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That's a great song. But those trebly guitar arpeggios take me to a precise time and place the same way that a snare drum routed into a gated reverb does.
Jules Shear productions always suck. Seriously... I've been listening to him for 35 years and I don't think he's ever released an album who's production wasn't wrong in one way or another. But the songs... are always great.
Ain't no sacrilege to call Elvis king
Dad is great and all but he never could sing - Jesus
“Good Vibrations” was probably a good record but who's to know? You had to play it about 90 bloody times to even hear what they were singing about. What’s next? Rock opera? —Pete Townshend, Melody Maker Interview, 1966.
I've actually been listening to the Taxi Driver sndtrk for a while now. Great stuff!
The novella was about a boy who couldn't die, the other children who treated him with considerably less restraint because of that, the effects of growing up in those circumstances and all of the ethical issues that all suggests.
With the benefit of hindsight it has it's good points and its bad points. I've always been decent with ideas but 1) the execution can be lacking sometimes, and 2) I tried some things intentionally that didn't work and some things didn't work simply because it was my first major work of prose and I wasn't the greatest writer.
Conor Oberst suffered from youth for a long time.. I discovered him when Cassadega came out so I thankfully missed a lot of the whinier stuff - but for a guy that's been putting out records since he was sixteen he really does have a way with words.
"If I loved you, well that's my fault." (who hasn't felt like that, eh?)
Aaron McDonald | Comic Book Music (and not comic book music)