jff

For me, Let it Be is too uneaven to be considered great. A few career high points (or close to it), but a lot of filler, and one shamefully atrocious ballad.

Even the recent one? I haven't heard it yet, but it seemed to get mostly lukewarn response. I can't think of any. Every artist I like has at least one not so great album.

I don't listen to a lot of rap, but I would think this album would have been heavily sampled by now (and maybe it has). Just about every song has the makings for a killer rap track, or break, or whatever they call it.

I'd buy it. I've never heard most of these tunes.

Me too. Why not discuss the one song on the album that has a drastically different sound than the rest of the album, and explain WHY they decided to switch gears? I've gotta say, this was one of the least interesting Classic Album episodes I've seen. That's partially because I already knew 80+% of what they covered, but there are other reasons for it. For instance, other episodes tend to cover every song from an album. This one did not do that. It mostly only covered their best known songs, which 95% of Rush fans know all about. Another problem I had was when Terry Brown would brin

I might have to do this. I love the Classic Albums series, and I wanted to get it from Netflix, but they still don't have it, and don't know when they'll get it. I think Netflix is walking a tight rope right now, and they're making some dangerous mistakes.

Same here. I don't know my exact numbers, but I've sold a lot of cds since I started seling in October.

Being on the radio is more crass than being on a television comercial.

I've heard good things about this. Supposeedly rivals the Keith Morris era Black Flag. AND includes Steve McDonald from Redd Kross.

If by "the Iron Man of today", you mean a muscular, athemic song that beats you over the head, the last thing we had like that that was popular and good was probably Jane's Addictions' Mountain Song, or something

Awesome, thanks! I guess you can hear a more modern sound on Darlene. I can't remember how Ozone Baby goes, but I could see Wearing and Tearing being on anything fron Physical Graffiti (which itself is a mix of older and newer recordings) through their last album. I'll have to listen to Coda this weekend.

Are the Coda tunes from the late part of their career? I always assumed it was leftovers that spanned many years.

I think the two problems with this release are the high price and the fact that it's previously released material. They also might be getting hurt by the fact that this lineup has been stable for a long time and most Wilco fans have seen this lineup and these songs multiple times, so some might feel the album doesn't offer enough to justify the purchase, especially at twice the price of a ticket to see the band live. If this was a new release, I suspect the vinyl would be sold out, or closer to it, by now. The vinyl resurgence is probably blown out of proportion. There aren't all that

I would think so, and the more he did it, the easier it'd be. The REM guys are out and about in Athens a lot, and they rarely get bothered.

That's probably true. By his own admission, Page was having trouble with heroin at the time that album was made, and didn't spend much time in the studio. If he had cleaned up (and Bonham had lived), maybe they could have carried on successfully. They would have had to tread lightly with the keyboards, though. That was the time when keyboards were starting to get really cheesy. If they had made one more keyboard based album the next year or two years later, it'd probably be remembered as a huge misstep in their career.

Plant is making a lot of sense there. As much as I'd like to see Zeppelin, you'd have to be pretty selfish to think he hasn't given them more than enough of his time in the post-Bonham years. If Bonham were still alive, I'd probably feel very differently.

I had not idea about that. That's going to be fantastic.

Nickelback is probably as close as we'll ever get to proving that taste can be objective.

Hey Aerosmith kicks ass (or did at one time, anyway). For me, it was Casey Casem's American Top 40, circa early '80s. I specifically remember liking Hall & Oates and John Fogerty. I had a lot of Kiss records before that, but I think I thought of them more as toys than music.

I couldn't agree more with with your first sentence. I'm sure Dylan has written a lot of songs that are worse, and more annoying, than "I'm Too Sexy For My Pants." One could make the argument that being exposed to the music of Leonard Cohen or Nick Drake is more likely to be a gateway towards critically acclaimed music* than being exposed to the music of Alicia Keys or Lady Gaga. In that sense, I'm ok with music by artists I respect being used in commercials. *Critically acclaimed music is sometimes quite awful.

All good points.

He probably doesn't, but that doesn't mean his request isn't serious.