[Mortte Jousimo]

I´m not big Albini-fan & these are not best JSBX-records, but they´re JSBX at wildest & I don´t think they´re already mentioned here:

 

 

[louder]

Big Black are GODS, but i wish that Songs About Fucking got the remastered treatment cuz i've always felt like the volume is too low on that record.

[demonrail666]

Originally Posted by Mortte Jousimo

I´m not big Albini-fan & these are not best JSBX-records, but they´re JSBX at wildest & I don´t think they´re already mentioned here:

 

 

Albini and Jon Spencer really seem to click. His production on Pussy Galore's Right Now and Dial M are also spot on.

[Screaming Skull]

PJ Harvey's 'Rid of Me' was butchered by Steve Albini. The engineering is so muddy and flat that is chokes all of the dynamics out of PJ Harvey's masterpiece. She was smart to release '4-Track Demos', as it demonstrates the power of her song-writing and, more importantly, her performance. I reach for '4-Track Demos' 9 out of 10 times over 'Rid of Me'. I'd LOVE to hear a remastered version of 'Rid of Me'.

Allow me to submit to you evidence of my opinion regarding Rid of Me versus 4-Track Demos. Just take a listen to the 4-Track Demos version of "Yuri G" and compare/contrast it to the Rid of Me version:

4-Track Demos "Yuri G" - http://www.youtube.com/watch?v=oKoyFZKVJR4

Rid of Me "Yuri G" - http://www.youtube.com/watch?v=fHI0Pnac91U

Now you tell me which version is more alive and vital. Face it, Albini blew it.

PJ Harvey's words..."4-Track Demos...was partly encouraged by Steve Albini. He loved the demos for that album so much he thought they should be out there and I tended to agree with him."

THANK GOD AND THANK PJ!!

[SuchFriendsAreDangerous]

Originally Posted by Screaming Skull

THANK GOD AND THANK PJ!!

I always thought that is in part why Uh Huh Her is the most demonstrative album of her song writing and dynamics, but she recorded it herself so that is probably why. It doesn't always work to do everything yourself in the studio, but sometimes, it does. That style most DEFINITELY wouldn't work for Albini, he doesn't do layering and over-dubs, he is more of a live-feed engineer, but conversely most engineers CAN'T do that live recording either, they prefer doing each part individually. I think THAT is the process that destroys albums. I wish Steve had recorded this Palms record.

Listen to the record and listen to the the stageshow. Such a world of difference. There was a certain chemistry and spontaneity which was lacking in the studio version. I feel similar about War Paint, their album is NOTHING compared to their stage show. Another classic Steve Albini candidate..
Its why I thank God and thank Shannon Wright that she was smart enough to use Steve to record Over the Sun, which sounds as close to her epic 2002-2005 stages shows as could be managed in a studio..

[Rob Instigator]

Originally Posted by louder

Big Black are GODS, but i wish that Songs About Fucking got the remastered treatment cuz i've always felt like the volume is too low on that record.

On a true stereo system, you can turn it up til your balls drop.

[Savage Clone]

Originally Posted by Glice

.

12) When organising ATP, there were a pitiful minority of British bands involved, in spite of the festival being in the UK.

If it makes you feel any better, the bass player in our band is a former bandmate of Shellac's drummer and the former sound person for Shellac and we still didn't get invited. But our studiomates did. He isn't all about American cronyism, it would seem.

And he was perfectly nice when I met him last year. Then again, I was introduced to him by said bassist so there you go.

[Rob Instigator]

He was awesome to talk to after the Shellac show in Houston a few years back. Very nice guy.

[TheMadcapLaughs]

Originally Posted by Glice

12) When organising ATP, there were a pitiful minority of British bands involved, in spite of the festival being in the UK.

I think I remember reading a quote from him or attributed to him in the early 2000's that says something along that Mclusky was the only british band worth listening to. So you could have a point about the him not liking the British bands.

[keep poppin pimples]

Originally Posted by Glice

14) This notion ONLY APPLIES TO BANDS ESTABLISHED IN THE OBJECT-EXCHANGE ERA OF PLENTY. Smaller bands are fucked because, not only can they make no money out of records, they can't hope to perform overseas until they establish and audience. Establishing that audience is harder in an era of increased availability of a wider range of recorded music; measuring that audience is impossible when there's no standard by which to measure the appreciation of the music.

the 'object-exchange era of plenty' never existed abroad. it wasn't legally possible to get albini related releases in eastern-europe in the 1980s and wasn't financially possible in the 90s when an import cd(and the stores didn't stock albini shit) cost a couple days salary(as opposed to an hours wage in usa)


now the initiative of booking a few gigs will likely get you a bigger crowd than you would see in yr own country whether or not
anybody listened to you two weeks prior

you're talking out yr ass here(an albiniesque quality) people were meeting up in alleys and paying crazy amounts to bootleggers for 10th generation dubs of the most mainstream american music when big black was releasing, he came out in the era where you would have to change the whole world to get an audience in eastern europe, now he just has to book a show and people will use the computer to decide whether they like him or not and he'll get paid for the gig and probably sell up to five cds, not to mention posters up everywhere that may stay up for 8 years and keep the name alive till the next gig.

i literally know of an independent american band that can barely tour the pacific northwest, gets 50 people in england or france but that can draw 700-1000 people 3 nights in a row headlining belgrade-sofia-istanbul

again, NOTHING HAS GOTTEN HARDER IN THE SITUATION ALBINI DESCRIBES, IT HAS ACTUALLY GONE FROM IMPOSSIBLE TO EASY WITHIN ALBINI'S CAREER AND HE KNOWS IT

you're a hipster from a country where people are too cool for bands. in soviet russia band is too cool for you

[keep poppin pimples]

english and american indie bands always brag about losing money and sleeping on floors and stuff, having a hard tour is such a heroised experience. and then they act like driving east of prague is like going into some great unknown no bands besides abba and boney m and have ever made it through

[GravitySlips]

Originally Posted by TheMadcapLaughs

I think I remember reading a quote from him or attributed to him in the early 2000's that says something along that Mclusky was the only british band worth listening to. So you could have a point about the him not liking the British bands.

But also - British bands play in Britain all the time.
Included on the bill at Shellac's ATP were a number of bands who rarely tour here, if ever.

So yeah - thanks Albini!

Even disregarding that, Glice's point there is a weird one. Albini/Shellac like what they like, who cares if it's British or not.

[Glice]

Originally Posted by keep poppin pimples

the 'object-exchange era of plenty' never existed abroad. it wasn't legally possible to get albini related releases in eastern-europe in the 1980s and wasn't financially possible in the 90s when an import cd(and the stores didn't stock albini shit) cost a couple days salary(as opposed to an hours wage in usa)

Point taken, do a degree - to make myself clearer, I mean that the people who benefit from the breaking down of these economic barriers and get to tour (say) Eastern Europe are the people who benefitted prior to the collapse of the record industry AND the same DIY hordes that were doing it without money anyway (eg, the crust/ hardcore/ anarcho scene and those who jumped on, cavalier fashion). You're right, it's great that bands from richer countries can head out to these places but I maintain that this only benefits bands who already have financial clout because they're the people with the platform to do it.

[Glice]

Originally Posted by GravitySlips

Even disregarding that, Glice's point there is a weird one. Albini/Shellac like what they like, who cares if it's British or not.

Well, Portishead or SY and others used it as a platform to put bands that the audience didn't know in front of the ATP crowds. Some great lesser-known bands from all over Europe and the states at both (I'm mentioning these because I went, I'm sure it's true for subsequent ATPs).

ATP's a difficult platform but at least some nominal respect for where it is seems wise. Y'know, giving the opportunity for lesser-known folk to at least play out to a crowd that might subsequently go and see them in their local shows.

[Dr Chocolate]

THE SKAG BARONS - The 9's

local band from London Ontario takes off to Chicago and records a 3 song cd with him on a weekend.
being i'm not rooting thru my 1000's of cds to find that one.
but i'm pretty sure this is the first song on the cd

http://www.youtube.com/watch?v=58ERpWG2Qz4

long story short
this band already split up last year, which sucks
got to see them a few times
they even got to open for NIGHTSEEKER (Deaner from F.U.B.A.R. band)