That little guitar fill at 3:46 of "Over And Over" just slays me. In my dumb head that guitar line is there to signal and lament the ending of the Fun Late 70s.

Randy Newman is satire of the same toothless stripe as Capitol Steps, but there's this silly perception (that I've spent my entire adult life boggled by) that he's some deft master of stealth wit and sarcasm because — get this — sometimes he says things in his songs that he means the OPPOSITE of. Can you BELIEVE it? 
Ma…

Truth.

Perhaps Im missing some bit of subtext or meta-commentary embedded in the film, but the ending of Killer Joe seemed silly and totally unmotivated to me. Did I miss something?
Up until that point, it had been a terrific slice of dark and mean, but that ending. Just seemed wrong to me.

Perhaps Im missing some bit of subtext or meta-commentary embedded in the film, but the ending of Killer Joe seemed silly and totally unmotivated to me. Did I miss something?
Up until that point, it had been a terrific slice of dark and mean, but that ending. Just seemed wrong to me.

Sadly no Metz, Toy or Tame Impala. 
Tame Impala in particular should have made some kind of appearance on this list. 
I bought and listened to the new Grizzly Bear at least a dozen times and remember absolutely nothing about it. 
And as much as I love and have championed Mould for decades, Silver Age sounded flat and…

Sadly no Metz, Toy or Tame Impala. 
Tame Impala in particular should have made some kind of appearance on this list. 
I bought and listened to the new Grizzly Bear at least a dozen times and remember absolutely nothing about it. 
And as much as I love and have championed Mould for decades, Silver Age sounded flat and…

George Wendt was a huge booster of Minneapolis acts back in the 80s, talking them up on talk shows, wearing Mats shirts of Letterman, etc. 
And to not understand how that was kind of important in the climate of what music was like in the 1980s is to not understand what the musical climate was in the 1980s.

George Wendt was a huge booster of Minneapolis acts back in the 80s, talking them up on talk shows, wearing Mats shirts of Letterman, etc. 
And to not understand how that was kind of important in the climate of what music was like in the 1980s is to not understand what the musical climate was in the 1980s.

Is it just me or does it seem like this is a much-longer article that just comes to a dead end out of nowhere halfway through?

Is it just me or does it seem like this is a much-longer article that just comes to a dead end out of nowhere halfway through?