― BUFFY THE VAMPIRE, Monday, 25 November 2002 15:26 (nineteen years ago) link
― Sean (Sean), Monday, 25 November 2002 15:29 (nineteen years ago) link
― Alex in NYC (vassifer), Monday, 25 November 2002 15:32 (nineteen years ago) link
Yesterday I saw the back of the Rapeman Sub-Pop 7", and that reminds me of why I love Albini: flat-tops!
― hstencil, Monday, 25 November 2002 15:36 (nineteen years ago) link
― Jonathan Williams (ex machina), Monday, 25 November 2002 15:44 (nineteen years ago) link
Hahahahaha, the guy hardly touches beer! And he gave up smoking cigarettes after the heart attack.
― hstencil, Monday, 25 November 2002 15:45 (nineteen years ago) link
― stevie (stevie), Monday, 25 November 2002 15:58 (nineteen years ago) link
chances are, albini's engineering some record with loud and abrasive guitars and really well mic'ed drums.m.
― msp, Monday, 25 November 2002 16:05 (nineteen years ago) link
― J0hn Darn13ll3 (J0hn Darn13ll3), Monday, 25 November 2002 16:14 (nineteen years ago) link
― hstencil, Monday, 25 November 2002 16:17 (nineteen years ago) link
― Sean (Sean), Monday, 25 November 2002 16:21 (nineteen years ago) link
seriously i was a mayo h8r until i discovered the goodness of home-made varieties.
i saw steve smoking after rapeman btw...
― gygax!, Monday, 25 November 2002 16:36 (nineteen years ago) link
― hstencil, Monday, 25 November 2002 16:43 (nineteen years ago) link
― gygax!, Monday, 25 November 2002 16:46 (nineteen years ago) link
― nathalie (nathalie), Monday, 25 November 2002 16:47 (nineteen years ago) link
― Andrew Farrell (afarrell), Monday, 25 November 2002 17:01 (nineteen years ago) link
It is called the problem with music
the problem with music by steve albini excerpted from Baffler No. 5 Whenever I talk to a band who are about to sign with a major label, I always end up thinking of them in a particular context. I imagine a trench, about four feet wide and five feet deep, maybe sixty yards long, filled with runny, decaying shit. I imagine these people, some of them good friends, some of them barely acquaintances, at one end of this trench. I also imagine a faceless industry lackey at the other end, holding a fountain pen and a contract waiting to be signed.
Nobody can see what's printed on the contract. It's too far away, and besides, the shit stench is making everybody's eyes water. The lackey shouts to everybody that the first one to swim the trench gets to sign the contract. Everybody dives in the trench and they struggle furiously to get to the other end. Two people arrive simultaneously and begin wrestling furiously, clawing each other and dunking each other under the shit. Eventually, one of them capitulates, and there's only one contestant left. He reaches for the pen, but the Lackey says, "Actually, I think you need a little more development. Swim it again, please. Backstroke."
And he does, of course.
I. A&R Scouts
Every major label involved in the hunt for new bands now has on staff a high-profile point man, an "A&R" rep who can present a comfortable face to any prospective band. The initials stand for "Artist and Repertoire," because historically, the A&R staff would select artists to record music that they had also selected, out of an available pool of each. This is still the case, though not openly.
These guys are universally young [about the same age as the bands being wooed], and nowadays they always have some obvious underground rock credibility flag they can wave. Lyle Preslar, former guitarist for Minor Threat, is one of them. Terry Tolkin, former NY independent booking agent and assistant manager at Touch and Go is one of them. Al Smith, former soundman at CBGB is one of them. Mike Gitter, former editor of XXX fanzine and contributor to Rip, Kerrang and other lowbrow rags is one of them. Many of the annoying turds who used to staff college radio stations are in their ranks as well.
There are several reasons A&R scouts are always young. The explanation usually copped-to is that the scout will be "hip" to the current musical "scene." A more important reason is that the bands will intuitively trust someone they think is a peer, and who speaks fondly of the same formative rock and roll experiences.
The A&R person is the first person to make contact with the band, and as such is the first person to promise them the moon. Who better to promise them the moon than an idealistic young turk who expects to be calling the shots in a few years, and who has had no previous experience with a big record company. Hell, he's as naive as the band he's duping. When he tells them no one will interfere in their creative process, he probably even believes it.
When he sits down with the band for the first time, over a plate of angel hair pasta, he can tell them with all sincerity that when they sign with company X, they're really signing with him and he's on their side. Remember that great, gig I saw you at in '85? Didn't we have a blast.
By now all rock bands are wise enough to be suspicious of music industry scum. There is a pervasive caricature in popular culture of a portly, middle aged ex-hipster talking a mile-a-minute, using outdated jargon and calling everybody "baby." After meeting "their" A&R guy, the band will say to themselves and everyone else, "He's not like a record company guy at all! He's like one of us." And they will be right. That's one of the reasons he was hired.
These A&R guys are not allowed to write contracts. What they do is present the band with a letter of intent, or "deal memo," which loosely states some terms, and affirms that the band will sign with the label once a contract has been agreed on.
The spookiest thing about this harmless sounding little "memo," is that it is, for all legal purposes, a binding document. That is, once the band sign it, they are under obligation to conclude a deal with the label. If the label presents them with a contract that the band don't want to sign, all the label has to do is wait. There are a hundred other bands willing to sign the exact same contract, so the label is in a position of strength.
These letters never have any term of expiration, so the band remain bound by the deal memo until a contract is signed, no matter how long that takes. The band cannot sign to another label or even put out its own material unless they are released from their agreement, which never happens. Make no mistake about it: once a band has signed a letter of intent, they will either eventually sign a contract that suits the label or they will be destroyed.
One of my favorite bands was held hostage for the better part of two years by a slick young "He's not like a label guy at all,' A&R rep, on the basis of such a deal memo. He had failed to come through on any of his promises (something he did with similar effect to another well-known band), and so the band wanted out. Another label expressed interest, but when the A&R man was asked to release the band, he said he would need money or points, or possibly both, before he would consider it.
The new label was afraid the price would be too dear, and they said no thanks. On the cusp of making their signature album, an excellent band, humiliated, broke up from the stress and the many months of inactivity.
II. There's This Band
There's this band. They're pretty ordinary, but they're also pretty good, so they've attracted some attention. They're signed to a moderate-sized "independent" label owned by a distribution company, and they have another two albums owed to the label.
They're a little ambitious. They'd like to get signed by a major label so they can have some security—you know, get some good equipment, tour in a proper tour bus—nothing fancy, just a little reward for all the hard work.
To that end, they got a manager. He knows some of the label guys, and he can shop their next project to all the right people. He takes his cut, sure, but it's only 15%, and if he can get them signed then it's money well spent. Anyway, it doesn't cost them any thing if it doesn't work. 15% of nothing isn't much!
One day an A&R scout calls them, says he's "been following them for a while now," and when their manager mentioned them to him, it just "clicked." Would they like to meet with him about the possibility of working out a deal with his label? Wow. Big Break time.
They meet the guy, and y'know what—he's not what they expected from a label guy. He's young and dresses pretty much like the band does. He knows all their favorite bands. He's like one of them. He tells them he wants to go to bat for them, to try to get them everything they want. He says anything is possible with the right attitude. They conclude the evening by taking home a copy of a deal memo they wrote out and signed on the spot.
The A&R guy was full of great ideas, even talked about using a name producer. Butch Vig is out of the question—he wants 100 g's and three points, but they can get Don Fleming for $30,000 plus three points. Even that's a little steep, so maybe they'll go with that guy who used to be in David Letterman's band. He only wants three points. Or they can have just anybody record it [like Warton Tiers, maybe—cost you 5 or 10 grand] and have Andy Wallace remix it for 4 grand a track plus 2 points. It was a lot to think about.
Well, they like this guy and they trust him. Besides, they already signed the deal memo. He must have been serious about wanting them to sign. They break the news to their current label, and the label manager says he wants them to succeed, so they have his blessing. He will need to be compensated, of course, for the remaining albums left on their contract, but he'll work it out with the label himself. Sub Pop made millions from selling off Nirvana, and Twin Tone hasn't done bad either: 50 grand for the Babes and 60 grand for the Poster Children—without having to sell a single additional record. It'll be something modest. The new label doesn't mind, so long as it's recoupable out of royalties.
Well, they get the final contract, and it's not quite what they expected. They figure it's better to be safe than sorry and they turn it over to a lawyer—one who says he's experienced in entertainment law—and he hammers out a few bugs. They're still not sure about it, but the lawyer says he's seen a lot of contracts, and theirs is pretty good. They'll be getting a great royalty: 13% [less a 10% packaging deduction]. Wasn't it Buffalo Tom that were only getting 12% less 10? Whatever.
The old label only wants 50 grand, and no points. Hell, Sub Pop got 3 points when they let Nirvana go. They're signed for four years, with options on each year, for a total of over a million dollars! That's a lot of money in any man's English. The first year's advance alone is $250,000. Just think about it, a quarter-million, just for being in a rock band!
Their manager thinks it's a great deal, especially the large advance. Besides, he knows a publishing company that will take the band on if they get signed, and even give them an advance of 20 grand, so they'll be making that money too. The manager says publishing is pretty mysterious, and nobody really knows where all the money comes from, but the lawyer can look that contract over too. Hell, it's free money.
Their booking agent is excited about the band signing to a major. He says they can maybe average $1,000 or $2,000 a night from now on. That's enough to justify a five week tour, and with tour support, they can use a proper crew, buy some good equipment and even get a tour bus! Buses are pretty expensive, but if you figure in the price of a hotel room for everybody in the band and crew, they're actually about the same cost. Some bands (like Therapy? and Sloan and Stereolab) use buses on their tours even when they're getting paid only a couple hundred bucks a night, and this tour should earn at least a grand or two every night. It'll be worth it. The band will be more comfortable and will play better.
The agent says a band on a major label can get a merchandising company to pay them an advance on t-shirt sales! Ridiculous! There's a gold mine here! The lawyer should look over the merchandising contract, just to be safe.
They get drunk at the signing party. Polaroids are taken and everybody looks thrilled. The label picked them up in a limo.
They decided to go with the producer who used to be in Letterman's band. He had these technicians come in and tune the drums for them and tweak their amps and guitars. He had a guy bring in a slew of expensive old vintage microphones. Boy, were they "warm." He even had a guy come in and check the phase of all the equipment in the control room! Boy, was he professional. He used a bunch of equipment on them and by the end of it, they all agreed that it sounded very "punchy," yet "warm."
All that hard work paid off. With the help of a video, the album went like hotcakes! They sold a quarter million copies!
Here is the math that will explain just how fucked they are:
These figures are representative of amounts that appear in record contracts daily. There's no need to skew the figures to make the scenario look bad, since real-life examples more than abound. Income is underlined, expenses are not.
Advance: $250,000 Manager's cut: $37,500 Legal fees: $10,000 Recording Budget: $150,000 Producer's advance: $50,000 Studio fee: $52,500 Drum, Amp, Mic and Phase "Doctors": $3,000 Recording tape: $8,000 Equipment rental: $5,000 Cartage and Transportation: $5,000 Lodgings while in studio: $10,000 Catering: $3,000 Mastering: $10,000 Tape copies, reference CDs, shipping tapes, misc expenses: $2,000
Video budget: $30,000 Cameras: $8,000 Crew: $5,000 Processing and transfers: $3,000 Offline: $2,000 Online editing: $3,000 Catering: $1,000 Stage and construction: $3,000 Copies, couriers, transportation: $2,000 Director's fee: $3,000
Album Artwork: $5,000 Promotional photo shoot and duplication: $2,000
Band fund: $15,000 New fancy professional drum kit: $5,000 New fancy professional guitars (2): $3,000 New fancy professional guitar amp rigs (2): $4,000 New fancy potato-shaped bass guitar: $1,000 New fancy rack of lights bass amp: $1,000 Rehearsal space rental: $500 Big blowout party for their friends: $500
Tour expense (5 weeks): $50,875 Bus: $25,000 Crew (3): $7,500 Food and per diems: $7,875 Fuel: $3,000 Consumable supplies: $3,500 Wardrobe: $1,000 Promotion: $3,000
Tour gross income: $50,000 Agent s cut: $7,500 Manager's cut: $7,500
Merchandising advance: $20,000 Manager's cut: $3,000 Lawyer's fee: $1,000
Publishing advance: $20,000 Manager's cut: $3,000 Lawyer's fee: $1,000
Record sales: 250,000 @ $12 = $3,000,000 gross retail revenue Royalty (13% of 90% of retail): $351,000 Less advance: $250,000 Producer's points: (3% less $50,000 advance) $40,000 Promotional budget: $25,000 Recoupable buyout from previous label: $50,000 Net royalty: (-$14,000)
Record company income: Record wholesale price $6.50 x 250,000 = $1,625,000 gross income Artist Royalties: $351,000 Deficit from royalties: $14,000 Manufacturing, packaging and distribution @ $2.20 per record: $550,000 Gross profit: $710,000
The Balance Sheet: This is how much each player got paid at the end of the game.
Record company: $710,000 Producer: $90,000 Manager: $51,000 Studio: $52,500 Previous label: $50,000 Agent: $7,500 Lawyer: $12,000 Band member net income each: $4,031.25
The band is now 1/4 of the way through its contract, has made the music industry more than 3 millon dollars richer, but is in the hole $14,000 on royalties. The band members have each earned about 1/3 as much as they would working at a 7-11, but they got to ride in a tour bus for a month.
The next album will be about the same, except that the record company will insist they spend more time and money on it. Since the previous one never "recouped," the band will have no leverage, and will oblige.
The next tour will be about the same, except the merchandising advance will have already been paid, and the band, strangely enough, won't have earned any royalties from their t-shirts yet. Maybe the t-shirt guys have figured out how to count money like record company guys.
Some of your friends are probably already this fucked. http://www.arancidamoeba.com/mrr/problemwithmusic.html Steve Albini is a much sought-after producer and founding member of eighties punk band Big Black. http://www.dangpow.com/~landed/bigblack/ more on Big Black
― Jahsonic, Monday, 25 November 2002 17:04 (nineteen years ago) link
― hstencil, Monday, 25 November 2002 17:09 (nineteen years ago) link
― Julio Desouza (jdesouza), Monday, 25 November 2002 17:46 (nineteen years ago) link
― nathalie (nathalie), Monday, 25 November 2002 17:49 (nineteen years ago) link
― hstencil, Monday, 25 November 2002 17:54 (nineteen years ago) link
― Callum (Callum), Monday, 25 November 2002 18:51 (nineteen years ago) link
― Julio Desouza (jdesouza), Monday, 25 November 2002 18:55 (nineteen years ago) link
― Callum (Callum), Monday, 25 November 2002 18:58 (nineteen years ago) link
― Jonathan Williams (ex machina), Monday, 25 November 2002 19:00 (nineteen years ago) link
― Julio Desouza (jdesouza), Monday, 25 November 2002 19:04 (nineteen years ago) link
― hstencil, Monday, 25 November 2002 19:05 (nineteen years ago) link
― Callum (Callum), Monday, 25 November 2002 19:10 (nineteen years ago) link
''Maybe GYBE should try writing songs. I mean, if Mogwai can do it...''
they are not v good at it callum.
― Julio Desouza (jdesouza), Monday, 25 November 2002 19:20 (nineteen years ago) link
― Ned Raggett (Ned), Monday, 25 November 2002 19:24 (nineteen years ago) link
― Callum (Callum), Monday, 25 November 2002 19:26 (nineteen years ago) link
― Julio Desouza (jdesouza), Monday, 25 November 2002 19:29 (nineteen years ago) link
― Callum (Callum), Monday, 25 November 2002 19:29 (nineteen years ago) link
― Andrew Farrell (afarrell), Monday, 25 November 2002 19:39 (nineteen years ago) link
― Callum (Callum), Monday, 25 November 2002 19:43 (nineteen years ago) link
― jones (actual), Monday, 25 November 2002 19:49 (nineteen years ago) link
― donut bitch (donut), Monday, 25 November 2002 20:01 (nineteen years ago) link
― Callum (Callum), Monday, 25 November 2002 20:05 (nineteen years ago) link
― sundar subramanian (sundar), Monday, 25 November 2002 20:23 (nineteen years ago) link
― donut bitch (donut), Monday, 25 November 2002 20:31 (nineteen years ago) link
― hstencil, Monday, 25 November 2002 20:35 (nineteen years ago) link
um, he's not just a recording engineer sundar. shellac, rapeman and big black were/are good rock bands.
― Julio Desouza (jdesouza), Monday, 25 November 2002 20:58 (nineteen years ago) link
― sundar subramanian (sundar), Monday, 25 November 2002 21:00 (nineteen years ago) link
― Julio Desouza (jdesouza), Monday, 25 November 2002 21:07 (nineteen years ago) link
― donut bitch (donut), Monday, 25 November 2002 22:31 (nineteen years ago) link
oh... don't forget the record buttons! and those level knobs! oh shit... and the pan knob!
(really tho... all respect due...)m.
― msp, Tuesday, 26 November 2002 03:56 (nineteen years ago) link
― electric sound of jim (electricsound), Tuesday, 26 November 2002 04:01 (nineteen years ago) link
― Helltime Producto (Pavlik), Tuesday, 26 November 2002 04:16 (nineteen years ago) link
― E-to-the-Izzo, Tuesday, 26 November 2002 16:22 (nineteen years ago) link
― hstencil, Tuesday, 26 November 2002 16:30 (nineteen years ago) link
yeah, i feel similarly, also near that age but a very early millennial, a pioneer for the new 1000 years. there was no one there to explain the gen x / slacker thing, so i basically understood it through pop culture - how the simpsons would portray sonic youth, stuff like that. the rebellion thing didn't really connect with me - i'm still not sure there's a direct connection between the "slacker" thing and "political rebellion" thing. the idea to drop out of society has been part of every generation since the boomers, at least, right? and slackers didn't even do that (it seems to me), they just kind of thought caring about stuff was inherently uncool
― just staying (Karl Malone), Tuesday, 9 November 2021 19:06 (seven months ago) link
anyway, don't mean to go on a tangent about "slackers", i know that's not central to dog latin's point
― just staying (Karl Malone), Tuesday, 9 November 2021 19:08 (seven months ago) link
I thought part of it was sort of a reaction against the excesses and materialism of the '80s – like, "We're just gonna hang around Austin" (literally, in the movie Slacker) "and do what's satisfying as a lifestyle, not strive for the conventional trappings of success"?
Which I guess in a way would be rebelling against their parents' path (for some)...
― juristic person (morrisp), Tuesday, 9 November 2021 19:09 (seven months ago) link
From the sounds of it I'm roughly the same age as you and apparently I'm on the absolute cusp of what is generally defined as Gen X/Millennial, and while I know it's wrong to out too much stock in these marketing concepts, I feel there's a marked distinction in attitudes between friends who were a few years older than me growing up and people younger. This might be a UK thing, but there didn't seem to be so much of a stigma about "dropping out" among those I knew who were in their late-teens/early-adulthoods in the early-90s. They would go travelling or live in a squat or get an arts grant or just go on the dole. I'm a bit too young to remember myself, but from what I'm told, going on the dole was just a thing people did from time to time. I even had friends a few years older than me who wore their lack of work ethic as a badge of pride. Anyone younger than me would have been abhorred. And the stigma around benefits has increased so sharply since then that even people who genuinely deserve social security and government money are painted out as scroungers in society.
― Urbandn hope all ye who enter here (dog latin), Tuesday, 9 November 2021 20:04 (seven months ago) link
But yes, we're digressing here. Or maybe not... The same UK slackers I'm thinking of, who were, as I say, self-professed countercultural types with strong (I would say) antiestablishment, if not quite-far-left values, are now the ones moaning about cancel culture and snowflakes and blah blah
― Urbandn hope all ye who enter here (dog latin), Tuesday, 9 November 2021 20:08 (seven months ago) link
The Mary Whitehouses of this world were trying to protect some sort of old fashioned, almost Victorian values of "decency". Gen X were largely about rebelling against such stuffy, repressive ideals most likely enforced by their parents. It was a dutiful countercultural signifier to be shocking, to break these taboos, to be "authentic" without sugar-coating or genuflecting to notions of decency.
Maggie Nelson's new book has an essay about art, which I haven't read in full, but I found this line to be interesting and illustrative of shifting attitudes:
"The twentieth-century model imagined the audience as numb, constricted, and in need of being awakened and freed (hence, an aesthetics of shock), where as the twenty-first-century model presumes the audience to be damaged, in need of healing, aid, and protection (hence, an aesthetics of care)."
― jaymc, Tuesday, 9 November 2021 20:16 (seven months ago) link
That is interesting. I mean, you could apply a whole bunch of theories here but maybe there's a noticeable cycle of breaking/fixing going on in societal art ove the generations which would be interesting to look at. I certainly find the whole turn-of-the-millennium era of pop culture interesting because a lot of it really does feel like the apex of unapologetically provocative excess: Limp Bizkit, Tom Greene, Blink182, superclubs playing Ibiza trance anthems, the rise of pop songs specifically about money, Eminem etc. To 19 year old me (who had grown up with 90s punk, hip-hop, rave, metal etc) it felt like all that stuff was overshooting and missing the point: It felt like an extreme apex, endpoint and farce of the stuff I had previously enjoyed, like someone heard Rage Against The Machine and thought "Yeah these guys are really angry about something, probably their breakfasts or something" and copied it and 'roided it up and took out all the politics and had a big hit with it. All that kind of stuff felt to me like the logical conclusion of "shock values" because it had no agenda other than to shock or provoke little more than an apolitical sense of energy and excitement that was nevertheless aimless.
― Urbandn hope all ye who enter here (dog latin), Tuesday, 9 November 2021 20:41 (seven months ago) link
― talkin' about his flat tire (DJP), Tuesday, 9 November 2021 20:42 (seven months ago) link
I'm sorry, was there more than one band that went by that name
― talkin' about his flat tire (DJP), Tuesday, 9 November 2021 20:43 (seven months ago) link
no see they're Blink-182-1, you're thinking about Blink-182-2
― Cool Im An Situation (Neanderthal), Tuesday, 9 November 2021 20:51 (seven months ago) link
I think you're thinking of Black 47.
― Josh in Chicago, Tuesday, 9 November 2021 21:17 (seven months ago) link
You're thinking of the Blink-182 from Earth 31.
― a superficial sheeb of intelligence (jon /via/ chi 2.0), Tuesday, 9 November 2021 21:19 (seven months ago) link
― licorice in the front, pizza in the rear (Whiney G. Weingarten), Tuesday, 9 November 2021 21:23 (seven months ago) link
John Mayer (of all people) said something recently about David Letterman in this interview that got me thinking along similar lines:
Letterman was this trusty depot: 5 nights a week you could hang out in this place where, if you were a bright person — but one who also didn’t want to use their intelligence manipulatively — you could watch someone use their intelligence for entertainment purposes. Basically misappropriate their intelligence! I grew up in Fairfield, Connecticut, and if you grew up in New England and you were bright, there was a good chance you were going to go into some dark art, like become a defense attorney. But Letterman was sending up erudition by misappropriating it for nonsense, and I always found that heroic.
The idea of misappropriating talent and entitlement feels like something Letterman and Belushi brought to Gen-X American men.
And where the edgelord business ties in, as a model for Gen-X men to imitate, is the idea morrisp said of "intentionally being a dick" -- from Dr. (fun honorific!) Hunter S. Thompson to Bill Murray, being kind of a self-aware dick and leaning in to the entitlement.
― ... (Eazy), Tuesday, 9 November 2021 21:30 (seven months ago) link
Thanks for that Maggie Nelson quote, jaymc — loved it so much I ran out and got a copy of her book of essays you mentioned, On Freedom.
― Xgau Murder Spa (nikola), Wednesday, 10 November 2021 20:32 (seven months ago) link
I've ordered it too.
― Urbandn hope all ye who enter here (dog latin), Thursday, 11 November 2021 10:12 (seven months ago) link
Haven't listened yet, but the description implies it will be good:
Steve Albini talks U.S. politics, Electrical Audio and pandemic life, Shellac’s 30th anniversary and updates on their new record and new singles collection, Get Back and the Beatles he has met and spoken with, why he unlocked his twitter, owning his own insensitive socio-cultural mistakes, his Norm Macdonald encounters, Poverty Alleviation Charities’ 24 Hour Improv event on December 18-19, future plans and more!
― Josh in Chicago, Friday, 17 December 2021 16:42 (six months ago) link
His McCartney story (cameo appearance by the Auteurs) is funny
― chr1sb3singer, Friday, 17 December 2021 16:58 (six months ago) link
They're finally gonna put the early singles on CD/Bandcamp (presumably)? Nice!
― but also fuck you (unperson), Friday, 17 December 2021 17:03 (six months ago) link
It’s gonna be nice to finally own these limited edition items and really dig into them.
― Legalize Suburban Benches (Raymond Cummings), Monday, 3 January 2022 12:43 (six months ago) link
Listening to that episode now.
― Legalize Suburban Benches (Raymond Cummings), Monday, 3 January 2022 13:13 (six months ago) link
Better than winning a Grammy. https://t.co/kkvQ5KiiHf— steve albini (@electricalWSOP) January 4, 2022
― Josh in Chicago, Tuesday, 4 January 2022 02:55 (five months ago) link
I'm enjoying Eve 6 guy's sparring/burgeoning friendship with him, even if he couldn't get him into Counting Crows
― PaulTMA, Tuesday, 4 January 2022 12:04 (five months ago) link
Yeah, that's been entertaining. I could have sworn the Eve 6 person has a real/fake beef with Patton Oswalt going, too.
― Josh in Chicago, Tuesday, 4 January 2022 12:54 (five months ago) link
Are they still going??
― treat the gelignite tenderly for me (Sund4r), Tuesday, 4 January 2022 13:20 (five months ago) link
oh god jim goad
― Blues Guitar Solo Heatmap (Free Download) (upper mississippi sh@kedown), Tuesday, 4 January 2022 13:53 (five months ago) link
that interview was really good
You think I'm lying about that radio station @LinBrehmer can vouch. Occasional Joan Armatrading or Squeeze joints aside, it's all crow. (Lin I hear there's a new Eve6 song just dropped and the promotions budget is unlimited @FalconryFinance merchandise) (beef is so hot rn)— steve albini (@electricalWSOP) January 5, 2022
no one has played Counting Crows in at least 24 hours. But thanks for listening.— Lin Brehmer (@LinBrehmer) January 5, 2022
Oh shit, not a beef with Lin Brehmer. Chicago will tear itself in two!
― a superficial sheeb of intelligence (jon /via/ chi 2.0), Wednesday, 5 January 2022 20:40 (five months ago) link
Au contraire! https://t.co/5Q7fVeNVXZ pic.twitter.com/O7eu9etKhM— Eric Ziegenhagen (@ericzieg) January 5, 2022
― papal hotwife (milo z), Wednesday, 5 January 2022 21:38 (five months ago) link
lol, I saw that!
not sure why Albini thought that Lin, of all people, would vouch for his minor (but completely accurate) XRT swipe though
― a superficial sheeb of intelligence (jon /via/ chi 2.0), Wednesday, 5 January 2022 21:43 (five months ago) link
so this is what albini does now
― Paul Ponzi, Wednesday, 5 January 2022 21:55 (five months ago) link
based on the timestamps, lin was right. it had been about 24 hours and 10 minutes since xrt played the counting crows.
― j.o.h.n. in evanston (john. a resident of chicago.), Wednesday, 5 January 2022 23:22 (five months ago) link
How do you figure? Counting Crows was played at 2:47 pm the previous day and his tweet was at 2:12 pm today, that's less than 24 hours in my book.
And yes, I am disappointed in myself for spending this much time thinking about it.
― a superficial sheeb of intelligence (jon /via/ chi 2.0), Wednesday, 5 January 2022 23:25 (five months ago) link
It's OK, it was a long December
― jpg trouble in wallo gina (Whiney G. Weingarten), Wednesday, 5 January 2022 23:28 (five months ago) link
― a superficial sheeb of intelligence (jon /via/ chi 2.0), Wednesday, 5 January 2022 23:31 (five months ago) link
STEVE ALBINI WAS MR. JONES THE WHOLE TIME!
― Precious, Grace, Hill & Beard LTD. (C. Grisso/McCain), Wednesday, 5 January 2022 23:31 (five months ago) link
surely there's a poker game happening somewhere that would be happy to deal ol' Steve in
― Paul Ponzi, Wednesday, 5 January 2022 23:35 (five months ago) link
oh shit you’re right..i thought i saw 3:12 for lin’s tweet
― j.o.h.n. in evanston (john. a resident of chicago.), Wednesday, 5 January 2022 23:48 (five months ago) link
Not to get super-pedantic (and certainly not on Twitter), but according to the same source, XRT played "Round Here" at 6:01 a.m. this morning!
― ... (Eazy), Thursday, 6 January 2022 00:29 (five months ago) link
Can’t believe Albini missed the Black Crowes spins
― Chappies banging dustbin lids together (President Keyes), Thursday, 6 January 2022 01:17 (five months ago) link
Apropos of nothing, but an Albini Black Crowes album would've owned.
― Precious, Grace, Hill & Beard LTD. (C. Grisso/McCain), Thursday, 6 January 2022 03:11 (five months ago) link
Crowes did a Zep cover album, and Albini recorded a Page/Plant album, so pretty close!
― Muad'Doob (Moodles), Thursday, 6 January 2022 03:16 (five months ago) link
just to say that 'the back BONE of this country is the independent TRUCK!' is one of the most *bombastic intro*s to a record of all time. that squeal and thud.
― maelin, Wednesday, 20 April 2022 00:48 (two months ago) link
He won his second World Series of Poker bracelet last night, taking first out of 773 players. $1,500 entry fee led to $196,000.
pic.twitter.com/vzWCXWmIe4— steve albini (@electricalWSOP) June 18, 2022
― deep luminous trombone (Eazy), Saturday, 18 June 2022 11:21 (two weeks ago) link
That'll buy a lot of Travis Bean guitars.
― papal hotwife (milo z), Saturday, 18 June 2022 17:51 (two weeks ago) link
Or go towards the staff at Electrical's take-home.
― Maresn3st, Saturday, 18 June 2022 18:29 (two weeks ago) link
presumably gets his poker face from bands asking “how did you like that?” after a take
― assert (matttkkkk), Saturday, 18 June 2022 22:18 (two weeks ago) link
― stirmonster, Saturday, 18 June 2022 22:22 (two weeks ago) link
It was a HORSE tournament too, that’s awesome
― frogbs, Saturday, 18 June 2022 22:30 (two weeks ago) link
xxp hahaha kudos
― thinkmanship (sleeve), Saturday, 18 June 2022 22:31 (two weeks ago) link