Okay, whatever you think of the song, this is one hilariously cheesy video.
This song is sublime, but yes - cheesy video. It seems like most of the video is just BF looking up at a very 80's looking computer graphic movie screen like he's Roger Ebert.
He had a great run of albums in the early-to-mid 80's: Avalon (always felt like a BF solo album), Boys and Girls, Bete Noire.
I've always wanted to start a Duran Duran tribute band (yes, I am a pretty big Duranie). I once listened to an episode of Sound Opinions where they had someone from the Moog Museum who kept trashing 80's synth pop musicians. His implication was they they were all novices who couldn't really play, but I think he missed the point. Because they were "novices" they created some really groundbreaking, interesting music.
I've always wanted to start a Duran Duran tribute band (yes, I am a pretty big Duranie). I once listened to an episode of Sound Opinions where they had someone from the Moog Museum who kept trashing 80's synth pop musicians. His implication was they they were all novices who couldn't really play, but I think he missed the point. Because they were "novices" they created some really groundbreaking, interesting music.
I've always wanted to start a Duran Duran tribute band (yes, I am a pretty big Duranie). I once listened to an episode of Sound Opinions where they had someone from the Moog Museum who kept trashing 80's synth pop musicians. His implication was they they were all novices who couldn't really play, but I think he missed the point. Because they were "novices" they created some really groundbreaking, interesting music.
It's daft whenever anyone discussing popular music argues that the tools are being used incorrectly. So much of post-war music comes from fucking with conventional use of instruments and song construction.
I've always wanted to start a Duran Duran tribute band (yes, I am a pretty big Duranie). I once listened to an episode of Sound Opinions where they had someone from the Moog Museum who kept trashing 80's synth pop musicians. His implication was they they were all novices who couldn't really play, but I think he missed the point. Because they were "novices" they created some really groundbreaking, interesting music.
It's daft whenever anyone discussing popular music argues that the tools are being used incorrectly. So much of post-war music comes from fucking with conventional use of instruments and song construction.
That quote is so up it’s own ass. A lot of that stuff was painstakingly overdubbed by hand as it was pre midi. So while it might not be the most technical from a virtuosity standpoint, it certainly was a complete labor of passion and love, and like you said super innovative as it had never been done before and they were flying in the dark. Or should I say orchestral maneuvers in the dark?
I've always wanted to start a Duran Duran tribute band (yes, I am a pretty big Duranie). I once listened to an episode of Sound Opinions where they had someone from the Moog Museum who kept trashing 80's synth pop musicians. His implication was they they were all novices who couldn't really play, but I think he missed the point. Because they were "novices" they created some really groundbreaking, interesting music.
It's daft whenever anyone discussing popular music argues that the tools are being used incorrectly. So much of post-war music comes from fucking with conventional use of instruments and song construction.
That quote is so up it’s own ass. A lot of that stuff was painstakingly overdubbed by hand as it was pre midi. So while it might not be the most technical from a virtuosity standpoint, it certainly was a complete labor of passion and love, and like you said super innovative as it had never been done before and they were flying in the dark. Or should I say orchestral maneuvers in the dark?
In Theo Cateforis' book on new wave, he observes that part of the dismissal of synth music was that it didn't look like real labour. Guitarists grimaced and sweated, and Rick Wakeman twirled around playing his eighteen surrounding keyboards all at once. That kind of visible action proved that this shit was hard, that not everyone could do it, so, you little pricks, you'd better appreciate the results. But bands like Human League or OMD, well, these guys weren't sweating, they just stood there casually pressing buttons. It all seemed so easy, so it must be illegitimate. It's akin to the argument that physical labour is more demanding than mental labour because you can see the effort, so it's necessarily more manly and respectable. If you ain't sufferin' on the outside, you're a phony.
I've always wanted to start a Duran Duran tribute band (yes, I am a pretty big Duranie). I once listened to an episode of Sound Opinions where they had someone from the Moog Museum who kept trashing 80's synth pop musicians. His implication was they they were all novices who couldn't really play, but I think he missed the point. Because they were "novices" they created some really groundbreaking, interesting music.
It's daft whenever anyone discussing popular music argues that the tools are being used incorrectly. So much of post-war music comes from fucking with conventional use of instruments and song construction.
That quote is so up it’s own ass. A lot of that stuff was painstakingly overdubbed by hand as it was pre midi. So while it might not be the most technical from a virtuosity standpoint, it certainly was a complete labor of passion and love, and like you said super innovative as it had never been done before and they were flying in the dark. Or should I say orchestral maneuvers in the dark?
In Theo Cateforis' book on new wave, he observes that part of the dismissal of synth music was that it didn't look like real labour. Guitarists grimaced and sweated, and Rick Wakeman twirled around playing his eighteen surrounding keyboards all at once. That kind of visible action proved that this shit was hard, that not everyone could do it, so, you little pricks, you'd better appreciate the results. But bands like Human League or OMD, well, these guys weren't sweating, they just stood there casually pressing buttons. It all seemed so easy, so it must be illegitimate. It's akin to the argument that physical labour is more demanding than mental labour because you can see the effort, so it's necessarily more manly and respectable. If you ain't sufferin' on the outside, you're a phony.
I think as long as it’s your own composition it has validity. Even sampling is fine as you’ve reconstructed into something else. That’s the issue with modern hip hop production though. It’s gotten so stale because people will literally sell pre made loop packages called like “Ultimate 808 bass drops” or “dope trap hi hats” or some shit. You don’t hear the eclectic sort of gritty lo fi production that a lot of 90s stuff had. Even early three six mafia is fucking fantastic with their use of woozy horror samples and atonal synth riffs.
I've always wanted to start a Duran Duran tribute band (yes, I am a pretty big Duranie). I once listened to an episode of Sound Opinions where they had someone from the Moog Museum who kept trashing 80's synth pop musicians. His implication was they they were all novices who couldn't really play, but I think he missed the point. Because they were "novices" they created some really groundbreaking, interesting music.
It's daft whenever anyone discussing popular music argues that the tools are being used incorrectly. So much of post-war music comes from fucking with conventional use of instruments and song construction.
That quote is so up it’s own ass. A lot of that stuff was painstakingly overdubbed by hand as it was pre midi. So while it might not be the most technical from a virtuosity standpoint, it certainly was a complete labor of passion and love, and like you said super innovative as it had never been done before and they were flying in the dark. Or should I say orchestral maneuvers in the dark?
In Theo Cateforis' book on new wave, he observes that part of the dismissal of synth music was that it didn't look like real labour. Guitarists grimaced and sweated, and Rick Wakeman twirled around playing his eighteen surrounding keyboards all at once. That kind of visible action proved that this shit was hard, that not everyone could do it, so, you little pricks, you'd better appreciate the results. But bands like Human League or OMD, well, these guys weren't sweating, they just stood there casually pressing buttons. It all seemed so easy, so it must be illegitimate. It's akin to the argument that physical labour is more demanding than mental labour because you can see the effort, so it's necessarily more manly and respectable. If you ain't sufferin' on the outside, you're a phony.
I think as long as it’s your own composition it has validity. Even sampling is fine as you’ve reconstructed into something else. That’s the issue with modern hip hop production though. It’s gotten so stale because people will literally sell pre made loop packages called like “Ultimate 808 bass drops” or “dope trap hi hats” or some shit. You don’t hear the eclectic sort of gritty lo fi production that a lot of 90s stuff had. Even early three six mafia is fucking fantastic with their use of woozy horror samples and atonal synth riffs.
I wonder what that guy thought of YMO btw...
Hello,
I like some synth bands but these guys (and girl) leave me bored as the keyboard player:
I've always wanted to start a Duran Duran tribute band (yes, I am a pretty big Duranie). I once listened to an episode of Sound Opinions where they had someone from the Moog Museum who kept trashing 80's synth pop musicians. His implication was they they were all novices who couldn't really play, but I think he missed the point. Because they were "novices" they created some really groundbreaking, interesting music.
It's daft whenever anyone discussing popular music argues that the tools are being used incorrectly. So much of post-war music comes from fucking with conventional use of instruments and song construction.
That quote is so up it’s own ass. A lot of that stuff was painstakingly overdubbed by hand as it was pre midi. So while it might not be the most technical from a virtuosity standpoint, it certainly was a complete labor of passion and love, and like you said super innovative as it had never been done before and they were flying in the dark. Or should I say orchestral maneuvers in the dark?
In Theo Cateforis' book on new wave, he observes that part of the dismissal of synth music was that it didn't look like real labour. Guitarists grimaced and sweated, and Rick Wakeman twirled around playing his eighteen surrounding keyboards all at once. That kind of visible action proved that this shit was hard, that not everyone could do it, so, you little pricks, you'd better appreciate the results. But bands like Human League or OMD, well, these guys weren't sweating, they just stood there casually pressing buttons. It all seemed so easy, so it must be illegitimate. It's akin to the argument that physical labour is more demanding than mental labour because you can see the effort, so it's necessarily more manly and respectable. If you ain't sufferin' on the outside, you're a phony.
I think as long as it’s your own composition it has validity. Even sampling is fine as you’ve reconstructed into something else. That’s the issue with modern hip hop production though. It’s gotten so stale because people will literally sell pre made loop packages called like “Ultimate 808 bass drops” or “dope trap hi hats” or some shit. You don’t hear the eclectic sort of gritty lo fi production that a lot of 90s stuff had. Even early three six mafia is fucking fantastic with their use of woozy horror samples and atonal synth riffs.
I wonder what that guy thought of YMO btw...
They have some good stuff, but have never really captured my attention.
Re: The Great Thread of YouTube Magnificence!
Posted: 13 May 2021, 12:01pm
by Flex
This is the group that Jerry Lee Lewis' niece is a part of now. Lot of, uh, magnificence in this video: