MrPrez’s Customs: Thread-surrection
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“The Big Come Up” was recorded entirely in drummer Patrick Carney‘s basement in a single 14 hour recording session in May 2002, on a cheap lo-fi 8-track recorder. It consists of five cover versions and six original songs, and most of those contain riffs and lyrics that were made up on the spot. “I’ll Be Your Man” however had been part of Dan Auerbach‘s repertoire for a number of years, and achieved some recognition in later years as the theme song to HBO’s series “Hung“.
Enjoy
” src=”/wp-content/uploads/invision_emoticons/default_SA_smile.gif” /> More new stuff tomorrow I think.
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The Scissor Sisters seem to bounce effortlessly from the sound of early 70’s Elton John to the late 70’s buoyant disco. Their debut single “Laura” with its overflow of rollicking piano, wah-wah guitar, has its roots deep in the glam-era under a sheen of pop fabulousness.
I don’t have any eyes on any further Scissor Sisters material but I did author another of their songs in case you missed that one.
Enjoy! I have more content on the way tomorrow.
CLICK THE VISUALIZER IMAGE FOR A FULL CHART PREVIEWConsidered by some fans to be the clear pinnacle of NOFX‘s career, the album “So Long and Thanks for all the Shoes” is exceptional in that it contains no forgettable songs, which can rarely be said about any other NOFX record. “Champs Elysees” is a nice cool down about half-way through, and doesn’t sound or feel like a novelty song, despite being sung entirely in french. The song was originally written and recorded in 1969 by Joe Dassin.
I’ll be back tomorrow with another random single from the vault. Enjoy
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Etymologically, the prefix ‘drago’ refers to dragons, and the suffix ‘naut’ has to do with sailing or voyaging. Therefore a ‘dragonaut’ is one who voyages or rides a dragon.
Sleep‘s sophomore album, “Holy Mountain“, begins with the monolithic “Dragonaut” which takes the band backwards through time to the stone-age days of Black Sabbath‘s first album. They grind into massive riff upon riff, flowing from your speakers like molten lava, then slowly descends into a groove-heavy bass solo at its conclusion.
The outro guitar solo was mostly recharted, the preview is actually a recording of my bass guitar test-playthrough (see I told you I test them).
“Dragonaut” was the second custom I had started working on back in late 2016 (The Misfits “New York Ranger” was the first) and quickly abandoned as I could not handle the tempo changes that occur in virtually every measure after the first break. Now after working on 200+ songs I have a better grip on how to use the authoring tools, returning to this one and starting fresh was a pleasure.
If someone were to ask me what my favourite genres of music are, ‘Stoner Doom’ would be in the top three, even though this is virtually the only song from that genre that I’ve authored to date (Clutch’s X-Ray Vision might be on the cusp, as are Queens of the Stone Age). I just love that an entire genre of music spawned from the likes of Black Sabbath and other dark and heavy bands from the late 60s and 70s. I am looking hard at charting some Electric Wizard in the future.
I’ll share another song from the vault tomorrow. Enoy!
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While still a member of Bauhaus, Daniel Ash formed Tones on Tail, in 1982 as a duo with his friend and roadie Glenn Campling. The band’s name is a reference to the way calibration tones were recorded on the ‘tail’ end of a reel-to-reel tape recorder. They disbanded in 1984, but reformed as Love and Rockets. “Go!” did not appear on any album until 1998 with the release of the compilation album “Everything!“.
Note that I decided to chart the single-edit version of the song instead of the 5 1/2 minute “Club Mix” version – the song is quite repetitive on most instruments and I think you get to experience everything good about the song with this version, without getting bored of it. I did not chart the cowbells as they don’t flow with the underlying drum beat and the singer hardly takes a breath in the song so there was no opportunity for vocal percussion.
Enjoy!
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Onstage, lead singer Lux Interior was a proud member of the Iggy Pop school of self-sacrifice: climb everything on stage, strip off all clothes, roll on the ground, show no general regard for one’s physical well being. He was a showman, not a performance artist, and no less of a punk rock authority than Ian MacKaye or Jello Biafra. Interior remained the center of the Cramps legacy until his death in 2009. “Goo Goo Muck” was originally written and performed by Ronnie Cook and is an obcure 1940’s reference to one who takes delight in oral sex.
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The Cramps were a punk rock institution for over 30 years until the death of lead singer Lux Interior in 2009. One of the few punk-era bands who have been well served by aging (since they were trying to portray creepy, depraved old people in the first place), they were better at making singles than albums, and better sounding live than from recordings. “Human Fly” is a catchy, bombastic and personal-space-invading sonic assault backed by an ever-present sloppy gnarl of guitar noise.
I released the “Human Fly” custom just about one year ago and since I was doing another one of my favourites by The Cramps, I thought this was the perfect opportunity to polish up the old chart. Drums were tweaked a bit, more overdrive added (like way more!) and more chances to deploy it, vocals were overhauled (I mean its unpitched, how much better can it get) and phrases were extended, should be a piece of cake to gold star now. I fixed the broken venue, added sessions, new dryvox, upgraded the source audio to a FLAC extraction from the Compilation album. So yeah, lots has changed and is improved.
Enjoy! I’ll be back tomorrow with a new thing from the vault, or an update to an old one, we’ll see what tonight brings. Cheers
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One of the band’s most popular and well known songs, singer Ray Davies wrote “A Well Respected Man” about a negative experience with upper class guests at a luxury resort he stayed at in 1964, mocking what he perceived as their condescension and self-satisfaction. Musically, it marked a turning point in The Kinks‘ inspirations, being the first of many songs composed to overtly address the theme of British class consciousness and their thin veneer of “respectability”.
Enjoy! Tomorrow: THE SHEEPDOGS RETURN, AGAIN
Huh…didn’t know they titled a song after you. Thanks for all these awesome songs, looking forward to more!
Huh…didn’t know they titled a song after you. Thanks for all these awesome songs, looking forward to more!
You’ve been killing it lately with these singles!
Thank you gentlemen! I’m certainly making a dent in the backlog of half-finished projects but seriously there are still too many left to count. Cheers
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You’d swear the 1970’s southern-rock scene is alive and well when The Sheepdogs do what they do best. It takes fewer than ten seconds of listening to identify the strong influences of Crosby, Stills and Nash and the Steve Miller Band. 2018’s “Changing Colours” album opener, “Nobody” channels the country-rock stylings of The Allman Brothers.
Thanks to ATrueJedi for his awesome venue and dryvox contributions.
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Singer Ewan Currie describes The Sheepdogs’ sound as “pure, simple, good-time music.” which is exactly what they deliver with “You’ve Got to Be a Man“.
Enjoy the tunes!
IT’S LIKE MY BIRTHDAY.
Now go back and do older Sheepdogs songs, too! My suggestions based on years of listening habits: https://www.last.fm/user/Atruejedi/library/music/The+Sheepdogs
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