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The Donators
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Posts posted by Skummy

  1. I have a running joke with a couple of friends of just shouting "....TUSK!" after anything which could be construed as sounding even vaguely like an extended drumbeat. It's a fun song, but not one of my favourites from Fleetwood Mac.

    And that's kind of the story of this group for me, except maybe the Nick Drake track, which I love. Some decent songs by artists I like, but not my favourites from any of them. A strange choice for Sparks - "Number One Song In Heaven" was a bigger hit, and a better track, that would have been a better fit here, or "When Do I Get To Sing My Way" much later down the line. I will throw in that Sparks are still great, though, and their new album is definitely worth a listen.

    I like Oliver's Army, but Costello has much better, and Shipbuilding being mentioned in particular makes me think that's a much, much better song, in either version. Oliver's Army is a little like Fairytale Of New York in that I'm deeply uncomfortable whenever I hear it come on in a pub and hear people kind of mumble through half of it, only to really clearly and joyously sing the slur, as if it's just giving them license to do so.
    From the same album, I prefer Accidents Will Happen, though I don't really see what this is adding that I Don't Want To Go To Chelsea didn't already achieve in terms of making it on to this list.

  2. What's interesting with a lot of the recent list is that we're seeing real move forwards in "post-punk"; Public Image Ltd pulling from Lydon's own musical tastes (Krautrock, Beefheart etc.) far more than the usual punk stuff, The Clash really moving away from the two minute three chord stuff and incorporating other elements, The Only Ones bringing a real pop sensibility to the table, Magazine being far more sonically interesting than The Buzzcocks were, and so on, to the point that something like "Alternative Ulster" already starts to feel a bit old hat for "just" being a straightforward punk tune.

    My Dad always moans about The Stranglers being included on punk compilations, because he saw them as a jobbing pub rock band who jumped on the bandwagon, and that most "punk" bands by '78 were latecomers, copy-cats, or pub/blues rockers who had found a new meal ticket. I wouldn't put Stiff Little Fingers in that category, but it's interesting that barely a year after the first Pistols record it already feels like things have moved on.

    '76-'81 or so is such a fascinating period, because it feels like everything is moving so quickly, and so many people are just throwing things at the wall. I don't know if it will come up, but I'm expecting to see Pete Shelley's "Homosapien" later in this list - seeing ex-punks like Shelley and Lydon dabble with electronic music and dub, seeing disco and funk take huge leaps forward in terms of production, and then having Bowie's soul phase still to come, and how all of those elements start to intermingle - mostly in gay clubs - to produce most of the white pop music of the '80s, there's just so much going on.

    • Like 2

  3. Ever Fallen In Love is one of the greatest pop songs ever written, I adore it. I think it was Mark Radcliffe who described it as "like Buddy Holly wrote a song to pogo to". I saw the Buzzcocks live in around 2008 or 2009, thinking I only knew one or two of their songs, and I just knew (and loved) practically everything they played. Wonderful band. I expect we'll see stuff from Pete Shelley and Magazine later, too.

    Lots of stuff from around the punk era, obviously, and some fantastic choices. Part of the reason I was disappointed that the Pistols seem to have been over-represented in this list is being assuaged by the amount of exciting New York punk and early post-punk showing up. There was a discussion early about the Year Zero concept, and I think that was a far bigger deal in the UK, when punk had a bit more of a coherent narrative/ideology behind it (largely thanks to the likes of Malcolm McLaren), as well as being a pretty small incestuous London-based movement for the first couple of years, whereas in the US it was a less politically charged movement, and more just whatever groups of oddballs and weirdos got on stage in CBGBs - so you end up with wildly disparate bands like Television, The Ramones, Blondie and Suicide all falling under the category of "punk", while not really having all that much in common with one another, never mind with someone like the UK Subs.

    I love Tom Waits, and think Blue Valentines is gorgeous, but I don't really think Tom Waits becomes "important" for another couple of years, so I'm surprised he's popping up a couple of times already!

  4. I love Kate Bush, but Wuthering Heights is silly. Impressive, interesting, but far from her best work. It feels like the artist distilled to her purest form, which is rarely what you actually want, you want some outside, guiding influences. Undeniably unique, though.

    "Holidays In The Sun" was written after the Pistols were booked to play in Jersey, but were banned from performing and ended up stuck on the ferry. It's a decent song, but don't really know why it's made this list alongside two other Pistols tracks.

    "Uptown Top Ranking" is lovely. I can't really explain why, but I love it. I first became aware of it through the very odd Black Box Recorder cover version.

    Fela Kuti is an absolute genius. One of the best.

  5. "Young Hearts Run Free" is one of my favourite songs ever. I would put it alongside "Be My Baby" as one of the greatest bits of pop music ever recorded, just an absolute masterpiece.

    There's been a lot of other stuff on here lately that I like, but don't have much to say about. I bloody love Jonathan Richman, though.

  6. Sparks are one of my all-time favourite bands; I love a band who, when you hear them, you immediately know who it is. And you're never going to mistake Sparks for someone else. I can't even be a hipster fan and point to all the better songs in their back catalogue, because "This Town..." fucking bangs.

    "Only Women Bleed" is a song I first knew from the Tori Amos cover, but grew to know the original more as I became a bigger fan of this era of Alice Cooper. Bizarrely, it's one of the only songs my Gran ever owned, alongside a few Shadows singles. I have no idea how that came about.

    "Jesus' Blood Never Failed Me Yet" is a song I know from a later version, where Tom Waits' voice is added to the mix alongside Gavin Bryars' orchestration and the original found recording. It's gorgeous. I once thought I was having a complete mental breakdown, because I was lying awake in a chalet at Butlins, and someone in the next chalet started playing this song at such extreme volume that it sounded like it was coming from inside my room. The noise was just surrounding me, to the point that I couldn't tell where it was coming from. Even though Gavin Bryars was performing that weekend, it felt like such a bizarrely incongruous song to just be blaring out in the middle of the night, I couldn't comprehend that someone would be doing that. Drugs were maybe involved too, it might have been the last weekend before I got clean. I don't think I've listened to the song since.

    I love Burning Spear. I used to reflexively hate reggae, because I associated it with a lot of incredibly dull pot-smoking hippies and surfers I knew who worshipped Bob Marley, and none of that ever did anything for me. I remember criticising an interminably awful, all-white local reggae band on a local music forum about 15 years ago, and their defence basically being, "reggae is music to chill out and smoke a spliff on the beach too, how can you not like it?". A massive misreading of what I might find interesting, and of what reggae is about. I gradually started to realise how much great stuff there was within the genre that went completely overlooked by the people who had put me off it, and Burning Spear was one of the first acts I got massively into. Marcus Garvey probably isn't their best song, but definitely their most well known, and arguably their most important - musically, but also culturally, as I've seen it credited for bringing Garvey's name back to prominence. 

  7. Piss Factory is great, though I prefer the Swarf Sisters version that's mentioned.

    Tom Waits is one of my all-time favourites; while a lot of my love for him comes from later than this (Rain Dogs is probably my all-time favourite album), Heart of Saturday Night is just lovely. Early Tom Waits is very much stereotyped (with good reason, admittedly) as songs about drinking by a drunk. Most of them are a bit mournful and self-pitying because of it, whereas Heart of Saturday Night is almost the exact opposite of that, a rare example of him getting upbeat at this time. Jonathan Richman does a great version of it, and in a lot of ways it almost feels more of a Richman song than a Waits one already - it's a very 1950s "the world is our oyster" song.

  8. 58 minutes ago, Liam said:

    If ever there felt like a @Skummy song, it is 'Next'. I might be wrong, but it has you all over it.

    100%! I love Jacques Brel, love Alex Harvey, and it's a perfect combination of the two.

    Scott Walker is one of my favourite artists ever, but his Brel covers tend to be over-produced and a bit too crooner-y - the increasing desperation and insanity in Harvey's voice is perfect for Brel. His version of "Delilah" is superb for similar reasons.

    Another great list for me, really - Jolene is superb, and 20th Century Boy is (as I think I've mentioned before) my favourite T-Rex song.

  9. yeah, that's a run of songs right up my street!

    Crazy Horses is an absolute banger.

    All The Young Dudes is something that, even knowing the most famous version was recorded by Mott The Hoople, I still 100% think of as a Bowie song. There are plenty of other versions, but it just drips early '70s Bowie. Obviously he wrote it, but I think his style permeates it even beyond that. A wonderful song, by an underrated band. 

    The New York Dolls tend to get credit for what came after, rather than what they actually did at the time, and in many ways it's understandable. But Personality Crisis is a song at least as good as anything by anyone they influenced. 

    Ballroom Blitz is much more on to the novelty, goofy side of British glam rock than anything we've seen before (even Slade!), but it's great fun. Love The Damned's version too.

    • Like 1

  10. 15 hours ago, Gabriel said:

    it really sounds like they understand what the wrestling gamer community wants.

    That's actually the biggest alarm bell ringing for me when I watch that trailer. Especially with no footage, it feels more like a wishlist than a game in development. 

    • Like 3

  11. That first Roxy Music album is fantastic. I wrote them off for years as being a bit of glossy style over substance wank, until someone introduced me to stuff like Virginia Plain and Do The Strand, and even weirder tracks like 2HB, Ladytron, and Every Dream Home A Heartache. I don't think anyone has ever really truly found that balance of weird and experimental with stylish and poppy as well as they did.

    • Like 1

  12. 10 hours ago, metalman said:

    I can appreciate Captain Beefheart's music and I understand why people admire it. I can't say I really find it fun though, and I rarely listen to it. But that song's cool, Clear Spot is a decent album and the Magic Band - particularly the drummer - were some great musicians.

    I think I mentioned the first time Beefheart came up, but I hung out with the drummer, John French, after seeing the Magic Band live a few years back. Since they reformed, he alternates between drumming and doing lead vocals, as he has a pretty spot-on Beefheart impression.

    I've met a few old rock star types that have been really strung out and basically so burned out on drink and drugs that you can't get a coherent sentence out of them. When I had the opportunity to meet Drumbo, I was pretty convinced that anyone who had been with Captain Beefheart on-and-off since he was a teenager would be much the same, and almost backed out of it. When I first saw him, he shook my hand really firmly and held eye contact for a long time and I thought, "Oh fuck, here we go". 

    Then everything else he said was just like chatting to a kid after their band has played their first ever gig; he wanted to know how I thought the gig went, what my favourite songs were, and was really apologetic that they didn't get to play the set he wanted, so I found myself telling one of Captain Beefheart's Magic Band what I used to tell young bands I booked - the audience don't know what you meant to play, they only know what you did play, so don't worry about it.

    Yoshimi, the drummer from Boredoms (and also inspiration for Flaming Lips' "Yoshimi Battles The Pink Robots"), had told him earlier that day that he was her favourite drummer, and he was just genuinely gleeful about it, he told me and then just went "HOW COOL IS THAT?!". 

  13. We're getting in to some stuff I absolutely love - Faust are one of my favourite bands, and I'm surprised not to have already seen a couple of other Krautrock tracks make the list; though I wouldn't complain with them being here broadly representative of the genre, and then Kraftwerk popping up later. Krautrock at its best was always intensive repetition with minor variations, and that's exactly what's going on here, without the more mechanical feel of later Faust, or Neu!.

    Silver Machine is fantastic - Lemmy's contributions to Hawkwind always had a bit of a grungy, messy feel that made them a bit more rough around the edges and "heavier" than some of the more hippy-ish tracks they were doing around the same time. Silver Machine is a weird song - sort of Steppenwolf through a sci-fi filter - but has become such a classic that you almost overlook the oddness of it all.

    Big Star are just lovely. They feel like a precursor of '80s/'90s indie rock more than a '70s rock band, and it's unsurprising that they're a major influence on the likes of R.E.M., just wonderful music.

    I've already talked about my love of Captain Beefheart before, just fantastic stuff. This song has a groove to it that I adore.

  14. I literally just bought Spider-Man, so let's hope it's not that. 

    I miss the days of getting a couple of quirky indie titles with the monthly games, though - I have a monthly data limit, and a 40GB+ major title massively eats into that.

  15. 26 minutes ago, Ollie said:

    Thanks Skum, all of those have been addressed now.

    I did think 'left the business' was a little severe, and had put it in as a placeholder, but you're right to suggest they need changing.

    There's going to be a bunch of name issues I think, I've gone back and forth on whether to use real names or not for people who have never been known by anything else. For Strowman, for instance, he's never been known as anything else, and where he's a direct product of WWE, it's not like he has an indy name to fall back on, so I've umm'd and ahh'd over calling him Adam Schurr or Braun Strowman.

    I would probably go with the WWE name in cases like that, just for clarity; it saves people having to second-guess what names people might be under. If it's the only name he's ever used in wrestling, it makes sense.

    Given that he's a Performance Center guy anyway, it might be worth setting him as a Dojo graduate for the WWE, so it would make more sense for him to debut there under that name anyway.


  16. Random things I've spotted scrolling through:

    • Abdullah The Butcher should be black rather than Middle Eastern
    • Braun Strowman's full name is given as Braun Strowman, but shortened name as A. Schurr
    • Bret Hart is set to Left The Business, when he should probably be a Retired Wrestler - he was Commissioner for the WWA in 2001, up until his stroke in 2002
    • Should "Dalip Khali" be Dalip Singh, or Giant Singh? I'm not aware of him ever using the name Dalip Khali
    • Should EVIL's default name perhaps be Takaaki Watanabe?
    • Goldberg is set to Left The Business, when he probably should be either On Hiatus or have some sort of pre-set starting absence, as he wrestled in 2002.
    • Dos Caras Jnr has "Jnr" stylised in that way, while other names such as Jimmy Snuka Jr go for "Jr". 
    • Josh Matthews should be Josh Mathews, with one "t". He also should probably not be set as a Non-Wrestler, as he wrestled briefly for the XWA in 2001 and 2002 following Tough Enough.
    • think Jushin Liger should be Married, though I'm not sure on the dates there to know for sure.
    • Ken Shamrock shouldn't be on Left The Business - again, "Left The Business" tends to be pretty final; in-game, it basically only happens when an already retired wrestler ages out of the game world. For people like Shamrock, Goldberg and Bret, who were just away from the business for whatever reason, "On Hiatus" or some sort of Starting Absence would be better suited. Shamrock would wrestle for TNA in 2002, and had been in talks with NJPW at various times during his UFC career, so it's not unfeasible that he'd have wrestled again prior to 2002.
    • Same for Kevin Nash, Left The Business is too strict. 
    • Unless you're planning on adding Sara Calaway as a worker, Mark Calaway should be Married.
    • I'm not 100% sure of timing here, but Jake Roberts could be set as based in the UK - I know he lived in the UK in late 2001/early 2002, but I'm not sure specifically when he moved over.
    • Patrick Clark's shortened name spells his surname as "Clarke"
    • Pentagon Jr should probably be "Dark Dragon" or "Zaius" by default, to reflect that he may not necessarily be given the Pentagon gimmick
    • Randy Savage is another one who perhaps shouldn't be set to Left The Business - according to Jerry Jarrett's book, he was one of the main stars intended to be a main event talent for TNA in its first year, but they never agreed a contract. While he didn't wrestle again until 2004, it's feasible that he'd have worked earlier if the terms were right.
    • Rey Bourne's shortened name is "A. Rose"


    And then I think you edited/re-sorted the sheet while I was reading it, so I lost my place

  17. love Superstar. I know it mainly through the Sonic Youth cover on a Carpenters tribute album, but it's gorgeous. I find it very haunting, though agree that the chorus is the weakest part of the song, and feels like something almost crowbarred in to make it more palatable.

  18. Jesus Was A Cross Maker and The Lamb Ran Away With The Crown are the too that I know and love, the former especially. I didn't really know anything about her life until just now, though.


    Famous Blue Raincoat is one of my favourite Leonard Cohen songs. I think he lyrically became more interesting, and more mature (if you can say that about a writer who didn't start releasing records until his mid-30s anyway) as he musically moved into cheap synths and weird production choices that make some of his later music a more acquired taste, but this is right at the point where he's moved beyond the likes of Suzanne/So Long, Marianne, which, while great, always have the feel of a bit of a dirge about them, while simultaneously reminding me of middle class hippies. He feels much more unique as an artist here - when Nina Simone sang Suzanne, it didn't feel like a Leonard Cohen song, whereas anyone who sings Famous Blue Raincoat sounds like they're working in his wheelhouse. 

  19. Something I've seen speculated;


    The three Whispers you fight at the end - the three that I mentioned as being reflections of Cloud, Tifa and Barret because they're described as using swords, fighting bare-handed, and using a gun - may be supposed to be a foreshadowing of the three villains from Advent Children, as there's some shared terminology in terms of what some of their attacks are called. I hope not, as I don't want to have to remember stuff from the expanded universe to make sense of what's going on, and hope it's just typical Final Fantasy reusing names for a hundred different things.


  20. I love T-Rex, but prefer them when they still had a bit of their weird hippy airs about them, rather than trying to be swaggering rock stars. "20th Century Boy" is a much better rock track, though.

    "Life On Mars" is, obviously, gorgeous. It's really the first time, on a grand scale, that Bowie showed that there was more going on in his head than rock and folk, as it brings in some of the odd music hall influences as well, with none of it feeling like pastiche. For someone who always gets celebrated as being an innovator and musical chameleon, I'd argue that this is really the first time that he started to feel like a significant artist in his own right.

  21. Chapter 14:


    I got Tifa - I assumed there must be something along the lines of the date mechanics, because there's still elements like "who do you go to first when you fall into the sewers at Corneo's place", and branching dialogue, but hadn't realised this was part of it. 

    Definitely something to try and do differently on my next play-through, then.


  22. 1 hour ago, metalman said:

    Sex Machine is good. Noteworthy (to me at least) for being one of the first big tunes Bootsy Collins would play on, at the age of just 18 or something like that. Bootsy would go on to even better things, of course.

    I was going to mention Bootsy being one of the new players - I think he may not even have been 18 yet. Eventually fired by James Brown, allegedly for being too funky.

    George Harrison is my favourite solo Beatle - though agree that the choice of song here is perplexing - but McCartney is an easy second place. As much dross as he's done, he's recorded some absolutely brilliant tunes, and changes it up a lot. He was clearly the one mucking about getting into Stockhausen and electronic music, and generally trying out new and interesting things both in and out of The Beatles, while most of Lennon's solo material is pretty dull and derivative, yet he tends to be seen as the more experimental of the two, either because of his personal life or because of proximity to Yoko Ono.

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