I don’t think he was the best rock guitarist ever. That’s the beauty of subjectivity: if we all felt exactly the same about every single musical artist in history…it would be pretty fcken boring. No lively discussions, no good-natured arguments…and most tragically, no finding of otherwise-forgotten songs that you discovered and cherished as your own personal “lost tracks”.
And Robert Christgau would have never come to be. And THAT would be a shame.
This? This is a bunch of decent songs you can kinda groove to in the background.
(“Purple Haze”, “Hey Joe”)
Why didn’t I review this band before? I mean, I don’t LOVE them, but I’ve reviewed plenty of (obviously) (much) lesser bands.
Oh well. Here goes…
Sounds good from the start. “Hey Man, Nice Shot” isn’t about Kurt Cobain, to make it less interesting for you.
It’s got a shorter version of The Crystal Method’s “Trip Like I Do” that rocks.
But wait, there’s less!
Takes a dip after track five, but even the filler isn’t all that bad.
I really like Richard Patrick’s voice; when soft it conveys sensitivity and yearning, but he can also roar in fury with the best of them, and he seems to know when to do which most effectively.
Inspirational Quote: “Oh my God, this is the best…”
(“Hey Man, Nice Shot”, “Jurassitol”, “Take A Picture”)
The general critical consensus, as I understand it, is that most of Paul’s post-Beatles work is substandard.
And there’s a LOT of it, so I’m not going to waste my time.
This, on the other hand, is a pretty good album if you don’t expect too much from it.
And if you include the original American album release track “Helen Wheels”.
(“Band On The Run”, “Jet”)
2/12/25: Further listenings call for scalping off a few of the lesser ones here, mostly in the second half. Still a really nice atmosphere, though.
Grade: B
5/5/25:
Ultraviolence (2014)
At first I dismissed her as a one-shot with “Video Games”, then as a two-shot with ‘Born To Die: The Paradise Edition’, but I just thought I should give more of her stuff a chance.
Huge letdown here.
Only “Ultraviolence” is really worth your time: it swirls and reverberates like a good trip or drifting off into a dream-filled sleep.
A few others have moments here and there, but overall fail to deliver. I mean, they produced the Hell out of this and it’s still doomed by bad writing.
(“Ultraviolence”)
Distinctive vocals, that’s for sure. But my overall displeasure at the musical results is just as distinct.
There’s one great female-Meatloaf-ian song (no, not the “I’d do anything for love…” one), but most of it is just embarrassing and/or head-shaking and giggle-producing.
And it’s covers plus hired songwriting; nothing from Ms. Tyler. I *hate* that.
“I’m livin’ in a powder keg and kickin’up sparks…” *blazingly defiant, energy coursing through me, shown in my eyes and crooked smile*
Found this randomly and gave it a (there’s-no-other-way-besides) quick listen.
It’s barely what I (and most people, at least before I got old) call an EP, which was good in two ways:
1) I didn’t have to listen long if it sucked and I wanted to review it anyways, and
2) The ratio of decent noise to sh1t is a lot higher when you only have to fill out 12:41.
It’s not bad. I have no idea WTF they’re talking about, nor do I care, but it sounds somewhat interesting.
Will it hold up to repeated listenings? No idea, cuz I’m gonna leave it at this and move on.
So, you know, if you like hard rock where the vocals are (mixed in and) basically dual/do-all hooks with the music, give it a try maybe?
Buying individual “albums” of hers is a waste of money.
Everything you need is here, not that there aren’t other nice/pleasant songs out there, but the appeal is so similar that it’s just not worth it.
Lots of nice, pleasant melodies sung by a really, really good and impressive voice. And the fact that she was pretty gorgeous doesn’t hurt the enjoyment.
So basically just get it started, and don’t worry about being too distracted. You’ll get a nice, pleasant feeling that won’t interfere with anything important you actually have to do. Because there’s nothing “important” here.
Once in a while a song sticks out and is a bit more enjoyable than usual, and there’s nothing embarrassing here, which is nice.
Then again, I’m so hopelessly out of date that this should be taken mainly as nostalgia.
(“Long, Long Time”, “You’re No Good”, “Hurt So Bad”)
“…these dreamsongs are nightmares of a world in flames, the kind you remember in all their scary inconsistency because you woke up sweating in the middle.” – Robert Christgau
With R.C., sometimes the review is more enjoyable and more fun to OCD to than the actual song/track/record/cassette/cd/mp3/beyond-my-comprehension.
In this case, I think “screaming” would be more appropriate, more image-inducing, more interesting. But he’s the best. Was, at least.
I am more and more uncomfortable with my failing relevance to things after “In my day…”
So out of touch that there’s really no point in trying to get current…impossibility takes a lot of pressure off.
So, next generation, you go out there and kick some a$$, metaphorically speaking.
“My daughter’s just discovering Nirvana…and…she…she’s realizing the energy; that energy that she feels when she listens to it…it’s not something that she’s heard from her generation. She hasn’t heard that. She told me; because I said ‘Ok, so nothing you’ve heard reminds you- “Uh, there’s nothing like that. Nothing is exactly like that.”‘ – Tori Amos
I assure you, I am still the BEST comic writer on this website.
AND…come 8/27/16, Grimmsy will carry on – hopefully with pictures, but if not, then without.
To prepare for this, I’d like to acknowledge the following works of art and sources that I shall, at some point, in some way, be citing, quoting, drawing from, naming, referring to, etc etc etc…
– The efforts of certain Deviantart.com users
– The “Twilight Harvester” pet from Subeta
– old Looney Tunes (style)
– The Grim Reaper (many forms)
– The “Chibi” concept
– Era Nocturna – “Beautiful Death”
Her eyes would be closed the whole time, and her arm would move as smoothly and gently as the music washes over you.
As to what this song meant to her, the only hint would be the very faint smile in her eyes when she finally opened them; if you were watching very carefully…and even if you had no idea what it meant, you would know that it was completely without guile.
FAIR USE: CRITICISM – A brilliant ending to a very interesting movie.
The majesty, grandeur, power, sadness, and darkness without the scariness.
She’d find a way.
FAIR USE: CRITICISM – This clip is majestic, grand, powerful, sad, dark, and scary.
7/8/25: Unavailable because someone doesn’t like the idea of me making no money whatsoever off their song and championing it as worthy of a beautiful character.
Though the ending is still one of the most touching and genuine displays of devotion – to one very easily abandoned, and for nothing in return – I’ve ever seen.
That’s true friendship.
FAIR USE: CRITICISM – A short display of the best actor in a fairly cheezy movie.
Altered slightly, of course. But the main emphasis would be the joyous refrain – so it would be “composed” well into her character development, and at least partly as a tribute.
FAIR USE: CRITICISM – Uplifting music from a good – if slightly overrated – movie.
This is a song Anna played for her husband when she wished to relax him, or as he fell asleep – if he needed to – without her.
pose shifts the violin ever-so-slightly against her left shoulder, cradling it now as a newborn; something treasured, precious, delicate. Her head lowers to the point where it actually is touching the base of the instrument, making them, for the moment, joined. As her eyes begin to close, she exhales once, softly but faintly audible. Eyes closed completely, her right arm lowers the bow to slightly below the bottom string of the violin, hovering just above it for a moment or two.
pose begins to raise the bow…and the sound is very soft, gentle, soothing. She seems to glide along just over the strings, barely touching them, drawing forth muted, gentle responses. Eyes remaining closed, her expression does not change at all as the quiet melody begins to unfold; gradually, in no hurry to present itself.
pose continues to play, and the melody is a very simple, basic one; subtle variations and reprises of a fairly short series of notes. The tone continues to be soft, soothing…suitable for dancing, even, perhaps, if one was inclined to dance to such music. She moves the bow very calmly, as if she has all the time in the world to play, allowing the notes to gently emerge.
pose seems proficient enough, especially given the relative simplicity of the arrangement, as no mistakes are audible…the bow simply slides, slowly, back and forth…matching the notes, the very subtle swaying of her head…eyes still closed, face serene, soft, and gentle. They continue to pour out, similar enough to sustain a consistent melody, but varied enough to keep things from becoming monotonous, beginning to sound very much like the gentle lapping of small waves; over and over, almost hypnotic in their simple, basic beauty.
pose continues this for some time, the sounds washing and echoing faintly, expressing a different place, a different world.
pose seems to reach a point where she pauses the song; she simply plays the same three notes, all as soft as whispers, repeatedly, over and over. Her movements match the notes, and her focus is just as it was at any time before; she seems lost in her music, as if she is playing as much for herself, perhaps, as anyone else that may be present.
pose returns, after a bit, to the gentle, simple melody. The variations are slight…still calm, the lapping of the waves fading barely, giving the impression of time passing; the tide slowly going out, returning to its home. She plays this for quite a while, altering it just enough but maintaining the basic, simple melody.
pose pauses, eyes still closed, bow still on the strings, for a moment…the music virtually fades away before she moves her arm again, drawing out the soft notes out individually now, separately, displaying each as if they are saying their sad goodbyes. Eventually, reaching the end of the melody, she pauses, hesitant to release as the notes were…lifting the bow gently up, she exhales almost inaudibly.
