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Sgt Pepper must die! (classic albums that aren't)

Old 06-21-07, 11:26 AM
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Sgt Pepper must die! (classic albums that aren't)

This was published by the Guardian a few days ago. I thought we might have some fun with it. I'll point out at the beginning that some of these albums are among my favorite of all time, and some of the musicians quoted are among my least favorite ever.

Sgt Pepper must die!

Ever get the feeling you've been cheated? It's meant to be a classic album, but all you can hear is a load of boring tripe ... we've all felt that way. And so have the musicians we asked to nominate the supposedly great records they'd gladly never hear again

Interviews by Paul Lester
Friday June 15, 2007
The Guardian

Tupac Shakur All Eyez On Me
Nominated by Mark Ronson, producer

This was Tupac's biggest record, and is seen by rap fans as the greatest latterday hip-hop album. But I've never got the cult of Tupac. Sure, he was in a lot of pain but he never said anything particularly clever - Notorious B.I.G. was far superior. People really related to the emotion in his voice, but it didn't resonate with me. No one would doubt Tupac's "realness" - he was shot nine times, for God's sake, and he began recording this album hours after being released from prison - but it doesn't compare to Biggie. Dr Dre produced it, and I didn't rate his production, either.

Problem was, Tupac was so prolific. He would write 50 songs in a weekend. Maybe he knew he was going to die, so he recorded relentlessly. I bought it at the time because it had one song on it that I'd play in clubs, but one out of 20 isn't great. In fact, there are 27 tracks on it - it started the trend of putting loads of songs on rap albums. Tupac wasn't up there with Dylan - Dylan was a brilliant poet. Eminem is probably the Dylan of rap, whereas Tupac just sounded like he was whining.

Nirvana, Nevermind
Nominated by Wayne Coyne of the Flaming Lips

It's better to be overrated than underrated. Besides, it's not the musicians' fault Nevermind is overrated - it's the public's, or the critics'. But you don't find yourself ever longing to listen to it, because there were - still are, in fact - so many mediocre bands that sound like it, that you're constantly experiencing it. I never get out Nevermind and think: what great production, what great songs. Nevermind had a poisonous, pernicious influence. It legitimised suffering. The sainthood of Kurt Cobain overshadows the album: Kurt's lyrics, his attitudinising and navel-gazing, were hard to separate from the band's image. You can never just hear the record. For me, Bleach and In Utero are superior. Even the album cover seems cheap: that stupid dollar bill just seems to have been airbrushed in there. If Alice in Chains had done it, we'd have thought it was a joke, but because it was Nirvana we thought it was oh-so-clever. If you think you're going to hear an utterly original, powerful and freaky record when you put on Nevermind, as a young kid might, Christ you're going to be disappointed. You're going to think, "Who is this band that sounds just like Nickelback? What are these drug addicts going on about?"

The Beach Boys, Pet Sounds
Nominated by Luke Pritchard of the Kooks

Of all the albums that get written about as "classics", this one least deserves it. Having said that, it contains one of the greatest songs ever written: God Only Knows, which is melancholic yet uplifting, pure yet fucked-up. But the rest of the record is a total let-down - I felt that way from the very first listen. Pet Sounds is a million miles away from Sgt Pepper or Dark Side of the Moon. I do appreciate the lyrics, and I know it's an album about getting older, but as a concept album, it doesn't quite add up. Good tunes, yes - Wouldn't It Be Nice is a great pop song - but most of the other tracks just don't resonate for me. I apologise unreservedly to everyone who loves every word and note, every last crackle, on this album, but that's how it is. Oh, and it's got the worst sleeve of any major album, ever. Feeding time at the zoo? I don't think so.

The Stone Roses, The Stone Roses
Nominated by Eddie Argos of Art Brut

They're totally overrated. Plus they covered Scarborough Fair. I don't understand why people still play their music in nightclubs - it makes me really angry. When I'm drunk in a club I usually end up arguing with the DJ who's playing them. The Stone Roses were an awful, awful band. They were uncharismatic, their lyrics are nonsensical and their music is dreary. Also, we have them to thank for Oasis, although at least Noel Gallagher is funny and Liam is a bit of a pop star. The Roses make me think of kids older than me swaggering around with bowl haircuts and affecting Manchester accents. It makes my skin crawl. And all their fans are so smug: "Oh, you don't understand it." I do understand it! It's ridiculous that it regularly gets voted in at the top of those "greatest British album ever" polls. They spawned a new thug-boy pop culture.

The Strokes, Is This It
Nominated by Ian Williams of Battles

The Strokes were just rich kids from uptown New York; the children of the heads of supermodel agencies who formed a rock band and thought they deserved respect because of that. Suddenly the downtown, older form of punk rock got co-opted by the system. If ever there was a point where Gucci and rebellion were married together, it was right there. The Strokes have, basically, been responsible for five or six years of a new form of hair metal, in the guise of something more tasteful. Their music is post-9/11 party music because it came out that week and everybody wanted to dance. They're seen as the rebirth of rock in the UK - but it's a very conservative, old-fashioned idea of rock for the 21st century. As for their punk credentials, I'm not going to say anyone's more authentic than anyone else ... But the Strokes are the new Duran Duran; the new decadence for the new millennium.

Television, Marquee Moon
Nominated by Alex Kapranos of Franz Ferdinand

People expect us to love Television the way they think we love Gang of Four and were influenced by them - but we don't and we weren't! Marquee Moon is one of those records that I thought I loved, but it was only after a few years I realised I didn't love the album, just the first 10 bars of the title track, which are pretty astonishing. Those guitars that play off each other and the way the instruments go into wonderful places and the guitars are totally insane and that big cascade of drums - it's incredible. Then your attention wanders. You know when a boring guy is explaining to you the technical spec of a car, the fuel injection system and the leather seats, and his voice becomes so much background noise? Once I took the needle off this record, I realised I hadn't heard it at all. But what annoys me is the way people pontificate over the album; it's one of those staples of student halls of residence. People wax lyrical about it, but the reason it's so popular is because it's a prog rock album its okay to like. Because the words "punk" and "New York" and "1977" are associated with it, it's deemed cool. Really, though, they're a band who give guys who like 20-minute guitar solos an excuse. They were the Grateful Dead of punk, and I always hated all that jam-band stuff. They have the ethos of a jam-band but the aesthetic of a New York outfit. If anything, the Strokes took the look of Television, the aesthetic - and the Converse sneakers - and ignored the jam-band aspect. They took those first 10 bars of Marquee Moon and did something great with it! Tom Verlaine's lyrics didn't have much impact on me. I'm always uneasy when singers in bands profess to be poets - they can veer into pomposity and pretentiousness. But I've got to be careful: I once said something about Jim Morrison and the Doors, about their pseudo-poetry, and immediately all these articles on the internet appeared saying, "Kapranos slams Morrison!" I'm not slamming Television - I respect them. But Marquee Moon is an album I admire more than enjoy.

The Beatles, Sgt Pepper's Lonely Hearts Club Band
Nominated by Billy Childish, prime mover of British garage rock

I was a big Beatles fan - I had a Beatles wig and Beatles guitar when I was four - so I know what I'm talking about, but Sgt Pepper signalled the death of rock'n'roll. Rock'n'roll is meant to be full of vitality and energy, and this album isn't. It sounds like it took six months to shit out. The Beatles were the victims of their success. This is middle-of-the-road rock music for plumbers. Or people who drive round in Citroens - the sort of corporate hippies who ruined rock music. I bought it the day it came out: it was ideal for a seven-year-old. These days, well, it's my contention that it represents the death of the Beatles as a rock'n'roll band and the birth of them as music hall, which is hardly a victory. The main problem with Sgt Pepper is Sir Paul's maudlin obsession with his own self-importance and Dickensian misery. (Paul McCartney is the dark one in the Beatles, not John Lennon, because he writes such depressing, scary music.) It's like a Sunday before school that goes on forever. It's too dark and twisted for anyone with any light in their life. Then again, when he tries to be upbeat, it rings false - like having a clown in the room. The best thing about the album was the cardboard insert with some medals, a badge and a moustache. But the military jackets they wore on the front made them look like a bunch of grammar-school boys dressed by their mummy. When I was in Thee Mighty Caesars we did a rip-off of the sleeve for an album called John Lennon's Corpse Revisited, featuring the Beatles' heads on stakes. This isn't the greatest album ever made; in fact, it's the worst Beatles album up to that point. Live at the Star Club trounces it with ease.

Abba, Arrival
Nominated by Siobhan Donaghy, former Sugababe turned solo artist

I love the Beatles, the Beach Boys, Burt Bacharach, all those great pop melody-writers, but there's something about Abba that I hate. Maybe it's going to parties with shit DJs for most of my childhood that has made me hate them. Abba were forced on people from my generation, so there's a natural resentment towards them. Through my mum I discovered Pink Floyd and Jimi Hendrix, and if I'd done that with Abba maybe I'd have appreciated their brilliant pop songs. On Arrival, the particularly annoying songs are Dancing Queen, Knowing, Me Knowing You and Money, Money, Money. And if we're talking about the reissue, you can add Fernando. Nick Hornby may well say they're part of the canon now, but I still don't have to listen to them. Yes, they wrote some of the catchiest melodies of all time. But then, The Birdie Song is catchy, too.

Arcade Fire The Neon Bible
Nominated by Green Gartside of Scritti Politti

People who enjoy this album may think I'm cloth-eared and unperceptive, and I accept it's the result of my personal shortcomings, but what I hear in Arcade Fire is an agglomeration of mannerisms, cliches and devices. I find it solidly unattractive, texturally nasty, a bit harmonically and melodically dull, bombastic and melodramatic, and the rhythms are pedestrian. It's monotonous in its textures and in the old-fashioned, nasty, clunky 80s rhythms and eighth-note basslines. It isn't, as people are suggesting, richly rewarding and inventive. The melodies stick too closely to the chord changes. Win Butler's voice uses certain stylistic devices - it goes wobbly and shouty, then whispery - and I guess people like wobbly and shouty going to whispery, they think it signifies real feeling. It's some people's idea of unmediated emotion. I can imagine Jeremy Clarkson liking it; it's for people in cars. It's rather flat and unlovely. The album and the response to it represent a bunch of beliefs about expression and truth that I don't share. The battle against unreconstructed rock music continues.

Pink Floyd Dark Side of the Moon
Nominated by Tjinder Singh of Cornershop

This album is a sort of lab experiment, put together by scarf-wearing university types. There's a certain irony in a song like Money that takes pot-shots at greedy corporations, when this album made so much money. There's also irony in these super-wealthy elite prog musicians positing themselves against The Man, having a go at the machine. The light shows, all the technology and white-coated technicians at their disposal, make them very much part of the machine. I appreciated the early stuff Pink Floyd did with Joe Boyd, but this is a bloated concept album that made punk necessary. It says, "What a crazy world it is!" and "Everyone's demented!" It's meant to be imbued with the spirit of Syd Barrett, God rest his soul. I'm amazed that it's up there in the pantheon, because I can't see any virtue in it whatsoever. Lyrically, it's banal and doesn't say anything beyond "greed is bad". Radiohead are the 21st-century Floyd, which says it all really.

The Doors LA Woman
Nominated by Craig Finn of the Hold Steady

In America when you're growing up, you're subjected to the Doors as soon as you start going to parties and smoking weed. People think of Jim Morrison as a brilliant rock'n'roll poet, but to me it's unlistenable. The music meanders, and Morrison was more like a drunk asshole than an intelligent poet. The worst of the worst is the last song, Riders on the Storm: "There's a killer on the road/ His brain is squirming like a toad" - that's surely the worst line in rock'n'roll history. He gave the green light to generations of pseuds. A lot of people told him he was a genius, so he started to believe it. The Velvets did nihilism and darkness so much better - they were so much more understated; what they did had subtlety, whereas the Doors had little or none: they were a caricature of "the dark side". I actually like Los Angeles, but the Doors represent the city at its most fat, bloated and excessive. Morrison's death does give rock some mythic kudos, but that doesn't make me want to listen to the music. In fact, if it comes on the radio, I change the station.

The Smiths Meat Is Murder
Nominated by Jackie McKeown of 1990s

I'm a Smiths fan and I like most of their records, but this is the weakest link in the canon. With the debut and The Queen Is Dead, you could cut up Morrissey's lyrics and they could be pages from the same book. For Meat Is Murder, he seemed to make a list of topics to write about. It was a protest album, which defeats the idea of Morrissey as romantic. The cool-guy cover with Meat Is Murder written on his helmet rams it down your throat. The title track is offensive, not least because of the loud, gated drums and 80s production that you get on Huey Lewis and the News records. Morrissey was obviously suffering from a loss of nerve or lack of faith when he wrote these songs. It took him years to write the first album in his bedroom. By the second album, he started panicking and pointing fingers at teachers at school and thinking up things like, "Oh, meat is murder and, oh, we're going to get attacked by thugs in Rusholme." Barbarism Begins at Home is where the Smiths betray their jazz-funk session-guy roots; it's absolutely treacherous to listen to, even if it was brilliant fun to record. You can just see the rolled-up jacket sleeves. It's everything Morrissey hated. Meat Is Murder is Red Wedge music for sexless students. It's like being stuck in a lift with a Manchester University Socialist Workers' Party convention.

Captain Beefheart and the Magic Band Trout Mask Replica
Nominated by Peter Hook, ex-New Order and Joy Division

Steve Morris, New Order's drummer, was a great fan of his, but Beefheart was one of those things I found unlistenably boring. I desperately wanted to like it because Steve loved it so much, but I had to admit defeat. Ian Curtis found it easier to convert us to the Doors, put it that way. Trout Mask wasn't a work of untutored genius, it was untutored crap. When you're beginning as a musician, people try to educate you with music like this, but I never understood the allure of Captain Beefheart. I certainly didn't last all four sides. There are very few records I gave up on, apart from Lou Reed's Metal Machine Music and Trout Mask Replica. It sounded like somebody taking the piss. But then, I've never been a great fan of jazz, and this erred on the selfish side of jazz. It sounds like you feel when you've taken the wrong drugs, like going to your mate's dope party on speed. I'd listen to it with my head in my hands. Trout Mask was highly regarded by post-punk bands because of its idiosyncratic approach to rhythm and song construction - but those bands were full of shit, weren't they? I wouldn't have put it at the front of my record pile to impress people; it would have been at the back with my Alvin Stardust and Bay City Rollers records that they sent me from the record club I belonged to at the time. These days, I would rather listen to the Bay City Rollers than Beefheart.

What kind of heathen dislikes the Velvet Underground and Nico?
Novelist and music lover Ian Rankin gives his reasons

This is a sacred cow but that doesn't mean it can't be turned into hamburger. You can start before you even listen to the music. The front of the album bears the name Andy Warhol and a yellow banana - there's no mention of the band whatsoever. The back of the album says it was produced by Andy Warhol alongside the Velvets, so straight away I'm annoyed. It's one of the worst-produced albums of all time - put it on a modern hi-fi and you'll think: this sounds like shit. It's muddy, the volume comes and goes, the guitars are all out of tune, as is the viola. John Cale is one of the great Welshmen, but the viola on Venus In Furs sounds like a Tom and Jerry sound effect. And Nico's voice is flat throughout - she sings English the way I sing German. Talk about looks being everything: she was a supermodel trying to sing in a rock band, but she couldn't sing - she gave good dirge.

It all flags up that the Velvet Underground were just part of Warhol's circus, his Factory; just another product. Once you start thinking about the Velvets being part of that, the notion of them waiting around for the man is ludicrous. As far as introducing the idea of nihilism to rock, the first Doors album, which came out the same year, was far better produced, far darker, and more nihilistic. Ditto the first Mothers of Invention album. Those two were from the west coast; the Velvets were from New York. And this was New York trying too hard. There's a line in Venus in Furs about "ermine furs adorn imperious". Those are four words that should never appear in a rock song and here they are put together. And the last two tracks are completely unlistenable: The Black Angel's Death Song and European Son, which constitute 11 minutes and one fifth of the album.

Nevertheless, as Brian Eno said, almost no one bought this album but the ones who did put a band together, so it was important - as the beginning of the black raincoat brigade.
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Old 06-21-07, 11:37 AM
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I don't think too many people consider "All Eyez on me", "Is This It", "Neon Bible" or "Arrival" to be all time classics. Good albums maybe, but not ones for the ages. They're not really on topic there.

People have been debating the merit of Sgt. Pepper since it was released, so nothing new there.

People are increasingly seeing Nevermind as wildly overrated, same for the Stone Roses debut. Again, nothing new here.

Everyone knows that "Meat is Murder" is the worst Smiths album, so they don't have a point. By the same token, "LA Woman" is hardly the pinacle of the Doors (probably Morrison Hotel), as Morrison could hardly sing by the time it came out.

Seeing as one basically inspired either a whole new direction to rock and the other inspired the Beatles to make Revolver respectively, denying "Velvet Underground and Nico" and "Pet Sounds" classic status is just stupid.

"Dark Side of the Moon" was on the charts from the time it was released until the ninties, so denying it classic status is equally stupid.

Trout Mask Replica is a polarizing acquired taste, easy to argue either side here.

Yet another silly list, this one worse than many others.

Last edited by Hiro11; 06-22-07 at 07:16 AM.
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Old 06-21-07, 12:06 PM
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I agree with some of the comments there, but Pet Sounds is pure genius in my mind, and still manages to express such a pure, if somewhat quaint, honesty that serves as great therapy no matter how I'm feeling.
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Old 06-21-07, 12:56 PM
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Wayne Coyne deserves a brass balls medal for his statements about Nevermind.

I totally agree with him.

Anybody who thinks that album is revolutionary didn't listen to the 35+ years of rock and roll that came before it.
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Old 06-21-07, 01:06 PM
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First one that came to mind for me, after reading the subject title was Nevermind.
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Old 06-21-07, 01:07 PM
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Well, any list that deflates the massively overrated outputs of The Doors and Pink Floyd is OK in my book.
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Old 06-21-07, 02:00 PM
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Arcade Fire The Neon Bible
Nominated by Green Gartside of Scritti Politti

People who enjoy this album may think I'm cloth-eared and unperceptive, and I accept it's the result of my personal shortcomings, but what I hear in Arcade Fire is an agglomeration of mannerisms, cliches and devices. I find it solidly unattractive, texturally nasty, a bit harmonically and melodically dull, bombastic and melodramatic, and the rhythms are pedestrian. It's monotonous in its textures and in the old-fashioned, nasty, clunky 80s rhythms and eighth-note basslines. It isn't, as people are suggesting, richly rewarding and inventive. The melodies stick too closely to the chord changes. Win Butler's voice uses certain stylistic devices - it goes wobbly and shouty, then whispery - and I guess people like wobbly and shouty going to whispery, they think it signifies real feeling. It's some people's idea of unmediated emotion. I can imagine Jeremy Clarkson liking it; it's for people in cars. It's rather flat and unlovely. The album and the response to it represent a bunch of beliefs about expression and truth that I don't share. The battle against unreconstructed rock music continues.
What is this guy on about and how does an album less than half a year old deserve the same level of scrutiny as most of the others in this article? I could be wrong, but the complaints this person has are not why people enjoy music. I'm not as concerned with melodies sticking with chord changes as I am lyrics, emotion and the feeling I get from listening.
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Old 06-21-07, 02:13 PM
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What's ironic in this case is that Mr. Gartside pretty much owes his entire career to "old-fashioned, nasty, clunky 80s rhythms."
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Old 06-21-07, 02:15 PM
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Hiro11 couldn't have commented on this better.

Also, saying The Strokes took Television's Marquee Moon and turned it into a better style is like saying Interpol is better than Joy Division. So very wrong.
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Old 06-21-07, 02:21 PM
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Originally Posted by polietilen
Also, saying The Strokes took Television's Marquee Moon and turned it into a better style is like saying Interpol is better than Joy Division. So very wrong.
It's funny - of all the albums listed, Marquee Moon is the one I really, really love. Yet still, the criticisms make sense to me. I don't necessarily agree with any of them, but I understand and appreciate them.
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Old 06-21-07, 02:37 PM
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Originally Posted by wendersfan
It's funny - of all the albums listed, Marquee Moon is the one I really, really love. Yet still, the criticisms make sense to me. I don't necessarily agree with any of them, but I understand and appreciate them.
Agreed. It's hard to explain to people why I love that album so much.
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Old 06-21-07, 02:46 PM
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The Strokes, Is This It
Nominated by Ian Williams of Battles

The Strokes were just rich kids from uptown New York; the children of the heads of supermodel agencies who formed a rock band and thought they deserved respect because of that. Suddenly the downtown, older form of punk rock got co-opted by the system. If ever there was a point where Gucci and rebellion were married together, it was right there. The Strokes have, basically, been responsible for five or six years of a new form of hair metal, in the guise of something more tasteful. Their music is post-9/11 party music because it came out that week and everybody wanted to dance. They're seen as the rebirth of rock in the UK - but it's a very conservative, old-fashioned idea of rock for the 21st century. As for their punk credentials, I'm not going to say anyone's more authentic than anyone else ... But the Strokes are the new Duran Duran; the new decadence for the new millennium.
I forgot, this has got to be one of the best assessments that I've read about The Strokes. Although I'd really give the Duran Duran honor to The Killers.

On a side note, if you haven't checked out this guy's group, Battles, please do so. Great band! The drummer, John Stanier, used to be in Helmet, although this is different sounding.

Last edited by polietilen; 06-21-07 at 02:54 PM.
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Old 06-21-07, 03:00 PM
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Originally Posted by auto
Agreed. It's hard to explain to people why I love that album so much.
Just say because it's a f*&%ing great album! Put them "Venus". That'll show them. This song alone should take care of having to do more explaining. If they don't get it, it's their loss.
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Old 06-21-07, 03:43 PM
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I think its fairly easy to bash anything. It's much harder to find good things to say.
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Old 06-21-07, 03:50 PM
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Nice post. Most of it made me laugh because I do love so many of those albums. My favorite part of all this is who they had to do the reviews. Billy Childish is a god. Freaking god of garage rock. And Green's take on Arcade Fire is kind of funny (Green certainly had a fairly whacked out political take in the early days of Scritti).
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Old 06-21-07, 06:08 PM
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LA Woman is considered a classic mainly because it was Jim Morrison's last recording, and it was a promising bridge from 60's psychedelic to blues rock. It's good, but not career-defining good.

I could not believe how bad Trout Mask Replica was when I finally got to hear it. It was as if the Frank Zappa fan club all got together and said "hey gang, let's make a record!". That in itself might not be a bad idea, but when the club's only record is We're Only In It For the Money, the results just can't be good.

Dark Side of the Moon and Sgt. Pepper are both good and important albums, but both bands have done better, both before and after these. Of the two, I'd give DSOTM the edge in terms of being an all time classic.

I heard See No Evil from Marquee Moon playing in a convenience store the other day, and it sounded pretty good. I don't know if it's a classic, but it's worth hearing at least once.

I'm not even going to address the newer acts on the list, other than to say that Nevermind is not going to be remembered 100 years from now the way several of the older albums on this list will be.
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Old 06-21-07, 06:54 PM
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Originally Posted by cungar
Wayne Coyne deserves a brass balls medal for his statements about Nevermind.

I totally agree with him.

Anybody who thinks that album is revolutionary didn't listen to the 35+ years of rock and roll that came before it.
I love that album... even moreso for the beefier production than the albums that bookend it. Still, I think whatever revolution is tied to it has more to do with alt finally exploding into the mainstream than for totally what the album is. I wonder how it would be viewed today had it been a commercial dud?
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Old 06-21-07, 11:33 PM
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So what albums does that writer like?
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Old 06-22-07, 12:29 AM
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Guess I'm the only one, but I think that 2Pac's All Eyez On Me is a classic, all time album. It shaped the way rap double discs were done (and hardly any come close to the quality that was those two discs). One of the best rap CD's ever.

= J
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Old 06-22-07, 01:11 AM
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Originally Posted by calhoun07
So what albums does that writer like?
Each album had a different writer. It's not any different from making a list of movies and finding someone who didn't like Citizen Kane and someone else who didn't like The Godfather, and so on.
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Old 06-22-07, 04:34 AM
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I guess he never Listened to Dark Side of the Moon on Acid!
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Old 06-22-07, 04:35 AM
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I'm glad someone decided to call out The Strokes. What a fucking poor excuse for a rock band.

The guy who wrote about Pet Sounds missed the point of Pet Sounds. It's not meant to be Sgt. Pepper or Dark Side. It's meant to be Pet Sounds.

Trout Mask Replica is one of the best albums ever made, but it's clearly a polarizing album and I can see how many wouldn't like it.

Arcade Fire is not a classic album and should not be on that list. 20 years from now someone can tear it down.

Marquee Moon is a great album, but at the same time I agree with every point made about it.

I also think Jim Morrison is one of the most overrated figures in all of rock. Talk about pretentious. The guy had some charisma sometimes, but the real talent in The Doors were the people playing instruments.

And all the stuff about The Velvet Underground and Nico is just wrong. It's a bad album because it doesn't sound good on modern stereos? The guy completely misses the point of everything that makes that album revolutionary, and while deriding the Velvets as nothing but a product, neglects to mention their three subsequent equally groundbreaking albums. He also tries to play down the influence the album had, which is absurd. Without The Velvet Underground, there would be no Stooges, no David Bowie, no Roxy Music, and many of the most interesting and best bands of the latter half of the 20th century.
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Old 06-22-07, 07:11 AM
  #23  
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Originally Posted by Suprmallet
Marquee Moon is a great album, but at the same time I agree with every point made about it.
Personally, I completely disagree with the assessment of Marquee Moon. Who does this douchebag from Franz Ferdinand (essentially a Wire/Jam/Gang of Four cover band) think he is to say that?

First of all, Marquee Moon pretty much invented the "college rock" jangle-pop genre. Without it, there would be no "Murmur", no "Queen is Dead" and certainly no Galaxie 500 or any other of the indie New York guitar bands. Like Velvet Underground and Nico, countless bands owe their career to this album.

Secondly, it was one of the first "mature" punk/post-punk albums. It (along with early Talking Heads) was one of the first albums to mix punk, post-punk and instrumental virtuosity and say that they weren't necessarily incompatible and that grown-ups could enjoy this music as well.

Thirdly, they certainly weren't a fucking "jam band". That implies that they were undeciplined or wandered aimlessly. Their arrangements were famously tight as a drum, meticulously constructed and hardly feature one extra note. If anything, they were overly fussy and detail obsessed. Verlaine was notorious for the thousands of takes they did for each song on the album to get every note in its place. Just because they wrote reasonably long songs doesn't make them self-indulgent. What a dumb comment.

Lastly, anyone who says that only thing good about the album is the first ten bars of the title track is missing great tracks like "Venus" (which, as already mentioned, may be the best track on the album), the unhinged "See No Evil", the definitively New York "Friction" and "Prove It", basically every song is great.

It's a classic and it's stupid to pretend otherwise.

Last edited by Hiro11; 06-22-07 at 07:18 AM.
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Old 06-22-07, 09:26 AM
  #24  
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Sgt. Pepper's Lonely Hearts Club Band is classic for more reasons than one. If I recall correctly, it was the first to be recognized as a "concept album".

Second, it was the first album to include a lyric sheet, and feature a gatefold packaging. (I realize this only deals with the cosmetic part of the album.)

And, third, it was the first album recorded with loads of studio trickery, like backward loops, and other stuff I can't remember. (not a studio-head) With the way it was produced and engineered, Hip Hop albums actually owe a lot of debt to it.

I can't remember all the details, but I do have the book that cites all this somewhere at home.
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Old 06-22-07, 09:37 AM
  #25  
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Originally Posted by SlingshotBandit
Sgt. Pepper's Lonely Hearts Club Band is classic for more reasons than one. If I recall correctly, it was the first to be recognized as a "concept album".

And, third, it was the first album recorded with loads of studio trickery, like backward loops, and other stuff I can't remember. (not a studio-head) With the way it was produced and engineered, Hip Hop albums actually owe a lot of debt to it.
And that's exactly why some people aren't crazy about it. Or at least think it's not the best Beatles album. I'm one of those people who generally likes my rock music right to the point with warts and all. I'd choose the five albums released before Sgt. Pepper just about any day.
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