Busy listening to vinyl.

[ThePickup]

Greetings Everyone.

[Nick]

Hiya.

[andrew Ivimey]

Yo!

[Dave the bass]

Hello.

DTB

[Mike H]

Yay!


.

[floppybootstomp]

Wotcha

[Ali Tait]

How do!

[andrew Ivimey]

Yeah, I listened to some records the other night; black sabbath at 78! pppphhhhhrrrroooooaaaaaaarrrrrrrrr - can't beat a record player!

[Dave the bass]

- can't beat a record player!

You can if you've got a big stick and are angry.

Top tip that.

DTB

[Mike H]

Hold on, Black Sabbath @ 78 rpm? Bit squeaky was it? Like chipmunks version?

.

[Greg]

Mike, I think you're missing Andrew's irony. With the limited imformation from our new member, what is the point of this thread?

[andrew Ivimey]

Oh, I spect Mike is wise to that one; it does seem a bit odd though, doesn't it.

new member: 'Hi, I'm breathing.'

us lot: 'ah, good.'

So maybe Mike was thinking, 'hm, don't get to what Andrew is alluding here, but we may as well make somethig of this thread.'

I did think that perhaps someone would remember where '...black sabbath at 78rpm...' comes from. I don't!

[al newall]

This might be useless information but at least it helps to give some substance to this thread.


Unknown Pleasures (1979) *****

Everyone from U2 to Nirvana have something rooted here on one of the most influential albums of all time. '90s rock's moans of despair were first heard here, and we've yet to hear the end of it. Yet on this album, Curtis' gloom is tempered and at times undercut by the exhilaration of his bandmates, who are clearly thrilled to be in the studio for the first time and able to work out all sorts of interesting ideas. The tension makes for a highly immediate and compelling listen. Bernard Sumner's simple, jagged guitar lines are more up front than they'd ever be again, but even at this juncture his guitar serves mostly as decorative blur - the heart of the band lies within Peter Hook's subliminal bass and Steve Morris' robotic drums, both of which act as lead instruments. Drawing from the darker and dirgier side of heavy metal - "Interzone" sounds like Black Sabbath at 78rpm - as well as the aforementioned electronic, coldly European sounds of Eno-era Bowie, Joy Division create a startlingly original and highly unsettling post-punk sound. It begins brightly enough with the textbook hooks and forward momentum of "Disorder", with its "lights are flashing, cars are crashing," the sound of which appear later in "Shadowplay." Very quickly, though, it moves into dark, uncharted territory, as Curtis shares a drink and walks outside, looking for a friend of his at the centre of the city or at least one honest man, only to find "Wilderness". He falls to his knees, begging to know "where will it end?"; at 22, he remembers when he was young, his voice already echoing from beyond the grave. He witnesses a loved one break down in the absolute classic "She's Lost Control". Curtis' obsessiveness might sound melodramatic and overwrought - is it my imagination or does he compare himself to Jesus H. Christ at one point? - in other hands, but he makes the listener truly feel as if he's taken one step into the void and falling, dragging you with him. Producer Martin Hannett gives the music a coldly efficient sheen to add to this icily Teutonic masterpiece. Nothing else the band did ever came close to this peak, to my ears; even if you think you might not like Joy Division, you ought to at least give this a listen if you are at all interested in how modern rock got to where it

[/quote]

[andrew Ivimey]

Brilliant! thanks Al. I knew someone would come up with something; not that it looks like the sort of thing I'd be cauight reading though

[al newall]

not that it looks like the sort of thing I'd be cauight reading though Wink

Well it did make me wonder... a bit.