Sure, but the proportion of Dutch bands filming in the Australian desert was just starting to increase. Okay, it was just that one 2Unlimited song, but watching people dancing in long black sleeves in front of Wave Rock is fucken weird. Heatstroke will fuck you up.
https://www.youtube.com/watch?v=Hi8xc9t1xjY
Evan Dando has been paying one for decades and is unfortunately as much remembered for drug shenanigans as he is for dropping some killer albums. So it's also the most appearing on the cover of the NME because you lost your voice smoking crack guitar you can play. That thing's fucken versatile.
Apologies if I'm misconstruing your point, but social media reports on breaking tragedies in a 24-7 news cycle generally lean towards sensationalized horseshit*. Telling people to cool it with rumours of WIDESPREAD SECRET DRUG INJECTION at a YOUTH FOCUSED MUSIC EVENT isn't really bad advice.
*This scans a little like I'm questioning the deaths and crushing of the main story. I'm not.
I had a similar experience at a Grand Prix-era Teenage Fanclub show and it was fucking terrifying being aware of how easily it could go wrong. Really don't miss the 90s insistence that fucking everything needed to be a moshpit.
Slaps, but Concrete Blonde's "Happy Birthday" is a better song about smoking out of a window. I do like Anderson's lying face down on the floor for whatever reason, tho.
This is probably the version that charted in 91. They were in the middle of their "Mixed Up" remix album cycle.
https://www.youtube.com/watch?v=gw8Hwz3Xumc
I really liked it. The others were cool, but in an "I can afford industry professionals" fashion. Half-assed-but-not-too-half-assed costumes are rad even if you can afford better, and she gets points for the phrase "hot squirrel shit".
Nah, that's just Anton Lavey's kid.
https://i.pinimg.com/originals/76/cf/ac/76cfac52004f7f749585675a95b1fdd2.png
Using a model who's probably made a deal for immortality is kinda cheating.
"It's too loud, turn it down. It's 10pm for God's sake".
Fuck em. If they didn't want me to listen to Sonic Youth the correct way, they they shouldn't have raised the world's most dangerous bad boy.
You mean Spring Hill Fair instead of Before Hollywood? Both are great either way.
I never had too much of an issue with the overall production of 16LL/Tallulah. Reprogramming Lindy Morrison's beats through a Linndrum is a headscratcher, but the addition of Amanda Brown on those albums was way too of a net positive for it to matter too much. Tallulah is my favourite on a lot of days (songcraft on 16LL was impeccable, but there's too many slow songs together for my liking. Bangerz or die).
"Of course, when we were working with him, this became a problem for me because I felt that I had to mention it to him. ... [I] just kind of blurted it all out. 'Er, Scott, well, I've just got to apologise for something, because, OK, at the end of the song, like I make a reference to 'Til The Band Comes In, right, in a list of crap things' ... and at first he just looked at me in a very mystified way, like, 'What is this nutter ranting on about?' And then it kind of clicked with him what I was on about, and he said, 'Well gee thanks guys, that's the way you repay me!' ... for me, it was embarrassing."
Never spent that much time listening to "Oceans Apart". When it first dropped, I didn't really feel old enough for it. Then Grant died, and I have a tendency to avoid the last album in bands' discographies so there's still something left to discover.
It's a lovely song tho.
This song fucken slaps. It's dumb, but it's a goddamn blast to sing along to - clumsy rhymes and all - and that's all that really matters. Hating on it because there was more credible stuff out there is as dumb as hating the Monkees for not being the Beatles. I'd love to know the general attitudes of the kidz of today towards it now that it's aged into a goofy radio classic and doesn't have to be judged within the confines of authenticity or whatever.
Bonus Bacon:
https://www.youtube.com/watch?v=N6C0ai74Xo4
Man, that's quite the range of songs and I had no idea one guy was responsible for them all. Being able to write songs that are perfect for Rex Harrison and also write songs that are perfect for Nina Simone is a hell of a gift.
"I used to dream about this when I was a little boy, I never thought it would end up this way...drums" - Justin Timberlake, "Like I Love You"
"Ladies and gentlemen, I'd like to introduce the hi-hat. Now the tambourine" - Neneh Cherry, "Buffalo Stance"
Was trying to figure out which Poison song had it, before I realised I was thinking of The Go-Betweens' "Man o' Sand to Girl o' Sea". I have proclaimed both bands to be the greatest in the world at various points in my life, so they're easy to get mixed up.
Oddly, the only Poison song I could think of that goes "Guitar" is "Nothin' but a Good Time", which happens after the solo, but before the song returns to a standard riff.
This version was fairly big in small circles in Australia. The national Government youth network ran a poll for the greatest song of all time in 1991, and it came in fifth.
"After Hours" was a watershed moment for me in realising that fucken anyone was allowed to do this shit regardless of any technical limitations, and there was a chance it could turn out amazing. The third one was my favourite for a long time because of this, but ultimately it's a little too samey in places apart from "The Murder Mystery" (which I usually can't be bothered with), so the debut slowly won me over as their best.
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