― Shaky Mo Collier, Friday, 2 August 2002 00:00 (twenty-one years ago) link
― the pinefox, Saturday, 3 August 2002 00:00 (twenty-one years ago) link
― dave q, Saturday, 3 August 2002 00:00 (twenty-one years ago) link
"In the US, bands can sell, say, the Dirty South sound or the Seattle sound or the East/West coast sound or the Oakland sound or the whatever sound. In England, we have.... NW1. And that's it. "
For a start, this is so fucking wrong that it's almost offensive, except for the fact that it so UTTERLY typifies everything that is wrong with the UK, ie *LONDON* music scene. The fact that only what happens in London and specifically NW1 (ever try to get someone to got to Brixton to see a gig if it's not at the Academy?) is the only thing that people pay ATTENTION to does not mean that it is the only thing that exists.
I'm in love with the Hull scene at the moment. It's remote, it's isolated, and in that splendid lack of limelight have grown up these wonderful unique, independant, and yet instantly recognisable bands like Fonda 500, Harvey, Edible 5ft Smiths et al.
In the US, it's much easier to achieve the sort of spirit of uniqueness that comes from geographic isolation.
The other thing that gets ignored is the age thing, and the length of apprenticeship that American bands/musicians go through before they achieve any kind of success. The years in a van are critically important in the development of a band as a unit. In the UK, it's not considered odd at all to go from never having played an instrument before to being on the cover of the NME and recording your first album in less than a year.
And the age thing... due to lisencing laws, the age of a musician's first gig is generally (no, I know not always) the same as the minimum drinking age. So the average American band, playing their first proper gigs around 21, already has at least 3 years more experience than the over-18s playing in British pubs.
I don't think American music is necessarily always stronger. Hell, I wouldn't be living and working as a musician in the UK if this were the case. But it is different and it does have different strengths that maybe the British should look at and maybe incorporate if useful.
― kate, Saturday, 3 August 2002 00:00 (twenty-one years ago) link
― mark s, Saturday, 3 August 2002 00:00 (twenty-one years ago) link
Why do all those American songs/Sound so big and lonely/While we're just small and alone/They grow up dying on highways/While we just die by the phone.
― Ally C, Saturday, 3 August 2002 00:00 (twenty-one years ago) link
― Chupa-Cabras, Saturday, 3 August 2002 00:00 (twenty-one years ago) link
(Jefferson: I think we're lost.)
― Myles, Saturday, 3 August 2002 00:00 (twenty-one years ago) link
― Josh, Saturday, 3 August 2002 00:00 (twenty-one years ago) link
― Dom Passantino, Saturday, 3 August 2002 00:00 (twenty-one years ago) link
Naturally whether such a stance is entirely honest is another matter entirely. But I do think that English/Scottish/Welsh acts spend a commendable amount of time tweaking the finer points of their sound. The fashion aspect...eh, what can you do, it's impossible to make any money over there unless you pay attention to the fashion end of things.
― John Darnielle, Saturday, 3 August 2002 00:00 (twenty-one years ago) link
tho the whole posting is pretty unreadable, what can you do, I'm tired
― the pinefox, Sunday, 4 August 2002 00:00 (twenty-one years ago) link
― Tim, Sunday, 4 August 2002 00:00 (twenty-one years ago) link
Of course I'm making this up as I go along, so it might be absolute nonsense.
― Ben Williams, Sunday, 4 August 2002 00:00 (twenty-one years ago) link
― John Darnielle, Sunday, 4 August 2002 00:00 (twenty-one years ago) link
― cybele, Sunday, 4 August 2002 00:00 (twenty-one years ago) link
― lyra in seattle, Sunday, 4 August 2002 00:00 (twenty-one years ago) link