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Amazing to think about the mental and musical journey between “Touch the Sky” and “Good Life” to “Black Skinhead” and New Slaves.
“Black Skinhead” is absolutely incredible. I still don’t get “New Slaves” as much.
I didn’t dig this so much, but this “Black Skinhead” track he debuted on SNL is just awesome. http://www.nbc.com/saturday-night-live/video/kanye-west-black-skinhead/n36982
Sounds kinda like Queens of the Stone Age.
So agree with this. I read all the influences and was psyched to listen, but the record itself was a letdown.
Total “Time of the Season” drumbeat rip. Still love these guys.
Loving the drums/production on this thing.
You know what else just hit me? The Strokes are the US’s version of Oasis. Let me explain.
Both come into the rock music in a period when there are a dearth of exciting new rock bands and release incredible and generation-defining debut albums which inspire a whole new generation of kids to pick up guitars and bring rock music back into the consciousness in a real way. They then follow their debut successes with a very good sophomore record, if not quite as good as the debut that helps sustain and build their popularity. After a little while basking in success, they create third albums hampered by a sense of dislocation and drug abuse and cause people to decide that the magic is gone. Upon later review, those albums hold up somewhat better and have great moments/singles, but there’s no denying the disappointment. After a hiatus, they return with a bad album with some good singles and then as much of a return to form as anyone could reasonably expect. After that, band arguments/creative exhaustion cause them to break up, and the individual members go on to make fascinating solo projects . Years after their debut albums, they retain fans just out of sheer loyalty/devotion to the influential and brilliant early material with hopes that maybe they can recapture the spark.
It’s just a shame because if Liam is at the peak of his powers here more than since the 1994-1997 Golden Age and since Noel just made a really good record, Oasis could probably make a killer comeback record if they put aside the squabbling.
Wonder if they’ll expand this list, as they leave out some huge areas like Atlanta, all of Texas, etc. Maybe they really are getting to old for a huge trek.
I never thought I’d read something that positive written about John and Yoko’s Life with the Lions.
I don’t know if that’s fair. His first solo album has some great tracks, and the last Oasis record at least had great singles.
In retrospect, it’s amazing how much of a let down “Room on Fire” was received as at the time. I think the Strokes discography will only continue to rise in esteem with time, especially this record.
I’m Chipotle, and I’m here to provide digital burritos to all.
Hey Michael, the review makes it sound like you grabbed a copy of the leak where “50/50″ and “80′s Comedown Machine” were flipped by accident. It also sounds like that happened with “Chances” and “Partners in Crime” for you.
I love the album cover, actually. It’s their best (both cover wise and music wise) since Room on Fire.
Rob Sheffield has a thing with the 80s (his book “Talking to Girls About Duran Duran” is pretty great), so I think that music is just too personal for him to give a positive review to something that tries to reinvent it. That’s my theory anyway.
Interestingly, I almost feel a Phoenix vibe in songs like “Slow Animals.” As far as the album goes, what else could you want or reasonably expect from the Strokes at this point in their career?
I’m baffled as to why the reviews have been so bad to lukewarm. I think part of the reason I like this so much is that the album seems so much better than initial reviews suggested.
If Wayne isn’t the most important rapper of his generation (combining pop appeal with critical acclaim and innovation), than who is? It’s a serious question, and I’m wondering who people would hold up as the alternative.
Where’s your evidence Drake wrote most of it?
I think there are some fantastic tracks on the album that I will come back to (“The Stars Are Out Tonight,” “Love is Lost”) and the rest are really good but not fantastic.
What makes you say this? I always listen to it again and again hoping to find something I’m missing, and I usually don’t hear it.
I have really mixed feelings about Goats Head Soup. Sometimes I think it’s a lot better than people give it credit for, but other times I feel like it’s just a really weak and uninspired album. Also, anyone who wants to get into the early Stones has to own the London Singles Collection, some of the best rock and roll music ever made.
Is there any record as apocalyptic and terrifying as Let it Bleed? The only major disagreements I have here (besides that record being better than Aftermath) are that I think Tattoo You and Satanic Majesties are both even better records than he gives them credit for. My tiers would be as follows (in order):
1. Exile on Main St. / Let it Bleed/Beggars Banquet/Sticky Fingers
2. Some Girls / Aftermath / Tattoo You / Between the Buttons
3. Goats Head Soup / December’s Children / Out of Our Heads / Goats Head Soup