Post a controversial music opinion

Samples do make it more bearable, but it's still a nope from me 99% of the time. Basically any bits of intelligible speech are too much, unless we're talking about a brief interlude (e.g. the amusingly bizarre intrusion of 'toujours humecter la mouture, toujours', cribbed from 37° 2 le matin aka Betty Blue, on Stars of the Lid's ...and Their Refinement of the Decline).

The Pulitzer Prize for DAMN. should have at the least been divided between all of the credited composers on the album, if not the producers as well.

kind of agree on vocal jazz. never really been able to get down with it, as it honestly sounds kind of corny to me. even including folks like ella and billie. i respect it, but given a choice, i'm going with instrumentals 100% of the time.

same re:spoken parts in ambient music. great way to ruin it.

my challop for the day: there never has been, and there never will be, a time when electric blues is more appealing than acoustic blues. especially on studio recordings.

also xpost sund4r: that's a valid point, but the same could be made about a lot of pulizter and nobel prize winners. everyone's got their respective "tribes."

I don't think it could be said of most Pulitzer winners in music, no: there is usually one credited composer for the pieces that win most years. Unless you mean librettists should share in the award when it is given to an opera or that e.g. Ornette's band should have shared his award, both of which I would consider valid.

The Seattle Symphony/Ludovic Morlot's performance of John Luther Adams's Become Ocean feels less integral to the piece's success than the quasi ghostwriters behind DAMN..

xp yep

If the academy is to expand the definition of "distinguished composition", they also need to expand their definition of composition accordingly, if you catch my drift.

Kendrick is a state of mind.

so is equally crediting those responsible for said state of mind.

ahh shit, i got us stuck in a feedback loop. sry.

Harry Smith gets way too much credit for the Anthology of American Folk Music. So he picked the songs and wrote the liner notes, big fucking deal. He also missed A TON of great music simply because it didn’t happen to be in his record collection.

He and Lomax both. We missed out on a lot of really great stuff for a really long time because the curators - whose hard work I acknowledge as a gift despite these omissions - weren't interested in stuff outside their own specific preferences. The tons of amazing African American banjo players, for instance.

What’s Going On is a bit boring.

I like it but I'd prefer a bit more edge throughout (one 'Inner City Blues' isn't quite enough).

Harry Smith gets way too much credit for the Anthology of American Folk Music. So he picked the songs and wrote the liner notes, big fucking deal. He also missed A TON of great music simply because it didn’t happen to be in his record collection.

― Mr. Snrub, Wednesday, September 23, 2020 3:56 PM (one hour ago) bookmarkflaglink

He and Lomax both. We missed out on a lot of really great stuff for a really long time because the curators - whose hard work I acknowledge as a gift despite these omissions - weren't interested in stuff outside their own specific preferences. The tons of amazing African American banjo players, for instance.

― Paul Ponzi, Wednesday, September 23, 2020 4:21 PM (forty-seven minutes ago) bookmarkflaglink

did we miss out on great stuff because of them or did we later discover more great stuff because they created a space where there was interest in preserving and listening to that kind of music?

what if they never existed? how much would have been lost? how much more music was documented and later released because of the interest in pre war stuff they cultivated?

Lomax had an awful habit of trying to get the best blues artists of their day to perform folk tunes because that was his idea about what they should be playing, it's great he recorded them at all, but annoying that he failed to capture the music they actually wanted to play. He made 30s folk & blues a whole lot less interesting than 20s folk & blues.

Lomax had an awful habit of trying to get the best blues artists of their day to perform folk tunes because that was his idea about what they should be playing, it's great he recorded them at all, but annoying that he failed to capture the music they actually wanted to play. He made 30s folk & blues a whole lot less interesting than 20s folk & blues.

yes, please read blues as "blues" - it was Lomax who did a great deal of the pigeonholing

I agree but that happened before him too, Robert Johnson had a wider repertoire (They're Red Hot the only recorded evidence) than what was portrayed on his recordings

though I guess my argument is that ideally they would have been recorded by someone who wasn't trying to push a musical direction on them, but the more likely reality is they wouldn't have been recorded at all

nothing is really more to blame than the 1929 crash, which destroyed the record industry for a generation or more.

COVID-19 is a serious threat to live music, for those of us who still enjoy concerts and festivals.

www.SaveOurStages.com

did we miss out on great stuff because of them or did we later discover more great stuff because they created a space where there was interest in preserving and listening to that kind of music?

― Blues Guitar Solo Heatmap (Free Download) (upper mississippi sh@kedown), Wednesday, September 23, 2020 6:11 PM (one hour ago) bookmarkflaglink

point well taken. As I said, I'm reluctant to pile on because of the very thing you mention: the creation of a space that might not have existed otherwise.

re: what's going on

if you want more edge in that material, i highly recommend seeking out the deluxe edition with the live recordings.

I never really connected with what's going on. much prefer here, my dear

y'all need to relisten to "right on," it's crazy

the first side is a gorgeous suite; i get feeling like it's two towering singles linked together by interstitials, but look into those interstitials and you'll find psychedelically dense orchestral arrangements and beautiful chord progressions, even if they're not exactly songful

agreed, brad. it's a much cerebral record than it may initially appear.

also, jim re: here, my dear— i do agree that it's the better album and that what's going on is, generally speaking, kind of overrated. but it's overrated in the same way that like marquee moon might be: it's still a classic album when it's all said and done.

again: deluxe edition highly recommended for anyone looking for a fresh perspective on the album.

There's several Curtis Mayfield albums that I'd want to listen to 50 times before I put on Let's Get It On once

I think I could write really good CCM lyrics, like I could be the Bruce Springsteen of CCM

[gachi is] "An avant-garde music genre that challenges ubiquitous, unspoken heteronormative rules of modern music. It wrestles with the straight, white jabroni establishment that is modern music and holds it in submission while cumming all over its corporate, college-educated hypocrisy."

[i have to point out that this is an actual quote]

that's a very confusing quote

also how exactly does "cumming all over" something challenge heteronormative rules of this monolithic so-called modern music?

This is a still-developing opinion that I really have no right to be stating with any confidence, but:

D.I.T.C. production is ao classically, Platonically '90s NYC boom-bap that it's actually kind of dull.

listen, columbo. . .
https://www.youtube.com/watch?v=WC3kUzOP8v4

sry, this isn't the thread for proselytizing.

my controversial thoughts for the day:

i'm with croz; evh was meh. i'll go one further and say that his band was responsible for influencing a generation of terrible music. kind of like the shitty velvet underground. evh not solely responsible for that, but i stand by it regardless.

and also man i hate d'angelo. people always talk about the beatles or vu being overrated and i'm over here all like, "ya but brown sugar is fucken boring and black messiah is the equivalent of a dialtone — no, a dialtone is less monotone than that flat tire of an album." voodoo was decent, but overall: dud.

I feel like use of the word "heteronormative" and being in possession of a college degree do not function as diametric opposites in the way the speaker wishes them to

searched up out of curiosity of the provenance of that quote aaannnnnnnnd. . . it's from reddit, because of course it is.

JRN....buddy why you trying to hurt me?

his band was responsible for influencing a generation of terrible music

you could say this about almost every popular musical act of the past 75 years

My controversial opinion on this is that the VU have inspired many more boring bands than Van Halen ever did

my controversial opinion is that bands are boring.

JRN....buddy why you trying to hurt me?

― Blues Guitar Solo Heatmap (Free Download) (upper mississippi sh@kedown), Wednesday, October 14, 2020 6:12 PM (thirty-two minutes ago) bookmarkflaglink

I could be totally off-base. But earlier I was listening to Cuban Linx (which, to be fair, I have listened to a lot before), the first Big L album, and the first Showbiz & AG album, and compared to RZA, the D.I.T.C. stuff just sounded so workmanlike.

my controversial opinion is that bands are boring.

Here you go:

Bands vs. Solo Artists

xpost - well sure RZA was very distinctive and not really anyone I would pick as being indicative of pure boom nap as opposed to Diamond D, Da Beatminerz, Premo etc

but man the first Big L and esp Runaway Slave are just total classic

they aren't maybe as creative as RZA but to me they bang more and are funkier

boom nap

BUCKWILD THE BEST NYC HIPHOP PRODUCER 1995-1998

don't even say dj premier or rza or whatever. quality over quantity all day, everyday, any day.

how's that for a controversial opinion?!

Napcore: The War on Drugs

doesn’t read as a diss to me. Naps are the best.

Scritti Politti would have been much better if Green had sang more in his natural register and used less of that cloying wheedling syrupy thing he was so fond of.

Agree. It's not so much that he changes register (goes from chest voice to falsetto), but between the Early singles and Cupid and Psyche (I haven't heard the first album), he adopted this purring tone that I wish he would change up occasionally.

classic nonsense in the finest traditions of this stupid thread