Let me start by going right back to ABBA. ABBA had some good songs that I still like. I think it's okay to like ABBA now. I think it's okay to like, recognise, acknowledge and enjoy the Bangles now. A lot of people seem to think this is completely unacceptable, because the songs were recorded too long ago. Really? So, graffiti's better than the Sistine Chapel because it's newer? Have the recordings changed or do they still sound the same? I got asked once: "Don't you like up-to-date music?" Is
Eternal Flame out of date somehow? Do people just not have feelings now? Is
Next Plane Out or
It's All Coming Back To Me Now rubbish because the year has changed? Protest songs can go out of date.
We Didn't Start The Fire could be brought up to date with a lot of new verses, but that would spoil the point if not the meaning.
In Your Room is still just as relevant. Girls still feel that way and do that stuff and boys still like it ... right?
Back to ABBA. ABBA had some good songs but they also had
Summer Night City. This is one of the earliest examples I've had the misfortune to encounter of a particular trend away from verses and stories and towards just repeating the same phrase again and again and again and again and again and again and again and again and again and again and again.
Somewhere in the 80s, manners and decency went out of fashion. Somewhere around 1990, imagination did too. Some old, established acts stayed good. Iron Maiden did
Afraid To Shoot Strangers after 1990 and even though it really needs more lyrics, at least it HAS lyrics.
Most stuff since then, if rearranged into alphabetical order would be easily identified and only slightly more repetitive. There was one being played 300 times per day (twice an hour on each of half a dozen radio stations, or thereabouts) recently in which some vaguely good-looking blonde went "Once" thirty-five times. The Police did one in which they repeated "I hope somebody gets me" and "message in a bottle" twenty-one times.
Seriously.
message in a bottle message in a bottle message in a bottle message in a bottle message in a bottle message in a bottle message in a bottle message in a bottle message in a bottle message in a bottle message in a bottle message in a bottle message in a bottle message in a bottle message in a bottle message in a bottle message in a bottle message in a bottle message in a bottle message in a bottle message in a bottle
Then there was House Of Pain. Three minutes of six words: jump around up and get down.
Then Robbie Williams, trading entirely on his own ego, moaning about how much money he was making while the first four bars of
You Only Live Twice played on endless loop in the background.
Back when I was tiny and harmless, there were singers who could stand on the stage in the Royal Albert Hall and sing an entire song in one go, with two hundred
different words all sung correctly and in key and notes hit and held and they could be heard all the way to the back without a microphone.
These days people seem afraid to put the audience off by using too many words so they stick to eight, and most stuff seems to be recorded and electronically re-tuned and blended to make it seem as if they actually sang it when actually all they were doing was talking. Can't hold a note? No problem. Just talk. Can't even hit a note? Fine, we'll use the computer to fake it for you. Can't manage eight bars between breaths? No worries. We'll just record it in bits and stick it together in the computer and you can mime on stage. Can't think of anything? Don't worry about that. Just copy bits of everybody else's songs. Anyone remember "Abba-esque"? Right.
Then there are the lyrics of the ones that aren't just "whoo yeah whoo hoo whoo yeah," such as that romantic favourite,
Don't You Want Me?:
You were nothing before I found you.
You were stuck in a dead-end job with no prospects.
I made you, *****.
Everything you've got, you owe to me.
If it wasn't for me you'd still be stuck in that shithole,
probably pregnant by some greasy loser.
Well you'd better fuckin' show some respect, *****,
or that's right where you're gonna be.
I don't fuckin' believe you're tryin' to break up with me.
You'd be nothing without me.
If you wanted to live that shitty life without me to make you into someone worth knowing,
you should have said so right at the start and saved me wasting my time on your skank arse.
You had your chance to turn me down, and you didn't take it, so you're mine now.
You are mine and you will bloody well put out when I say or I'll make you wish you'd never been born.
As someone else put it, our music has degenerated to the level of birdsong. You can ask Eddie Izzard [http://www.auntiemomo.com/cakeordeath/unrepeatabletranscript.html] about what birds are usually singing.
Then we have the biggest problem with all this noise: the people who like it. Yobbish teens with their jeans halfway down their arses and jeans with two tops so they can wear one set all the way down their arses while the other set holds the things up out of sight under an untucked shirt with kebab grease on it, screeching their tyres and racing up and down the street, throwing empty lager bottles into people's gardens and always, always, even if they don't do any of that stuff, ALWAYS turning the fucking bass all the way up to full in every conceivable way so the rest of the world gets to hear a rather simplified version of the tunes:
thud thud thud thud thud thud thud ... thud thud thud thud thud thud thud ...
thud thud thud thud thud thud thud ... thud thud thud thud thud thud thud ...
thud thud thud thud thud thud thud ... thud thud thud thud thud thud thud ...
thud thud thud thud thud thud thud ... thud thud thud thud thud thud thud ...
thud thud thud thud thud thud thud ... thud thud thud thud thud thud thud ...
thud thud thud thud thud thud thud ... thud thud thud thud thud thud thud ...
thud thud thud thud thud thud thud ... thud thud thud thud thud thud thud ...
thud thud thud thud thud thud thud ... thud thud thud thud thud thud thud ...
thud thud thud ... thud thu-thu-thud, thud thud thud ... thud thu-thu-thud,
thud thud thud ... thud thu-thu-thud, thud thud thud ... thud thu-thu-thud,
thud thud thud ... thud thu-thu-thud, thud thud thud ... thud thu-thu-thud,
thud thud thud ... thud thu-thu-thud, thud thud thud ... thud thu-thu-thud,
thud thud thud ... thud thu-thu-thud, thud thud thud ... thud thu-thu-thud,
thud thud thud ... thud thu-thu-thud, thud thud thud ... thud thu-thu-thud,
thud thud thud ... thud thu-thu-thud, thud thud thud ... thud thu-thu-thud,
thud thud thud ... thud thu-thu-thud, thud thud thud ... thud thu-thu-thud,
thud thud THUD ... thud thud THUD ... thud thud THUD ... thud thud THUD ...
thud thud THUD ... thud thud THUD ... thud thud THUD ... thud thud THUD ...
thud thud THUD ... thud thud THUD ... thud thud THUD ... thud thud THUD ...
thud thud THUD ... thud thud THUD ... thud thud THUD ... thud thud THUD ...
thud thud THUD ... thud thud THUD ... thud thud THUD ... thud thud THUD ...
thud thud THUD ... thud thud THUD ... thud thud THUD ... thud thud THUD ...
thud thud THUD ... thud thud THUD ... thud thud THUD ... thud thud THUD ...
thud thud THUD ... thud thud THUD ... thud thud THUD ... thud thud THUD ...
If I had super-powers I would fry them all.
NeutralMunchHotel said:
Lady Gaga is actually a good singer.
People use her all the time as an example of how soulless music has become. If you want to use Ke$ha or Justin Bieber or 90% of the music you'll hear on the radio, then fine, but Lady Gaga has talent. If you've heard just her and a piano, you'll know. She is also one of the most prominent trolls in society, coming second to the collective force that is Anonymous.
Because seriously, she's suckering a lot of people into her nutjob person, when it's been shown that she has been just a regular person once.
The actual person is also pretty cool. The projected personality, if that's the right term, or "troll" as you put it, really is like nettle rash in my knickers and I would quite happily have no awareness of it at all for the rest of my life.
Something else I don't like: BnZ-GG, thrash-grunge, industrial house, black megbo, inthru-gobli, vaduli-mish and all those hybrid of sub-genres that can be distinguished only be the colour of the plectrum with which the singer never actually touches the string or which side of the stage the bassist stands. You can throw into this Black, Death, Industrial, Dark, Screech, Scream, Heavy, Rusty and any other kind of Metal. Just call it metal, will ya, guys? If you need to stick fifteen other styles in front of that to describe it, just name the frickin' band!
technoted said:
Emo and anything that ends with core.
That, too.
Also: I don't like baroque. Sorry but it really does all sound the same to me!
mr_hi said:
the one thing i would like to start seeing is a bar that doesnt play top 40 hits and plays rock that isnt mainstream... that would be awesome
There you hit a problem I have with CD compilations. You can get the top 20 hits of any long-running success story and the boxed set of the top 30 classical tunes As Voted For By You comes out every year but nobody seems to be selling the 21-40 or the top 200 as voted for this decade. I don't really need the complete works of everybody ever or ten copies of each of the few tracks that are on that album every year, so either way I end up with a lot of music I don't actually like sitting on my shelf.