jff

Yeah. Kid A, bad example, although it did get it's share of raves to go with the obnoxiously predictable British press bashngs. I should have just used OK Computer as an example. I still think Tweedy is only half right. I don't have the exact Tweedy quote, or the full context from the Strombo interview, so maybe he's not saying what it appears he's saying (based on Shabba's paraphrasing of his interview). But if he's saying the natural order of things will eventually result in WTA being acclaimed on the level of YHF, I can only conclude that he's off the wagon.

OK, well let's leave Wilco out of it and substitue Radiohead. OK Computer and Kid A were hailed as masterpieces upon release. Just about everything they've done since has been considered inferior, and is still considered inferior after significant time has passed. The point is, Tweedy is right that albums tend to gain respect/appreciation over time, but he's wrong in that he seems to be denying that albums sometimes come out of the gate as huge critical and fan favorites. He's wrong if he thinks WTA will earn acclaim on par with YHF over time. As for this statement: he's come to term

This might be true to some extent, but it doesn't tell the whole story. When YHF came out, people knew it was something special. When WTA came out, most people knew it was pretty mediocre, and far below what Wilco had shown itself to be capable of.

I enjoyed it. I thought it could have been a masterpiece, but was just pretty good. I saw the bleeped version, though. I'm sure the real thing is a lot funnier. I am very pleased that, from the sound of things, the Beasties do a lot of instrument playing this time. Maybe I already said that, but at this point, that's essential to my enjoyment of their music. To my ears, they took a dive when Mixmaster Mike came on board. No disrespect to his obvious skills, it just isn't my thing. Also, fucking Palladia didn't air it until 3 am, even though it was supposed to be on at midnight.

With the benfit of hindsight, that was obviously a smart business decision. I know nothing about Mottola, but perhaps he was savvy enough to know that prog circa 1977 was public enemy #1 in the eyes of a lot of musicians and music fans, and he was afraid Hall's association with Fripp would derail his commercial success. On a different, but related, note, I read an interview with Hall a couple years ago. He basically said he's a singer for pay, and not someone who would bother with music if there was no more money in it. Maybe his Fripp/Mottola experience made him feel that way, and H&

This clears up my earlier comment about unreleased Fripp/Hall material: http://unheard78.blogspot.com/2010/10/daryl-hall-sacred-songs.html "Due in part to Hall's then label, RCA, and manager Tommy Mottola (of Sony fame), the album was denied release due to fears it was uncommercial. Hall and Fripp's reaction was to share copies of the album with dj's, writers and fans in a push to get the word out. The album finally saw the light of day in 1980 and didn't sell badly, but the label didn't support it or release any singles, damning it to obscurity. As bad as that is, what's worse is the deba

There is a song on Exposure with that name, but they might be different versions.

Interesting. That could have been really great, or kind of terrible. Hall appears on Fripp's Exposure album. Maybe some other ones, too. If I'm not mistaken, there's an unreleased album Fripp and Hall worked on together that is supposed to be incredible. I'll have to look into that.

No, but I'll be skydiving for the first (and probably only) time in June. Looking forward to it being a memory.

Name of album, please.

Thanks for that! Glad I still have a DVR.

I think I assumed they were like Spoon, who I'm ambivalent about. What's a good National starting point?

Yeah, Judd's cool. I don't know him well, but we had a good conversation about the Turtles last year when I finally found a copy of Turtle Soup. I don't drink much beer anymore, but the two Sweetwaters I had after the race (a 420 and an IPA) were very satisfying.

I've enver listened to these guys, but I saw them last night on a Palladia Lollapalooza show. Sounded pretty impressive. Will check them out for real.

Full Moon Records in Candler Park. He has a good dollar bin. Buy ten get two fee. Sometimes it gets picked over, though. Sweetwater 420 Festival 5K. My first one. Unfortunately, due to a glitch with the timce chips I'll never know my running time or how I placed in my age class. Thanks for the birthday wishes. Much appreciated. I'll bet you're right about some store owners doing that. I think Eric from Criminal (one of the guys who invented RSD) said in an interview that he knows of some store owners doing that in the past.

I agree the pressings are far too limited. It's like they want them to wind up on ebay. Once again, the record industry fails to adapt.

Here's a hair-brained idea that probably doesn't hold up to the Laminated Nap treatment: Issue limited editions on RSD with the promise that, if the item sells out, and no copies wind up on ebay within X amount of time, another pressing will be issued. It'd work if people weren't so fucking lame and greedy.

From the sound of things, RSD seems to be an event that would cause me more irritation than enjoyment. I ran a 5K on RSD, which happened to be near my friend's (non-RSD participating) record store. Plus it was my birthday weekend, so I had the perfect opportunity to spend some money on records. I got: Temptations - Puzzle People Queen - At the BBC Stranglers - s/t Glen Iris 7" Herbie Mann - Live at the Whiskey a Go Go.

That could be it. Facebook has made people realize that their friends lives (if not their own) are soap operas in themselves.

That's the logical conclusion, but my records tend to stay in the condition they were in when I got them (aside from the rare accident). I've always been careful with my records, even if they're beat up.

I was always more of a Y&R/B&B guy.

I've never really thought about it, but I'm kind of the same way. I have beat records and pristine records, but most are somewhere in between. The pristine ones almost always wind up being listened to the least.

Build it up slowly and it won't fell like you're spending tons of money. Yard sales can be a good place to find vinyl. I think I got extremely lucky whe I first started accumulating LPs. One day my friends and I were sitting on the curb in front of Eat More Records in Atlanta whe a guy walked in with a stack of classic rock LPs to sell. Eat More took none (or very few) of them, and on the way out he gave the whole stack to us kids rather than take them home. We split them up between us, and all the ones I ended up with still play perfectly, and still get played regularly.

I'll tell her about it. I probably had 1,000 albums before I graduated from high school (there used to be a killer 25 cent section in a local store here), and I only had part-time grocery store and busboy jobs during that time. She probably thought I was a drug dealer or something to be able to afford all those valuable records.

It's probable that the greed comment had to do with the $64 Fugs record which ViaBuffalo linked to, and not used record sellers in general. I know for a fact that SOME used record sellers are greedy. The greedy ones prey on people (like my mom) who think all LPs are rare and valuable collectors items, just based on the fact that you can't buy LPs at Sears & Roebuck anymore.