huge fan of yvette young:
Lotso tapping, but still super melodic.
huge fan of yvette young:
Lotso tapping, but still super melodic.
[quote=“rknLA, post:19, topic:6465, full:true”]Nels Cline:
Nels was one of my first thoughts.
I used to see him constantly twenty+ years ago, with his trio (including his ace drummer and brother Alex), and with many other formations, including with the towering genius Horace Tapscott, Vinny Golia, Mark Dresser, and many more. It was always a complete pleasure to hear this guy go way out.
Wow, Squirrel Bait.
Since I am now on the downhill side of half a century, I’m just gonna rock the old man business:
I bought that e.p. the week or so it came out. Some friends at Maximum Rock & Roll turned me on to it after it got sent over for review; yeah, I was a part-time “shitworker” for a short while; pals with Tim Y., etc.
Great band. That record still holds up for me, as does the second one. Loved them.
Strangely, never really got in to Slint that much, but Squirrel Bait were a wonderful band.
Rapeman. Complex. I really liked that record, and the other one (still have the original die-cut vinyl releases), but the name makes me cringe, and I HATE Steve Albini with a passion. It’s a hobby.
Super overlooked band. I saw them the first time they played on the west coast, in SF. I think I was like one of five people in the club. Nobody knew them. That record is formidable. I was just thinking about them last week. The drummer is like five people in one. Furiously great.
I’m kinda wanting one of those Strandbergs, except I can’t figure out how to hang a headless guitar on the wall (keeps them out of the way of the animals and the vacuum cleaner).
Edit: uh oh, figured it out. Time to write more GAS haiku.
if they (presumably) weren’t so top heavy, maybe you could hang them upside down? not sure if i could ever get used to having fanned frets like that, i have enough trouble with my telecaster
See above. I think extended range would definitely take some practice but I’m super tempted.
Lemme add something original:
A totally new-to-me guitarist who REALLY impresses me on this record is Liberty Ellman.
I wouldn’t expect anything less than greatness in a player tapped by Threadgill, but there’s something special here, and his tone, and employment of a flat top acoustic on some songs brings something different and vital.
Other perennial faves, off the top of my head:
Rowland S. Howard
Ry Cooder, kind of in general, but especially with Captain Beefheart (see previous two names)
Mississippi John Hurt
Mississippi Fred McDowell
Blind Willie Johnson
James Blood Ulmer
This could go on.
EDIT: lord how could I have forgotten?
When I was a wee teenager, and stumbled on this song, it changed my life a little:
One more Julien Baker to even out the gender imbalance in my last post:
Also, I hope I’m not the only person who thought to mention Bill Nelson.
No Frank Zappa in the lists?
i’ve tried to be honest
might be odd to the rest of you but i cant name anything by him
not heard much by FZ if any
He’s up a couple posts above yours! I agree there should be more though
@glia it’s can be pretty off putting upon discovery, but it’s worth diving into. Maybe start here
There are decades of Zappa in multiple genres…
One of the more prolific musicians I’m aware of.
This is the one that I must have listened to… a whole bunch of times.
I’m really curious about this, since I hold him in pretty high regard. It’s fine if you’d rather not expand on it here or publicly, (I don’t really feel like it’s good form to ask someone to bash someone else on the internet) but I also feel like I have to ask, what fuels the hate? Musicianship? Personality? Simply the fact that most people into indie rock seem to be kissing his shorts?
thanks for the zappa posts yall
speaking of geniuses whose catalog i havent properly explored…ariel pink totally opened my eyes here
YES!!! Check out his rbma lecture:
Also, does a pedal steel guitar count? Heather Leigh:
I mean, I generally am a fan, but he’s a pretty strong personality who is bound to ruffle feathers and it’s a bit off-putting that he seems to sometimes savor being that presence for its own sake.
I think there’s something about that generation of punk rock folks that has mellowed in the generations that followed. Louisville has a few of these cantankerous ‘I’m so controversial’ kinds of personalities in that generation. One of the smartest punks out of Louisville is Drew Daniel of Matmos who would be sort of generation 2 as he came up in the mid-80s. Super sharp about how he sparks and provokes thought in others. I think that’s a combination of his punk rock background being tempered by the skills of being an academic/professor, so there’s a bit more thought going into his statements. It comes across as more subtle and playful. A bit more of a trickster vibe rather than just combative, which I think Albini can fall into.
I dunno, as an Albini fan (generally), I can definitely see why people loathe him. I’d also love to hear discussion about this - whether here or in its own thread. It’s a tricky game to play to be a provocateur and still not come off as a jerk.
Without dragging this thread too far in a tangent, my loathing of Albini is manifold and long.
I don’t even think of him as particularly provocative, and certainly not USEFULLY provocative. Just…kind of an abrasive asshole with opinions.
For me, the breaking point (years and years ago) was reading his rather dramatically thorough denunciation of all music made with synthesizers and/or computers or whatever.
This coming from a guy whose first (punk) band had a drum machine!
WTF guy? Have you no self-awareness?
My complaint is also aesthetic. I don’t care how much of a saint he is in providing affordable recording services for every indie band under the sun, he makes everyone sound the same. PJ Harvey’s worst record sonically was the one he produced. It made her sound like every other band he produces.
He is the exact opposite of a ‘best producer,’ (i.e., Rick Rubin), in that he reduces every band’s sound to his trademark sound. Someone like Rubin amplifies and fine tunes the artist’s sound; his fingerprint is invisible. Albini’s is all over the record.
I can’t stand it, both as sound in the first place, and secondly, that I hear it again and again and again. Even if I liked that sound, I’d be tired of it. But I don’t even like it. Snares sound like garbage to me; not like real drums. Like some imagined idealization of what a rock snare should sound like.
I don’t know how the guy ever got elevated to the position of demigod he apparently occupies. He’s crap, and his bands aren’t that interesting. I never cared for Big Black. A punk band with no swing?
To rescue this from bad vibes, last night, when I got home, I sat down and waited for the computer to do stuff, and picked up my trusty National, which is always within arm’s reach of this chair, and instinctively started playing one of my favorite Blind Willie Johnson songs. I need to practice it. It’s tough. I never really got it down.
He’s a genius.