Screaming at the Moon

Engine · 01-22-2011, 09:42 PM

Quote:

Originally Posted by TheBig3

I'm not sure why, when someone tells you about Styx, you hear either Renegade or Come Sail away, because if they've got songs like the one I've posted here, I cannot imagine why is isn't leading the charts.

I've never heard this song on classic rock radio, its never been mentioned on compilation discs, and can anyone tell me why?

Before this past Wednesday night, Styx was, to me, a band in time. Unless it was the 70's, Styx weren't relevant. But this track sounds like a Rush track juiced up on Testosterone. The organ smells of Deep Purple. The guitars wail like early Ozzy.

The vocals still sound the same but at least they aren't the sell-out, "play-to-the-vagina-in-the-audience" **** you usually expect from Styx. I dare say they took a page from Springsteen's book, if by that they could have somehow gone to Springsteen through Bon Jovi (who hadn't existed heretofore).

Musicbanter, I know you're into pretentious Dictionary-Rock so you can get some art house poon, but every once in awhile you need to listen to something with a set of balls on it. Listen to this, take off your ironic glasses, and go **** that chick who asked you for a cigarette. I know her mouth smells like a carpet store, but she's still a freak.

Thanks, Tommy Shaw.

Dear Mr. Tommy Shaw,

Thank you for that expose of how your band’s shitty overplayed music can actually be good sometimes. You made some good points but I am still deeply under the impression that your band, Styx, really truly sucks. On every song, no matter what you attempt, including Blue Collar Man.

Despite how you define Styx as sounding like a lot of other 70s crap (Rush, Deep Purple) with a hint of early-80s rock (Ozzy, which, how dare you compare yourself to Randy Rhoads you arrogant frizzle-haired mustachioed fuck), I see that you take pride in sounding like another, more futuristic shitty band, Bon Jovi. I respect this.

Normally I would expect to see you 70s radio rock legends denigrating your successors and mentioning how much more intricate and virtuosic your music is than theirs. You, however, are gracious enough to recognize that an even less talented, more commercial band like Bon Jovi is an apt comparison to yours. For instance you mentioned that your song Blue Collar Man really rocks hard and has a nice set of balls. This was in contrast to how your other, more popular songs have no balls at all (i.e. Come Sail Away, etc.).

You are clearly a man of honor because you recognize and acknowledge significant cultural trends such as the move away from your brand of virtuosic bullshit music to a simpler, more party oriented version of what you and your esteemed colleagues began.

Bon Jovi made some really terrible songs just like you did in order to please a record buying public who was rabid for whatever they could be fed as long as they could rock out and/or feel sad about unrequited or lost love. I can’t blame them, as I’m sure you agree, for sucking down the swill that was offered by your financiers. After your band offered a six-minute shhitfest of emotional balladry that begins to rock hard around 2:40..

Bon Jovi followed your lead and shat the classic I’ll Be There For You ballad. I’m sure you’ll want acknowledgement for how many more notes you played in Come Sail Away but you obviously respect the young man’s resolve. Bon Jovi’s audience was more into cocaine than marijuana and hallucinogens as yours was and he capitalized on this without ever taking his eye off of your model. He squeezed out the runny shit that is I’ll Be There For You with dumbed down guitar heroics and a blast of emotional heaviness twice as quickly at 1:20..

But that is not the point. You would like to focus on how your slightly more tolerable songs like Blue Collar Man should be remembered for the more rocking sounds of say, Roulette by Bon Jovi.

..with an added dash of the classic sounds of Bruce Springsteen. Super.

Good luck convincing MusicBanter that any of your music is any good. I, for one, wholeheartedly feel that all of it sounds embarrassingly terrible.

Sincerely,
Engine

djchameleon · 01-23-2011, 04:32 AM

Quote:

Originally Posted by TheBig3

I'm not sure why, when someone tells you about Styx, you hear either Renegade or Come Sail away, because if they've got songs like the one I've posted here, I cannot imagine why is isn't leading the charts.

I've never heard this song on classic rock radio, its never been mentioned on compilation discs, and can anyone tell me why?

Before this past Wednesday night, Styx was, to me, a band in time. Unless it was the 70's, Styx weren't relevant. But this track sounds like a Rush track juiced up on Testosterone. The organ smells of Deep Purple. The guitars wail like early Ozzy.

The vocals still sound the same but at least they aren't the sell-out, "play-to-the-vagina-in-the-audience" **** you usually expect from Styx. I dare say they took a page from Springsteen's book, if by that they could have somehow gone to Springsteen through Bon Jovi (who hadn't existed heretofore).

Musicbanter, I know you're into pretentious Dictionary-Rock so you can get some art house poon, but every once in awhile you need to listen to something with a set of balls on it. Listen to this, take off your ironic glasses, and go **** that chick who asked you for a cigarette. I know her mouth smells like a carpet store, but she's still a freak.

Thanks, Tommy Shaw.

You just reminded me how much i love that song. I haven't heard it in ages.
I think all bands have one or two songs that are hard and balls to the walls rocking that doesn't fit with their mainstream commercial type songs. For example, with all the crap that Nickelback puts out they have one song that I ****ing love and I use it whenever I'm playing a racing game because it gets me pumped up.

Nickelback - Animals

That is probably the only Nickelback song that I will readily admit that I like to anyone.

TheBig3 · 01-24-2011, 11:29 AM

I need your help MB. I'm a few months off from attempting to launch a Web Publication that will cover a large number of topics, not excluding music. If you had an opinion, which one should I take from this scrap heap as something to dust off, brush up, and put out there?

Thanks!

TheBig3 · 01-26-2011, 12:38 PM

To parry rhetorical idiocy, lets not use a genre here, but instead I’m just going to put 5 songs down, and say that sound equals genre X, where X = a word I will make up soon.

Yeah Yeah Yeahs – Down Boy
Arcade Fire – Ready to Start
TV on the Radio – Blues from Down here
The National – Blood Buzz Ohio
Decemberists – And here I dreamt I was an architect

This genre, which I’ll attempt to put into words, should be called (for the sake of this article) Menthol-Indie because I feel like it. Moving on.

Maybe its because I live in a city known for lobster and sub-arctic wind chill. Or maybe its because I’m keen on lament, but this style of music creates an environment, so closely resembling abandoned city streets in winter, I can’t help myself but try and draw the parallel.

I think Phil Spector is over-hyped and what he contributed was, at best, benign to the times. But his philosophy, while boring in concept is amazing in practice. The wall of sound with the least amount of instruments possible (Somewhere in here, Andy Warhol becomes the creator, but I’m not entirely sure where, and its not essential for this ramble) essentially creates white noise, and with some percussion, melody, and narrative in front of it, makes it the backdrop of a person lost in the world, contemplating the finer details of “why the hell am I here?”

What we get in life is often background noise, car horns, engines rumbling, trains roaring by, planes, dogs, one-sided cell phone conversation and any number of small ticks; insects, clocks, technologies constant reminders that they’re waiting for us. This serves no purpose to the individual, and in a musical sense, it would not effect (or shouldn’t, outside the schizophrenic mind, a purpose to narrative.) If it hasn’t been made obvious yet, I’m making the connection between the individual and the narrative, which should be clear to begin with, but its being pitched differently here.

What this white noise may come to represent, if it wasn’t the intention to begin with is the innumerate life teeming beyond the individual which, when already in a position of indirection, may only further the idea that life goes on without, therefore, what’s your purpose?

But beyond our teen angst and depression, these instances are less an overall characteristic of the individual, and more a characteristic of an event: a break-up, a parent dying, rejection, and unemployment. Could white noise, in the adult mind (or narrative) be the chaos that comes with the myriad of responsibilities throw into havoc when something like this comes? Ignore for a minute whether or not it does. Hear me out…

The device (Wall of Sound), when viewed as a device, seems to suggest to us the interpreter that the chaos marches in a lock-step uniformity; that chaos must represent “the other” by virtue of its consistency, and lack of relationship to the listener. When applied to any narrative, this follows a logical literary pattern of Person v. Environment, which is a traditional Antagonist. Traditionally, this is found in Drama not Comedy (literal sense) but music, and especially that which could be considered post-industrial (society, not music) seems to suggest a comedic effect in so far as there is no resolution. The white-noise, chaos of the Wall of Sound is a constant, something the Protagonist lives with and grows increasingly familiar with. Have you ever heard the Wall of Sound used in a staccato capacity? Neither have I, and I’m not even sure how you would pull it off, but lets forget that for a second.

What this style says about chaos, which was traditionally considered the opposite of self (the other) , is that it becomes a familiarity. If we look to the alternative of the post-industrial society, its generally rural, where all noises come with nature, and therefore has a very logical connection to a given person. People hunt, fish, farm, and live in the environment, which are at least a few degrees away from direct relations. But in the city, too much “environmental” factors have little or nothing to do with anyone else. The consumer order is sharply divided. I saw 3 news helicopters today. While the argument for benefiting the individual could be there, if it wasn’t our lives wouldn’t be so much different (do we really need to know about a traffic jam after the fact?).

A few paragraphs back I wondered if the familiarity with noise is the immediate stress of the responsibility and it’s new found immediacy. What I think we’ve tripped over in between is that its less the immediacy, but the presence of all things that must exist in order for a City-Society to function. That is, theres a butterfly effect that occurs to me if the Traffic-Copter isn’t out that day, even if its effects are not felt directly. In finality, the wall of sound seems to operate within the narrative as a sort of societal feedback. One that doesn’t suggest a wish to return to a rural life, but the pressure cooker of demands in a metropolitan lifestyle, and beyond this, the ever growing coldness that comes with or all too familiar relationship with it.

Its said of New York City, if you can make it there, you can make it anywhere. If we funnel this through out musical filters, I think Menthol musicians would argue its because a grave disinterested attitude is not created by a personal interest, but a necessary interest in survival. Essentially, the Menthol guitarist, with his reverbed out instrument asks us, “Do you really think Deluth would have recovered from 9/11 as quickly as NYC did?” For too many albums, they’ve been telling us the answer is “no.”

TheBig3 · 04-16-2011, 04:43 PM

Arya Stark · 04-18-2011, 12:03 AM

Brennan, I love the way you write.

TheBig3 · 04-19-2011, 01:51 PM

thanks.

starrynight · 04-19-2011, 04:25 PM

Quote:

Originally Posted by TheBig3

I think Phil Spector is over-hyped and what he contributed was, at best, benign to the times. But his philosophy, while boring in concept is amazing in practice. The wall of sound with the least amount of instruments possible (Somewhere in here, Andy Warhol becomes the creator, but I’m not entirely sure where, and its not essential for this ramble) essentially creates white noise, and with some percussion, melody, and narrative in front of it, makes it the backdrop of a person lost in the world, contemplating the finer details of “why the hell am I here?”

What we get in life is often background noise, car horns, engines rumbling, trains roaring by, planes, dogs, one-sided cell phone conversation and any number of small ticks; insects, clocks, technologies constant reminders that they’re waiting for us. This serves no purpose to the individual, and in a musical sense, it would not effect (or shouldn’t, outside the schizophrenic mind, a purpose to narrative.) If it hasn’t been made obvious yet, I’m making the connection between the individual and the narrative, which should be clear to begin with, but its being pitched differently here.

Environmental sounds have been used in music. Whether it was John Cage composing a piece of silence to show that there never is complete silence, or whether it is the environmental sound based experimental music/work of Luc Ferrari and many others.

But I would say anyway that I do think Phil Spector was involved with some good music, more so than the bands you listed anyway. He also had an influence if anyone thinks that is important as well.

As for you comparison of the individual singer against the music background, you might want to compare this to the soloist against an orchestra in classical music for example.

right-track · 04-19-2011, 05:07 PM

I'm at least 300 hundred years old and I too am a fan of Brennan's distinctive, if somewhat unorthodox writing style.
I can find myself nodding in agreement, or shaking my head in confused disbelief at his literary antics.

A nonsensical jibbering idiot, or MB's modern day poet?
How I wish we had more like him here.

djchameleon · 04-20-2011, 06:50 AM

Quote:

Originally Posted by right-track

I'm at least 300 hundred years old and I too am a fan of Brennan's distinctive, if somewhat unorthodox writing style.
I can find myself nodding in agreement, or shaking my head in confused disbelief at his literary antics.

A nonsensical jibbering idiot, or MB's modern day poet?
How I wish we had more like him here.

Why would you want more like him? he's pretty unique and it would take away from his uniqueness.

01-24-2011, 11:29 AM	#83 (permalink)
TheBig3 killedmyraindog Join Date: Aug 2004 Location: Boston, Massachusetts Posts: 11,172	I need your help MB. I'm a few months off from attempting to launch a Web Publication that will cover a large number of topics, not excluding music. If you had an opinion, which one should I take from this scrap heap as something to dust off, brush up, and put out there? Thanks! __________________ I've moved to a new address

01-26-2011, 12:38 PM	#84 (permalink)
TheBig3 killedmyraindog Join Date: Aug 2004 Location: Boston, Massachusetts Posts: 11,172	The narrative of feel... To parry rhetorical idiocy, lets not use a genre here, but instead I’m just going to put 5 songs down, and say that sound equals genre X, where X = a word I will make up soon. Yeah Yeah Yeahs – Down Boy Arcade Fire – Ready to Start TV on the Radio – Blues from Down here The National – Blood Buzz Ohio Decemberists – And here I dreamt I was an architect This genre, which I’ll attempt to put into words, should be called (for the sake of this article) Menthol-Indie because I feel like it. Moving on. Maybe its because I live in a city known for lobster and sub-arctic wind chill. Or maybe its because I’m keen on lament, but this style of music creates an environment, so closely resembling abandoned city streets in winter, I can’t help myself but try and draw the parallel. I think Phil Spector is over-hyped and what he contributed was, at best, benign to the times. But his philosophy, while boring in concept is amazing in practice. The wall of sound with the least amount of instruments possible (Somewhere in here, Andy Warhol becomes the creator, but I’m not entirely sure where, and its not essential for this ramble) essentially creates white noise, and with some percussion, melody, and narrative in front of it, makes it the backdrop of a person lost in the world, contemplating the finer details of “why the hell am I here?” What we get in life is often background noise, car horns, engines rumbling, trains roaring by, planes, dogs, one-sided cell phone conversation and any number of small ticks; insects, clocks, technologies constant reminders that they’re waiting for us. This serves no purpose to the individual, and in a musical sense, it would not effect (or shouldn’t, outside the schizophrenic mind, a purpose to narrative.) If it hasn’t been made obvious yet, I’m making the connection between the individual and the narrative, which should be clear to begin with, but its being pitched differently here. What this white noise may come to represent, if it wasn’t the intention to begin with is the innumerate life teeming beyond the individual which, when already in a position of indirection, may only further the idea that life goes on without, therefore, what’s your purpose? But beyond our teen angst and depression, these instances are less an overall characteristic of the individual, and more a characteristic of an event: a break-up, a parent dying, rejection, and unemployment. Could white noise, in the adult mind (or narrative) be the chaos that comes with the myriad of responsibilities throw into havoc when something like this comes? Ignore for a minute whether or not it does. Hear me out… The device (Wall of Sound), when viewed as a device, seems to suggest to us the interpreter that the chaos marches in a lock-step uniformity; that chaos must represent “the other” by virtue of its consistency, and lack of relationship to the listener. When applied to any narrative, this follows a logical literary pattern of Person v. Environment, which is a traditional Antagonist. Traditionally, this is found in Drama not Comedy (literal sense) but music, and especially that which could be considered post-industrial (society, not music) seems to suggest a comedic effect in so far as there is no resolution. The white-noise, chaos of the Wall of Sound is a constant, something the Protagonist lives with and grows increasingly familiar with. Have you ever heard the Wall of Sound used in a staccato capacity? Neither have I, and I’m not even sure how you would pull it off, but lets forget that for a second. What this style says about chaos, which was traditionally considered the opposite of self (the other) , is that it becomes a familiarity. If we look to the alternative of the post-industrial society, its generally rural, where all noises come with nature, and therefore has a very logical connection to a given person. People hunt, fish, farm, and live in the environment, which are at least a few degrees away from direct relations. But in the city, too much “environmental” factors have little or nothing to do with anyone else. The consumer order is sharply divided. I saw 3 news helicopters today. While the argument for benefiting the individual could be there, if it wasn’t our lives wouldn’t be so much different (do we really need to know about a traffic jam after the fact?). A few paragraphs back I wondered if the familiarity with noise is the immediate stress of the responsibility and it’s new found immediacy. What I think we’ve tripped over in between is that its less the immediacy, but the presence of all things that must exist in order for a City-Society to function. That is, theres a butterfly effect that occurs to me if the Traffic-Copter isn’t out that day, even if its effects are not felt directly. In finality, the wall of sound seems to operate within the narrative as a sort of societal feedback. One that doesn’t suggest a wish to return to a rural life, but the pressure cooker of demands in a metropolitan lifestyle, and beyond this, the ever growing coldness that comes with or all too familiar relationship with it. Its said of New York City, if you can make it there, you can make it anywhere. If we funnel this through out musical filters, I think Menthol musicians would argue its because a grave disinterested attitude is not created by a personal interest, but a necessary interest in survival. Essentially, the Menthol guitarist, with his reverbed out instrument asks us, “Do you really think Deluth would have recovered from 9/11 as quickly as NYC did?” For too many albums, they’ve been telling us the answer is “no.” __________________ I've moved to a new address

04-16-2011, 04:43 PM	#85 (permalink)
TheBig3 killedmyraindog Join Date: Aug 2004 Location: Boston, Massachusetts Posts: 11,172	__________________ I've moved to a new address

04-19-2011, 01:51 PM	#87 (permalink)
TheBig3 killedmyraindog Join Date: Aug 2004 Location: Boston, Massachusetts Posts: 11,172	thanks. __________________ I've moved to a new address

04-19-2011, 05:07 PM	#89 (permalink)
right-track Atchin' Akai Join Date: May 2005 Location: Unamerica Posts: 8,723	I'm at least 300 hundred years old and I too am a fan of Brennan's distinctive, if somewhat unorthodox writing style. I can find myself nodding in agreement, or shaking my head in confused disbelief at his literary antics. A nonsensical jibbering idiot, or MB's modern day poet? How I wish we had more like him here.