Sometimes raw is better

Slight dilemma about this prime 5 p.m. slot each day.  Sunday it's jazz and/or blues, Monday's a quiz, Tuesday's classical or early music, Wednesday is a movie or tele episode, more likely to be British, Thursday's a quiz, Saturday is a movie or TV episode.  Which leaves no day for my own music.

Yesterday, my metal loving mate and I were discussing Lord Somber and how he tends to like discordant elements but with rhythm and beat, just as my mate does. He requests I send him some of Somber's choices, which I would but they're impossible now to find.  Easy enough to see what Thud likes, also JD.

It was a good discussion because we spoke of the elements we like in songs and I conceded that while discordant was ok for some time in a song, it still needed to have a loud melody it eventually resolved to. 

Which is interesting because I was watching the interview with Moe Tucker and she mentioned a song which she insisted not be resolved at the end.  Anarchist!  Also, must be the Scottish in me but I do like that drone or as Jonathan Richman calls it - no variation.  In the Velvet U song at the top here, 

And that song is notable for how Doug Yule's bass slowly took over and dominated the song, even over Morrison and Reed - I love it when the bass dominates.  Modern Lovers had JR who acknowledged his debt to the VU, it also had Jerry Harrison, later of Talking Heads, which brings in another element or two. 

The singer has to be idiosyncratic for mine or as Moe Tucker said - not 'perfect' and I apply that to wimmin as well.  Because it is that asymmetric nature which actually makes it perfect.  Ian Dury springs to mind, JR, the Pale Saints singer too.  

The band needs to have that garage band feel to it where, as Moe Tucker says, they seem to make it up as they go along.  She was saying the band members were watching each other the whole time, unsure what the others would do.