Totally Guy Songs (warning-these lyrics may be offensive to women-but maybe not)

[Bob Schmall]

"Hot Rod Lincoln" by both Charlie Whatsisname and Whatsisname Cody and the Lost Planet Airmen.

[B A R R Y]

Totally guy songs:

Any and every Iron Maiden song.

Anything ever recorded by Rammstein.

All songs featuring Udo Dirkschnieder on lead vocals (Accept)

Most "Progressive Rock", especially newer bands like Dream Theater and Coheed and Cambria. The extreme lack of women at Dream Theater shows is as obvious as a Star Trek convention.

Rammstein is not just guy music, it's women repellant music. If I want my wife to leave the shop, I simply cue up "Mein Tell" or "Reise, Reise" on the iPod, and within seconds, I'm alone!

[Bob Schmall]

"If I'd Have Killed You When I Wanted To I'd Be Out by Now" "I Hate Every Bone In Your Body But Mine" First Prize For Brevity: two bar guitar riff, then "Get Outta Here!" (I've heard that one played)

[Charlie M. 1958]

"How Come My Dog Don't Bark When You Come 'Round" by Buck Owens

[Markem]

Well with the recording contract giving them absolutely nothing money wise, would you give away your work for free?

Mark

[Morris Dovey]

Bob Schmall wrote: | Tom Watson wrote: || On Thu, 15 Feb 2007 19:19:54 -0600, Bob Schmall || wrote: || || ||| A Boy Named Sue ||| J. Cash || || "She came runnin' down the mountain doin' ninety miles an hour || || When the chain on her bicycle broke..." | | | "He was slippin' down that slope doin' 90 miles and hour | when a mogul flipped him in the air..." | | That one's by the late Bob Gibson, sung by the Chad Mitchell Trio | in the early 60s. I'll bet it's the same melody. | | "His jumpin' form was fine | until he ran into that pine | and two one-legged skiers left from there."

Speaking of the CMT, one of my favorites was that brought to us by the Pink and Pleasant Plastic Jesus Company of Del Rio Texas...

"I don't care if it rains or freezes 'slong's I got my plastic Jesus Glued to the dashboard of my car Doin' 90 I'm not wary..."

-- Morris Dovey DeSoto Solar DeSoto, Iowa USA

[Swingman]

That artist/band _always_ pays for the recording in a "recording contract" ... it wouldn't happen any other way.

[Bob Schmall]

That name is loony enough to be true.

I drive way too fast to worry about cholesterol.

[Bob Schmall]

I'm sure that's true, but Boston must have made so much from their debut album that they could afford some studio time. The explanation I heard was "creative stagnation." True?

[jo4hn]

Commander Cody

[jo4hn]

My favorite title/group name was "Brontosaurus Stomp" by the Piltdown Men. Can't remember the tune but the names live on. remembering stupid stuff, jo4hn

[jo4hn]

Or for an earlier version, try Prince Partridge. Love Buck Owens songs. "Love's gonna live here" always does it for me. Have a friend who was in Bakersfield when he passed on. Whole town went into mouring. sigh, jo4hn

[Swingman]

Actually, "That" should have been "The". My typo.

The band _always_ pays.

Either they pay themselves upfront, which is much more common these days, or under a "recording contract" the record company pays, but recoups the recording/production costs out of record sales.

The fact that they had a "recording contract" ("recording" being the operative word), and not a "Distribution deal", indicates the latter.

Either the way, the artist/band always pays recording and production costs in some manner, so you're most likely correct in that it was "creative stagnation" in Boston's case.

Then again, it could be just plain old unharmonious band politics ... after an unspecified amount of time, bands are worse than the UN when it comes to agreeing on _anything_! ;)

[Just Wondering]

"The Truth About Men" by Tracy Byrd "I'm Gonna Miss Her" by Brad Paisley

[Swingman]

I wished I had a nickel for every studio time dollar that was wasted back in the early 80's trying to emulate Tom Scholz's guitar sound. Then he came out with the "Rockman" processors ... one of the most brilliant folks in the music business.

[Charlie M. 1958]

I know the first time I ever heard it, many years ago, it sounded like an older black guy singing it.... don't know if that is the one you're talking about.

[B A R R Y]

Maybe Tom Scholz needed time to design and build new effects, before he could start another record.

[B A R R Y]

Those things were all kinds of noisy, and not very roadworthy, though.

It's too bad they couldn't have made a "Pro" line that was less noisy and used switches and connectors better than Radio Shack's cheapest!

[Swingman]

They were noisy in the studio, for sure. I still have a bass rockman around somewhere that hasn't seen the light of day in 20 years or more.

Oh well ... cheap was better than the 5 grand worth of vintage tube gear it took to emulate in the studio, and that was at 80's prices.

I was proud to see someone come in with one ... that way "we" got the sound he wanted without me having to jump through hoops, and most didn't play quite enough for the noise to matter, or the amp was noisier to start with.

My only personal "gadget" for the past ten years or so has been a "SansAmp" Bass driver DI.

... it's probably "vintage" now. ;)

[B A R R Y]

Those were the only times I ever needed to gate bass DI's during live shows for non-artistic reasons.

Rockmans actually worked OK live for bass (which we would usually compress anyway for hard rock & metal), but I thought the guitar versions were a tad over compressed for live shows, they make the guitar sound kind of plastic and lifeless. I've seen more guitar players mess up the sound and sustain of an 80's+ Marshall (the JCM's with the "screen" (not vinyl & piping) face) with too many effects.

I think I still have a Bass Rockman around too. It made a decent headphone amp. My complaint about the switches comes from seeing more than one change settings (or become suddenly silent) because a switch didn't make properly.

But you're right... For the price? Excellent! And for the technology of the time, very small!