I guess I saw past the bad vibes and felt some sort of kinship with the confusion and aggression. This anti-meet-cute took place on December 8, - The Feast of the Immaculate Conception - the date on which Spencer and Martinez continue to celebrate their anniversary. Her real Proustian rush comes from the sound of another insect — the cicada.
They emerge after years underground in great synchronised waves. This tenth brood is, fittingly, the Great Eastern Brood that also appears across a great swathe of America, including New York. Spencer and Martinez went to screenings there but they were not the focal points they were for Jurgensen. Spencer and Martinez are the only two original members of Boss Hog still in the band. Boss Hog grew out of this East Village network. The connection went both ways.
The urban myth has it that Martinez or Spencer - or both - were naked. Kurt Wolf recently had to remind Spencer what instrument he played on it - bass. Cristina played stand-up drums in the style of Mo Tucker but also in the style of their previous drummer, Ellen Hoover. This first era of the band was brought to a hideous close with the death of Charlie Ondras from a heroin overdose in Queens was a novice drummer when she joined Boss Hog.
I would just respond to the music. Later I would come to rehearsal with beats. I liked [Stax house drummer] Al Jackson Jr.
Now I use a ride as a crash cymbal. In fact, Jurgensen — also responsible for a lot of that low end — thinks of Boss Hog as a groove band. East Village noise and psych leaning metal bands like Helmet and White Zombie had already been signed by major labels. So had two of the noise rock bands before them, Sonic Youth and first of all, Swans. Yet, this era also killed off the East Village as Boss Hog knew and loved it. The band still rate the Geffen record called simply Boss Hog highly — a lot of it is still in their repertoire - but after touring it heavily the band basically ended in Queens and Jurgensen had also broken up by this point, although this was not a factor at all in the mothballing of Boss Hog.
Also I really credit Jens; he is very even-keeled. He's always been a great friend. Another shutdown happened after touring that record in I do love each and every one of my band members dearly but stupid, petty shit will drive me insane — so I need time away.
I need that time away. I will kill them. And myself. To put it bluntly, Martinez chose her health, her marriage, staying friends with her band-mates and being the parent she wanted to be over being a rock star. This leads Martinez to reveal that as a girl her three great crushes were Elvis, Dean Martin and Spock. An enraged and confused hyper-rational being flooded with hormones: I give you the early work of Pussy Galore. An erection. None of them seem too bothered by these and the other minor irritations of touring: jet lag, the shortage of hot food, the 5am lobby call to get to Frankfurt airport for the return flight, occasional lack of backstage toilets.
People could get color TV in the early 60s, but is considered the year the damn burst. I wonder if those two ever met. The music on this is all good, I like every song, and I can listen to this at every meal. My favorites here being Cloudburst , Twisted , and, really, just all of them. And Summertime some day I will make a mix tape of all the versions I can find, and this is a particularly killer one. But where do you go from there? I guess imperfection, which is also beautiful, and contained in all my favorite stuff.
And I love trains. I remember this time in junior high or high school when Sly and the Family Stone were on some variety TV show the night before, and everyone was talking about it at school the next day.
Imagine that! There was some kind of confusion when the band took the stage, because then, Sly, or all of them, left the stage, I think, before coming back and playing. He seemed like he had a great sense of humor, was having lot of fun, and had great style. Also, great style. I just don't think there can be anymore. When I was a kid and I got into the bands I knew about, I knew about six bands, because all I got were two magazines and watched "Headbanger's Ball" one night a week.
I could tape trade with my friends. I didn't have an Internet resource like Blabbermouth. When bands like Napalm Death were putting stuff out in the late 80's, I was thinking I was underground because I had just discovered Sepultura, y'know.
And now there's not only all this new stuff, but 30 years ago, there wasn't a back catalogue. Now, there's 30 years worth of metal as well as this deluge of new bands coming out.
I know a few fellow writers who are 20, 21 years old and they're like "yeah, I just bought my first Judas Priest album! MSJ: You make an excellent point, the back catalogue is something I never really thought of before. Kids are listening to all these melodic metalcore bands throwing these, quote unquote, classic metal guitar solos, and they don't even know where they came from. But enough seem to want to learn. I think things will be alright over all.
Unless we go back to the Dark Ages and the Internet goes away, I don't think we'll go back to the days when everybody rallies behind a few bands anymore. What got you into rock journalism? Oh man When I went to college, I started working at the radio station, and I had my own metal show for a few years.
Then I was tapped from that to do a few reviews for the local college paper. He started it up about 12 years ago. That was basically about the best training ground anybody could have hoped for. The policy there from day one has been if you want to write it, go ahead. Just make sure it doesn't suck and we'll publish it. Dude, I turned in word interviews before and Eddie printed them verbatim. MSJ: Do you have any sort of major touring plans on tap?
Well, we did three weeks in February, and we're gonna try to at least a week on the West Coast this fall, because we're going to try and showcase for some bigger labels.
Other than that, we're going to try and do as many weekend trips as we can. We're in a good spot here We've got a long weekend booked in June where we're going to be in Cincinnati, St. Louis and Chicago. Last time I went to the record store, I bought the new Judas Priest.
I had to buy it because I was reviewing it, but I was going to buy it regardless. I try to keep my hand in actually buying stuff and keeping the system going. If you have any history of dealing with a big label's promotional department, you'll realize it's easier to just go out and buy the disc instead of waiting to get a promo! I also bought an Agent Orange CD. I had lost the LP and needed to replace it.
MSJ: What was the last gig you went to just because you wanted to go? Let's see It was an interesting experience because I didn't really know the band's music but they were all just amazing musicians. There were not even people at this place and they were all super diehard underground AOR 80's rock guys. They reminded me of the real underground death metal and punk kids. These guys are looking for new AOR bands. They were out in full force. They already had the Japanese version of the CD.
It was a really rabid crowd! MSJ: Prog rock has that kind of following That's a bunch of crap. Vinyl does tend to sound better, not for technical reasons, but for the pragmatic reason that they are mastered better. A great master of a CD will be better than the LP, but we don't usually hear great CD masters because the market doesn't want it I don't want to rehash the tedious "loudness wars" debate, albeit that it is true. Of course it does.
Huge quantities of music are simply unavailable on digital. CD's have been around since the early 80's. Out of all the music released since the history of music until CDs became the de facto standard, only a drop in the bucket have been released. Of those, only a portion were released, and only a portion with proper mastering.
Sure - all the big names and famous album came out. Then the medium and smaller major label artists. But that still leaves a lot. Do you listen to music now from less popular artists? So did people back then: Garage labels, indie shit, esoteric, small-run batches. Just as we have that today, they did back then. And so much fell by the wayside. Do you want to hear that stuff? Can you imagine how in 30 years a music lover might want to hear some cool, lesser-known acts from ?
So yes , you are a bigger music lover if you collect vinyl, because it means you care about hearing more music, music that may not be necessarily available otherwise. This is obvious. You are assuming that people who collect vinyl are interested in music that's unavailable on digital. I don't see why you'd make that assumption. Some do, I'm sure, but I bet most don't fall into that category.
Also, I don't see why the variety of music you listen has anything to do with how much you love music. What if a person only likes listening to classical music? Shit, what if they play in an orchestra and they only really listen to classical music?
Are they suddenly less of a fan of music than me just because I listen to more genres than them? That's bullshit. Whether it sounds better is subjective. You may prefer the sound, it is different, but as far as a technical representation of capturing the audio as it sounds in the real world, CD outguns vinyl massively.
Essentially, the warmth and presence of vinyl is due to the poor dynamic range causing the audio to be more compressed than on CD less dynamic , and the uneven frequency response requires a solution to then boost and cut the frequency range at playback to try and redress the issue and that solution, whether it be analog or digital, adds a small amount of distortion to the signal.
And, of course, the wear on vinyl through playback effects the frequency range and clarity, dulling the highs and muddying the lows It doesn't age well.
A great master of a CD will be better than the LP, but we don't usually hear great CD masters because the market doesn't want it This is untrue. The same facilities and engineers do the mastering these days and they aren't taking less effort because the release is slated for digital only. Initially, when CD was introduced, mastering techniques had only focussed on vinyl and tape formats so CD mastering techniques still needed to be refined, resulting in poor quality work in some cases.
Plus the sudden rash of CD reissues resulted in hastily sent to market products, without the push and investment a new release has, and so mastering of those reissues was commonly poor as it was junior engineers working on the re-masters in a lot of cases.
None of this now stands - The CD market has dominated for decades and mastering for CD is a well, ahem, mastered art now.
Besides, vinyl, if anything, is more guesswork to master for, for several reasons: It's not so common anymore so the art isn't as well practiced;Vinyl itself has limited dynamic range and uneven frequency range when compared to CD and so masters have to be adjusted to better represent the audio within those limits - you step on it more and so distort it from the original recording more; And, because the quality of the playback of the vinyl is effected by the consistency of the lacquer used in the pressings, which is itself effected by atmospheric conditions while being rendered, there's no guarantee of consistent quality or even precise consistent playback characteristics.
Hell, the weight of the vinyl itself effects the frequency response of playback. CDs are not mastered with great care as you suggest, and most of them with very little dynamic range at all. Vinyl is by its very definition uncompressed unless, you could argue, it is sourced from CD. Compression is done for digital formats and doesn't play a part in mastering for vinyl especially if the vinyl release is mastered separately from the CD release which is not that uncommon.
Also, most of the good sound engineers have been doing this since the LP was the dominant medium and know exactly what they are doing as far as mastering for vinyl. I don't wanna get mean with you, I'm not trying to, but a lot of what you're saying seems to be based on the misinformation that plagues the audiophile community and is exactly why audio professionals tend to think of the term audiophile in a derogatory manner.
There's no conspiracy among the world's mastering engineers to do a bad job on CD. It's an industry where you're only as good as your track record, so you will do the best you can every time, or you will never get far. Abbey Road do CD mastering. They even do iTunes mastering You think they're going to do a bad job just because it's not vinyl? You think the artists are going to be happy with that when they get the masters back for approval? It's fiction. Audio compression is the act of limiting dynamic range.
You're talking about data compression, an IT technology applicable to digital audio, in the correct context, but a completely different technology from that which I'm referring to, and not applicable here. Unless, of course, you want to open up the can of worms about the fact that a lot of mastering, vinyl or otherwise, is done with software these days, in part or in full, or that the original audio recordings are often digital, though hopefully uncompressed and encoded at a suitable rate and bit depth to be workable with without introducing unpleasant audible artifacts.
To expand further, if an original recording has a dynamic range the difference between the quietest and loudest sounds of anything approaching the 80dB limit of vinyl, the mastering engineer has no option but to compress the audio in order to safeguard the integrity of the playback. Whereas the same recording could, feasibly, be mastered to CD without compression, or at least with a considerable amount less, and so the nuance of the recording is retained more faithfully.
The engineers that master CDs are no less qualified than those mastering vinyl. It's the same practice, just different considerations EQ and audio compression are the two main tools in mastering, no matter the final format You have to consider what the format is to be and adjust your parameters to suit it, that's where the art comes in, but the skill of doing so is learned and nobody has some secret alchemic method of producing better results than another.
And of the engineers who mastered vinyl in the heyday, most are either retired or branched out to do CD and digital also because otherwise they'd have starved to death when the vinyl industry dried up in the late 80s There are a few original artisans still out there, sure, and they're no doubt very busy and very much in demand from those that wish to invoke the mojo therein, but most artists will just go with an engineer they feel they can communicate with and trust to not make bad decisions with their product.
This is not a myth. This is happening. The loudness war isn't imaginary. Yes, CDs have the ability to have greater dynamic range than vinyl. I'm not arguing that point. And I am aware that engineers mastering CDs are as qualified as those who master for vinyl However, the expectations from the record labels for mastered CDs are different. As you imply, if they were doing a BAD job on purpose of mastering, they wouldn't have jobs.
They are doing what is expected of them by the people who pay them. I don't fault them for that, but they are not giving the public the best product because CDs, in general, are mastered like shit to compete in our louder is better marketplace.
And that is a shame. But the loudness war is not format specific. So they started compressing the hell out of everything.
But there are some instances of artists releasing less compressed versions, and, yes, those tend to be on vinyl, but that's nothing to do with the format limitations or strengths but everything to do with pandering to a market and giving them what they want in order to recoup your investment. The main body of vinyl purchasers, outside of the DJ market who want the compressed versions so they mix well with other tracks, usually , are those self same audiophiles that fill the internet with misinformation.
Lossless uncompressed digital audio files would be a higher fidelity option if it's all about the quality. A downvote for this? You guys are delusional. If you can't take criticism, educate yourself and don't believe in falsifiable hokum.
Home recording didn't really exist commercially until the 80's, and didn't really get popular until the 90's. So yes, you are a bigger music lover if you collect vinyl, because it means you care about hearing more music, music that may not be necessarily available otherwise. This presupposes that caring about obscure older shit makes you a bigger music fan than caring about obscure newer shit, which is totally absurd.
This whole argument also ignores the huge internet community for sharing obscure vinyl and cassette rips. Collecting the physical medium isn't the only way to listen to those albums.
Not that it invalidates your argument, but this is just not true. There has been consumer-grade recording equipment available since at least the 50's. It's just that, as you said, it's been getting exponentially higher quality and easier to use.
That, coupled with the internet, is why you see it more and more now. Wasn't Wild Honey the first home recorded album? I've never heard of others until the mid 80's. There was a lot of like, field recording stuff of folk musicians, but that seems a little different to me.
But yea, you're right, the technology existed. I meant to imply affordability and useability in what I said but I didn't really word it well. Matt says:. May 25, at AM. Laura says:. July 11, at AM. July 11, at PM. Ryan says:. August 12, at AM. Jenkins says:. August 16, at PM.
August 17, at AM. Marsha says:. August 25, at PM. August 26, at PM. September 21, at AM. Jeanine says:. October 14, at PM. Bernie says:. October 4, at AM.
Ellen says:. November 8, at AM. Mitch says:. February 11, at AM. Kisa says:. April 19, at PM. April 21, at AM. Zachary Dockery says:. April 20, at AM. Tony says:.
April 22, at PM. Lowell says:. May 12, at PM. May 28, at PM. Michael says:. July 24, at PM. Connor says:. July 27, at AM. Margot says:. September 1, at PM. Victoria says:. September 10, at PM. Amy Smith says:. September 15, at PM. Alexis says:. October 10, at AM. October 11, at PM.
February 18, at AM. February 20, at AM. Yoichi says:. February 21, at AM. February 24, at AM. Susan says:. May 11, at PM.
Kai says:.Rock & Roll Hall of Fame Rock and Roll Boulevard Cleveland, Ohio ROCK ().