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Music: What are you listening to this evening?

By jvolstad following x   2017 Mar 20, 8:50pm 14,143 views   391 comments   watch   quote     share  

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353 BayAreaObserver   2017 Sep 15, 11:45am   ↑ like (1)   ↑ dislike (1)     quote        
How many of you knew Sha-Na-Na played at Woodstock ?
356 BayAreaObserver   2017 Sep 15, 1:56pm   ↑ like (0)   ↑ dislike (0)     quote        
Any one remember what 1966 movie this was the theme song from without looking up the answer ?
357 BayAreaObserver   2017 Sep 15, 1:57pm   ↑ like (0)   ↑ dislike (0)     quote        
Something a bit newer with a hint of the Motown sound
360 BayAreaObserver   2017 Sep 15, 2:03pm   ↑ like (0)   ↑ dislike (0)     quote        
Not a huge country fan but I have a decent collection...
361 Blurtman   2017 Sep 15, 3:06pm   ↑ like (1)   ↑ dislike (1)     quote        
Real Nighttime is the second full-length album from Game Theory, a California power pop band founded by guitarist and singer-songwriter Scott Miller. Released in 1985, the album is cited as "a watershed work in '80s paisley underground pop."[1] A 30th anniversary reissue was released in March 2015, on CD and in a limited first pressing on red vinyl, with 13 bonus tracks.[2][3]

The album was the group's first to be produced by Mitch Easter, who continued as the producer of all of their subsequent albums.

Real Nighttime has been called "a virtual concept album about life after college," resulting in "a certain poignancy propelling [its] breathtaking melodies."[12] The album was also described as a "loose song cycle following a young man's journey from romantic bliss ... to soul-crushing disappointment", with comparisons to the Beach Boys' Pet Sounds.[1] According to Miller, the post-collegiate theme was paired with his "intuition that freedom had a strong aspect of being bad news," and that "excessive freedom is typically a formula for trivial and unfaithful pursuit of what passes for personal advantage."[13]

Harvard professor Stephen Burt wrote in 2011, "Throughout the Game Theory songbook, but especially in Real Nighttime (1985), you can hear an anguished concentration on language and its rules ... and on the complementary rules of pop song construction, as if all those rules—once mastered—could help solve problems of love and sex, of friendship and estrangement, of bodies with feelings that have no clear names."[14]

https://en.wikipedia.org/wiki/Real_Nighttime
364 Blurtman   2017 Sep 15, 3:10pm   ↑ like (0)   ↑ dislike (0)     quote        
Real Nighttime was well-reviewed, appearing in the Village Voice's annual poll of 1984's best releases.[19] According to rock critic Martin Strong, the album established Game Theory as a "contender in the Paisley Underground power pop stakes."[20]

Music journalist Byron Coley wrote in 1985 that it was "the actual godhead pop LP o' the American Eighties. No shit. This is it."[21] Spin listed Real Nighttime in January 1990 as one of its "80 Excellent Records of the 80s," alongside Coley's description of the album as an "overwhelming swirl of post-Big Star heroin pop."[22]

In 2001's All Music Guide: The Definitive Guide to Popular Music, critic Mark Deming wrote that Real Nighttime showed "Scott Miller was maturing into one of the finest and most distinctive pop songwriters in America."[16] Deming continued, "Always tuneful, and by turns rollicking and heart-breaking, Real Nighttime was the album that announced Game Theory as one of the major talents to emerge from California's Paisley Underground scene."[16]

Trouser Press called the music "tougher and more unpredictable" than related bands such as Let's Active and The Three O'Clock, citing "jagged guitar lines, ominous percussion and noisy sound effects... creating an odd but often productive tension" that undercut pop conventions.[23]

In the book Lost in the Grooves, the album was critically viewed as walking "a fine line between pretension and genius," with the former view supported by Miller's liner notes written in the style of James Joyce's Finnegans Wake,[11] and the latter view supported by "chiming guitars and great pop melodies" described as "breathtaking."[12] The book cited Miller's "brilliant tunesmithing," and identified Real Nighttime as the album in which the group proved themselves capable of fully realizing the "sense of ambition and high concept" suggested in their earlier work.[12]

Film director Andrew Bujalski, in New York Magazine, cited Real Nighttime among his top 20 influences, stating in 2013 that he had been shaken by Scott Miller's then-recent death: "[Miller] had this complex relationship with his lack of fame, but somehow the fact that his bands never made it big seemed like part of why they stayed great. They just did great work for twenty-some years. Lolita Nation is probably their most beloved album, but song for song, I’ll take Real Nighttime over it. He was always bursting with ideas as a songwriter, and it feels absolutely effortless on this record."[24]

According to Deming, in an updated 2015 review for AllMusic, "Game Theory made good records right out of the starting gate, but Real Nighttime was where they proved they could make truly great ones, and it's not just one of the band's finest works, it's a watershed work in '80s paisley underground pop."[1]

In liner notes for the reissue, Byron Coley called the album "a pinnacle of Scott's early days.... For all its surface flash, it's an album that rewards deep listening."[25] Coley expressed his hope that the album would remain in circulation "so youngsters can unravel its beautiful mysteries."[25]

Jersey Beat concluded that in Real Nighttime, "[a]ll the elements were in place for something special to occur – a master songwriter at the height of his powers, a stellar supporting cast and a like minded producer in Mitch Easter to capture it all for posterity. The end result is nothing short of a masterpiece."[26] The reissue was cited as "a real labor of love for all involved" with excellent sound quality and informative packaging.[26]

Reviewing the 2015 reissue, Blurt wrote that "the easy blend of classic and modern gives Real Nighttime a sound that's more timeless than dated," calling the album's sound "fresh then, and timely now, as more modern bands rediscover the synth patches of yesteryear."[27] Examples included the "nearly invisible Simmons drum pads used throughout," as well as "Nan Becker's wacked-out synth licks" in the song "Curse of the Frontier Land," which the reviewer found to "enhance, rather than distract from, its jangly power pop crunch."[27]

https://en.wikipedia.org/wiki/Real_Nighttime
365 jazz_music   2017 Sep 15, 4:16pm   ↑ like (0)   ↑ dislike (0)     quote        
Blurtman says
Game Theory as a "contender in the Paisley Underground power pop stakes


I'm oblivious to this genre, but I sure hear the influence of Jorma Kaukonen and the Jefferson Airplane/Starship. They got that male/female vocals thing going on too with the "ahhhs" and the choruses.
366 Blurtman   2017 Sep 15, 4:23pm   ↑ like (1)   ↑ dislike (1)     quote        
jazz_music says
I'm oblivious to this genre, but I sure hear the influence of Jorma Kaukonen and the Jefferson Airplane/Starship. They got that male/female vocals thing going on too with the "ahhhs" and the choruses.


I am a big Hot Tuna fan, both electric and acoustic.

Mitch Easter produced REM, the dB's, the B-52's, and was a creative fixture of the Athens, GA music scene. Even had his own share of "hits" with his band Let's Active.

It was an '80's thang.
367 BayAreaObserver   2017 Sep 15, 6:48pm   ↑ like (1)   ↑ dislike (1)     quote        
Anybody heard of these guys ? The notes show this was released in January of 2013. Can't find anything else on them.


368 Blurtman   2017 Sep 16, 8:20am   ↑ like (0)   ↑ dislike (0)     quote        
Let's Active was formed in 1981 by Mitch Easter, a guitarist and songwriter best known as a record producer, with Faye Hunter on bass.[3] Drummer Sara Romweber, then 17 years old, joined to form the original trio two weeks before their first live performance.[3]

The name of the group was taken from a T-shirt sold in Japan bearing an inadvertently nonsensical English phrase (a popular fashion at the time). In a 1984 interview, Hunter said, "It's embarrassing for people to ask you what the name of your group is and you don't want to say it out loud", and noted that the band had been erroneously billed by promoters as "Let's Dance" and "Les Active".[4]

The group played their first performance in November 1981, opening for R.E.M., whose first EP, Chronic Town (1982), was produced by Easter. He also co-produced R.E.M.'s first two albums (1983's Murmur and 1984's Reckoning) with Don Dixon.[5][6]

Afoot and Cypress (1983–1984)[edit]
The band was signed to I.R.S. Records in 1983, shortly after filming the video for "Every Word Means No" as guests on the label's MTV television program, I.R.S. Records Presents The Cutting Edge.[7] According to Easter, the cheaply made "econo-video" was based on the band's concept of having dogs running through the set, "which would make it chaos. But they couldn't get dogs, so instead they got these puppies, which changed the vibe considerably – and changed the worldview of our band for all eternity, because these puppies were just so adorable".[7]

https://en.wikipedia.org/wiki/Let%27s_Active#cite_note-billboard-dec1984-8
372 jazz_music   2017 Sep 16, 12:56pm   ↑ like (0)   ↑ dislike (0)     quote        
Blurtman says
I am a big Hot Tuna fan


I heard of them back in the early 70's. They were always regard super highly. I listened to them a little bit but never actually bought their stuff probably because of my own situation back then.
373 jazz_music   2017 Sep 16, 12:58pm   ↑ like (1)   ↑ dislike (1)     quote        
BayAreaObserver says
January of 2013. Can't find anything else on them.


Rockabilly / surf eh? Takes me back to the likes of Carl Perkins and Jerry Lee Lewis. Those were formative years in popular music styles. So this is a significant redux effort.
374 jazz_music   2017 Sep 16, 1:01pm   ↑ like (0)   ↑ dislike (0)     quote        
Blurtman says
Mitch Easter, a guitarist and songwriter best known as a record producer,


The music is nice I guess but oy god the mastering sucks!!!!

Every Word Means No is not so severely flawed. Nice dance rock. I picture Flock Of Seagulls or the B 52's playing these tunes too.
375 Blurtman   2017 Sep 16, 2:59pm   ↑ like (1)   ↑ dislike (1)     quote        
jazz_music says
I heard of them back in the early 70's. They were always regard super highly. I listened to them a little bit but never actually bought their stuff probably because of my own situation back then


I saw them at the NY Academy of Music in '74. Third row seats or thereabouts. AN unknown group named Journey was the opening act. They played for hours and hours. Afterwards, I couldn't hear the approaching subway coming. Luckily, the damage wasn't permanent. In those days, folks would pass up and down the row what they were smoking for all to enjoy.
376 BayAreaObserver   2017 Sep 16, 3:17pm   ↑ like (0)   ↑ dislike (0)     quote        
@jazz_music. Thanks for the input, I was hoping they did something besides the one 45. All I could discern from reading what little there is, they were from somewhere in Iowa and this was sometime in the very early 1960s. Agree with the Carl Perkins / Jerry Lee Lewis thought. Even though there were a lot of wrong notes in the recording, to me there was the makings of something much more that never got anywhere.
380 jazz_music   2017 Sep 16, 11:29pm   ↑ like (1)   ↑ dislike (1)     quote        
@BayAreaObserver Out Of Limits must have been made for a movie originally because how else would they end up with this orchestration, really oddball percussions and French horns. A bizarre orchestration for a standard surf band with combo organ. The percussions are mechanical castanets and triangle. Because why go out of your way to learn to play castanets the way the dancers do it when you can just beat on a bracket?

And the end result was an iconic smash hit of the surf era. --unforgettable sound.

381 jazz_music   2017 Sep 16, 11:38pm   ↑ like (1)   ↑ dislike (1)     quote        
@BayAreaObserver TWISTIN' THE NIGHT AWAY:
I was 10 years old. Sam Cooke was before my time but amazingly great. I heard my 10 years older brother playing his record changer.

Great voice, great songwriter. Nice arrangements too. Almost all saxophone horns with baritone lead OMG! You can hear the trumpet only on the intro and one chorus which is very unusual.

Remember they had to get the mix by varying the musician's relative physical locations.
391 HEY YOU   2017 Sep 24, 2:50pm   ↑ like (0)   ↑ dislike (0)     quote        
That Buodgie Wuodgie takes me back to high school dances & the skating rink.

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