Squeeze. Though you could probably argue that's not really a VU album.

By "the gray one" you mean their self-titled one from 1969, right? Because that album is pretty great. I love "The Murder Mystery" and "After Hours" for reasons I can't quite explain.

I've always preferred The Who Sell Out to Who's Next. It's got such a fun conceit (probably the only concept album where the songs deliberately have nothing to do with each other) and I just think it comes off more interesting than the (relative) monotony of Who's Next.

That was the first book of his I ever read, so I've still got a bit of a soft spot for it. Also, of all his little repeated phrases, "hi ho" is probably my favorite.

Finished the first half of Twin Peaks: Season 2. Cooper's discovered the identity of Laura's killer, and the show's focus has started to shift more onto the other characters. This is the part I've been slightly dreading, so I have to ask: is the stretch of episodes between now and the finale actually bad, or just not…

Never heard it, although I do quite like "Echoes", and that's basically half the album. My exposure to Pink Floyd beyond their really big stuff has been scattershot at best.

I love how abruptly Superboy thrusts it on her (his request for a blowjob, not his penis; I assume that comes later).

That actually makes a lot of sense. The scene where your namesake asks Bobby if he cried the first time he had sex with Laura was the first time I felt any real sympathy for him. I can't imagine James having a similar display of emotion; it seems like he didn't really get what was going on the whole time he and Laura…

I picked up the UK version, so I've got "Astronomy Domine" and "Bike" but no "See Emily Play." (For the record, I think "Bike" is hilarious, as is "The Gnome.")

I agree with you as to their chemistry, I just don't find him very interesting to watch; every scene, it seems like he has the same expression. At times, I find myself agreeing with Laura's assessment of him.

Started watching Twin Peaks this week, and just finished Season 1. Pretty great so far; James Marshall is a bit of a charisma vacuum, but everyone else is very enjoyable to watch, especially Kyle McLachlan. I'm just hoping Season 2 won't be that much of a letdown in comparison.

I picked up Eraserhead and Vampyr; thought about getting if…. as well, but even at half off, it was more expensive than I would have liked.

If Rod Stewart can ruin Tom Waits, I see no reason he can't ruin Bob Dylan as well. ("Downtown Train" doesn't really count, being a cover and all, but it still irritates me.)

I swear, for years I thought Kenny and Ronnie were warming their vomit at the church. I'm not sure whether to be disappointed or not.

Eh… I bet I'd do the same if I was you.

Kind of wished they'd included the new Kamasi Washington album on here (C'mon, A.V. Club! You don't even have to make up a convoluted category for it!) but overall, not a bad list.

My guess is, the characters think that the first one's happened (maybe Max goes down with the bridge?), but then the music swells as it turns out to be the second.

Sure, but it tied that idea of the South to a classic film, thus ensuring (at least in part) its survival into the modern day.

Honestly, just fuck Gone With the Wind. I would bet that it's largely shaped the public perception of the antebellum South as an idyllic paradise, and it deserves scorn for that alone. I just hate that it remains so genuinely beloved, instead of being rightly consigned to the same corner of film history as Birth of a…

A thrill killing isn't motivated by hatred of the targeted group. He didn't kill those people for excitement, he killed them because he hated African-Americans and wanted them gone.