Seriously? Andrew Scott was in the house? Where were you standing?

I need to revisit those records. I'm not really buying the "golden age" argument, because I was burned badly by some crappy records like that double-shot of COAST TO COAST CARPET OF LOVE and STANDARD GARGOYLE, though NORMAL HAPPINESS is decent and FROM A COMPOUND EYE has grown on me. This is the first record of his…

Ha! You're right. I noticed that after I turned it in. Not intentional, but … yeah, something subliminal going on there. Glad someone noticed.

PC: Something along those lines specific to music is in the discussion phase right now.

Hey guys, your comments are duly noted (and I appreciate the thoughtful people with legit criticisms). In retrospect, I definitely would've tweaked the headline; the tone probably wasn't right for Newswire, and it sounds a bit clumsy. And, yes, I would've liked to address this sooner, but I honestly didn't know it was…

And here I thought you wanted a real, sincere explanation about this, or maybe have a conversation about it. Turns out you just want to be an anonymous jerk on the Internet. Well, I hope you feel better now. Later!

I know. Not even one "I am SO glad I don't know any of these songs!" comment. Sad.

Yep, I'll be doing albums from all the decades.

In an earlier draft I mentioned that happening on a Milwaukee station, but I ended up cutting it. But, yeah, that's an interesting phenomenon.

I love "Rhiannon," but I miss the tough and ballsy Stevie Nicks that wrote "Dreams," "Gold Dust Woman," and "Storms."

And with that, the anonymous commenter pats himself on the back and takes a victory slurp of his Big Gulp.

I agree that "Silver Springs" is great. But she wrote that song nearly 15 years ago. Sorry, I wanted to like this album, but it's not good.

Don't forget The Black Angels and P.O.S.—both are still going strong with audiences that are growing larger all the time.

Word.

One of the best—if not THE best—in the biz right now.

Hmm
I thought this episode was great. And, please, put Michael Keaton in everything.

No prob. Thanks for the thoughtful comments. :)

But Nebraska was officially released as an album. And the starkness of the recording clearly influenced the iconography of the record. Even if he didn't know he was recording the "official" versions at the time, Nebraska was eventually conceived in such a way as to emphasis its scaled-down nature.

"I kind of have a problem though with separating music outright from the context its created "

@ J.M. Farr Didn't mean to imply that. As always, it's hard to defend positions that are inferred that I didn't intend. At any rate, you bring up some interesting points. I'm not trying to turn anyone into a lo-fi fan, just stating what moves me about these records. It's kind of hard to "disagree" about what moves a…