By Phillip Crandall
"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 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 ahead of a booming bass drum joins in to supply a quarter-note countdown. A faint, swirling impression intensifies with each one bass kick and, by means of the 8th one, the ears have prepped themselves for the steel mayhem they're approximately to obtain. whilst all of it drops, and the joyous onslaught of 100 guitars is eventually discovered, you'll need to forgive your ears for being duped right into a fake feel of defense, simply because it's that moment intensified drop a couple of seconds later — the single the place but extra guitars happen and Andrew W.K. slam-plants his vocal flag via screaming the song's titular line — that truly floods the mind with endorphins, serotonin, dopamine, and no matter what else formulates invincibility.
Polished to a brilliant 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 adlescent, as energized, outstanding, and unapologetically silly as ever. With insights from buddies and unparalleled support from the mythological maniac himself — whose sermon and pa sensibilities proceed to polarize — this booklet chronicles the sound's evolution, uncovers the relevance of Steev Mike, and examines how Andrew W.K.'s inviting, inclusive lyrics create the final word shared adventure among artist and viewers.
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Extra resources for Andrew W.K.'s I Get Wet (33 1/3 Series)
I like the way that contrasted so much with the idea of a group and this ‘we’ collective spirit. … Even when it was all these instruments and all these sounds, it was just this feeling of one person. ” Bulb Records released a Wolf Eyes 12-inch entitled Fortune Dove that featured three songs the band recorded in Andrew’s apartment. For the fourth song, the label (Larson) asked Andrew to do a remix. (“We do not play on that song at all,” Dilloway confirms. K. name. The guitar riff and rhyme delivery are closer to the random nu-metal samples you’d extract from any Y2K time-capsule, but the voice is clearly Andrew.
Also working in the second-floor vinyl section was Matt Quigley, whose band—an art-pop duo named • 39 • I GET WET Vaganza—was about to release its debut album on a Geffen subsidiary. ) Quigley saw a quiet, funny, slightly effeminate, artsy kid in Andrew. One day, Quigley played a test pressing of Vaganza over Kim’s speakers. ” He showed Andrew a picture of the duo in full extravagant regalia, and Andrew asked if he’d ever heard of Sparks. “That’s how I bonded with Quigley,” Andrew says. ” “Every time I came home,” Morgan says, “[Andrew] was listening to Sparks.
Every time I came home,” Morgan says, “[Andrew] was listening to Sparks. ’ I think people got caught up with the signifiers of people with long hair rocking out with fucking guitars. It didn’t really sound like ’80s cock-rock to me. It sounded like Sparks. ” Fred Thomas remembers Andrew latching onto Sparks when they lived together, with Andrew getting so worked up by their flamboyance, theatrics, and lyrics that his unending insistence that Thomas needs to really listen to it did nothing more than try Thomas’ patience.