jakobnicholas

Just for balance, I'd like to say I think Go-Go Boots is the best DBT record since Southern Rock Opera. (The Dirty South comes close but the 2nd half doesn't match the great first half.)

Ditto (mostly). Lyrically, I kinda agree about "Every Day's" lyrics. But something about the structure and sound of the song that I love. One of my favorites. But yes, I agree that "Collapse" is a very likeable record. It's been a roller-coaster for me since "Hi-Fi". - UP: I like a lot because it's cool and interesting to hear a band struggle and experiment with how to make a record with a major band member gone. Buck and Mills created some nice sounds that maybe they never would have had Berry stuck around. I love the diversity of the record, and Stipe's lyrics of picking yourself up and m

What specific clips did they play? I can't think of many parts of the record I'd describe as "garbage".

What better way to judge an album than by listening to a few clips on the radio.

That's too bad. For me, "Discover", "Uberlin", "Every Day is Yours to Win" and "That Someone is You" accomplished that. That's about the same number of songs that got me on "Up" and "Reveal". "Around the Sun" and "Accelerate" each had maybe 2 songs that made me feel that way. Just curious, what songs since "Hi-Fi" have made you feel that way? I think it's a huge, nearly-impossible chore for a band like R.E.M. to keep their fans excited with with new songs after releasing 10+ albums of greatness. I think it's fair to say the album lacks great "rockers", but I think the pop is great.

Sorry, but Kot's review BLOWS. I agree with dtram. A record DOES NOT have to always break new ground to be a good record. I actually think "Collapse Into Now" has a lot of freshness to its sound, but I'm not the music "expert" that Kot is, so what do I know?! Kot writes snarky, condescending crap like "Patti Smith plays shaman-like muse to Stipe on the eerie soundscape “Blue” (which demands to be listened to once, then never again);" I can imagine Kot patting himself on the back after writing that. I put the record on and let it go until finished, and enjoy nearly all of it. Is it their best

I've been listening to Rollingstone.com's stream and enjoying Collapse Into Now a lot. Overall it has a very positive and, more importantly, confident vibe. Probably their most confident-sounding record since Hi-Fi. Stipe, Mills and Buck all seem unafraid to let it loose. The rockers rock, the pop is very poppy, and the slower songs have real emotion. I can't name any song that I consider a clunker. (maybe "Walk it Back", but not really). "Everyday Is Yours to Win" is a beautiful creation by all the band. "That Someone Is You" is 2 minutes of pop bliss. R.E.M. could never match the mystery

I like the music and sound of Go-Go Boots. But I think what makes me REALLY like it are the stories and characters. In the liner notes, Patterson Hood explains how this cd is the "Movie Version" of characters and stories that they may or may not cave culled from real life. The music, to me, fits the songs and stories perfectly. There are some really great lyrics throughout the disc that paint a picture of real people. Many times you feel like you really understand and/or care for a character with just one well-written line: "Hey Ricky, don't let the Diabetes get you!" "I figured after fort

Some reviews have used the word "claustrophobic". I kinda agree. To me, that's not a negative, but rather explains maybe how some feel listening to it. The first 5 songs surround you in repetitive beats and sounds and blips and claps and hums and other sounds. Thom's voice is the only sign of life, and even his voice has a foreign sound mostly. "Codex", with its keyboards, sounds refreshing...like giving you a breathe of air. Then "Give Up the Ghost" reverts back, before the closing "Separator" lets you ease out of the album with a very likeable song. I think artistically it's a very good

The most thrilling thing about the King of Limbs release is that EVERYBODY is hearing for the first time. Journalists don't have time to listen for a month before giving a review. Bloggers everywhere can chime in with their immediate reactions as easy as paid critics. It's fun searching around for people's reactions. Some guy named Adrian McKinty gives a track-by-track account, including a comical take on track 1: 1. Bloom: tinkly piano sounds good...oh no bleeps and snare repeating Kid A fashion. Bleeps going on and on. Thom Yorke begins to sing: "open your mouth wide" he seems to say. Do

Except Kid A kicks you in the butt with National Anthem, Optimistic and even the glorious yelp of Yorke on How to Disappear Completely. "King of Limbs" is SO reserved. Because of their history, I keep waiting for the few jolts typical of Radiohead. They never come. I'm not ready to say tha that's a bad thing. I just feel a bit under-whelmed. I do think, however, the album will improve with more listens. Another minor gripe is that it's hard to hear much of the lyrics. Or rather, not many lyrcis jump out like I'm used to with Radiohead. Again, time will hopefully improve that.

I'm not totally digging the mostly techno-sounding direction and the album seems to just plod along without many sparks. It's very restrained-sounding overall, musically and vocally. But it also sounds like a record that could reward multiple listens and it has a very cohesive feel. Too early to say if I like it, and if so, how much. Right now it's just kinda "nice". And that's not the adjective I'd hope I'd use to describe a Radiohead album.

Pitchfork ranks it 7.7. I'd rank it higher, but it's a positive review that I pretty much agree with. I particularly like the last paragraph. I agree that there's a nice "textural range". As a whole, it ranks very high in the Truckers' catalog of music. There are two corpses on the Drive-By Truckers' new album, Go-Go Boots. Both the title track and the eight-minute forensic epic "The Fireplace Poker" are about women who meet bloody ends at the hands of their husbands, who are both preachers. These two songs are the inverse of the true-crime saga "The Wig He Made Her Wear", a standout from th

"Mercy Buckets" is really nice. Hood says he was trying to write a prom song.

Really am liking it. It's getting somewhat mixed reviews...mostly favorable, but most seem to have a problem with the lack of rockers. I think it's a wonderful mix of country, rock, blues and storytelling. Hood opens with a great alt.-country-sounding song about his grandmother, then later makes us feel compassion for down-and-out characters. Cooley, as always, is limited in songs but delivers greatly. I've always liked his pure country voice. It's almost always perfect for his tales. Shona Tucker's 2 songs add nice variety. I LOVE her vocal on Eddie Hinton's "Where's Eddie". A mostly dark alb

I got to see the Stripes on their last U.S. tour in the summer of 2005. Jack White absolutley torched the place. He strutted out in a white suit and top hat with electric guitar in hand ("Say My Name" was the song I think). Then he spent 2 hours bouncing from guitars to keyboards to marimba. I'm very much a straight dude, but I could not take my eyes off the guy. He has an amazing prescence on stage and is incredibly talented and driven. I liked the mystery of the Stripes. Jack White made the band more than just music, although the music was damn good. I've seen White mutliple times with the R

Hard to explain. Every now and then R.E.M. makes a song that just sounds like a totally fresh way to make an R.E.M. song....which is amazing that they can still do after so many great records. I felt the same way when I first heard "Lotus", "Why Not Smile" and "I've Been High". I also like the lyrics of Uberlin..."Find the River"-ish.

No kidding. I wish R.E.M. would stop with the leaks, as I have zero discipline or patience. I've liked (to varying degrees) every leaked song so far, but Uberlin is my favorite. Beautiful song.

I honestly could care less if one chooses to not believe in God or anything. Actually, I shouldn't say "care less", 'cause I DO wish that everyone in the world believed in Jesus. But some don't. And that's how it is. And I understand it. I have a good friend who is a devout, almost rabid atheist. And he likes to send everyone articles that are pro-atheist in content or youtube clips of atheists giving speeches, etc. And when I get one of his emails, I might skim over it but then delete it, and don't think about it anymore. I don't understand what he's trying to do. NOTHING I read or hea

A FABULOUS piece of writing by Sports Illustrated editor Joe Posnanski: THE PROMISE Johnny works in a factory. Billy works downtown. Terry works in a rock and roll band looking for that million dollar sound. Got a job down in Darlington. Some nights I don’t go. Some nights I go to the drive in. Some night I stay home. – Bruce Springsteen. The Promise. * * * I remember the first time I heard The Promise. It was about a decade ago. The song had been around for a long time before I first heard it — Bruce Springsteen would say it was the first song he wrote after Born To Run made him

I'm hoping it's more like Late Night (silly, weird, funny, subtle, irreverant) than his Tonight Show (a little forced, non-subtle...a feeling that Conan was trying to get a more broad audience). Stewart/Colbert cover politics very well. Letterman's show is getting more political. I hope Conan doesn't attempt many political jokes or content. I don't think it's his strength. Looking forward to Jack White (no way Meg would make a surprise appearance is there?) and curious who the surprise guest is.

IF the Tupelo gang ever agreed to do some shows together, it would only be because it's something they decided they want to do. Therefore, it would be friendly and amicable and probably well-worth the ticket price to hear some great, great songs live and to see the two together on stage. I'd pay to see it. More than a concert together, I've always hoped that somewhere down the road Tweedy and Farrar would write an album together. I liked Tupelo a lot because of the contrasting style and sound of the two. Wilco and Son Volt are very good bands, but it's very clear who runs the show and does

I wish. I wonder if there's ever been a more important drummer to a band. I've read that he had a pretty big say in the studio. I think he was always about getting to the hooks in songs and punching them up. I don't know this for fact. But it's undeniable how important he was to R.E.M. I'm listening to "Hi-Fi" right now and, besides "Up", it shames everything they've done since in my opinion. I can't help but think that Berry was much more than just the time-keeper.

REM, Radiohead & Wilco....3 veteran bands who garner much talk on this board....are all recording or finishing recording their next record. Hopefully all 3 will be out by late Spring 2011. 1. Which of these 3 records do you look forward to most? 2. Which do you expect to be the best? 3. Can REM eek out one last great record after a string of so-so ones? Me? 1. Wilco. I've got a gut-feeling they're gonna try something a little different and less "pretty" and more edgy and/or funky. That would be a good thing. 2. Radiohead. From what I've read, Radiohead is really hunkering down

They're really not for me anymore. But Being There, Summerteeth and YHF....in my opinion...were similar to Radiohead in the sense of experimenting with different arrangements and sounds. I think a magazine or critic called Wilco the American Radiohead...a rootsier version of blissful, experimental rock. Not to start a big Jay Bennett hubbub, but I really liked Wilco's sound when Bennett's arrangement skills were handy. He was maybe the Johnny Greenwood of Wilco. Greenwood used classical music as take-off points, while Bennett used older rock music as his take-off point. Tweedy and Yorke are