BimboBob
Well-Known Member
Never seen it. For me they are too polished, too many writing teams. The simplicity of UK stuff like Blackadder, Fawlty Towers etc etc is the key. A couple of writers, sorted.
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The Album Review Club - Week #191 (page 1286) - Harlequin Dream - Boy & Bear
- Thread starter RobMCFC
- Start date
The experience of watching always sunny is a bit like this.Yeah that wasn't an overly serious suggestion on my part. At least Frasier had likeable characters, well Eddie at least.
People tell me I would like It's Always Sunny In Philadelphia because apparently it's an anti-sitcom, whatever that is.
It is a show I both like and despise. I manage stretches of it, then I have to stop, it drives me nuts. Then forget all about it, then retutn to it, then like it again, then hate it again. Taken me years to get to season 4, and there are like 20 million more to go.
Don't think I'll agree but not quite there myself yet.It's June 1992, and an album had just come out that blew my tiny mind. Angel Dust. One of my favourite albums ever. Faith No More went in a completely different direction after The Real Thing, mainly due to Mike Patton actually having some influence on the music rather than just rushing out the lyrics like he had done for the previous effort. A mighty fine effort though it was.
Now we get soaring vocals, banging bass, samples and songs that move from the sublime, Midlife Crisis, to the ridiculous, the cover of Midnight Cowboy. You even got a cover of the 70's Commodore hit 'Easy' if you bought the re-release a year later. There's even a wee bit of country in there with R.V. It's an album that takes you to the highest highs before dropping you down to the lowest of lows. As a reinvention it's an absolutely stunning piece of work. As a stand alone album it's a work of genius.
Bollocks. You want me to talk about the other album from America that came out in June 1992 don't you. The one where the lead singer makes Liam Gallagher sound like a professional opera singer.
The one that could grace the closing credits of my most favourite tv show ever, you know, the one where they all stand around looking gormless until it's their time to utter their inane and drivelsome lines. The one where one of them got drunk and they all acted like it was the end of the world.
Or the time one of them started to smoke, no, not because of their excellent acting ability, but because it seemed so cool, and they all piled on.
Or that one where a big moustache got a studio audience to whoop and holler like they all had been handed 2000 dollars to leave. You really couldn't make it up. Oh, they did. Shit.
The band where the lead "singer" Evan Dando, probably through no fault of his own, was a media darling. Handy if you have a band to promote. Especially a band that really has no redeeming features. Guitar? Well it's there, I can hear it, though not loud enough to drown out the horrible singing. The drums. They keep time, mostly. And in Turnpike Down they nearly drown out dear old Evan. I wish someone would.
Songs? Shame About Ray has a pleasing guitar key change. Which Soundgarden nicked two years later for Black Hole Sun. Obviously a lie. But you heard it here first.
Score?
It's dire pish. A monotonous dreary offering. And this is from someone who quite likes stoner/ slacker rock.
2/10
However, credit for pish.
None whatsoever!Meetimg up with some of the posters on the Labour thread ? ;-)
I'm not fussed about Oasis but seeing the excitement of everyone who is, I kinda wish I was; if that makes sense.
mrbelfry
Well-Known Member
It's Always Sunny is smug, arrogant and pretty funny in a "I can't believe they did that" way. It's hard to recommend and if you watched it you'd know why but I like it a lot
Pretty much this.It's Always Sunny is smug, arrogant and pretty funny in a "I can't believe they did that" way. It's hard to recommend and if you watched it you'd know why but I like it a lot
It has aged fucking terribly though.
BimboBob
Well-Known Member
And nothing for wee?Don't think I'll agree but not quite there myself yet.
However, credit for pish.
Should have listened to The Melonheads mate.It's June 1992, and an album had just come out that blew my tiny mind. Angel Dust. One of my favourite albums ever. Faith No More went in a completely different direction after The Real Thing, mainly due to Mike Patton actually having some influence on the music rather than just rushing out the lyrics like he had done for the previous effort. A mighty fine effort though it was.
Now we get soaring vocals, banging bass, samples and songs that move from the sublime, Midlife Crisis, to the ridiculous, the cover of Midnight Cowboy. You even got a cover of the 70's Commodore hit 'Easy' if you bought the re-release a year later. There's even a wee bit of country in there with R.V. It's an album that takes you to the highest highs before dropping you down to the lowest of lows. As a reinvention it's an absolutely stunning piece of work. As a stand alone album it's a work of genius.
Bollocks. You want me to talk about the other album from America that came out in June 1992 don't you. The one where the lead singer makes Liam Gallagher sound like a professional opera singer.
The one that could grace the closing credits of my most favourite tv show ever, you know, the one where they all stand around looking gormless until it's their time to utter their inane and drivelsome lines. The one where one of them got drunk and they all acted like it was the end of the world.
Or the time one of them started to smoke, no, not because of their excellent acting ability, but because it seemed so cool, and they all piled on.
Or that one where a big moustache got a studio audience to whoop and holler like they all had been handed 2000 dollars to leave. You really couldn't make it up. Oh, they did. Shit.
The band where the lead "singer" Evan Dando, probably through no fault of his own, was a media darling. Handy if you have a band to promote. Especially a band that really has no redeeming features. Guitar? Well it's there, I can hear it, though not loud enough to drown out the horrible singing. The drums. They keep time, mostly. And in Turnpike Down they nearly drown out dear old Evan. I wish someone would.
Songs? Shame About Ray has a pleasing guitar key change. Which Soundgarden nicked two years later for Black Hole Sun. Obviously a lie. But you heard it here first.
Score?
It's dire pish. A monotonous dreary offering. And this is from someone who quite likes stoner/ slacker rock.
2/10
FogBlueInSanFran
Well-Known Member
It appears the board has grown rather grumpy despite the disappearance of Mr. Grumpy, so I'll steer us back onto a brighter path. I've always really liked this record, having heard it first while on a holiday break from graduate school whilst on a plane to Hawaii. Perhaps such first exposure predisposed me to be positive, but there is no doubt I also wore out the cassette tape deck for a few months listening (in part because my wife also liked it), and repeat plays over the last 30+ years (and recently) have done little to diminish its appeal. It's punchy, quick, hooky and short. It's a one-night stand of a record -- unsurprising in that Evan Dando has some things in common with Jim Morrison, except different tempos and different drugs. Dando was accused of being "better-looking than talented, and more talented than smart" by a music critic of the day, and however fair that is, like Jim Kerr, I don't care (Kerr?), since the songs get me out of my seat and I want to hear them again. It's also true that I probably tend to give records where I don't hear any weak songs higher scores -- consistency over the course of an entire record matters a lot to me, especially when it's just a collection of tunes rather than a record trying to make a larger artistic statement. The artistic statement here appears to be that Evan knows being a frontman gets him chicks, even (Evan?) if he has nothing interesting to say which best I can tell he does not. But did any yank alt slacker proto-pop-punk band have that much to say in the early 90s? Even the ones I like best like Superchunk and Sugar and Sonic Youth didn't, and neither did the ones I don't like (like Pavement). Now Archers of Loaf did, but that's a story for another day. Anyhow, that's the lens through which this record should be seen (I reiterate), not Nirvana FFS, even if you want so say Dando shifted style (the musical equivalent of taking a long-needed shower, plus shaving and using deodorant). As with Simple Minds, I know all the limitations but this is another instance of great junk, with bombast and an ambition to be famous replaced by cheekiness and an ambition to get laid. Of the tunes, "Confetti", "Shame", "Rudderless", "Turnpike","Ceiling Fan" and the cover all ring my chimes pretty much dead on, and the rest is all listenable, even "Frank Mills". I promise, retirement has not turned me soft -- I am sure I will find something to grouse about like my brethren are doing in future -- but resisting an old if flaky friend from my younger days isn't going to happen today. Rust never sleeps but I'm still too young to rust. 8/10.
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Saddleworth2
Well-Known Member
When we were talking about this album, my Daughter whilst agreeing with most of my criticism said, Dad, its music for teenage girls not old farts like you and the rest on BM. (She is a Blue too).It appears the board has grown rather grumpy despite the disappearance of Mr. Grumpy, so I'll steer us back onto a brighter path. I've always really liked this record, having heard it first while on a holiday break from graduate school whilst on a plane to Hawaii. Perhaps such first exposure predisposed me to be positive, but there is no doubt I also wore out the cassette tape deck for a few months listening (in part because my wife also liked it), and repeat plays over the last 30+ years (and recently) have done little to diminish its appeal. It's punchy, quick, hooky and short. It's a one-night stand of a record -- unsurprising in that Evan Dando has some things in common with Jim Morrison, except different tempos and different drugs. Dando was accused of being "better-looking than talented, and more talented than smart" by a music critic of the day, and however fair that is, like Jim Kerr, I don't care (Kerr?), since the songs get me out of my seat and I want to hear them again. It's also true that I probably tend to give records where I don't hear any weak songs higher scores -- consistency over the course of an entire record matters a lot to me, especially when it's just a collection of tunes rather than a record trying to make a larger artistic statement. The artistic statement here appears to be that Evan knows being a frontman gets him chicks, even (Evan?) if he has nothing interesting to say which best I can tell he does not. But did any yank alt slacker proto-pop-punk band have that much to say in the early 90s? Even the ones I like best like Superchunk and Sugar and Sonic Youth didn't, and neither did the ones I don't like (like Pavement). Now Archers of Loaf did, but that's a story for another day. Anyhow, that's the lens through which this record should be seen (I reiterate), not Nirvana FFS, even if you want so say Dando shifted style (the musical equivalent of taking a long-needed shower, plus shaving and using deodorant). As with Simple Minds, I know all the limitations but this is another instance of great junk, with bombast and an ambition to be famous replaced by cheekiness and an ambition to get laid. Of the tunes, "Confetti", "Shame", "Rudderless", "Turnpike","Ceiling Fan" and the cover all ring my chimes pretty much dead on, and the rest is all listenable, even "Frank Mills". I promise, retirement has not turned me soft -- I am sure I will find something to grouse about like my brethren are doing in future -- but resisting an old if flaky friend from my younger days isn't going to happen today. Rust never sleeps but I'm still too young to rust. 8/10.
I reminded her that I had nominated one of her favourite albums from her teenage years just a few short weeks ago. Old farts indeed.
Where did Grumpy go btw? Did he feel the level of curmudgeonly reviews too hot to handle on this thread I wonder.
GornikDaze
Well-Known Member
- Joined
- 9 Jul 2012
- Messages
- 10,429
This weeks offering reminds me of one of those dreadful US rom coms that my daughter was obsessed with in her early teens. Bland, boring and ultimately not worth the effort because you already know the ending.
I loved the title track Rudderless it had lyrics that spoke to me… sorry, what? Oh so that’s not the title track, it was the whole point of the album - rudderless as drifting around going nowhere. Genius!
Weak thin vocals and guitar, monotonous drumming.
Solid 3, I’ll split Benny and Bimbo as I’m feeling generous. Meanwhile Bimbo saved the day with his ‘review’ of Angel Dust - awesome album!!
I loved the title track Rudderless it had lyrics that spoke to me… sorry, what? Oh so that’s not the title track, it was the whole point of the album - rudderless as drifting around going nowhere. Genius!
Weak thin vocals and guitar, monotonous drumming.
Solid 3, I’ll split Benny and Bimbo as I’m feeling generous. Meanwhile Bimbo saved the day with his ‘review’ of Angel Dust - awesome album!!
RobMCFC
Well-Known Member
I can't quite believe some of the low scores these past few days.
It's as if melodious pop/rock music has no value.
It's as if melodious pop/rock music has no value.
I never understood Bimbo's jibe term 'Friends Music'. I get what he explained it means to him or what he thinks it suggests. But, it has been applied so broadbrush to so many very different albums, that it has lost any slight smidgeon of meaning it might ever have had. If it ever did!
But this album - is 100% Friends Music. Couldn't think of a better term, to describe it, or a more fitting album to apply the term to.
And I bloody loved it! It is cute, sharp, short and sweet, so polished you can see yourself in its gloss, and catchy as fuck. And entirely forgettable. But pleasant and fun in the moment. And as such, the effect is repeatable.
It might as well be sung and performed by the cast bouncing along to it with their perfect hair and trendy clothes, might as well have a fountain and umbrellas dancing around it. Might as well be that well lit where you can see everything and everyone can hear each other Hootie and the Blowfish gig they go to. But it was exactly what I needed this week, a bit of light sitcom relief, and it went down a treat.
It has about the depth of Rachel's post nose-job nose, but each component part does its bit well, they all come together well, and it works as a sum of its parts. I dod read this was their 'breakthrough' album that used a producer and changed the tone. Presumably softening it. Well good choice then, the others might have suffered from a lack of pop, this one, is just a food but of fun, and there is absolutely nothing wrong with that. 8.
But this album - is 100% Friends Music. Couldn't think of a better term, to describe it, or a more fitting album to apply the term to.
And I bloody loved it! It is cute, sharp, short and sweet, so polished you can see yourself in its gloss, and catchy as fuck. And entirely forgettable. But pleasant and fun in the moment. And as such, the effect is repeatable.
It might as well be sung and performed by the cast bouncing along to it with their perfect hair and trendy clothes, might as well have a fountain and umbrellas dancing around it. Might as well be that well lit where you can see everything and everyone can hear each other Hootie and the Blowfish gig they go to. But it was exactly what I needed this week, a bit of light sitcom relief, and it went down a treat.
It has about the depth of Rachel's post nose-job nose, but each component part does its bit well, they all come together well, and it works as a sum of its parts. I dod read this was their 'breakthrough' album that used a producer and changed the tone. Presumably softening it. Well good choice then, the others might have suffered from a lack of pop, this one, is just a food but of fun, and there is absolutely nothing wrong with that. 8.
Saddleworth2
Well-Known Member
It wasn’t particularly strong in melody Rob (imv). Early 90s is not a strength for me but if I listen to it and compare it with what I did like around that time it’s relatively weak in songwriting, vocals and especially musically.I can't quite believe some of the low scores these past few days.
It's as if melodious pop/rock music has no value.
GornikDaze
Well-Known Member
- Joined
- 9 Jul 2012
- Messages
- 10,429
Melodious pop music that is unoriginal and boring to my tender ears does not have any value. @Coatigan has further cemented my view by confirming this is “100% Friends music” - if there ever was a case for lowering a score already on the public record, this is it!!I can't quite believe some of the low scores these past few days.
It's as if melodious pop/rock music has no value.
Saddleworth2
Well-Known Member
It’s really weird how we hear the same thing ‘an episode of Friends’ and come to diametrically opposite conclusions. That’s what makes the thread fun I guess. :-)I never understood Bimbo's jibe term 'Friends Music'. I get what he explained it means to him or what he thinks it suggests. But, it has been applied so broadbrush to so many very different albums, that it has lost any slight smidgeon of meaning it might ever have had. If it ever did!
But this album - is 100% Friends Music. Couldn't think of a better term, to describe it, or a more fitting album to apply the term to.
And I bloody loved it! It is cute, sharp, short and sweet, so polished you can see yourself in its gloss, and catchy as fuck. And entirely forgettable. But pleasant and fun in the moment. And as such, the effect is repeatable.
It might as well be sung and performed by the cast bouncing along to it with their perfect hair and trendy clothes, might as well have a fountain and umbrellas dancing around it. Might as well be that well lit where you can see everything and everyone can hear each other Hootie and the Blowfish gig they go to. But it was exactly what I needed this week, a bit of light sitcom relief, and it went down a treat.
It has about the depth of Rachel's post nose-job nose, but each component part does its bit well, they all come together well, and it works as a sum of its parts. I dod read this was their 'breakthrough' album that used a producer and changed the tone. Presumably softening it. Well good choice then, the others might have suffered from a lack of pop, this one, is just a food but of fun, and there is absolutely nothing wrong with that. 8.
Black&White&BlueMoon Town
Well-Known Member
It's A Shame About Ray - The Lemonheads
I knew I waited too long to say something on this as GornikDaze got to my observation line first...
'S like a ship without a rudder (repeat, repeat, repeat...)
It wasn't all like this, and there were some songs I liked, but more on that later. I think the biggest hurdle for me was wondering why Spotify had these tunes playing at a 1.5x speed, then I realized this was all by design. It's A Shame About that, too.
Lots of that was due to the "pop punk" genre they fit into, and that's a weak spot for me in usual enjoyment. When this came out in '92, I only remember the super fast speed version of "Mrs. Robinson" that I heard, but really didn't inspire me to go listen to more, much less that it wasn't on this album originally anyways.
However, they also fit into the "jangle pop" genre, and there are enough songs here that I liked that fit more into this space. "It's A Shame About Ray", "My Drug Buddy", "The Turnpike Down" and "Hannah & Gabi" being the standouts to me where there actually was a melody, and I felt I could actually breathe during the song, even if the lyrics in MDB didn't speak to me at all. The more punky songs all sounded the same to me as if they were just playing the same song with different lyrics. "Bit Part" was one where the backup vocals from Juliana Hatfield were a nice touch, perhaps more of that would have helped on some of the other tracks?
Back in 1992, there was some albums from bands in that jangle pop category that I rate very high, specifically R.E.M.'s matured masterpiece of Automatic For The People. And why haven't I nominated this? Well, because as Coatigan correctly notes, I too am looking for something less obvious and hopefully new for most of you, not offering something I (and you should) love because it is hit-you-over-the-head-obvious and most probably know it well.
In that same jangle pop genre, I was still enjoying Toad's 1991 fear, which I feel is more my speed than this one. Another from this same year as my guilty pleasure that I did have was Gin Blossoms' New Miserable Experience. I never was a fan of the overplayed "Hey Jealousy" (typically a skip), but my go to was "Found Out About You", which alone exceeds anything I heard or enjoyed here. And I'll also note that It's A Shame About Doug from that band, but that's a story for another day.
The vocals here reminded me also of The Smithereens, a band which I do like a lot, and relistened to a bit along with this album this week. They're less on the punky side, and more of a straightforward alt-rock band. Their vocals are distinct, just like the Lemonheads are. I just found musically with those unique vocals, they go down better, though I felt both bands really benefited from some great bass playing.
Not sure where that leaves me on this. I don't have this feeling that I missed out back then, but I'm not going to slag something off the very tree I enjoy either. I'm at a 6/10 overall, and it was good to sample some other fruit, even if it didn't turn out to be my favourite of what I mostly enjoy. I can also see where LGWIO is going to enjoy this more than me, and glad to get some takeaways on songs here I appreciated too, even if it wasn't more than originally hoped for.
I knew I waited too long to say something on this as GornikDaze got to my observation line first...
I thought the same thing when listening to that song as it approached its ending:I loved the title track Rudderless it had lyrics that spoke to me… sorry, what? Oh so that’s not the title track, it was the whole point of the album - rudderless as drifting around going nowhere. Genius!
Weak thin vocals and guitar, monotonous drumming.
'S like a ship without a rudder (repeat, repeat, repeat...)
It wasn't all like this, and there were some songs I liked, but more on that later. I think the biggest hurdle for me was wondering why Spotify had these tunes playing at a 1.5x speed, then I realized this was all by design. It's A Shame About that, too.
Lots of that was due to the "pop punk" genre they fit into, and that's a weak spot for me in usual enjoyment. When this came out in '92, I only remember the super fast speed version of "Mrs. Robinson" that I heard, but really didn't inspire me to go listen to more, much less that it wasn't on this album originally anyways.
However, they also fit into the "jangle pop" genre, and there are enough songs here that I liked that fit more into this space. "It's A Shame About Ray", "My Drug Buddy", "The Turnpike Down" and "Hannah & Gabi" being the standouts to me where there actually was a melody, and I felt I could actually breathe during the song, even if the lyrics in MDB didn't speak to me at all. The more punky songs all sounded the same to me as if they were just playing the same song with different lyrics. "Bit Part" was one where the backup vocals from Juliana Hatfield were a nice touch, perhaps more of that would have helped on some of the other tracks?
Back in 1992, there was some albums from bands in that jangle pop category that I rate very high, specifically R.E.M.'s matured masterpiece of Automatic For The People. And why haven't I nominated this? Well, because as Coatigan correctly notes, I too am looking for something less obvious and hopefully new for most of you, not offering something I (and you should) love because it is hit-you-over-the-head-obvious and most probably know it well.
In that same jangle pop genre, I was still enjoying Toad's 1991 fear, which I feel is more my speed than this one. Another from this same year as my guilty pleasure that I did have was Gin Blossoms' New Miserable Experience. I never was a fan of the overplayed "Hey Jealousy" (typically a skip), but my go to was "Found Out About You", which alone exceeds anything I heard or enjoyed here. And I'll also note that It's A Shame About Doug from that band, but that's a story for another day.
The vocals here reminded me also of The Smithereens, a band which I do like a lot, and relistened to a bit along with this album this week. They're less on the punky side, and more of a straightforward alt-rock band. Their vocals are distinct, just like the Lemonheads are. I just found musically with those unique vocals, they go down better, though I felt both bands really benefited from some great bass playing.
Not sure where that leaves me on this. I don't have this feeling that I missed out back then, but I'm not going to slag something off the very tree I enjoy either. I'm at a 6/10 overall, and it was good to sample some other fruit, even if it didn't turn out to be my favourite of what I mostly enjoy. I can also see where LGWIO is going to enjoy this more than me, and glad to get some takeaways on songs here I appreciated too, even if it wasn't more than originally hoped for.
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I can only rate an album on how I perceive it any given week.It’s really weird how we hear the same thing ‘an episode of Friends’ and come to diametrically opposite conclusions. That’s what makes the thread fun I guess. :-)
Maybe another week, when looking for something more intense or deeper, this would have (to use a Pep-ism) 'suffered'.
But this particular week, it was just the palette cleanser sorbet I needed.
It also bucked a bit of a personal trend. In the sense that quite a few such albums that I missed out on, I often find myself thinking, I'd probably have like this back in the day, but does nothing for me now. This I dare say I wouldn't have liked back in the 90s, but I did now.
FogBlueInSanFran
Well-Known Member
I couldn’t agree more more on the Gin Blossoms. Found Out About You is a great song and better than Hey Jealousy. NME is a fine record.It's A Shame About Ray - The Lemonheads
I knew I waited too long to say something on this as GornikDaze got to my observation line first...
I thought the same thing when listening to that song as it approached its ending:
'S like a ship without a rudder (repeat, repeat, repeat...)
It wasn't all like this, and there were some songs I liked, but more on that later. I think the biggest hurdle for me was wondering why Spotify had these tunes playing at a 1.5x speed, then I realized this was all by design. It's A Shame About that, too.
Lots of that was due to the "pop punk" genre they fit into, and that's a weak spot for me in usual enjoyment. When this came out in '92, I only remember the super fast speed version of "Mrs. Robinson" that I heard, but really didn't inspire me to go listen to more, much less that it wasn't on this album originally anyways.
However, they also fit into the "jangle pop" genre, and there are enough songs here that I liked that fit more into this space. "It's A Shame About Ray", "My Drug Buddy", "The Turnpike Down" and "Hannah & Gabi" being the standouts to me where there actually was a melody, and I felt I could actually breathe during the song, even if the lyrics in MDB didn't speak to me at all. The more punky songs all sounded the same to me as if they were just playing the same song with different lyrics. "Bit Part" was one where the backup vocals from Juliana Hatfield were a nice touch, perhaps more of that would have helped on some of the other tracks?
Back in 1992, there was some albums from bands in that jangle pop category that I rate very high, specifically R.E.M.'s matured masterpiece of Automatic For The People. And why haven't I nominated this? Well, because as Coatigan correctly notes, I too am looking for something less obvious and hopefully new for most of you, not offering something I (and you should) love because it is hit-you-over-the-head-obvious and most probably know it well.
In that same jangle pop genre, I was still enjoying Toad's 1991 fear, which I feel is more my speed than this one. Another from this same year as my guilty pleasure that I did have was Gin Blossoms' New Miserable Experience. I never was a fan over the overplayed "Hey Jealousy" (typically a skip), but my go to was "Found Out About You", which alone exceeds anything I heard or enjoyed here. And I'll also note that It's A Shame About Doug from that band, but that's a story for another day.
The vocals here reminded me also of The Smithereens, a band which I do like a lot, and relistened to a bit along with this album this week. They're less on the punky side, and more of a straightforward alt-rock band. Their vocals are distinct, just like the Lemonheads are. I just found musically with those unique vocals, they go down better, though I felt both bands really benefited from some great bass playing.
Not sure where that leaves me on this. I don't have this feeling that I missed out back then, but I'm not going to slag something off the very tree I enjoy either. I'm at a 6/10 overall, and it was good to sample some other fruit, even if it didn't turn out to be my favourite of what I mostly enjoy. I can also see where LGWIO is going to enjoy this more than me, and glad to get some takeaways on songs here I appreciated too, even if it wasn't more than originally hoped for.