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Shuma wrote:Psychology doesn't respect musical structure and they "sound" quite similar. Pablo honey and creep are also radioheads first two albums and both were in the same scene as (and heavily influenced by (though I suppose indirectly)) blur until they broke out.

Pablo Honey and The Bends are Radiohead's first two albums. Hate to nit-pick, but they are one of my favourite bands. As far as the songs you mentioned sounding the same, I'm going to have to just shake my head and leave you to it.

Shuma wrote:Blur was signed in 1991. Radiohead 1993. Black star (on the bends) was released in 1995, two years after modern life, but the temporality is an aside.

Thom Yorke wrote 'Creep' in the late 80's. But yeah - meh. I think it's more a case of the two bands having simalar influences, rather than them influencing each other. They really are two VERY different bands - Radiohead always seem to get lumped in with Britpop, in a similar fashion to the Manic Steet Preachers. It's... inaccurate.

My point was that radiohead evolved since then, quite a bit so and became something generations will enjoy. Blur remained exactly the same.

Except they didn't. Compare 'Charmless Man' to a song like 'Tender' or 'No Distance Left To Run' - there's a definite progression there.

I love Radiohead, own all their albums, and have seen them in concert 3 times. However, I think they have disappeared up their own arses.

Discuss.

Shuma wrote:That said, blur was not influenced by massive attack (nor was radiohead)

Trip-hop was a pretty pervasive influence in British music around the time of OK Computer and later, 13. The use of samples and more programmed (and programmed-sounding) drums is evidence of this. You also had people like DJ Shadow, a direct influence on Radiohead.

Cannerus_The_Unbearable wrote:It's all about the vibes, man

Srsly though, I'm just calling it how I hear it, which isn't exactly how anyone else in the world hears it. Some people say a song is really emotional and others will say it sounds completely soulless. I do like knowing what other people are hearing so I can try to hear it too. I decided to listen to a bunch of older music a week and a half ago then advance through the ages and see if i pick up anything new in my rotation since I noticed a lot of what I listen to is from the past 10 years. I've recently gotten addicted to CCR's first album for some reason and the aforementioned Velvet Underground as well as The Hollies (one of the most underrated groups ever IMO). It's hard to explain why this stuff is really catching my ear now and it didn't with near the same capacity a few years earlier. I wish you guys were a little more descriptive about why you liked stuff

Can never go wrong with CCR.

*sings*

" I see a baaad moon a-rising...."

Umm. Please don't ruin CCR for me Alba.


Automatically Appended Next Post:
Holy double post

*louder*

"Ah seeeeee trubble on the waaay..."

If you boys are going to play CCR...play it right.

Pablo Honey and The Bends are Radiohead's first two albums. Hate to nit-pick, but they are one of my favourite bands. As far as the songs you mentioned sounding the same, I'm going to have to just shake my head and leave you to it.

I'm doing several things at once here, forgive my slip.

Thom Yorke wrote 'Creep' in the late 80's. But yeah - meh. I think it's more a case of the two bands having simalar influences, rather than them influencing each other. They really are two VERY different bands - Radiohead always seem to get lumped in with Britpop, in a similar fashion to the Manic Steet Preachers. It's... inaccurate.

It was inaccurate after OK computer. It was pretty accurate until then, since thats what they were. They were great at it, but being great at something doesn't put you in a different category.

Except they didn't. Compare 'Charmless Man' to a song like 'Tender' or 'No Distance Left To Run' - there's a definite progression there.

And when you compare 'There's nowhere left to run' and 'tender' that progression is far less obvious.

I love Radiohead, own all their albums, and have seen them in concert 3 times. However, I think they have disappeared up their own arses

Howso? The bands internals, the members, or the music? I don't think In Rainbows was their greatest album, and the bside of it was even worse, but I I guess I don't know enough about them as a group to see it that way. Their sound went a little to soft for me recently with in rainbows. Hopefully they can get back a little bit of the edge they had.

Trip-hop was a pretty pervasive influence in British music around the time of OK Computer and later, 13. The use of samples and more programmed (and programmed-sounding) drums is evidence of this. You also had people like DJ Shadow, a direct influence on Radiohead.

I would argue that they didn't have a very heavy influence on blur, even with obvious personal acquaintances. I would also disagree that you could attribute the slowly rising use of clearly digital percussion on massive attack. That was a movement that had been ongoing for a few years.

Radiohead though was most certainly influenced by the electronic scenes shadow was in.





As an aside you asked me which I preferred between the mars volta and at the drive in. You then let the answer go unanswered! What was the right answer?

Shuma wrote:Howso? The bands internals, the members, or the music? I don't think In Rainbows was their greatest album, and the bside of it was even worse, but I I guess I don't know enough about them as a group to see it that way. Their sound went a little to soft for me recently with in rainbows. Hopefully they can get back a little bit of the edge they had.

Well, for my part I haven't been crazy about much that they have done since the Kid A sessions (which spawned Kid A and Amnesiac). I loved Kid A (and still do) - it's a ridiculously brave move after what will definitely be considered a classic album in years to come (OK Computer), but Thome Yorke was still able to retain his songwriting abilities. Amnesiac is basically the outakes from that extended period of recording (funnily enough, I think 'Nude' was written about that time..), and it's the first Radiohead album I went 'meh' too. Since then, I think they've let the desire to experiment override their songwriting.

Is this a bad thing? I think it is, because Yorke's songwriting is their strongest element - I'm not interested in hearing him mumble about raindrops.

Shuma wrote:I would argue that they didn't have a very heavy influence on blur, even with obvious personal acquaintances. I would also disagree that you could attribute the slowly rising use of clearly digital percussion on massive attack. That was a movement that had been ongoing for a few years.

Well, yes - here I'm substituting Massive Attack for 'trip-hop' really, as I'm not sure what sort of stuff you're aware of and they're pretty well-known. Perhaps I could have been clearer. I could quite easily have said Portishead or something - the band isn't important, so much as the style.
You're correct in that trip-hop wouldn't have been a major influence initially - but in terms of the sonic landscape, by the time they got to '13' Albarn would most certainly have been aware of it. I think this is borne out by songs like 'Battle' - the bass-line is pure trip-hop. Very queasy-sounding.

Guys, there aint nothin wrong with Shinedown. Shinedown is a good (maybe not great, but good) band, with amazing songs like What a Shame, Cyanide Sweet Tooth Suicide, Call Me, and a few others.

Anywho, what would everyone say is their favorite song of all time? Mine would have to be Kryptonite by 3 Doors Down

As an aside you asked me which I preferred between the mars volta and at the drive in. You then let the answer go unanswered! What was the right answer?

There isn't one!

But I prefer 'Relationship of Command' by At The Drive-In - I think it's better than anything the Mars Volta have done to date by several orders of magnitude. It's just more visceral, which is nicely offset by Rodriguez-Lopez' avant-garde/salsa tendencies. I just don't buy them as a prog band.


And I love prog. Perhaps that's why.


Do you like King Crimson?

FITZZ wrote: If you boys are going to play CCR...play it right.

Nothing more beautiful than a mushroom cloud at dusk.

Well, for my part I haven't been crazy about much that they have done since the Kid A sessions (which spawned Kid A and Amnesiac). I loved Kid A (and still do) - it's a ridiculously brave move after what will definitely be considered a classic album in years to come (OK Computer), but Thome Yorke was still able to retain his songwriting abilities. Amnesiac is basically the outakes from that extended period of recording (funnily enough, I think 'Nude' was written about that time..), and it's the first Radiohead album I went 'meh' too. Since then, I think they've let the desire to experiment override their songwriting.

Is this a bad thing? I think it is, because Yorke's songwriting is their strongest element - I'm not interested in hearing him mumble about raindrops.

I think I personally value the instrumentals and soundscapes radiohead created over the songwriting merit, and I do agree that both seemed to weaken a bit over time. I personally see in rainbows and amnesiac as far less experimental than either ok computer or Kid A. They seem to be going safer with their more recent work.

Well, yes - here I'm substituting Massive Attack for 'trip-hop' really, as I'm not sure what sort of stuff you're aware of and they're pretty well-known. Perhaps I could have been clearer. I could quite easily have said Portishead or something - the band isn't important, so much as the style.
You're correct in that trip-hop wouldn't have been a major influence initially - but in terms of the sonic landscape, by the time they got to '13' Albarn would most certainly have been aware of it. I think this is borne out by songs like 'Battle' - the bass-line is pure trip-hop. Very queasy-sounding.

I'm aware of massive attack, but triphop didn't have a huge amount of penetration in the states beyond them. It made it here, but it didn't really take off. So I don't have a tremendous amount of knowledge of the scene.

Portishead are fething sick.



That means good.

Albatross wrote:

As an aside you asked me which I preferred between the mars volta and at the drive in. You then let the answer go unanswered! What was the right answer?

There isn't one!

But I prefer 'Relationship of Command' by At The Drive-In - I think it's better than anything the Mars Volta have done to date by several orders of magnitude. It's just more visceral, which is nicely offset by Rodriguez-Lopez' avant-garde/salsa tendencies. I just don't buy them as a prog band.


And I love prog. Perhaps that's why.

I don't believe that the "salsa tendencies" really showed through very well in at the drive in, and it's probably my favorite part of the mars volta (And Omars side projects!). Both bands are great, but for distinctly different reasons.



Forgive the prose, but in my mind at the drive in had a lot of heart, but it didn't have the spirit. It knew what it wanted to be, it was smart, well written, and musically sharp. But it never took me on an oddyssee beyond what the lyrical talent made me picture. The mars volta and by extension omar and cedrics side projects are a whole-nother animal. I also find that the backing instrumentals of the mars volta are generally superior, though the songwriting is certainly... Different.

Do you like King Crimson?

Tremendously!