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  1. #1666
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    From Zevon to Levon ...

    "It's so lonely at the top because it's so crowded at the bottom" - Diamond David Lee Roth

    "The truth sounds like hate to those who hate the truth" - Todd Wagner

    "Women and Children First ... The REAL Van Halen III"

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    These guys are pretty good.


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  4. #1668
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    Awesome ...

    "It's so lonely at the top because it's so crowded at the bottom" - Diamond David Lee Roth

    "The truth sounds like hate to those who hate the truth" - Todd Wagner

    "Women and Children First ... The REAL Van Halen III"

  5. pickslide, PrideofPasadena Liked This Post
  6. #1669
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    Quote Originally Posted by I Coulda Hada VH View Post
    Awesome ...
    Love that song.

    TK

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    Gonna pimp for partner DJ
    New solo song not likely a VH crowds taste but proud of the little fucker



    Sent from my SM-N950U using Tapatalk

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  10. #1671
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    Not bad. Guitar in a dance tune...what a concept. Let's see more of that.

    Definitely, hit it out of the park with the video.

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  12. #1672
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    Rolling Stone Revamps ‘500 Greatest Albums of All Time’ To Focus On Diversity, Inclusion

    This week, Rolling Stone published a new and revamped edition of “The Greatest 500 Albums of All Time.” The music magazine had initially printed a catalogue of what they described as a compilation of the greatest records of all time in 2003 and, with the exception of scant revisions in 2012, they left the list untouched – until now. While most entries and rankings boil down to matter of subjective taste, there remain some egregious decisions made by the Rolling Stone voting panel for which they deserve to be called out.

    New Albums Are Far Too Young to Be Classics

    The first and biggest problem with this ostensibly authoritative catalogue is that it does not adequately define which albums are eligible for a spot, and which are still too new. The overhauled list features dozens of new and younger artists – some of whom had barely even been born when the original list was made. Explaining the extensive changes and additions, Rolling Stone writes, “no list is definitive — tastes change, new genres emerge, the history of music keeps being rewritten.”

    The problem with this approach is that as new genres emerge – while they emerge – there is no way of telling which genres are doomed to be ephemeral fads and which will endure, and live to inspire new artists, and give birth to musical revolutions of their own. Only this latter clique of albums have earned their stripes by shaping and molding the mainstay of our contemporary musical canon.

    Unfortunately, there is no way to envisage which albums will withstand the weathering and weeding out of time and which will be cast by the wayside. Music history is so rife with out of touch and aloof journalism that it had initially disregarded such illustrious classics as Led Zeppelin’s titular debut (1969), Neil Young’s Harvest (1972), The Rolling Stones’ Exile on Main Street (1972), and even Nirvana’s Nevermind (1991).

    The only safe and sure way to know which album – or any form of art – will disseminate through generations and remain enshrined in the high halls of public opinion is through the passage of time.

    To qualify for any “Greatest Albums of All Time” list, an artist ought to be well over a decade into their career – a Rock and Roll Hall of Fame induction demands 25 years. An album released last year by Taylor Swift may be the darling of contemporary critics, but whether it will be remembered decades on is a different story.

    Today, we remember great records from the 1970s like Bob Dylan’s Blood on the Tracks (1976) or Sly and the Family Stone’s There’s a Riot Goin’ On (1971) or the Clash’s London Calling (1979). But for each of these classics we still cherish, there were at least 50 records that have long since been forgotten.

    This point is even more prescient in an era where technology has broken down nearly every barrier to creating music. In the 1970s, artists who wanted to record anything needed to convince record labels to rent them studios and invest in their craft. Today, entire albums can be recorded, mixed, and produced from the comfort of one’s own bedroom – and they are! Billie Eilish and her brother conceived When We All Fall Asleep, Where Do We Go? a Grammy-winning record, entirely on their home computer. As a result, the market is consistently flooded with a deluge of new music, and the only way to separate the good from the true masterpieces is to let time to the sifting.

    Diversity

    As a (likely intended) result of ushering in a whole host of new artists from the post-2000 era, many previously top-ranking classics have dropped, either disappearing from the ranking entirely, or ranking below newer, contemporary hip-hop artists. The new list is – to use the woke and progressive parlance of our times – no longer a collection of “old white guys.”

    Most notably, the Beatles’ 1967 concept album, Sgt. Pepper’s Lonely Hearts Club Band lost its previously held number 1 spot, plummeting down to number 24 – below both Kendrick Lamar’s To Pimp a Butterfly and Kanye West’s My Beautiful Dark Twisted Fantasy.

    The Rolling Stones’ cultural bookend to the 1960s, Let It Bleed, jarringly dropped ten points from 32nd down to 41st. The first double-LP in the history of rock music, Bob Dylan’s Blonde on Blonde (1966), dropped from the top-ten down to a measly 38th place — lower than both Amy Winehouse’ 2006 Motown pastiche Back to Black and a Beyonce album from 2016, Lemonade.

    Even Chuck Berry’s collection of singles that heavily inspired both the Rolling Stones and the Beatles dropped 30 points from 21st to 51st – now ranking below a new entrant: Jay-Z’s 2001 album, The Blueprint’ Roc-A-Fella.

    Among other sins, we have a 2011 Drake album, as well as Frank Ocean’s critically acclaimed 2016 record in the top 100, while The Who’s 1979 rock opera epic and creative zenith, Quadrophenia, is nowhere to be found.

    In his essay titled The Critic as Artist, Oscar Wilde wrote “A critic should be taught to criticise a work of art without making any reference to the personality of the author.” In other words, the artist’s personal traits – such as age, race, gender, or creed – should not dictate or influence how their art is perceived, or the objective qualities it possesses.

    Rolling Stone and their panel of voters clearly disagree, as revealed by the dozens of indelible classics from the magazine’s first list replaced by a much younger, more diverse and less tenured crowd.

    In his autobiography, Life, Keith Richards provides a vivid brace of Wilde’s argument as he reminisces on his early days listening to imported American blues as a budding English musician. “I didn’t know Chuck Berry was black for two years after I first heard his music, and obviously long before I saw the film… And for ages I didn’t know Jerry Lee Lewis was white. You didn’t see their pictures if they had something in the top ten in America. The only faces I knew were Elvis, Buddy Holly and Fats Domino. It was hardly important. It was the sound that was important.”

    One must ask whether the sound is still important to Rolling Stone.

    Stick to a Genre – Or At Least, Comparable Genres

    Yet another puzzling decision from Rolling Stone is their inclusion of just one jazz album in the top 50: Miles Davis’ 1959 album Kind of Blue at 31st, and far below its original ranking of 12th. Only two other jazz records, John Coltrane’s A Love Supreme from 1965 (ranked 66th) and Davis’ Bitches Brew from 1970 (ranked 87th) appear later in the compilation.

    Rolling Stone tried to explain their placement of Kind of Blue writing, “Turning his back on standard chord progressions, trumpeter Miles Davis used modal scales as a starting point for composition and improvisation — breaking new ground with warmth, subtlety, and understatement in the thick of hard bop.” However, modal scales were not even a concept pioneered by Davis. They had first been published in a book by jazz composer George Russel in 1953 (6 years prior to the Kind of Blue sessions) and employed by Charles Mingus in his 1956 record, Pithecanthropus Erectus (3 years prior to the Kind of Blue sessions).

    The far more convincing explanation for sandwiching three token jazz records amid a sea of rock and hip-hop – somewhere between Drake and Beyonce – is that those are the only jazz albums most people have ever heard of. At that point, why not include a symphonic recording of Beethoven’s Fifth Symphony? While Kind of Blue is indeed the jazz album that has pierced through the impenetrable wall of velvety cigarette smoke that separates the austere jazz listeners from the rest of the world, it is by no means the pinnacle of the genre. Kind of Blue invites with it an entire litany of diverse and eclectic jazz albums from Ornette Coleman’s The Shape of Jazz to Come to Coleman Hawkins’ Body And Soul, each rife with musical innovation and improvisation at a level far beyond anything offered by the four-chord pop progression cliches churned out by the music industry.

    If any catalogue claiming to present some arbitrary number of greatest albums (or books, films, etc.) hopes to be taken seriously, it needs to be useful. At the very least, it ought to be something we could give anyone entirely unfamiliar with popular western art to introduce them to the best we have to offer. But Rolling Stone’s revamped list of 500 Greatest Albums fails to achieve this, instead blending veritable classics with a dizzying array of disposable, modern chart-toppers, many of which will be forgotten by the time Rolling Stone decides to re-re-issue their list yet again.

    Harry Khachatrian is a Canadian computer engineer and a contributor at The Daily Wire. Find him on Twitter,

    The views presented in this opinion piece are the author’s own.

    The Daily Wire is one of America’s fastest-growing conservative media companies and counter-cultural outlets for news, opinion, and entertainment. Get inside access to The Daily Wire by becoming a member.

    https://www.dailywire.com/news/rolli...sity-inclusion

  13. #1673
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    does anybody else see that one group's album covers - the one with the old dude that's kinda skeletal - not Iron Maiden, but the other one - when they see Joe Biden (or Jim Carrey as Biden) with his dark aviators? Or is it just me?
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    Marshall Tucker, Columbia’s blind piano tuner, not the band

    https://www.coladaily.com/lifestyle/...xLbKWzLlwDio8U


    My very first concert without my parents when I was 15 was MTB at Blossom Music Center with B.B. King opening.

    I won the tickets on WMMS and my sister came all the way back to Willoughby from Kent* and took me to see them. She surprised me with a six pack that we drank on the drive there and a joint. I spent the night in Kent and she drove me home the next day.

    I won a MTB album also with the tickets (Tenth 1980). I'll always hold them in close respect to favorite bands while growing up.


    *Anybody who knows Ohio geography knows that Kent and Blossom are a stones throw from each other.
    Last edited by Number 47; 11.13.20 at 08:44 AM.

  15. #1675
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    Lol! The trophy generation starts to get ugly.

    Chill out dude, it's just the stupid Grammys.




    The Weeknd Lashes Out At The Grammys After Receiving Zero Nominations

    https://www.ladbible.com/entertainme...-fHGbG-1FEffrs

  16. #1676
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    This used to be my favourite forum - I love to talk about music and I like to hear/read others talk about music, but anymore it seems whenever I come here all that is new to see is three pages of videos that frequently look to be similar to the three pages of videos to scroll through last time I was here. I know most of the bands we love are either gone or running on fumes, plus with this stupid virus most everyone has been dormant, but there’s gotta be something worth talking about. Ah fuck it, I’m an old man ranting - carry on...
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    Quote Originally Posted by billy007 View Post
    This used to be my favourite forum - I love to talk about music and I like to hear/read others talk about music, but anymore it seems whenever I come here all that is new to see is three pages of videos that frequently look to be similar to the three pages of videos to scroll through last time I was here. I know most of the bands we love are either gone or running on fumes, plus with this stupid virus most everyone has been dormant, but thereís gotta be something worth talking about. Ah fuck it, Iím an old man ranting - carry on...
    Dude, Iíll talk music with you...and I know Iím one of the worst offenders about posting videos.

    Anyway. What are you listening to?

    Iíve been listening to, of all things, albums that came out in the late 70ís, nothing that Iíd normally gravitate towards. Bat Outta Hell, Jay Ferguson, The Long Run...etc Interesting period of time in music...recording production was uber slick, even if the music is a little weary. Hindsight being 20/20 you could point to that period as a transitional time, although at the time we didnít really know it.
    "Always hopeful, yet discontent,
    He knows changes aren't permanent
    But change is!"

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    It was when you think of the different things all happening then. There was a lot of rejection of the “old guard” happening - dinosaurs they called ‘em (but then in ‘88(?) I heard people referring to “Monsters Of Rock” as “Dinosaurs Of Rock” - punk came on, and then bands like The Clash and The Police took that and incorporated Reggae; there was the CBGB bands, there was yacht rock, everybody seemed to be adding a touch of disco, and of course new guitar whizzes in Scholz and Van Halen.

    Yeah, man, not trying to bring anybody down, just would like to see some of these threads come to life or some new ones (maybe “Rolling Stone” needs to put out another stupid list for us to mock!) - but over the course of all this time maybe we’ve all said what needs to be said!
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    For the record, I like Yacht Rock.

    I think by 1988, the acceleration in shifts of music can be laid at the feet of MTV and over saturation of singles. It also co-mingled style (fashion and image branding) with the music itself....that may have always been there, especially for certain sub genres of music, but MTV blew that up to ubiquity.

    All of the bands in the late 70’s, the yacht rockers especially...that clean slick production is my sweet spot. Disco sucks and all, but it brought back the emphasis on the rhythm section...and boosted the bottom end.
    "Always hopeful, yet discontent,
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    What in the fuck is yacht rock?
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