Music: What are you listening to this evening?
2017 Mar 20, 8:50pm 912,005 views 978 comments
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163
HEY YOU
@
2017 Aug 28, 8:12pm
Think about that woman that you've been infatuated with but can never get close to.
Woo! Woo! Woo! Anytime!www.dTH1v0vuaTk
Woo! Woo! Woo! Anytime!www.dTH1v0vuaTk
165
Blurtman
@
2017 Aug 30, 10:02am
The Darling Buds are an alternative rock band from Newport, South Wales. The band formed in 1986 and were named after the H. E. Bates novel The Darling Buds of May – a title taken in turn, from the third line of Shakespeare's Sonnet 18: "Rough winds do shake the darling buds of May".[1][2]
Influenced by the catchy simple sound of the early Beatles as well as that of Blondie,[1] the band created melodic, hook-driven, short-duration singles. They were considered part of the short lived "Blonde" movement (indie rock band fronted by blonde female singer with all other members being dark-haired males) along with the likes of The Primitives and Transvision Vamp, but also referenced the C86 scene of a few years earlier.[3]
Crawdaddy was The Darling Buds' third album. It was released on Epic Records in 1990 and featured the singles "Tiny Machine" and "Crystal Clear".
www.Z8PuE0bo4P8
Influenced by the catchy simple sound of the early Beatles as well as that of Blondie,[1] the band created melodic, hook-driven, short-duration singles. They were considered part of the short lived "Blonde" movement (indie rock band fronted by blonde female singer with all other members being dark-haired males) along with the likes of The Primitives and Transvision Vamp, but also referenced the C86 scene of a few years earlier.[3]
Crawdaddy was The Darling Buds' third album. It was released on Epic Records in 1990 and featured the singles "Tiny Machine" and "Crystal Clear".
www.Z8PuE0bo4P8
169
Blurtman
@
2017 Aug 30, 10:21am
Great drum intro. Silky smooth vocals by the late, great Bob Welch.
www.yy-51ZTbFis
www.yy-51ZTbFis
170
Blurtman
@
2017 Aug 30, 10:24am
Reggae influenced with solid bass by John McVie and Bob Welch dreamy vocals. What a great band!www.qJVHYHIRADs
179
anonymous
2017 Sep 8, 7:52pm
Something different. Metal version of Toto's Africa.
www.MH9FyLsfDzw
www.MH9FyLsfDzw
181
anonymous
2017 Sep 9, 8:34am
Gentle Reader,
I'm going to miss Walt Becker. Hope Don Fagen is ok and doing well.
Regards,
Roidy
https://www.OKpP8_uKXDY
I'm going to miss Walt Becker. Hope Don Fagen is ok and doing well.
Regards,
Roidy
https://www.OKpP8_uKXDY
182
anonymous
2017 Sep 9, 8:38am
HEY YOU says
Gentle Reader,
This boy (me) certainly can't help it. Bluesy, talented, insightful music from one of the great rock musicians of the modern era.
Yes, Ms. Raitt, I'm referring to you.
Regards,
Roidy
One for the ladies & "that man" you think about.www.WL3FKtDMFs4
Gentle Reader,
This boy (me) certainly can't help it. Bluesy, talented, insightful music from one of the great rock musicians of the modern era.
Yes, Ms. Raitt, I'm referring to you.
Regards,
Roidy
183
anonymous
2017 Sep 13, 7:30pm
If you like pop, metal, and hand puppets, this is the song for you!!!
www.NL86PuqH8y0
www.NL86PuqH8y0
186
HEY YOU
@
2017 Sep 14, 8:43am
BOC
Takes me back to my youth.
Blue Oyster Cults new lyrics:
Ohhh no,they say he's got to go
Go,Go Trumpzilla!
Takes me back to my youth.
Blue Oyster Cults new lyrics:
Ohhh no,they say he's got to go
Go,Go Trumpzilla!
187
HEY YOU
@
2017 Sep 14, 8:51am
Was great knowing you America.
Trumpzilla! Trumpzilla! Trumpzilla!www.T65rW_SIzg0
Trumpzilla! Trumpzilla! Trumpzilla!www.T65rW_SIzg0
190
MisdemeanorRebel
@
2017 Sep 14, 8:07pm
MisdemeanorRebel
@
2017 Sep 14, 8:07pm
A "special guest" steals the Hot Chick around 3:25.
www.pEBXuhqVSws
www.pEBXuhqVSws
191
Blurtman
@
2017 Sep 15, 3:06pm
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 www.mlGZDqaS9Oc
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 www.mlGZDqaS9Oc
194
Blurtman
@
2017 Sep 15, 3:10pm
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
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
195
Blurtman
@
2017 Sep 15, 4:23pm
jazz_music says
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.
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.
196
Blurtman
@
2017 Sep 16, 8:20am
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 www.9l7GwFPxV7o
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 www.9l7GwFPxV7o
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