Talk of Muse elsewhere reminded me that back when that Super Massive Black Hole cd came out, I really liked it – silly sci-fi drivel, but good fun nonetheless. Then someone pointed out how Matt Bellamy takes huge, ugly sounding gulps of air at the end of almost every line and the bubble burst. I stopped listening to the song and started hearing the swallows – the music sounded (even more) ridiculous and I haven’t played anything by them since.
A similar thing happened with the Decemberists – I was a huge fan 5 years or so ago – all the albums, all those live cover versions Fraser linked to in the Word newsletter, watching live shows on Youtube, NPR etc – then someone (no names lest he should re-appear here) on the Word site said ‘pssst – that Colin Melloy? He sounds like Porky Pig’. And he kind of does – a cross between PP and Elmer Fudd maybe! I tried to carry on loving the band, bought the next album, saw them live, but couldn’t shake thoughts of that wascally wabbit hunter and his porcine pal. I haven’t – couldn’t – listen to the last two releases. The band once occupied six out of my top ten most played iTunes tracks, now they barely graze the top 40.
This probably makes me very shallow – the kid who goes off the girl when she gets her hair cut, but such is my life.
Am I alone? Did anyone else fall out of love with an act for the most superficial and silly of reasons?
Pop! – the bubble bursts
by 40 Comments
Kaiser Chiefs – because my daughters and step-daughters started to like them
Def Leppard – because after the mass hysteria surrounding Hysteria (circa 1987/1988) anything that fell into the category soft-rock/soft-matal, and was marketed to non-Metal fans was strictly out of bounds (life was full of daft rules at the age of 18, including never drinking Malibu in pubs).
see also Bon Jovi, White Lion, Poison and several million other Hair Metal bands of the era
Twisted Sister – because they were a bit sh*t
Once you’ve had the clenched teeth intake of breath Rufus Wainwright takes before delivering every line it’s very difficult to shake it off. Similarly Dave Swarbrick’s grunting, and Ian Anderson’s porcine snort during flautivity.
It’s not them, it’s me.
Maybe not a lost love, but I was quite fond of Tindersticks until someone pointed out the singer sounded like Vic Reeves’ pub singer character. Haven’t been able to listen to them since.
This is absolutely true. I ADORE Tindersticks, but I do sing along in that style. “Snoooo maw fayyyyys, nomurrrr foowin rehhhhhhnd.” (Name that tune in one.)
ha ha – yes, No More Affairs. I do tend to like the more up-tempo Tindertunes – sounds a little less Vic on them.
I find it difficult to listen to a whole Wu Tang (or affiliate) LP due to the constant use of the phrase, “nomsain,” (“Do you know what I am saying”). It’s every 10 seconds on some tracks and I find myself internally yelling back “Yes, you just told me what you’re saying you fucking clown!”
So, yes, I have.
I love the use of the word “god”, god.
He’s allowed, cos his mate’s called U-God.
Just to clarify: I do love a lot of their tracks. Just not all at once 🙂
Incidentally, have you ever noticed that Method Man does a big wheezy intake of breath before every line?
🙂 You would too if you smoked blunts the way he does. Probably.
Don’t know my way around hip hop to any extent but this has been an eye opener, picking up as much of this Enter album as possible, so thanks a lot, Bob. Even heard god!
I’ve always struggled with 36 Chambers. I think I’m finally ready. I’ll go and find it now. Nomsain.
The greatest hip hop album there ever was, or ever will be.
It doesn’t make my top ten. At least, not yet…
Yebbut… Kanye. Kendrick Lamar. *weeps*
Of course. Along with Public Enemy, De La Soul, Eminem, The Roots, Tupac, Slum Village, Outkast & Cannibal Ox.
I can and will go further – Da Mystery Of Chessboxin’ is the best hip hop track ever recorded
I’d find that very difficult to argue with, were it not for the fact that it has so much competition, just on this album. It probably *is* my favourite track, but god – 7th Chamber (I), Protect Ya Neck, Clan In Da Front, Wu-Tang Clan Ain’t Nuthing Ta F’ Wit – plus the way RZA pairs up the beats and the horn samples on Shame On A Nigga, with Dirty spraying his brilliant nonsense over the top, is incapable of not making me grin with delight, still.
Did I mention I really, really love this record?
It’s quite possibly the single most exciting album ever released in any genre.
One of the greatest producers to ever lay down a beat, at the absolute top of his game; nine MCs – at least four of them future hall of famers; ideas out the wazoo; everyone competing to top each other’s brilliance on each and every track.
The worst thing on the record is probably Tearz. It would still be the best track on most of the albums in tigger’s top ten.
Even the skits are good, and skits are never, ever good, are they?
But it’s the little touches which really elevate the whole thing: the way 7th chamber pt 2 drops in through the ceiling, the fingerclick sounds on Bring Da Ruckus (and what a brilliantly sparse opener that is), Meth using a cough to make a rhyme in Protect Ya Neck. You can listen to it forever and still pick up new stuff. They obviously came in with so many crazy ideas, and yet it all works as a brilliantly cohesive whole.
Kid Dynamite is spot on about Chessboxin. It’s just ridiculous – every other line is a hip hop quotable and the flow is unreal.
I’ve just realised that, for a certain group on here, 36 Chambers is our “1971”. Someone really should write a book about it.
“36 Chambers is our “1971”. ”
Dead right. The spooky, reverberating production, the impossibly creative melding of samples, the vast beats, those incredible MCs striking showers of sparks off each other – GZA’s “swsssh” sword sound effect in Bring Da Ruckus, the timing of Rae’s “rough like Timberland wear / yeah”, Meth’s “competta – you mean competitor – whatever”, the syncopated “like the Emancipation Proclamation” in U-God’s fantastic first Chessboxin verse, Masta Killa turning up just the once and absolutely KILLING it.
I’m going to listen to 36 Chambers now.
Britney Spears makes a little burpy closed-throat scratching noise at the start of most of her lines. Best displayed in Oops I Did It Again on the line “that is just so typically me” (1:21). Once you notice it, you can’t stop.
Yes! Thank you. I knew that was a ‘thing’ and I’ve never quite been able to put into words what it was but there you go – I’m so glad I’m not the only person that finds that incredibly irritating.
I love, love, love iliketrains (but I wish it hadn’t been pointed out to me that the singer sounds like Tony Blair).
RE OP’s Decemberists/Mel Blanc axis. When I went to see them live years ago, I couldn’t think who the singer’s voice remanded me of, then it hit me – Brian Molko from Placebo.
@declan That’s great, man! Happy to be of service. I could bore on about 36 Chambers forever (and have done) but 7th Chamber Pt 1 is a corker among corkers. I am obsessed with this record even after two decades of obsession.
If you like Enter…, you might also enjoy the early solo albums: GZA’s Liquid Swords and Raekwon’s Only Built 4 Cuban Linx are the pick of the litter for me.
Thanks again, Bob, keep it in mind (especially as the GZA and Raekwon you mention aren’t available in this territory).
I used to think those hip hop guys were betraying the, ahem, great tradition of black music. Not Enter though, that’s dead genuine.
My old mate Dave’s in iliketrains. We met Hurricane#1 together. Haven’t seen him in ages. Ahh, the 90s…
Not quite on topic, but somebody did point out that Billy Bragg can’t do an interview without mentioning Woody Guthrie….and my god it’s true. Still have a soft spot for the ‘big nosed bard of barking’ though.
With you on Decembrists. Loved The Crane Wife but his voice is absolute cack.The next two albums after that which I bought never get played and this serves as a timely reminder to take them off my shelves which are running out of space
I used to be a big fan of Welsh nu-metallers Lostprophets, until recently, when I noticed that frontman Ian Watkins uses a weird Americanised vocal inflection at the end of each line.
Put me right off them.
It’s lucky I wasn’t drinking anything when I read that. Snort followed by cackle.
The Decemberists – you guys who haven’t bothered with The King is Dead really ought to give it a try, because it’s very good. But you have now given me the rest of the description I need when trying to convince people to listen to that album. I usually tell them it sound a bit like early REM, but now I can tell them to imagine early REM fronted by Porky Pig!
I really love The Hazards Of Love, but none of their other stuff has floated my boat in quite such a big way.
My problem with Meloy isn’t his voice, it’s his “look at my highly literate vocabulary, kids!” lyrics. (Some of which he misuses, incidentally.)
I’ve just been reading this. It’s funny, and does nail poor Colin. That use of “irascible” really does annoy me.
http://uncyclopedia.wikia.com/wiki/HowTo:Write_Colin_Meloy_Lyrics#Literary_Devices
I loved Decemberists for a long time so their slide into by the numbers “junkheap Americana” is sad.
Still Hazards, Crane and Picaresque are keepers, of their ilk.
The latest one is fantastic!
A few spring to mind. Stipe’s giggle in “Calling Jamaica”. Joni’s giggle in “Yellow taxi”. Bono at Live Aid. David Bowie in Absolute Beginners. POP!
‘Pop – the bubble bursts’ – my first thought was this must be a continuation/progression on Admans ‘farts’ thread. But while I’m here can I repeat a comment I made eons ago re: Afterword favourite, Mr R Thompson. He doesn’t sing, he can’t sing, he just shouts. Perhaps he shouts in tune. But he just shouts. Unlistenable.
I am not a big fan of the Whole vibrato thing – but then I never have been – blame Tiny Tim. I have a Devendra Banhart album, but just can’t get past the voice.
I think possibly close to the top of the blame list would be Joan Baez – it’s all you hear, and she’s been around for a while, certainly longer than Tiny Tim.
Now if you mean male voices…