By Phillip Crandall
"It's Time To Party," the 1st song off of i am getting rainy, opens with a rapid-fire guitar line not anything fancy, only a couple crunchy strength chords to acclimate the ears repeated two times earlier than a booming bass drum joins in to supply a quarter-note countdown. A faint, It's Time To Party," the 1st tune off of i am getting rainy, opens with a rapid-fire guitar line — not anything fancy, only a couple crunchy energy chords to acclimate the ears — repeated two times sooner than a booming bass drum joins in to supply a quarter-note countdown. A faint, swirling influence intensifies with each one bass kick and, through the 8th one, the ears have prepped themselves for the steel mayhem they're approximately to obtain. while all of it drops, and the joyous onslaught of 100 guitars is eventually learned, you'll need to forgive your ears for being duped right into a fake experience of protection, simply because it's that moment intensified drop a couple of seconds later — the only the place but extra guitars occur and Andrew W.K. slam-plants his vocal flag by means of screaming the song's titular line — that actually floods the mind with endorphins, serotonin, dopamine, and no matter what else formulates invincibility.
Polished to a shiny overdubbed-to-oblivion sheen, the party-preaching i am getting rainy didn't catch the zeitgeist of rock on the flip of the century; it captured the timelessness of sweet sixteen, as energized, striking, and unapologetically silly as ever. With insights from pals and extraordinary support from the mythological maniac himself — whose sermon and pa sensibilities proceed to polarize — this publication chronicles the sound's evolution, uncovers the relevance of Steev Mike, and examines how Andrew W.K.'s inviting, inclusive lyrics create the last word shared adventure among artist and viewers.
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Extra info for Andrew W.K.'s I Get Wet (33 1/3 Series)
I can’t be sure, but I bet I brought my guitar over to his house the first time I came over to play,” Summerfield says of their friendship which grew around musical discovery. “All 13-year-old boys in Ann Arbor were issued the first Mr. Bungle record. ’” Andrew and Summerfield were shown John Zorn’s production credit on Mr. Bungle and directed to his Naked City work, from which Summerfield says Andrew’s path veered toward Zorn’s harsher, more aggressive metal, while his followed other Naked City members.
He came over and heard [my music] and said it was terrible because of the keyboards. ” The corporate labeling seemed to confound Andrew the most. In this particular instance, the stranger pitted his preference for what he called raw, stripped-down garage rock against what Andrew saw simply as music done in a high-production manner. “Why does everything have to be stripped down,” Andrew says. “Unless it’s achieving something that’s better than the alternative, [it] seems empty and naked. I think the Rolling Stones were trying to make everything they were doing sound the best they possibly could, not intentionally make it sound bad—not that their songs sound bad.
Their first release, Couch’s four-song 7-inch, shows both members bespectacled and suited-up: Larson leaning back with a cigarette and Magas with his chin buried in his schoolboy knot. Magas says it was catalogued as BLB-026 because the rookie label-heads didn’t “want it to look like we didn’t know what we were doing,” and because he was 26 at the time. Aaron Dilloway, who would drum for Couch years later, remembers seeing the band live with his friends Nate Young and Twig Harper in the 11th grade.
Andrew W.K.'s I Get Wet (33 1/3 Series) by Phillip Crandall