SELECTRIC Funeral
Yeah, so anyway, what we got here is a new column detailing the goings-on and goings-down and gettings-down of heavymetallurgy and hard-rockery, which if you’ve been perusing my ramblings in this journal long enough, you realize I deem less or more the same animal.
SELECTRIC Funeral
Chuck Eddy
Yeah, so anyway, what we got here is a new column detailing the goings-on and goings-down and gettings-down of heavymetallurgy and hard-rockery, which if you’ve been perusing my ramblings in this journal long enough, you realize I deem less or more the same animal. All’s I care is the guitars are loud and it boogies; genre headings are really just marketing tools used to sell more records (and magazines!) anyway, and they don’t interest me (even though I cheat and use ’em sometimes). My working title for this column is "Selectric Funeral,” in honor of the fact that "Electric Funeral” was a whopper of an early Black Sabbath tune, and in recognition of the fact that an "electric funeral” is pretty much the sound that I think hard-rockers oughta aim for—not to say that it necessarily oughta sound like the song "Electric Funeral” (though Pere Ubu’s "30 Seconds Over Tokyo” does, and it kicks ants—big red, ferocious African army ants, I mean), but rather that it oughta feature pluggedin instruments, and strive to make your eardrums bleed and dance on your grave and swell stuff like that.