on top. In a lot of cases the second half of the 80s threw up some great pop records despite the production.
Most folks over at pinkflag, the Wire site, believe that 80s Wire, which is generally regarded as ho-hum in their catalogue, would have been so much better realized if they'd just let Rob play the fucking drums instead of MIDI'd the fuck out of the percussion. The boots from that time do bear out that the songs themselves weren't mediocre.
Good song but aaaaarrrrghhhh! that drum sound splat! splat! splat!
Human being shows that he can sound like an awful drum machine.
As Heston says it's a drum machine. But you need not feel so red faced mate as those bloody 80's lin drums sound no different to my ears. I saw Topper playing around with an electronic kit a while back and all though you will never replace the real thing the sound has come a long way since the 80's.
Re: The Great Thread of YouTube Magnificence!
Posted: 19 Oct 2017, 4:09pm
by Marky Dread
I like this.
Re: The Great Thread of YouTube Magnificence!
Posted: 23 Oct 2017, 9:06pm
by Rat Patrol
That...is the strangest-looking drum kit I have ever seen.
That...is the strangest-looking drum kit I have ever seen.
That is ugly!!
Re: The Great Thread of YouTube Magnificence!
Posted: 24 Oct 2017, 10:36am
by daredevil
This sounds like it could've been written in 1979 for Eat to the Beat
Re: The Great Thread of YouTube Magnificence!
Posted: 28 Oct 2017, 1:12am
by Rat Patrol
Re: The Great Thread of YouTube Magnificence!
Posted: 08 Nov 2017, 2:23pm
by Dr. Medulla
Thinking a bit about the small discussion Hoy and I had the other day about the viability of STH as a single given its lyrics and sombre sound, and weird out-of-nowhere hits. A long time ago, I brought up MARRS' "Pump Up the Volume"—still my gold standard for something utterly outside what was happening on the charts at the time (but certainly not in the alternative or underground scene)—as one example, but Laurie Anderson's much weirder "O Superman," which made it to #2 in the UK. As fascinating sounding as it is, what on earth was going on in Hestonland that would cause it to soar up the singles charts?
Thinking a bit about the small discussion Hoy and I had the other day about the viability of STH as a single given its lyrics and sombre sound, and weird out-of-nowhere hits. A long time ago, I brought up MARRS' "Pump Up the Volume"—still my gold standard for something utterly outside what was happening on the charts at the time (but certainly not in the alternative or underground scene)—as one example, but Laurie Anderson's much weirder "O Superman," which made it to #2 in the UK. As fascinating sounding as it is, what on earth was going on in Hestonland that would cause it to soar up the singles charts?
There is no logical explanation but listening just now brought it all back.
It is why people stop and stare at car crash, watch Coronation Street, eat Vindaloo curry or poke a bruise. It is hypnotic and addictive. You can’t look away and the pain draws you in.
There have been other cases.
Thinking a bit about the small discussion Hoy and I had the other day about the viability of STH as a single given its lyrics and sombre sound, and weird out-of-nowhere hits. A long time ago, I brought up MARRS' "Pump Up the Volume"—still my gold standard for something utterly outside what was happening on the charts at the time (but certainly not in the alternative or underground scene)—as one example, but Laurie Anderson's much weirder "O Superman," which made it to #2 in the UK. As fascinating sounding as it is, what on earth was going on in Hestonland that would cause it to soar up the singles charts?
There is no logical explanation but listening just now brought it all back.
It is why people stop and stare at car crash, watch Coronation Street, eat Vindaloo curry or poke a bruise. It is hypnotic and addictive. You can’t look away and the pain draws you in.
There have been other cases.
Is the John Peel factor not the logical explanation? It was only when Peel started playing it that they decided to release it in the UK. Dont think it was ever played on TOPT and was only in the charts for 4 or 5 weeks.
Thinking a bit about the small discussion Hoy and I had the other day about the viability of STH as a single given its lyrics and sombre sound, and weird out-of-nowhere hits. A long time ago, I brought up MARRS' "Pump Up the Volume"—still my gold standard for something utterly outside what was happening on the charts at the time (but certainly not in the alternative or underground scene)—as one example, but Laurie Anderson's much weirder "O Superman," which made it to #2 in the UK. As fascinating sounding as it is, what on earth was going on in Hestonland that would cause it to soar up the singles charts?
Wow, I've never heard of this. All it needed was an edit to bring it under 4 minutes and it would have made it to #1!