That was the one band I was looking for too, and that's one of two songs I would have put on the list ("Killing It in a Quiet Way" would have been first).
Unwise? The purpose of this was never to shut anybody down, but only to stop them from using lyrics to generate profit without licensing them. It seems like it's accomplishing exactly what it was intended to do: http://www.theverge.com/2013/11/15/5107618/rap-genius-sony-atv-music-licensing-deal
The argument isn't that the end user is stealing anything. It's that the guy running a lyrics site is using other people's work as content on a site he's making money off of. It's not analogous to somebody at home downloading music; it's analogous to a company like Ford or Pepsi using a song in a commercial without paying the artist.
He's not even bagging on lyrics sites in general, he's only going after sites that profit using content they didn't create.
I will happily take the minority position that Uncle Tupelo's blistering cover of CCR's "Effigy" is *THE* track that puts this comp over the top. (And yet somehow only warrants a dismissive mention in this article?)
"In some ways, maybe this song skews positive at moments, “And the fast blood/ Hurricanes through me” suggesting a relationship that’s overwhelming in a passionate (not yet unnerving) way, the guitars warm and sensuous in their own way."
Huh. I always thought Fast Blood was pretty blatantly about sex. "Midnight organ fight, yours gives into mine", "snake hips, red city kiss", knowing somebody in a 'biblical' sense, dying (or as the French put it, "la petite mort"), "dirty sin", "then I fall down, I stumble, and she said goodnight".
Anybody who doesn't sing along full-voice to the end of Execution Day simply has no soul. That and The Jessica Numbers are the glaring omissions from this list in my book.
No. Nothing John Cage did was meant to be antagonistic. 4'33" when it was composed and premiered (in 1952, with Cage present) was a sincere artistic statement about presentation, perception, ambient sound and the nature of music itself. People focus on that one piece out of context, never considering how it fit into a career that spanned six decades and included hundreds of compositions. No matter how much people might hate that piece and hold it up to ridicule, it clearly wasn't borne out of laziness or intended as a middle finger to the audience.
The word for what Death Grips did here -- and I've yet to see anybody else use it -- is "fraud". You lead a venue to believe you're playing live, and convince people to pay money to see you perform live, knowing full well that you have no intention of even appearing at the venue, let alone playing. Even if they intended it as some kind of artistic statement, that doesn't excuse the fact that it's fraud.
I always thought "!" was underrated -- I'd put "If I Don't Write" on here in a second. "The Love War" would probably crack my top 10, and "The Other Side" absolutely belongs on this list.
As others have pointed out, the fact that Stevie called homosexuality itself -- not just Frank Ocean's orientation -- into question is a very mild (but still tangible) form of contempt and aversion. If Ocean had said he loved a woman rather than a man, Stevie wouldn't have said "well, some people think they're straight but are confused". But it's "homophobic" in the same way that murder and driving 60 in a 55 zone are both "criminal".
Exactly. I think that's really the only real issue here: What's the basis for Stevie Wonder question Frank Ocean's sexuality at all? Unless they've been close friends for awhile, I don't see how Stevie could possibly have a reason to suggest Frank Ocean is confused. Why would he even mention it?
Adler has songwriting credits on all his G'N'R work. Everytime you hear Paradise City or Welcome to the Jungle, Adler gets paid (as opposed to just being a performer, where royalties are paid when the record is bought).
Mick doesn't have many songwriting credits from the band's heyday, which is why, unlike a lot of people on this list, he doesn't earn as much when he's not actively performing. Steven Adler, by contrast, is credited as a co-writer on everything from "Appetite" and "Lies".
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