March 9, 2025 • 39 mins
On this episode of Adventures in Vinyl Adam and I discuss this Irish-English Rock band’s 2nd studio album released on November 4th 1991. That band is My Bloody Valentine and the Album is Loveless.
Song of The Week!
Just Like Honey - The Jesus and Mary Chain - Psychocandy
City Girl - Kevin Shields - Lost In Translation (Original Motion Picture Soundtrack)
Stump The Barron!
Here’s Where The Story Ends - The Sunday’s - Reading, Writing And Arithmetic
My Bloody Valentine - Loveless
Genre: Shoegaze
Release Date: November 4th, 1991
Producer(s): Kevin Shields - Colm O Closoig
Label: Creation (UK) - Sire Records (US)
Length: 48:31
Number of Tracks: 11
For more information on the band My Bloody Valentine and Kevin Shields you can check out their website at www.mybloodyvalentine.org. If you enjoyed this podcast be sure to check us out at our website at www.adventuresinvinyl.com where you can find links to our episodes and through our support section you can find a place to order you very own adventures in vinyl T Shirt.
Song of The Week!
Just Like Honey - The Jesus and Mary Chain - Psychocandy
City Girl - Kevin Shields - Lost In Translation (Original Motion Picture Soundtrack)
Stump The Barron!
Here’s Where The Story Ends - The Sunday’s - Reading, Writing And Arithmetic
My Bloody Valentine - Loveless
Genre: Shoegaze
Release Date: November 4th, 1991
Producer(s): Kevin Shields - Colm O Closoig
Label: Creation (UK) - Sire Records (US)
Length: 48:31
Number of Tracks: 11
For more information on the band My Bloody Valentine and Kevin Shields you can check out their website at www.mybloodyvalentine.org. If you enjoyed this podcast be sure to check us out at our website at www.adventuresinvinyl.com where you can find links to our episodes and through our support section you can find a place to order you very own adventures in vinyl T Shirt.
Mark as Played
Transcript
Episode Transcript
Available transcripts are automatically generated. Complete accuracy is not guaranteed.
Speaker 1 (00:00):
On this episode of The Ventures in Vinyl, Adam and
I discuss this Irish English rock band second studio album
released on November fourth, nineteen ninety one. That band is
My Bloody Valentine and the album is Loveless.
Speaker 2 (00:30):
What is up? What is that? What's up? Man?
Speaker 3 (00:32):
Not a lot?
Speaker 1 (00:33):
It's another week of the Ventures in Vinyl with Me
as Todd Warden with me is my co host. The
everyone's favorite it dad and father of a particular fourteen
year old is Adam Barron.
Speaker 2 (00:46):
Yeah. Yeah, turned fourteen last Friday. Go JD.
Speaker 3 (00:49):
Yeah, he went and he took his driver's test. He
unfortunately did not pass. You know it like it is interesting?
So he studied, but is this first time? He read
the books seven times? He studied it extensively, and what
he said was that they threw some questions at him
that were not in the study material.
Speaker 2 (01:10):
Yeah, I talk situational questions. Yeah.
Speaker 3 (01:12):
So I talked to a police officer friend of mine
and he told me specifically. He said, yeah, the first time,
they actually make it the most difficult. Yeah, and it's funny,
he said his own son took the test. Guest on
the Answers didn't study at all. And got them right
and got his license, he said, actually he was actually
kind of frustrated about that.
Speaker 1 (01:30):
Yeah, well it took Connor like several times, like three
or four times, and and when I got my license
was in Alabama, and that was relatively easy. Like you
just when you get your permit, you do the written test,
but you take driver's head, like you have to have
driver's head to even do the written test, which you
don't Arkansas. Which you don't in Arkansas. Right, so you
had driver's ed. You do the written test and then
(01:51):
they you actually drove the car before you got a
parent or no, you got it. You took the writon
test and then you got your permit. Then you had
to go through driver's head and then you couldn't get
your license without drivers at and so like you knew
how to do all that.
Speaker 3 (02:05):
I took driver's ed optional, right because it would lower
your insurance.
Speaker 2 (02:09):
Yeah, well we did. We took Connor to like a
local driving school in Lower Rock and our school actually
hosted it.
Speaker 3 (02:14):
And I remember it was one of my football coaches
and he would have There was a couple of like
sophomores in the car with me, and of course I
didn't get my license. Lie was almost a senior. Oh yeah,
just hadn't need to. I didn't really have a need.
And so when I finally got a vehicle, I was like,
all right, let's go do this. But he would have
the fourteen year olds, you know, or ill sophomore sixteen
year olds. He would have them drive around the parking lot. Yeah,
(02:35):
and then you'd have me get in the driver's seat.
All right, Adam, we're going to drive over to Oaks, Oklahoma,
and I want to go to this pawn shop.
Speaker 1 (02:40):
You know.
Speaker 2 (02:40):
So I'd get like ninety percent of the driving time. Yeah.
Speaker 1 (02:43):
So that was our driving instructor when I was in
high school. He would literally run errands lunch.
Speaker 2 (02:49):
We'd go to pawn shops left and right, and those
of us keep half the time.
Speaker 1 (02:53):
Yeah, and one of them he would always pick the
favorite kids, and so we always got the driver.
Speaker 2 (02:57):
He was like, all right, I want.
Speaker 1 (02:58):
Four with me, and he was like Ward Catherine and
then another couple and like it was Leally. We just
got in the car and it was only three students
in him and he always sat in the pastor seat,
and then we would just take turns driving him from
erin to Aaron.
Speaker 3 (03:13):
My football coach. I seemed like every trip we took
he'd just sleep. Yeah, he'd sleep like half the until
we got to the pawn shop. Hey, coach, we're here.
Speaker 2 (03:20):
Oh that's just funny. I think that's one thing like
in high school. Everyone has those stories. That's just cool.
Speaker 1 (03:27):
So, hey, man, I was really engaged with prepping for
this album this week, and we've been listening to a
lot of commentary training stuff back and forth. And what
was really cool is I started looking at it like
a lot of similar artists to my Bloody Valentine, and
so I started digging kind of deep into some alternative
eighties and so I picked a This one grabbed my attention.
(03:48):
I don't know if you remember this, but my song
of the week is just like honey.
Speaker 2 (03:52):
Ah the Jesus and Mary Jesus and Mary chain off
the Psycho Candy album.
Speaker 3 (03:56):
And so if you watch the movie Lost in Translation,
which guess what my song is, also.
Speaker 2 (04:02):
It's like it totally just worked out this way.
Speaker 3 (04:05):
Yes, but man, this plays at the end of the
movie and like a particularly emotional moment and.
Speaker 2 (04:10):
It just hits perfect.
Speaker 3 (04:11):
Yeah, such a great song, man, Jesus and Mary Chaine
had some really good stuff.
Speaker 2 (04:16):
Yeah, and like I'm just this whole I'm digging some
of it.
Speaker 1 (04:20):
It's like I remember we started kind of talking about
I think maybe the first season we started talking about
The Cure a lot again into some albums like this,
and that seemed to be, hey, something that we you know,
really kind of dug And as we're starting to get
into some like how shoege it seems like we're starting
to approach Hey, this is where shoegaze.
Speaker 2 (04:40):
Kind of came from.
Speaker 1 (04:41):
Yes, And that's really interesting because we're starting to see
some of these sub genres but then the alternative main genre,
and we're starting to see how this music evolved.
Speaker 2 (04:50):
So it's like kind of cool.
Speaker 3 (04:51):
Yeah, So teasing this album a little bit, which if
you look at our social media, you already know what
we're covering.
Speaker 2 (04:55):
Yeah, but this album had a.
Speaker 3 (04:58):
Massive influence on on the music industry as a whole.
Speaker 2 (05:02):
I mean there's several artists I know that.
Speaker 3 (05:05):
So Robert Smith from The Cure, he said that we're
covering my bloody Valentine. This was the first band who
clearly pissed all over us. That's a direct quote. Loveless
is one of my all time three favorite records. So
if you listen to something like Disintegration, you can kind
of see like very similar similar stuff. Billy Corgan smashing
pumpkins and he he said quote it's rare in guitar
(05:28):
based music that somebody does something new and everybody was wondering,
like how my bloody Valentine makes all this noise and
makes it sound beautiful? Brian Eno, I mean a dude
who is no stranger too, like the Wall of Sound
and soundscapes and ethereal music. He said that this album
set a new standard for pop. It's the veguesst music
(05:50):
to ever be a hit. I kind of agree with
that with that. Yeah, it really this is such a
unique album. I'm genuinely excited to talk about it.
Speaker 2 (06:01):
Yeah, yeah, I mean too.
Speaker 1 (06:02):
All right, so into your song of the week, we
mentioned this just like Honey was from the film Lost
to Translation. If you haven't seen that movie, it's brilliant,
it's great. I mean, its stars Bill Murray and he's
literally Scarlett Johansky was really young, young, yeah, and Bill
Murray plays this washed up actor and the only jobs
he could get is in Japan on these commercials and
(06:22):
some tory.
Speaker 2 (06:23):
Yeah. And if you've ever been like a Western person
in Asia and live there for four months in Japan and.
Speaker 1 (06:30):
I've been over there on business trips and you don't
know a lot of the native languages, you know, it
really kind of like you're wondering kind of day to
day and if you're out by yourself without you're totally dependent.
Your communication is completely dependent on someone else. Yes, and
it's just a very interesting movie. But why don't you
go ahead and hit.
Speaker 2 (06:46):
Your song a week? Yeah?
Speaker 3 (06:47):
So again, same soundtrack, City Girl, by the one and
only Kevin Shields, who is the lead songwriter, producer, and
guitar player and backing vocalist for My Bloody Valentine yep,
and man Kevin Shields, I think he has five songs
on the Lost in Translation soundtrack. And then there's one
(07:08):
song from this album we're covering today Bibenly but My
Bloody Valentine on that particular album. And really, when you
watch the movie, you can't help but realize this is perfect.
I mean, that soundtrack is genius. All the songs fit
in there perfectly. Oh, that may need to be an episode.
We might have to do that at some point. Down
the Road man, But this song in particular, City Girl,
(07:31):
is one of my favorites on the album. It just
fits the vibe of the movie incredibly well. Yeah, so yeah,
go check out the Lost in Translation soundtrack. Todd played
just like Honey by the Jesus and Mary Chain already
this is City Girl by Kevin Shields.
Speaker 2 (07:47):
Man.
Speaker 3 (07:47):
Just really tons of great music on there, whether it
just even the musical interludes that are all done by
Kevin Shields Yeah, are brilliant.
Speaker 2 (07:56):
Yep. I love it when an artist can just do
his thing exactly only just makes it.
Speaker 3 (08:01):
Yeah.
Speaker 1 (08:01):
All right, Well, hey it is bad time another episode
of Ventures of Vinyl, and that means another round of
stump the baron on. Stump the baron, I pick a
random song from a random genre. I give Adam a
few clues with this above mediocre levels of knowledge of
knowledge of music. With his above mediocre levels of his
knowledge of music, attempts to guess the artist, album and
(08:23):
song title. There are nour scores. It's just a excuse
for me to play out my childhood dream of being
the next Regis Building.
Speaker 2 (08:28):
Here we go.
Speaker 1 (08:29):
Uh So for this week Alex Trump back for this
week on stuff the baron We Visit. The single the
second single from this band's debut album in the year
nineteen ninety. The song reached number one on the US
Modern Rock Tracks chart and became this band's break through hit.
Speaker 3 (08:55):
Nothing is Striking Me Right off the bat in nineteen
ninety though, I was listening to eighties metal.
Speaker 1 (09:00):
Yeah, it's on a soundtrack too. I'm not gonnall you
which one that would give it away, but I think
we've covered it.
Speaker 2 (09:14):
Oh jeez, it's familiar. Yeah, I was very familiar.
Speaker 3 (09:20):
It's it's not throwing any names to the forefront right
off the bat.
Speaker 1 (09:23):
All right, we're gonna have to change your description to
below mediocre levels.
Speaker 2 (09:26):
Apparently.
Speaker 3 (09:27):
Apparently I got last Weeks though, yeah, last week, Well,
this one, I wasn't sure like it was gonna be
so this one.
Speaker 1 (09:33):
This band did have an influence from My Blood Valentine.
They referenced some of this stuff in there. But this
is actually the band The Sundays a Sunday. This is
the song. Here's where the story ends. It's off the
album reading, writing and arithmetic.
Speaker 3 (09:48):
Yeah, okay, so I think I listened to The Sundays
on a It was like a compilation album yeah, back
in the mid nineties. Yeah, I want to say it
might have been the DGC Rarities, the one that had
Wheezer playing.
Speaker 2 (10:03):
Which track with.
Speaker 1 (10:03):
Jamie Well, they do wild they do a wild Horses
cover or Rolling Stones rollin Stone Horses, and it's that's Yeah.
Speaker 2 (10:10):
I remember their Wild Horses cover. That's genius.
Speaker 3 (10:14):
But I was never there was never one of those
bands that I went out and found and listened to.
Speaker 2 (10:17):
Yeah.
Speaker 1 (10:17):
Well, just as we were kind of getting into shoegaze,
you know kind of Yeah, I was just kind of
looking at the bands, I got influence with them, and
you know, because really our our goal in this was
to introduce people to albums and having to buy one.
And we actually saw an Instagram post of someone's like, hey,
I listened to this episode and I bought the final Yeah,
and I was.
Speaker 2 (10:33):
Like, hey, that's what we It took us almost two
years finally are one of our tens and tens of listeners.
Are tens and.
Speaker 1 (10:41):
Tens of listeners like I don't have okay computer, I'm
gonna go buy this album. That sounds like a really
good idea well mission accomplished, mission a cup that's one
win out of the out.
Speaker 2 (10:50):
Of then we're not keeping count. We're not keeping count.
Speaker 1 (10:53):
Hey, but if it took it this many episodes, just
imagine that's only one person that's communicated it, so maybe
others you know.
Speaker 2 (10:59):
There you go, we'll do that as well. All Right, man,
you ready to get into this? Yeah, let's dive on in.
Speaker 1 (11:03):
All right, all right, all right, kicking it off as stated.
Released on November fourth, nineteen ninety one, Loveless is the
second studio album by the band My Bloody Valentine. Loveless
clocks in at a total of forty eight minutes of
thirty one seconds and consists up eleven tracks. In the
background you hear track won that's titled only Shallow. It
clocks into four minutes and seventeen seconds. It was the
second single off the album, Yeah.
Speaker 3 (11:26):
Hit number twenty seven, I think in the US on
alternative airplay man, so a little bit about My Bloody Valentine.
So it's funny. Kevin Shields and the drummer calm. I'm
not going totremely try to get the last name, one
of those Irish last names that you just don't get.
Speaker 2 (11:43):
They met up a karate tournament, entered a karate tournament.
Speaker 3 (11:46):
They meant met at a karate tournament in the late seventies,
They became friends, started a punk band that eventually dissolved.
Then they started kind of a post punk trio that
also eventually dissolved, formed My Bloody Valentine in nights eighty three,
and then they kind of realized that Ireland wasn't really
the great spot for them to be.
Speaker 2 (12:04):
Ireland's not really a good space.
Speaker 3 (12:06):
It wasn't a musical hotbed back then. I think that
has changed now released the Irish influence is more prominent.
Speaker 2 (12:12):
Yeah, I would agree.
Speaker 3 (12:13):
So they went to the Netherlands, kind of hung out
there for a while, went to West Berlin, Germany. They
recorded a debut mini album there called This is Your
Bloody Valentine That was in nineteen eighty five.
Speaker 2 (12:23):
Then they moved to London.
Speaker 3 (12:24):
They got DeBie Gouje on bass, signed with Creation Records.
They released another couple of EPs there, eventually released You
Made Me Realize in nineteen eighty eight, which got to
number two on the UK Indie charts. Then Isn't Anything,
their first full length album was released in late nineteen.
Speaker 2 (12:42):
Eighty eight and was a huge success. They peaked at
number one.
Speaker 3 (12:46):
I think, yeah, on the UK Indy chart kicked off
the whole Shoegayz revolution.
Speaker 2 (12:51):
One hundred percent agree with that.
Speaker 3 (12:52):
Yeah, it would be three years though after that the
bankerupting of their label by them app ton of drama
before Loveless was finally released in nineteen ninety one.
Speaker 1 (13:03):
Yeah, there was a lot of things with like how
the album, like how much it cost to make the album.
Speaker 2 (13:09):
It cost a significant amount of money.
Speaker 1 (13:11):
They're probably a lot of negativity against Kevin Shields, I
would imagine at the time.
Speaker 2 (13:15):
Well they were.
Speaker 3 (13:15):
I think they went to nineteen different studios to record
this album. They had two engineers. One of them I'd
never heard of. The other one was the legendary Alan Moulder.
That must be why I have studios as blank.
Speaker 2 (13:26):
Yeah. I was like, I have no idea where they
did this, nineteen of them. Yeah, yeah, so.
Speaker 3 (13:31):
It was put a number of studios. So before this
track passes only shallow. It's a great introduction to both
the album and you know, and the harmony and the
chaos that kind of accompanies it. Debbie Gooch has a
very unique bass styling. Kevin Shields plays his guitar very uniquely,
he has what they call the glide guitar technique, where
he strums while hitting the trembar, so it gives just
(13:54):
like a really diving like a swell exactly. They're known
for dissonant harmonies on the guitar, which you definitely hear here.
And then Belinda Butcher's very ethereal kind of float along vocals. Yes,
I love that. Debbie Googe in her styling. She's kind
of a lot like Peter Hook from New Order. She
tends to stay on the higher register and play her
(14:15):
bass less.
Speaker 2 (14:16):
Is a rhythm section instrument.
Speaker 3 (14:18):
And more of like a lead instrument, like a lead
instrument exactly, which is very much what Peter Hook tends
to do. Another band that kind of fits almost within
that shoegay genre, although they stem for much earlier. But Man,
just a great mixture of float during the verses and growl.
Speaker 2 (14:34):
During the choruses on this song. I love that the
choruses are devoid of vocals. Yeah, just kind of nice.
Speaker 3 (14:42):
Yeah, it's I mean, it's a good choice for a
first single and a great way to kick off the album.
Speaker 2 (14:46):
Yeah, all right.
Speaker 1 (14:47):
Coming in on the second track is called lumer It's
clocks in at two minutes and thirty eight seconds, and
I think it's a nice segue from Only Shallow into
this one.
Speaker 3 (14:55):
Yeah, it's it's short, like you said, just about two
and a half minutes, but features more more of the
guitar gral, the high register bass, and the really floating
vocals that you hear from Belinda Butcher that we heard
in Only Shallow. The drums kind of stay largely on
the bass, drums and the toms. You don't really hear
any symbols in this song, which is really interesting. You
(15:15):
really get an idea of Kevin Shield's ability to use
guitars to create just about any sound he wants through
this track, and you'll through the rest of the album
as well.
Speaker 2 (15:25):
So a little bit more about the album.
Speaker 3 (15:27):
Clash Magazine calls this one the magnum opus of the
shoegay genre. Spin had is it at number twenty two
of the one hundred Greatest Albums from nineteen eighty five
to two thousand and five. The Irish Times. It's number
one on the top forty Irish albums of all times
two thousand and eight. The Guardian, Big UK newspaper, this
was the pet Sounds of UK Avant Rock. High praise
(15:49):
right there, Nicole says high.
Speaker 2 (15:52):
She just so New music Experience, one of the big
British mags.
Speaker 3 (15:56):
The number eighteen on the five hundred Greatest Albums of
All Time and this was included in the one thousand
and one Albums You.
Speaker 2 (16:02):
Must Hear Before You Die book. Wow. Yeah, so that's
an interesting book.
Speaker 3 (16:06):
It really is. I'll have to grab it at some point. Yeah,
I'm really curious about it.
Speaker 1 (16:10):
Now.
Speaker 2 (16:10):
I'm gonna be like, okay, I got a order.
Speaker 3 (16:11):
Well, I've referenced a few times from different albums that
we've covered. I think Disintegration was in there as well well.
And I gotta find like a hard copy book, yeah exactly,
I know. I don't do digital books. So the album, surprisingly,
it only charted in the UK and only had certifications
in the UK, went number twenty four in the UK
and was certified gold there us. Nothing but the influence.
Speaker 1 (16:32):
I is huge, I think, Yeah, I think when you
look at this and I think it's just credible.
Speaker 2 (16:39):
All right. So the third track is a quick fifty
six instrumental. It didn't bother me, but it was a
little odd.
Speaker 3 (16:46):
Well again, lots of dissonant guitar over some drum programming
and sequencing. These are these guys showing, hey, we're not
here to do the same old stuff that you've heard.
We're doing something entirely different. So it's, like I said,
just under a minute in length. It's just kind of
a segue, but it fits within the musical context of
the album. If you look at it on its own, yeah,
(17:07):
it's it's just weird. But when you think about it
from the album as a whole, it's it's a good spot.
You had two like kind of heavy tracks, right, and
then you have this little set.
Speaker 2 (17:18):
No, it's really not bad.
Speaker 1 (17:19):
And we've had all these segues that we mentioned though
there albums and yeah, they kind of put it in,
And I'm starting to find that it kind of helps
prepare you for what's coming, especially when the band approaches
an album as an album and not a few singles
with some filler yeah, or hey, I'm gonna topload it
with six singles, so everyone buys my.
Speaker 2 (17:41):
Mind exactly, right, this is not that. Yeah, this is
not that.
Speaker 1 (17:44):
And then after the third track Touched, you have the
fourth track off the album titled to here Knows. When
it clocks in five minutes and thirty one seconds.
Speaker 3 (17:52):
So again like lots of really cool dyssentic guitar, some
drum programming. Belinda Butcher just kind of hums over the proceedings. Yeah,
and she's just got this beautiful, beautiful vocals.
Speaker 2 (18:05):
It's very like Ethereal.
Speaker 3 (18:08):
You just sit back with your headphones on, you close
your eyes, and you lose yourself in it. Yeah, that's
that's what you do with this man. There's no lyrics.
It's five and a half minutes long. The time passes
quickly when you just do exactly that, You just sit
back and kind of soak in the dissonance.
Speaker 2 (18:23):
Yeah, I mean obviously exactly.
Speaker 1 (18:25):
Because like when I've listened this album probably ten times
in the past week, and.
Speaker 2 (18:31):
I you know, we talk about this often.
Speaker 1 (18:33):
I just start out listening to different situations and I
find myself just putting this on.
Speaker 2 (18:39):
I don't know what about it, but I'm just putting
it on. I'm like, oh, I'm a listen to this.
Speaker 1 (18:44):
When I can't put in and normally it's like I
gotta listen to this album again, Like I like these
six songs, I gotta listen to these other five songs
on the album that I don't really like, but this
one's just like, I just enjoyed it, Yes, and it's
it's nice to have that, yeah, you know.
Speaker 3 (18:58):
And the cool thing about this one too is that, yes,
it's this way through most of the song, but then
in the last forty five seconds or so of the track,
you get Kevin Shields just showing off his guitar style,
you know, his his tremolo bending glide guitar, and it
leads really nicely into the next track, which is, so
(19:18):
here's the guitar stuff. I think, yeah, yeah, yeah, let's
play it honestly, so.
Speaker 2 (19:22):
As it builds up, it's kind of what you're talking about. Yeah,
you just hear this diving guitar. It just glides. That's interesting. Yeah,
he's just so he's playing as he's hitting that, you know.
Speaker 3 (19:35):
And one of the things that Kevin Shields did a
lot was he would take two amps have them face
each other.
Speaker 1 (19:40):
You never do that well and that you do that
and the jazz Master really die wow with that.
Speaker 3 (19:47):
The jazz Masters and Jaguars both like they built them
both to be able to dive with that trem bar,
leading into one of my very favorite tracks on the.
Speaker 1 (19:55):
Album When You Sleep All the album that cocks it
of four minutes and eleven seconds.
Speaker 3 (20:03):
Yeah, so I love how the guitar riff it matches.
Belinda Butcher's vocal dives right with Shields tremolo.
Speaker 2 (20:10):
You hear right here. I mean it's really cool.
Speaker 3 (20:14):
I love the way that he glides down with her
vocal as she kind of SAgs a little bit. It's
interesting that Belinda and Kevin singing Unison. Yeah, try to
harmonize with each other throughout this song. It's all Unison.
They're singing the same melody octaves apart.
Speaker 2 (20:31):
Yeah, you've got Kevin on the lower octave and Belinda
behind the higher octive. Yeah, it works, it does.
Speaker 3 (20:38):
I mean, there's nothing groundbreaking about the progression. It's like
in the verses, it's like the one. Yes, that's what
it is. It's making the vocal range.
Speaker 2 (20:48):
Progression isn't the focus, it's the sound.
Speaker 1 (20:51):
Yeah, it just makes the overall sound bigger. And you
see bands like alson Chains they use harmonies to add depth.
Speaker 3 (20:59):
Yes, this is an adding depth. This is just adding rain.
The music itself is the depth. Yeah, that's what really
the focus is. I mean again, the verse progression is
just a one six, one two. The chorus is a
simple one two four. It's really basic, nothing groundbreaking about it,
but just an incredibly strong song, super unique in its execution.
(21:23):
I think this one could have been a single. I
mean it's just a brilliant song and yeah, absolutely love it.
Speaker 2 (21:30):
Cool.
Speaker 1 (21:31):
All right, we are uh as we close in on
the halfway mark of Loveless yet I only said is
the six track off the album, and it clocks in
at five minutes and thirty four seconds. It's kind of
interesting intro, yeah, because like only Shallow kind of came
in hot and we're kind of at the halfway point.
It kind of has a different type of intro, but similar.
Speaker 2 (21:52):
Theme to the album. Yeah, this one is a wall
of noise. Yeah.
Speaker 3 (21:55):
You know, when I hear this track, I also hear
other shoegay genre bands that came later, Yeah, like this
one in particular. There's a band called the Lassie Foundation
in the mid nineties was big in the shoegay scene.
A bunch of really influential musicians in that band as well.
But you hear this sound right here in the Lassie
(22:16):
Foundation sound. In general, there's other bands, like we've covered
Longwave before. Yeah, long Way, you really hear a lot
of this in Long Wave as well, saying with Slow
Dive and a lot of those other Ride, a lot
of other shoegaze bands that came out subsequent to this,
and so Man, at this point in the album, I'm
realizing this album is more about just that the album
(22:41):
than the individual tracks. You know, if you're listening to
this for the first time, yes, you're hearing some songs
that are single worthy, but you're realizing, no, I'm supposed
to listen to.
Speaker 1 (22:49):
This as an album album. Yeah, And I think that's
what's important. Yeah, is like it should be listened to as.
Speaker 3 (22:55):
An album, not a compilation of songs exactly. And once again,
a great track that you can just sit back, headphones on,
drift away with it.
Speaker 2 (23:05):
Oh yeah, Like I'm excited.
Speaker 1 (23:06):
I got so much work I gotta do this afternoon
and it's like I blocked out my schedule because I
need like dedicated time. I was like, oh, this is
a good headphone afternoon Yeah.
Speaker 2 (23:15):
Man, Yeah, all.
Speaker 1 (23:17):
Right, check seven clock it in three minutes fifty eight seconds.
It's called come in Alone. Yeah, So this one comes
in heavy, and I'm I'm kind of here for it. Yeah,
I love the intro. It's simple. I mean they're basically
riding on one.
Speaker 2 (23:32):
Chord at this point. I'm dug in. Yeah. But the.
Speaker 3 (23:37):
Bass, like Debbie Goose, so unlike the previous songs where
she's been kind of on that higher register playing her
he instrument is more of a lead instrument. Now she's
playing in the rhythm section, but she's on the high
register during the verses. You'll notice, like their verses and
their choruses, they try really hard to differentiate between them. Yeah,
one might have vocals, the other might not. One they're
on the high register, the other on their low. I mean,
(23:58):
it's really interesting the way that they structure their songs.
And it's funny. I lost my train of thought. It's
a nice dynamic. It's a nice dynamic. I really love
this song. The melodies in this song are just gorgeous.
Speaker 2 (24:17):
Yeah, I do. I think the melodies I'm a really
good song. This one gets me. I really love this one. Yeah,
Like I just kind of enjoyed the whole album. Yeah,
And another song I enjoy right here. Yeah.
Speaker 1 (24:27):
Sometimes it's the eight track off the album that clocks
in at five minutes in nineteen seconds. You know, some
of these songs they're kind of getting long. Yeah, but
the you don't really notice it though. I like it
because the instrumental.
Speaker 2 (24:39):
Life doesn't bother you. No, No, it really doesn't.
Speaker 1 (24:41):
I think it's because there's a lot going on in
the song, which I actually enjoy.
Speaker 2 (24:45):
It's nice to just listen.
Speaker 3 (24:46):
There's so much tonal variety, yeah that you it catches
your attention constantly. Yeah. But at the same time, if
you need something to just having the headphones like you
mentioned and.
Speaker 1 (24:55):
You're working out, working out, working it's a great album. Yeah,
It's one of those you could just put it on
and listen to the whole thing.
Speaker 2 (25:00):
Yeah.
Speaker 1 (25:00):
I just really like it when we get these albums
that are kind of like back to back, you have
really good stuff. Knowing that you could you know, you
could order this online, but you gotta really find it
in a record store, like this is one you got.
Speaker 2 (25:13):
It's a vinyl that you gotta go find. You can
order it.
Speaker 1 (25:16):
You can order the vinyl online, but hey, this would
be a good one to go shop for exactly.
Speaker 2 (25:21):
Yeah, go find yeah. Yeah.
Speaker 3 (25:22):
So when we talked about the Lost in Translation soundtrack,
this song is the my Bloody Valentine song that is
on those on Lost in Translation soundtrack. I mean it's
just a pounding based trump acoustic guitar to add depth,
the fuzzed out electric guitar and Kevin Shield's voice.
Speaker 2 (25:40):
That's all it is. But it sounds huge. It's just
a big sound.
Speaker 3 (25:44):
Yeah. Man, it's got an untouchable vibe to it as well.
I mean, again, another one of my favorites on the album.
He's got some really unique chord voicings on the acoustic
that you hear playing behind that electric well, and I.
Speaker 1 (25:56):
Think his guitar tone. You know, we mentioned this a
couple of times, but like you have such a bright
sounding guitar in a jazz bastard with those.
Speaker 2 (26:04):
Big pickups, right, Yeah, those.
Speaker 1 (26:06):
Big single coils when you're feeding them to a fuzz,
that's like there's magic. Huge, it's magic that kind of happens.
And you can only get that with a really nice
bright guitar pick up. Yes, you could do it with
multiple guitars, multiple types. It's not jazz Bastard dependent, but
it's the size, the magnetic feeling.
Speaker 3 (26:24):
I'm really interested in, like watching a rig run down
with Kevin Shields Oh yeah, I think I saw one
on YouTube.
Speaker 2 (26:29):
I'm gonna have to go check that out and get
halftime this week. But this is just a sea of fuzz.
Speaker 3 (26:33):
And acoustic that really nicely juxtaposed one and there's a
ton of stuff of like Kevin Shields like I prepping
for this, like you know, he's got a Fender guitar out,
the Fender.
Speaker 2 (26:45):
Jazz Bastard, right, and.
Speaker 1 (26:47):
Reading about the history of shoegaze, the jazz Master sound
and why that was specific into replicating.
Speaker 2 (26:56):
The tone like this. It's very interesting.
Speaker 1 (27:00):
It could be done in multiple different ways, but there's
something very unique with.
Speaker 3 (27:05):
How they're the jazz Master and the format of it. Yeah,
the components of it.
Speaker 2 (27:10):
Yeah, there's something.
Speaker 1 (27:11):
Yeah, it's in that in that transmission line path and
I'm getting like the em engineer craft. Yeah. So like
as a what I really enjoyed is digging into his
sound under because like I built a jazz Bastard and
I was like, there's just something unique, like forgetting all
the weird tone circuitry, just the brightness and what it
(27:32):
gives you and how you.
Speaker 3 (27:33):
Can and how it they handle effects and how they
handle well, yeah, choruses and flanges and trems and fuzzes,
and it's a verse.
Speaker 1 (27:43):
But when you're looking at the alternative genre, especially shoegaz
in general, it's that bright sound and how it picks
up the vibrations of the stream and then how you
hit that distortion and that fuzz that brings a lot
of this unique sound. And we talk about bands like Hume,
we talk about you know, all the bands you mentioned.
It's nice scene that, like, Hey, Kevin Shields inspired.
Speaker 2 (28:04):
All all these guys.
Speaker 3 (28:05):
All, yes, right, and he's cool, yeah, and he had
his own flight and smashing pumpkins.
Speaker 1 (28:11):
When you listen to Fish, it's Siame's dream. I hear
one hundred percent Kevin Shields palm. I hear Kevin Shields.
Speaker 3 (28:20):
Right.
Speaker 1 (28:20):
It all started kind of hitting as I was prepping
for the album, Like I've been listening to Kevin Shields
for decades.
Speaker 3 (28:26):
You've just been listening to him through other artists, correct, Yeah, exactly,
All right, man on to the next one.
Speaker 1 (28:31):
All right, we're down to the last three track. Dye
is titled Blown a Wish and Blown a Wish clocks
in at three minutes and thirty six seconds.
Speaker 3 (28:40):
So this shimmering intro section it's really cool on this
song like that shimmer Man. It's beautiful. You talked about
like the bright trones. That's where this comes in. And
now you hear Belinda Butcher go low vocally as opposed
to like floating up real high. But her low vocal
is just this fantastic as her high vocal yep. I mean,
(29:02):
she's just got such a great voice. And obviously it's
been affects Leyden right, but at the same time, man,
it's just so good.
Speaker 2 (29:10):
Uh Kevin Shields guitar work again.
Speaker 3 (29:12):
You hear that glide up and down, it glides upward,
it glides downward.
Speaker 2 (29:17):
Man, it was just the swell, yes, and it's so transparent.
Speaker 3 (29:22):
And so his guitar work again perfectly matches that vocal melody.
Speaker 1 (29:26):
And you notice in headphones how it fades from the
left to the right on the swing. The mix of
the like that's constantly as you're listening through this, just
as it goes back and forth like like and listen
to this on some of the spatial stuff that and
lossless and even like I put it through a really
nice source, you know, some of those headphone amps and
(29:49):
the nice set of cans.
Speaker 2 (29:50):
I listened to through that It just the mix. Listening
to this through a set of headphones is the way
to listen to that album. Alan Molder knew what he
was doing.
Speaker 1 (29:59):
Many the mix is just and how it treats the
swells going from the left channel.
Speaker 2 (30:03):
To the right channel. Yeah, just man, fantastic sound. The
whole album is. It's a wall of sound. This song
just vibes all the way through too, man like, it's
just beautiful.
Speaker 1 (30:13):
I love it all right, all right, next to the
last track coming in heavy is what you want at
five minutes and thirty three seconds.
Speaker 2 (30:21):
So to me, this is that quintessential beat cut.
Speaker 3 (30:23):
Yeah, it's got that simple but pounding bass again ethereal
vocals and great vocal melodies and shangly rhythm guitar spaced
out lead. Yeah, I mean, and even with all of
these various dynamics in play, it sounds kind of chaotic
when you when you just hear the words, it weren't,
(30:44):
But then you listen to it, it's super catchy.
Speaker 2 (30:46):
There's a lot to love, man. Yeah, it really works.
I mean, it's really just a beautiful track. Yeah, it's
nobody knows how to use a tremolo like Kevin Shields period.
Speaker 3 (30:57):
Man. I mean he again, he pioneered an entire our
guitar style that then translated into an entire genre.
Speaker 2 (31:03):
Of music and is still trying to perfect him today. Exactly.
He's a perfectionist.
Speaker 3 (31:07):
I mean, what do you think they ended up in
nineteen different studios to record this album.
Speaker 2 (31:10):
The dude's a perfectionist. He had to do it himself.
He had to do it right.
Speaker 3 (31:14):
He didn't trust anybody else. He barely even trusted the
mixing engineers he brought in. He brought in mixing engineers
pretty much the pressure of the label, and he was
super picky about who he got. And that's why Alan
Molder was brought in because Kevin knew, like, that's the
guy that if I want a sound and I have
to let go of control, I need to be able
to get somebody I trust him.
Speaker 2 (31:30):
It's Alan Moulder. And man, just again, what you want
is it's exactly what I want.
Speaker 3 (31:36):
Yeah, that's great, I like it. Yeah all right, right,
So onto the last track.
Speaker 1 (31:40):
Last track of the album is titled Soon, which clocks
in at six minutes and fifty eight seconds.
Speaker 2 (31:46):
So this one has been on my standard playlist for
a long time. Yeah, so you're digging it. Yes, yes,
I've listened to it hundreds of times. Now.
Speaker 3 (31:54):
Yeah, really cool intro with the program drums and the
unique guitar riff. Once that thick bassline hits in the
tremolo on the guitar guitar, man, I'm one hundred.
Speaker 2 (32:04):
Percent in Yeah, this bass. Oh, you're digging it. I
love it.
Speaker 3 (32:12):
She's on the lower register now for this one, because
I think she knew I gotta be in tune with.
Speaker 2 (32:16):
The drums for this particular song. Well, she's gotta do
that rhythm.
Speaker 1 (32:20):
She needs to be more of a rhythm yep, because
the drums are a little bit off, and so you
kind of need the bass.
Speaker 2 (32:25):
Driving the whole rhythm or song. And then this guitar
and it just comes in with that swell just like yep.
Speaker 3 (32:31):
And then here in a second and he does another
dive along with the vocal. I love that, man, that's
so good. It's a great song to end the album with.
I mean it's a long song, it's seven minutes long.
But do you notice that.
Speaker 1 (32:47):
No, Honestly, I'm just kind of the whole album goes
by quick when I listen.
Speaker 3 (32:52):
I don't notice how long it is at all? Yeah,
And I listened to it and all I hear is, man,
this is freaking great.
Speaker 1 (32:57):
Well, and you know, we wrap up an album and
we both were like, yeah, I'm definitely getting this on vinyl.
Speaker 2 (33:02):
Yeah, And I was like, I'm not ordering it.
Speaker 1 (33:04):
I'm gonna go find it in a record So I
want the experience to buy the album.
Speaker 2 (33:08):
Yeah.
Speaker 1 (33:08):
And that what That's what makes it hey so much
fun to prep an episode like this is because you
generally out of It's like, what in the heck have
I been listening to for the past, you know, thirty
something years since I really started.
Speaker 2 (33:22):
Listening, especially as music music nerds.
Speaker 3 (33:24):
Yeah, Italy, Yeah, Man, Okay, So I'm really curious this
one established an entirely new.
Speaker 2 (33:30):
Genre of music.
Speaker 3 (33:31):
I mean, it's it's kind of undisputable ethereal texture is
mixed with heavily fuzz guitars, great vocal harmonies. There was
nothing else like this going on before or during.
Speaker 1 (33:41):
I think influential, Like, if you talk about influence, similar
to what we kind of talked about last week, I
think there's only one score you could give it in
terms of the album influence.
Speaker 3 (33:50):
Let's we'll get there, right, But think about the artists
that this influence. Again, we've already talked about the Cure,
Smashing Pumpkins Thursday, Yeah, Maguai, get rid of Maguai, Scottish
instrumentalist band, Oh dude, they got some great stuff, especially
their early stuff silver some pickups.
Speaker 2 (34:06):
Yeah, and again any number of shoegaze band.
Speaker 3 (34:08):
If you're a shoegaze band out there, Even if you
didn't listen to My Blood Valentine, it's like you were
talking about earlier, you listened to them through other artists
you did.
Speaker 2 (34:17):
It's it's so all right, So what did you give it?
All Right?
Speaker 1 (34:20):
So we'll both do it on count three Rock Paper
Scissors time. We'll hold up fingers and we won't.
Speaker 3 (34:24):
Mention your rating period, and it's like, oh this for
this and this for this is rating period.
Speaker 1 (34:28):
It will close our eyes when we don't influence each
other and they will just open.
Speaker 2 (34:32):
Okay, one, two, three, whole crap.
Speaker 3 (34:37):
This is our first perfect ten, perfect ten, and I
honestly I couldn't.
Speaker 2 (34:42):
I don't know what else to call it.
Speaker 3 (34:44):
There's no song on this album that I don't like,
that lacks something. Everything on this album is just picture
perfect to me.
Speaker 1 (34:54):
Well, and I think we need to talk about the
reason behind the ten because I think if you're a
general use listener, let's say, your guy that listens like
I used to be, just listen to the grunge, right
or sure albums from other things. I don't think you're
gonna like it initially, right, But if you're a music
(35:14):
fan and you cross genres and you're deep, and you're.
Speaker 3 (35:19):
Looking for groundbreaking music within its context.
Speaker 1 (35:23):
Right, or an album that's so influential in the history
behind it, Like, if you're a music.
Speaker 2 (35:29):
Officionado, this is a ten yea.
Speaker 1 (35:35):
And I consider ourselves mediocre music officiado, Sure we are,
but we're just like we're just the casual guys who
like music.
Speaker 2 (35:41):
But I mean again, influence.
Speaker 3 (35:43):
Yeah, generations of music that came after it were completely influenced.
Speaker 1 (35:47):
Well, and there's the whole history. There's a whole history
behind it. Everything we've been talking about, we.
Speaker 2 (35:51):
Just scratched the surface of the history behind this album.
Speaker 1 (35:53):
Well yeah, and I think it's gonna lead us to
probably bring in more albums like this.
Speaker 3 (35:58):
Oh. I actually I definitely want to cover their debut
full length at some point as well, just to see
how it influenced this particular release when you know when
they came out with Loveless, but again, groundbreaking influence and
just the fact that I can't find a single freaking
thing wrong with now.
Speaker 1 (36:16):
I think if you're a Pumpkins fan, right, and if
you really like melancholy and the infinite sadness, this is.
Speaker 4 (36:22):
Right up your allred percent, right, Yeah, Like that's the
type if you what's another popular kind of artist that
has similar I'm trying to think of, like albums that
I know HUM.
Speaker 2 (36:33):
There's influences in HUM that we talked about that, you
know the Cure.
Speaker 3 (36:37):
You hear a lot of your Emo band in early
two thousands.
Speaker 1 (36:42):
Yeah, I mean, I think there's so many bands where
if you like styles of music like.
Speaker 2 (36:47):
That, there's one PARTICD.
Speaker 3 (36:48):
So you remember the band brand New, Yeah, their album
Dejon TANDU Yep, their biggest album probably as far as
like popularity, what broke them into the mainstream. There's a
song on there and trying to remember the name of it,
I think it's a me versus. I can't remember the
name of the song, but that song. When I hear
that song, I hear loveless, and I mean it's just it.
Speaker 2 (37:12):
Pops up everywhere.
Speaker 1 (37:13):
Well, and there it is, folks. It's our first ever
perfect ten, perfect ten, never had one before. This is it,
I mean, and you've heard us. Hey, this is really good.
This is almost nine.
Speaker 3 (37:23):
We didn't nitpick anything, No, we nitpicked nothing today. We're
not normally so sick a phantic about an album, but
this one it deserves it.
Speaker 1 (37:32):
But definitely go listen to it on your favorite streaming
platform of choice, buy it on vinyl if you are
a vinyl collector.
Speaker 3 (37:40):
Go get Loveless Love. Seriously, even if you're not a
shoegaze guy. There's so much to appreciate about the musician.
Speaker 1 (37:46):
And like I'm in here, it's yeah, I hope you know.
I've got to get to a record store even before
my birthday, on record store day, Like, I'm just gonna
go find an album.
Speaker 2 (37:57):
This is definitely a top priority. Yep.
Speaker 1 (37:59):
Hey, And just like that, we were at the close
of another episode of Adventures in Vinyl. If you like
the music featured on this episode, you can check out
links to all the featured artists on these episodes website. Yeah,
that's that's right. Terminal for more information on the band,
My Bloody Valentine and Kevin Shield. You can check out
their website at www My Bloody Valentine dot org.
Speaker 2 (38:20):
I think they're on Instagram is mbvofficial Alan.
Speaker 1 (38:22):
Thanks yeah yeah, And if you enjoyed this podcast, be
sure to check us out on our website at www
dot adventures and Vinyl dot com, where you can find
a links links to all of our episodes at Through
our support section, you can find a place to order
your very own if Entries in Vinyl t shirt. Follow
us on Instagram at Adventures dot in dot Vinyl, and
be sure to subscribe to the podcast and leave a review. Uh.
Speaker 2 (38:42):
Follow Adam on Instagram at eat dot pray dot Armbarrow and.
Speaker 1 (38:45):
Myself at Todd David Warden With that, I'm Todd ward
and I'm Adam barraon and we will see you next
time on another episode of Adventures in Vinyl.
Speaker 2 (38:52):
Go get loveless absolutely mm hmmmmmm. Are we doing anything
next week? Can we figure out what we're doing now? Oh? Cool? Hey,
stay to on Instagram and we'll provide you a teaser.
(39:13):
We'll let you know.
Speaker 3 (39:17):
M hm.
On this episode of The Ventures in Vinyl, Adam and
I discuss this Irish English rock band second studio album
released on November fourth, nineteen ninety one. That band is
My Bloody Valentine and the album is Loveless.
Speaker 2 (00:30):
What is up? What is that? What's up? Man?
Speaker 3 (00:32):
Not a lot?
Speaker 1 (00:33):
It's another week of the Ventures in Vinyl with Me
as Todd Warden with me is my co host. The
everyone's favorite it dad and father of a particular fourteen
year old is Adam Barron.
Speaker 2 (00:46):
Yeah. Yeah, turned fourteen last Friday. Go JD.
Speaker 3 (00:49):
Yeah, he went and he took his driver's test. He
unfortunately did not pass. You know it like it is interesting?
So he studied, but is this first time? He read
the books seven times? He studied it extensively, and what
he said was that they threw some questions at him
that were not in the study material.
Speaker 2 (01:10):
Yeah, I talk situational questions. Yeah.
Speaker 3 (01:12):
So I talked to a police officer friend of mine
and he told me specifically. He said, yeah, the first time,
they actually make it the most difficult. Yeah, and it's funny,
he said his own son took the test. Guest on
the Answers didn't study at all. And got them right
and got his license, he said, actually he was actually
kind of frustrated about that.
Speaker 1 (01:30):
Yeah, well it took Connor like several times, like three
or four times, and and when I got my license
was in Alabama, and that was relatively easy. Like you
just when you get your permit, you do the written test,
but you take driver's head, like you have to have
driver's head to even do the written test, which you
don't Arkansas. Which you don't in Arkansas. Right, so you
had driver's ed. You do the written test and then
(01:51):
they you actually drove the car before you got a
parent or no, you got it. You took the writon
test and then you got your permit. Then you had
to go through driver's head and then you couldn't get
your license without drivers at and so like you knew
how to do all that.
Speaker 3 (02:05):
I took driver's ed optional, right because it would lower
your insurance.
Speaker 2 (02:09):
Yeah, well we did. We took Connor to like a
local driving school in Lower Rock and our school actually
hosted it.
Speaker 3 (02:14):
And I remember it was one of my football coaches
and he would have There was a couple of like
sophomores in the car with me, and of course I
didn't get my license. Lie was almost a senior. Oh yeah,
just hadn't need to. I didn't really have a need.
And so when I finally got a vehicle, I was like,
all right, let's go do this. But he would have
the fourteen year olds, you know, or ill sophomore sixteen
year olds. He would have them drive around the parking lot. Yeah,
(02:35):
and then you'd have me get in the driver's seat.
All right, Adam, we're going to drive over to Oaks, Oklahoma,
and I want to go to this pawn shop.
Speaker 1 (02:40):
You know.
Speaker 2 (02:40):
So I'd get like ninety percent of the driving time. Yeah.
Speaker 1 (02:43):
So that was our driving instructor when I was in
high school. He would literally run errands lunch.
Speaker 2 (02:49):
We'd go to pawn shops left and right, and those
of us keep half the time.
Speaker 1 (02:53):
Yeah, and one of them he would always pick the
favorite kids, and so we always got the driver.
Speaker 2 (02:57):
He was like, all right, I want.
Speaker 1 (02:58):
Four with me, and he was like Ward Catherine and
then another couple and like it was Leally. We just
got in the car and it was only three students
in him and he always sat in the pastor seat,
and then we would just take turns driving him from
erin to Aaron.
Speaker 3 (03:13):
My football coach. I seemed like every trip we took
he'd just sleep. Yeah, he'd sleep like half the until
we got to the pawn shop. Hey, coach, we're here.
Speaker 2 (03:20):
Oh that's just funny. I think that's one thing like
in high school. Everyone has those stories. That's just cool.
Speaker 1 (03:27):
So, hey, man, I was really engaged with prepping for
this album this week, and we've been listening to a
lot of commentary training stuff back and forth. And what
was really cool is I started looking at it like
a lot of similar artists to my Bloody Valentine, and
so I started digging kind of deep into some alternative
eighties and so I picked a This one grabbed my attention.
(03:48):
I don't know if you remember this, but my song
of the week is just like honey.
Speaker 2 (03:52):
Ah the Jesus and Mary Jesus and Mary chain off
the Psycho Candy album.
Speaker 3 (03:56):
And so if you watch the movie Lost in Translation,
which guess what my song is, also.
Speaker 2 (04:02):
It's like it totally just worked out this way.
Speaker 3 (04:05):
Yes, but man, this plays at the end of the
movie and like a particularly emotional moment and.
Speaker 2 (04:10):
It just hits perfect.
Speaker 3 (04:11):
Yeah, such a great song, man, Jesus and Mary Chaine
had some really good stuff.
Speaker 2 (04:16):
Yeah, and like I'm just this whole I'm digging some
of it.
Speaker 1 (04:20):
It's like I remember we started kind of talking about
I think maybe the first season we started talking about
The Cure a lot again into some albums like this,
and that seemed to be, hey, something that we you know,
really kind of dug And as we're starting to get
into some like how shoege it seems like we're starting
to approach Hey, this is where shoegaze.
Speaker 2 (04:40):
Kind of came from.
Speaker 1 (04:41):
Yes, And that's really interesting because we're starting to see
some of these sub genres but then the alternative main genre,
and we're starting to see how this music evolved.
Speaker 2 (04:50):
So it's like kind of cool.
Speaker 3 (04:51):
Yeah, So teasing this album a little bit, which if
you look at our social media, you already know what
we're covering.
Speaker 2 (04:55):
Yeah, but this album had a.
Speaker 3 (04:58):
Massive influence on on the music industry as a whole.
Speaker 2 (05:02):
I mean there's several artists I know that.
Speaker 3 (05:05):
So Robert Smith from The Cure, he said that we're
covering my bloody Valentine. This was the first band who
clearly pissed all over us. That's a direct quote. Loveless
is one of my all time three favorite records. So
if you listen to something like Disintegration, you can kind
of see like very similar similar stuff. Billy Corgan smashing
pumpkins and he he said quote it's rare in guitar
(05:28):
based music that somebody does something new and everybody was wondering,
like how my bloody Valentine makes all this noise and
makes it sound beautiful? Brian Eno, I mean a dude
who is no stranger too, like the Wall of Sound
and soundscapes and ethereal music. He said that this album
set a new standard for pop. It's the veguesst music
(05:50):
to ever be a hit. I kind of agree with
that with that. Yeah, it really this is such a
unique album. I'm genuinely excited to talk about it.
Speaker 2 (06:01):
Yeah, yeah, I mean too.
Speaker 1 (06:02):
All right, so into your song of the week, we
mentioned this just like Honey was from the film Lost
to Translation. If you haven't seen that movie, it's brilliant,
it's great. I mean, its stars Bill Murray and he's
literally Scarlett Johansky was really young, young, yeah, and Bill
Murray plays this washed up actor and the only jobs
he could get is in Japan on these commercials and
(06:22):
some tory.
Speaker 2 (06:23):
Yeah. And if you've ever been like a Western person
in Asia and live there for four months in Japan and.
Speaker 1 (06:30):
I've been over there on business trips and you don't
know a lot of the native languages, you know, it
really kind of like you're wondering kind of day to
day and if you're out by yourself without you're totally dependent.
Your communication is completely dependent on someone else. Yes, and
it's just a very interesting movie. But why don't you
go ahead and hit.
Speaker 2 (06:46):
Your song a week? Yeah?
Speaker 3 (06:47):
So again, same soundtrack, City Girl, by the one and
only Kevin Shields, who is the lead songwriter, producer, and
guitar player and backing vocalist for My Bloody Valentine yep,
and man Kevin Shields, I think he has five songs
on the Lost in Translation soundtrack. And then there's one
(07:08):
song from this album we're covering today Bibenly but My
Bloody Valentine on that particular album. And really, when you
watch the movie, you can't help but realize this is perfect.
I mean, that soundtrack is genius. All the songs fit
in there perfectly. Oh, that may need to be an episode.
We might have to do that at some point. Down
the Road man, But this song in particular, City Girl,
(07:31):
is one of my favorites on the album. It just
fits the vibe of the movie incredibly well. Yeah, so yeah,
go check out the Lost in Translation soundtrack. Todd played
just like Honey by the Jesus and Mary Chain already
this is City Girl by Kevin Shields.
Speaker 2 (07:47):
Man.
Speaker 3 (07:47):
Just really tons of great music on there, whether it
just even the musical interludes that are all done by
Kevin Shields Yeah, are brilliant.
Speaker 2 (07:56):
Yep. I love it when an artist can just do
his thing exactly only just makes it.
Speaker 3 (08:01):
Yeah.
Speaker 1 (08:01):
All right, Well, hey it is bad time another episode
of Ventures of Vinyl, and that means another round of
stump the baron on. Stump the baron, I pick a
random song from a random genre. I give Adam a
few clues with this above mediocre levels of knowledge of
knowledge of music. With his above mediocre levels of his
knowledge of music, attempts to guess the artist, album and
(08:23):
song title. There are nour scores. It's just a excuse
for me to play out my childhood dream of being
the next Regis Building.
Speaker 2 (08:28):
Here we go.
Speaker 1 (08:29):
Uh So for this week Alex Trump back for this
week on stuff the baron We Visit. The single the
second single from this band's debut album in the year
nineteen ninety. The song reached number one on the US
Modern Rock Tracks chart and became this band's break through hit.
Speaker 3 (08:55):
Nothing is Striking Me Right off the bat in nineteen
ninety though, I was listening to eighties metal.
Speaker 1 (09:00):
Yeah, it's on a soundtrack too. I'm not gonnall you
which one that would give it away, but I think
we've covered it.
Speaker 2 (09:14):
Oh jeez, it's familiar. Yeah, I was very familiar.
Speaker 3 (09:20):
It's it's not throwing any names to the forefront right
off the bat.
Speaker 1 (09:23):
All right, we're gonna have to change your description to
below mediocre levels.
Speaker 2 (09:26):
Apparently.
Speaker 3 (09:27):
Apparently I got last Weeks though, yeah, last week, Well,
this one, I wasn't sure like it was gonna be
so this one.
Speaker 1 (09:33):
This band did have an influence from My Blood Valentine.
They referenced some of this stuff in there. But this
is actually the band The Sundays a Sunday. This is
the song. Here's where the story ends. It's off the
album reading, writing and arithmetic.
Speaker 3 (09:48):
Yeah, okay, so I think I listened to The Sundays
on a It was like a compilation album yeah, back
in the mid nineties. Yeah, I want to say it
might have been the DGC Rarities, the one that had
Wheezer playing.
Speaker 2 (10:03):
Which track with.
Speaker 1 (10:03):
Jamie Well, they do wild they do a wild Horses
cover or Rolling Stones rollin Stone Horses, and it's that's Yeah.
Speaker 2 (10:10):
I remember their Wild Horses cover. That's genius.
Speaker 3 (10:14):
But I was never there was never one of those
bands that I went out and found and listened to.
Speaker 2 (10:17):
Yeah.
Speaker 1 (10:17):
Well, just as we were kind of getting into shoegaze,
you know kind of Yeah, I was just kind of
looking at the bands, I got influence with them, and
you know, because really our our goal in this was
to introduce people to albums and having to buy one.
And we actually saw an Instagram post of someone's like, hey,
I listened to this episode and I bought the final Yeah,
and I was.
Speaker 2 (10:33):
Like, hey, that's what we It took us almost two
years finally are one of our tens and tens of listeners.
Are tens and.
Speaker 1 (10:41):
Tens of listeners like I don't have okay computer, I'm
gonna go buy this album. That sounds like a really
good idea well mission accomplished, mission a cup that's one
win out of the out.
Speaker 2 (10:50):
Of then we're not keeping count. We're not keeping count.
Speaker 1 (10:53):
Hey, but if it took it this many episodes, just
imagine that's only one person that's communicated it, so maybe
others you know.
Speaker 2 (10:59):
There you go, we'll do that as well. All Right, man,
you ready to get into this? Yeah, let's dive on in.
Speaker 1 (11:03):
All right, all right, all right, kicking it off as stated.
Released on November fourth, nineteen ninety one, Loveless is the
second studio album by the band My Bloody Valentine. Loveless
clocks in at a total of forty eight minutes of
thirty one seconds and consists up eleven tracks. In the
background you hear track won that's titled only Shallow. It
clocks into four minutes and seventeen seconds. It was the
second single off the album, Yeah.
Speaker 3 (11:26):
Hit number twenty seven, I think in the US on
alternative airplay man, so a little bit about My Bloody Valentine.
So it's funny. Kevin Shields and the drummer calm. I'm
not going totremely try to get the last name, one
of those Irish last names that you just don't get.
Speaker 2 (11:43):
They met up a karate tournament, entered a karate tournament.
Speaker 3 (11:46):
They meant met at a karate tournament in the late seventies,
They became friends, started a punk band that eventually dissolved.
Then they started kind of a post punk trio that
also eventually dissolved, formed My Bloody Valentine in nights eighty three,
and then they kind of realized that Ireland wasn't really
the great spot for them to be.
Speaker 2 (12:04):
Ireland's not really a good space.
Speaker 3 (12:06):
It wasn't a musical hotbed back then. I think that
has changed now released the Irish influence is more prominent.
Speaker 2 (12:12):
Yeah, I would agree.
Speaker 3 (12:13):
So they went to the Netherlands, kind of hung out
there for a while, went to West Berlin, Germany. They
recorded a debut mini album there called This is Your
Bloody Valentine That was in nineteen eighty five.
Speaker 2 (12:23):
Then they moved to London.
Speaker 3 (12:24):
They got DeBie Gouje on bass, signed with Creation Records.
They released another couple of EPs there, eventually released You
Made Me Realize in nineteen eighty eight, which got to
number two on the UK Indie charts. Then Isn't Anything,
their first full length album was released in late nineteen.
Speaker 2 (12:42):
Eighty eight and was a huge success. They peaked at
number one.
Speaker 3 (12:46):
I think, yeah, on the UK Indy chart kicked off
the whole Shoegayz revolution.
Speaker 2 (12:51):
One hundred percent agree with that.
Speaker 3 (12:52):
Yeah, it would be three years though after that the
bankerupting of their label by them app ton of drama
before Loveless was finally released in nineteen ninety one.
Speaker 1 (13:03):
Yeah, there was a lot of things with like how
the album, like how much it cost to make the album.
Speaker 2 (13:09):
It cost a significant amount of money.
Speaker 1 (13:11):
They're probably a lot of negativity against Kevin Shields, I
would imagine at the time.
Speaker 2 (13:15):
Well they were.
Speaker 3 (13:15):
I think they went to nineteen different studios to record
this album. They had two engineers. One of them I'd
never heard of. The other one was the legendary Alan Moulder.
That must be why I have studios as blank.
Speaker 2 (13:26):
Yeah. I was like, I have no idea where they
did this, nineteen of them. Yeah, yeah, so.
Speaker 3 (13:31):
It was put a number of studios. So before this
track passes only shallow. It's a great introduction to both
the album and you know, and the harmony and the
chaos that kind of accompanies it. Debbie Gooch has a
very unique bass styling. Kevin Shields plays his guitar very uniquely,
he has what they call the glide guitar technique, where
he strums while hitting the trembar, so it gives just
(13:54):
like a really diving like a swell exactly. They're known
for dissonant harmonies on the guitar, which you definitely hear here.
And then Belinda Butcher's very ethereal kind of float along vocals. Yes,
I love that. Debbie Googe in her styling. She's kind
of a lot like Peter Hook from New Order. She
tends to stay on the higher register and play her
(14:15):
bass less.
Speaker 2 (14:16):
Is a rhythm section instrument.
Speaker 3 (14:18):
And more of like a lead instrument, like a lead
instrument exactly, which is very much what Peter Hook tends
to do. Another band that kind of fits almost within
that shoegay genre, although they stem for much earlier. But Man,
just a great mixture of float during the verses and growl.
Speaker 2 (14:34):
During the choruses on this song. I love that the
choruses are devoid of vocals. Yeah, just kind of nice.
Speaker 3 (14:42):
Yeah, it's I mean, it's a good choice for a
first single and a great way to kick off the album.
Speaker 2 (14:46):
Yeah, all right.
Speaker 1 (14:47):
Coming in on the second track is called lumer It's
clocks in at two minutes and thirty eight seconds, and
I think it's a nice segue from Only Shallow into
this one.
Speaker 3 (14:55):
Yeah, it's it's short, like you said, just about two
and a half minutes, but features more more of the
guitar gral, the high register bass, and the really floating
vocals that you hear from Belinda Butcher that we heard
in Only Shallow. The drums kind of stay largely on
the bass, drums and the toms. You don't really hear
any symbols in this song, which is really interesting. You
(15:15):
really get an idea of Kevin Shield's ability to use
guitars to create just about any sound he wants through
this track, and you'll through the rest of the album
as well.
Speaker 2 (15:25):
So a little bit more about the album.
Speaker 3 (15:27):
Clash Magazine calls this one the magnum opus of the
shoegay genre. Spin had is it at number twenty two
of the one hundred Greatest Albums from nineteen eighty five
to two thousand and five. The Irish Times. It's number
one on the top forty Irish albums of all times
two thousand and eight. The Guardian, Big UK newspaper, this
was the pet Sounds of UK Avant Rock. High praise
(15:49):
right there, Nicole says high.
Speaker 2 (15:52):
She just so New music Experience, one of the big
British mags.
Speaker 3 (15:56):
The number eighteen on the five hundred Greatest Albums of
All Time and this was included in the one thousand
and one Albums You.
Speaker 2 (16:02):
Must Hear Before You Die book. Wow. Yeah, so that's
an interesting book.
Speaker 3 (16:06):
It really is. I'll have to grab it at some point. Yeah,
I'm really curious about it.
Speaker 1 (16:10):
Now.
Speaker 2 (16:10):
I'm gonna be like, okay, I got a order.
Speaker 3 (16:11):
Well, I've referenced a few times from different albums that
we've covered. I think Disintegration was in there as well well.
And I gotta find like a hard copy book, yeah exactly,
I know. I don't do digital books. So the album, surprisingly,
it only charted in the UK and only had certifications
in the UK, went number twenty four in the UK
and was certified gold there us. Nothing but the influence.
Speaker 1 (16:32):
I is huge, I think, Yeah, I think when you
look at this and I think it's just credible.
Speaker 2 (16:39):
All right. So the third track is a quick fifty
six instrumental. It didn't bother me, but it was a
little odd.
Speaker 3 (16:46):
Well again, lots of dissonant guitar over some drum programming
and sequencing. These are these guys showing, hey, we're not
here to do the same old stuff that you've heard.
We're doing something entirely different. So it's, like I said,
just under a minute in length. It's just kind of
a segue, but it fits within the musical context of
the album. If you look at it on its own, yeah,
(17:07):
it's it's just weird. But when you think about it
from the album as a whole, it's it's a good spot.
You had two like kind of heavy tracks, right, and
then you have this little set.
Speaker 2 (17:18):
No, it's really not bad.
Speaker 1 (17:19):
And we've had all these segues that we mentioned though
there albums and yeah, they kind of put it in,
And I'm starting to find that it kind of helps
prepare you for what's coming, especially when the band approaches
an album as an album and not a few singles
with some filler yeah, or hey, I'm gonna topload it
with six singles, so everyone buys my.
Speaker 2 (17:41):
Mind exactly, right, this is not that. Yeah, this is
not that.
Speaker 1 (17:44):
And then after the third track Touched, you have the
fourth track off the album titled to here Knows. When
it clocks in five minutes and thirty one seconds.
Speaker 3 (17:52):
So again like lots of really cool dyssentic guitar, some
drum programming. Belinda Butcher just kind of hums over the proceedings. Yeah,
and she's just got this beautiful, beautiful vocals.
Speaker 2 (18:05):
It's very like Ethereal.
Speaker 3 (18:08):
You just sit back with your headphones on, you close
your eyes, and you lose yourself in it. Yeah, that's
that's what you do with this man. There's no lyrics.
It's five and a half minutes long. The time passes
quickly when you just do exactly that, You just sit
back and kind of soak in the dissonance.
Speaker 2 (18:23):
Yeah, I mean obviously exactly.
Speaker 1 (18:25):
Because like when I've listened this album probably ten times
in the past week, and.
Speaker 2 (18:31):
I you know, we talk about this often.
Speaker 1 (18:33):
I just start out listening to different situations and I
find myself just putting this on.
Speaker 2 (18:39):
I don't know what about it, but I'm just putting
it on. I'm like, oh, I'm a listen to this.
Speaker 1 (18:44):
When I can't put in and normally it's like I
gotta listen to this album again, Like I like these
six songs, I gotta listen to these other five songs
on the album that I don't really like, but this
one's just like, I just enjoyed it, Yes, and it's
it's nice to have that, yeah, you know.
Speaker 3 (18:58):
And the cool thing about this one too is that, yes,
it's this way through most of the song, but then
in the last forty five seconds or so of the track,
you get Kevin Shields just showing off his guitar style,
you know, his his tremolo bending glide guitar, and it
leads really nicely into the next track, which is, so
(19:18):
here's the guitar stuff. I think, yeah, yeah, yeah, let's
play it honestly, so.
Speaker 2 (19:22):
As it builds up, it's kind of what you're talking about. Yeah,
you just hear this diving guitar. It just glides. That's interesting. Yeah,
he's just so he's playing as he's hitting that, you know.
Speaker 3 (19:35):
And one of the things that Kevin Shields did a
lot was he would take two amps have them face
each other.
Speaker 1 (19:40):
You never do that well and that you do that
and the jazz Master really die wow with that.
Speaker 3 (19:47):
The jazz Masters and Jaguars both like they built them
both to be able to dive with that trem bar,
leading into one of my very favorite tracks on the.
Speaker 1 (19:55):
Album When You Sleep All the album that cocks it
of four minutes and eleven seconds.
Speaker 3 (20:03):
Yeah, so I love how the guitar riff it matches.
Belinda Butcher's vocal dives right with Shields tremolo.
Speaker 2 (20:10):
You hear right here. I mean it's really cool.
Speaker 3 (20:14):
I love the way that he glides down with her
vocal as she kind of SAgs a little bit. It's
interesting that Belinda and Kevin singing Unison. Yeah, try to
harmonize with each other throughout this song. It's all Unison.
They're singing the same melody octaves apart.
Speaker 2 (20:31):
Yeah, you've got Kevin on the lower octave and Belinda
behind the higher octive. Yeah, it works, it does.
Speaker 3 (20:38):
I mean, there's nothing groundbreaking about the progression. It's like
in the verses, it's like the one. Yes, that's what
it is. It's making the vocal range.
Speaker 2 (20:48):
Progression isn't the focus, it's the sound.
Speaker 1 (20:51):
Yeah, it just makes the overall sound bigger. And you
see bands like alson Chains they use harmonies to add depth.
Speaker 3 (20:59):
Yes, this is an adding depth. This is just adding rain.
The music itself is the depth. Yeah, that's what really
the focus is. I mean again, the verse progression is
just a one six, one two. The chorus is a
simple one two four. It's really basic, nothing groundbreaking about it,
but just an incredibly strong song, super unique in its execution.
(21:23):
I think this one could have been a single. I
mean it's just a brilliant song and yeah, absolutely love it.
Speaker 2 (21:30):
Cool.
Speaker 1 (21:31):
All right, we are uh as we close in on
the halfway mark of Loveless yet I only said is
the six track off the album, and it clocks in
at five minutes and thirty four seconds. It's kind of
interesting intro, yeah, because like only Shallow kind of came
in hot and we're kind of at the halfway point.
It kind of has a different type of intro, but similar.
Speaker 2 (21:52):
Theme to the album. Yeah, this one is a wall
of noise. Yeah.
Speaker 3 (21:55):
You know, when I hear this track, I also hear
other shoegay genre bands that came later, Yeah, like this
one in particular. There's a band called the Lassie Foundation
in the mid nineties was big in the shoegay scene.
A bunch of really influential musicians in that band as well.
But you hear this sound right here in the Lassie
(22:16):
Foundation sound. In general, there's other bands, like we've covered
Longwave before. Yeah, long Way, you really hear a lot
of this in Long Wave as well, saying with Slow
Dive and a lot of those other Ride, a lot
of other shoegaze bands that came out subsequent to this,
and so Man, at this point in the album, I'm
realizing this album is more about just that the album
(22:41):
than the individual tracks. You know, if you're listening to
this for the first time, yes, you're hearing some songs
that are single worthy, but you're realizing, no, I'm supposed
to listen to.
Speaker 1 (22:49):
This as an album album. Yeah, And I think that's
what's important. Yeah, is like it should be listened to as.
Speaker 3 (22:55):
An album, not a compilation of songs exactly. And once again,
a great track that you can just sit back, headphones on,
drift away with it.
Speaker 2 (23:05):
Oh yeah, Like I'm excited.
Speaker 1 (23:06):
I got so much work I gotta do this afternoon
and it's like I blocked out my schedule because I
need like dedicated time. I was like, oh, this is
a good headphone afternoon Yeah.
Speaker 2 (23:15):
Man, Yeah, all.
Speaker 1 (23:17):
Right, check seven clock it in three minutes fifty eight seconds.
It's called come in Alone. Yeah, So this one comes
in heavy, and I'm I'm kind of here for it. Yeah,
I love the intro. It's simple. I mean they're basically
riding on one.
Speaker 2 (23:32):
Chord at this point. I'm dug in. Yeah. But the.
Speaker 3 (23:37):
Bass, like Debbie Goose, so unlike the previous songs where
she's been kind of on that higher register playing her
he instrument is more of a lead instrument. Now she's
playing in the rhythm section, but she's on the high
register during the verses. You'll notice, like their verses and
their choruses, they try really hard to differentiate between them. Yeah,
one might have vocals, the other might not. One they're
on the high register, the other on their low. I mean,
(23:58):
it's really interesting the way that they structure their songs.
And it's funny. I lost my train of thought. It's
a nice dynamic. It's a nice dynamic. I really love
this song. The melodies in this song are just gorgeous.
Speaker 2 (24:17):
Yeah, I do. I think the melodies I'm a really
good song. This one gets me. I really love this one. Yeah,
Like I just kind of enjoyed the whole album. Yeah,
And another song I enjoy right here. Yeah.
Speaker 1 (24:27):
Sometimes it's the eight track off the album that clocks
in at five minutes in nineteen seconds. You know, some
of these songs they're kind of getting long. Yeah, but
the you don't really notice it though. I like it
because the instrumental.
Speaker 2 (24:39):
Life doesn't bother you. No, No, it really doesn't.
Speaker 1 (24:41):
I think it's because there's a lot going on in
the song, which I actually enjoy.
Speaker 2 (24:45):
It's nice to just listen.
Speaker 3 (24:46):
There's so much tonal variety, yeah that you it catches
your attention constantly. Yeah. But at the same time, if
you need something to just having the headphones like you
mentioned and.
Speaker 1 (24:55):
You're working out, working out, working it's a great album. Yeah,
It's one of those you could just put it on
and listen to the whole thing.
Speaker 2 (25:00):
Yeah.
Speaker 1 (25:00):
I just really like it when we get these albums
that are kind of like back to back, you have
really good stuff. Knowing that you could you know, you
could order this online, but you gotta really find it
in a record store, like this is one you got.
Speaker 2 (25:13):
It's a vinyl that you gotta go find. You can
order it.
Speaker 1 (25:16):
You can order the vinyl online, but hey, this would
be a good one to go shop for exactly.
Speaker 2 (25:21):
Yeah, go find yeah. Yeah.
Speaker 3 (25:22):
So when we talked about the Lost in Translation soundtrack,
this song is the my Bloody Valentine song that is
on those on Lost in Translation soundtrack. I mean it's
just a pounding based trump acoustic guitar to add depth,
the fuzzed out electric guitar and Kevin Shield's voice.
Speaker 2 (25:40):
That's all it is. But it sounds huge. It's just
a big sound.
Speaker 3 (25:44):
Yeah. Man, it's got an untouchable vibe to it as well.
I mean, again, another one of my favorites on the album.
He's got some really unique chord voicings on the acoustic
that you hear playing behind that electric well, and I.
Speaker 1 (25:56):
Think his guitar tone. You know, we mentioned this a
couple of times, but like you have such a bright
sounding guitar in a jazz bastard with those.
Speaker 2 (26:04):
Big pickups, right, Yeah, those.
Speaker 1 (26:06):
Big single coils when you're feeding them to a fuzz,
that's like there's magic. Huge, it's magic that kind of happens.
And you can only get that with a really nice
bright guitar pick up. Yes, you could do it with
multiple guitars, multiple types. It's not jazz Bastard dependent, but
it's the size, the magnetic feeling.
Speaker 3 (26:24):
I'm really interested in, like watching a rig run down
with Kevin Shields Oh yeah, I think I saw one
on YouTube.
Speaker 2 (26:29):
I'm gonna have to go check that out and get
halftime this week. But this is just a sea of fuzz.
Speaker 3 (26:33):
And acoustic that really nicely juxtaposed one and there's a
ton of stuff of like Kevin Shields like I prepping
for this, like you know, he's got a Fender guitar out,
the Fender.
Speaker 2 (26:45):
Jazz Bastard, right, and.
Speaker 1 (26:47):
Reading about the history of shoegaze, the jazz Master sound
and why that was specific into replicating.
Speaker 2 (26:56):
The tone like this. It's very interesting.
Speaker 1 (27:00):
It could be done in multiple different ways, but there's
something very unique with.
Speaker 3 (27:05):
How they're the jazz Master and the format of it. Yeah,
the components of it.
Speaker 2 (27:10):
Yeah, there's something.
Speaker 1 (27:11):
Yeah, it's in that in that transmission line path and
I'm getting like the em engineer craft. Yeah. So like
as a what I really enjoyed is digging into his
sound under because like I built a jazz Bastard and
I was like, there's just something unique, like forgetting all
the weird tone circuitry, just the brightness and what it
(27:32):
gives you and how you.
Speaker 3 (27:33):
Can and how it they handle effects and how they
handle well, yeah, choruses and flanges and trems and fuzzes,
and it's a verse.
Speaker 1 (27:43):
But when you're looking at the alternative genre, especially shoegaz
in general, it's that bright sound and how it picks
up the vibrations of the stream and then how you
hit that distortion and that fuzz that brings a lot
of this unique sound. And we talk about bands like Hume,
we talk about you know, all the bands you mentioned.
It's nice scene that, like, Hey, Kevin Shields inspired.
Speaker 2 (28:04):
All all these guys.
Speaker 3 (28:05):
All, yes, right, and he's cool, yeah, and he had
his own flight and smashing pumpkins.
Speaker 1 (28:11):
When you listen to Fish, it's Siame's dream. I hear
one hundred percent Kevin Shields palm. I hear Kevin Shields.
Speaker 3 (28:20):
Right.
Speaker 1 (28:20):
It all started kind of hitting as I was prepping
for the album, Like I've been listening to Kevin Shields
for decades.
Speaker 3 (28:26):
You've just been listening to him through other artists, correct, Yeah, exactly,
All right, man on to the next one.
Speaker 1 (28:31):
All right, we're down to the last three track. Dye
is titled Blown a Wish and Blown a Wish clocks
in at three minutes and thirty six seconds.
Speaker 3 (28:40):
So this shimmering intro section it's really cool on this
song like that shimmer Man. It's beautiful. You talked about
like the bright trones. That's where this comes in. And
now you hear Belinda Butcher go low vocally as opposed
to like floating up real high. But her low vocal
is just this fantastic as her high vocal yep. I mean,
(29:02):
she's just got such a great voice. And obviously it's
been affects Leyden right, but at the same time, man,
it's just so good.
Speaker 2 (29:10):
Uh Kevin Shields guitar work again.
Speaker 3 (29:12):
You hear that glide up and down, it glides upward,
it glides downward.
Speaker 2 (29:17):
Man, it was just the swell, yes, and it's so transparent.
Speaker 3 (29:22):
And so his guitar work again perfectly matches that vocal melody.
Speaker 1 (29:26):
And you notice in headphones how it fades from the
left to the right on the swing. The mix of
the like that's constantly as you're listening through this, just
as it goes back and forth like like and listen
to this on some of the spatial stuff that and
lossless and even like I put it through a really
nice source, you know, some of those headphone amps and
(29:49):
the nice set of cans.
Speaker 2 (29:50):
I listened to through that It just the mix. Listening
to this through a set of headphones is the way
to listen to that album. Alan Molder knew what he
was doing.
Speaker 1 (29:59):
Many the mix is just and how it treats the
swells going from the left channel.
Speaker 2 (30:03):
To the right channel. Yeah, just man, fantastic sound. The
whole album is. It's a wall of sound. This song
just vibes all the way through too, man like, it's
just beautiful.
Speaker 1 (30:13):
I love it all right, all right, next to the
last track coming in heavy is what you want at
five minutes and thirty three seconds.
Speaker 2 (30:21):
So to me, this is that quintessential beat cut.
Speaker 3 (30:23):
Yeah, it's got that simple but pounding bass again ethereal
vocals and great vocal melodies and shangly rhythm guitar spaced
out lead. Yeah, I mean, and even with all of
these various dynamics in play, it sounds kind of chaotic
when you when you just hear the words, it weren't,
(30:44):
But then you listen to it, it's super catchy.
Speaker 2 (30:46):
There's a lot to love, man. Yeah, it really works.
I mean, it's really just a beautiful track. Yeah, it's
nobody knows how to use a tremolo like Kevin Shields period.
Speaker 3 (30:57):
Man. I mean he again, he pioneered an entire our
guitar style that then translated into an entire genre.
Speaker 2 (31:03):
Of music and is still trying to perfect him today. Exactly.
He's a perfectionist.
Speaker 3 (31:07):
I mean, what do you think they ended up in
nineteen different studios to record this album.
Speaker 2 (31:10):
The dude's a perfectionist. He had to do it himself.
He had to do it right.
Speaker 3 (31:14):
He didn't trust anybody else. He barely even trusted the
mixing engineers he brought in. He brought in mixing engineers
pretty much the pressure of the label, and he was
super picky about who he got. And that's why Alan
Molder was brought in because Kevin knew, like, that's the
guy that if I want a sound and I have
to let go of control, I need to be able
to get somebody I trust him.
Speaker 2 (31:30):
It's Alan Moulder. And man, just again, what you want
is it's exactly what I want.
Speaker 3 (31:36):
Yeah, that's great, I like it. Yeah all right, right,
So onto the last track.
Speaker 1 (31:40):
Last track of the album is titled Soon, which clocks
in at six minutes and fifty eight seconds.
Speaker 2 (31:46):
So this one has been on my standard playlist for
a long time. Yeah, so you're digging it. Yes, yes,
I've listened to it hundreds of times. Now.
Speaker 3 (31:54):
Yeah, really cool intro with the program drums and the
unique guitar riff. Once that thick bassline hits in the
tremolo on the guitar guitar, man, I'm one hundred.
Speaker 2 (32:04):
Percent in Yeah, this bass. Oh, you're digging it. I
love it.
Speaker 3 (32:12):
She's on the lower register now for this one, because
I think she knew I gotta be in tune with.
Speaker 2 (32:16):
The drums for this particular song. Well, she's gotta do
that rhythm.
Speaker 1 (32:20):
She needs to be more of a rhythm yep, because
the drums are a little bit off, and so you
kind of need the bass.
Speaker 2 (32:25):
Driving the whole rhythm or song. And then this guitar
and it just comes in with that swell just like yep.
Speaker 3 (32:31):
And then here in a second and he does another
dive along with the vocal. I love that, man, that's
so good. It's a great song to end the album with.
I mean it's a long song, it's seven minutes long.
But do you notice that.
Speaker 1 (32:47):
No, Honestly, I'm just kind of the whole album goes
by quick when I listen.
Speaker 3 (32:52):
I don't notice how long it is at all? Yeah,
And I listened to it and all I hear is, man,
this is freaking great.
Speaker 1 (32:57):
Well, and you know, we wrap up an album and
we both were like, yeah, I'm definitely getting this on vinyl.
Speaker 2 (33:02):
Yeah, And I was like, I'm not ordering it.
Speaker 1 (33:04):
I'm gonna go find it in a record So I
want the experience to buy the album.
Speaker 2 (33:08):
Yeah.
Speaker 1 (33:08):
And that what That's what makes it hey so much
fun to prep an episode like this is because you
generally out of It's like, what in the heck have
I been listening to for the past, you know, thirty
something years since I really started.
Speaker 2 (33:22):
Listening, especially as music music nerds.
Speaker 3 (33:24):
Yeah, Italy, Yeah, Man, Okay, So I'm really curious this
one established an entirely new.
Speaker 2 (33:30):
Genre of music.
Speaker 3 (33:31):
I mean, it's it's kind of undisputable ethereal texture is
mixed with heavily fuzz guitars, great vocal harmonies. There was
nothing else like this going on before or during.
Speaker 1 (33:41):
I think influential, Like, if you talk about influence, similar
to what we kind of talked about last week, I
think there's only one score you could give it in
terms of the album influence.
Speaker 3 (33:50):
Let's we'll get there, right, But think about the artists
that this influence. Again, we've already talked about the Cure,
Smashing Pumpkins Thursday, Yeah, Maguai, get rid of Maguai, Scottish
instrumentalist band, Oh dude, they got some great stuff, especially
their early stuff silver some pickups.
Speaker 2 (34:06):
Yeah, and again any number of shoegaze band.
Speaker 3 (34:08):
If you're a shoegaze band out there, Even if you
didn't listen to My Blood Valentine, it's like you were
talking about earlier, you listened to them through other artists
you did.
Speaker 2 (34:17):
It's it's so all right, So what did you give it?
All Right?
Speaker 1 (34:20):
So we'll both do it on count three Rock Paper
Scissors time. We'll hold up fingers and we won't.
Speaker 3 (34:24):
Mention your rating period, and it's like, oh this for
this and this for this is rating period.
Speaker 1 (34:28):
It will close our eyes when we don't influence each
other and they will just open.
Speaker 2 (34:32):
Okay, one, two, three, whole crap.
Speaker 3 (34:37):
This is our first perfect ten, perfect ten, and I
honestly I couldn't.
Speaker 2 (34:42):
I don't know what else to call it.
Speaker 3 (34:44):
There's no song on this album that I don't like,
that lacks something. Everything on this album is just picture
perfect to me.
Speaker 1 (34:54):
Well, and I think we need to talk about the
reason behind the ten because I think if you're a
general use listener, let's say, your guy that listens like
I used to be, just listen to the grunge, right
or sure albums from other things. I don't think you're
gonna like it initially, right, But if you're a music
(35:14):
fan and you cross genres and you're deep, and you're.
Speaker 3 (35:19):
Looking for groundbreaking music within its context.
Speaker 1 (35:23):
Right, or an album that's so influential in the history
behind it, Like, if you're a music.
Speaker 2 (35:29):
Officionado, this is a ten yea.
Speaker 1 (35:35):
And I consider ourselves mediocre music officiado, Sure we are,
but we're just like we're just the casual guys who
like music.
Speaker 2 (35:41):
But I mean again, influence.
Speaker 3 (35:43):
Yeah, generations of music that came after it were completely influenced.
Speaker 1 (35:47):
Well, and there's the whole history. There's a whole history
behind it. Everything we've been talking about, we.
Speaker 2 (35:51):
Just scratched the surface of the history behind this album.
Speaker 1 (35:53):
Well yeah, and I think it's gonna lead us to
probably bring in more albums like this.
Speaker 3 (35:58):
Oh. I actually I definitely want to cover their debut
full length at some point as well, just to see
how it influenced this particular release when you know when
they came out with Loveless, but again, groundbreaking influence and
just the fact that I can't find a single freaking
thing wrong with now.
Speaker 1 (36:16):
I think if you're a Pumpkins fan, right, and if
you really like melancholy and the infinite sadness, this is.
Speaker 4 (36:22):
Right up your allred percent, right, Yeah, Like that's the
type if you what's another popular kind of artist that
has similar I'm trying to think of, like albums that
I know HUM.
Speaker 2 (36:33):
There's influences in HUM that we talked about that, you
know the Cure.
Speaker 3 (36:37):
You hear a lot of your Emo band in early
two thousands.
Speaker 1 (36:42):
Yeah, I mean, I think there's so many bands where
if you like styles of music like.
Speaker 2 (36:47):
That, there's one PARTICD.
Speaker 3 (36:48):
So you remember the band brand New, Yeah, their album
Dejon TANDU Yep, their biggest album probably as far as
like popularity, what broke them into the mainstream. There's a
song on there and trying to remember the name of it,
I think it's a me versus. I can't remember the
name of the song, but that song. When I hear
that song, I hear loveless, and I mean it's just it.
Speaker 2 (37:12):
Pops up everywhere.
Speaker 1 (37:13):
Well, and there it is, folks. It's our first ever
perfect ten, perfect ten, never had one before. This is it,
I mean, and you've heard us. Hey, this is really good.
This is almost nine.
Speaker 3 (37:23):
We didn't nitpick anything, No, we nitpicked nothing today. We're
not normally so sick a phantic about an album, but
this one it deserves it.
Speaker 1 (37:32):
But definitely go listen to it on your favorite streaming
platform of choice, buy it on vinyl if you are
a vinyl collector.
Speaker 3 (37:40):
Go get Loveless Love. Seriously, even if you're not a
shoegaze guy. There's so much to appreciate about the musician.
Speaker 1 (37:46):
And like I'm in here, it's yeah, I hope you know.
I've got to get to a record store even before
my birthday, on record store day, Like, I'm just gonna
go find an album.
Speaker 2 (37:57):
This is definitely a top priority. Yep.
Speaker 1 (37:59):
Hey, And just like that, we were at the close
of another episode of Adventures in Vinyl. If you like
the music featured on this episode, you can check out
links to all the featured artists on these episodes website. Yeah,
that's that's right. Terminal for more information on the band,
My Bloody Valentine and Kevin Shield. You can check out
their website at www My Bloody Valentine dot org.
Speaker 2 (38:20):
I think they're on Instagram is mbvofficial Alan.
Speaker 1 (38:22):
Thanks yeah yeah, And if you enjoyed this podcast, be
sure to check us out on our website at www
dot adventures and Vinyl dot com, where you can find
a links links to all of our episodes at Through
our support section, you can find a place to order
your very own if Entries in Vinyl t shirt. Follow
us on Instagram at Adventures dot in dot Vinyl, and
be sure to subscribe to the podcast and leave a review. Uh.
Speaker 2 (38:42):
Follow Adam on Instagram at eat dot pray dot Armbarrow and.
Speaker 1 (38:45):
Myself at Todd David Warden With that, I'm Todd ward
and I'm Adam barraon and we will see you next
time on another episode of Adventures in Vinyl.
Speaker 2 (38:52):
Go get loveless absolutely mm hmmmmmm. Are we doing anything
next week? Can we figure out what we're doing now? Oh? Cool? Hey,
stay to on Instagram and we'll provide you a teaser.
(39:13):
We'll let you know.
Speaker 3 (39:17):
M hm.
Popular Podcasts
Stuff You Should Know
If you've ever wanted to know about champagne, satanism, the Stonewall Uprising, chaos theory, LSD, El Nino, true crime and Rosa Parks, then look no further. Josh and Chuck have you covered.
My Favorite Murder with Karen Kilgariff and Georgia Hardstark
My Favorite Murder is a true crime comedy podcast hosted by Karen Kilgariff and Georgia Hardstark. Each week, Karen and Georgia share compelling true crimes and hometown stories from friends and listeners. Since MFM launched in January of 2016, Karen and Georgia have shared their lifelong interest in true crime and have covered stories of infamous serial killers like the Night Stalker, mysterious cold cases, captivating cults, incredible survivor stories and important events from history like the Tulsa race massacre of 1921. My Favorite Murder is part of the Exactly Right podcast network that provides a platform for bold, creative voices to bring to life provocative, entertaining and relatable stories for audiences everywhere. The Exactly Right roster of podcasts covers a variety of topics including historic true crime, comedic interviews and news, science, pop culture and more. Podcasts on the network include Buried Bones with Kate Winkler Dawson and Paul Holes, That's Messed Up: An SVU Podcast, This Podcast Will Kill You, Bananas and more.
The Joe Rogan Experience
The official podcast of comedian Joe Rogan.