|
|
Post by SharksFan99 on Dec 27, 2017 12:44:04 GMT 10
Sorry, but I don't hear "early 80s" in this song at all. It's a purely of-its-time Madchester song from the early 90s, and any dated aspects about it would be attributable to the fact that it's a cover of a Tommy Roe song from 1968. I believe the chorus has somewhat of an Early '80s influence to it. Admittedly, I always thought "Dizzy" was an '80s song. I personally don't think it really sounds distinctively '90s.
|
|
|
|
Post by #Infinity on Dec 27, 2017 13:24:54 GMT 10
Sorry, but I don't hear "early 80s" in this song at all. It's a purely of-its-time Madchester song from the early 90s, and any dated aspects about it would be attributable to the fact that it's a cover of a Tommy Roe song from 1968. I believe the chorus has somewhat of an Early '80s influence to it. Admittedly, I always thought "Dizzy" was an '80s song. I personally don't think it really sounds distinctively '90s. Madchester is one of the genres of music that epitomizes the early 90s. Those fast, lively breakbeats accompanying a poppy tune are a hallmark of British pop music from 1990 to 1993. It's in the same basic category as stuff like "Ebeneezer Goode," "Unbelievable," and "Right Here Right Now." The Vic Reeves cover of "Dizzy" doesn't have buzzsaw synths or gated snares, nor does its instrumentation have the smooth, mono-ey sound of early 80s synthpop or the groove of early 80s post-disco.
|
|
|
|
Post by SharksFan99 on Dec 27, 2017 13:59:51 GMT 10
Madchester is one of the genres of music that epitomizes the early 90s. Those fast, lively breakbeats accompanying a poppy tune are a hallmark of British pop music from 1990 to 1993. It's in the same basic category as stuff like "Ebeneezer Goode," "Unbelievable," and "Right Here Right Now." The Vic Reeves cover of "Dizzy" doesn't have buzzsaw synths or gated snares, nor does its instrumentation have the smooth, mono-ey sound of early 80s synthpop or the groove of early 80s post-disco. I understand that "Dizzy" doesn't contain any buzzsaw synths or gated snares, meaning that the song wouldn't stylistically blend in well with most songs released in the Early '80s. However, the vocals and overall tone of the song sound distinctively more Early '80s than '90s, IMO. I guess we'll just have to agree to disagree with this one. 
|
|
|
|
Post by SharksFan99 on Jan 20, 2018 23:41:12 GMT 10
This was released in 1985, but I think it could easily have been released in the Early '90s, in my opinion. I was actually shocked to hear that it was released in 1985!  What's even more surprising, is that it achieved moderate success on the Australian charts as well, despite the fact that hair-metal was the dominant form of rock at the time.
|
|
|
|
Post by #Infinity on Feb 14, 2018 10:05:49 GMT 10
This is from 1995. It was one of the biggest hip hop songs of that year in the US and later became huge in the UK in early 1996. Personally, I think it sounds like it was made in 2014, as its production much more closely resembles the trap and DJ Mustard beats of that era than any of the funky, gritty, threatening sounds that pervaded the mid-'90s. The verses of Fifth Harmony's "Worth It," released only a few years ago, remind me a lot of this track's synth loop.
|
|
|
|
Post by aja675 on Feb 15, 2018 1:50:35 GMT 10
|
|
|
|
Post by rainbow on Feb 16, 2018 6:18:31 GMT 10
I don't know why, but this song just gives me an early 2010's vibe. It sounds like it could be a song from Foster The People made in 2011.
|
|
|
|
Post by #Infinity on Mar 1, 2018 3:33:28 GMT 10
This was made in 1999 and was moderately popular in 2000. It samples a certain huge hit from the 1980s and sounds quite ‘80s on its own, but unlike said source composition, which is from 1982, Jessica Simpson’s track sounds more like something made in 1988. Maybe not necessarily Simpson’s vocal style, but certainly the crashing drums, plucky synth sound, and heavy use of cowbells.
|
|
|
|
Post by SharksFan99 on Mar 1, 2018 10:02:35 GMT 10
This was made in 1999 and was moderately popular in 2000. It samples a certain huge hit from the 1980s and sounds quite ‘80s on its own, but unlike said source composition, which is from 1982, Jessica Simpson’s track sounds more like something made in 1988. Maybe not necessarily Simpson’s vocal style, but certainly the crashing drums, plucky synth sound, and heavy use of cowbells. I agree. The overall sound is definitely reminiscent of the Late '80s.
|
|
|
|
Post by SharksFan99 on Mar 4, 2018 22:55:08 GMT 10
This alt-rock/indie song was released in 2006. It was quite successful on the ARIA Chart, managing to peak at #18 and staying on the charts for 7 weeks. However, I think it easily could have been released sometime during the Y2K-Era, namely between 1999-2001. In retrospect, i'm really glad that we got homegrown songs like this during the Mid 2000s, instead of snap-rap.
|
|
|
|
Post by #Infinity on Mar 7, 2018 6:24:55 GMT 10
This is from 1996. I would say it sounds much more like something from around 2001 or so, as its production is absolutely nothing like all the g-funk still on the charts in 1996 and more closely resembles early 2000s Neptunes and Neptunes-esque productions like “Danger (Been So Long)”, “Area Codes”, and “Where the Party At”.
|
|
|
|
Post by SharksFan99 on Mar 7, 2018 8:43:34 GMT 10
To be fair, i'm not quite sure how long bubblegum-pop lasted in Australia, so there's a possibility that this song wasn't so much of an oddity at the time of it's release. However, with that said, by the time "All Seats Taken" was released in Late 2002, it surely must have felt slightly outdated. Stylistically, the song belongs to the Y2K-Era and Y2K-Era culture had largely fallen out of favour by that point. It actually performed quite well on the ARIA Chart. "All Seats Taken" peaked at #10 and stayed on the charts for 14 weeks. This is from 1996. I would say it sounds much more like something from around 2001 or so, as its production is absolutely nothing like all the g-funk still on the charts in 1996 and more closely resembles early 2000s Neptunes and Neptunes-esque productions like “Danger (Been So Long)”, “Area Codes”, and “Where the Party At”. I agree. It definitely wouldn't have sounded out of place if it had been released in 2000 or 2001.
|
|
|
|
Post by #Infinity on Mar 16, 2018 9:56:46 GMT 10
Snoop’s Doggfather album contained quite a few songs with experimental poduction, not just the track I listed above that sounds 2000/2001-ish. This song, meanwhile, sounds like it was made around late 2005 or 2006. Not only is the beat reminiscent of uptempo urban productions from that era, but the schoolyard chant chorus is more than a little reminiscent of plenty hits from the mid/late 2000s. Even the high-pitched synthesizers sound more like they came from Lil’ Jon than a West Coast g-funk producer.
This came from an album released in 1985 but didn’t become a hit until late 1986. I think it sounds much more like something recorded in 1982. That may not seem like a huge stretch of time, but between the distinct use of pianos instead of synthesizers, as well as the blatantly early ‘80s-style percussion, it still definitely sticks out for its time.
|
|
|
|
Post by SharksFan99 on Mar 22, 2018 23:57:10 GMT 10
If I didn't know any better, I most likely wouldn't have thought that this was released in 2006. Like " "Come On Come On" by Little Birdy, I personally think this could have been released sometime between 1999-2001, namely because of the chord progressions and to a lesser extent, the vocals. "Cigarettes & Suitcases" peaked at #23 and stayed on the ARIA Chart for five weeks. Just as a side note, one thing I have noticed, is that the Australian alternative-rock (or "Post Grunge") songs of the Early-Mid 2000s generally stayed truer to the Post-Grunge movement of the Mid-Late '90s, unlike their American counterparts. I know they would all technically fall under the "Post Grunge" label, but I personally wouldn't categorize "Cigarettes & Suitcases" as belonging to the same genre as songs such as "The Reason", "Here Without You" and "Rockstar". In terms of the overall sound and the composition's structure, it has much more in common with the Post-Grunge movement of the Late '90s than it does with something composed by the likes of Nickelback or Staind. Snoop’s Doggfather album contained quite a few songs with experimental poduction, not just the track I listed above that sounds 2000/2001-ish. This song, meanwhile, sounds like it was made around late 2005 or 2006. Not only is the beat reminiscent of uptempo urban productions from that era, but the schoolyard chant chorus is more than a little reminiscent of plenty hits from the mid/late 2000s. Even the high-pitched synthesizers sound more like they came from Lil’ Jon than a West Coast g-funk producer. I agree that the beat and chorus have commonalities with urban compositions released in the Mid 2000s. However, in terms of the overall sound, i'm not sure if it sounds like something straight from 2005 or 2006. Had it been released at that time, I think the composition generally wouldn't sound as experimental, and there would likely be a few crunk/snap beats incorporated as well.
|
|
|
|
Post by SharksFan99 on Mar 23, 2018 10:12:41 GMT 10
Apologies for the double-post, but what's everyone opinion of this song? If you had to guess which year the song was released, what would you say?
|
|
What's even more surprising, is that it achieved moderate success on the Australian charts as well, despite the fact that hair-metal was the dominant form of rock at the time.
