Sterbus wrote:No need to justify !! I find this music good even in demanding mood, if in this particular case I'm looking for some good analog sounds, fat bass, mono drums...
But why would someone "look for" these things in a vaccuum? I do understand analog keyboard sounds, just as I understand tube guitar amps, but these things in themselves have very little meaning. The most luscious guitar sound in the world can't redeem a shit solo. Jon Lord of Deep Purple used a deliciously fat, overdriven Hammond sound from a miked Leslie speaker though a Marshall stack -- but he's still Jon Lord and not, say, Dave Stewart. (Mike Ratledge used a completely shit Lowrey organ sound and yet his solos are still somehow musically original.) My music's realized in mono on a 16-bit sound card but I didn't intend it that way. These things happen to be sonic artifacts, but anything good about my music is good in spite of these things, not because of them.
Yes, Emanuele, I have an enormous bug up my butt about this, but it's precisely the same bug that Zappa had (same species 'n' everything) and let's leave aside for a minute how this relates to rock music forms (because Zappa had nothing at all against primitive rock forms per se) and just talk about sounds. It's one thing to make an argument for the warmth and emphasis on even harmonics of tube amps or the keyboard actions and unique sound-generating strategies of classic 70s analog keys. It's quite another to fetish tank reverb and one-mic drum recording just because it was used in the 60s (they had no other freaking choice!) or those wacky comb-filter effects (flanging/phasing).
The only reason a musician of today would waste a microsecond of his or her time intentionally recording a totally crap drum sound is this: nostalgia. And on one level that's fine; people are entitled to their memories and no doubt a certain generation would find the thought of safey pins in their noses nostalgic, too. The problem here that goes beyond a simple "live and let live" is that there are way more people out there (at least in the developed West) for whom the High (and we do mean "high") 60s evoke these sorts of memories than there are of anybody else living.
These horrific human specimens, the Baby Boomers, for whom tank reverb and mono drum tracks evoke Oneness with the Universe (or at least a communal wine drunk in a muddy field), while currently kicking and screaming their way into retirement (at last!) still have their withering claws sunk deep into the cultural apparatus, just as they have had for their entire lives. The punk movement was a genuine Generation X attempt to rebel against the cultural hegemony of having one's big brother's music forced down one's throat, but the Boomers were already young professionals, so punk was almost instantly co-opted. You'll notice that every new music scene that has emerged since then sounds vaguely the same? Ever wonder why? Ever wonder why it's taken so many years for math rock to find a youthful following, emerging from the same garages (maybe it didn't sound enough like the Boomers's past)? Ever wonder why a 19-year-old kid in a band like Tame Impalas would think it's the coolest thing in the world to sound like his grandfather's music?
It's called Demographic Imperialism.