(I actually love Their Satanic Majesties' Request. Mid '60s Stones is definitely their most underappreciated era. Unless you want to call all of Black and Blue an era.)
Somebody explain to me how Sunshine Rock is worse than the Fontaines DC album. Bob didn't reinvent the wheel, but at least he's only shamelessly ripping off himself. And Sunshine Rock actually holds a candle to his previous material, instead of being a dumbed down retread of previous ideas.
I'll ride that banana boat.
Designer - Aldous Harding
DIVINE BIKER LOVE - angelic milk
Sunshine Rock - Bob Mould
The Brian Jonestown Massacre - The Brian Jonestown Massacre
Let's Try the After Vols. 1 & 2 - Broken Social Scene
Claude Fontaine - Claude Fontaine
ZAM - Frankie and the Witch Fingers
This Is How You Smile - Helado Negro
SASAMI - SASAMI
Crush on Me - Sir Babygirl
Guy - Steve Earle
Westkurst Westkurst
Just revisited the album, and the whole thing still seems JET as fuck to me. It's engaging in that it's like a Where's Waldo puzzle except instead of a dude in a red and white striped shirt, you find the obvious 80s British post-punk influence with the interesting bits filtered out. I'm sorry, but more like Greta Van Fontaines DC.
What I don't get about Fontaines DC is did people run out of the Fall albums to listen to? Because they're a bunch of them and Mark E. Smith could actually do interesting things with an unconventional singing voice.
Kanye isn't stupid. He's just a narcissistic asshole who has bought so thoroughly into his own (semi-justified) conceptions of his genius that he has lost the ability to think critically about his own instincts. Ever since he married into America's first family of narcissistic assholes he has lost what little filter he had and embraced his worst instincts. But the dude who wrote "All Falls Down" and came up with the "Takeover" beat wasn't stupid.
Black Mountain, Morrissey, Marytrdöd, Morrissey, Earth, Morrissey --- This week is all about massive slabs of molten metal. And I am fucking HERE for it.
FTFY.
Yeah, that’s a pretty weird take. I mean, I’m not sure if you can lose “kingmaker status” by highlighting an obscure indie rock record that tons of people remember fondly 14 years ago.
I mean, Tool is kinda to blame for that themselves, aren't they? They're refusal to make the slightest concession to the digital music landscape (you could never even buy their albums from iTunes for Christs sake) as well as their prolonged lack of productivity give them that "fresh from a 2002 time capsule" to anybody who wasn't already into them and makes it hard to imagine they've picked up a ton of new fans since then.
I mean, the last time I heard Tool was probably on the local "hard rock" Clear Channel station where they were in rotation with Linkin Park, Audioslave and Godsmack. They were better than their contemporaries, but that's wasn't saying much back then and is saying even less now.
Well, to be fair, Sublime was doing a Long Beach, CA filtered version of white boy ska/reggae. 311 was doing an Omaha, Nebraska filtered version of Sublime doing a Long Beach, CA filtered version of white boy ska/reggae.
95% of the people who would be excited to hear 40 Ounces to Freedom at a party in 2019 would be equally excited if the next album on shuffle was Under the Table and Dreaming.
One thing I will never understand is why more people don't get pissed off when lawmakers extend copyright protection. We've long passed the point where new creative endeavours need to be protected, and these lawmakers are basically giving away our (our being the collective commons) shit without giving us any compensation.
You're using fair use to argue that basically "small samples" should not be subject to copyright, but that's not how fair use works. Fair use doesn't create a whole class of allowable copyright infringements, rather it's an affirmative defense that seeks to justify incorporation of copyrighted material on a specific case by case basis.
It's entirely possible for two seperate people to incorporate an identical piece of intellectual property into their work and for one to be subject to fair use and the other to be a copyright infringement. If the use of small samples would be subject to fair use every time, then they shouldn't be copyrightable.
I don't think it was so much what he was picking up as much as it was what he wasn't putting down. To paraphrase my favorite childhood Sesame Street song, "you gotta put down the cup if you want to play the guitar."
No offense meant, Tom, but this is a pretty tenuous reading. Leaving aside how aware listeners were of the sausage-making of pop songcraft in the early 60s (I really have no idea, but I have no reason to think it was widely known), I think the vast majority of listeners in '73 would have recognized this song as a cover. There would have been those aware of the original, if not from its original run, then from the American Graffiti soundtrack, which had fueled nostalgia for the early '60s that year.
Also, Ringo, despite being one of the most famous musicians on the planet, wasn't known for using his music as a form of personal expression. Most of the stuff he sang for the Beatles were Lennon/McCartney numbers, and his first two solo albums were a) an album of covers of pop standards and b) an album of country and western songs that he didn't write. And finally, the song sounds like a cover. I mean, I had never heard the Wayne Cochran original but when I heard Pearl Jam's "Last Kiss" I knew that it was a cover song.
I don't think many people in 1960 heard the original song as saying that Burnette wanted to creep on underage girls. But I assume even less heard the Ringo version as a vehicle for personal expression.
He's talking about Kiedis' memoir, not the lead single off of Californication. Which should have been pretty fucking obvious since Red Hot Chili Peppers songs aren't exactly prime reading material.
Well, “James Dolan is Yoko” is a thing I never would have imagined thinking before, but there you go.
Also, even though the analogy works better with the Warriors, the 2010-13 Heat have dibs on the gimmick. So I guess that makes Golden State Oasis? Or is it Badfinger? (The Kobe, Dwight, Nash Lakers are probably Badfinger.)
See, the thing about Bloc is that “gathering sufficient info/shit-talking points to be a dink online” and supporting one’s friends are not mutually exclusive. They two are synonymous, in fact.
Please, Jonathan Spotify was too busy failing to mash-up “Jerusalem, New York, Berlin” with every song on Half-Light to update playlists or respond to customer inquiries.
I have been anticipating making jokes about how with Father of the Bride Vampire Weekend had finally made recorded the indie rock response to Tusk for weeks. I was even thinking about praising Ezra for his efficiency by equalling the expansive sprawl with what could only be the merest fraction of the cocaine. But this morning, I decided to put all my jaded cynicism aside and give the new Vampy Weeks a fresh and honest listen.
And you know what? I realized that while it’s probably a tad too long and perhaps a little presumptuous, I actually really love Tusk.
Elon Musk announced that Tesla is developing a quiet leaf blower the same weeks that Grimes continues to tease new music and/or discuss her retirement. Crazy how two creative people can be inspired by the concept of substanceless, unnoticeable, hot air in such different ways.
Post is definitely the quintessential Björk album, but Debut is a fully formed and realized Björk album. Leaving aside the Sugarcubes stuff, which is also great, Björk came out of the gate as a solo artists being weird as fuck and throwing haymakers.
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