Bush

[Gallowglass]

ok, your opinion is your opinion. What do you mean when you say "contrived".. do you mean fake or disingenuous?

Yes, it just seems terribly disingenuous...like cruisin' the waves of fake angst ridden power pop whilst all the while struggling to maintain the proper image set against a backdrop of mediocre (at best) music.

huh?

can you say that in piglatin

esYay, itway ustjay eemssay erriblytay isingenuousday...ikelay uisincray' ethay avesway ofway akefay angstway iddenray owerpay oppay ilstwhay allway ethay ilewhay ugglingstray otay aintainmay ethay operpray imageway etsay againstway away ackdropbay ofway ediocremay (tay estbay) usicmay.

[f.sciarrillo]

Yes, it just seems terribly disingenuous...like cruisin' the waves of fake angst ridden power pop whilst all the while struggling to maintain the proper image set against a backdrop of mediocre (at best) music.

huh?

can you say that in piglatin

esYay, itway ustjay eemssay erriblytay isingenuousday...ikelay uisincray' ethay avesway ofway akefay angstway iddenray owerpay oppay ilstwhay allway ethay ilewhay ugglingstray otay aintainmay ethay operpray imageway etsay againstway away ackdropbay ofway ediocremay (tay estbay) usicmay.

Eryvay oodgay ostpay. Iway ikelay esethay ..

[VENTGtr]

Like them. First album was good, and they did keep progressing. Songs
were good, lyrics were good. Nigel Pulsford's playing was so much noise
and dissonance, it took a bit to see if he was a good player or just a noise-
maker. After going through a lot of their stuff, realized he was good, just
had a different style than most, and was creative, which is a good thing.

Maybe not for everyone, but more interesting than a lot of others. He has
a good sense of tying in melody, good lines, with feedback and odd effects.
Plus, they use a lot of interesting chord voicings.

With each new albums, a good many of their song structures got relatively
complex for Rock. Odd measure counts, etc.

Pulsford left at some point and I saw them just after. Put on a way better
show than I expected and sounded great.

[Banned]

Like them. First album was good, and they did keep progressing. Songs
were good, lyrics were good. Nigel Pulsford's playing was so much noise
and dissonance, it took a bit to see if he was a good player or just a noise-
maker. After going through a lot of their stuff, realized he was good, just
had a different style than most, and was creative, which is a good thing.

Maybe not for everyone, but more interesting than a lot of others. He has
a good sense of tying in melody, good lines, with feedback and odd effects.
Plus, they use a lot of interesting chord voicings.

With each new albums, a good many of their song structures got relatively
complex for Rock. Odd measure counts, etc.

Pulsford left at some point and I saw them just after. Put on a way better
show than I expected and sounded great.

odd measure counts.. interesting

[bassist_25]

Like them. First album was good, and they did keep progressing. Songs
were good, lyrics were good. Nigel Pulsford's playing was so much noise
and dissonance, it took a bit to see if he was a good player or just a noise-
maker. After going through a lot of their stuff, realized he was good, just
had a different style than most, and was creative, which is a good thing.

Maybe not for everyone, but more interesting than a lot of others. He has
a good sense of tying in melody, good lines, with feedback and odd effects.
Plus, they use a lot of interesting chord voicings.

With each new albums, a good many of their song structures got relatively
complex for Rock. Odd measure counts, etc.

Pulsford left at some point and I saw them just after. Put on a way better
show than I expected and sounded great.

Pulsford's guitar playing definitely is an acquired taste. It kind of reminds me a lot of Neil Young's lead playing. I really enjoyed Bush's first album. Their second album required a much more indepth listen. It definitely wasn't as accessible as Sixteen Stone. Even the singles were kind of boardering on the edge of advant-garde (e.g., Cold Contagious). It sounds like there may have been some Sonic Youth influence going on. I really don't remember much of them after that except a single called "Letting the Cables Sleep" or something along those lines. They were starting to get a little too produced by that time, which sadly is what happened to a lot of bands that originally came out of that time period (e.g., Collective Soul, Smashing Pumpkins). The one exception I can think of where that was a benefit would be Silverchair. I caught a video of theirs about two years ago, and it didn't even sound like the same band...and Daniel Johns can actually sing in key now.

[Colton]

Damn, i thought this was going to be a comparison thread about 70's porn vs todays.

[VENTGtr]

[
Pulsford's guitar playing definitely is an acquired taste. It kind of reminds me a lot of Neil Young's lead playing. I really enjoyed Bush's first album. Their second album required a much more indepth listen. It definitely wasn't as accessible as Sixteen Stone. Even the singles were kind of boardering on the edge of advant-garde (e.g., Cold Contagious). It sounds like there may have been some Sonic Youth influence going on. I really don't remember much of them after that except a single called "Letting the Cables Sleep" or something along those lines. They were starting to get a little too produced by that time, which sadly is what happened to a lot of bands that originally came out of that time period (e.g., Collective Soul, Smashing Pumpkins).

Ya, I'd agree with all of this. I also like the dissonant kind of thing he added.
Within the context of melodic songs, can be an unexpected and really effective
way to add interest [Richard Lloyd and Robert Quine's playing on Matthew
Sweet's albums (Let alone with Television and The Voivods) were stellar at
that kind of thing. How Sweet had them do their parts had a bit to do with it
but their playing was pretty angular on their own].

To be able to shift gears from a nice, melodic line to scrap metal in a blender,
and back, or working together, within a "pop" framework is really cool to me.

I did think Razordblade Suitcase was a good leap in their development. If they
would have done 16 Stone ii don't think it would have been that interesting.

Actually, that whole British schpiel I'm a huge fan of. Catherine's Wheel gets
applauds from me any time and Brian Futter is among my favourite guitarist.
He was more melodic but could add "noise" that was just so cool.

[songsmith]

Damn, i thought this was going to be a comparison thread about 70's porn vs todays.

Classic post, classic Colton.--->JMS

[bassist_25]

Ya, I'd agree with all of this. I also like the dissonant kind of thing he added.
Within the context of melodic songs, can be an unexpected and really effective
way to add interest [Richard Lloyd and Robert Quine's playing on Matthew
Sweet's albums (Let alone with Television and The Voivods) were stellar at
that kind of thing. How Sweet had them do their parts had a bit to do with it
but their playing was pretty angular on their own].

To be able to shift gears from a nice, melodic line to scrap metal in a blender,
and back, or working together, within a "pop" framework is really cool to me.

I did think Razordblade Suitcase was a good leap in their development. If they
would have done 16 Stone ii don't think it would have been that interesting.

Actually, that whole British schpiel I'm a huge fan of. Catherine's Wheel gets
applauds from me any time and Brian Futter is among my favourite guitarist.
He was more melodic but could add "noise" that was just so cool.

Good call on the Matthew Sweet, Dave. I think I may go to Youtube after this and listen to some of his stuff.

You're right about Pulsford's guitar playing adding dissonance and ugliness to stuff that is relatively consonant and easy to listen to. Actually, that's something I could start a whole new thread on: I use to really hate dissonance in music. As I grew older, I became more accustomed to dissonance. I don't know if it was a result of me just getting use to it or the fact that I could appreciate deeper and more complex harmonies. I remember I had trouble listening to Alanis Morissette's Head Over Heels because there was this chord in the chorus that didn't sound like it totally belonged. Now it makes sense to my ears. I couldn't listen to Pink Floyd's Shine on you Crazy Diamond for the longest time, because I couldn't handle that weird A chord. Now, I think Gilmour's a genius for writing that. Back when I was 14 or 15, there's no way I could have listened to something like Mahavishnu Orchestra or Naked City and appreciated it like I do now.

But back on topic of Bush: Rob always says how hard Bush lyrics are to remember, because Rossdale's lyrics make no logical sense.

I bleach the sky every night
Loaded on wrong and further from right
Spinning 'round through howling moons
'Cause they're always there, whatever I do

I'm cool with literary devices, but WTF does that even mean? It reminds me of Graceland-era Paul Simon, when he wrote these really off the wall lyrics and crammed as many of them as he could into a single measure.

[VENTGtr]

Unfortunately, for the most part, Lloyd and Quine aren't on anything after "100% Fun".
Brendan O'Brien produced "Blue Sky on Mars" and he and Sweet covered the guitars.

It's a good album but missed Lloyd and Quine. "In Reverse" is like a totally different
animal. Would have interesting to hear them on it. Kind of perfect as is...but Richard
Lloyd being one of my favourite guitarist...I like hearing him on anything.

Quine WON'T be on any more...having died and all...but HOPEFULLY, Sweet will
enlist Lloyd more at some point (Haven't heard the last one, so maybe he's on there).

One of the things I loved about the "Alternative" stuff, and Bush used a lot, were a lot
of 9ths, Suspended chords, even Dimished and Augmented chords. Lot of those on
60s stuff (Who, Beatles, etc.) but then it all kind of disappeared (Not including New
Wave, which did use more interesting voicings), with the exception of Mr. Lifeson.

Agree on getting "used" to hearing and, maybe understanding and gaining appreciation
for dissonant stuff. Love Prog, but most of the more harmonically interesting things in
there were more, for lack of a better term, "pretty". Steve Howe, for example, playing
some really beautiful stuff. Though there were more complex chord voicings, they went
the way of using Traditional/Celtic, etc. influences more than the Jazz side .

Think I know where you mean on the Morrisette album. Will have to go back and listen.
While I really like that album, period, the thing that makes it a favourite of mine is just the
SOUND. Read an interview with Glen Ballard long ago where he said that much of that
album is actually just the "demoes", or tracks taken from them and all of the vocal tracks
were from the "rough" tracks.

Guess having Glen Ballard as Producer/Collaborator makes that possible.

Sort of back-to topic...or to a variant of:

Lyric-wise, though singers don't ever seem to like it, I've always been a fan of vague,
"cryptic", kind of "non-sensical" lyrics. Weiland wrote some great lyrics.

OH YEAH. In case you hadn't heard, Edwin (Former IME) has a new project with Mike
Turner (Our Lady Peace), and a couple of other guys. Called Crash Karma. What I've
heard is REALLY cool. Maybe not I Mother Earth cool (Not much is)...but seems better
than IME Post- Edwin (Might be unfair since I've just broken out Blue, Green, Orange and
started relistening...but on first listen, I like it more. Since it's highly unlikely to hear more
IME, and OLP sans Turner..eh...might be the best can hope for.

[bassist_25]

Jagged Little Pill is definitely an iconic album from the 90s. While the album cut of Hand in my Pocket is cool, nothing beats the rocked up live version. She played it on Saturday Night Live. I wish that was what made it onto the album.

I was just thinkig of I Mother Earth today. Always a kick ass band for sure.

[VENTGtr]

She had Taylor Hawkens (Foo Fighters) and Jesse Tobias (RCHP...for about
an hour...and Morrissey) in her touring band. Some pretty impressive guys
to have in a band.

Love the bass line on that tune.