There are musicians to this day who can go out and perform in front of a crowd of a few thousand people, every night, who’ve come there just to hear that one song they recorded nearly sixty years ago - and if the musician is good enough they can get that crowd enjoying their other songs as well.īut there are other musicians who can never capitalise on that one record, and who never get another shot. And depending on how big the hit is and how good it is, that one hit might be enough to keep them going through a whole career. After all, a one-hit wonder has had a hit, which is more than the vast majority of musicians ever do. One-hit wonders have an unusual place in the realm of music history, and one which it’s never easy to decide whether to envy or to pity.
Let’s talk about one-hit wonders for a while. This podcast is brought to you by the generosity of my backers on Patreon.
The Chords’ music has never been anthologised on CD that I can find out, but almost any good doo-wop compilation should have “Sh-Boom”. My main resources are, as with last week Honkers & Shouters: The Golden Years of Rhythm and Blues by Arnold Shaw, one of the most important books on early 50s rhythm and blues, The Sound of the City by Charlie Gillett, and Marv Goldberg’s website. I am not going to share that song anywhere, given its lyrical content. In this case, I have missed out one track that’s used in the podcast – I use approximately seven seconds of the intro to “Blurred Lines” by Robin Thicke, without any of the lyrics, in the podcast.
#Roger waters bird in a gale chords full#
Click the full post to read liner notes, links to more information, and a transcript of the episode.Īs always, I’ve created a Mixcloud streaming playlist with full versions of almost all the songs in the episode. Today we’re looking at “Sh-Boom” by the Chords. Welcome to episode eighteen of A History of Rock Music in Five Hundred Songs. On top of it.the new and reissues are, from how I understand it, cut to the lacquer from the digital 24/192 file.Download file | Play in new window | Recorded on February 4, 2019 I buy good quality vinyl, from good pressing plants, and I rarely get one that is 100% perfect. Even new, there is noise pops, crackles, etc. Vinyl.just got back into it, and like many of you s tough to get 100% satisfactory vinyl quality, in the physical sense. Its still not what i wanted.I have to accept it for what it is. I listened for what it was, and the sound stage open up for me with a volume crank. I know its not some crazy sound effects laden cd, as some in the past, which I tend to like the spacey stuff. I put in the new Waters CD, cranked some volume on it and it sounded much better. I played with the speaker angle after listening to Amused and Soul Cages on Q sound, figuring if I could get Q Sound right, then its closer to correct. Later, I listened to other music, where normally my EQ is hardly adjusted. I had to let it go, and return to it later. i moved the speakers about.which is abnormal. I tried with EQ ( McIntosh 7900), it didnt work, hell. Seemed the sound stage was not in pare to the last two solo projects. One my first listen of the CD, I hated the sound quality. Seems every-time I like the sound, I check the database and behold.maybe I got used to compression. Historically, i found that i like the 7 to 10 range. Perhaps with these arrangement and instruments, it works better, than other albums with the same DR score. IMO.if I actually used the DR Database, I would be listening to eggs frying, and nature recordings.
Thanks Rog, it's a salve for the pain of these dark days.
but I like the lyrical twist at the end where his list of awful things is snuffed out by love.įinally I am just grateful that this album happened at all. My least favorite song is probably Wait For Her. It does have a "soft" ending but it works OK for me. Rog's low and croaky delivery is kind of his thing, I don't hear it as evidence of sloppiness, he's an old dude who has probably abused himself too much throughout the years. Yes, some of the songs sound like classic Floyd but they aren't those exact songs, and personally, I have burned out on some of the old stuff so hearing variations on it in a new context is great. I'm still not crazy about the production but it could have been a lot worse. "Can I crash on your floor" is something a friend would say to another friend, so maybe it's not all bad. Look at the cover of Rattle That Lock and tell me it's not about Gilmour. The cough and the loon and the entire Bird in a Gale song is directed at Gilmour. It's indulgent but the perfect album for right now where we are in history.Įven with the simple C and G chords Roger can elicit emotion.
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