Top 3 Songs of All Time

Plainview · 02-28-2016, 04:59 PM

Quote:

Originally Posted by OccultHawk

When it comes to experimental music I can smell a phony a mile away. He was out of ideas so he gave it a try. It didn't come from the heart but it fooled a lot of people.

This doesn't make sense to me. His music isn't that experimental anyway, it's just an idiosyncratic take on Lounge Blues/Jazz stuff with a good mix of influence.

~~Cuthbert~~ · 02-28-2016, 05:00 PM

Quote:

Originally Posted by YorkeDaddy

There's massive variety in his albums. His early work is some very pleasant lounge-esque jazz/blues type stuff, but then starting with Swordfishtrombones he starts getting extremely experimental. My favorite of his is Rain Dogs and that's in my top 10 all-time, it's not his most experimental by any means but it's fairly quirky. If I were you I'd check that one out first and then move either backward in time or forward in time depending on how you receive the weirder moments

Quote:

Originally Posted by Qwertyy

Yeah, I started with Rain Dogs and definitely made a big impression on me instantly.

Quote:

Originally Posted by OccultHawk

It's true.

As for the where to start for the curious poster above I suggest Used Songs even though it's a compilation. I think Swordfishtrombones gives people the biggest boners. Mule Variations, Rain Dogs, and Frank's Wild Years all draw big praise from his fans. In his early pre-avant garde days I think you have a sincere musician who just isn't really very good but it's not phony. After he goes avant garde it's completely fraudulent. It's just a matter of what you want to discover about him.

Thanks.

I'll check out Rain Dogs and Used Songs then go from there then.

OccultHawk · 02-28-2016, 05:07 PM

Criticisms:

He's a bad story teller.
His song structures are cliche.
The mood he goes for is painfully obvious.
The percussion tries to be big and strong but in fact it's weak like a wet paper bag.
His voice is fake and stupid like someone who only sings in falsetto but on the other end.
He can't write a good hook.
The sentimentality doesn't work because it's cheap.

OccultHawk · 02-28-2016, 05:09 PM

Quote:

Originally Posted by Plainview

This doesn't make sense to me. His music isn't that experimental anyway, it's just an idiosyncratic take on Lounge Blues/Jazz stuff with a good mix of influence.

That's fine. An idiosyncratic take on bad blues and bad jazz is still bad.

YorkeDaddy · 02-28-2016, 05:14 PM

Quote:

Originally Posted by OccultHawk

Criticisms:

He's a bad story teller.
His song structures are cliche.
The mood he goes for is painfully obvious.
The percussion tries to be big and strong but in fact it's weak like a wet paper bag.
His voice is fake and stupid like someone who only sings in falsetto but on the other end.
He can't write a good hook.
The sentimentality doesn't work because it's cheap.

>________>

Plainview · 02-28-2016, 05:16 PM

Quote:

Originally Posted by OccultHawk

That's fine. An idiosyncratic take on bad blues and bad jazz is still bad.

I respect your opinion. But you're wrong.

OccultHawk · 02-28-2016, 05:20 PM

Alright. I don't think I've left anything out. So I guess we can wrap this one up.

Machine · 02-28-2016, 05:48 PM

Quote:

Originally Posted by OccultHawk

Criticisms:

He's a bad story teller.
His song structures are cliche.
The mood he goes for is painfully obvious.
The percussion tries to be big and strong but in fact it's weak like a wet paper bag.
His voice is fake and stupid like someone who only sings in falsetto but on the other end.
He can't write a good hook.
The sentimentality doesn't work because it's cheap.

In what sense are his stories bad?

Well he uses pop song structures because he makes pop music with "a twist", he experiments on existing formulas. That's what makes him so interesting.

The "mood" should be obvious to the listener, that's the point of having a mood.

Not really sure what you're trying to get at with the percussion critique at all. As if you know the intent of the artist.

In that sense so is Bob Dylan's voice. It's part of his style to sing in that gravely tone, that's part of what makes him unique.

Well I just disagree with the hook thing. Not to mention you don't need a hook to write a great song.

Why is it cheap?

**Exo** · 02-28-2016, 05:49 PM

Quote:

Originally Posted by OccultHawk

Alright. I don't think I've left anything out. So I guess we can wrap this one up.

You lost respect when you claimed that people only like him because they think it makes them cool. I f*cking hate that notion. People like what they like. They also dislike what they dislike. You could have said you didn't like him and listed a few reasons why but instead chose to call him a phony and inferred that anybody who likes him only does so because they wanted to be on some cool bandwagon. The man rarely tours and likes to keep to himself. He;s not out there flaunting his particular taste to anybody. Who are you to say that he isn't genuine?

Mondo Bungle · 02-28-2016, 05:53 PM

Sonic Youth - The Diamond Sea
World's End Girlfriend - 100 Years of Choke
Burzum - Each, Lord of the Depths

02-28-2016, 05:07 PM	#63 (permalink)
OccultHawk one-balled nipple jockey Join Date: Dec 2010 Location: Dirty Souf Biatch Posts: 22,006	Criticisms: He's a bad story teller. His song structures are cliche. The mood he goes for is painfully obvious. The percussion tries to be big and strong but in fact it's weak like a wet paper bag. His voice is fake and stupid like someone who only sings in falsetto but on the other end. He can't write a good hook. The sentimentality doesn't work because it's cheap.

02-28-2016, 05:20 PM	#67 (permalink)
OccultHawk one-balled nipple jockey Join Date: Dec 2010 Location: Dirty Souf Biatch Posts: 22,006	Alright. I don't think I've left anything out. So I guess we can wrap this one up.