Annoying instrumentation
Moderators: Dave Mudgett, Janice Brooks
Annoying instrumentation
I can't believe nobody has mentioned the hammer in Working Man Blues
I love that hammer! Always have.
It's timing is perfect too. I love the way it accents the rhythm and sets the tone for the song. I love the little tonal variations in it that occur throughout the song. I think it's inclusion is brilliant and doesn't detract from the song. Far from it. It's an important component to the song, especially with Merle's love of all things railroad.
It's timing is perfect too. I love the way it accents the rhythm and sets the tone for the song. I love the little tonal variations in it that occur throughout the song. I think it's inclusion is brilliant and doesn't detract from the song. Far from it. It's an important component to the song, especially with Merle's love of all things railroad.
- Doug Beaumier
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- Charlie McDonald
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Another out of tune keybord solo....drove me nuts as a kid: https://www.youtube.com/watch?v=6Julr7EAPt8
- Doug Beaumier
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Frank, "Navy Blue" takes me right back to the summer of '64! I don't think I've heard the song since, but I was ready for the out of tune keyboard and I knew the modulation was coming too... some things we never forget, try as we may! That song and that singer sounds a lot like Lesley Gore, who had #1 hits in that same style the previous two years.
- Charlie McDonald
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There was no such thing as out-of-tuneness in those days.
There was no reason to assume that studio pianos were more well-tuned than home pianos.
It was the energy of the sessions in real time that made everything work.
Meanwhile, it was in cocktail music that the annoyance revolution was building--Esquivel--
and of courseCocktails for Two--Spike Jones
There was no reason to assume that studio pianos were more well-tuned than home pianos.
It was the energy of the sessions in real time that made everything work.
Meanwhile, it was in cocktail music that the annoyance revolution was building--Esquivel--
and of courseCocktails for Two--Spike Jones
Those that say don't know; those that know don't say.--Buddy Emmons
- Leon Grizzard
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esquivel was a genius! there was more innovation going on in his recordings than any of the other elevator music guys. the new fangled stereo.... alvino rey on steel.... two orchestras recording at the same time in two completely different locations.Charlie McDonald wrote: Meanwhile, it was in cocktail music that the annoyance revolution was building--Esquivel--
and of courseCocktails for Two--Spike Jones
the space age batchelorpad pad music craze....esquivel was the king!!
- Rich Upright
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The horn solo on Dan Fogelberg's "Leader Of The Band" always aggravated me...annoying, grating, & totally out of place.
The breathy,fuzzy tuba-like thing on the last verse of Paul Simon's "The Boxer" totally destroyed an other wise beautiful song.
WAY too much reverb on Skip Ewing's vocals on "I Don't Have Far To Fall".
That stupid 3rd verse on the live version of "Friends In Low Places" just makes an already crappy song even longer.
Merle's live horn section...not needed or appropriate for country.
And, my biggest peeve? Why does Emmylou Harris' guitar player, Frank Reckard, always hafta have that annoying PHASE SHIFTER on every single solo? I cringe when I hear that.
The breathy,fuzzy tuba-like thing on the last verse of Paul Simon's "The Boxer" totally destroyed an other wise beautiful song.
WAY too much reverb on Skip Ewing's vocals on "I Don't Have Far To Fall".
That stupid 3rd verse on the live version of "Friends In Low Places" just makes an already crappy song even longer.
Merle's live horn section...not needed or appropriate for country.
And, my biggest peeve? Why does Emmylou Harris' guitar player, Frank Reckard, always hafta have that annoying PHASE SHIFTER on every single solo? I cringe when I hear that.
A couple D-10s,some vintage guitars & amps, & lotsa junk in the gig bag.