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PrintableNajee said:
And once again, you insist on trying to distinguish Jackson, Anita Baker and Regina Belle from Vandross I agree, most of Luther's music was just as dull and adult contemporary sounding as the rest of them. He was even more successful in the late 1980s when all that dull shit was starting to dominate. I'm not a big Luther Vandross fan by no means. My only defense for Luther Vandross is that he was capable of being funky and has been before on rare occasions in his own music and with his productions of other artists. Anita Baker and Regina Belle don't have an ounce of funk in their body. Andy is a four letter word. | |
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Najee said: murph said: Basically, you're crucifying the likes of Anita Baker because they/she wasn't a funk artist/or making hard charging, uptempo jams...(?) I remember when Anita was doing her thing with the Rapture album...That release was getting more burn than just older music fans...Younger folks (read teenagers) were digging Anita just as much as they were digging Luther...Hell, EPMD, a hip hop group, even named checked her on their debut album...It was only on her later albums that she became associated as an Adult Contempoary R&B star...Indeed, there seems to be a lot of revisionist history going on in this post...
I was in my late teens when Anita Baker's "Rapture" came out and the college-age people who were buying Luther Vandross' music also bought this album. They also bought Freddie Jackson's music and Maze's music. I'm still not seeing how vainandy doesn't see these acts as all being cut from the same cloth. [Edited 3/26/07 20:41pm] And there's the problem right there. College age kids were buying it. They weren't rushing out to buy the latest adult contemporary act in the early 1980s, they were rushing to buy the latest funk act. If the thread is about "what happened to funk", if adult contemporary is outselling funk (even by kids buying it), that's what happened to funk. Adult contemporary killed it. That's all I've been saying all along. Andy is a four letter word. | |
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Thumparello said: PFunkjazz said: I don't disagree with any of your points. They are all valid, but I just don't think the political and social climate today matches the urgency of Civil Rights era into the late 70s. That sense of desperation, urgency and detrmination fed into the black community and developed new trends in music. Hip-hop has lost its political impetus and traded in for crass materialism. Even if it's not overtly political r&b needs the fire in the streets to fuel it's artists. So you go to a PFunk or EWF concert and sit back playing "Remember When..." "'Funk is dead' That's what they said." Both EWF and PFunk perform their new songs. Ok that's true, though the PFunk song are no longer "new" since they've been in the setlist since the "turn of the century". test | |
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vainandy said: Najee said:
And once again, you insist on trying to distinguish Jackson, Anita Baker and Regina Belle from Vandross I agree, most of Luther's music was just as dull and adult contemporary sounding as the rest of them. He was even more successful in the late 1980s when all that dull shit was starting to dominate. I'm not a big Luther Vandross fan by no means. My only defense for Luther Vandross is that he was capable of being funky and has been before on rare occasions in his own music and with his productions of other artists. Anita Baker and Regina Belle don't have an ounce of funk in their body. But here's the thing Vain...Luther's music in the '80s was not some "dull contempoary sounding" stuff that you are making it out to be....He was making some great R&B/soul ballads...That was his bag and there was nothing wrong with that...To me the bullshit Adult Contempoary shit was Kenny G and late '80s Peabo Bryson (Peabo was alright early on, but he quickly turned souless)...and late '80s Whitney Houston...Stuff that seemed to lack emotion and soul... Anita didn't have to have an ounce of funk because that wasn't her bag (What she had was plenty of soul...)...Baker's Rapture is a standout album that every music fan should have in their collection...Again, it just comes down to the particular style of music you dig...I happen to dig funk as well as the great soul/R&B ballads of the '70s and '80s...You seem to brush all of the R&B/soul singers of the day in one pile...Which is quite unfortunate...And BTW, Adult Contempoary didn't kill the funk....Technology did....When people started using beat machines and synths, the band structure died..And more importantly this gave rise to hip-hop, which had as much to do with the death of the Funk Bands as we knew them... [Edited 3/27/07 11:01am] | |
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murph said: vainandy said: I agree, most of Luther's music was just as dull and adult contemporary sounding as the rest of them. He was even more successful in the late 1980s when all that dull shit was starting to dominate. I'm not a big Luther Vandross fan by no means. My only defense for Luther Vandross is that he was capable of being funky and has been before on rare occasions in his own music and with his productions of other artists. Anita Baker and Regina Belle don't have an ounce of funk in their body. But here's the thing Vain...Luther's music in the '80s was not some "dull contempoary sounding" stuff that you are making it out to be....He was making some great R&B/soul ballads...That was his bag and there was nothing wrong with that...To me the bullshit Adult Contempoary shit was Kenny G and late '80s Peabo Bryson (Peabo was alright early on, but he quickly turned souless)...and late '80s Whitney Houston...Stuff that seemed to lack emotion and soul... Anita didn't have to have an ounce of funk because that wasn't her bag (What she had was plenty of soul...)...Baker's Rapture is a standout album that every music fan should have in their collection...Again, it just comes down to the particular style of music you dig...I happen to dig funk as well as the great soul/R&B ballads of the '70s and '80s...You seem to brush all of the R&B/soul singers of the day in one pile...Which is quite unfortunate... [Edited 3/27/07 10:59am] I can understand all that. No, not everyone's thing is funk and that's fine. However, if the question is asked "What happened to funk", I see adult contemporary type R&B as the killer of it because it is what was outselling the funk in the late 1980s....even the kids were buying it. People just lost their damn taste in the late 1980s.  Andy is a four letter word. | |
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murph said:
And BTW, Adult Contempoary didn't kill the funk....Technology did....When people started using beat machines and synths, the band structure died..And more importantly this gave rise to hip-hop, which had as much to do with the death of the Funk Bands as we knew them... Technology had a lot to do with it also but adult contemporary completely killed the tempo and slowed everything down. Look at what remained in the 1990s and present.....mostly midtempo rap and adult contemporary. I was fine with technology changing, I loved house music which was music with the new technology, fast paced, funky, and had strong drum machines (too bad it didn't live long enough). I was not fine with the tempo slowing down in everything else to an opera pace with weak drum machines. . . [Edited 3/27/07 11:48am] Andy is a four letter word. | |
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I do wish to hear the funk bands come back and tour. the ones that were hot but never toured past the era they were in. it is amazing but I guess when you are in your fifties trying to do that music live there must be a difference  nipsy | |
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Wow, you all were busy on this thread while I was gone. There are a lot of interesting points here. To clarify, my point was not that I want to hear the same bands from back in the day playing now, though there's nothing wrong with that.
However, I would just like to see some new R&B/Funk/Soul bands period!! I would love to see a serious rebirth of self-contained bands. It would be nice to see some of these younger acts actually playing instruments and penning songs, not just using instruments as props a la Marques Houston, Justin Timberlake or whoever else. As for the sarcastic comparison to film, architecture, indoor plumbing or whatever, technology and the "fast food, quick and easy" mentality of this society are murdering a beautiful art. If we we have digressed to the point where actually playing instruments and creating music is seen as antiquated or has become obsolete, it's a sad state of affairs, and I hate to see the future. perfection is a fallacy of the imagination... | |
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vainandy said: Excuse me, "She's A Super Lady" was on his first solo album "Never Too Much".
I know that, but I was referring to you citing Luther Vandross' days in change as one of your reference points. Sorry for the confusion. THE TRAFFIC JAMMERS, The Org's house band: VAINANDY -- lead singer; NAJEE -- bass; THE AUDIENCE -- guitar; PHUNKDADDY -- rhythm guitar; ALEX de PARIS -- keyboards; Da PRETTYMAN -- keyboards; FUNKENSTEIN -- drums. HOLD ON TO YOUR DRAWERS! |
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Najee said: PFunkjazz said: Gotta give props on this biting sarcasm. This type of commercial r&b funk is outdated and best served on the oldies market. Truth hurts, but that's what 95% of PFunk All Stars is nowadays and who really wants to hear old EWF songs without Maurice? Is somebody gonna bring stuff better and stronger than these oldies?
The issue isn't recycling older artists -- something the soul music market has never done like its other genres in arms -- but the alarming lack of creativity and spontaniety in the genre. You have three major influences here: 1.) the growing lack of music education programs in the school systems, thus no emphasis on learning how to play instruments. Most acts simply push a button on what vainandy calls some tin-sounding, faint beat with hardly any supporting instruments. 2.) music companies finding it cheaper to create, market and invest in throwaway artists, mostly of the vocal variety. Most of these acts don't even perform live (much less tour) and when they do perform it's painfully obvious these acts haven't spent a lot of time on their craft. 3.) shit-hop (an inferior, meeker version of hip-hop music) to the point where the vocalists are just window dressing. On top of that, the music for the past dozen years is incredibly downbeat -- it's rare you hear an uptempo song from these artists.  So true.
The idiots who cut funding for music education programs should be crucified, because they are killing an art. Most kinds don't know strings from brass. They don't even know what real instruments sound like. It's a shame! Because by cutting music programs you are not only aborting new musicians before they are born, but you are also creating a listening public that has no ear or appreciation for real music by real musicians. It's a vicious cycle. The blandness of these "tracks" is unbelievable to me. There's absolutely nothing going on in most of these "songs." The vocals are weak, the lyrics are crappy and the so-called music is nonexistent. The labels have always been profit driven, but at least they used to actually invest in a talented, self-contained act. Now it's so cheap to give some limited producer a check for some whack track and bypass actually paying real musicians. And the "artists" are so happy to just be in the music biz and get into "VIP" that they're down for whatever because they have so little creativity or artistic vision anyway. On the rare occasions that these so-called artists do attempt to perform with live musicians they typically sound terrible and out of sync with the band, because they spend more time on choreography, fashion and working out than they do actually practicing with live musicians. I can't even comment on hip-hop's bastard seed. When I hear trash like MIMS and Rich Boy, I know the end has arrived. [Edited 3/27/07 20:05pm] perfection is a fallacy of the imagination... | |
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vainandy said: "And there's the problem right there. College age kids were buying it. They weren't rushing out to buy the latest adult contemporary act in the early 1980s, they were rushing to buy the latest funk act. If the thread is about 'what happened to funk,' if adult contemporary is outselling funk (even by kids buying it), that's what happened to funk. Adult contemporary killed it. That's all I've been saying all along."
Vainandy, the problem seems to be more in how you're defining some acts. Acts like Luther Vandross, Freddie Jackson, Maze feat. Frankie Beverly, Sade and Anita Baker were soul artists in every sense of the word. They simply made a more conservative type of soul music. Vandross didn't purposely start making crossover-oriented music until "Here and Now" became a Top 10 pop hit. Vandross was spurred on in no small part by the decline of the romantic soul singer to the sexually aggressive types like R. Kelly and Jodeci in the early 1990s (which is why artists like Jackson fell off the face of the planet quickly). Despite the across-the-board success of her "Rapture" album, Baker never tried to make music that appealed to a non-soul music audience. The same holds true Sade (who was a consistent seller in pop and soul markets). The problem is you're throwing these acts in the same pile with Whitney Houston and Billy Ocean -- and they don't belong there. Houston and Ocean made songs that soul music fans wouldn't even consider buying during the mid-1980s; songs like "I Wanna Dance with Someone (who Loves Me)" and "Get Outta My Dreams (and into My Car)" deservedly were trashed. Even songs like Atlantic Starr's "Always" -- more quality stuff, but definitely pop-oriented -- deserve their fair share of criticism. And I have to disagree on the college-age kids thing, because these type of soul acts always had a following. Roberta Flack, The O'Jays, The Whispers, Al Green, Barry White and Ashford & Simpson are those type of acts -- I know enough 50-year-olds who profess to playing these acts in college and high school. [Edited 3/27/07 20:23pm] THE TRAFFIC JAMMERS, The Org's house band: VAINANDY -- lead singer; NAJEE -- bass; THE AUDIENCE -- guitar; PHUNKDADDY -- rhythm guitar; ALEX de PARIS -- keyboards; Da PRETTYMAN -- keyboards; FUNKENSTEIN -- drums. HOLD ON TO YOUR DRAWERS! |
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theAudience said: An AC/DC Tshirt! That shit is hilarious. As IF he listens to AC/DC, there isn't an ounce of balls out rock about him. Poser. [Edited 3/28/07 1:55am] | |
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vainandy said: Najee said:
And once again, you insist on trying to distinguish Jackson, Anita Baker and Regina Belle from Vandross I agree, most of Luther's music was just as dull and adult contemporary sounding as the rest of them. He was even more successful in the late 1980s when all that dull shit was starting to dominate. I'm not a big Luther Vandross fan by no means. My only defense for Luther Vandross is that he was capable of being funky and has been before on rare occasions in his own music and with his productions of other artists. Anita Baker and Regina Belle don't have an ounce of funk in their body. What separated Luther from Freddie and the like was this man... 
Marcus Miller was the producer and bassist on almost all of the successful albums from Luther in the 80's. The basslines and production from him was no doubt Funk oriented (Tonight I fell in love, for example). Marcus is Funk personified. "I wasn't invited to shake hands with Hitler, but I wasn't invited to the White House to shake hands with the President, either" ~ Jesse Owens | |
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People that are funkier than Luther Vandross:
james brown, george clinton, bootsy collins, ike turner, jimi hendrix, sly stone, larry graham, prince, maceo parker, rick james, the meters, isley brothers, the beach boys, bob dylan, ac/dc, gary coleman, mr T and the dude that busks down my street with the theremin. In short: everyone except the fat kid from "Hey Dad". He wasn't funkier than Luther, but i still prefer him. [Edited 3/28/07 3:48am] | |
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Najee said: vainandy said: "And there's the problem right there. College age kids were buying it. They weren't rushing out to buy the latest adult contemporary act in the early 1980s, they were rushing to buy the latest funk act. If the thread is about 'what happened to funk,' if adult contemporary is outselling funk (even by kids buying it), that's what happened to funk. Adult contemporary killed it. That's all I've been saying all along."
Vainandy, the problem seems to be more in how you're defining some acts. Acts like Luther Vandross, Freddie Jackson, Maze feat. Frankie Beverly, Sade and Anita Baker were soul artists in every sense of the word. They simply made a more conservative type of soul music. Vandross didn't purposely start making crossover-oriented music until "Here and Now" became a Top 10 pop hit. Vandross was spurred on in no small part by the decline of the romantic soul singer to the sexually aggressive types like R. Kelly and Jodeci in the early 1990s (which is why artists like Jackson fell off the face of the planet quickly). Despite the across-the-board success of her "Rapture" album, Baker never tried to make music that appealed to a non-soul music audience. The same holds true Sade (who was a consistent seller in pop and soul markets). The problem is you're throwing these acts in the same pile with Whitney Houston and Billy Ocean -- and they don't belong there. Houston and Ocean made songs that soul music fans wouldn't even consider buying during the mid-1980s; songs like "I Wanna Dance with Someone (who Loves Me)" and "Get Outta My Dreams (and into My Car)" deservedly were trashed. Even songs like Atlantic Starr's "Always" -- more quality stuff, but definitely pop-oriented -- deserve their fair share of criticism. And I have to disagree on the college-age kids thing, because these type of soul acts always had a following. Roberta Flack, The O'Jays, The Whispers, Al Green, Barry White and Ashford & Simpson are those type of acts -- I know enough 50-year-olds who profess to playing these acts in college and high school. [Edited 3/27/07 20:23pm] I agree 100%. Good comments. | |
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panther514 said: vainandy said: I agree, most of Luther's music was just as dull and adult contemporary sounding as the rest of them. He was even more successful in the late 1980s when all that dull shit was starting to dominate. I'm not a big Luther Vandross fan by no means. My only defense for Luther Vandross is that he was capable of being funky and has been before on rare occasions in his own music and with his productions of other artists. Anita Baker and Regina Belle don't have an ounce of funk in their body. What separated Luther from Freddie and the like was this man...
Marcus Miller was the producer and bassist on almost all of the successful albums from Luther in the 80's. The basslines and production from him was no doubt Funk oriented (Tonight I fell in love, for example). Marcus is Funk personified. Do you remember his solo hit from 1984 "My Best Friend's Girlfriend"? It got some airplay in the summer of that year. | |
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pezdispenser said: theAudience said: An AC/DC Tshirt! That shit is hilarious. As IF he listens to AC/DC, there isn't an ounce of balls out rock about him. Poser. Do you even have the faintest idea who this band is and what the individual members are about?  Who's the real poser here?
tA  Tribal Disorder
http://www.soundclick.com...dID=182431 "Ya see, we're not interested in what you know...but what you are willing to learn. C'mon y'all." | |
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theAudience said: pezdispenser said: An AC/DC Tshirt! That shit is hilarious. As IF he listens to AC/DC, there isn't an ounce of balls out rock about him. Poser. Do you even have the faintest idea who this band is and what the individual members are about? Who's the real poser here?
tA Thank you! I was going to say the same thing. How can anyone tell what someone listens to by looking at them? Tribal Disorder
http://www.soundclick.com...dID=182431 perfection is a fallacy of the imagination... | |
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Najee said:
The problem is you're throwing these acts in the same pile with Whitney Houston Shitney had very adult contemporary type songs, "Saving All My Love For You", "The Greatest Love Of All", "Living For The Love Of You" (damn she fucked up some other people's songs). There are more but I can't think of them. Damn, it depresses me to even try to think of them. Anyway, she also had her pop side also, "How Will I Know", "I Wanna Dance With Somebody". She was both adult contemporary and weak pop. In other words, if it was something weak or boring, she had it in her music.
As for someone like Anita Baker, no, she wasn't pop at all. She was strictly adult contemporary R&B, or as you said "conservative" R&B. No, she's not in the same league as Shitney by no means but they both have some adult contemporary hits. Actually, Anita bores me more than Shitney but it's Shitney I can't stand because she was such a huge success to the point that other people would follow her lead.....whether it was pop...or on the other hand, whether it was adult contemporary. The doors were open for them to have bigger hits than they would have before Shitney making the most boring music possible. Without Shitney, I think Anita would have had moderate hits but nothing major because funk would still have been dominating if Shitney had not come along. Shitney weakened people's tastes and opened them up to accepting duller things. It's not a matter of who was pop or who was adult contemporary. They are both boring and dull as hell. That's what they have in common. Actually, if I were to be tied up and forced to listen to either Shitney or Anita, I would chose Shitney because I could least make fun of her ass. Anita would just put me to sleep within the first song or two.
. . [Edited 3/28/07 8:27am] Andy is a four letter word. | |
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Najee said:[quote][color=darkred]
As for the bands, a lot of those groups you named were one-hit wonders from the late 1970s (Instant Funk, Mass Production), acts who had one marginally successful track (Ebonee Webb, Bill Summers and Summers Heat) or had the occasional hit (The Dazz Band, Kleer, The Fatback Band). Of all those groups you named, here are the ones who had some consistent level of success: The Time Lakeside The GAP Band Cameo Zapp (including Roger Troutman's solo career) Con Funk Shun Midnight Star The Bar-Kays And of that group, The Time was gutted after its second album; The Bar-Kays' and Lakeside's albums had problems sustaining success beyond their initial single releases; Con Funk Shun equally had success with ballads; Midnight Star's success cooled after "No Parking on the Dancefloor" and they were invisible before that album. This is a great topic of discussion. I respect your responses. I have to disagree with you on some of the r&b bands. Midnight Star's success carried on after the No parking album. The followup planetary invasion was hot with operator, curious, scientific love, and body snatchers. The next album headlines did well too with the title track and midas touch. They also had success with their 1988 self titled album with don't rock the boat and snake in the grasss. The time was gutted after their second release like you said but even the ice cream castles album became their biggest selling album without jam and lewis and to this day the band remains hugely popular and is still touring. The barkays did quite well with the night cruising,propositions, and dangerous albums yielding 3 hot singles from each album not to mention their track record before then even if their albums were only two singles strong. They were a huge popular touring act often upstaging the headliner. The gap band, confunkshun,and zapp also have a hell of a track record. Ask any die hard funk fan. Cameo had a huge following and success even before their crossover hits word up and candy. I agree with you on lakeside. After the fantastic voyage lakeside did have trouble sustaining success after the initial single on follow up albums but these guys can make a living off of fantastic voyage,it's all the way live, and i wanna hold your hand. As for mass production, i know the perception may be that firecracker was their only hit. It was their only chart success but these guys could funk. Groove Me, Just wanna make a dream come true, turn up the music, and can't you see i'm fired up are just as funky as most stuff you've heard. One band you failed to mention, was parliament-funkadelic probably the most successful of all these funk bands. I don't think i have to mention their track record. They even had a following before the radio hits. Good discussion guys. Keep it going. Don't laugh at my funk
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What about Slave? Steve Arrington? | |
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bellanoche said: Thank you! I was going to say the same thing. How can anyone tell what someone listens to by looking at them? You're welcome. I know the main members of Soulive (Alan, Neal & Kraz). The drummer (Alan) has a side project that's a straight Rock Group. One of the Soulive shows I was at, they were blasting Led Zeppelin in the dressing room prior to going onstage. So much for the noise from the peanut gallery. tA Tribal Disorder
http://www.soundclick.com...dID=182431 [Edited 3/28/07 10:04am] "Ya see, we're not interested in what you know...but what you are willing to learn. C'mon y'all." | |
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phunkdaddy said: Midnight Star's success carried on after the No parking album. The followup planetary invasion was hot with operator, curious, scientific love, and body snatchers. The next album headlines did well too with the title track and midas touch. They also had success with their 1988 self titled album with don't rock the boat and snake in the grasss.
I stand by what I said about Midnight Star -- their success did cool after "No Parking on the Dancefloor," meaning their follow-up albums were not as successful. * "Planetary Invasion" had only "Operator" as a successful single (it went to No. 1 on the Billboard R&B Singles charts, in no small part because it sounded similar to "Freak-a-Zoid" and "Electricity"). "Curious" was mostly a radio-played song that was not released as a single during its run. "Scientific Love" and "Body Snatchers" were moderately successful."Plantary Invasion" was a platinum-selling album, mostly on the carryover of "No Parking." * "Headlines" produced a pair of top 10 hits and went gold. Their self-titled album produced a pair of top 20 songs. phunkdaddy said: "The time was gutted after their second release like you said but even the ice cream castles album became their biggest selling album without jam and lewis and to this day the band remains hugely popular and is still touring."
"Ice Cream Castles" was The Time's biggest-selling album in no small part due to the band's (and more specifically, Morris Day's) exposure in the movie "Purple Rain." Even Day and Jesse Johnson said the group was never the same after Jimmy Jam, Terry Lewis and Monte Moir left -- which is why both quit shortly after the album was released. phunkdaddy said: The barkays did quite well with the night cruising,propositions, and dangerous albums yielding 3 hot singles from each album not to mention their track record before then even if their albums were only two singles strong."
I would say more like one top 10 hit and one top 20 hit from each album -- "Hit and Run" and "Freaky Behavior" from "Nightcruisin';" "Do It (Let Me See You Shake)" and "She Talks to Me with Her Body" from "Propositions;" and "Freakshow on the Dancefloor" and the remixed "Sex-O-Matic" from "Dangerous." I'm a Bar-Kays fan, but even I will admit that during this phase they were copying some styles that were popular when they recorded them, making them effective copycats. Also, I found all their 1980s albums except for "Propositions" to be not necessarily deep in terms of quality songs. THE TRAFFIC JAMMERS, The Org's house band: VAINANDY -- lead singer; NAJEE -- bass; THE AUDIENCE -- guitar; PHUNKDADDY -- rhythm guitar; ALEX de PARIS -- keyboards; Da PRETTYMAN -- keyboards; FUNKENSTEIN -- drums. HOLD ON TO YOUR DRAWERS! |
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vainandy said: "Shitney had very adult contemporary type songs, 'Saving All My Love For You', 'The Greatest Love Of All.' 'Living For The Love Of You' (damn she fucked up some other people's songs). There are more but I can't think of them."
I have to disagree with Whitney Houston's "Greatest Love of All" being called soul-oriented -- her cover is the epitome of a pop song, no less pop than "How Will I Know." Better examples would be "You Give Good Love" and "Thinking about You." vainandy said: "Anyway, she also had her pop side also, "How Will I Know", "I Wanna Dance With Somebody". She was both adult contemporary and weak pop. In other words, if it was something weak or boring, she had it in her music."
It seems like your idea of "adult contemporary" is in the pop music/white audience context, which is a little different from the context I'm saying -- more conservative soul music acts. Maybe to avoid confusion, I'll drop "adult contemporary R&B" to call it either "romantic R&B" or "conservative R&B." vainandy said: "Without Shitney, I think Anita would have had moderate hits but nothing major because funk would still have been dominating if Shitney had not come along. Shitney weakened people's tastes and opened them up to accepting duller things."
I don't know about that -- I recall a woman by the name of Roberta Flack and a man by the name of Bill Withers who rang up a string of hits in the 1970s amid all those progressively funky acts, and those acts are along the lines as Anita Baker. Also, Luther Vandross (who somehow is seems to be excused here) preceded Baker by several years and several platinum albums, so evidently there was always that audience. [Edited 3/28/07 10:46am] THE TRAFFIC JAMMERS, The Org's house band: VAINANDY -- lead singer; NAJEE -- bass; THE AUDIENCE -- guitar; PHUNKDADDY -- rhythm guitar; ALEX de PARIS -- keyboards; Da PRETTYMAN -- keyboards; FUNKENSTEIN -- drums. HOLD ON TO YOUR DRAWERS! |
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theAudience said: bellanoche said: Thank you! I was going to say the same thing. How can anyone tell what someone listens to by looking at them? You're welcome. I know the main members of Soulive (Alan, Neal & Kraz). The drummer (Alan) has a side project that's a straight Rock Group. One of the Soulive shows I was at, they were blasting Led Zeppelin in the dressing room prior to going onstage. So much for the noise from the peanut gallery. tA Tribal Disorder
http://www.soundclick.com...dID=182431 [Edited 3/28/07 10:04am] Yeah I know. The guy has absolutley NO balls out ac/dc rock influence about him. AT ALL. I bet he couldn't even tell me what his favourite song on Black In Black was, yet he's wearing the t-shirt. Led Zepplin isn't AC/DC, in case you didn't know. This is just another example of funk fans not being able to tell styles of rock, they hear a power chord and go "YEAH, AC/DC", when it's more Nickelback, or some bullshit. You can just tell the dude saw an ac/dc tshirt in the shop and thouht "yeah, rock!" and picked it up. A lot of rock fans can't tell funk either, they just class all funk and soul into one genre. And Soulive are awfully bad, they pretty much suck. Just like Nickelback. [Edited 3/28/07 13:57pm] | |
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pezdispenser said: theAudience said: You're welcome. I know the main members of Soulive (Alan, Neal & Kraz). The drummer (Alan) has a side project that's a straight Rock Group. One of the Soulive shows I was at, they were blasting Led Zeppelin in the dressing room prior to going onstage. So much for the noise from the peanut gallery. tA TribalDisorder
http://www.soundclick.com...dID=182431 [Edited 3/28/07 10:04am] Yeah I know. The guy has absolutley NO balls out ac/dc rock influence about him. AT ALL. I bet he couldn't even tell me what his favourite song on Black In Black was, yet he's wearing the t-shirt. Led Zepplin isn't AC/DC, in case you didn't know. This is just another example of funk fans not being able to tell styles of rock, they hear a power chord and go "YEAH, AC/DC", when it's more Nickelback, or some bullshit. You can just tell the dude saw an ac/dc tshirt in the shop and thouht "yeah, rock!" and picked it up. A lot of rock fans can't tell funk either, they just class all funk and soul into one genre. And Soulive are awfully bad, they pretty much suck. Just like Nickelback. Riiiiight... Uncle Sam has somethin' for ya, 
theAudience is not just some "funk fan", dear boy. He is one of the most knowledgeable orgers when it comes to most forms of black music, be it jazz, blues, black rock, or whatnot. Show some respect, newbie  It is not known why FuNkeNsteiN capitalizes his name as he does, though some speculate sunlight deficiency caused by the most pimpified white guy afro in Nordic history.
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pezdispenser said: Yeah I know. The guy has absolutley NO balls out ac/dc rock influence about him. AT ALL. I bet he couldn't even tell me what his favourite song on Black In Black was, yet he's wearing the t-shirt. Led Zepplin isn't AC/DC, in case you didn't know. This is just another example of funk fans not being able to tell styles of rock, they hear a power chord and go "YEAH, AC/DC", when it's more Nickelback, or some bullshit. You can just tell the dude saw an ac/dc tshirt in the shop and thouht "yeah, rock!" and picked it up. A lot of rock fans can't tell funk either, they just class all funk and soul into one genre. And Soulive are awfully bad, they pretty much suck. Just like Nickelback. You can tell all of that just by looking at him? Nah, more likely you're just talking outta your ass.... | |
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Soulive is pretty meh, but I wouldn't go as far as saying they suck. | |
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violator said: pezdispenser said: Yeah I know. The guy has absolutley NO balls out ac/dc rock influence about him. AT ALL. I bet he couldn't even tell me what his favourite song on Black In Black was, yet he's wearing the t-shirt. Led Zepplin isn't AC/DC, in case you didn't know. This is just another example of funk fans not being able to tell styles of rock, they hear a power chord and go "YEAH, AC/DC", when it's more Nickelback, or some bullshit. You can just tell the dude saw an ac/dc tshirt in the shop and thouht "yeah, rock!" and picked it up. A lot of rock fans can't tell funk either, they just class all funk and soul into one genre. And Soulive are awfully bad, they pretty much suck. Just like Nickelback. You can tell all of that just by looking at him? Nah, more likely you're just talking outta your ass....  It is not known why FuNkeNsteiN capitalizes his name as he does, though some speculate sunlight deficiency caused by the most pimpified white guy afro in Nordic history.
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