Rant Against Music Critics, Continued

Back when we were all going back and forth about Chinese Democracy, one of the things I kept complaining about was the way that critics wrote about how "loud" and "compressed" the album was. But people who actually know what those terms mean, such as Dr. Kittybrains and Tex Plush (and the rest of us really), heard something very different: dynamics. And on a hard rock album of all places.

And yet still the critics wrote the same lines over and over again, making me think that either a) they had written the reviews before the record actually came out or b) they were just copying what they read in other reviews, throwing in terminology like "compression" without actually understanding what it means.

Well it's vindication time. I stumbled across this press release/blog post from Bob Ludwig, the mastering engineer who did Chinese Democracy, other GNR, tons of modern rock and also tons of classic rock from Zeppelin to Hendrix to Springsteen. Basically he is the rock mastering engineer.

Check out the link, because damn if he doesn't reveal the truth: There is NO compression in the mix. Yes, some of the individual instruments are compressed, but the mastered mix has none. In this respect, it's the very opposite of over-produced. Over-written is a valid argument (although one I disagree with.) Over-produced is simply wrong.

Anyway, the point here is not to re-pimp Chinese Democracy all over again. Rather it's to take critics to task for not even knowing what they're writing about. It's very unfair for people's careers to be at the mercy of writers who genuinely do not understand the craft they critique. (I'd extend this criticism to 85% of the staff at Pitchfork.)

This concludes this installment of Drischord's rant against music critics-- from the letters to the editor of major newspapers to this here blog.

Shredders' Moment in the Sun!

I heard this reported on the radio in the airport this weekend, and apparently it has been making the rounds.



I'll table the discussion of these kinds of lawsuits, though I'll say that the doctrine leads to interesting issues because part of it is based on proving access to the infringed work, so it means that Satriani would have to prove that Coldplay likely heard his music. Yes, he is big in the guitar magazine world, but I can't see Coldplay being fans.

More importantly, this grasp at the brass ring, combined Bumblefoot's and Buckethead's star turn on Chinese Democracy, means that it is truly a great day to be a shredder!

The Annual 'Let's Skew Pitchfork's Results' Survey

Alright team, it's time to get in there and do what's right: vote for Chinese Democracy for best album of the year.

Take the Pitchfork Reader's Survey

Chinese Democracy: One Week Later

Time for a follow-up post on the now week-old Chinese Democracy. Interesting to hear everyone's comments and I hope there will be more.

#1 song that has grown on me: Catcher in the Rye. It's definitely the most upbeat, fun song on the album (relative statement of course) and it's slowly infectious. There's no clear-cut chorus (which is the case on a number of tracks) and that makes the gratification come with time, which I like.

Other songs that have grown on me: Chinese Democracy (the song), Prostitute, and the two songs I was most dismissive of, If the World and This I Love.

Regarding If the World specifically. This melody is great. The lyrics aren't half bad either. I think the style is a little campy with the Spanish guitar and the cliché piano runs. That still holds it back somewhat for me. But this song has really grown on me. I love the way it builds over the course of the track.

Another song that I fundamentally like but have trouble with stylistically: Shackler's Revenge. I love the chorus to this song and I love that Axl uses a number of his old "voices" here-- particularly the "It's So Easy" voice. I don't love the industrial sheen and the solo is too heavy on shredder gimmicks. This one is all Bumblefoot, which concerns me because he's the only lead guitarist who's still in the band. (BTW, Alex, if you're still reading, I feel like so many of your criticisms are specifically about the production values of this one track. You should listen to the whole album several more times and get back to us.)

One element that's not holding up with repeated listens: Lyrics on Sorry and This I Love. I normally don't care about lyrics (I often don't even bother to discern them in the first place.) However, the lyrics to Sorry are almost impossible to like. Axl is always going to be self-righteous, but normally he's so much more clever about it. This one is just petty and spiteful. And This I Love has some lame rhyming couplets that remind me of Meat Loaf. Way too cliché for the guy who wrote Don't Damn Me, Bad Apples, Rocket Queen, and Paradise City.

Other criticisms that remain: Orchestral arrangements. First they're so heavily compressed that they sound like keyboard patches. This is a shame because most of the guitars and vocals aren't compressed and build really nicely. I love songs like Street of Dreams or Prostitute that don't even reach their dynamic peak until about 3 minutes in. But the "orchestra" sounds like it's coming from a different album. Also, the arrangements are boring. None of the songs truly benefit from all that extra weight. Riad N' the Bedouins comes close but that track is so damn awesome, it wouldn't matter either way.

Regarding the guitarists: I'm really impressed with Buckethead on this album. He's the most versatile of all the players. Overall, Robin Finck disappoints me. His solo on This I Love is pretty good, especially when the drums kick in, but on almost every track, the guy falls back on what I'd call "blues-isms." He shows no ability for legato phrasing, which was Slash's calling card. His (Slash's) solos weren't lightning fast like Buckethead or Bumblefoot or Butterballs or whatever, but they were so damn fluid. Robin Finck, by contrast, does the same thing every time: Bluesy bend on one note and then slide into a new one, with a little bit of palm muting for effect. He sounds more like B.B. King than Slash and I don't think it always fits.

Buckethead's stuff is better. His solos are the most "singable" of the three (though not approaching Slash) and he has the best sense of when to hold a note and when to shred. Alex, you know I hate 4-fingered tapping as much as anyone (certainly more than you do), but it totally works on Better. In fact, you couldn't have the chorus to that song without those tapping runs.

My jury is out on Bumblefoot. I like him when he slows down and plays within the guitar's normal range, but he does seem to love the squealing effects more than the other two combined. That said, he appears to be the guy going forward, so we'll just have to hope for the best.

I don't think I like Chris Pitman. He seems to be the one who's providing all the industrial elements and I'm not sure what he contributes beyond that. He's all over Madagascar, which might now be my least favorite track on the album. He's now been in the band longer than anyone except for Dizzy, so I'm guessing he's here to stay. I'm guessing that he's the guy Slash and Duff most object to when they listen to this.

I think this record is remarkably strong. I stand by my previous declaration that Riad, Street of Dreams, Better and There Was A Time are all stellar. And I'm getting ready to add Catcher in the Rye and the title track to that list. Really the only tracks that I'm not fully on board with are Sorry (for the lyrics) and Madagascar (for a variety of reasons.)

I've been listening to this record every day-- at a pace I haven't matched since Sky Blue Sky-- and I find it to be very rewarding. And no, I can't really think about the 17 years part when I listen to this, because even the worst tracks are better than anything Slash, Duff, Izzy, Steven Adler, whoever else... has done in that time.

Initial Review of Chinese Democracy

Alright, I'm ready to weigh in (for the first of what might be several times.)

I think this record is remarkably strong. The most important thing I could say for it is that there is nothing that sounds like it. Not past Guns N' Roses, nor any other rock band for that matter. Now that will disappoint some people who loved their old sound (as I did.) But I'm happy to accept this for what it is. (As if I had a choice.)

The best aspects of the album:

1. Axl's voice. I don't know whether individual tracks were recorded in 1994 or 2007, but he's never sounded better.

2. Axl the arranger/producer. There are a million things going on in each song, and he weaves them together remarkably well. Particularly impressive are the guitar solos-- played by different people and perhaps recorded years apart-- which interweave with one another almost seamlessly. You can clearly hear when the soloist switches, but the transfer is remarkably organic. Actually this award should be shared with the co-producer Caram Costanzo, who it appears took the lead with a lot of the guitar arranging.

3. Axl the arranger/producer continued. As Dr. Kittybrains and Tex Plush have noted, the album is full of dynamics. One of the reasons I keep buying CDs is because their dynamic range is superior to that of mp3 files. And I listen to them on my nice stereo system (I finally bought one) instead of computer speakers. This is a record to be heard in high fidelity; not as an mp3, which cuts dynamics and frequency range.

4. The non-industrial sound of the record. People seemed to fear that this was going to be a techno metal album based on the "Oh My God" single, and the fact that ex-NIN guitarist Robin Finck was all over this. But Robin Finck doesn't sound anything like techno metal. He's totally '70s blues rock. Some critics have compared him to Slash. That's blasphemous. But he does compare favorably with Zakk Wylde. Very similar in fact. (And Oh My God is felicitously not on the album.)

4. The two shredder guitarists are surprisingly tasteful. For the most part, they keep the crazy squealing high-pitched-rockets-going-off thing to a minimum. There is some-- particularly in the Bumblefoot solo on Shackler's Revenge-- but most of it is awesome. Buckethead isn't just a great guitarist; he's genuinely musical. He knows when to cascade through arpeggios and also when to milk a single note. Bumblefoot too. And they also thankfully stay away (mostly) from the whole two-handed tapping thing, which should be banned for all guitarists not named Eddie Van Halen.

Negative Aspects:

1. The intros to the songs. Almost every song has one (some have outtros too) and none of them make the songs better. Some are interesting, like the Queen-style vocal collage at the beginning of Scraped. But most are really gratuitous.

2. The trip-hop beat in If the World. It doesn't work, and the song is too blandly mid-tempo. It wouldn't stand out as much if the whole album weren't mid-tempo.

3. The lack of any classic GN'R-sounding songs. There isn't a single riff on here to rival Welcome to the Jungle or Mr. Brownstone, nor is there any fast-paced punky thing to rival Perfect Crime or Right Next Door to Hell. (Then again, there's nothing remotely approaching the idiocy of My World, the shlubbiness of So Fine, or the third-grade lyrics of Back Off Bitch, Get in the Ring, etc. Come to think of it, there might not be a single curse word on this album.)

4. The "string" and "orchestra" parts. Boring and uninspired. Would sound better without them, or with only mellotron in their place. (Exception: Riad N' the Bedouins)

As for the specific songs, I'd group them into three tiers:

Tier One (classic): Street of Dreams, Riad N' the Bedouins, Better, I.R.S., There Was A Time

Tier Two (great but not classic): Shackler's Revenge, Scraped, Catcher in the Rye, Sorry, Chinese Democracy, Prostitute, Madagascar

Tier Three (would be better if omitted): This I Love, If the World

But again, what stands out most about this record is that it sounds like nothing else out there. It's the death knell of the old Slash/Duff/Izzy GN'R, because it sounds like neither Welcome to the Jungle nor Estranged. And that's okay.

This isn't the band I grew up loving, but I'm totally digging it for what it is. (4.5 stars out of 5.)

Final Day...

Only one more day, and so - here's two classics that capture GnR in all their insane glory:

2 Days...

The countdown rolls on! Featured today – the best overlooked song in the entire GnR canon. I give you… Rocket Queen.



This is a pretty amazing pre-Illusion performance, with them in full on Appetite for Destruction mode. Skinny Axl! Stephen Adler! Seedy looking club! You love it!

And now, as promised, a semi-coherent rant…

So here’s the thing about Chinese Democracy – I’ve heard all the silly rumors over the years. That it would feature Trent Reznor. That it would feature Moby. That it would feature Shaq. I’ve heard the awful “Oh My God” single. And at first there was a part of me that was of the “Oh man, this is going to suck – it will be hilarious” camp. But my inner high schooler has kicked in. You see, before I knew any of you, I was a HUGE GnR fan. Loved them. Would have argued at one point that UYI2 was the best album of the 90s – and while I wouldn’t go that far, it’s still up there.

And now, it’s a weird position. Are they dated? Undoubtedly. But at the same time, they were always insane, so has the past 15 years of insanity really tarnished their image somehow? And while maybe they’ve gotten crappy, the fact is we have nothing to base that off of, except one tossed off soundtrack song. So signs point to this not being a great album – and yet I can’t help but have faith. Faith that the band that made Estranged will show up. Faith that the band that made Rocket Queen will show up. Even faith that the bizarre band who made The Spaghetti Incident will show up, because those are all aspects of the whole GnR persona, and I love them all. Some more than others, but it is the My World’s and Manson covers that partly make them so amazing. And not, NOT, in an ironic way. This is a band (and at this point, just a single man) with huge aspirations. Sometimes those aspirations lead to crap. But sometimes they lead to brilliance. And for all the people who hold up Appetite as the pinnacle, I respectfully submit that it is those aspirations displayed on the Illusion albums that make GnR so much more than just another Aerosmith. Will there be garbage on this album? Undoubtedly. But there was garbage on every one of their albums, and that garbage just serves to make the best work float to the surface.

And so I’m probably getting my hopes up too high. But man, this is a moment I have anticipated for 15 years. 15. Half of my life. And it makes me happy to discover that, 15 years later, I’m not so jaded that I have lost that excitement.

GnR Countdown: 3 days to go...

The Countdown continues. Today in anticipation I listened to Use Your Illusion II for the first time in years and man, that thing is amazing. And so, what better way to get pumped for this weekend than Estranged:

When you're talking to yourself...

Of course, Axl is nuts, so for some reason I can't embed this, but watch it anyway. And love it.

More to come tomorrow, including an argumant as to why I am really REALLY pumped about this album, and not in any sort of ironic train wreck sort of way...

More Chinese Democracy

Awesome review from Chuck Klosterman.

Chinese Democracy

Man I am pumped...