I Get Around is a 10/10 all day, every day. Judged on its own merits, it's an *incredible* song with some great riffs and harmonies that are very non-traditional for rock music. It's a deceptively complicated song and still gives me a thrill when the music drops out with a thudded guitar chord and the final refrain begins: "Round round get around" CUE HARMONIES "I get around" - HELL YEAH.
It's mind-boggling that their back catalog isn't wholly available in the US. How in the world is Coming Up not available for download or streaming? Same with Super Furry Animals. How much does it cost these days to put up an old record for streaming?
LOL. I remember where I was when Arcade Fire won for The Suburbs and almost everyone I was with said "who are they??" Doesn't speak much for the company I keep, but let's not forget who the real audience for this stuff is.
Not a "cool" band, but you're absolutely right. They had some huge singles in the alt-rock hey day that crossed over to Top 40...they have every right to be extremely proud of their career.
First time for everything! Really wanted to see a No. 1 but that was a tall order against Rhett, who is more traditionally popular. But I’ll take No. 2 as someone who still cares about these things!
There is little doubt that Antonoff's contributions to 1989 were not as strong as Martin's. In particular, Out of the Woods was a much better Ryan Adams song than it was a Swift song. The jury is still out for me on the new tracks, but I am convinced that Antonoff isn't a major hit maker. Seems like a great guy, and female artists clearly seem to relish working with him, but the pop confections that Max Martin serves up are far superior.
So far, so good, though I'd love to hear one of the more upbeat tracks from the album. The System Dreams in Total Darkness was only just 'okay' for me. Guilty Party was excellent and this is quite good too. But of course, I am always Team Sea of Love.
Teenage Exorcists definitely does (it's actually a bit similar to this track). I'd also say that Take Me Somewhere Nice has a verse/chorus thing going on as well with "singing".
If you're British, I think it's quite a few more than that. Live Forever. Rock N Roll Star. Slide Away. Some Might Say. Stand By Me. D'You Know What I Mean. Stop Crying Your Heart Out. Lyla. The Importance of Being Idle. ETC. ETC. Hard to overstate how big they were/are in the UK vs. the US. Champagne Supernova wasn't even a single there!
Undoubtedly true. Boxer defines their sound and production choices. And while I'm always team Sea of Love in terms of their best track, Brainy always nips right at its heels for me and was the song that made me fall in love with them. Can't wait to see them in NYC this fall!
Great write up. I would say that the Manic Street Preachers' track "A Design for Life" comes very close to "Where the Streets Have No Name" in terms of anthemic, political statements that defined a band.
Absolutely nothing redeemable about this. It is f'ing horrendous. It's like a somehow-even-worse-version of Hymn for the Weekend. An utter abomination.
Also interested to hear how things sound without his wiry guitar playing. No More Stories lacked the thrust of Johan (even though tracks like Repeaterbeater were pretty damn rocking)...what will this album sound like without Bo? Not sure, but curious to hear as they are one of my favorites as well.
WHAT. THE. EFF. Their website says it's UK/Europe only and that they'll be playing the whole album. Meanwhile, no new record until 2018. NO US SHOWS???
Easily the best produced two songs I've heard from the Kings in a long time. Mileage may vary on whether you *like* them or not, but the production values are very good.
I'll never forget SexyBack and When You Were Young coming out around the same time in 2006. I disliked both songs at first, after really liking the debut albums of both Timberlake and The Killers. I was so disappointed! I didn't get SexyBack at all, and When You Were Young wasn't the fun, electro-dance Killers that I had come to love with Hot Fuss. Both songs were very repetitive and didn't seem to have a major hook.
And then one day I woke up realizing both songs were genius and never looked back.
/Fin
Opening is extremely similar to Closer in terms of rhythm and chord progression, but I'm very happy that it never crosses over into facsimile. Some how more dance oriented than even Heartthrob.
Someone convinced them to become a big rock band and write 10 subpar versions of Inhaler for What Went Down. And by god, that's basically what they tried to do, yet they can't help but write a great pop track like Birch Tree. More of this, less of Snake Oil, agreed.
Though having said that, Snake Oil was fun live.
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