Reply With Quote
Queen Mary is a damn fine album, though. Has that anthemic sweep that defines great rock-and-roll. You could say it's the 00s version of Springsteen's Born to Run.
Can't get into Animal Collective, however.
I thought midnight said wolfmother. Was going to call him a .
Queen Mary is a damn fine album, though. Has that anthemic sweep that defines great rock-and-roll. You could say it's the 00s version of Springsteen's Born to Run.
Can't get into Animal Collective, however.
I'll pass on anything compared to Bruce Springsteen, tbh.
Queen Mary is a damn fine album, though. Has that anthemic sweep that defines great rock-and-roll. You could say it's the 00s version of Springsteen's Born to Run.
Can't get into Animal Collective, however.
If you don't like Springsteen's mainstream fare, check out Nebraska. A very moody, atmospheric, haunting album. In making that record, Springsteen was influenced by Suicide of all bands.
Never liked Springsteen when I was entry level like IM, but I've grown to appreciate him.
Thanks for the recommendation, Pat Bateman. I'll give it a try if I'm in the mood for some watered down dadrock.
Nebraska sounds nothing like dadrock, though.
holy that is awesome. I had a joke about Van Haggar in mind but you shut it down.I don't like this band but it needs to be shared.
Patrick Bateman: Do you like Phil Collins? I've been a big Genesis fan ever since the release of their 1980 album, Duke. Before that, I really didn't understand any of their work. Too artsy, too intellectual. It was on Duke where Phil Collins' presence became more apparent. I think Invisible Touch was the group's undisputed masterpiece. It's an epic meditation on intangibility. At the same time, it deepens and enriches the meaning of the preceding three albums. Christy, take off your robe. Listen to the brilliant ensemble playing of Banks, Collins and Rutherford. You can practically hear every nuance of every instrument. Sabrina, remove your dress. In terms of lyrical craftsmanship, the sheer songwriting, this album hits a new peak of professionalism. Sabrina, why don't you, uh, dance a little. Take the lyrics to Land of Confusion. In this song, Phil Collins addresses the problems of abusive political authority. In Too Deep is the most moving pop song of the 1980s, about monogamy and commitment. The song is extremely uplifting. Their lyrics are as positive and affirmative as anything I've heard in rock. Christy, get down on your knees so Sabrina can see your asshole. Phil Collins' solo career seems to be more commercial and therefore more satisfying, in a narrower way. Especially songs like In the Air Tonight and Against All Odds. Sabrina, don't just stare at it, eat it. But I also think Phil Collins works best within the confines of the group, than as a solo artist, and I stress the word artist. This is Sussudio, a great, great song, a personal favorite.
If I can break away from the NOTHINBUTMETAL I listen to long enough, I may try it sometime. However I can't say I'll listen to it with a bias for hating the guy for some reason.
I feel you on that. There's some artists out there I can just never be objective about.
Kill me now forum, but Led Zeppelin is one of those bands. Their Tolkien, medieval fantasy obsessions bug the out of me. Not to mention ripping off every important blues song that ever was.
Zep I and II are fine albums, classics, but after that, meh.
The Who is an infinitely better band.
lol son how can you hate that they "covered" those old songs and then be a fan of LZ I and II?
nonsense son. Page >(inifinity) Child Pron
Didn't they write like one song from LZ I?
Zeppelin > radiohead
Just bought this today, brilliant.
I see you're listening to this album, IM. ing masterpiece.
Just asking, cause midnight likes I and I don't think they wrote more than 1 song for that album.
and
>implying implications
Debatable. A few of those songs are old blues standards that were covered and borrowed by a zillion bands then. Of course, people are gonna get their chode in a knot when people see their song on one of the world's biggest band's albums. Although they could've fixed it in the first place and given the writing credit to avoid people trying to bload them.
What I don't get is people never giving Nirvana much about blatantly ripping off the riffs to their 2 biggest songs.
I'm a big fan of the blues and they did a fine job in covering and expanding on it. I guess I should've elaborated that them not giving credit at first and having to be sued by Willie Dixon for the truth to come out is what bugs me.
As far as Page vs. Townsend goes, as one music critic put it, "Pete can write circles around that glorified session cat Jimmy Page."
Page has more skill as a guitarist but not as a song writer, not even close.
What really sets Page apart from Child Pron is his mastery in the studio and as a sound engineer. However, being probably the best riff writer in rock music doesn't hurt either.
For the record, I don't hate Led Zeppelin. I quite like them, I just don't believe they're the all time greatest classic hard rock band.
But I admit my bias toward them plays a role in my opinion.
Being objective here, all biases aside, many critics consider Child Pron the better overall song writer, composer, and producer.
But Page is obviously a much better guitarist.
I wouldn't really call it not giving credit. As stated, a lot of that blues is based on old folk lyrics and stuff that is borrowed by different musicians and packaged differently. From Jimmy:
"As far as my end of it goes, I always tried to bring something fresh to anything that I used. I always made sure to come up with some variation. In fact, I think in most cases, you would never know what the original source could be. Maybe not in every case – but in most cases. So most of the comparisons rest on the lyrics. And Robert was supposed to change the lyrics, and he didn't always do that – which is what brought on most of the grief. They couldn't get us on the guitar parts of the music, but they nailed us on the lyrics. We did, however, take some liberties, I must say [laughs]. But never mind; we did try to do the right thing"
"The thing is they were traditional lyrics and they went back far before a lot of people that one related them to. The riffs we did were totally different, also, from the ones that had come before, apart from something like "You Shook Me" and "I Can't Quit You," which were attributed to Willie Dixon. The thing with "Bring It On Home," Christ, there's only a tiny bit taken from Sonny Boy Williamson's version and we threw that in as a tribute to him. People say, "Oh, 'Bring It On Home' is stolen." Well, there's only a little bit in the song that relates to anything that had gone before it, just the end"
I understand that, but in Dixon's case, those were his original songs and not public domain standards.
I don't think Zep had any ill intent to rip off Dixon or anyone else. They revere the blues as about as much as it can be revered. I believe it was an honest oversight, but you never know, especially when you consider the integrity of the recording industry.
Throw it on Plant
Yeah I kinda wondered what was up with that as well.Throw it on Plant
Are you a Zep fan, Mex?Throw it on Plant
There are currently 1 users browsing this thread. (0 members and 1 guests)
Posting Permissions
