exexalien
exexalien
exexalien

If we're talking about actual music nerds here, should probably change that first line to either "tens of thousands of MP3s" or "a few hundred Captain Beefheart MP3s"

"The Phantom Menace is…the best…a real film"
- Armin Tamzarian, A.V. Club

This week's AVQ&A: In what ways do you think the Star Wars prequels are equal or superior to the original films?

Permanent Records is one of my favorite features on this site, but it was over a month before I noticed the Chemical Brothers article. Seems LL Cool J is well-known enough that if this had been posted at the regular time it would have gotten a lot more views, which is a shame as it really is a good article.

Good article, though for whatever reason posting the Permanent Records articles at 9:00 am instead of the usual time seems to be the kiss of death as far as views and comments go (see also: Exit Planet Dust a few months back)

Have been listening to the Cannonball Adderley 4CD set I mentioned two weeks ago pretty much constantly in the car and enjoying it quite a bit. The albums are: Sophisticated Swing, Things Are Getting Better (w/Milt Jackson), Portrait Of Cannonball, Sharpshooters, Cannonball Takes Charge, Them Dirty Blues, Cannonball &

But in the end it doesn't even matter.

Either that or play "Doctorin' the Tardis" by The Timelords. It samples that Glitter song gratuitously but it was made prior to sample clearance laws coming into effect, so if I'm not mistaken Glitter would not be entitled to any royalties and the vast majority of sports fans would not notice the difference:

"That Ain't My Truck" by Rhett Atkins:

My copies of Goo by Sonic Youth and Broken by Nine Inch Nails turned 22 last summer - both were replacements for cassette copies that got chewed up, and both are still playable.

Absolutely love that album, but the VU captured something completely separate from what was going on culturally and musically in the mid-to-late sixties, which I think is one of the reasons that album has such a timeless quality.

This resistance to "great canonized boomer rock bands" must be a recent thing, as in the late 20th/early 21st century there were still plenty of fans of the Doors and other well-known bands from a bygone era. But I think the thing with championing other bands as "better" comes from the fact that outside of music geek

But wouldn't it be nice if even one-hundredth of the people who know The Doors had even heard of Love, let alone had ever heard their songs and have a chance to decide for themselves whether they liked them or not? Most music geeks know about Love and Forever Changes these days, but I'd be willing to bet that both are

Randy Bachman left the band at the height of its popularity, apparently due to the other band members' lifestyle choices conflicting with his then-Mormon beliefs. Good thing, too - otherwise he may never have formed BTO, and frankly a world without "TCB" is not one I would want to live in (plus, it would make it a lot

"Give me The Guess Who. They got the courage to be drunken buffoons, which makes them poetic."

Decent article, but there is only one album from 1967 that perfectly captures the "move from the optimism of the ’60s to the cynicism of the ’70s": Forever Changes by Love.

Alice in Chains were initially categorized as metal and definitely started out with a look and musical style that was closer to metal than what would come to be considered "grunge", but "practically a hair band" seems like a bit of a stretch; there's quite a bit difference musically and lyrically between Facelift and,

If there is a god and that god is one of us, said god clearly doesn't spend a lot of time perusing the 50 cent CD bins at second hand shops.

It is a solid album, but I think the (not undeserved) plagiarism accusations hurt its reputation over the long term.

Zuma is a fucking incredible album. I know it's technically not part of the "ditch trilogy" for an obvious reason, but it complements the other albums so perfectly - still plenty of raw emotion and fresh scars, but a little light at the end of the tunnel (er, ditch).