39,327
edits
Early Installment Weirdness/Music: Difference between revisions
m
update links
m (Mass update links) |
m (update links) |
||
Line 16:
** [[Kenny Chesney]] is another pretty extreme example. In the 1990s, his material was barely discernible from any other young hunk in a cowboy hat, and he had a heavy twang. By the end of the decade, he started to lean a little more pop and his voice lost some of its nasality. He now sings without the slightest hint of twang, and alternates between arena rock, [[Jimmy Buffett]]-esque beach country, and slow, acoustic numbers such as "You and Tequila".
** [[Rascal Flatts]] sounded very much like a boy band on their first album, particularly on "Prayin' for Daylight" and "This Everyday Love". This basically meant catchy hooky choruses, breezy high-voiced harmonies, and none of the band members playing instruments. By the time the second album came out, they shifted to a more country-pop sound, replete with two of the band members playing their own instruments (lead singer Gary LeVox doesn't play anything) and slightly more substantial songs.
* Long-lasting British band [[Status Quo (band)]] started out in the late 1960s as a psychedelic/prog rock band (during this time, they had their [[One-Hit Wonder|one American hit]], "Pictures of Matchstick Men"), before switching in the early 1970s to the guitar boogie style they've maintained ever since. This is parodied by the very un-metal early songs of [[Spinal Tap]].
* CDR's 1999 debut was written and released before he had decided on a distinct sound. It's longer and more eclectic than much of his output, yet you'd be hard-pressed to draw a link between it and his later works.
* The 1982 self-titled debut EP by the band Swans is vaguely creepy, saxophone-laced [[Post Punk]] with a pronounced No Wave influence; their first LP, 1983's ''Filth'', is far harsher, not unlike some sort of primitive hybrid of [[Industrial]] and [[Hardcore Punk]]. It is also far more unsettling. And then there's their second LP, 1984's ''Cop''. [[Hell Is That Noise|"Brutal" does not begin to describe it.]]
Line 52:
* [[Clutch]]'s first LP, ''Transnational Speedway League'' is a gritty metal album with a few lyrical homages to southern life. While there are some of Neil Fallon's trademark spacy lyrics, the blues influence that is currently a hallmark of the band's music is almost nonexistant.
* Underworld started out as a new wave/alternative pop band and released two albums (''Underneath the Radar'' and ''Change the Weather'') in this style, which also fetched them a minor American hit in the single "Stand Up". After a nearly five year recording hiatus following their second album, they emerged as an electronica/house group, which they have remained ever since.
* [[Ministry]]'s first album ''With Sympathy'' was a synth pop album in which Alain Jourgenson attempted to sing in a fake British accent. Their next album, ''Twitch'' is an album of aggressive EBM. Neither prepared anyone for their third album, ''The Land of Rape and Honey'', which premiered the harsh industrial sound they became famous with. [[Canon
* [[Coldplay]]'s work is mostly based on pianos ("Clocks") or sonic landscapes ("Viva La Vida"), but their debut, ''Parachutes'', is mostly filled with acoustic guitars.
* The Descendents' first single, ''Ride The Wild \ Hectic World'': As opposed to the melodic [[Hardcore Punk]] they'd become known for, the two featured songs were sort of a mix of [[Power Pop]] and [[New Wave]], prominently featuring a [[Surf Rock]]-influenced guitar-playing style with no distortion. In addition, Milo Aukerman hadn't joined the band yet, so lacking a real lead singer, members Frank Navetta and Tony Lombardo sang one song each. "Ride The Wild" and "Hectic World" were later included on the compilations ''Bonus Fat'' and ''Two Things At Once'', and the contrast with the rest of the material can be sort of jarring.
| |||