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May. 15th, 2002 08:42 pm![[personal profile]](https://www.dreamwidth.org/img/silk/identity/user.png){kind=small}
wickedfleaI'm still on my Misfits kick. Actually, tonight I'm listening to Danzig's first two albums. Good stuff, especially the first one. No one else can croon lines like "devil-girl, you must burn" like Glenn.
Rick Rubin is kind of amazing when you think about it. Slayer's first few albums were crude at best; when he got ahold of them, they immediately produced probably the definitive speed-metal album: Reign in Blood. Same thing with Danzig -- he had been in two bands (Misfits and Samhain) that were genius but whose albums sounded like they were recorded in a shoe, and then Rubin helped Danzig make a scarily tight solo album (which, by the way, features the stellar drumming of hardcore legend Chuck Biscuits. I had to work Chuck in here somewhere.) Even the Chili Peppers -- their early stuff was good, but it wasn't until they made Blood Sugar Sex Magik with Rubin that they came up with a cohesive album.
Tangent: does the concept of a cohesive album still exist? I tend to think in terms of albums rather than songs. Physical Graffiti. Master of Reality. Harvest. Document. Nothing's Shocking. Hell, even Master of Puppets. Those albums jell in a way that I'm not sure more recent stuff does. But I could certainly be wrong; in fact, I think I probably am. I'm just out of touch with what's happening these days.
One thing that I know is lost is the concept of album sides, because of course they don't have sides any more. Remember that, though? How some albums had distinct feels on each side? I never really had much vinyl, but I had a blue fuckin' ton of cassettes, and I can still remember how the first side of The Mind is a Terrible Thing to Taste was more harsh, the second more trippy. Or how the second side of The Real Thing just slayed. Or how, when it comes to making out, you should always put on side one of Led Zeppelin IV (not Physical Graffiti). Ask Damone.
Rick Rubin is kind of amazing when you think about it. Slayer's first few albums were crude at best; when he got ahold of them, they immediately produced probably the definitive speed-metal album: Reign in Blood. Same thing with Danzig -- he had been in two bands (Misfits and Samhain) that were genius but whose albums sounded like they were recorded in a shoe, and then Rubin helped Danzig make a scarily tight solo album (which, by the way, features the stellar drumming of hardcore legend Chuck Biscuits. I had to work Chuck in here somewhere.) Even the Chili Peppers -- their early stuff was good, but it wasn't until they made Blood Sugar Sex Magik with Rubin that they came up with a cohesive album.
Tangent: does the concept of a cohesive album still exist? I tend to think in terms of albums rather than songs. Physical Graffiti. Master of Reality. Harvest. Document. Nothing's Shocking. Hell, even Master of Puppets. Those albums jell in a way that I'm not sure more recent stuff does. But I could certainly be wrong; in fact, I think I probably am. I'm just out of touch with what's happening these days.
One thing that I know is lost is the concept of album sides, because of course they don't have sides any more. Remember that, though? How some albums had distinct feels on each side? I never really had much vinyl, but I had a blue fuckin' ton of cassettes, and I can still remember how the first side of The Mind is a Terrible Thing to Taste was more harsh, the second more trippy. Or how the second side of The Real Thing just slayed. Or how, when it comes to making out, you should always put on side one of Led Zeppelin IV (not Physical Graffiti). Ask Damone.
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Date: 2002-05-15 06:47 pm (UTC)As far as cohesive albums go, I think Fantomas' "Director's Cut" holds together pretty well. Since it's an album of covers, I guess that doesn't really count. Heh.
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Date: 2002-05-16 06:24 am (UTC)no subject
Date: 2002-05-16 09:27 am (UTC)