Music Thread
- Thread starter NCHawker
- Start date
InGoodCo
Well-Known Member
This happens constantly for me, but I listen to music a little differently. I typically can hear any new music and immediately pick out the influences or what that group is ripping off intentionally or not. Here are a few - first - the new artist, then what I think they copied. You don't have to listen to any of these 4 tracks all the way - just spin the first 30 seconds or so all of them and tell me this wasn't done on purpose.
The intro on these 2 songs serious LOL
and these ha
Northside Hawk
Well-Known Member
The album cover for Head Games would definitely draw the ire of the PMRC types.
Northside Hawk
Well-Known Member
Album closer "Ballerina" may have been the first song I ever slow danced to. I mentioned a few threads ago that albums like Equinox and Crystal Ball wouldn't exist today. The record label would have demanded Paradise Theater or Kilroy Was Here without allowing the band to grow and develop. Yes you would be spared a few clunkers but few things in music are more exciting than seeing an up and coming band discovering itself. And one could unearth some tremendous surprises. Songs like "Madman Across the Water" by Elton John or "Lost in the Flood" by Bruce Springsteen or "Oh, Well" by Fleetwood Mac are part of the fun. (All are personal faves) Crystal Ball was Tommy Shaw's first with the band. Their glory days were just ahead. By the way, some people like the Jeremy Spencer- Danny Kirwan- Peter Green version of Fleetwood Mac better than the classic lineup that you remember on the radio.
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hawkeyebob62
Well-Known Member
I have always thought--and said, to anyone that would listen--that "Frampton Comes Alive" owes its succes mostly to that "twang-voice-guitar" thingy. If he's just playing and singing, "meh, a double album". And for those of my vintage, you KNOW what "double" meant back then. When you ordered from Columbia Record Club, it counted as two selections!
Was it a good album? Sure. On the "epic" scale of other double-live albums? Um, no. Compare it to The Allman Brothers "Live At Fillmore East", for example, and tell me which is better.
(Psst...if you say, "Frampton Comes Alive is clearly better!", I will assume you also feel "Shemp" episodes are what made The Three Stooges great)
hawkeyebob62
Well-Known Member
Post of the Century!
And yes, I agree, one didn't need to purchase the album, because one's fifty-seven neighborhood buddies had already purchased it. I know I got tired of that album REAL fast.
hawkeyebob62
Well-Known Member
Holdsworth blew hot and cold for me. He could put out a brilliant album--coherent, technical, etc.--then come back with absolute noise. Hell, "Tokyo Dream", alone, was an album full of "inconsistent".
I did like his playing, for the most part, but in terms of "favorite" guitarists, he wouldn't be in my "Top _____" list.
Northside Hawk
Well-Known Member
Some say that the Allman's "Live at Fillmore East" is the greatest live album of all time.
hawkeyebob62
Well-Known Member
At the very worst, it's in the "Others Receiving Votes" category...in a "top three" poll. Little Feat's "Waiting For Columbus" is also awesome. "Yessongs", Genesis's "Seconds Out" were also "double live" albums that belonged in any serious music lover's collection.
Seth53
Well-Known Member
Northside Hawk
Well-Known Member
I still think it was a matter of millions of baby boomers reaching the album buying and concert attending demographic, supported by Diehard who said in his post that more money in the seventies was spent on music than movies and athletics combined. And being in the right place at the right time. Nirvana's Nevermind doesn't hold a candle to the Pixies Dolittle or Sonic Youth's Daydream Nation but those albums came out in 1988, not 1991. A major seachange was going on all around us in 1991-92. Michigan had five freshman who gradually shoved all the upperclassmen out of the starting lineup- and reached the NCAA championship game. Young upstart Bill Clinton upset Bush and reversed 25 years of Republican domination in the White House. And a new generation of consumers was sick of having corporate rock and the materialistic '80's in general shoved down their throats. They were ready for their voice to be heard. And weren't afraid to challenge the old guard in the home, the workforce, the playing field, or the music world. Nevermind was the beneficiary, just like Frampton in 1976.
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