Top 10+ Music, Movies, and Visual Art of the Week (2022)

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AfterHours



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  • #911
  • Posted: 06/29/2022 00:42
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homelessking wrote:
Have you listened to this? https://youtu.be/oCDXhvXye9E An actually musical version of Orange Claw Hammer


Haha, nice!

Never heard that before now. Strange to hear it as a Bob Dylan folk song but with Beefheart/Howlin Wolf-esque vocals. Not bad though...
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Last edited by AfterHours on 06/29/2022 03:39; edited 1 time in total
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AfterHours



Gender: Male
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  • #912
  • Posted: 06/29/2022 01:01
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DelBocaVista wrote:
While I know you've improved your criteria to better account for sustained quality and such, it's a bit jarring to see Getting Better rated almost as high as Rubber Soul 😁🤔


The "short song" 5s usually approach/match the "album" 5s as much due to the quality of their content as that they don't have all the superfluous content that a 5/10 album usually does.

It's interesting and challenging to compare two levels of quality being arrived at quite differently (so is still quite open to mistakes, particularly in these earlier stages)

I am still adjusting to rating songs with equal attention to consistency as I was giving (before, over-emphasized) to extent/degree of ... particularly undergoing an ongoing adjustment for 6.7 and lower. The lower you go from there, the chances increase that changes will be made as I keep going with this. So GB may very well be one of those. I will probably rate out all the songs of the major Beatles albums because they cover basically the whole spectrum of 2.5-6.2 with some up to 6.8 as well. And getting re-familiarized with those will help provide a good foundation to continue from.

What tends to happen is that, as the scale is filled out more and more, I tend to see the increments in relation to the whole scope of it better and can draw better comparisons as I go.

GB rates better than some of the other songs because it attains some depth due to its ambiguity and sly fluctuation between "anger/condemnation" and "cheerfulness". For instance, the bouncy guitar (and piano?) rhythmic strikes throughout the verses is "cheerful and insouciant" AND its cutting incisiveness seems to possibly express a (sly and flippant) stabbing violence (like knife strikes). As the verse turns (following the supposedly cheerful chorus, including McCartney and Lennon fluctuating between "Getting better all the time" and "Can't get no worse!") the instrumentation swells a looming sense of incoming "anger" or "condemnation" beneath the surface as it passes into the next verse. This is an appetizer for the eventual point where the song lingers further into "I used to be cruel to my woman"... Etc. .. as the ambiguity drops and the instrumentation further swells in the direction of anger/condemnation (and psychedelia).

So that's the main reason why. That said, very possible I'm overrating it some. I'll compare and contrast some more as I go through more Beatles (and others).
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Last edited by AfterHours on 06/29/2022 17:46; edited 3 times in total
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AfterHours



Gender: Male
Location: originally from scaruffi.com ;-)

  • #913
  • Posted: 06/29/2022 01:15
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TiggaTrigga wrote:
Super random but since you're rating songs at the moment, what would you rate The Sprawl from Daydream Nation?


Daydream Nation has been added now.

Ratings aren't final and infact just a day before I would've rated many of them an avg of 0.2 higher. So they may still change some as I continue to add and compare more entries.
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TiggaTrigga





  • #914
  • Posted: 06/29/2022 22:26
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AfterHours wrote:
Daydream Nation has been added now.

Ratings aren't final and infact just a day before I would've rated many of them an avg of 0.2 higher. So they may still change some as I continue to add and compare more entries.


How would you describe Total Trash?

And...what is the emotional expression of The Sprawl, particularly its mellow outro that starts around 4 mins in that gradually mutates back into their typical noisy sound? I don't know what to make of it. Same question for 'Cross the Breeze. I'm very fascinated by these 2 songs, but I can't put the pieces together to what they're musically trying to say.
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AfterHours



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Location: originally from scaruffi.com ;-)

  • #915
  • Posted: 07/01/2022 06:36
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A lot different than the version from Starsailor but still demonstrates his incredible vocals live:


Link

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Facetious



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Pakistan

  • #916
  • Posted: 07/02/2022 01:20
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Why are most of the Rubber Soul tracks rated so low? Drive My Car, Norwegian Wood, You Won't See Me (3.0??), Nowhere Man, I'm Looking Through You, and If I Needed Someone immediately stand out in this respect; given your ratings of Sgt Pepper and Please Please Me for instance, I'd have estimated each of these to score at least one point greater than they did.
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homelessking





  • #917
  • Posted: 07/02/2022 02:18
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Ok, TMR track ratings when?
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AfterHours



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Location: originally from scaruffi.com ;-)

  • #918
  • Posted: 07/02/2022 21:07
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Facetious wrote:
Why are most of the Rubber Soul tracks rated so low? Drive My Car, Norwegian Wood, You Won't See Me (3.0??), Nowhere Man, I'm Looking Through You, and If I Needed Someone immediately stand out in this respect; given your ratings of Sgt Pepper and Please Please Me for instance, I'd have estimated each of these to score at least one point greater than they did.


They probably are somewhat too low. As in my reply to DelBoca, the lower the ratings range the more adjustments are likely on the way. Currently, accuracy is highest at 6.8 and up. Still quite accurate from 6.3 up (by "accurate" I simply mean "imo/per my criteria" and "movement/changes are less likely or will be minor if they happen"). And probably pretty accurate from 5.8 up too. But it gets murkier and murkier below that. Also, if you look below the "2.5" rating you'll see there are some ratings in "the hopper" (not official yet) that I have posted in the interim until I am decisive enough to add them to the actual list. Included is the tracks of Hard Day's Night from a couple days ago, which (per those ratings) out-rates Rubber Soul (which would be incorrect, because Rubber Soul is the better album). The point being that this alludes to the probability that RS track ratings will be upgraded.

I am also going to be going through The Byrds albums (or at least the main ones) which could lead to further influence upon an album like Rubber Soul's ratings.

But yeah, the short answer is, the ratings for RS are probably a little bit too low across the board. Became clearer after revisiting HDN. But even that one is unofficial and still open to adjustments. The main point, I guess, is a lot of these are still influx -- again, particularly the 5.5s, 5s and lower. Especially with short songs, it is very difficult to rate the lower echelons, as it is easier to get a "grip" on a more comprehensive work than a 2-3 min song ... though this is being figured out and fine tuned as I go...

As to why they would rate a bit lower than Sgt Pepper's, simply put: fundamentally, because Sgt Pepper is a much more developed art than the transitional works of Rubber Soul-Revolver (which are basically a band working on the facets that led to their later work, but were still quite undeveloped in that period; basically a band implementing small novelties and mild indiosynchracies somewhat tentatively and fleetingly into their work from other 60s influences -- Byrds, Dylan, for instance on RS -- whereas Sgt Pepper-forward, even if not as revolutionary as advertised, is yet a more fully fledged, more confident, conceptually potent and expressively complete musical picture)
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Last edited by AfterHours on 07/02/2022 21:11; edited 1 time in total
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AfterHours



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  • #919
  • Posted: 07/02/2022 21:08
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homelessking wrote:
Ok, TMR track ratings when?


Yeah, that's probably in the cards soon. Probably.
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AfterHours



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  • #920
  • Posted: 07/03/2022 06:57
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TiggaTrigga wrote:
AfterHours wrote:
Daydream Nation has been added now.

Ratings aren't final and infact just a day before I would've rated many of them an avg of 0.2 higher. So they may still change some as I continue to add and compare more entries.


How would you describe Total Trash?

And...what is the emotional expression of The Sprawl, particularly its mellow outro that starts around 4 mins in that gradually mutates back into their typical noisy sound? I don't know what to make of it. Same question for 'Cross the Breeze. I'm very fascinated by these 2 songs, but I can't put the pieces together to what they're musically trying to say.


Throughout DN they're using unusual tunings and harmonic combinations that fluctuate, grow, recede, between murky, "suggested/vague" melody but also juxtaposed or soon after transforming into dissonance (or vice versa), as if searching for a magical balance between noise and melody. Teenage Riot begins as an introduction that probably expresses the most exact, "equal" balance between these "contradictions", battling, "harmonized", fused.

These two ends, fused yet conflicted, breaking apart then re-joining, symbolizes something of a moral conflict, where the songs become "frescoes" of moral decay and conflict, being contemplated and/or agonized over in anxieties of frustration, often violent or wrestling within itself, agonizing over various observations or difficult experiences, or even sexual frustration/yearning, drug trips, angry laments (and the like).

The Sprawl probably comes the closest to what might be "contemplating itself morally", breaking apart into an extended dissonant (but "gentle") daydreaming (instrumental) stream of consciousness (with anguished, anxiety-ridden, almost suspenseful insides).

Many of the songs begin closer to melody, contemplating themselves, daydreaming, before erecting a fresco of turmoil or violence, etc

Cross the Breeze begins this way before furiously taking on stormy guitars and drums that metamorphosize back into "melody", resolving itself after a few, increasingly alarming/suspenseful and ferocious work outs of said guitars, percussion. Gordon, provocative/angry/virulent/punk spirit (basically a punk rendition of Dylan circa Hwy 61 where the vocals are spitfires of observations/experiences, symbolic, surreal) gets increasingly intense as the attack wears on. After this attack, the noise wiped away, the music devolves back into a contemplative/daydreaming "melodic" outro.

Total Trash combines vocals that hark back to Lou Reed, delivering a slightly melodic, quite "decadent and detached" vocal register, among a storm of incisive guitars and percussion that begins persistently and rhythmically in concert with the vocals but after a number of rounds gets increasingly confused and murky upon itself, the vocals dropping out as everything becomes violent, eventually imploding into a seemingly auto-determined chaos.

The murky sound-world in general, taking its cue from The Velvet Underground, no doubt resurrects its distorted lense as if trying to see through the grip and visage of drugs, metaphor for a "daydream nation" that is too asleep to see what's happening.

As with The Velvet Underground and Nico (perhaps the greatest, most profound masterpiece of "anxiety" in the history of Art?), but closer emotionally and in its furious spirit to the last half of WL/WH, Daydream Nation is constantly in an emotional/moral anxiety as well, only more "punk", more "desperate", more embellished, more violent, at war and conflict with itself, trying to find its moral compass through unsettling, dreamy, volatile soundscapes.
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