Namahs Amrak wrote:I'm intrigued about these book series. Are they opinions, or detailed rundowns of the production etc? A friend of mine has this book on The Beatles which discusses every song in details about how they recorded it etc so if it's along those lines, I'm very keen to check one out
JNeff - it doesn't matter what books you read, the good thing is that you read ! There is definitely a level of intelligence that is apparent in people that read books.
THIS ONE seems to intertwine what was happening in and around Bristol (and Portishead) at the time, including the music scene and a little culture, and it does so with an interesting back and forth. It sort of hovers around the subject, picking up bits and pieces on the way, while slowly assembling a puzzle. There are infinite details of odd little things-- from discussions on minute specks of a sample to an astute description of the album cover/feature still that is 'Dummy'.
Each chapter in this one has a subtitle heading which details a paragraph for that chapter; The chapter, "Shock" heading reads "A cacauphony of metaphors-- Grunge breakbeats-- "Strangers"-- The air under an assault-- Public Enemy-- Hard Bop Jazz-- More Tea-- a '79 Classic Chevy Caprice Classic-- The Roland TR-808-- The resonant qualities of the human lung-- Student Housing-- Floors and ceilings-- Church Bells and Curfews-- Highest Tide-- And those fragments become our chapter, much like the samples become our song. I don't know if the other books are laid out this way, but it makes perfect sense, here.
So that entire chapter is spelled out exactly as it said... We start with the odd names given to the earliest remixes as handed out in the clubs, learn about how drum and bass was taking the scene by storm, and in unexpected places, with Grohl being cited for his style on 'Smells Like Teen Spirit', and how it was reported in a medical journal that loud bass could,enter a tiny hole in the lungs... And collapse it. We have a lengthy paragraph on the musical opening of "Strangers" remix from the DJ Essentials series, detailing the four minutes of "mechanical roll and thrum", how at 11 minutes, the mix is "repeatedly stalled upon the turntables chassis, a moment of pure rhythmic vertigo, an assertion of sound's pure substance, of it's bone rattling sovereignty among the world of things."
It goes on to talk about how new this HUGE bass sound was... How it was only just now possible, without needles skipping out of grooves, the very air and floors and ceilings "under assault". We learn how Barrow and Utley started with sampling and their admiration of Public Enemy, an outfitted Chevy Caprice with a hella sound system, how the sampling began, who was doing it, how... And how (what was to become) Portishead started making their own samples to sample... So meta.
Honestly, it's REALLY good. A little fragmented, but not hard to follow. If you like that sort of thing. I'm not sure how detailed it will become as far as straight up production notes go, but I'm grabbing all sorts of interesting things. In a discussion that included the fact that Portishead was now pressing their OWN LPs of 30 or so Portishead made loops to sample, and how they would "age" this same newly pressed vinyl:
"McDonald elaborates, 'There was a lot of tricks that we used to use with loops which were slightly out of time, where within the loop you'd have the next, the slight bit of the next bar within the loop so it gives a falling feel, but it's still a loop... A loop is normally 1-2-3-4-1-2-3-4. But if you were to do a loop, if you go 1-2-3-4-51-2-3-45 you don't end up with a circular loop, you end up with a sort of egg-shaped loop. So it gives the track a roll."
so... I gotta go read some more.
I'm still doing it wrong.
8.1
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