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I'm impressed that Help! through Sgt. Pepper was less than a year, though.
nothing Wire did later can touch Pink Flag,
Have any other bands all grown mustaches at the same time? (And I'm not talking about any Movember stunts here.)
I'm talking to myself with these, but:
Very much disagreed. Pink Flag has been my No. 1 album, period, for decades now, but that doesn't mean the subsequent 2 albums in particular aren't absolutely exceptional.
And I'm with the idea that masterpiece is being thrown around way too freely here.
Oddly, Pink Flag is easily my least favorite of that trio of Wire albums - give me 154 or Chairs Missing any day. I do recognize that this is a minority opinion and is purely subjective.
Might have something to do with the order in which you discovered them
Josh Homme will never admit it but QOTSA is really missing Nick Oliveri.
Nah. I bought the entire trio at the same time.
I love the Pogues above all else, but Rum, Sodomy & The Lash is the only thing that's close to a masterpiece.
their upcoming album, which will feature Dave Grohl (on drums) and will have guest spots from Elton John
Which I still think is relevant. If I hadn't heard Pink Flag back in, IIRC, 5/78, when punk (& to a certain extent music in general; I doubt that I owned 50 albums in total, & my background was still pretty much what I'd been listeninig to on the radio the previous 8 years or so) was still brand new to me, there's no way it would've had the impact it did.
if I had to claim any one subgenre as a focal point, it would be UK postpunk from 1978-1985 or so
Elton John as a Queen? Never would have guessed it.
And of course I'm heretic enough to like the Shane-less Waiting for Herb waaaay more than anything they did with him. (Same goes for his own Pogues-less The Snake, for that matter.)
I agree they have no slam, but for different reasons. I think that On Every Street is actually their best album, so that would make 4. But Brothers in Arms is top heavy, with the singles being great but the rest of the album not so much. Too bad, too, since I do think that Making Movies and Love Over Gold qualify as masterpieces.
except that I suppose I'd make the cutoff date around 1982 for all sorts of purposes.
I think this works for me too as long as we're stipulating that window as applying only to START points for postpunk bands. I don't think any of the key postpunk bands began their careers after 1982 (though some of them really didn't even fully bloom until long afterwards -- I'm thinking in particular of Talk Talk, which gets in under the wire at 1982 but doesn't really become TALK TALK until 1986's The Colour Of Spring...and yet their sound is critically tied to the postpunk aesthetic in so many ways).
The key groups, for me at least: Wire, Joy Division/New Order, Magazine, The Fall, The Cure, Echo & The Bunnymen, Public Image Ltd., and Talk Talk.
I don't know quite how to classify groups like Mission of Burma (who always seemed so perfectly BRITISH POSTPUNK to me in songs like "Academy Fight Song" and "That's When I Reach For My Revolver" that it was actually a big surprise to learn they were in fact Bostonians), R.E.M., Minutemen, or Husker Du. The Huskers probably belong to the hardcore movement and its subsequent transformations (see also: The Replacements, who went in a somewhat different direction), but the Minutemen always struck me as the only potential heirs to Wire's Pink Flag and Chairs Missing sound out there.
I also don't know where XTC falls. Drums And Wires and Black Sea are clearly key postpunk documents, but they were otherwise so proudly out-of-step with musical trends in subsequent years that I've always just figured they fall into their own sui generis category.
Esoteric is an entertaining/aggravating combination of Professor Know-it-All and total fanboy.
I don't think one can really leave out Siouxsie & the Banshees or, a bit later, Gang of Four or I suppose Killing Joke.
No, those all need to be in there. Not among my favorites, but still important players (Sioxsie in particular). I just forgot.
Once I got too drunk at a local roadhouse, passed out in a urine-soaked drainage ditch by the side of the highway, and woke to find myself the bound captive of a hobo cult who proceeded to drug me and use my prostrate body as their profane flesh-altar in a series of humiliating sado-masochistic sodomy rituals...which, on the whole, was a far more enjoyable experience than listening to all four sides of Yes's Tales From the Topographic Oceans.
As a Steely Dan fan, I have to admit The Royal Scam is the equivalent of a rally-killing strikeout
Has anyone here ever had an aggressive, shabbily-dressed homeless man accost you, demand money, and then turn around, drop his soiled pants and poop on your shoes?
Yeah, so that's what paying money to listen to A Quick One by The Who is like, pretty much.
American Stars 'N' Bars
I am a complete Blur homer but
Modern Life is Rubbish
The Great Escape
is a pretty solid run.
But yeah, the losses of both Nick and Joey makes the QOTSA seem like Homme...and some other people.
It has "Like a Hurricane" on it though
Oliveri is back on this QOTSA album.
Might have something to do with the order in which you discovered them (this may well not be applicable in your particular case, of course). I got them as they came out, or rather fairly shortly thereafter. (Chairs Missing, being import only, was half of the first mail-order music purchase I ever made, I believe back in early '79; the other half was Inflammable Material. Jesus.)
Certainly not a great album, but Neil has had a lot of stinkers. It has "Like a Hurricane" on it though, and that's one of his top 10 songs IMHO.
- American Stars 'N' Bars, Neil Young -- Sure, Neil Young has put out a number of thoroughly atrocious albums during his meandering, Dylanesque "now he's relevant/now he's a punchline" career. Hell, the entire decade of the Eighties is pretty much one long unrelieved shitshow of crapulence until he remembered how to play rock music again on Freedom. (I count exactly two songs worth remembering from 1981 to 1989, "Transformer Man" and "Misfits." You can safely throw the rest back into the Pirate Bay latrine you fished them out of, kiddies.)
But during the 1970s he was more or less the exact roots-rock doppelganger of David Bowie: shifting styles and approaches from album to album with a gleefully willful, whiplash-inducing frequency. Like Bowie, his refusal to concede an inch to critical expectations or popular demands was matched only by his (almost comically) morbid devotion to placing his personal demons right out there in the open on his records for everyone to see. It's actually quite remarkable how well Bowie and Young map onto one another in the way they ploughed their respective furrows through the '70s: both ran screaming from massive success into a haze of drugs and destructive behavior, capping their psychological recoveries with a trilogy of quasi-confessional masterpieces that critics initially dismissed but have subsequently become enshrined in the canon of All Time Great Albums: Low/"Heroes"/Lodger vs. Time Fades Away/Tonight's The Night/On The Beach. The real way in which Young and Bowie parallel one other, though, is in how they managed to pull off all these left turns without embarrassing themselves artistically.
Well, until this piece of shit. So the story goes that in 1977 Young was about to release the long-awaited Decade compilation, but scuttled it at the last second because he had a change of heart. He insisted that Reprise release his newest album instead. Too bad for Reprise, because that album turned out to be American Stars 'N' Bars, which packages one of the ugliest covers in the Young discography with the most pointless and useless music of his career up until that point.
I can already guess how a bunch of you are going to respond: "NO WAI MAN THAT'S THE ALBUM WITH LIKE A HURRICANE UR A QUEERMO DOOD." Well, 1.) No I am not; 2.) Not that there would be anything wrong with that if I were; 3.) And sure this LP has "Like A Hurricane," but what the #### else does it have? I'll tell you what it else it has: a juvenile, melodically-retarded paean to pot-smoking that would embarrass the editors of "High Times" ("Homegrown"). Three or four utterly generic country songs with shrieky backing vocals from Nicolette Larson and goofy fiddle. ("Hold Back The Tears," "Hey Babe," "Bite The Bullet," "Saddle Up The Palomino.") A seven minute long ode to the reproductive behavior of salmon. ("Will To Love"). And nothing else.
If the album sounds like a schizophrenic wreck that's because it is: Young threw together recently-recorded country trash with material dating all the way back to 1974 (the mediocre "Star Of Bethlehem") and 1975 ("Like A Hurricane," which sticks out like a sore thumb), and called it an album. Maybe he thought he was making a statement by including all these disparate-sounding numbers from the vaults together on one album. If so, I can confidently summarize that statement: "dung."
American Stars 'N' Bars marks the exact moment in Neil Young's career where his obsessive-compulsive control freak tendencies with respect to the way he handled his studio archives began to turn his discography into a minefield. He would go on to release a number of great albums after this one, but things would never be the same: after this record, you could never be sure whether the next Neil LP you picked up was going to be something like Rust Never Sleeps...or something like Re-ac-tor. If you're searching for the moment where Young lost his consistent greatness and became the walking musical embodiment of caveat emptor, it's right here.
Pretty solid indeed, but I have no idea why you'd omit 13. Count me as one of those people who thinks that Blur's "britpop" phase, while fairly good, isn't nearly as interesting as what they got up to after Graham Coxon began listening to Pavement 24/7 and the band (bravely) transformed into something much more avant-garde and harder-edged. Blur and 13 are their clear peak, IMO.
NO WAI MAN THAT'S THE ALBUM WITH LIKE A HURRICANE UR A QUEERMO DOOD."
Is Radiohead too obvious?
I discovered Wire through another group doing a cover of "The 15th" about 10-12 years ago.
Fischerspooner, no doubt. Nice version, IIRC.
Is anyone here familiar with My Bloody Valentine's cover of "Map Ref"? It's the one track of their 'classic' period that remains frustratingly unavailable after this new reissue campaign.
Trans is generally awful, but I agree, "Sample and Hold" is great.
Of course, two standouts from In Rainbows ("Nude" and "Reckoner") date back to the late 90s, no?
I recall seeing Nude played in one of the final scenes of Meeting People is Easy, so I'm glad my memory is right on that one - very different instrumentation, arrangement and even lyrics then. Want to say there was an organ part played by Jonny and another verse/chorus at the end?
...but as you point out it's overstuffed with material that would've been better off as B-sides (e.g. "Sit Down Stand Up," "The Gloaming," "Punch-Up").
I have to admit i have no clue what you are talking about when discussing Mister Youngs history, are you completely unaware of the unlistenable wankfest that was known as "journey through the past"? or the incredibly unpleasent circumstances that went into that double disaster ( very easily one of top 3 worst double discs of all time, by a major artist, up there with metal machine music on the rip off scale) being unloaded on his unsuspecting tie-dyed fan base? the wheels came off right there and never were quite put on right again, the doom tour , the endless csn+y reunions, the occasional sell outs..it all starts with this grave sin against humanity to satisfy his own hubris.
By the way, if you're a fan of KC and you haven't spent a ton of time (and money!) at www.dgmlive.com, you are missing out.
Lateralus is Tool's best album.
If put on the spot, give me 5 ESSENTIAL purchases from the site, giving consideration to both show AND recording quality?
I'm not sure if Sonic Youth quite gets there, but EVOL, Sister, Daydream Nation, and Goo is a very strong quartet. I'm higher on Goo than most SY fans, though.
The truly fascinating thing, however, is that the band also engages in over an hour of nonstop free-jazz-rock improvisation.
It's interesting how one sentence can mean very different things to people. Just as an example off the top of my head, the sentence I have quoted could be either tremendously exciting or a dire warning.
Oh, and did you know that they made a second stab at the "Trio" improv in concert? Here it is!
What other live stuff do you listen to/ collect obsessively?
American stars n bars isnt a very good album, it does have like a hurricane on it, time fades away has no such masterpiece . last dance is ok but it simply isnt in the same league as hurricane which is an out and out classic
Anyone who has followed Neil Young's career knows enough not to expect a simple evening of mellow good times when they see him in concert, but in 1973, when Young hit the road after Harvest had confirmed his status as a first-echelon rock star, that knowledge wasn't nearly as common as it is today. Young's natural inclinations to travel against the current of audience expectations were amplified by a stormy relationship between himself and his touring band, as well as the devastating death of guitarist Danny Whitten, who died of a drug overdose shortly after being given his pink slip during the first phase of tour rehearsals. The shows that followed turned into a nightly exorcism of Young's rage and guilt, as well as a battle between himself and an audience who, expecting to hear "Old Man" and "Heart of Gold," didn't know what to make of the electric assault they witnessed. All the more remarkably, Young brought along a mobile recording truck to capture the tour on tape for a live album and the result, Time Fades Away, was a ragged musical parade of bad karma and road craziness, opening with Young bellowing "14 junkies, too weak to work" on the title cut, and closing with "Last Dance," in which he tells his fans "you can live your own life" with all the optimism of a man on the deck of a sinking ship. While critics and fans were not kind to Time Fades Away upon first release, decades later it sounds very much of a piece with Tonight's the Night and On the Beach, albums that explored the troubled zeitgeist of America in the mid-'70s in a way few rockers had the courage to face. If the performances are often loose and ragged, they're also brimming with emotional force, and despite the dashed hopes of "Yonder Stands the Sinner" and "Last Dance," "Don't Be Denied" is a moving remembrance of Young's childhood and what music has meant to him, and it's one of the most powerful performances Young ever committed to vinyl. Few rockers have been as willing as Young to lay themselves bare before their audience, and Time Fades Away ranks with the bravest and most painfully honest albums of his career -- like the tequila Young was drinking on that tour, it isn't for everyone, but you may be surprised by its powerful effects.
I'm sure there are plenty of Springsteen fans who would say he's done this, but (saying this as a huge fan), I don't think so. Born to Run, Darkness, and The River all count (though the second disc of The River threatens to knock it off the perch). But I don't think Nebraska is nearly as good as the hipsters say, nor am I all that enthusiastic about pre-BTR Springsteen.
Honestly, it was all downhill for Bruce Springsteen after The Wild, The Innocent & The E Street Shuffle. Not a quick collapse or anything, but the simple truth is that nothing he ever did after that
License to Ill
Check Your Head
Eso: I'm not really a big unreleased guy, typically, out of sheer laziness if nothing else, but am I crazy or is the The Promise version of Racing in the Street better than the official version?
I'm a big fan of the super-early R.E.M. bootlegs. I particularly enjoy the song "Wait," because it has so much energy live. And it has backup singers!
Boy, I could get as super-nerdy detailed about dissecting great early R.E.M. shows as I have been about King Crimson. Only problem is that it's not quite as easy to instantly access them...unless you're a member of DIME or whatnot. (And even then not everything is found there.)
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