I really like the lo-fi studio magic of the opening of Guided By Voices‘ “Tractor Rape Chain”. I’ve never taken the time to read up on what exactly went into the song’s intro, but it sounds like they took a casual acoustic run-through or demo of the song’s opening, probably recorded on a boom box, and then cut in the full-band’s studio intro. It’s cool that the studio entrance is not quite in sync with the acoustic intro. It’s cool that the sound of the rooms in which each recording took place don’t come close to matching. It’s also cool that the studio portion of the song is not very polished, but let’s steer clear of a “What’s so cool about crappy sounding lo-fi stuff?” debate. I’ve been on both sides of that discussion, and I agree with all points of view.
If you’re not familiar with the song or haven’t heard it in some time, check it out:
Guided By Voices, “Tractor Rape Chain”
I find this lo-fi studio device much more effective than any one of Tom Petty‘s White Rabbit opening devices from his videos – at a fraction of the cost!
I’m not about to ask you for a full list, Townspeople, or entire albums, so let’s get that straight. What I seek are specific moments of studio magic in lo-fi records that you love.
Use your judgement to determine what constitutes “lo-fi,” but I’m thinking independently made records that sound obviously beneath the contemporary standards of commercially made records of their time. Don’t give me some record that an indie Tom Scholz made on his laptop that sounds as high-quality as the latest release from Madonna. It may be “indie” but it’s not lo-fi, it’s not primitive. And don’t judge primitive by any later, contemporary standards. For instance, although the studio magic on Sgt. Pepper’s is primitive by even 1972 standards, what The Beatles were doing in 1967 was pushing the boundaries of technology. I have used this GBV recording from the late-80s, I believe, because they made some magic using rudimentary tools, even for their DIY times.
There’s a tape glitch in R. Stevie Moore’s “California Rhythm,” a complete accident that serendipitously turns into a great hook.
I am big fan of this kind of effect. Funnily enough, the example I always flash to is Philly’s own The Bigger Lovers, who used it on their cover of Nick Lowe’s “So it Goes,” as found on Groove Disques’ Stiff Records tribute!
I also like the lo-fi guitar line that opens Aimee Mann’s “Red Vines.”
And Cotton Mather’s great Kontiki has loads of great lo-fi sounds. Correct me if I’m wrong, but isn’t that album essentially a home recording sweetened with some choice studio overdubs? I think that’s a key album for showing me that lo-fi doesn’t need to sound like shit, necessarily.
Apparently, the first Latin Playboys album was almost entirely recorded in David Hidalgo’s kitchen. It sounds amazing, almost unearthly.
I was against all that lo-fi stuff on principle during its high point in the 80’s-90’s but I’ve softened over the years. I’m still not bowled over by those Guided By Voices records but the lo-fi aethetic was a big part of the charm of that first Devendra Banhart record, OH ME OH MY. I’d much rather he stuck to that sound than make something like his last record, which though recorded in a “studio” (whatever that means today) but is sunk my mid-heavy murk.
I think I like the sludge of lo-fi psychedelic stuff rather than pop songs badly recorded.
-db
I think GBV is it’s own thing because there are 3 perfect albums in a row in the middle of a bunch of other great shit, but I don’t actually think Ric Okasic helped anything.
I think it’s the songwriting.
It’s so strong on BeeThousand,Alien Lanes, and UnderBushes UnderStars, that they were able to get it recorded without too much production thought.
Otherwise:
I feel the same way about Either/Or, the Ellliot Snith record with “Speed Trials” on it.
I also like Beck’s One Foot in the Grave better than anything before or since.
I don”t know shit about Pavement or Sebadoah.
It’s not quite the same thing, but the opening of My Bloody Valentine’s Soon is sort of similar. This is clearer of the Glider EP, because on Loveless the previous track fades out into the opening, but Soon starts with four bars of a tinny sounding drum machine mixed way down low, and then the track kicks in at full volume in glorious technicolor.
“Bleak Landscape” by the Divine Comedy has one of these obvious splices halfway through the song between a home demo and a full band take that’s not quite in sync.
Oats, you’re the first person i’ve ever heard mention the Bigger Lovers. Three great powerpop albums.
Cotton Mather’s Kontiki had overdubs added by producer Brad Jones, who turns up on a lot of albums i love. Great songs, but that’s one where i wish the songs were better recorded. ‘Camp Hill…’ and ‘Password’ have a lot of hissy top end, and the bass sometimes gets swallowed. And doesn’t ‘Homefront Cameo’ sound like it’s from a completely different bunch of higher-quality sessions?