i'd forgotten about that My Town connection
http://members.tripod.com/~irish_pop/mytownframe.html
ah, bless
http://members.tripod.com/~irish_pop/mytownframe.html
ah, bless
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I just find it all kinda repetitive. I gave Tuneyards a go, but nothing grabbed me. Don't like her voice either, which is kind of a big part of the whole oeuvre. As for sustainability, there's a couple of tunes that are ok, I might hear one and think, hey, that ain't so bad. But two in a row is too much. I attribute this as much to the modern fad of compressing everything and mastering at an obnoxiously high level, which makes listening an unpleasant and nuance free experience.Royal Blood are dreadaful imho.
What exactly is it about Tuneyards that is not sustainable? What is this one idea you are referring to? I see a lot of ideas, building on each other, over 3 albums. Most recent album doesn't even have ukelele, which is a pretty much what the entire first album is based on.
Also: Tuneyards. How is that supposed to be sustainable over a career? One idea, that's really fucking grating after the second listen.
I don't get you.Why does it have to be a sustainable career?
As for sustainability, there's a couple of tunes that are ok, I might hear one and think, hey, that ain't so bad. But two in a row is too much.
Also: Tuneyards. How is that supposed to be sustainable over a career?
I don't get you.
Well, whether or not she wants to go on making music her life/career is up to her. I meant as in a body of work, from my point of view. I find her work thus far, her career if you will, a little one note, as it were. The lack of variation bores me.I'm quoting you and asking you a question about something you said about music. Its sorta on you to explain why that is a factor, if you want to.
Everyone I spoke with about the Hot 100—label and radio executives, industry analysts, and other journalists—agreed with Jay Frank’s assessment that consumers have more say than they did decades ago, when their tastes were shaped by the hit makers at labels. But here’s the catch: if you give people too much say, they will ask for the same familiar sounds on an endless loop, entrenching music that is repetitive, derivative, and relentlessly played out.
Now that the Billboard rankings are a more accurate reflection of what people buy and play, songs stay on the charts much longer. The 10 songs that have spent the most time on the Hot 100 were all released after 1991, when Billboard started using point-of-sale data—and seven were released after the Hot 100 began including digital sales, in 2005. “It turns out that we just want to listen to the same songs over and over again,” Pietroluongo told me.
Because the most-popular songs now stay on the charts for months, the relative value of a hit has exploded.The top 1 percent of bands and solo artists now earn 77 percent of all revenue from recorded music, media researchers report. And even though the amount of digital music sold has surged, the 10 best-selling tracks command 82 percent more of the market than they did a decade ago. The advent of do-it-yourself artists in the digital age may have grown music’s long tail, but its fat head keeps getting fatter.
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