Music Thread

Northside Hawk said:
Ok, time for a fun exercise. Ever wonder why one song reminds you of another. I mentioned several pages ago how Uriah Heep's "Stealin'" was similar to Grand Funk's "Some Kind of Wonderful". It made me think of a few others but...

I'm by no means a student of music or expert of it. I don't have the first clue about chord progression and things like that. Some of you do and have forgotten more about that end of it than I'll ever know.

But I am a music fan so here goes...more recent song listed first.

The Cars Dangerous Type-Roxy Music Love Is The Drug.

Pearl Jam Spin The Black Circle-Husker Du Beyond The Threshold.

The Alarm Spirit of 76(intro) Bruce Springsteen Thunder Road.

Spirit of 76 (middle/ending) Springsteen Jungleland.

Shania Twain Man I Feel Like A Woman-Aerosmith Uncle Salty
(Blatant lift, Mutt Lange knew who Aerosmith was)

Guns n Roses November Rain-Aerosmith You See Me Cryin'.

Gin Blossoms Found out About You-REM Pretty Persuasion.

Springsteen Spirit In The Night-Van Morrison Moondance.

ZZ Top Cheap Sunglasses-Edgar Winter Frankenstein

Scorpions Always Somewhere-Lynard Skynard Simple Man.

I'll cop the fifth-I have more time on my hands than usual right now. The Hawkeye men are out. My wife's Badgers are out. Cuba City High School (home of future Hawk football PWO Kordell Stillmunkes) lost both boys and girls. So I have this list. And I had fun with it. Any suggestions to add on out there?
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This happens constantly for me, but I listen to music a little differently. I typically can hear any new music and immediately pick out the influences or what that group is ripping off intentionally or not. Here are a few - first - the new artist, then what I think they copied. You don't have to listen to any of these 4 tracks all the way - just spin the first 30 seconds or so all of them and tell me this wasn't done on purpose.

The intro on these 2 songs serious LOL



and these ha


 
Album closer "Ballerina" may have been the first song I ever slow danced to. I mentioned a few threads ago that albums like Equinox and Crystal Ball wouldn't exist today. The record label would have demanded Paradise Theater or Kilroy Was Here without allowing the band to grow and develop. Yes you would be spared a few clunkers but few things in music are more exciting than seeing an up and coming band discovering itself. And one could unearth some tremendous surprises. Songs like "Madman Across the Water" by Elton John or "Lost in the Flood" by Bruce Springsteen or "Oh, Well" by Fleetwood Mac are part of the fun. (All are personal faves) Crystal Ball was Tommy Shaw's first with the band. Their glory days were just ahead. By the way, some people like the Jeremy Spencer- Danny Kirwan- Peter Green version of Fleetwood Mac better than the classic lineup that you remember on the radio.
 
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Northside Hawk said:
Here's something that's been going around in my head for a while. How did consummate journeyman rocker Peter Frampton come from nearly out of nowhere to not only release one of the best selling albums of all time but inspire many other artists to release their own double lives. After all, didn't AM radio and the music business in general shy away from rock almost from the time the Beatles broke up? Look who dominated the airwaves the first half of the seventies. Singer-songwriters, one hit wonders ("Brandi, your a fine girl") and pop acts like Bread and America. Some were good, none were terrible, but very little ROCKED! Even Bruce Springsteen, the consummate rocker, was packaged early on in the singer/songwriter mode as a cross between Bob Dylan and Van Morrison. You had to find FM stations to find rock-'n'-roll and usually late night FM at that.

The baby boomer phenomenon was still in the process of being understood as the seventies dawned. If marketing researchers and the like understood it better it would have taken advantage of what was about to come. What they didn't know or couldn't market was that millions and millions of boomers we're about to reach high school and college ages where they were most likely to buy albums and attend concerts. Hence, "Frampton Comes Alive" eventually selling something like 15 million units. And turning the music industry on it's ear.

Some of you were older than I was when this all happened. I would like to hear comments and takes from other posters out there.
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I have always thought--and said, to anyone that would listen--that "Frampton Comes Alive" owes its succes mostly to that "twang-voice-guitar" thingy. If he's just playing and singing, "meh, a double album". And for those of my vintage, you KNOW what "double" meant back then. When you ordered from Columbia Record Club, it counted as two selections!

Was it a good album? Sure. On the "epic" scale of other double-live albums? Um, no. Compare it to The Allman Brothers "Live At Fillmore East", for example, and tell me which is better.

(Psst...if you say, "Frampton Comes Alive is clearly better!", I will assume you also feel "Shemp" episodes are what made The Three Stooges great)
 
AreWeThereYet said:
It was me. I was the only kid that didn't have the 'Frampton Comes Alive' album. I didn't need to have the damn album. A friend of mine had it and played it over, and over, and over, and over.

I distinctly remember it playing while driving his car one weekend night while he was banging some chick in the back seat. It got jammed in the eight track player and proceeded to unravel.... pant, pant, pant... garble, garble, garble. So I didn't do Frampton Comes Alive, or the village bicycle, or any of her sisters. When he finished, and we rearranged the front seating order, I turned to him and said "Well, that was a f**king mess." He gave me a dirty look, I said "the tape" and tossed the wad of 8-track tape in his lap.
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Post of the Century!

And yes, I agree, one didn't need to purchase the album, because one's fifty-seven neighborhood buddies had already purchased it. I know I got tired of that album REAL fast.
 
#1DieHardHawk said:
If jazz fusion is your thing, I would assume you're a fan of Allan Holdsworth, who recently passed away. Amazing technical jazz guitarist that deserved more recognition, though, I have to admit, I am more in the blues-rock fusion group personally.

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Holdsworth blew hot and cold for me. He could put out a brilliant album--coherent, technical, etc.--then come back with absolute noise. Hell, "Tokyo Dream", alone, was an album full of "inconsistent".

I did like his playing, for the most part, but in terms of "favorite" guitarists, he wouldn't be in my "Top _____" list.
 
hawkeyebob62 said:
I have always thought--and said, to anyone that would listen--that "Frampton Comes Alive" owes its succes mostly to that "twang-voice-guitar" thingy. If he's just playing and singing, "meh, a double album". And for those of my vintage, you KNOW what "double" meant back then. When you ordered from Columbia Record Club, it counted as two selections!

Was it a good album? Sure. On the "epic" scale of other double-live albums? Um, no. Compare it to The Allman Brothers "Live At Fillmore East", for example, and tell me which is better.

(Psst...if you say, "Frampton Comes Alive is clearly better!", I will assume you also feel "Shemp" episodes are what made The Three Stooges great)
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Some say that the Allman's "Live at Fillmore East" is the greatest live album of all time.
 
Northside Hawk said:
Some say that the Allman's "Live at Fillmore East" is the greatest live album of all time.
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At the very worst, it's in the "Others Receiving Votes" category...in a "top three" poll. Little Feat's "Waiting For Columbus" is also awesome. "Yessongs", Genesis's "Seconds Out" were also "double live" albums that belonged in any serious music lover's collection.
 
hawkeyebob62 said:
At the very worst, it's in the "Others Receiving Votes" category...in a "top three" poll. Little Feat's "Waiting For Columbus" is also awesome. "Yessongs", Genesis's "Seconds Out" were also "double live" albums that belonged in any serious music lover's collection.
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Right on man. This is on everyone's top ten best live albums list.
 
hawkeyebob62 said:
I have always thought--and said, to anyone that would listen--that "Frampton Comes Alive" owes its succes mostly to that "twang-voice-guitar" thingy. If he's just playing and singing, "meh, a double album". And for those of my vintage, you KNOW what "double" meant back then. When you ordered from Columbia Record Club, it counted as two selections!

Was it a good album? Sure. On the "epic" scale of other double-live albums? Um, no. Compare it to The Allman Brothers "Live At Fillmore East", for example, and tell me which is better.

(Psst...if you say, "Frampton Comes Alive is clearly better!", I will assume you also feel "Shemp" episodes are what made The Three Stooges great)
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I still think it was a matter of millions of baby boomers reaching the album buying and concert attending demographic, supported by Diehard who said in his post that more money in the seventies was spent on music than movies and athletics combined. And being in the right place at the right time. Nirvana's Nevermind doesn't hold a candle to the Pixies Dolittle or Sonic Youth's Daydream Nation but those albums came out in 1988, not 1991. A major seachange was going on all around us in 1991-92. Michigan had five freshman who gradually shoved all the upperclassmen out of the starting lineup- and reached the NCAA championship game. Young upstart Bill Clinton upset Bush and reversed 25 years of Republican domination in the White House. And a new generation of consumers was sick of having corporate rock and the materialistic '80's in general shoved down their throats. They were ready for their voice to be heard. And weren't afraid to challenge the old guard in the home, the workforce, the playing field, or the music world. Nevermind was the beneficiary, just like Frampton in 1976.
 
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