George Clinton, Lou Reed vs. Marley and Wonder and the Dead, on the other hand, have all made lots of albums I prize, and are all among my favorite live performers. In effect, what the best artists did in response, whether they played guts ball against the new hegemony, or--like Steely Dan, Randy Newman, Brian Eno, Joni Mitchell, Allen Toussaint, and many others--merely circumvented it, was to act semi-popular even when they were in fact much bigger.
I think he's taken cracked timbre past the expressive limits marked out by Hank Williams and Bob Dylan, and his guitar playing reminds me of his singing.
It also signaled the intermittent presences of the Doobies on top 40 for years to come. And only in the '70s did genres start asserting themselves: And when one of his girlfriends committed suicide in his house, he sought redemption in a religion devoid of self-righteousness or palaver.Viking Oceans: Dale of Norway – Keeping Norwegian knitwear traditions alive since 1879
To start I should mention the chronological anomalies. Talley and Mann have each made one other album I return to, which puts them ahead of Simon, and only Talley holds much charm for me as a live performer.
As for W-E-A's rivals--well, stores have only so much space, and capital. Not that all four records--especially Exile , that apotheosis of murk--didn't capitalize on engineering expertise.
The limits of the album as unit of judgment have always been most egregious in black music, where consumer economics, by which I mean poverty, have forced artists to concentrate on singles, and biz economics, by which I mean the same old exploitation often wearing an upwardly mobile black face these days , has forced artists to rely on formulas and corporate songwriting stables when they make albums.
They've profited immensely from the homogenizations of radio, patterning their career on the FM to AM movement of their first hit, with the FM side providing a vaguely arty "good musicians" rep and much more important LP-habituated fans, while the AM assured a lowest-common-denominator spread. But every one of them has produced great music.
Much of the best disco has continued the fine old rock and roll tradition of the one-shot, and without unprofitable but seminal albums by the Stooges and the New York Dolls, punk might have never happened.
Apparently trapped in the soul nexus of carnal, romantic, and divine love, he projected a savvy, diffident, mischievous style of sexual confidence that seemed eternal yet was new to pop and possibly the world.
He's a great rock and roller who owes virtually nothing to black music and a great folkie who owes virtually nothing to anyone. Web Site: There are a hundred such stories in the City of Monotony--all unique, all archetypal, all boring.
Often it's just what the culturati have always believed it to be--a guarantee of rote, lifeless vapidity. That's been even truer in the '70s, when the most vital black styles, funk and disco might almost have been designed to encourage filler.
This often looks suspiciously like sweating the troops: Layla Atco '70 13 New York Dolls: And if the antimainstreamism of critical taste is by now a general assumption, it must also be admitted that not every instant musicologist would lean quite so precipitously toward such crudities as the collected works of the New York Dolls.
And in this we were joined by many artists.