Davey
12-24-2005, 01:54 PM
Some of you know my long held (and probably irrational) gripe that I've often expressed around these parts about the lazy ****s who just fadeout their songs without a proper ending. You know the type. For some reason they think it's alright to just keep playing and then go in later and pick a spot to slowly fade it out. I mean, like how much ****ing trouble is it to just rehearse the damn thing a couple times and figure out ahead of time how you wanna end it? Is it really all that complicated? OK, so rant over. What are a few of your favorites that are properly ended?
One I really like is also one of my favorite songs of the 90s, the closer from Yo La Tengo's Electr-O-Pura. Blue Line Swinger. Comes to a perfect ending with everybody stopping on cue, reverberations slowly dying out. Sounds live in the studio.
Lots of great endings and transitions on the Libertines second album that I'm playing right now, which was the inspiration for this post. Kind of like the band that inspired them, the Clash. One of the charms about this record. Very much like they were bouncing around in the studio, no indecision, that's good enough, wrap it up and move on.
Saw that Wilco show on ACL the other night and they were hot with the endings, lots of whammy bar action. Who'd ever use a fadeout in concert?
So much easier to put a tight sounding compilation together when the songs have a proper ending. Love it when they leave an amp buzzing loud with modulated feedback or something like that to take it spiraling on out in style.
...and in the end, the love you take is equal to the love you make. Now there was a colossal ending! One of Ringo's only drum solos. The end of the album that spelled the end of Beatles. Is the following short and sweet "Her Majesty" really in the wrong place? It does seem like it when the album is listened to as a whole. People have always said it should be between "Mean Mr. Mustard" and "Polythene Pam", haven't they? Anyone with the CD ever tried programming it like that? I only have the LP so never tried it.
**** means something really bad ;)
One I really like is also one of my favorite songs of the 90s, the closer from Yo La Tengo's Electr-O-Pura. Blue Line Swinger. Comes to a perfect ending with everybody stopping on cue, reverberations slowly dying out. Sounds live in the studio.
Lots of great endings and transitions on the Libertines second album that I'm playing right now, which was the inspiration for this post. Kind of like the band that inspired them, the Clash. One of the charms about this record. Very much like they were bouncing around in the studio, no indecision, that's good enough, wrap it up and move on.
Saw that Wilco show on ACL the other night and they were hot with the endings, lots of whammy bar action. Who'd ever use a fadeout in concert?
So much easier to put a tight sounding compilation together when the songs have a proper ending. Love it when they leave an amp buzzing loud with modulated feedback or something like that to take it spiraling on out in style.
...and in the end, the love you take is equal to the love you make. Now there was a colossal ending! One of Ringo's only drum solos. The end of the album that spelled the end of Beatles. Is the following short and sweet "Her Majesty" really in the wrong place? It does seem like it when the album is listened to as a whole. People have always said it should be between "Mean Mr. Mustard" and "Polythene Pam", haven't they? Anyone with the CD ever tried programming it like that? I only have the LP so never tried it.
**** means something really bad ;)