|View single post by tamalie|
|Posted: Thu Oct 31st, 2019 03:48 pm||
|Here are a few of mine.
- I won’t name names because there are too many to mention, but most of the popular vocalists these days that are known for having great voices are undermined by not actually knowing how to sing. There is a lack of vocal training and a feeling that every other note must be turned into an epic in the overdone way indy wrestlers in the 3rd match on the card must go 25 minutes, have several major spots, and a million false finishes like they’re in the Wrestlemania main event.
- "Rapture" was a groundbreaking song due to the rap by Debbie Harry at the end along with lyrics that name checked a lot of the New York hip hop scene at the time. However, it's actual impact on hip hop and how it eventually became more widely accepted is vastly overrated. The genre didn't get any significant crossover from this song or its association with what was then one of the biggest bands going. It's influence in that regard was hyped up retrospectively much later.
- The Beastie Boys are a group I like, but their influence on hip hop has also been overrated to a great extent. MCA, Ad Rock, and Mike D were very witty and could toss in a pop culture reference with the best of them. However, a lot of their rhymes weren't very complex. They were punk rockers who sort of stumbled into hip hop and while I absolutely believe that they were fans of it and eventually took it seriously, in the beginning it was absolutely a goof for them. They got respect in hip hop circles over time, in part because they were charter Def Jam artists when being on that label truly meant something, but I don't think they were ever taken as seriously as a straight up hip hop act by black fans to the extent of their Def Jam successors and occasional rivals 3rd Bass. "Paul's Boutique" was a landmark album for sampling, but the Dust Brothers seem to not get as much credit as they deserve while there was a lot of other amazing hip hop sampling going on at the time and beforehand that should not get overlooked.
- As long as I am piling on the Beastie Boys, I'll put this one in its own bullet point. The debauchery of their "Licensed To Ill" era personas and tour has been long put across as them goofing on the party hard frat boy types who didn't get that they were butt of the joke. In particular, "(You Gotta) Fight for Your Right (To Party!)" has been put across as a parody as well with Mike D even expressing regret later that the song and video reinforced values the band supposedly was against and that people singing along didn't get was a rip on them. I am calling shenanigans on that. The Beastie Boys were well known to play with history during interviews, changed up their image quite a bit during their first few albums, and didn't adopt the image of deep thinking, globally concerned spokesmen for Generation X until around the "Ill Communication" era which was when the idea that "Licensed To Ill" was some sort of parody and commentary originally came into play.
Looking at it then and now, their persona and material immediately before and during the "Licensed To Ill" era contain absolutely no suggestion that there is any attempt at irony going on. "Fight For Your Right" lyrically doesn't hint at irony either and actually comes off as a pretty universal and straight forward teen rebellion song, the likes of which have been in pop music since at least the 1950s. I think that once they embraced a politically correct image, they retroactively changed their 1984 to 1987 motives and creative inspiration to climb out of the frankly sexist hole they'd dug themselves into.
- Pink Floyd is really boring. I know they have fans and more power to them, but I can't get into them.
- "Be Here Now" was a better album than it's given credit for being. The hype ahead of its release was so great it never had a chance of meeting expectations after the two albums that preceded it. It also is undone by being overproduced with songs that are too long and far too much guitar track layering. Cut out a couple of extraneous songs, add in B side "Stay Young", peel back some of the production, and cut some of those 7 minute plus songs to 4 minutes plus and the album would be viewed entirely differently.
- SiriusXM has an all Grateful Dead station. I pass by it now and then while flipping around and the station plays a ton of live concert recordings, most of which are official bootlegs that came right from the board. This band was really sloppy live and Jerry Garcia's voice was weathered and strained even during their prime. It amazes me that they built such a big following. I get that their concert crowds were generally drugged into oblivion and many Dead Heads were there for the atmosphere and community as much as anything, but it still amazes me that they got so big while being so bad.
- I like the Byrds. I like Buffalo Springfield. I like some of Neil Young's solo stuff. I like some of what Stephen Stills did on his own and with other projects in the late 1960s and early 1970s before he got too coked out. However, I can't stand Crosby Stills and Nash or Crosby Stills Nash and Young. Why is this? I blame Graham Nash! A critic once called him "The Ned Flanders of rock & roll" and another one accused him of making CSN's and to a lesser extent CSNY's harmonies sound like folk rock so bland that they border on barbershop.