Originally posted by Bags:2 and 10 here too, but I think both of these are pretty likely in the coming years. Probably not any time soon though.
2 and 10….both at 55%, though I think both percentages are overly optimistic. If ya gotta choose, you have to go with the Smiths.
Gen-X dinosaurs: The 10 most in-demand '80s-'90s reuni
Originally posted by ggwâ?¢:Though not as good as Pavement albums, I like Malkmus' solo stuff just fine, especially the new one.
9. Pavement
Why: Much like the Pixies, they helped define alt-rock with the influential albums "Slanted & Enchanted" and "Crooked Rain, Crooked Rain." Also like the Pixies, nobody likes the frontman's solo stuff.
I'd like to see a Lush reunion….with a new drummer of course.
Originally posted by amnesiac:i haven't seen him in a couple of years. does he play pavement shit live? he played like 3 pavement songs when i saw him on the first solo tour
Originally posted by ggwâ?¢:Though not as good as Pavement albums, I like Malkmus' solo stuff just fine, especially the new one.
9. Pavement
Why: Much like the Pixies, they helped define alt-rock with the influential albums "Slanted & Enchanted" and "Crooked Rain, Crooked Rain." Also like the Pixies, nobody likes the frontman's solo stuff.
Originally posted by BookerT:I couldnt had said that any better myself, Spoonman is probably one of the worst songs I've ever heard and I always thought Soundgarden was very, very boring sounding.
do people actually like soundgarden? i mean, i know they sold a lot of records, but it seems to me that if you liked them, you probably liked pearl jam and/or nirvana a whole lot more. i will never forgive them for "spoonman," which takes its place next to that new radicals song and every single live song as worst of the alt-'90s.
Or, according to New York Magazine, you can actually find gems among the solo work of former 80s and 90s college rock.
Pop Music Review
I Love the Eighties
Not to mention the early nineties. And Iâ??m not ashamed to admit it. Luckily, college rock is back, and better than ever.
By Hugo Lindgren
I was in college when the category known as â??college rockâ? was popularized, and though it was as much a marketing conceit as anything else, I bought the concept immediately. The Replacements and Hüsker Dü, the Blake Babies, the Pixies, and Pavement: These bands werenâ??t just my idols, they felt like my peers, and a good part of the pleasure I took in their music was imagining that there wasnâ??t much that separated me from them. Like the earliest punks, they made a virtue of their amateurism, of starting things without knowing where or how theyâ??d end. And for someone like me, on the scary precipice of adulthood, that was an incredibly exciting fantasy: the notion that sheer guts, plus a willingness to bare your weaknesses (no vocal talent necessary!), could make you into a rock star.
Then we all grew up, and while I tried to sort out a career for myself, my favorite bands went about ruining theirs. The breakups were uglyâ??and then came the solo albums. Most people quit paying attention, intuiting that aging college rockers are about as likely to recapture their youthful talents as aging baseball players. But I hung on. This was my music, after all; I could parse its microscopic distinctions. Just because others stopped caring about it didnâ??t mean I had to. So I kept buying the records by Juliana Hatfield (Blake Babies), Bob Mould (Hüsker Dü), Frank Black (Pixies), Stephen Malkmus (Pavement), and Mac McCaughan (Superchunk, Portastatic), and though I lost all claim to coolness along the way, I have now been vindicatedâ??they all have new records out (or will soon), and none of them suck. One or two even flirt with greatness.
It makes sense to start with poor Bob Mould, whom even the most devout fans had all but disowned. In Hüsker Dü, Mould wrote fast, angry pop songs, blasting them out with his barrel-chested roar of a voice and beautiful, fuzzed-out guitars. But on his own, Mould caved under the weight of extreme self-consciousness. He toggled between weepy acoustic stuff and rigid, joyless power pop; he took time off and wrote scripts for pro wrestling; he returned to make a dreadful electronic record.
On Body of Song, Mould, now a popular D.J. in Washington, D.C., clubs, has regrouped. Marrying his sturdy rock-guitar talents to lively beats, heâ??s found a comfort zone. The album has flawsâ??the vocals are much too polished, and the lyrics to songs like â??I Am Vision, I Am Soundâ? and â??Days of Rainâ? reek of middle-school poetryâ??but itâ??s built on that mix of sunny melodies and morbid sentiments that is Mouldâ??s peculiar gift.
Like Mould, Juliana Hatfield walks among the wounded. As a Blake Baby, she was a button-cute bassist who inspired a thousand crushes and could do nice harmonies, too; when she went solo, she aimed for the big time, pitching herself as a bulimic virgin. That made for freaky interviews, but no hits. Giving up on MTV, she slavishly devoted herself to the guitar and released a slew of ragged, emotionally raw albums, of which Made in China is the latest. Her songs still revolve mostly around the adolescent hell of looking right and pleasing jerky guys, a shtick that would be old if Hatfield, well into her thirties, didnâ??t genuinely sound as if she were still living through it. All hail the immortal teenager, long may she rock.
Frank Black, on the other hand, seems determined to show his maturity. Onstage with the reunited Pixies, playing to huge crowds, Black has been howling away, as gloriously unhinged as ever. But his latest solo album, Honeycomb, is a gentle country-and-R&B record made in Nashville with top session players. It is a noble effort, modeled on Bob Dylanâ??s Blonde on Blonde, but the results are underwhelming. Blackâ??s greatest talent is his incredible dynamic range as a singerâ??he can scream and whisper and otherwise throttle his voice around in astonishing ways. But when he plays it straight, as he does relentlessly on Honeycomb, he just sounds ordinary.
As the singer of Pavement, Stockton, Californiaâ??s greatest (only?) cultural export, Stephen Malkmus elevated boredom to an art. He was beloved for his diffident brilliance. Even after they had been together for years, Pavement still had the improvisational air of a band playing together for the first time, with Malkmus singing as if he were simultaneously trying to finish the Times crossword. Within a band, his distraction had mesmerizing appeal. But how could that be sustained on its own? On Face the Truth, Malkmusâ??s third solo try, he does something novel: He lets us see him sweat. The songs, which have the choppy angles and elegant dissonance of Pavementâ??s, are painstakingly layered with keyboards and all manner of funky blurps and beeps. It all sounds very labor-intensiveâ??and pretty smart, too. Malkmus will never compete with the legend of Pavement, but whoâ??d have guessed heâ??d make such a valiant effort?
Finally, there is Mac McCaughan, the living exception to every rule about rock music. Even by the inclusionary standards of college rock, McCaughan seemed misplaced when he started Superchunk in the late eighties. He looked half his age, sang with a squirrely little voice, and went to Columbia. A career in rock? Maybe in the accounting department. Instead, inspired by a lazy Kinkos employee, McCaughan wrote an irresistible screed called â??Slack Motherfuckerâ?â??â??Yeah, Iâ??m working / But Iâ??m not working for you / Slack motherfucker!â?â??and the major labels were all over him.
McCaughan somehow knew better than to go that route and started his own label, Merge Records, geared so that even a record selling a few thousand copies could make money for the artist and for the company. In the past sixteen years, Merge has put out great albums by the Magnetic Fields, Spoon, and the Arcade Fire, in addition to many wonderful bands youâ??ve never heard of. Superchunk also kept making records, each one better than the last, as McCaughan honed his punk-guitar riffing and fearless yelping. Plus, McCaughan recorded under the name Portastatic, his own R&D unit for songwriting, andâ??why not?â??also launched a jazz label called Wobbly Rail.
Now Superchunk is on hiatus, as bassist (and Merge co-founder) Laura Ballance tends to her new baby. That puts Portastatic at the top of McCaughanâ??s priorities, and the result is the best record of his career, a collision of the idiosyncratic charms of Portastatic with the exuberant rock power of Superchunk. At 38, he still sings like a broken-voiced 13-year-old. But rather than disguise this limitation, he flaunts it. As he has since the heyday of college rock, McCaughan is testing himself, reaching for something a bit beyond where heâ??s been before. And for that, after all these years, I consider him the unsung king of rock.
Pop Music Review
I Love the Eighties
Not to mention the early nineties. And Iâ??m not ashamed to admit it. Luckily, college rock is back, and better than ever.
By Hugo Lindgren
I was in college when the category known as â??college rockâ? was popularized, and though it was as much a marketing conceit as anything else, I bought the concept immediately. The Replacements and Hüsker Dü, the Blake Babies, the Pixies, and Pavement: These bands werenâ??t just my idols, they felt like my peers, and a good part of the pleasure I took in their music was imagining that there wasnâ??t much that separated me from them. Like the earliest punks, they made a virtue of their amateurism, of starting things without knowing where or how theyâ??d end. And for someone like me, on the scary precipice of adulthood, that was an incredibly exciting fantasy: the notion that sheer guts, plus a willingness to bare your weaknesses (no vocal talent necessary!), could make you into a rock star.
Then we all grew up, and while I tried to sort out a career for myself, my favorite bands went about ruining theirs. The breakups were uglyâ??and then came the solo albums. Most people quit paying attention, intuiting that aging college rockers are about as likely to recapture their youthful talents as aging baseball players. But I hung on. This was my music, after all; I could parse its microscopic distinctions. Just because others stopped caring about it didnâ??t mean I had to. So I kept buying the records by Juliana Hatfield (Blake Babies), Bob Mould (Hüsker Dü), Frank Black (Pixies), Stephen Malkmus (Pavement), and Mac McCaughan (Superchunk, Portastatic), and though I lost all claim to coolness along the way, I have now been vindicatedâ??they all have new records out (or will soon), and none of them suck. One or two even flirt with greatness.
It makes sense to start with poor Bob Mould, whom even the most devout fans had all but disowned. In Hüsker Dü, Mould wrote fast, angry pop songs, blasting them out with his barrel-chested roar of a voice and beautiful, fuzzed-out guitars. But on his own, Mould caved under the weight of extreme self-consciousness. He toggled between weepy acoustic stuff and rigid, joyless power pop; he took time off and wrote scripts for pro wrestling; he returned to make a dreadful electronic record.
On Body of Song, Mould, now a popular D.J. in Washington, D.C., clubs, has regrouped. Marrying his sturdy rock-guitar talents to lively beats, heâ??s found a comfort zone. The album has flawsâ??the vocals are much too polished, and the lyrics to songs like â??I Am Vision, I Am Soundâ? and â??Days of Rainâ? reek of middle-school poetryâ??but itâ??s built on that mix of sunny melodies and morbid sentiments that is Mouldâ??s peculiar gift.
Like Mould, Juliana Hatfield walks among the wounded. As a Blake Baby, she was a button-cute bassist who inspired a thousand crushes and could do nice harmonies, too; when she went solo, she aimed for the big time, pitching herself as a bulimic virgin. That made for freaky interviews, but no hits. Giving up on MTV, she slavishly devoted herself to the guitar and released a slew of ragged, emotionally raw albums, of which Made in China is the latest. Her songs still revolve mostly around the adolescent hell of looking right and pleasing jerky guys, a shtick that would be old if Hatfield, well into her thirties, didnâ??t genuinely sound as if she were still living through it. All hail the immortal teenager, long may she rock.
Frank Black, on the other hand, seems determined to show his maturity. Onstage with the reunited Pixies, playing to huge crowds, Black has been howling away, as gloriously unhinged as ever. But his latest solo album, Honeycomb, is a gentle country-and-R&B record made in Nashville with top session players. It is a noble effort, modeled on Bob Dylanâ??s Blonde on Blonde, but the results are underwhelming. Blackâ??s greatest talent is his incredible dynamic range as a singerâ??he can scream and whisper and otherwise throttle his voice around in astonishing ways. But when he plays it straight, as he does relentlessly on Honeycomb, he just sounds ordinary.
As the singer of Pavement, Stockton, Californiaâ??s greatest (only?) cultural export, Stephen Malkmus elevated boredom to an art. He was beloved for his diffident brilliance. Even after they had been together for years, Pavement still had the improvisational air of a band playing together for the first time, with Malkmus singing as if he were simultaneously trying to finish the Times crossword. Within a band, his distraction had mesmerizing appeal. But how could that be sustained on its own? On Face the Truth, Malkmusâ??s third solo try, he does something novel: He lets us see him sweat. The songs, which have the choppy angles and elegant dissonance of Pavementâ??s, are painstakingly layered with keyboards and all manner of funky blurps and beeps. It all sounds very labor-intensiveâ??and pretty smart, too. Malkmus will never compete with the legend of Pavement, but whoâ??d have guessed heâ??d make such a valiant effort?
Finally, there is Mac McCaughan, the living exception to every rule about rock music. Even by the inclusionary standards of college rock, McCaughan seemed misplaced when he started Superchunk in the late eighties. He looked half his age, sang with a squirrely little voice, and went to Columbia. A career in rock? Maybe in the accounting department. Instead, inspired by a lazy Kinkos employee, McCaughan wrote an irresistible screed called â??Slack Motherfuckerâ?â??â??Yeah, Iâ??m working / But Iâ??m not working for you / Slack motherfucker!â?â??and the major labels were all over him.
McCaughan somehow knew better than to go that route and started his own label, Merge Records, geared so that even a record selling a few thousand copies could make money for the artist and for the company. In the past sixteen years, Merge has put out great albums by the Magnetic Fields, Spoon, and the Arcade Fire, in addition to many wonderful bands youâ??ve never heard of. Superchunk also kept making records, each one better than the last, as McCaughan honed his punk-guitar riffing and fearless yelping. Plus, McCaughan recorded under the name Portastatic, his own R&D unit for songwriting, andâ??why not?â??also launched a jazz label called Wobbly Rail.
Now Superchunk is on hiatus, as bassist (and Merge co-founder) Laura Ballance tends to her new baby. That puts Portastatic at the top of McCaughanâ??s priorities, and the result is the best record of his career, a collision of the idiosyncratic charms of Portastatic with the exuberant rock power of Superchunk. At 38, he still sings like a broken-voiced 13-year-old. But rather than disguise this limitation, he flaunts it. As he has since the heyday of college rock, McCaughan is testing himself, reaching for something a bit beyond where heâ??s been before. And for that, after all these years, I consider him the unsung king of rock.
Originally posted by god's shoeshine:I'm not sure if I've ever seen him solo - only seen Pavement live. Slept on the last Malkmus show, and it sold out on me.
Originally posted by amnesiac:i haven't seen him in a couple of years. does he play pavement shit live? he played like 3 pavement songs when i saw him on the first solo tour
Originally posted by ggwâ?¢:Though not as good as Pavement albums, I like Malkmus' solo stuff just fine, especially the new one.
9. Pavement
Why: Much like the Pixies, they helped define alt-rock with the influential albums "Slanted & Enchanted" and "Crooked Rain, Crooked Rain." Also like the Pixies, nobody likes the frontman's solo stuff.
my bloody valentine/….rumorsville is sayin kevin shields was asked to do atp next yr & told the fest coordinators he'd only do it if he could reunite mbv….. sez he'll make up his mind by years' end
:eek:
:eek:
Originally posted by shoot ur shot:
my bloody valentine/….rumorsville is sayin kevin shields was asked to do atp next yr & told the fest coordinators he'd only do it if he could reunite mbv….. sez he'll make up his mind by years' end
:(
More that would do well: 10,000 Maniacs, the Pogues, Blur, Black Flag, Stone Temple Pilots, Stone Roses, Minor Threat, Afghan Whigs, XTC, Hüsker Dü, Babes in Toyland.Rob Buck, the Maniacs guitarist, died a few years ago. He was a integral part of their sound.
Andy Partridge has terrible stage fright so don't expect XTC anytime soon.
In no particular order.
Faith No More
The Smiths
Stone Roses
GNR
The Verve
Rage Against the Machine
Buckcherry
STP
Bush
The Jam
Faith No More
The Smiths
Stone Roses
GNR
The Verve
Rage Against the Machine
Buckcherry
STP
Bush
The Jam
The one band that I'd love to see again is Ride. Saw them at the old 9:30 in '92 and it is still by far the best live show I've ever seen.
As long as Andy Bell is plodding away in Oasis, it won't happen…
As long as Andy Bell is plodding away in Oasis, it won't happen…
Ben Folds Five- I would kill to see them again. They were absolutely on of the most fun live acts that I've ever seen. They caught lightning in a bottle on the Whatever and Ever tour. Unfortunately, Folds is intolerable as a solo artist. If he could put the key-tar and Tiny Dancer cover to rest for a while, then maybe we could remember how great that band was.
AHEM…. DISPATCH
I agree here. However, I don't find his solo stuff that bad. I didn't care for the first solo album, but the current one isn't half bad. On the most recent tour through the 9:30 you could see that he was trying to get back that vibe, going back to a three piece band. I would love to see them together again. The otehr two members haven't really done much at all since the break-up. And it always puzzled me why they broke up in the first place.
Originally posted by frenchpiece:
Ben Folds Five- I would kill to see them again. They were absolutely on of the most fun live acts that I've ever seen. They caught lightning in a bottle on the Whatever and Ever tour. Unfortunately, Folds is intolerable as a solo artist. If he could put the key-tar and Tiny Dancer cover to rest for a while, then maybe we could remember how great that band was.
I'd add talking heads
Also, whats the deal with them saying nobody likes Malkmus' solo albums? I thought Pig Lib was really good!
Also, whats the deal with them saying nobody likes Malkmus' solo albums? I thought Pig Lib was really good!
Originally posted by BLACKSTORM:True dat.
The Verve
The Jam
I'd pick #2, #7, and #10. Though I hope none of them tour again. Part of what's cool about having seen bands like that is that you can boast to all the Johnny-come-too-lates that you saw that band, and thus feel superior to those who didn't.
Ok…great thread…but Dinosaur bones found in MD
National Parks representatives are set to unveil a first-of-its-kind discovery made at Dinosaur Park in Laurel.
https://www.wusa9.com/article/news/local/maryland/dinosaur-bones-found-in-maryland/65-55679e66-f9de-4ffc-ae51-6f832c204862?
National Parks representatives are set to unveil a first-of-its-kind discovery made at Dinosaur Park in Laurel.
https://www.wusa9.com/article/news/local/maryland/dinosaur-bones-found-in-maryland/65-55679e66-f9de-4ffc-ae51-6f832c204862?
reviewing the original 2005 list
1. Soundgarden
welp we know what this isn't RIP CC
2. The Smiths
and we know why this isn't happening
3. Smashing Pumpkins
this already happened
4. Rage Against the Machine
This already happened
5. N.W.A.
this happened, but only 1 show
he group reunited with surviving members Ice Cube, MC Ren, Dr. Dre and DJ Yella taking the stage during the second weekend of the Coachella Valley Music and Arts Festival in April 2016, just days following the group's Rock N' Roll Hall of Fame induction
6. (Original) Guns N' Roses
kinda happened, right?
7. Uncle Tupelo
Would love it, but not happening
but really should, not sure the demand would actually be that high, but then they could actually play the club
not happening
8. Hole
This happened…not sure how I missed it
Hole toured extensively between 2010 and 2012
9. Pavement
this happened - was there ;)
10. The Replacements
this happened - was there ;)
1. Soundgarden
welp we know what this isn't RIP CC
2. The Smiths
and we know why this isn't happening
3. Smashing Pumpkins
this already happened
4. Rage Against the Machine
This already happened
5. N.W.A.
this happened, but only 1 show
he group reunited with surviving members Ice Cube, MC Ren, Dr. Dre and DJ Yella taking the stage during the second weekend of the Coachella Valley Music and Arts Festival in April 2016, just days following the group's Rock N' Roll Hall of Fame induction
6. (Original) Guns N' Roses
kinda happened, right?
7. Uncle Tupelo
Would love it, but not happening
but really should, not sure the demand would actually be that high, but then they could actually play the club
not happening
8. Hole
This happened…not sure how I missed it
Hole toured extensively between 2010 and 2012
9. Pavement
this happened - was there ;)
10. The Replacements
this happened - was there ;)