the production sound of the song is mixed through whatever cramped digital dropbox vortez has been specially inflicted on it.
Rock Critic Laziness Dept.: We are officially over the tendency in record reviews to, instead of actually talking about music, explain what a song sounds like by likening it to another band’s sound. This citational reflex is de rigueur in the prison house of rock, where everything has a meaning only in relation to something already recorded. There’s an especially pernicious version of this floating around these days in which the reviewer says a song by some band sounds like it could have been a long-lost b-side by some other band. Every part of this shortcut writing is frustrating, moreso now that we’ve collected enough examples of it to clearly establish it as a trend.
Records where side 2 has been forgotten. The paradigms for this are Glass Houses [3-10-80] (Joel put all the singles on side 1 and the chaff at the rear), shockingly, 2112 [4-1-76] (think about it — even though Tears may be one of their all-time greatest numbers, do you know anything after the one about Bangkok?), and of course, Yellow Submarine [11-13-68], with the “5th Beatle” effectively erasing an entire half hour from the Beatles’ discography.
Please Please Please, James Brown
Out now, people.
I told Will Oldham once,
um I don’t know what that song (laughter) was.
“B side included on A side, full length disco mix of Pop Musik on Seaside” Pop Muzik — Other Formats Other Formats The UK 12-inch single version was notable for the A-side having a double groove such that the two tracks (“Pop Muzik” and “M Factor”) both started at the outer edge of the record […]