tag:blogger.com,1999:blog-2930669441208946753.post6607263946487256021..comments2011-09-14T15:15:08.413-07:00Comments on Lynch(ed) Recordings News: hyperbole and raging at the imagined 'future'Lynch(ed) Recordingshttp://www.blogger.com/profile/01706739176946999963noreply@blogger.comBlogger7125tag:blogger.com,1999:blog-2930669441208946753.post-18195205564906864122011-08-04T00:13:26.001-07:002011-08-04T00:13:26.001-07:00well, perhaps. but the way people listen to and di...well, perhaps. but the way people listen to and discover music doesn't work like that does it? we are not rationed out the originators from the start. there will be huge numbers of people who love amy winehouse who have never heard the shangri las. or primal scream fans who don't know much by the rolling stones. we begin with what is popular currently or what or parents and siblings are into, and some work backwards. or not. i just don't think that culture, fashion, trend and popularity can be convincingly theorised statistically in this way, which renders the significance of innovation or the potential status of 'master' a basic irrelevance.Lynch(ed) Recordingshttps://www.blogger.com/profile/01706739176946999963noreply@blogger.comtag:blogger.com,1999:blog-2930669441208946753.post-10779530744267243782011-08-03T18:38:29.154-07:002011-08-03T18:38:29.154-07:00I may have been drunk at the time, but building on...I may have been drunk at the time, but building on the shaky cannon of 200 idea, and assuming there's an average of 10 hrs recorded music representing each, then that's a lot of music to take in and come to terms with - anything new has got to fight through the old school to be heard if it's working in the same idiom and recycling the same mannerisms / tricks.logatexhttps://www.blogger.com/profile/14226278990483993173noreply@blogger.comtag:blogger.com,1999:blog-2930669441208946753.post-35063542343792405942011-08-03T11:36:12.732-07:002011-08-03T11:36:12.732-07:00i don't understand your third point?i don't understand your third point?Lynch(ed) Recordingshttps://www.blogger.com/profile/01706739176946999963noreply@blogger.comtag:blogger.com,1999:blog-2930669441208946753.post-1994986859654550492011-08-03T11:34:53.957-07:002011-08-03T11:34:53.957-07:00This comment has been removed by the author.Lynch(ed) Recordingshttps://www.blogger.com/profile/01706739176946999963noreply@blogger.comtag:blogger.com,1999:blog-2930669441208946753.post-38142437401980632772011-08-03T11:07:18.060-07:002011-08-03T11:07:18.060-07:00The hardcore cannon excludes a lot, but most jazz...The hardcore cannon excludes a lot, but most jazz/classical enthusiasts would be hard pressed to name 200 before they got to those unduly left out.<br /><br />The 20 - 30 artists working in the pop [45 rpm] idiom - that's where the fun would start [A is ranked up there with the greats X,and Z].<br /><br />There are many, many hrs to choose from inre. recorded music, but if you want to impress the neophyte folk fan then you're stepping into the ring with the feelwheelin' Bob Dylan et al.<br /><br />Before recorded music you only had to compete with the best musician / signer in the village, and this simplified things somewhat.logatexhttps://www.blogger.com/profile/14226278990483993173noreply@blogger.comtag:blogger.com,1999:blog-2930669441208946753.post-78882165511413419522011-08-03T10:33:19.264-07:002011-08-03T10:33:19.264-07:00these are good points i think, which probably dema...these are good points i think, which probably demand quite long winded responses, but i'll try to be brief. you are quite right about the statistical decline in anything 'new', but those groundbreaking events still occur i think, (we might look at the huge ground between bach and harry partch and then again to james tenney?). but the 'hardcore classical/jazz cannon' excludes a huge amount doesn't it? with a great deal more than 200 significant innovators i would think. but the point here is not so much about winehouse's perceived innovation, but rather her cultural impact, which does not demand that she 'push things forward' necessarily. also, i think that if we view popular music's chronology what we are really talking about (to be massively over simplistic) is a vernacular song of 'folk' origin, rather than the arguably more institutional and educated classical or jazz repertoire, where reworking of learned or melody is and has always been the norm. i'm not sure that originality or innovation should always be the primary aspect to an artist's reputation or stature.... but this whole post is a bit of a knee jerk reaction, and i wouldn't claim that it is particularly considered or well researched! thanks for your comments though, a very interesting perspective, which i may well end up agreeing with.Lynch(ed) Recordingshttps://www.blogger.com/profile/01706739176946999963noreply@blogger.comtag:blogger.com,1999:blog-2930669441208946753.post-47676210761985977842011-08-03T09:56:31.819-07:002011-08-03T09:56:31.819-07:00First, great post.
Then, see Retromania [Simon Re...First, great post.<br /><br />Then, see Retromania [Simon Reynolds] - relatively new things are increasingly rare, so if we follow genre A then artists X, Y and Z have already mapped much of the territory and we need to explore that before moving on to someone contemporary, who may just be a poor copy of everyone who came after Z.<br /><br />There are [probably far] less than 200 names that are part of the hardcore classical / jazz cannon from Bach until now - why should the ratio for pop [let's say from 1960] be much different? I.E. 20 - 30 'essential artists' [my math suuuuuuuuuuuucks].<br /><br />In short, in what ways did Amy Winehouse push things forward rather than diddle with the remains of others?logatexhttps://www.blogger.com/profile/14226278990483993173noreply@blogger.com