Okay, and after the catchy and beautiful intro of "Ghost: First Variation" I was thinking "I got this!". Then the free jazz starts encroaching with all its jazzy freeness, and I notice strange physical reactions. My eyes squint, my hands hold my phone more tightly, my breathing becomes more irregular. It's like my mind is telling my body "Hold tense for a bit while I find SOMETHING to latch on to. Some meaning in this maelstrom that's been placed in close proximity to my logical being."
Great review, Mercury! That first paragraph really had me laughing. I've been many a times with many record.
Peace, brother! Glad it seems to be clicking for you. Certainly not my speed rn. :lol:
I'm glad you enjoyed the review. I find I have more "to say" about weird, abstract albums than direct albums that fit into genres I am pretty familiar with.
And yeah I am pretty well in the bag for Spiritual Unity now. The experience got me interested in other 60s jazz classics. Which is always a good sign for an album. I spent yesterday listening to Albert Ayler, Grant Green's Idle Moments. And yes I HIGHLY recommend you give this mellow masterpiece a go for your listening diet:
Full disclosure: I never really loved or even liked too much Megadeth. Even their magnum opus, Rust In Peace. Even at the height of my thrash metal days, when I'd spend hours sitting alone in my room obsessing over Slayer, Metallica, Exodus, Testament, Sepultera, practicing drawing all their logos, dissecting their lyrics, etc. I never was able to get hyped about Megadeth the same way. Megadeth were always perhaps the less heavy side of those thrashy bands. Maybe that is the idea I have due to the lead singers ridiculous vocals tricks and affectations. I just hated hearing his voice. I recognized the insane technical brilliance of the guitars and the song structures and even the relatively sophisticated lyrical details of Megadeth songs. I never had that moment when I was like "Fuck yeah! MEGADETH!!!".
Still, I owned all their albums and listened to them quite a bit. One of the first albums I found and bought and listened to a lot to try to decipher its excellence was Countdown To Extinction. This album always held a weird place in my heart. The songs were more well structured, almost conservative, accessible. Gone were the 4 minute solo battles of Rust In Peace, and gone mostly were the more directly HEAVY a.f. parts of their first couple records. Instead, on this album, a great super heavy, classic thrash metal riff would come in and just when I'd start getting into it, that is when the vocals of Mustaine would come in, front and fudgin' center, with his cute and "smart" wordplay. His vocals and lyrics took center stage. I am listening now and I am surprisingly having the same reactions and thoughts. Its like Mustaine wanted to show off how clever he is (and I will admit it is quite a feat to take a line like "your enemies praise your architecture of aggression" and make it work in the meter/rhyme scheme of a song) and as a result every really cool and to me interesting aspect of the album is put on the back burner to accent this verbose, half-wit political lyrical wordplay and cartoonish yet self-serious vocalist.
God. I am just reading what I just wrote and thinking "why am I shitting on this album so hard?!". Well, maybe it was for dramatic effect. And also partially, I have had a weird relationship with this album, I've secretly hated huge portions of this album since 2000. Whenever a solo comes in, I am totally on board. For example, right now a quick 20 second solo on "Foreclosure Of A Dream" is rocking in my ears and I'm like awesome! Then Mustaine comes in and does all this wordplay crap and then they do this annoying thing where they take tape from some politician talking at a press meeting or something and somehow I'm supposed to think this is deep or edgy. It's not. Just give me some dynamic riffage and soloing or something actually interesting and do that. Keep Mustaine's poems and George Bush soundbites, and those weird vocal affectations out of it!
"Sweating Bullets" has become a bit of a classic. And outside of the annoying vox, yes its very cool. Very unique, with its start stop structure. Good on you, Megadeth circa '92.
Then, sadly, after this weird gem, comes more songs vaguely about social issues. Okay, not vaguely, but very very obviously. With more front and center mustaine vocals, calls to action to save the animals, more snippets of people talking dropped into the production, more cool but not overwhelmingly brilliant metal riffs, and the occasional absolutely stunning guitar solo.
I am just over halfway through this relisten. This is usually when I would turn this off and find something that is cool. But due to this diary I am trudging on. "High Speed Dirt" actually is awesome! So I am glad I heard it. There's an out of nowhere part when the song cuts out and theirs this secluded guitar part, which is legitimately cool and inspired. Doesn't quite make up for the title track. But cool.
"Psychotron" is so fuccin dumb. "Captive Honour" is corny as hell. Seriously, how can anyone like Mustaine's vocals? And that whole dumb southern courtroom drawl part makes me so sick. bleh. The guitar riff is cool but undermined by every aspect of the song outside of it.
I am seriously wondering why this is regarded as a classic album in some circles. 🧱
Okay, "Ashes In Your Mouth" just started and I remember I actually kind of enjoyed this track when I was 12... lets see how it holds up... Okay, no its pretty bland. NEXT!
Another song I don't like aaaannnnnddddd.... I made it! phew! It's over.
Okay, I never at any stage in their career thought of Megadeth as a good metal group. But this is a step down from the previous 3 or 4 albums they made. Rust In Peace is a solid masterbatory guitar solo classic, the first 2 are silly heavy early thrash standards. With this I think they were trying to become a more intellectual band, with unique and respectable song structures, with a series of really important messages to boot. However, almost the whole album just sounds like a failure to me. _________________ -Ryan
Okay, now I am sure to feel better about an album. yay!
I have actually never given a full listen to this debut statement by E. Smith. So I am excited to give it a close listen now.
Listening now and it always amazes me how fast I get into an Elliott Smith album. It usually takes a minute or 2 tops for me to totally buy into the dude's attitude and feel and thoughts. Now I am on track 2, "Condor Ave", and I am already just sitting here vibing with the music. It feels like I am just hanging out with my friend, chatting with him about some feelings and concerns and so forth. The guitar is beautiful textured acoustic excellence. The percussion is so insanely simple and it works so. damn. well.
I think Elliott Smith had one of the best ears for melodies ever. Up there with the dudes in the beatles, or Sufjan or anyone else really. He just had this little whispery voice, but he knew always exactly what words to give inflections and turns to. And he always just had a feel for making a perfect melodic switch up. IDK, he just was mesmerizing in his unassuming being. It always felt like he was totally in tune with the music that surrounded him. This was always true on every album I've heard of his, and its definitely true here when he was just making his first solo album as a 25 year old old soul.
No Name 1 and 2 and 3...and 4 are all so gosh darn amazing! They deserved names, damn it. And the harmonica in "No Name 2" is excellent.
All in all this is the same tier of excellent as his S/T that came out the year following this album. I personally feel he was even better the more instruments he used, the more money and the more studio freedom he got. So, yes, I rate XO a bit over Either/Or, and I rate Either/Or slightly higher than Roman Candle and Elliott Smith. And yes Figure 8 is also really good. He just seemed to build in brilliance with each release until he tragically passed.
I love how much this album is its own small little gem. It's short, its lo fi somewhat, its simple, its sad and sweet and inspiring in a strange way, its a document of its own particular specific time and space. It makes me feel that some great music can be made by just a really talented young person with a guitar or whatever instrument and a couple friends hanging out and putting some songs down. It feels so small and personal and sweet. I just really like this kind of a record.
Okay, I SUPER rushed this, I just wanted to get my thoughts down on this little gem as quick as possible. It made me feel good about music again. And so now I say "goodbye"....
I will admit that despite being a pretty big Neil Young fan, this album as well as the other albums of this phase I had never given their proper due. I guess whenever I was feeling a need for the greatetness of NY I gravitated to any of his first 4 studio albums (yes including his debut which I always quite liked if not loved) or his late 70s live albums or his work with CSNY or Zuma or or or...
I don't know why this was, maybe I just was never in the right headspace to let the gravity and the depth of On The Beach hit me when I gave it a listen.
On Saturday Night i was feeling kinda meh. I was feeling a bit frayed and lost. And I saw this album coming up and I was like this may be the right time for this famously despairing album. And that feeling was right. It paid off. I listened to this album about 6 times through and I am now completely in love with it.
For one, the things about it that I thought were flaws before seem just right artistically now. The minimalist aspects of the songs, the fact that there is a sort of deadened and un-worked-over feel to the production for everything here (except perhaps the opener "Walk On") imbues this whole album with this emotionally overwhelmed feel. The songs emotionally are varied, "Walk On" is a great opener even if a deceiving one. It's catchy and beautiful and rocking and resilient. Songs like "Revolution Blues" is manic and insane and angry. "On The Beach" is sad and lamenting, "Ambulance Blues" is just depressed and deadened, "Vampire Blues" is sick and deceiving and hooded, Sky About To Rain" is a deifferent brand of sad - like there is such a beautiful sadness there such a foreboding despairing quality. Etc. All the songs have different facets, and they all represent a different facet of Neil's general vibe at the time.
The album is so streamlined, there is not a wasted moment. The styles that he takes on never feel cheaply done or corny. In other words he dabbles in country, different versions of blues, rock, folk etc. But for each of those genres he takes on it doesn't feel like novelty or all done up. There's always some strain of difference to the traditions of those genres that comes through. It all sounds distinctly like a song he actually feels and has his stamp, not like a carbon copy homage to those genres. If That makes sense.
The lyrics are brilliant. They express such an exhaustion. They are clearly very very personal and lived in. They aren't showy. Buit some of the lines on this album will live on forever as some of the greatest expressions of a strained state of mind ever.
The 3 different interpretations of the blues here are fascinating. I think the strongest is the closer "Ambulance Blues". I love it so much. It seems aimless, yet it totally holds my attention for its full 8-9 minut5e run time. It seems like he was channeling Dylan in making a long rambling low key closer. yet he makes the thing his own at the same time.
Also, I think the sound here on this album, that sort of off hand slacker sadness, has been copied so much. Every time I hear this I think of all the indie rock and country rock and whatever, that have come after this 1974 records that have a similar vibe. I mean Kurt Vile is an obvious example of an artist (I love but) owes his whole beng and sound and attitude to Neil, and especially this album.
This album has a perfect cyclical quality. It does play as a journey from the strained but persevering aspect of the opener "Walk On" to the cold as ice, rambling, self-conscious genius of "Ambulance Blues. All the tracks in between are interesting observational and emotional way-stops along the way.
In short I now absolutely adore this album. I would put it as #2, no scratch that, more like #1a in Neil's discography. Its so different from After The Gold Rush, but is its equal in artistic presentation of a particular mood, time, and place. Thank gosh for this album.
I threw this review together rapidly, but I think it is a pretty complete overview of my thoughts on it.
What do you who have read this think of On The Beach? Is it top flight NY to you as well? Are you on the fence? Is Tonight's The Night better or worse or equal? _________________ -Ryan
Today there is a classic I've never really given a listen to. So I am happy to listen to it even if I'm not exactly on a this album's genre kick at the time. More on that later.
Note that tomorrow, the 18th is ABSURD!!! I mean literally there are 8 significant albums that I love or are iconic or very interesting that have anniversaries. What can I do? Should i listen to all of them starting now and do a quick snippet review of each tomorrow? Or should I mention all their anniversaries, and do one longer review for one of 2? I don't know what to do. If any of you have suggestions, I'm all ears.
Okay..... here goes....
Today is the 35th anniversary of Screaming For Vengeance by the absolutely iconic JUDAS PRIEST!!!
Now, now, I know some of you or one of you (lol 😉 ) may worry that mildly that I will poop on this album or band. I know that I was not nice to the last metal album I reviewed. But no worries. Cuz where that last album was was mostly poo, this album is not.
Judas Priest were awesome. I actually have a massive amount of respect for them. They represent all the most badass aspects of Heavy Metal. They were cartoonish at times, over the top, but at the same time I am never distracted from the innate sonic awesomeness of their music.
Okay, so about this band and album. I LOVE Sad Wings of Destiny its borderline chart worthy. I don't care for British Steel, and I remember enjoying Stained Class but need to revisit. That is the entirety of my experience with these legends up to now. So, seeing this was the anniversary of this album, one of the top 5 albums constantly mentioned as their best, and its a somewhat significant anniversary, I was excited to get into it. My worry was that it was going to have a similar commercial, catchy quality that I didn't like in British Steel considering the closeness of their release dates.
But listening now for the second time, I can say I really really like this. It does have an accessible streak mixed into its distinctly Judas Priest vison of metal. But I like it here! Every second from the start with one of the best opening tracks in metal history, to the beautiful closer, is pristine, and fun and just a precise distillation of what makes classic pre-thrash metal cool. The guitar work is so absolutely brilliant! Downing and Tipton...my god man! And every time a solo blows my mind, a killer guitar riff comes in to reorient me to the heavy heart of the album.
And Rob Halford is maybe the greatest lead singer in metal or hard rock history. He's so fucking cool! The only people who may give him a run for his money by a lot of people (in terms of how iconic their vox and music and bands are amongst many people) are Dickenson, Osbourne, Mercury, Plant, and...IDK. Hetfield's early barking aggression I feel should be included. But That's just me. But of all those guys, none of them were as able to balance the grandiosity of showing off the pipes with the foreboding bark of the heavy parts, with the overall just cool youthful energy and at the same time just always be distinctly themselves and recognizable. Okay, I'm calling it now, Halford is THE KING of metal/hard rock vocals. Come at me. ( funny that i hear halford = the best, just after having to suffer through mustaine = not good. but whatever)
The first 3 tracks of this album are stunning! like goddamn! Then "Bloodstone" comes in all cool and sexy. And I'm thinking, jesus this is fantastic.
"Screaming For Vengeance" is scary and ferocious and intense as hell. Just awesome! "You've Got Another Thing Comin'" is the obvious hit. And I think its fun and silly. Not a fave. But perfectly good little hard rock anthem. I could imagine myself stabbing a biker in the ribs with a broken bottle while listening to this. So it's got that going for it... which is nice.
Okay, I don't have much to say about this. I think this is a super great Metal album. Not as great to me as SWoD, but surprisingly close. I think I'll give Stained Class another listen. Also I will give British Steel a reappraisal, and eventually I need to check out Painkiller. Then build from there. _________________ -Ryan
Yeah. On the Beach is definitely top tier Neil Young and maybe his best. It's between that and After The Goldfish for me. they're both monster albums. Tonight's the Night & Zuma is also up there!
it's really the tale of two sides. Side A kicks total ass and especially when The Hellion/ Electric Eye kicks off, you think you're going to be treated to one of Priests finest. But they let up on side 2 quite a bit I've always felt so it's a bit of a front loaded affair.
They're best stuff was easily their early to mid 70s albums, but I've always enjoyed pretty much everything Halfor has put out including his side projects.
I would put this album in the same tier as countdown to Extinction except this has A LOT more nostalgia value for me.
It's really interesting that you don't like Megadeth but I can dee how Muscatine's personality could turn u off. I think he's kind of funny.
MercuryTurn your back on the pay-you-back last callProfile St. Louis
Yeah. On the Beach is definitely top tier Neil Young and maybe his best. It's between that and After The Goldfish for me. they're both monster albums. Tonight's the Night & Zuma is also up there!
edit: My kids went emoji crazy. lol.
LOL. I personally liked the emojis! And yeah I am glad we agree on "On The Beach". I now place it right there and next in line is a personal favorite - "Rust Never Sleeps"...love that album too.
Tilly wrote:
re: Screaming For Vengeance
it's really the tale of two sides. Side A kicks total ass and especially when The Hellion/ Electric Eye kicks off, you think you're going to be treated to one of Priests finest. But they let up on side 2 quite a bit I've always felt so it's a bit of a front loaded affair.
They're best stuff was easily their early to mid 70s albums, but I've always enjoyed pretty much everything Halfor has put out including his side projects.
I would put this album in the same tier as countdown to Extinction except this has A LOT more nostalgia value for me.
It's really interesting that you don't like Megadeth but I can dee how Muscatine's personality could turn u off. I think he's kind of funny.
I listened to it 1 and a half times through. On further listsn I may come to the same conclusion as you, in terms of the "tale of 2 halves" take. I started listening to Painkiller yesterday and it was crazy heavy. Was surprised at how intense it was. I guess they had to try to keep up with the times.
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Anyway, now I have to confront this craziest of crazy days album anniversary-wise. _________________ -Ryan
This is one of my favorite albums ever. And of all the significant anniversaries today, this is (as of now) my absolute favorite and the only one I can say I consider a top 100 Ryan album.
Without waxing petic for pages and pages as I could, I'll just say this is an album so stunningly beautiful it leaves a deep mark on me whenever I hear it. It also has a distinct sound and space. What I mean is, not only is it great (like really really great) it's unlike anything I've ever heard. It has a style all its own and it conjures up images and feelings that no album does.
There are moments in this album where I am dumbstruck. Especially the epic tracks "Saeta", "Solea" and the opener, "Concierto de Aranjuez (Adiago)". When I close my eyes when the drumming is playing away and Miles' horn starts rising more and more into a spirited feverish swell on "Saeta", it conjures up an amazing vision of some sort of sonic architecture. Its hard to explain. Basically parts of this album defy logic and understanding.
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Today is the 56th Anniversary of Judy At Carnegie Hall by Judy Garland!!!
I will listen to this again later. But its quite long. And quite excellent. Basic review now is that I love it. Judy Garland was such a stunning talent. She had a warmth and beauty as an actress and as a singer that is pretty close to untouched in the history of films. This album is an adoring, sweeping, tribute to her immense talent and legacy. Her voice and spirit just warms me up whenever I hear it, or whenever I see her on screen. I wish I could go back in time and meet her. I love this album, I love the beautiful orchestral work, I love her so so so much.
Also, I'm sure it is well known and accepted but I'll state the obvious, "Over The Rainbow" is perhaps the greatest song in the American Songbook. And Judy's rendition of it is so beautiful that...I don't know...if everyone on earth listened to it all at once, the world would be engulfed in the unified fire of love. Listening to this album feels almost like Being In Luuuuuuv!!!!!
Next!
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Today is the 51st anniversary of Fifth Dimension by The Byrds!!!!
This was a listen, a first listen, for the ages this morning! I did not expect to love this album so very much! I guess I always thought of the Byrds as boring, jangly meh-ness before. Then I put on this 28 minute energetic, creative, strange, lil masterpiece of an album.
First off the premise or concept of the album about a bunch of hippies being brought into outer space or something is just so fun. The instruments are the expected upbeat, jangly exc ellence. And the little touches, solos, fun instrumental twists and turns are all so forward thinking and unique (especially for mid '66).
I always knew that "* Miles High" was a "landmark" single. I had heard it mostly on Byrds greatest hits. And I had heard the husker du rendition. I never understood why it was considered good or significant. But hearing it now and seeing the date of its release, hearing for the first time how strange and detailed the start is, then I had my mind seriously blown when I heard those solos come in. Those solos are so so so freaking weird and dischordant and expressive. It is like nothing else i've heard. How had I not put together how insane this track is.? This, along with the fact that "Tomorrow Never Knows" cme out the same year, the early works of Hendrix, the insane unusualness of "Blonde On Blonde, etc etc, I see fully how crazy the rock the scene was in '66. They were really tearing shit up, weren't they? And "8 Miles High" is perhaps as distinct and representative as any other work from '66 to show how cray cray this time period was for rock and pop music.
Anyway, there is no bad track here. I suspect I'll be returning again and again to this. It may even end up on my chart soon. It's that surprisingly impressive to me. Also their version of "Hey Joe" is excellent.
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Today is the 49th anniversary of Anthem of the Sun by Grateful Dead!!
And that's cool. I am interested in liostening to it. But when I went to look this album up on my music provider, I saw that Live In Europe '72 showed up. And this reminded me that I have literally wanted to listen to this live album since I was 13. But I was never able to find a cheap used copy of it to buy or a copy at the library. So I threw away the script and I just want ahead and listened to this magnum opus of live jammy country stuff. I had forgotten that it was nearly 2 hours until I was through the first half. Still I listened to it all the way through in portions. And I will say, proudly and happily, that I loved it! It is the first time I've really fallen for a Dead album. They always seemed like a band (much like the Byrds) that I underrated and just didn't get why they are so damn legendary. I am starting to get it now.
The whole album is so mercurial, idea-driven, fluid, rife with little ideas, etc. The american roots music that they were nonchalantly breathing new life into for a new generation is all so elementally gorgeous. But with their little touches of divine instinct, their little detours, their abundant ideas of things and motifs to play with and distracted by, etc, it all makes this live album one of the best and most invigorating live album experiences I have had!
I am so psyched that this crazy day has already made me a fan of 2 bands, has reacquanted me with my greatest cinematic love, and has given me a chance to gush a bit about my favorite musical love. What a great day.... what's next!?
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Today is the 48th anniversary of The Soft Parade by The Doors
And honestly I really do not like The Doors. I have never heard this album. Apparently it is one of their more underrated albums. And I may indulge someday. But for today, I just am really not interested in trying to decipher the doors strange bassless uniqueness and morrison's shamanistic ramblings. Apologies to all you doors fans out there.
Next!!!
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Today is the 44th anniversary of the sultry excellence of Call Meby Al Green!!!!
I listened to this a couple times yesterday. It's so good. And its so different from what I think of as the soul of that era. It doesn't have the funky insane grooves of Stevie or the slinky brilliant touches of Mayfield, or the clearly innovative sonic ideas of albums of the same era being released by Gaye (or Mayfield or Wonder or Sly or or or...). Instead its a great case, this album's sound and this artist's style, of less is more. The drums and grooves don't bash you over the head. The vocals are almost thin, the soul and the emotion is presented is such a way that it almost doesn't get to you fully. You have to extend forward, listen closely, to hear the details and the words and the things expressed. When you finally find the songs and the message, your knees get weak, your heart starts to flutter, and your eyes get swimy. Al Green on this album makes you come to him. And when you do and you're right up close, he whispers and tells you all the deep wells of human experiences, experiences of love and loss and longing, and you are right there with him, nodding in agreement, wiping tears from your opened eyes.
The hits on here are classic. The opening 20 seconds of "Call Me (Come Back Home) are otherworldly. The quiet songs like "Have You Been Making Out Okay", and "Funny How Time Slips Away" are so real and raw its astounding. The latter song I just mentioned could be an Adelle song. But its so much more subtle than her music. But its got that same conversational quality that Adelle to my ears almost copied directly for "Hello". maybe that is just me.
Anyway, I really love this album. Al Green is such a unique genius.
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And now here is something all you post punk nerds will love....
Today is the 37th anniversary of BOTH Closer by Joy Division!!!!,
I know, crazy, right? Both of these classic albums were released in some hot July day in 1980. Obviously Closer is the more iconic. And the more beloved here and everywhere else seemingly. But I really really like Crocodiles too.
Crocodiles is such a vibrant and alive debut statement from this great band. It may be their best album, it is to me anyway. I know there exists a LOT of love for Ocean Rain, Heaven Up Here, and Porcupine. But to me, despite the clear artistic development on these albums, there was never another album by the Bunnymen and Echo that so thoroughly pumps me up with angular, intense punky bliss. Excellent album.
As for Closer, until recently I honestly didn't just not love this album, I actively disparaged it. It seem too cold, too inhuman, inhumane, dark, hopeless, bleak, mechanical, and too much of an expression of the death of humanity in the face of the new mechanized world. Obviously, that is sort of the point. At least that's the point as far as I can tell. I used to feel it took all the genius of Unknown Pleasures and took the aspects of bleakness and accented that so so soooo much that it became just unpalatable.
Thankfully I have come around on this album. It's brilliant for all the reasons I mentioned earlier. But it also is incredibly detailed production-wise. It's a monumental artistic achievement. I still rate and rank, etc Joy Division's debut as their best as well as one of the great rock albums ever. their sophomore album is no slouch however.
okay, mooooooving ooooooonnnnnnnnnn.....
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Another album that were released on this date, July 18th, :
I've never heard it. And not quite my speed right now. I am sure its great. They make cool heavy albums.
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And finally, the last album of many deserving of highlight that I will highlight today is an important and landmark one. And one I've never gotten into despite really wanting to give it its day in the sun. But today I shall listen to finally is....
Today is the 31st anniversary of Raising Hell by Run D.M.C. !!!!
Incredibly influential and important album in the development and popularization of Hip Hop music. And thanks to this album just think how many kids went and bought adidas. Millions? maybe...
Full disclosure, the Judy At carnegie Hall album is still playing in my ear. It's 2 hours long! And its a masterpiece its so freakin good!!!! I LOVE Judy Garland so so much. Goddamn. But the point is, I have 30 minutes left in this massive record and I just want to finish it before I do anything else. I am planning on giving Raising Hell a re-listen shortly in celebration. It deserves it of course. But I will hold on giving a review or my thoughts on it until I'm actually done listening to it or actively listening to it. So more on this last one later.
Okay, there is the LONGEST entry ever for this diary. July 18th is AWESOME! While this was a lot of "work" it was also such a rejuvenating and exciting listening experience! I have discovered at least 2 new favorites that will be on my chart soon, maybe 3... (Judy at Carnegie Hall, Fifth Dimension, and Live In Europe '72). Also talking about Miles, JD, Echo, Al, and having achance to diss The Doors, all made this just a fudgin' Joy!!
What do you all (all about 4 of you who read this) think of this avalanche of great anniversaries? Which is your fave? If you're into this kinda thing, how would you rank the albums I just mentioned here? What do you disagree with me on my takes here today? etc etc. I am interested in your feedback, you beautiful people.
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Mercury
Repo
