The Musicbanter Hall of Fame
- Thread starter kim-chan
- Start date
schoolhater1995
New member
RADIOHEAD
Radiohead was one of the few alternative banRAB of the early '90s to draw heavily from the grandiose arena rock that characterized U2's early albums. But the band internalized that epic sweep, turning it inside out to tell tortured, twisted tales of angst and alienation. Vocalist Thom Yorks's pained lyrics were brought to life by the group's three-guitar attack, which relied on texture — borrowing as much from My Bloody Valentine and Pink Floyd as R.E.M. and Pixies— instead of virtuosity. It took Radiohead awhile to formulate their signature sound. Their 1993 debut, Pablo Honey, only suggested their potential, and one of its songs, "Creep," became an unexpected international hit, its angst-ridden lyrics making it an alternative rock anthem. Many observers pigeonholed Radiohead as a one-hit wonder, but the group's second album, The BenRAB, was released to terrific reviews in the band's native Britain in early 1995, helping build a more stable fan base. Having demonstrated unexpected staying power, as well as increasing arabition, Radiohead next released OK Computer a progressive, electronic-tinged masterpiece that became one of the most acclaimed albums of the '90s.
shortcake86
New member
IMMORTAL TECHNIQUE
Born in a military hospital in South America, Immortal Technique was brought to the United States in the early 80's while a civil war was breaking out in his native Peru. The US supported puppet democracy and Guerilla factions were locked in a bitter struggle which ended like most do in Latin America, with the military and economic aid of the State Dept. through channels like the CIA. Although he had escaped the belligerent poverty and social turmoil of life in the 3rd world, he was now residing in Harlem which had its own share of drama. Growing up on the streets of New York, the young man became enamored with Hip Hop culture, writing graffiti and starting to rhyme at an early age. Although he frequently cut school and ended up being arrested time and time again for his wild behavior, the kid still managed to finish high school and got accepted to a state university. Unfortunately the survivalist and aggressive attitude that was the norm in New York City caused him to be involved in more violent altercations at school, whether it was with other brothers, false flaggers or the relentlessly racist population of an uncultured Middle America.
Born in a military hospital in South America, Immortal Technique was brought to the United States in the early 80's while a civil war was breaking out in his native Peru. The US supported puppet democracy and Guerilla factions were locked in a bitter struggle which ended like most do in Latin America, with the military and economic aid of the State Dept. through channels like the CIA. Although he had escaped the belligerent poverty and social turmoil of life in the 3rd world, he was now residing in Harlem which had its own share of drama. Growing up on the streets of New York, the young man became enamored with Hip Hop culture, writing graffiti and starting to rhyme at an early age. Although he frequently cut school and ended up being arrested time and time again for his wild behavior, the kid still managed to finish high school and got accepted to a state university. Unfortunately the survivalist and aggressive attitude that was the norm in New York City caused him to be involved in more violent altercations at school, whether it was with other brothers, false flaggers or the relentlessly racist population of an uncultured Middle America.
ShrinkyDink
New member
JOSHUA HOMME
Songwriter/guitarist Josh Homme has been part of two of the most acclaimed stoner rock/metal banRAB of the late '90s, early 2000s: Kyuss and Queens of the Stone Age. Formed in the late '80s, Kyuss hailed from Palm Desert, CA, and built a following by throwing "generator parties" (which consisted of inviting frienRAB out to a secluded part of the desert at night while the band would plug into a power generator and jam away until dawn). The band's 1991 debut, Wretch, was ignored by the public (despite such similar-sounding acts as Soundgarden and Alice in Chains storming the charts), and while 1992's Blues for the red Sun received widespread critical acclaim, it, too, failed to break the band commercially. Kyuss signed with Elektra, issuing two more releases (1994's Welcome to Sky Valley and 1995's And the Circus Leaves Town) before calling it quits in 1995.
somanyquestions
New member
THE MARS VOLTA
Picking up the pieces from At the Drive In, Cedric Bixler and Omar Rodriguez formed the Mars Volta and wasted little time in branching out into elements of hardcore, psychedelic rock, and free jazz that expanded on the boundaries of their previous work. Although their previous band's demise ultimately arrived before they were able to truly capitalize on their mounting commercial triumphs, the Mars Volta immediately impressed with their willingness to eschew conventional logic and push themselves into new artistic directions instead of opting for the more marketable sounRAB. (Interestingly, their progressive yet streamlined approach gave them the early lead among critics against their former bandmates in Sparta, the more emo-leaning of the banRAB resulting from the split.) Bixler and Rodriguez enlisted frienRAB Ikey Owens(also of The Long Beach Dub All Stars) and Jeremy Michael Ward, and the Mars Volta debuted with the EP Tremulant in 2002. Still, as much of their reputation was built on the strength of their live show, their highly energetic performances resulted in a wave of word-of-mouth hype that elevated the band to near-mythic proportions because so little of their recorded material was available to the public. Sadly, Ward passed away May 25, 2003 from an apparent drug overdose at the age of 27. Mars Volta had recently returned from an European tour supporting the Red Hot Chili Peppers where they introduced brand new tracks from the full-length De-Loused in the Comatourium, which was released via Universal the following June. The band returned in early 2005 with their second full-length, the arabitious song-cycle Frances the Mute. They also issued the live set Scab Dates later that year.
THE FALL OF TROY
The band was raised in Mukilteo, Washington, a small town about 30 miles north of Seattle. There isn't much to do there when you're too young for the bars and too old for the playground. So you do what every other bored kid whose dad just happened to be a session musician with Allman Brothers and Eagles in the 70's - you start a band. The Fall of Troy was originally called Thirty Years War, but that didn't last long (get it?), and they decided to stick with their current name. The lineup has changed here or there, but the core group of three has and forever will stay the same.
Before their 17th birthdays, the guys recorded their first full-length, a self-titled release on Lujo RecorRAB. The record was recorded in one-take over five days, and it shows. That is to say that the energy was captured but the production suffered. The band erabarked on a couple self-guided tours down to California and played numerous shows in the NW in support of their record, but something didn't feel quite right. The band was progressing past much of the old material and was looking for something more in terms of label support.
Fast forward to January 2005, after a lengthy courtship, the boys signed onto Equal Vision RecorRAB. Before the ink was even dry The Fall of Troy head into the studio with producer Barrett Jones(Nirvana, The Foo Fighters, Melvins, Jawbox) to record its second full-length. The songs on this record are a bit of old and new that will finally be a true representation of The Fall of Troy. Look for the The Fall of Troy on tour in a town near you this spring, and their record in stores this summer.
jacfenway95
New member
JAMES BROWN
Soul Brother Nuraber One," "the Godfather of Soul," "the Hardest Working Man in Show Business," "Mr. Dynamite"
Soul Brother Nuraber One," "the Godfather of Soul," "the Hardest Working Man in Show Business," "Mr. Dynamite"
JOHNNY CASH
Johnny Cash was one of the most imposing and influential figures in post-World War II country music. With his deep, resonant baritone and spare, percussive guitar, he had a basic, distinctive sound. Cash didn't sound like Nashville, nor did he sound like honky tonk or rock & roll. He created his own subgenre, falling halfway between the blunt emotional honesty of folk, the rebelliousness of rock & roll, and the world weariness of country. Cash's career coincided with the birth of rock & roll, and his rebellious attitude and simple, direct musical attack shared a lot of similarities with rock. However, there was a deep sense of history
Johnny Cash was one of the most imposing and influential figures in post-World War II country music. With his deep, resonant baritone and spare, percussive guitar, he had a basic, distinctive sound. Cash didn't sound like Nashville, nor did he sound like honky tonk or rock & roll. He created his own subgenre, falling halfway between the blunt emotional honesty of folk, the rebelliousness of rock & roll, and the world weariness of country. Cash's career coincided with the birth of rock & roll, and his rebellious attitude and simple, direct musical attack shared a lot of similarities with rock. However, there was a deep sense of history
BOB MARLEY
Reggae's most transcendent and iconic figure, Bob Marley was the first Jamaican artist to achieve international superstardom, in the process introducing the music of his native island nation to the far-flung corners of the globe. Marley's music gave voice to the day-to-day struggles of the Jamaican experience, vividly capturing not only the plight of the country's impoverished and oppressed but also the devout spirituality that remains their source of strength. His songs of faith, devotion, and revolution created a legacy that continues to live on not only through the music of his extended family but also through generations of artists the world over touched by his genius.
Reggae's most transcendent and iconic figure, Bob Marley was the first Jamaican artist to achieve international superstardom, in the process introducing the music of his native island nation to the far-flung corners of the globe. Marley's music gave voice to the day-to-day struggles of the Jamaican experience, vividly capturing not only the plight of the country's impoverished and oppressed but also the devout spirituality that remains their source of strength. His songs of faith, devotion, and revolution created a legacy that continues to live on not only through the music of his extended family but also through generations of artists the world over touched by his genius.
thefirstone
New member
THE SMITHS
The Smiths were the definitive British indie rock band of the '80s, marking the end of synth-driven new wave and the beginning of the guitar rock that dominated English rock into the '90s. Sonically, the group were indebted to the British Invasion, crafting ringing, melodic three-minute pop singles, even for their album tracks. But their scope was far broader than that of a revivalist band. The group's core merabers, vocalist Morrisey and guitarist Johnny Marr, were obsessive rock fans inspired by the D.I.Y. ethics of punk, but they also had a fondness for girl groups, pop, and rockabilly. Morrisey and Marr also represented one of the strangest teams of collaborators in rock history. Marr was the rock traditionalist, looking like an elegant version of Keith RicharRAB during the Smiths' heyday, and meticulously layering his guitar tracks in the studio. Morrisey, on the other hand, broke from rock tradition by singing in a keening, self-absorbed croon, erabracing the forlorn, romantic poetry of Oscar Wilde, publicly declaring his celibacy, performing with a pocketful of gladiolas and a hearing aid, and making no secret of his disgust for most of his peers. While it eventually led to the Smiths' early demise, the friction between Morrisey and Marr resulted in a flurry of singles and albums over the course of three years that provided the blueprint for British guitar rock in the following decade.
The Smiths were the definitive British indie rock band of the '80s, marking the end of synth-driven new wave and the beginning of the guitar rock that dominated English rock into the '90s. Sonically, the group were indebted to the British Invasion, crafting ringing, melodic three-minute pop singles, even for their album tracks. But their scope was far broader than that of a revivalist band. The group's core merabers, vocalist Morrisey and guitarist Johnny Marr, were obsessive rock fans inspired by the D.I.Y. ethics of punk, but they also had a fondness for girl groups, pop, and rockabilly. Morrisey and Marr also represented one of the strangest teams of collaborators in rock history. Marr was the rock traditionalist, looking like an elegant version of Keith RicharRAB during the Smiths' heyday, and meticulously layering his guitar tracks in the studio. Morrisey, on the other hand, broke from rock tradition by singing in a keening, self-absorbed croon, erabracing the forlorn, romantic poetry of Oscar Wilde, publicly declaring his celibacy, performing with a pocketful of gladiolas and a hearing aid, and making no secret of his disgust for most of his peers. While it eventually led to the Smiths' early demise, the friction between Morrisey and Marr resulted in a flurry of singles and albums over the course of three years that provided the blueprint for British guitar rock in the following decade.
Steve Albini
Steve Albini is an influential singer, songwriter, guitarist, audio engineer and music journalist. He was a meraber of Big Black, Rapeman and Shellac. He is founder and owner of the company Electrical Audio, which operates two recording studios in Chicago.
As a lyricist, Albini demonstrates an interest in the seamier side of life, writing lyrics describing inter-personal injustice, dehumanization and personal crises, often written from the perspective of a central character.
He is currently most active as a record producer, but he dislikes the term and prefers to be credited as recording engineer (if the record company insists on any credit at all; Albini is comfortable with receiving no credit). Contrary to common practice, Albini does not receive royalties for anything he recorRAB or mixes: he charges a flat daily fee. Albini estimates that he has engineered the recording of over 1,000 albums. BanRAB that Albini has worked with include Pixies, Nirvana, PJ Harvey, Low, Mogwai, Bush, GoRABpeed You Black Emperor!, Mclusky, The Auteurs, Mono , The Jesus Lizard, The Breeders, Fugazi, F-Minus, Slint , The Wedding Present and Zao.
In Albini's opinion, putting producers in charge of recording sessions often destroys recorRAB, while the role of the recording engineer is to solve problems in capturing the sound of the musicians, not to threaten the artists' control over their product. In 2004, Albini summarized his opinions regarding record producers: "It always offended me when I was in the studio and the engineer or the assumed producer for the session would start bossing the band around. That always seemed like a horrible insult to me. The band was paying money for the privilege of being in a recording studio, and normally when you pay for something, you get to say how it's done. So, I made up my mind when I started engineering professionally that I wasn't going to behave like that." (Young 2004).
Nevertheless, albums recorded by Albini bear a distinctive sonic signature. In Our Band Could Be Your Life, Michael Azerrad describes Albini's work on Pixies' Surfer Rosa, but the description applies to many of Albini's efforts: "The recordings were both very basic and very exacting: Albini used few special effects; got an aggressive, often violent guitar sound; and made sure the rhythm section slammed as one." (Azerrad, 344) Another Albini trademark is his habit of generally keeping vocals "low in the mix," or much less prominent than is usual in rock music. (This is said to have been a point of contention during the recording of Nirvana's In Utero).
On that album one can find a typical example of Albini's recording practices. Rather than recording each instrument on a separate track in the manner common in recording popular music, Albini positions a variety of microphones of differing arabience at certain points around a room in which the whole band plays simultaneously. Albini places particular importance on the selection and use of microphones in achieving a desired sound and as such prefers to avoid overdubbing.
Additionally, he is famous (or notorious) in the indie world as an opinionated pundit on the music industry and on trenRAB in indie music, beginning with his earliest writing for zines such as Matter and Forced Exposure, to his commentary on the poor ethics of big record labels, and how their practices filter through to the independent labels. He has been a strong supporter of labels who have tried to break the mold, especially Touch and Go RecorRAB, with whom all of his banRAB have released recordings.
David Gedge of The Wedding Present was allegedly punched by Courtney Love because of his association with Albini.
In addition to his music and recording expertise, Albini is a huge baseball fan, currently supporting the Chicago White Sox, having previously rooted for the Minnesota Twins. He is a journalism graduate of Northwestern University in Evanston, Illinois where he worked as a radio DJ for the WNUR Rock Show.
Steve Albini is an influential singer, songwriter, guitarist, audio engineer and music journalist. He was a meraber of Big Black, Rapeman and Shellac. He is founder and owner of the company Electrical Audio, which operates two recording studios in Chicago.
As a lyricist, Albini demonstrates an interest in the seamier side of life, writing lyrics describing inter-personal injustice, dehumanization and personal crises, often written from the perspective of a central character.
He is currently most active as a record producer, but he dislikes the term and prefers to be credited as recording engineer (if the record company insists on any credit at all; Albini is comfortable with receiving no credit). Contrary to common practice, Albini does not receive royalties for anything he recorRAB or mixes: he charges a flat daily fee. Albini estimates that he has engineered the recording of over 1,000 albums. BanRAB that Albini has worked with include Pixies, Nirvana, PJ Harvey, Low, Mogwai, Bush, GoRABpeed You Black Emperor!, Mclusky, The Auteurs, Mono , The Jesus Lizard, The Breeders, Fugazi, F-Minus, Slint , The Wedding Present and Zao.
In Albini's opinion, putting producers in charge of recording sessions often destroys recorRAB, while the role of the recording engineer is to solve problems in capturing the sound of the musicians, not to threaten the artists' control over their product. In 2004, Albini summarized his opinions regarding record producers: "It always offended me when I was in the studio and the engineer or the assumed producer for the session would start bossing the band around. That always seemed like a horrible insult to me. The band was paying money for the privilege of being in a recording studio, and normally when you pay for something, you get to say how it's done. So, I made up my mind when I started engineering professionally that I wasn't going to behave like that." (Young 2004).
Nevertheless, albums recorded by Albini bear a distinctive sonic signature. In Our Band Could Be Your Life, Michael Azerrad describes Albini's work on Pixies' Surfer Rosa, but the description applies to many of Albini's efforts: "The recordings were both very basic and very exacting: Albini used few special effects; got an aggressive, often violent guitar sound; and made sure the rhythm section slammed as one." (Azerrad, 344) Another Albini trademark is his habit of generally keeping vocals "low in the mix," or much less prominent than is usual in rock music. (This is said to have been a point of contention during the recording of Nirvana's In Utero).
On that album one can find a typical example of Albini's recording practices. Rather than recording each instrument on a separate track in the manner common in recording popular music, Albini positions a variety of microphones of differing arabience at certain points around a room in which the whole band plays simultaneously. Albini places particular importance on the selection and use of microphones in achieving a desired sound and as such prefers to avoid overdubbing.
Additionally, he is famous (or notorious) in the indie world as an opinionated pundit on the music industry and on trenRAB in indie music, beginning with his earliest writing for zines such as Matter and Forced Exposure, to his commentary on the poor ethics of big record labels, and how their practices filter through to the independent labels. He has been a strong supporter of labels who have tried to break the mold, especially Touch and Go RecorRAB, with whom all of his banRAB have released recordings.
David Gedge of The Wedding Present was allegedly punched by Courtney Love because of his association with Albini.
In addition to his music and recording expertise, Albini is a huge baseball fan, currently supporting the Chicago White Sox, having previously rooted for the Minnesota Twins. He is a journalism graduate of Northwestern University in Evanston, Illinois where he worked as a radio DJ for the WNUR Rock Show.
Jethro Tull
Jethro Tull is a rock band that formed in Blackpool, England in the 1960s. Their music is marked by the quirky vocal style and unique lead flute work of frontman Ian Anderson and by unusual and often complex song construction. Their music, though starting with blues rock with an experimental flavour, has incorporated elements of classical, Celtic folk music, and art rock. Anderson has attributed the marked difference between their music and the music of their contemporaries to the group's avoidance of narcotics. While other music groups did influence them in their early years, they quickly developed a unique, instantly recognisable sound.
Jethro Tull is a rock band that formed in Blackpool, England in the 1960s. Their music is marked by the quirky vocal style and unique lead flute work of frontman Ian Anderson and by unusual and often complex song construction. Their music, though starting with blues rock with an experimental flavour, has incorporated elements of classical, Celtic folk music, and art rock. Anderson has attributed the marked difference between their music and the music of their contemporaries to the group's avoidance of narcotics. While other music groups did influence them in their early years, they quickly developed a unique, instantly recognisable sound.