From a psychological level, I've always wondered what attracts people to a specific song/band.  Is it the tones of multiple instruments synergistically creating something groovy?  Or is there a certain effect/instrument/style that just grabs your brain?  For example, a few years ago I was hooked on combo organs, especially Vox Continentals.  Nowadays, I find that I enjoy tracks that incorporate and balance many of the characteristics listed in the title. 

Feel free to reply with comments, criticism, new ideas, song examples, and anything else that seems relevant.

"crunch" is probly the most likely thing to grab me off the street. usually from great guitar tone, but crunch can come from vocals, too. (think modest mouse). then it takes attitude to keep me interested. i don't mean you have to snarl, and head bang, but this pop punk thing that has spawn from the seatle scene bores me. there is no soul to it. no real anger, but what they think anger/ angst is supposed to looks like. it parallels porn.

Ramones, 50's rock'n'roll, 60's punk, early Black Flag,  or the combination of those 4  things...

Thank you Dave.

Yeeeeeeaaaaah !!! Of course I love "good ol' Northwest-style breaks" !

Give me as  many ear-tearin' breaks, ass-kickin' riffs and mind-blowin' licks as you want !

But pleeeeeeeeeaaase, no endless crappy solo. I know you're the best musician around but I don't care about your great ability and fabulous velocity !

Keep your finger tricks and give us kicks !

dave said:

Yep 100% agree !

Andy Climax said:

Anyone mentioned 'the soul' yet? Lets face it we all know when a song is bullshitting us. When the soul and the gnarl are in perfect harmony then we gotta groove!

Anyone mentioned 'the soul' yet? Lets face it we all know when a song is bullshitting us. When the soul and the gnarl are in perfect harmony then we gotta groove!

John, was that a joke? "DALLAS DID'NT HAVE ANY HARDCORE BANDS"? With alla those skins, you'd think it would be a city tailor-made for HC...

But any converts we can get from that dull genre is win/win with me.

John Battles said:

Ain't it the gospel.....IN '86 ,WHEN I HAD A RADIO SHOW IN DALLAS , THE HARDCORE PEOPLE WERE THE BIGGEST BABIES , IN TERMS OF COMPLAINING THAT I PLAYED TOO MUCH GARAGE AND ROCKABILLY FOR THEIR LIKING. THEY'RE PROBABLY TELLING THEIR FRIENDS HOW 'OLD SCHOOL GARAGE " THEY ARE , NOW. TO BE FAIR , I KNEW A GUY WHO LISTENED TO NOTHING BUT HARDCORE , HAD AT LEAST 100 HC RECORDS. ONE DAY , HE BROUGHT AN ELEVATORS LP HOME. I DON'T THINK HE STOPPED LISTENING TO HARDCORE OUTRIGHT , AND NO ONE WAS SAYING HE SHOULD HAVE , BUT , NEXT THING YOU KNEW , HE WAS GROWING HIS HAIR OUT , WEARING 60'S PRINT SHIRTS , AND HE TURNED UP IN A (DESERVEDLY) POPULAR PSYCH BAND. NEVER HEARD HIM PLAY MUCH HC , AS DALLAS DID'NT HAVE ANY HARDCORE BANDS......

Ha, the Estrus/Epitaph "house sound"! Epitaph really had that problem, w/ a house producer, even. 

And to James, it's true, variety is much appreciated! There are certain sounds I lean towards, but a whole album of that is too much even for me!

As long as the chemistry is there, it can sound chaotic or clean-ish, I'm not too picky. I heard a story about CRIME that said the engineer was so frustrated by them that he just turned up everything and left the room w/ the reels running! Sounded great!

John Battles said:

That's whatI was going on about , but on another thread. I know a LOT of people love it when everything just bleeds together , and  there's no balance  in sound or sound levels.

It did'nt end with Estrus , either......

Yeh, it's the beat! Did you see that American Splendor comic w/ Harvey and a Nat King Cole fan complainin' about 'todays kids'? The guy was yelling, "They just want the beat! That's all that's important to them!"  :D

And Emotion, yep. Nice reply...

You don't like gtr solos, but what about a good ol' Northwest-style break? "Ok, let's give it to 'em, right now!"

The screamin' Soul Preacher said:

Yep, the BEAT sure is the thing !

The wilder I can shake my ass to a tune, the better I love it !

But what attracts me first, more than a specific sound or instrument, is an emotion. I don't really care about the lyrics, guitar sound or musical ability as long as it makes me shake or scream or laugh or cry or whatever...I just got to FEEL something !

That said, I love chainsaw guitars, screaming distortions, reverb and tremolo, wild'n'possessed vocals, jungle tribal percussions, throbbing basses, haunted organs, bass crooners ala screamin' Jay and Mickey Mouse teenagers ala Ray Hummel III, the sound of wood you can feel with the double-bass, crazy tom-toms, sexual pulsations of an almost erotic beat and so much more... But not necessarily in the same song ! 

And I hate guitar solos !!!

What always grabs me most is an attitude.  I don't mind sloppiness as long as an attitude is there but if it's just sloppy, I'm gone.

That's whatI was going on about , but on another thread. I know a LOT of people love it when everything just bleeds together , and  there's no balance  in sound or sound levels.

It did'nt end with Estrus , either......

One thing I do need - dynamics. And I'm not talking about any group named "the Dynamics," either. I just gotta have some variety.

There's a time and a place for distorted guitar, hollering vocals, pounding drums, fast tempos, etc. Don't go speeding up a song that should be midtempo or slow, don't step on the effects box when a clean guitar line will do. Not to sound like an uptight music theory teacher, but I've heard too many neo-garage bands do the noise thing way too much (and most of them seemingly recorded for Estrus Records, but that's another story entirely).

Yep, the BEAT sure is the thing !

The wilder I can shake my ass to a tune, the better I love it !

But what attracts me first, more than a specific sound or instrument, is an emotion. I don't really care about the lyrics, guitar sound or musical ability as long as it makes me shake or scream or laugh or cry or whatever...I just got to FEEL something !

That said, I love chainsaw guitars, screaming distortions, reverb and tremolo, wild'n'possessed vocals, jungle tribal percussions, throbbing basses, haunted organs, bass crooners ala screamin' Jay and Mickey Mouse teenagers ala Ray Hummel III, the sound of wood you can feel with the double-bass, crazy tom-toms, sexual pulsations of an almost erotic beat and so much more... But not necessarily in the same song ! 

And I hate guitar solos !!!

Ain't it the gospel.....IN '86 ,WHEN I HAD A RADIO SHOW IN DALLAS , THE HARDCORE PEOPLE WERE THE BIGGEST BABIES , IN TERMS OF COMPLAINING THAT I PLAYED TOO MUCH GARAGE AND ROCKABILLY FOR THEIR LIKING. THEY'RE PROBABLY TELLING THEIR FRIENDS HOW 'OLD SCHOOL GARAGE " THEY ARE , NOW. TO BE FAIR , I KNEW A GUY WHO LISTENED TO NOTHING BUT HARDCORE , HAD AT LEAST 100 HC RECORDS. ONE DAY , HE BROUGHT AN ELEVATORS LP HOME. I DON'T THINK HE STOPPED LISTENING TO HARDCORE OUTRIGHT , AND NO ONE WAS SAYING HE SHOULD HAVE , BUT , NEXT THING YOU KNEW , HE WAS GROWING HIS HAIR OUT , WEARING 60'S PRINT SHIRTS , AND HE TURNED UP IN A (DESERVEDLY) POPULAR PSYCH BAND. NEVER HEARD HIM PLAY MUCH HC , AS DALLAS DID'NT HAVE ANY HARDCORE BANDS......

I basically agree with what Melissa said below. Can't pinpoint what makes a song "go," but I know it when it shows up.

As for drummers, if the guy is too overbearing or can't carry a groove, then the whole thing just goes down the tubes. I realized this in the late 90s when too many former hardcore drummers started trying to play garage-rock.
 
melissa scott said:

Drummer -- I can put up with average, competent guitar-playing and average vocals, but if the drummer isn't any good, I'm pretty much GORN.

That said, it's not one thing you can put your finger, or should I say, ear on that makes something work.

TO ME , IT DEPENDS ON THE SONG. A SCREAMING LEAD GUITAR OR A KEYBOARD THAT BLEEDS THRU THE MIX , BUT , SOMEHOW STILL WORKS  , OR A SINGER WHO CAN ACTUALLY SING , OR A BEAT THAT REMINDS PEOPLE "OH , YEAH , IT'S NOT PC , BUT , YOU CAN DANCE TO ROCK'N'ROLL!" , OR A BASS THAT'S NOT DEAFENING (SOMETIMES THE SOUNDMAN'S FAULT.) , SOMETHING STICKS OUT AND HOLDS YOUR INEREST , AND , MAYBE , EVERYTHING ELSE FALLS INTO PLACE. I DON'T HEAR TOO MANY BANDS ACTUALLY USE THE FUZZTONE (SO WOULD THE PRICK WHO STOLE MINE KINDLY BRING IT BACK , NO QUESTIONS ASKED. I KID , THAT'S NOT GOING TO HAPPEN.) , ...NOT THAT I DID , MUCH , IN THE 80'S AND 90'S.

IF EVERYTHING IS PLAYED AT THE SAME LEVEL , ESPECIALLY IF IT'S ALL JUST IN THE RED , TO WHERE YOU CAN'T MAKE OUT PARTS OF A SONG YOU ACTUALLY WANT TO HEAR , THAT ANNOYS THE HELL OUT OF ME. I KNOW SOME PEOPLE PREFER IT THAT WAY , THO'....
 
John Battles said:

IN LIVE VENUES , THE SOUND MIGHT BE TERRIBLE FOR VARIOUS REASONS. sOMETIMES , THE PA JUST SUCKS , AND SOMETIMES , THE SOUNDMAN IS A FRUSTRATED "DANCE" DJ , WHO CAN'T GET ENOUGH OF THE BASS AND DRUMS . WHEN UNTAMED YOUTH FINALLY GOT TO PLAY IN CHICAGO FOR THE FIRST TIME  , 10 YEARS OR MORE AFTER THEY FIRST TRIED TO GET SHOWS , HERE , THE SOUNDMAN HAD THE BASS AND DRUMS JACKED UP SO HIGH , THE GUITAR AND KEYBOARDS , A BIG PART OF UT'S SOUND , WAS RENDERED ALMOST INAUDIBLE. I'D SEEN THEM ONCE , BUT , I WAS STILL FURIOUS ABOUT THIS..........................
Stoned Again Productions said:

Audible vocals are the biggie for me.  If I have to strain to hear what the singer is saying I lose interest.  More so on recordings rather than live shows. At live shows it is expected and common. Besides some venues just have crappy PA's. I know quite a few here in Austin that do. Not always the bands fault. To me the vocals are the most important part of a song. This is from a music listener standpoint, and not a musicians because I can't play music. I have noticed by working with musicians over the years that the two are very different in opinion.

Secondly I pay attention to the guitarist. If he / she is down with some groovin guitar work, rippin solos, fuzz buzz,  I am a fan.

Just a personal preference.

IN LIVE VENUES , THE SOUND MIGHT BE TERRIBLE FOR VARIOUS REASONS. sOMETIMES , THE PA JUST SUCKS , AND SOMETIMES , THE SOUNDMAN IS A FRUSTRATED "DANCE" DJ , WHO CAN'T GET ENOUGH OF THE BASS AND DRUMS . WHEN UNTAMED YOUTH FINALLY GOT TO PLAY IN CHICAGO FOR THE FIRST TIME  , 10 YEARS OR MORE AFTER THEY FIRST TRIED TO GET SHOWS , HERE , THE SOUNDMAN HAD THE BASS AND DRUMS JACKED UP SO HIGH , THE GUITAR AND KEYBOARDS , A BIG PART OF UT'S SOUND , WAS RENDERED ALMOST INAUDIBLE. I'D SEEN THEM ONCE , BUT , I WAS STILL FURIOUS ABOUT THIS..........................
Stoned Again Productions said:

Audible vocals are the biggie for me.  If I have to strain to hear what the singer is saying I lose interest.  More so on recordings rather than live shows. At live shows it is expected and common. Besides some venues just have crappy PA's. I know quite a few here in Austin that do. Not always the bands fault. To me the vocals are the most important part of a song. This is from a music listener standpoint, and not a musicians because I can't play music. I have noticed by working with musicians over the years that the two are very different in opinion.

Secondly I pay attention to the guitarist. If he / she is down with some groovin guitar work, rippin solos, fuzz buzz,  I am a fan.

Just a personal preference.

All of the above!

But for me, reverb drenched guitars, primitive jungle beats, the attitude you hear from the band. 

It's all about the 'hooks'. That catchy snippet that goes round in your head & you sing/immitate along to. It can be any of the instuments etc... the more the merrier!

For me, it's all about the song. Style is an extra bonus, & i dont mind crappy recording, or even playing... i'd rather hear a bad recording of a great song, than a great recording of a bad song!

Audible vocals are the biggie for me.  If I have to strain to hear what the singer is saying I lose interest.  More so on recordings rather than live shows. At live shows it is expected and common. Besides some venues just have crappy PA's. I know quite a few here in Austin that do. Not always the bands fault. To me the vocals are the most important part of a song. This is from a music listener standpoint, and not a musicians because I can't play music. I have noticed by working with musicians over the years that the two are very different in opinion.

Secondly I pay attention to the guitarist. If he / she is down with some groovin guitar work, rippin solos, fuzz buzz,  I am a fan.

Just a personal preference.

I did, and thanks for adding, which is what I was hoping for on this thread.  There are a load of things people hear in music that turns them on, and I hope they share it.

kopper said:

You forgot THE BEAT!

yes please and thank you i'll take a dozen of all the above for sure...it's all on how it tickles that spot deep inside us all that just sends us into that musical bliss thank you for the creation of garagepunk an mrr podcasts makes it so much easier to explain an share music

i love anything with a Vox Continental. Especialy the more heavy side

Drummer -- I can put up with average, competent guitar-playing and average vocals, but if the drummer isn't any good, I'm pretty much GORN.

That said, it's not one thing you can put your finger, or should I say, ear on that makes something work -- I like garagepunk cuz you don't have long to pissfart around you know? Go ahead and say what you have to say in less than 3 please. So, in that sense, it has to be a pretty intense burst of energy, cleverness to make the right kind of noise.

You forgot THE BEAT!