Blair not necessarily a 'poodle'. More likely, waited for moment to capitalise on national position of communitarian-old-world/individualistic-new-world fulcrum. Power sources are there for those that tap into them. If you don't tap into them they won't go away tho. Lying in front of a bulldozer will not make the bulldozer discorporate. The whole point of Valentine Michael Smith was that he was a fictional creation. ("Tire tracks all up your back, I can see you've had your fun" - J Hendrix)
Nu-world culture rooted in American transcendentalism. Everything everybody does is sacred and wonderful. In the old world life is a shit sandwich. In the third world life is shit period. In the new world you're ENTITLED to an ice cream. If you've been given a shit sandwich instead it's because of some social injustice that has to be rectified pronto. If your ice cream tastes like shit then the fault is not in your taste buds but some indoctrination from somewhere that made you unable to taste ice cream and that must be rectified pronto too. To take an entirely noncontroversial and innocuous example take the issue of abortions. Great divide that won't go away etc. Shit-sandwich argument reveals polar opposites to be matters of degree rather than kind tho. Choice ppl against any restriction on individual to do whatever they want. Anti-choice ppl go even farther up that particular suction hose, claiming freedom to exist necessary prereq for other freedoms and should be unconditionally granted to every concatenation of cells that missed the tissue. In the shit-sandwich domains which is 99% of earth this is non-issue (haha pun) as 1 out of every 10 die at birth anyway so they just have more as needed. Too many daughters tho and they just kill them. New-world calls this 'sexism' when it's actually just economic realpolitik, as sons are better for driving oxen and digging trenches for rice paddies. If the house catches on fire the first-worlders are the innocent kids fretting about the burnt dolls while somebody else has to worry about rehousing the whole family.
To return to the power sources - US not actually power source. US convenient excuse/dupe to tap into REAL power source. PS will be found when they finally finish that tube extension. The Hob Lane one. Just to confirm what everyone already knew. If moral responsibility collapses in the face of overwhelming power sources like the one they're going to find when they dig that particular pit then whether or not tapping into said ps is a conscious decision is an irrelevent point. 'Five million years' away from relevance, in fact. Take what you want, whatever it is, admit it yr lovin' it! Not love. 'Love' invented in period of decadence to justify various weaknesses and deviousnessess. Take WHATEVER THERE IS
― dave q, Wednesday, 2 April 2003 08:26 (twenty-two years ago)
Bad Company vs Primal Screamjust going nameswise here... wd "bad company" (taken literally, not in the "bad influence" way that my friends' parents meant when explaining why I couldn't hang out after school anymore) be the first world imposing its goodwill on the third like that one hyper pushy insistent friend who has a physical incapability of Backing The Fuck Off? wd "primal scream" (again, taken literally) be the sound of a baby verbalizing its discontent at being born without even having been given the option not to? what does a "birthright" (ie "entitlement") mean when everyone essentially enters the world against their will? are parents bad company? (substitute god, country, etc. for parents and the argt's pretty much the same. duty to whom, and why?)
don't really understand yr point re power sources.
― Jody Beth Rosen (Jody Beth Rosen), Wednesday, 2 April 2003 10:58 (twenty-two years ago)
OK here's the fuckin' blog entry that seems to be in deepfreeze somewhere
BAD COMPANY "Early in the Morning" ('Desolation Angels', 1979)
Usual rap on this bunch is "Alas, out of Free, King Crimson and Mott the Hoople and look how they turned out." Which is the same as saying "Alas, (x) was so cool and now they've come out of the closet." To which the only reasonable answer is, "Well they're still the same person, right?"
Perhaps the rockist's premium on previous track record actually works out to be more inclusive sometimes? Of course, said premium is usually a license for careerist fuckheads to bloat careerism into universalist ubiquity but other times you can hold the vinyl up to the light at a certain angle wot Dr John Dee scree'd and find a song that sounds like this one which sounds like a) Faust "Jennifer" b) Eno "I'll Come Running" c) Morcheeba d) N Young e) "Feel Like Makin' Love" out in the morning dew f) King Crimson g) Mott the Hoople.
1979 was a great year for old records that resurface regularly for 50p. Three Mile Island happened that year, didn't it? Maybe that's the explanation. I never saw the big deal about that, I was still stuck on Rev Jim Jones as far as TV news disasters went. Kool-Aid was banned from our supper table due to the frequency of (and lack of hilarity ensuing from) my "mmm, this is great! ACK ACK ACK! gurgle...choke" routine.
1979 saw the release of alot of hard rock bands who'd been shiftless while idling for awhile. 'Deguello' was good, 'Night in the Ruts' was OK, 'In Through The Out Door' was barely adequate, the paper-bag 'disguise' cover 'kidding-on-the-square' if such ever existed. If any '79 album comes to mind similar to 'DA' tho, I'd think of 'Road to Ruin'. How widely can one space the flourishes so the whole thing doesn't get boring? The Ramones and Bad Co. had the 'hot potato' approach to production frills. How long can you hold a lit cigarette between both arms? That's how long the overdubbed track will remain audible. By this point Bad Co.'s flesh must've been too calloused so they were using their eyeballs, which I'm guessing because the attack-decay length of a syndrum hit is roughly equiv. to human tolerance for that sort of thing. Then again, two of them are eyeless on the back cover so that must explain the synth patches.
There are some noticeable differences between 'Road to Ruin' and 'Desolation Angels' [note title similarities too!] of course. The Ramones play stuff at a faster tempo, (although it's funny reading reviews from the time re their 'breakneck velocity') and their singer sounds a bit more limited. Vocalists are usually assumed to be the keepers of the superordinate goal in bands, ie making sure that somebody somewhere actually listens to the fucking shit. Having the luxury of an guaranteed audience does different things to different vocalists, but from listening to 'DS' I gather that it gave Paul Rodgers the OK to concentrate on craft in order to finally settle with Ralphs who could be the lead instrument in terms of 'most dynamic shifts allowed' in what was a somewhat austere framework, the cigarette game all over again. Rodgers has lost his eyes, true, but on the back-cover pic he's out front. I think the trick that finally clinched it was this thing he does where whenever there's a blooze 'bay-uh-bay-eh-uh' or suchlike, he varies the tone/source/attack/timbre parameters w/ EVERY syllable. Ralphs does the same thing (esp. on the intro to "Lonely for Your Love", where it sounds like 28 different guitars are used one after the other in the space of, oh, 28 notes), but Rodgers trumps that by continuing this while also rendering the voice a PERCUSSION instrument, so when those fuckin' syndrums come in it sounds like a call-and-response!
"LfyL" is also striking for Rodgers' otherwordly timbre throughout. I don't know what I'd call it, I suppose "Bon Scott Walker", but S Walker was overrated and to my mind nowhere near a 'real' crooner, but I'm no expert. (Well he wasn't Mel Torme, of whom I heard half a scratched vinyl record of once.) I suppose if the corporate-boogie-machine charge was true (not being 'around' then I wouldn't know), one could compare this heads-down thing to 'The Godfather'. Rodgers = Don Vito, Bon Scott = Sonny, David Coverdale = Fredo
― dave q, Wednesday, 2 April 2003 11:12 (twenty-two years ago)
I thought this would be about people leaving great bands - Mick Ralphs tragically leaving Mott the Hoople, and Bobby Gillespie leaving the Jesus & Mary Chain, and some of us imagining that he would be the Stuart Sutcliffe of his generation. I love Primal Scream, I really like the drum & bass Bad Company, and despite Ralphs, have no interest in the old rock BC.
― Martin Skidmore (Martin Skidmore), Wednesday, 2 April 2003 16:29 (twenty-two years ago)
three years pass...