Interesting this on recording technology by Keith Richards, and as interesting is Alan Jacobs’ take on it:
Keith rails against “technology” but what he’s actually doing is making the case for one kind of technology rather than another
Listening to the music the Stones (and Dylan is another example) made in the 80s, I think it remained of a quality in the early part of this decade because of the new recording technology not despite it. It was only when everyone involved in making the records became more adept and familiar with the recording technology – and now after reading Richards’ account, felt they had to use all of it – the music of these two suffered. This perhaps is connected to what I was feeling when I wrote about ‘Emotional Rescue’.
Recently I’ve been listening to a few albums from the mid to late 90s. There is definitely a sound they share which dates them to that period; it’s not always prevalent through a whole album (not on the good ones anyhow), and you can get a sense of it listening to albums that don’t share it, but as yet I can’t quite put my finger on what “it” is or how, or even if, the recording technology around that time played a part.
Related maybe to this is this interview with Ewan Pearson, where the subject of dynamic range compression being used more (and so becoming an issue) in the first half of the decade of the 2000s comes up.
Johnny Flynn – Detectorists TVST
I’ve written about my admiration of the tv show the Detectorists (and good news – third series is on its way). This is the song that plays over the opening sequence. I don’t know if Johnny Flynn had this song written already or if it was written specially for the tv show. Either way it captures the mood and feel of the show perfectly.
Spiritualized – Ladies and Gentlemen We Are Floating in Space
It’s twenty years this year since Spiritualized released their album Ladies and Gentlemen We Are Floating in Space. An anniversary I was reminded of by Guy Garvey’s Finest Hour, and a recent Quietus feature, but confusingly marked by the band last year, a decision which Jason Pierce explains in The Quietus interview.
I loved this album when it was first released, listening to it constantly. From Kate Radley introducing the album on this the opening song (a suggestion of a state in which to maybe consider listening to what comes next) to the twenty-minute ‘Cop Shoot Cop’ that finishes it, this is an album that is ambitious, experimental, simple (the last two not incompatible with each other), and one which has become, in the twenty years since its release, one of my favourite albums of all time.
Sleaford Mods – I Feel So Wrong
I choose this week’s song in the knowledge I’m coming quite late to the Sleaford Mods. What can I say? I initially tend to turn from bands that get a lot of praise, and then find myself with a bit of catching up to do. This is a superb song.
Kevin Morby – City Music
Kevin Morby has a new album out, City Music. I’ve only giving it a cursory listen and only half the way through at that, so this week’s post is more a bookmark than anything to remind me to listen again.
Jacqueline Taib – 7 heure du matin
July is the month of the Tour de France. It’s being shown on ITV4. They closed the highlights of Stage 13 with this song, which was perhaps a nod to the winner of that stage, Warren Barguil, and to the winner of stage 12, Barguil’s fellow Frenchman, Romain Bardet.
When I first heard it I assumed it was a cover of The Who’s ‘My Generation’, but I was mistaken in that assumption.