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General music thread


Devon Malcolm

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My mum STILL listens to shite (Whitney Houston) and my dad isn't much better (Lighthouse Family). Their record collection is like a chamber of horrors. Pet Shop Boys were very much my own discovery, and I'm just amazed that I got through my childhood without once hearing my dad call them "Them poofs!"

 

It was only recently that I realised I had reasonable taste as a kid. There were some missteps in single buying (Mike And The Mechanics, Brother Beyond) but most of the stuff I liked when I was 9 or 10 was dance like Bomb The Bass and Paul Hardcastle.

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The first CD that was purchased for me was a Disney album, it was banging. I bought Automatic For The People and Blood Sugar Sex Magik as part of a deal at the local music shop, so they are collectively my first purchases, and fine ones at that.

Can't remember the first single I got, I know it was some BBC song made for a football tournament. I played it twice.

 

My Mum specifically listens to rubbish. My Dad, on the other hand, has an amazing CD/vinyl collection. He's got hundreds of old vinyl records at my Grans, and some of it is really rare/special addition stuff. I was well impressed when he pulled out a Metal Box by PiL vinyl (yes, with the metal box). He was an old Punk back in his early years, but started to get into all sorts in the mid-80s.

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How has this happened? Especially in America?

 

Mumford & Sons' Babel has become the fastest selling album of the year in both the UK and the US.

 

The group's second album sold 159,000 copies in its first week in the UK to hit No 1 on Sunday, and 600,000 copies in the US to secure them their first US chart topper.

 

In the US, the band also smashed Spotify's record for streams from an album in a single week. Users streamed "around eight million listens" from the album in its first seven days of release, Spotify chief content officer Ken Parks told Billboard, beating the previous record by a factor of three. According to Parks, one out of every 10 Spotify users in the US listened to a track from Babel last week. The ad-driven streaming service claims 15 million users worldwide.

 

Mumfords' dual success has dented the argument that subscription services cannibalise sales of CDs. Acts including Coldplay have withheld their new albums from Spotify and competitors like Rdio and Rhapsody during the week of release. Spotify has also been criticised for offering lower royalty payments to labels and artists than they would receive from album sales.

 

"Spotify is a huge form of exposure, and they're not stealing," Daniel Glass of Mumfords' US label Glassnote Records told the LA Times. "It's retraining people to buy music through streaming services. Could we be getting better compensation? Yes, but I'm not going to hold it back from them. That's old thinking."

 

http://www.guardian.co.uk/music/2012/oct/0...2?newsfeed=true

 

This comment made me chuckle, though:-

 

moffifox

3 October 2012 1:00PM

As if the devil spunked on a sock and it was used to inpregnate the wifes of a shit pub skiffle band.

 

But seriously, how has this happened? It's not just that they're fucking, fucking shit, but the type of music that they're shiteing out. Absolutely baffling on every level.

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They've had some Country music airplay in the states, which has probably helped. Kix Brooks has been championing them on the US Country Countdown on syndicated US radio for ages.

 

Butch's song of the day - Man of Action - The Les Reed Orchestra

 

Probably be something by The Mike Sammes Singers tomorrow.

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Yeah, the new Stones tune is great.

 

Check this out by the Black Keys and RZA. It's from the soundtrack to The Man With The Iron Fists, which features Big Dave Batista.

 

Baddest Man Alive

 

I can definitely see myself strutting down the street with that on my iPod.

 

I don't condone spitting in crocodiles faces though. That's not bad, it's just a bit scummy.

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It has to be said that when he's off the sauce, Ronnie Wood is a fine guitarist. It's probably the only song I've ever heard to reference "fracking" and it surprisingly works. The whole thing surprisingly works, which couldn't be said for pretty much everything they tried on A Bigger Bang.After the Paralympics catapulted Public Enemy to their biggest ever UK hit, I was discussing with somebody how I'm both pleased and dismayed that Chuck D is still going and rapping about the same stuff he was when he started out. It sounds like he has no growth in his world but the fact is that all the injustices he's rapped about in the past still exist and the worst part of it is a chunk of the formerly disenfranchised have bought into the system and turn a blind eye to the problems they face. I feel similarly about the Stones. This country's music buying is now so obsessed with "now sound" that no artist gets a chance to mature and start talking about real stuff. Instead, we get vapid, empty platitudes written by professional producers and conveyed through the autotuned mouths of average-looking young women.

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Leona Lewis always has been and always will be crap. Run was a crap cover of a crap song in the first place. She is incredibly boring and the quicker she pisses off into obscurity and doing cruise liner headlining or something, the better.

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I couldn't remember which one of her soulless dirges that was and having just refreshed my memory on YouTube (15 seconds was more than enough) I realised that was the one that started off my hatred for her.

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I've rediscovered a love for Electric Six. Fire is an absolute corker of an album and although no albums since have come close to it, Senor Smoke is fantastic to cruise along to down the A47. Bite me and Future Boys are absolute riots. I like how they try and use the cheapest possible synth gear and also the inherent silliness and downright vulgarity of their lyrics ("Are you ready for my bloody bloody?").

 

I imagine they don't cater for most folk's taste, but for anyone interested their touring the UK this winter and their set is basically the entire first album nearly ten years on. Smashing.

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