I think the band would agree with that. In Phil Lesh's book, he talks about having worked in reverse: debut potential studio material onstage, get the song to a place where they like it, and then saddle themselves with the impossible task of recreating that in a studio. It really does show on Wake of the Flood. "Here…

That does sound like it would be rough. I love the Dead, but I could never just listen to their music all the time. Part of the reason is that listening to their music and its genre-hopping constantly makes me think of other music I also want to listen to!

HAHAHAHAHAHAHAHA

I'm ashamed to say that upon first listening to Doom, my impression was, "Eh, kinda sounds like Nas." How wrong I was.

BAAAAAAAAAHAHAHAHAHAHAHAHAHA #troof

"He writ this skit in sanskrit" still boggles my mind every time I hear it.

The only difficult decision is do you go classic "Space Hos" or the peppy-elevator-music remix?

You're not totally wrong. It doesn't "f***ing rule," but it does have several tracks (including another Ghost-Doom collab that DOES f***ing rule) that are standouts. The lyrics are on point even if some of the song concepts aren't. It's also one of the precious few hip-hop albums with decent skits. The running gag of…

The most depressing thing about this joke is that if it were just spelled slightly differently (say, "Koldnutts") I could 100% see that being a legit name George Lucas made up for the Star Wars universe.

I love his fearlessness, even if it did mean an occasional aborted run of notes or a muddled passage here and there. I think I read a quote of his somewhere about how he was "willing to play a few wrong notes in search of the right ones," and I think that's a great way to sum up his improv philosophy. It's that…

That's what I mean. The progression of both sound and melody throughout that solo makes my brain tingle.

If you Google "Forrest Whitaker Shakespeare hammy," I'm pretty confident the top result would be a photo of Saw Gerrera, who is now somehow even more cheesy since I realized his first name is not "Saul."

Knopfler is underrated in my opinion. His work on that tune, as well as the syncopated funkiness on stuff like "Settin' Me Up" and "Southbound," is pretty tremendous.

• The "Sympathy for the Devil" solo is an excellent choice, though I'd have gone with the solo from the live verson on Get Yer Ya-Ya's Out.
• Hendrix's solo on "Voodoo Chile (Slight Return)" is definitely a contender in my book, as is the mind-boggling solo on the studio version of "Watchtower" I'm still unsure what…

Fair point. It's probably actually unfair to compare the two, since nothing about the original was meant to be fun. The original is a suspense-filled sci-fi horror film, and the first sequel is a rock-'em-sock-'em sci-fi action film which, I agree, is a lot of fun to watch.

I want to take this review seriously, but it's tough after reading the part where they said Aliens is the series' high point. I'll agree that it set the standard for sci-fi action flicks, but it is in no way better than the original Alien.

If Marcus Garvey merits an entry in the "Obscure Reference Alert" section, this country's education system is more f***ed than I thought. Good GAWD.

I won't complain as long as they add "Wheel of Fish" from UHF to the AVClub Features. "STUPID!! YOU'RE SO… STUPID!!"

I still think the step-thru-the-door-and-inhabit-someone-else concept of Drawing of the Three still makes it my favorite. I have no idea where the film version is going to lead, but boy, I sure hope to get a scene where Eddie Dean's eyes suddenly turn icy blue. I think that whole concept is ripe for an amazing visual…

I have a thumb drive in the AUX slot that shuffles its way through: