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| *ginda |
Annie -
Steelie is at GasX3. Pop over for a minute. |
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| ~AzQb |
ginda*
...aving read it, "silent screamin sirens".
What's the best course of A{A}, Prof?
Someone i love sounds in t-r-o-u-b-l-e.
~ |
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| *ginda |
~AzQb -
We may need to call in Paulie Walnuts. |
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| gypsymofo60 |
quote:
jb wrote:
The kinks are highly overrated...really a 3rd class Who.
.......JB- That's the most succinct statement to come from you outside of a court of law!.....By the way, I was always under the distinct impression that UNIVERSAL punk was kicked off by The Throb, or SAM SHAM....that Lenny Kaye compilation is apparently regarded as a very good guide to very early PUNK...Like even pre-Ramones, or IGGY..NUGGETS!!!!!!!!!!! |
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| corgi37 |
apart from the stones, the who are probably my 2nd band (though depending on the price of the cheap cask wine i drink, the doors and led zep come close). However, i would like to make another controversial statement, along with original comment on this thread. The Who were shit until Live at Leeds, on record anyway. Their albums prior to Tommy are unlistenable today. And, Tommy. Well, along with Sgt Pepper, what a fucking piece of shit. Recorded so badly, its a disgrace. Live at Leeds is fantastic though. But, really, the Who were only a singles band until Who's Next. Dont forget, Quadrophenia stiffed, Who by Numbers is "fuck i'm rich, not happy, and you all are gonna hear about it", Who are you is pathetic (big hit, but so dreadfull) and Face Dances is the 2nd worst album released by a major act. No: 1 is In through the out door, No:3 is Dirty Work. The "Who" (and they aint da orrible oo since Moonie carked it) only get together to pay Rogers yearly house rates. The Kinks are in the same category as the Who up to 69. A charming example of an era, but i would nt hang my fucking hat on them. But, i gotta say something about a real forgotten band. The most successful band from 68 - 70. Creedance Clearwater Revival. they never get a show in any top 5 lists of important bands. But it tell ya, Neil Young has made a fucking whole career out of copying them, and there would be no eagles (maybe thats a good thing) or LA mid 70's sound without them. They outsold the beatles, stones, who, you name it, 3 times over from 68-70, made countless classic standards, influenced millions of bands, yet you hear diddly squat about them? They even wore flannel before Mr. Young or the headless Kurt Cobain too! |
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| Maxlugar |
The Kinks overrated?????
What the hell????
They are never mentioned on any countdown show.
NASTY!! How can you lot LOVE Low Budget???? It's one of the most timely and relevant albums they ever made. It also signaled the end of their stupid foray into Rock Opera. Muswell and Arthur may just be Rock Opera but they should have stopped there. And Give the People Want they want is superb!! That's one of the albums without a bum track on it.
I beg all of you to put on Arthur some time. This album is simply one of the greatest works of art any Rock band ever made. Pink Floyd waited about 10 years then copied it and called it the Wall.
CORGI!!! Why do you do it to me? Why do you name Dirty Work your #3 worst album by a big band??? |
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| JumpinJackFlash |
Corgi's right about Creedence Clearwater Revival, Not many band's out there came up with countless song's and alot of album's in a short while. Song's that are real good, too, I mean not just one or two good song's, but the whole album. And when you look at the quality, in the music, and the lyric's, they were not just song's to plug intop the album. The Kink's, well I really enjoy the Kink's as well, perferablly, "The Last of the Steam trains," I could have sworn it was Dylan, but no. Anyway, music in general must have been one hell of a blast back then, getting album after album of good music, compared to this crap nowaday's, God damn shit music, thank god my pappy left me all his records when I was a teen, which even now, seem's long ago.. |
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| Maxlugar |
CCR is indeed great.
Just wanted to weigh in on that.
Bye.
MAXY |
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| Nasty Habits |
Creedence is great, but just who are they forgotten by? Seems like everytime I ever pass by an oldies station, they're singing about playing in a travelling band or wondering who will stop the rain. I can never keep copies of Green River or Willie and the Poor Boys or Cosmo's Factory in stock at my store -- they get scooped up the instant I put them out. The People Love Creedence!
Corgi -- I am beginning to understand why you hate the Clash if you don't like The Who Sing My Generation or The Who Sell Out. Same w/the Kinks -- If you're not down with Kink Kontroversy, or Well Respected Men, then there's no way that you're ever gonna dig three minutes of brutal punk force - you don't even like it when bands you consider good do it. Tell me -- when do the Stones start measuring up for you? Do they suck up until Beggar's Banquet?
MAXY! You know as well as I do that I was just giving you shit. I have never warmed to Low Budget like I have to some of the 80s Kink LPs. While I agree that it shakes off a lot of the boredumb from their dire Schoolkinks in Disgrace period, something about it has always rubbed me wrong -- It's like a poor man's Some Girls and a very obvious "arena rock" move -- witness their next album, that bloated double live One More from the Road. Which I don't love either. I love LIVE: the Road much more -- do you know that album? Great versions of GTPWTW and SOC tunes. And, yes, Give the People What They Want IS superb. Probably the #3 album released by a 60s identified band/performer in the 1980s.
The number one, of course, being Dirty Work.
[Edited by Nasty Habits] |
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| sirmoonie |
The Who Sing My Generation is far from unlistenable - 'twas influential on punk too.
Young made a career of copying CCR? Say what niggie?
Great thread! Keep going!
I forget where I am, actually. Is there lesbian stripper in this thread? If so, keep going! |
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| sirmoonie |
quote:
Nasty Habits wrote:Corgi -- I am beginning to understand why you hate the Clash if you don't like The Who Sing My Generation or The Who Sell Out.
Yes! I was saying the same at the same time Nasty. Amazing how many great minds on this board think like my great mind.
Yep, the Kinks went formula arena hard rock, but it blew away all the rest. I think they had too, since no one would buy their records.
One From the Road was first Kinks I ever bought. Used bin. It turned me on to their sound and is interesting the way the turned all their earlier material, e.g., 20th Century Man, into hard rock.
One band I definately regret never seeing. |
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| Maxlugar |
This is a great thread Moonie.
When all is said and done, I'm going to print it out and encase it under an inch of lucite on the top of my bar.
I just hope SS'y is still my friend. I'll have to keep a beer coaster over that part......
So....
Who's up for another 5 pages?
Here goes:
Voodoo Lounge is so much better than B2B, I can not even take it!
Can anyone, ANYONE, tell me what was going through their minds when they did THAT one?
Sheesh!!!
(laugh track)
Macksee!!!
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| RubyFriday |
quote:
corgi37 wrote:
The Who were shit until Live at Leeds, on record anyway. Their albums prior to Tommy are unlistenable today. And, Tommy. Well, along with Sgt Pepper, what a fucking piece of shit. Recorded so badly, its a disgrace. Live at Leeds is fantastic though. But, really, the Who were only a singles band until Who's Next. Dont forget, Quadrophenia stiffed, Who by Numbers is "fuck i'm rich, not happy, and you all are gonna hear about it", Who are you is pathetic (big hit, but so dreadfull) and Face Dances is the 2nd worst album released by a major act.
The Kinks are in the same category as the Who up to 69. A charming example of an era, but i would nt hang my fucking hat on them.
I am speechless.You are talking of a few of the most important and influential albums of rock history.
So,if I understand right,your 2nd loved group is The Who though you only like Live At Leeds ?
Holy cow,did you taste some of the cheap wine,you mentioned ? |
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| ~AzQb |
MaXYPrOvEnPuP!
I'm up for another five pages.
I think with this whole thread it really comes down to London and New York, no matter how raw some Detroit bands were, no matter how "pre" punk.
And i say that because without the back and forth slam dance of Joey&TheRamoans{sp. intentional} and the Pistols/Clash, there wouldn't have been something of a revolution as to back to basic shit, raw stuff, and i forgot who mentioned it {i think stonedinaustralia} ...the fact is it was just plugging in whatever you happened to have on hand-- no fancy crap-- and expressing yourself.
Technical virtuosity be damned.
So it begs the question: whatever you might think of Cobain's crap, at least he got back to that. The "industry" might have tagged Seattle shit "grunge" but i really believe Cobainpain was in a punk vein.
Anyway 
Poor kid.
~
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| Sir Stonesalot |
Still your friend?
Why wouldn't I be?
You like what you like, I like what I like, and we both love the Stones. What's the big deal?
Heck, I even feel bad about bringing up your youth. That was my mistake...I walked on the grass when the sign clearly stated to stay off of it.
Leave the beer coaster offa that part. We can point at it some day and giggle like schoolgirls.
If I was gay Maxy, I'd want you to be my girlfriend. |
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| jb |
I am getting nervous about the shows..I had to take Miralax last night.
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| ~AzQb |
HeYjOsHiN'!
I'm not familiar with this one...is it in the diazapam or xanax chemical makeup? Is it Lilly made? How long has it been marketed?
~your friendly pharmacist, RoTfLmAo! |
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| Prodigal Son |
Well, now I see why you slagged the Clash, Corgi. You thought the Who were unlistenable up until 1970! Live at Leeds is them at their peak on stage. They put so much sheer power into the songs that it's overwhelming. Everything until 1970? Badly produced, but not bad material. My Generation, IMO, was THE ultimate punk album (minus self-loathing) until The Clash in 1977. Even more definitive than The Ramones first in 1975 because it had more cultural revelance in what it said.
(i've decided it's much more readable to use paragraphs)
The Who Sell Out is a masterpiece of pop/rock buddy. A Quick One is a failed experiment but decent nonethless thanks to "Happy Jack," "So Sad About us" and "Boris the Spider." Tommy is a bit tedious, but still a better concept than Sgt. Pepper! Then Live at Leeds and Who's Next rank in my top 25 list of all-time rock albums. Quadrophenia is better than Tommy, in fact it is wonderful. By the Numbers is okay, it does a great job of rock star self-analysis. I only consider "Slip Kid" and "Dreaming from the Waist" to be prime Who. Who Are You is a disappointment, more about fighting age than lamenting it like By the Numbers. It has great moments like "Music Must Change," 'New Song," "905" and the title track. Yet, it's their death knell. Now, although Townshend had good solo albums, Face Dances and It's Hard were awful. Both of em! "Athena," and "Eminence Front" are the only Who classics from these two.
The Kinks are definitely great. I now have all their albums up to Muswell Hillbillies (except Lola). Even their 70s stuff was great at times. Gotta love "Destroyer." Let's not forget how Ray Davies is one of the best songwriters of the 60s!
[Edited by Prodigal Son] |
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| ~AzQb |
Yeah ProDigAL!
Nice to "see" you around here and i agree the assertion made is ludicrous. Personally ByNumbers is a favourite, but there's so much more.
"We were the first band to vomit in the bar
and find the distance to the stage too far" ya know?
And trashing their "means" to smithereens-- if that ain't a precursor to Pistols/Clash/Ramones, et al.--hell, i don't know what is.
~ |
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| Nasty Habits |
If we're just going for the sake of going, then I can certainly say HUH? to AZ~DZ's assertion that the Johnny Thunders was less important than the Ramoons in the great scheme of things.
It was the New York Dolls that Malcolm McClaren found so appealing when he came to New York and the New York Dolls that he managed during their sad period of final willful destruction.
It was the Heartbreakers who hooked up with the Pistols in England and the Heartbreakers who hung around for months, recording the great LAMF record and showing all those little London boys how rock and roll could really be played, and that maybe they shouldn't be so eager to "destroy" it after all.
Any time that Joneses Steve or Mick attempt a rhythmic chorded solo they are channeling Johnny Thunders.
It was the DOLLS that came under the Pistols' fire in the song NY,NY.
It was Johnny Thunders who was there for Richard Hell when Richard left Television, giving Hell more visibility, and as we all know, good Richard is responsible for the entire Britpunk torn shirt safety pin aesthetic.
At my count, Johnny Thunders is responsible for 1. The New York Dolls. 2. In Too Much Too Soon. 3. LAMF. 4. So Alone. 5. Live at Max's Kansas City (the only place you'll hear a good version of Little London Boys, Johnny's brutal punker than thou attack on the Pistols et al) and 6. Too Much Junkie Business, a great recording of demos and live cuts produced by fellow junko partner Jimmy Miller, whose name might ring a bell around these parts. Among many other recordings and a smattering of great songs hither and yon on crappy unfocused LPs.
Not to mention that it was the Dolls who inspired the Ramones in the first place.
Of course, this is not to knock the Ramones, but one mustn't brush Johnny Thunders under the rug so lackadasically.
And Maxy, whatchoosmokin anyway? Bridges to Babylon kicks Voodoo Lounge's ass from here to Shangri-La.
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| ~AzQb |
NaStY
I said i would always give you my ear, and now you have both.
Seeing what you mean about the NYDolls, Hell, and Thunders, i stand chronologically corrected-- excepting Joey would've gotten contacts before he ever wore lipstick like Mr.Johansen.
Thing is, all of what you assert might be true, but for me stamina counts for more. Everyone else crashed and burned--o'd'd and started to MTV on the "new" wave of money-- and even the bands who didn't-- broke up in incestuous dysfunction and ego-- or perhaps worse still, didn't have any records left in them but rode "the wave" anyway.
Little Jeffy Hyman just kept spinning along-- on the downlow and prolific, choosing outside projects with discernment and grace--{rememeber when he did that record with Ronnie Spector a few years ago before he died?} and never felt the need, financially or otherwise-- to put himself "out there on the wave".
No, Joey only cared about the fun and joy of writing and singing songs--and more importantly, to me anyway-- he still had tunes of excellence up until the day he died.
Yeah, i guess i'm getting at "how much is actually in there" from a songwriting perspective. I mean, even D.Johansen pretty much burnt out and started acting long ago, ya know?
~
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| Maxlugar |
No way man!
Voodoo Lounge is much better than B2B!!
Lets have a vote!
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| 100 Years Ago |
ByNumbers is very underrated, there was no where for the Who to go after Quadrophenia, the only choice they had was to strip down, no synths, no concept, no pretense, just Nicky Hopkins and 9 or 10 ten tunes of brilliant Townshend, the cover says it all and Nicky Hopkins to boot, should've been a solo album, but then again no, Who Are You is a great record, alot of different moods, interesting experiments, great Townshend and some of Entwistle's best tunes. I think some of the best Who material was never released on proper studio albums (ex. Pure And Easy, Join Together, Naked Eye) that's why I've always enjoyed the hell out of Odds And Sods and Join Together, a brit import i used to have on vinyl.
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| 100 Years Ago |
I vote for VL...
B2B gets points for taking some music chances but VL is a more solid set of songs. Alot of B2B sounds too digital, processed, VL has a nice classic warm sound. I like both more than the sterile Steel Wheels, but less than DW or UC (the last albums where the Stones had that grab ya by the balls badass outlaw swagger!) |
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| sirmoonie |
I'm witcha 100 Years. By Numbers was deliberate down-scaling, where else could they go after conquering so many new worlds?
Odds and Sods was the first album I ever bought in my life. I was like 9 or 10 years old and still have the cassette with little notes like "good" "great" and "sucks" on it. I think Put the Money Down is the best tune on the album - recorded in 1969, it was the first glimmer of just how powerful the Who would become.
--------
Bridges by a mile over VL with its lame rockers, wimpy ballads and filler all over the place. Every song on Bridges has something interesting. |
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| Prodigal Son |
Ah yes, those drag queen glam punkers, the New York Dolls!? Looking for a kiissssssss on my list.... And man was that Buster Poindexter the bomb or what? Feelin' hot, hot, hot!!! Aaaarryyybbaa!!! David Johansen was Oscar-calibre in Mr. Nanny! (poor guy is so overlooked he became a lounge singer to sell records).
Getting on with it... Odds and Sods really is one of the best official bootleg albums. So many wonderful unreleased tracks: "Glow Girl," "Time is Passing," "Pure & Easy," "Long Live Rock," "We Close Tonight," "Water," "Put the Money Down," "Naked Eye" and only a couple of crappy ones.
By the Numbers, after just listening to it to refresh my memory, is an anamoly in the Who's catalogue. No standout songs, no Who radio classics today (I doubt "Squeeze Box" is a shining moment of theirs). But yet, it's still a moving album. B+ from me, the dean of rock. Of course, I do love "Slip Kid," "However Much I Booze," "Dreaming from the Waist," "In a Hand or a Face" and the damn-straight "How Many Friends?"
Poor Petey in his identity crisis was way more rocking and witty than most rockers going through that kind of mellow depression... just look at John Lennon (sounds good, yet strangely pitiful on Walls and Bridges) or Neil Young (great music, but he sounded disturbed around the times of his friends OD'ing left, right and centre). Pete always could do that stuff. I mean, "Blue, Red and Grey" is a happy number with sunny lyrics, but it's a depressing song! How does he do that!!!??
There are the good filler tracks too like "Success Story," "Imagine a Man," the goofy "Squeeze Box," and "They're All in Love." It's true, stripping down the music to no synthesizers was a good move to sort of take a look back on the Who's legacy. Well, it's still great to hear considering the synthetic rock being pumped out that year (1975)... then again, the hedonism of Stones World Tour '75 saved the whole year right then and there, baby!!!
[Edited by Prodigal Son] |
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| ~AzQb |
NaStYbOy?
Are you still around ?
~RoTfLmAo~! |
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| stonedinaustralia |
quote:
Nasty Habits wrote:
good Richard is responsible for the entire Britpunk torn shirt safety pin aesthetic.
i thought he also came up with the best description or label for the whole affair as well
as this thread shows the word "punk" has been so overworked as to be almost meanignless unless it is accompanied by a string of qualifiers (esp. when pepole start talkng about "new wave")
i mean, if people ask me i always tell them - "i belong to the blank generation and i can take it or leave it each time..."
[Edited by stonedinaustralia] |
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| ~AzQb |
stonedMinaustralia
How come it seems whenever i want to take a course @ GlimMeRgLaMU all the experienced Profs are gettin drunk on holiday? {LOL}
I learn a lot from these guys-- i mean i was only eleven in '76
~RoTfLmAoAo!~ |
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| Sir Stonesalot |
I tried to tell you Annie.
I was about to bring up Richard Hell this evening, but someone beat me to it.
Man, how great was Television and the Voidoids?
And "Blank Generation"? Fuck all if that isn't THE quintessential punk anthem....only because almost no one ever heard it.
Love comes in spurts. |
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