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pennyroyalty

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pennyroyalty last won the day on September 9

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About pennyroyalty

  • Birthday 08/14/1982

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  • Favorite Radiohead Song
    Weird Fishes/Arpeggi
  • Favorite Radiohead Album
    In Rainbows/HTTT
  • Other bands you like
    non-Radiohead music is mostly just a crock of shite

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  1. that is pretty cool hopefully now we get a Kid Amnesia Monopoly set with like minotaur and pyramid playing pieces
  2. nowhere has been banned for a history of killing any and all innocent conversation regarding Radiohead with extreme toxic negativity and off-topic posts. the final straw was basically libel against a band member. this board has never tolerated prying into the personal lives of the band beyond that they've spoken on themselves, especially if users repeat unsourced rumours as fact. issues such as Radiohead playing a gig in Israel against the wishes of the BDS movement are theoretically fine to discuss, and I'm sure many fans have mixed feelings about the matter, but posters will agree to disagree in a thread about that discussion and keep it there. you can also post about it in the current events board or, most productively, discuss it somewhere other than a mostly dead Radiohead forum. users who have nothing positive or constructive to say about Radiohead's current projects are generally encouraged to discuss it elsewhere.
  3. but despite the crackdown in the early nineties i own a shit ton of records made since then, mostly hip hop, that use in an incidental manner uncredited samples of minor passages and moments akin to those Radiohead used. you had no idea that Radiohead were sampling these songs and artists until you were told, because they weren't central to the compositions of the Radiohead song or sampled track. in your weird vendetta and determination to cast Radiohead as irl bad people whatever the facts, you are arguing for the end to fair use practices that would cramp the creativity of many musicians, whatever race and income, in a way that no actually talented musician wants or is asking for. i'm tired of fact checking all these authoritative sounding asides you throw out (like Thom supports Blurred Lines lawsuit) only to realise it's never true. have a good day.
  4. confusion in the studio over what Miles wanted/time signature/technique etc (i guess this is what we're talking about) doesn't equate to technical difficulty playing it decades later. the bit being sampled isn't that complex. that article hints at the kind of overall difficulties and great mysteries of creation and attribution, 'cos Alias is playing them a rhythm he learnt from some other dude who learnt it from some other dude. rhythms are just fair game, for the most part.
  5. you said that Thom supported the Blurred Lines ruling, and that is absolutely not evidence of him supporting the Blurred Lines ruling. i highly doubt he does. you're saying that uncleared samples are illegal, but you don't know that they didn't clear the samples. sleeve notes may not reflect all behind the scenes processes. sampling in general is a foggy issue with a lot of confusing and evolving case law. the most likely explanation may simply be that the samples were considered by all sides to be too minimal/inconsequential to merit any legal action/official credit. at the risk of anyone mistaking my googling powers for expertise, this 2016 case speaks of reinstating 'the de minimis doctrine, wherein only a minimal and insubstantial part of the original work had been copied in the new work'. the Hayes/Davis/Coltrane samples will be covered by that, and likely were in '00/'01. the point i'm getting at with Kinetic is that Alias might not be getting any money even if the Miles Davis estate was paid. you're going deep into the ethical issues, so why be bound by bad laws/bad practices. overzealous sampling laws have hurt many black artists, and Radiohead's shout outs to different influences must have had an impact. there's this whole period in the British music press of critics mocking Kid A and its influences, rowing back against the post-Britpop diversity of the end of the nineties, hard selling retro rock by and for white kids. i can personally credit Radiohead with getting me into Miles Davis years before I might have otherwise.
  6. consider the possibility that i, random guy, may know at least as much about copyright law as you, random guy. i'm saying that the Isaac Hayes estate doesn't actually deserve all that much reward for the keyboard player on a live album on a cover of a Bacharach/David song playing a line which Radiohead used for ambient effect and isn't really integral to the song. (it's also not like Miles Davis himself literally came up with the drumline sampled on Kinetic, which again is pretty innocuous in and of itself, it would have been easy for Selway to play it or something close). the Blurred Lines ruling was awful for artists and will hopefully be overturned or rendered defunct going forward. can you link to Thom supporting it? given no evidence to the contrary, i'd also assume that the samples were cleared. just because they're not credited in a sleeve note doesn't mean they weren't. while the Hayes/Bacharach sample was a recent discovery for fans, stuff like the Kinetic sample was well known years ago. the Alice Coltrane sample was spoken about at release. all these different artists, surely in 20 years we'd have heard something about an issue, if there were issues? why are you so forcefully assuming otherwise? Radiohead don't fully control the publishing on Creep because the middle 8 is 'inspired' by the Hollies 'Air That I Breathe'. it was that Hollies issue that screwed Lana Del Ray, likely not anything coming from Radiohead themselves. 'Get Free' is also far more blatantly in debt to Creep/Air That I Breathe than anything else we're discussing, and Del Ray should have realised that long before it became a controversy.
  7. i guess with realistic expectations this reissue is looking okay. no idea why the cassette tape thing is still a thing. it kind of made some sense with OKC20, but as someone who lived the 'tape to cd' era very vividly (that's how i listened to OKC/The Bends), tapes were just homemade compilation fodder by '00/'01. bands are allowed to feed their whales. if they don't, these products don't exist. i wish Radiohead would bear in mind that a lot of the people who were loving these records as teens back in the day are likely the same people who got fucked by the constant crisis and economic wasteland of the 20 years since. this is particularly ironic with Radiohead because they pretty specifically saw it coming. OKC20 was a disaster in this regard, with exclusive material being tied to a £100 collectors fetish tape. i'll give them some credit here for the priciest thing being £80 (i don't buy vinyl anyway) and crucially, all the new music is on the basic cd... and if that material is going up on spotify etcetera, which i assume it is, then i won't grumble. i wasn't thinking about getting a new song because the excitement is really all the false starts and different versions of known stuff. i'm not surprised that something like 'if you say the word' exists, but you probably don't want to draw too much attention to it.
  8. most of the b-sides are on the tape. if there were any legit concerns about samples, they would have been sorted a while back. it's pretty obvious with Idioteque why they had to sleeve note credit the sample. the LSP sample, like the Alice Coltrane harps in MPS, aren't much more than incidental ambience. nobody wants to live in the world where you can't have fun with stuff like that, and if it was going to be a problem, it would have been trivially easy for Radiohead to record alternative parts.
  9. complete Kid Amnesiac sessions/outtakes are the holy grail of the fandom but I felt pretty burnt by the OKC 20th: only three properly presented outtakes, one of which had brand new vocals/strings (Big Boots) and one a demo presented as a finished song, with video and everything, which doesn't even sound like it was OKC era (Lift). nobody needed the remaster and i'm under the impression the boxset didn't do as well as they hoped seeing as it's still widely available. the cassette tape was some weird fetish shit, so their ideas of doing something cool/special worry me a bit... what are we getting this time, minidiscs in honour of Thom losing his demos to a lightning strike? one cool idea might be to present the material in a boxset as a reimagined double album, which was always the big 'what if?' at the time. it's bizarre in retrospect how they played loads of Amnesiac songs live directly before and after Kid A's release. poorly managed hype and confusion around the new songs did hurt the band critically, and you wonder how late in the day Kid A's tracklist was finalised. they didn't want to overwhelm people at the time, but that hardly matters now. whatever happens, i hope they're more generous than they were with OKNOTOK, because there should be an absolute mountain of interesting versions/sessions/outtakes here and we all know it. last time out, only hackers saved us from a future OKC 30th edition with the complete recording sessions, which £100 boxset purchasers should have been getting in the first place.
  10. stop posting about how shit I, Israel and Radiohead are and go and enjoy your life. the era of big forum essay back and forth has passed, for better and worse. probably the Radiohead reddit is the best place to have a discussion now. i don't want to see this once magnificent but now dead/sleeping forum overpowered by your constantly off topic and/or angry contributions. i strongly feel that your arguments need to be strengthened by rigorous engagement with a more active community, which we here at Mortigi Tempo are unfortunately unable to provide you with at the current time.
  11. smug dismissal of The Smile yields no space for insight or conversation and your extreme and false portrayal of the bands politics is obviously terminally influenced by one disagreement (they played a gig in Israel). i find your leaps of logic hard to follow and references to 'Thom/fan sexual relationships' are unsubstantiated forum gossip. your essays are better posted on your blog. let this board rest in peace.
  12. people aren't discussing The Smile because the board is obviously dead. your, um, extremely specific opinions might find a more engaged audience elsewhere. they're so negative and conflated with political issues that it seems unlikely that you're actually interested in discussion.
  13. you may have picked the wrong day to talk about a radiohead tape
  14. for me, the notebook stuff screams 'stuff that wasn't good enough for the early Radiohead website'. pictures of stickmen dancing in front of dollar signs, etcetera. however, if for the sake of argument it's all amazing revelatory stuff, it's still a mistake to glue your archival recording project to that. there should have been an option to just buy the mixtape stuff with the remasters/'new' songs without having to buy in to everything, digitally or as a 3cd package, whatever. the fact that there isn't indicates, in my opinion, them deliberately appealing to the 'whales' at the expense of your standard megafans. and the whales would have still paid £100 for the books and stuff anyway.
  15. even if everything i would expect to hear apart from the 3 established songs is on the cassette, which it clearly isn't, it's not good enough to not state upfront what's on it. doing the archival stuff as a mixtape is a cool idea but it ain't good enough to literally release it as a tape! the download exists but from my position i'd be paying over £100 for it. there's literally nothing in the deluxe version i can put in my stereo system, meaning that if i buy it i still have to buy the cds separately, cos my cd player is sweet. OKNOTOK is a bad product. you should be judging it by the standards of past deluxe archival projects by other artists. i can if i so wish listen to every little cello chirp and fart recorded for Pet Sounds, for example. we have a statement that Nigel recorded over bad takes. some of you are taking that to mean that these 3 songs and the cassette contents which still aren't 100% confirmed mean this is a comprehensive project. what http://recordcollectormag.com/reviews/ok-computer-oknotok-1997-2017 says to me is random cool shit taken from a much larger pool of recordings. if early developmental stuff from Paranoid Android survived, don't froth at the mouth absolutely convinced that *name song here* definitely doesn't. Radiohead chose to make an archival project which is probably incomplete, and they chose to price it a point which is uncompetitive in the market for music nerds who are into this kind of shit. i'm judging OKNOTOK from that perspective. don't get pissy at me 'cos being a Radiohead fan apparently means I have to be excited about Thom's diary and material which the band thought wasn't good enough for 20 years, now mysteriously worthy of the full video treatment...
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