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He doesn't get that credit because TIME OUT OF MIND and "LOVE AND THEFT" are easily ten times better than any of McCartney's late period stuff. Granted, I'm pretty biased toward those records - I'd put TIME OUT OF MIND in my top 5 Dylan records, personally - but I still think they're far more interesting and good.

I'm just looking forward to this season's reference/use of the phrase "donkey teeth" since every season has had one so far.

Or Elastica's Line Up and Wire's I Am the Fly.

SUICAINE GRATIFACTION is damn great and I'll stand on Bob Mould's coffee table in my painted shoes and say so. 

JEM is truly outrageous. Truly, truly, truly outrageous.

I didn't know "The Jar" had been adapted for AHP. That is one of my absolute favorite Bradbury stories. It's so sad and creepy. Plus, it (and a lot of Bradbury's writing in general) is what makes me always seek out the 'Freak Show'/tent of weird things at state and county fairs.

I always thought the name in "Venus" was Richard, not Richie. In fact, I think Richard Hell mentions in his recent book that it's him that suggested to Verlaine at one point that they should dress up like cops for something, only to have Verlaine shoot the idea down, thus being the inspiration for that lyric. 

So the real question is - which would you have rather had on the self-titled record: "Don't Stop" following up "Waterfall" or "Guernica" following "Made of Stone?" Because they're both kind of silly. I think knowing that "Guernica" exists makes me think even less of "Don't Stop." I nearly always skip it when listening

She actually looks a lot in the face like the actress who plays Norrie. I thought for half a second maybe the actresses were related.

I've heard the new one and it's actually really superb. Just interviewed Numan for a blog I write for and when I said the new record had some bits of sound that reminded me of TELEKON in places, he said that Ade Fenton has been a great benefit as a producer because he's a huge, long-time fan of Gary's who seems to

Let me take a moment to stand up for Gary Numan vis-a-vis O'Neal's third paragraph. I can certainly see someone interpreting (and not wrongly so) Numan's cold automaton personae as an expansion of some form of Bowie or another, but the man is definitely his own creative force. Those first four albums (TUBEWAY ARMY

Communist recruitment of and involvement with Black Americans during the Civil Rights Movement is a pretty well documented thing. I don't know for a fact, but would it really be a huge leap to assume the KGB did things as well? Seems pretty obvious to me, especially among the more 'militant' side of the civil rights

That's one of the details I liked in last week's episode. When Stan was sitting alone in that fast food joint waiting on the food, that slow pan around the condiment tray - those generic mustard and ketchup squeeze bottles had the appropriate dried residue around the nozzles. Great detail.

So, really this is just like THE LONE GUNMEN, is what you're saying.

Curly, I interviewed him back when AMERICAN CENTRAL DUST came out and he was fairly approachable, though a bit stiff at first when he seemed to interpret one of my question as having 'misinterpreted' his artistic intent. But then later on in the interview he seemed to grab onto something I said and it got better. Far,

The real test, I think, is listen to TRACE. If you love it, then I think the rest of Son Volt v. 1.0 is worth hearing - especially STRAIGHTAWAYS. And I think WIDE SWING TREMOLO is a pretty awesome little record, too - like the first version of the band just really rocking out a good bit. His solo records are both good

I saw the original version of Son Volt twice and especially the first time I thought they burned the stage up. (Especially when they did UT's "Chickamauga" and you got to see Farrar really tear loose on guitar.) I saw Farrar solo a few times and, yeah, you really needed to be a fan to enjoy it. But the second version

"Five Corporations" alone makes it worth it. Plus that that song gets sampled in P.O.S.'s "Savion Glover." Awesome.

"Five Corporations" alone makes it worth it. Plus that that song gets sampled in P.O.S.'s "Savion Glover." Awesome.