Today's Music of the Day is Out of Time, by R.E.M. By now, if you haven't heard "Losing My Religion" enough times to know that it came from this album, you probably never will. This is probably the most well-known (though not the best, in my opinion) R.E.M. album, being released in 1991 at the height of their popularity.
This is still an R.E.M. album, though there are some notable differences from albums past. It couldn't be called 'experimental', but there are some elements - strings, guest rappers - that weren't present before and had lesser if nonexistent presences after Out of Time. In hindsight, it's easy to see how this album, though successful, probably created a schism between casual and determined R.E.M. fans, perhaps even more so than the each-successful Green and Document. The sound is light and wistful in places, enough so that some of these songs might seem to be covers. It's widely known that for years, hipster testing was administered by restraining an individual and forcing them to listen to this album. (Displeasure would indicate hipster status.)
'Abberation' might be too strong a word, but Out of Time represents a clear departure from the days of Fables and Reckoning. The lyrics and sound are still strong here, but the soundscape is so occupied that individual elements lose their weight. The strings which were so prevalent here would be used to better effect in the future, but this album sounds a little like R.E.M. wasn't quite sure how to handle its increased resources.
Still, there are some good songs here. "Country Feedback" and "Me in Honey" are strong individually, but bookended they are especially powerful. "Losing My Religion" is a fine tune, though overplayed in the years since its release. "Half a World" has a nice vibe as well.
Overall, I might recommend this album to someone who needs to ease into R.E.M. and hasn't quite been weaned off popular radio yet, but it's hard to put it above many of their other works (even the much-reviled Monster), at least those not from the post-Berry albums, which shall have no presence here save for Up and possibly Accelerate, if I ever get my hands on it.
In Other News:
I hope I have spring fever and not swine flu. (Note: I am not actually ill.)
Saturday is Roller Derby! Friday is Capoeira open house! Sunday is Advil!
Showing posts with label R.E.M.. Show all posts
Showing posts with label R.E.M.. Show all posts
Tuesday, May 5, 2009
Monday, November 10, 2008
Monster
Today's Music That You Shouldn't Hate Even Though Some People Do is R.E.M.'s Monster. This is probably one of the oldest CDs in my collection, possibly only preceded by Credence Clearwater Revival's Chronicle and a few Miles Davis albums.
This album came out in 1995, very much on the tails of the whole 'grunge' movement, and it's hard to say that the album wasn't influenced by grunge in mood if not sound. It's very different from most anything R.E.M. put out prior - while there were some straight-forward rock songs scattered in their back catalog, there wasn't much fuzzy distorted rock in such great chunks. Consequently, I think a lot of people disliked this album immensely. In hindsight, I don't think it was such a bad album, just not the introspective, literate work that R.E.M. had come to give us in the past.
I can't say that this is my favorite R.E.M. album, not by any stretch of the imagination, but I do think it is a strong work if something of a detour. It does seem as though this album indicated that we wouldn't get another "Losing My Religion" or even another "Everybody Hurts" for a while, if ever, though I believe that the people who became R.E.M. fans due to Out of Time were bound for disappointment to begin with.
There are some wonderful songs on this album, though: "What's the Frequency, Kenneth" is pretty enjoyable, "Crush With Eyeliner" and "King of Comedy" are strong, too. Even the dated and fuzzy "Star 69" isn't bad; some people like "Strange Currencies" but it's a little too close to "Everybody Hurts" for my taste. Even "Let Me In" has its merits, though the story behind it is pretty sad. Basically, the whole album isn't bad, outside of "Tongue", which I will probably never like.
So, to summarize, Monster is awful and you'll hate it. Unless you like things that are fun, in which case you might enjoy jumping around to some of these songs.
In Other News:
Suprisingly, things seem okay today. Maybe? Yes.
It's gray and rainy outside today. This probably makes you unhappy but I love it.
Also, I'm almost unpacked. Finally.
This album came out in 1995, very much on the tails of the whole 'grunge' movement, and it's hard to say that the album wasn't influenced by grunge in mood if not sound. It's very different from most anything R.E.M. put out prior - while there were some straight-forward rock songs scattered in their back catalog, there wasn't much fuzzy distorted rock in such great chunks. Consequently, I think a lot of people disliked this album immensely. In hindsight, I don't think it was such a bad album, just not the introspective, literate work that R.E.M. had come to give us in the past.
I can't say that this is my favorite R.E.M. album, not by any stretch of the imagination, but I do think it is a strong work if something of a detour. It does seem as though this album indicated that we wouldn't get another "Losing My Religion" or even another "Everybody Hurts" for a while, if ever, though I believe that the people who became R.E.M. fans due to Out of Time were bound for disappointment to begin with.
There are some wonderful songs on this album, though: "What's the Frequency, Kenneth" is pretty enjoyable, "Crush With Eyeliner" and "King of Comedy" are strong, too. Even the dated and fuzzy "Star 69" isn't bad; some people like "Strange Currencies" but it's a little too close to "Everybody Hurts" for my taste. Even "Let Me In" has its merits, though the story behind it is pretty sad. Basically, the whole album isn't bad, outside of "Tongue", which I will probably never like.
So, to summarize, Monster is awful and you'll hate it. Unless you like things that are fun, in which case you might enjoy jumping around to some of these songs.
In Other News:
Suprisingly, things seem okay today. Maybe? Yes.
It's gray and rainy outside today. This probably makes you unhappy but I love it.
Also, I'm almost unpacked. Finally.
Monday, October 20, 2008
Up
Today's Music of the Day is Up, by R.E.M. I gave some thought to writing about another R.E.M. album, such as the superb Reckoning, but Up seems like an album that has more mixed opinions than most R.E.M. albums. Plus, it has some sentimental value to it.
Up, for those of you non-R.E.M. fans, is the first album that the band made after Bill Berry left to go farm somewhere in Georgia. It's very much not an R.E.M. album in either mood or sound, even with all the distinctive Stipe vocals. This album is decidedly withdrawn and rooted in despair, with nary a friendly rock song to be found. It's strangely electronic in many places, not quite a shoegaze album (do people still use that term?). This album, more than any other, doesn't fit with the rest of R.E.M.'s catalog; I suppose only time will tell if it's a welcome departure or just an anomaly.
(Someone made the point that this album had some interesting parallels to Radiohead's Kid A; both albums were radical changes from the band's traditional sound, going more electronic and sparse, but the reception for each couldn't have been more different. Up was viewed as something of an abberation, whereas Kid A was viewed as a bold statement.)
Having said all that, I do enjoy this album for what it is, even if I would have preferred something more along the lines of New Adventures in Hi-Fi. As it is, the album had some high points, a fair amount of meandering, and some songs that were fair but just not affecting. I don't think it's one of R.E.M.'s better albums, but it's not bad, just far different than what anyone would have expected. In hindsight, it looks much better; at the time, some long-time R.E.M. fans really thought we were seeing the band put one foot in the grave.
Well, enough depressing historical perspective. This album does have some songs that I like - the Leonard Cohen-inspired "Hope" is pretty good, and everyone should enjoy "Lotus". "Falls to Climb" is too somber to really be enjoyable but it's a nice song. If this album had carried the sneer of "Lotus" all the way through, with a couple semi-anthems like "Daysleeper", it would have been a more natural progression.
So, to summarize: Not the best R.E.M. album, but an interesting listen and a historical curiosity.
In Other News:
I'll be damned if Ben Folds' "Mess" isn't the song of the day for me.
"and i don't believe in god
so i can't be saved
all alone as i've learned to be
in this mess i have made..."
HOLY CRAP http://en.wikipedia.org/wiki/Gonzo_Ballet
Up, for those of you non-R.E.M. fans, is the first album that the band made after Bill Berry left to go farm somewhere in Georgia. It's very much not an R.E.M. album in either mood or sound, even with all the distinctive Stipe vocals. This album is decidedly withdrawn and rooted in despair, with nary a friendly rock song to be found. It's strangely electronic in many places, not quite a shoegaze album (do people still use that term?). This album, more than any other, doesn't fit with the rest of R.E.M.'s catalog; I suppose only time will tell if it's a welcome departure or just an anomaly.
(Someone made the point that this album had some interesting parallels to Radiohead's Kid A; both albums were radical changes from the band's traditional sound, going more electronic and sparse, but the reception for each couldn't have been more different. Up was viewed as something of an abberation, whereas Kid A was viewed as a bold statement.)
Having said all that, I do enjoy this album for what it is, even if I would have preferred something more along the lines of New Adventures in Hi-Fi. As it is, the album had some high points, a fair amount of meandering, and some songs that were fair but just not affecting. I don't think it's one of R.E.M.'s better albums, but it's not bad, just far different than what anyone would have expected. In hindsight, it looks much better; at the time, some long-time R.E.M. fans really thought we were seeing the band put one foot in the grave.
Well, enough depressing historical perspective. This album does have some songs that I like - the Leonard Cohen-inspired "Hope" is pretty good, and everyone should enjoy "Lotus". "Falls to Climb" is too somber to really be enjoyable but it's a nice song. If this album had carried the sneer of "Lotus" all the way through, with a couple semi-anthems like "Daysleeper", it would have been a more natural progression.
So, to summarize: Not the best R.E.M. album, but an interesting listen and a historical curiosity.
In Other News:
I'll be damned if Ben Folds' "Mess" isn't the song of the day for me.
"and i don't believe in god
so i can't be saved
all alone as i've learned to be
in this mess i have made..."
HOLY CRAP http://en.wikipedia.org/wiki/Gonzo_Ballet
Friday, September 12, 2008
Pop Songs 07-08
This week, a blog that I have been following for a while came to its end. Pop Songs 07-08 finally covered all the R.E.M. songs that exist, for now, anyway, and concluded with a couple posts of reader questions answered by Michael Stipe.
For those of you who aren't R.E.M. fans, well, I suppose you don't think much of my opinion and probably aren't reading this, anyway. But for those who are, I'd encourage you to check out Pop Songs 07-08 and at least look up some of your favorite songs, if not read the blog in its entirety. Matthew Perpetua (cheesy pen name or not) has clearly put a great deal of effort into analyzing all this great music, and it seems a shame not to recognize his efforts. Actual album reviews return next week! Maybe.
FYI, Pop Songs 07-08 is linked at right.
In Other News:
I got more bruises. Yay!
I may have found a part-time job. This is something I'd be doing because I want to; the money, while unnecessary, is generally welcome. More to come on this, maybe, but you'd really have to ask.
For those of you who aren't R.E.M. fans, well, I suppose you don't think much of my opinion and probably aren't reading this, anyway. But for those who are, I'd encourage you to check out Pop Songs 07-08 and at least look up some of your favorite songs, if not read the blog in its entirety. Matthew Perpetua (cheesy pen name or not) has clearly put a great deal of effort into analyzing all this great music, and it seems a shame not to recognize his efforts. Actual album reviews return next week! Maybe.
FYI, Pop Songs 07-08 is linked at right.
In Other News:
I got more bruises. Yay!
I may have found a part-time job. This is something I'd be doing because I want to; the money, while unnecessary, is generally welcome. More to come on this, maybe, but you'd really have to ask.
Thursday, July 17, 2008
New Adventures in Hi-Fi
Today's Music That Jason Is Hollering About is New Adventures in Hi-Fi, by R.E.M. This is one of their more recent albums, having been released in 1996; it is also the last album that the group released before Bill Berry (the drummer) decided to leave the group.
This album sounds very much like mid-to-late period R.E.M. It's definitely more complicated, musically, than their earlier work, which can be either a plus or a minus, but it's quite apparent. There are a number of mid-period R.E.M. elements to the music: piano, synthesizer, the distorted guitar. The sound is all over the place - there are some Monster-style rock tunes, some that sound more in line with Green and Out of Time, and one song ("Leave") with electronic roots that give hints to the sound (though certainly not the mood) of the consequent album, Up. I do like this album, overall, even if it doesn't rank in the top two or three R.E.M. albums, in my opinion.
So why not? I really enjoy the quality of the songs - the mood and sound varies enough from song to song that these waters are hardly tepid. Sometimes the prevailing mood is melancholy, sometimes empty and longing, sometimes cheery, sometimes even snotty and cocksure. What the album seems to be missing, though, is the erudite quality that previous albums carried, maybe even Monster. There isn't much in the way of politics here, and the literate songs just aren't anywhere to be found. I do appreciate these songs, but there isn't a "Begin the Begin" or an "Exhuming McCarthy", even a "Let Me In" that allows this album to attach itself to my conscious mind. Cripes, I hope I'm not wishing for a more pretentious album; this one is certainly listenable, and even fun at times.
In other news:
I am puzzled today, and a little irritated. Chances are that it's not your fault, though, so don't worry about it. I'm also looking forward to the weekend. Mostly, though, I want to play guitar and practice that stupid damn F chord that I can't seem to transition into easily at the moment.
This album sounds very much like mid-to-late period R.E.M. It's definitely more complicated, musically, than their earlier work, which can be either a plus or a minus, but it's quite apparent. There are a number of mid-period R.E.M. elements to the music: piano, synthesizer, the distorted guitar. The sound is all over the place - there are some Monster-style rock tunes, some that sound more in line with Green and Out of Time, and one song ("Leave") with electronic roots that give hints to the sound (though certainly not the mood) of the consequent album, Up. I do like this album, overall, even if it doesn't rank in the top two or three R.E.M. albums, in my opinion.
So why not? I really enjoy the quality of the songs - the mood and sound varies enough from song to song that these waters are hardly tepid. Sometimes the prevailing mood is melancholy, sometimes empty and longing, sometimes cheery, sometimes even snotty and cocksure. What the album seems to be missing, though, is the erudite quality that previous albums carried, maybe even Monster. There isn't much in the way of politics here, and the literate songs just aren't anywhere to be found. I do appreciate these songs, but there isn't a "Begin the Begin" or an "Exhuming McCarthy", even a "Let Me In" that allows this album to attach itself to my conscious mind. Cripes, I hope I'm not wishing for a more pretentious album; this one is certainly listenable, and even fun at times.
In other news:
I am puzzled today, and a little irritated. Chances are that it's not your fault, though, so don't worry about it. I'm also looking forward to the weekend. Mostly, though, I want to play guitar and practice that stupid damn F chord that I can't seem to transition into easily at the moment.
Tuesday, July 8, 2008
Automatic for the People
Today's Music That Has Held Up Over Time is R.E.M.'s Automatic for the People. In addition to having a pretty great title, this happens to be a really decent album. It's the last 'traditional' R.E.M. album, as after this, the band kind of went in a different direction with Monster and hasn't really found their way back, though some of the post-Automatic stuff is not bad by any means. This album was maybe a little bit lost in 1992, what with the musical landscape being dominated by grunge and gangsta rap; it probably also suffered for not having a radio hit as great as Out of Time's "Losing My Religion", which, while being a fine song, was guilty of being everywhere in 1991 and for some time after.
This is probably the first R.E.M. album I really felt strongly about; I don't know if it's still my favorite or not but I care for it a great deal. The album overall has a real haunted presence, as though each song is something of a ghost with a story to tell. Some of these ghosts are more personal, while others are more public and obvious (Monty Clift, Andy Kaufman, even Ronnie Reagan, lest you think that no politics made it in to this album).
Anyhow, Automatic has some songs that you will recognize instantly, songs that are typical of mid-period R.E.M. and fairly representative of the band in general: "Man on the Moon", "Everybody Hurts", "Drive". The rest of the album is excellent as well. "New Orleans Instrumental No. 1" is basically just what it suggests, but it's a pleasant two-minute departure. Some of the songs are light and inviting ("Nightswimming", "Find the River", even "The Sidewinder Sleeps Tonite"), some are filled with longing and regret ("Try Not To Breathe", "Ignoreland", "Monty Got A Raw Deal"). The common threads between songs being few but strong makes for a fine album.
So, to sum up: this isn't a rockin' good-time party album, but why you wouldn't listen to it is beyond me.
In Other News:
Man the blog has really been neglected lately.
I think this is the week I go to Planned Parenthood and see if I can start volunteering there on a regular basis. If you don't like it, that's fine, just don't expect me to care.
This is probably the first R.E.M. album I really felt strongly about; I don't know if it's still my favorite or not but I care for it a great deal. The album overall has a real haunted presence, as though each song is something of a ghost with a story to tell. Some of these ghosts are more personal, while others are more public and obvious (Monty Clift, Andy Kaufman, even Ronnie Reagan, lest you think that no politics made it in to this album).
Anyhow, Automatic has some songs that you will recognize instantly, songs that are typical of mid-period R.E.M. and fairly representative of the band in general: "Man on the Moon", "Everybody Hurts", "Drive". The rest of the album is excellent as well. "New Orleans Instrumental No. 1" is basically just what it suggests, but it's a pleasant two-minute departure. Some of the songs are light and inviting ("Nightswimming", "Find the River", even "The Sidewinder Sleeps Tonite"), some are filled with longing and regret ("Try Not To Breathe", "Ignoreland", "Monty Got A Raw Deal"). The common threads between songs being few but strong makes for a fine album.
So, to sum up: this isn't a rockin' good-time party album, but why you wouldn't listen to it is beyond me.
In Other News:
Man the blog has really been neglected lately.
I think this is the week I go to Planned Parenthood and see if I can start volunteering there on a regular basis. If you don't like it, that's fine, just don't expect me to care.
Tuesday, January 29, 2008
Green
Today's Music of the Day is R.E.M.'s Green. No R.E.M. history lesson, just music talk today.
I rather like this album, though it probably isn't my favorite R.E.M. album. Stylistically, it is kind of across the board. There are some straightforward rock songs ("Orange Crush" and "Turn You Inside Out"), some more jangly emotional songs ("You Are the Everything", "Hairshirt") and some oddly dour tracks ("World Leader Pretend", "I Remember California"). Then, of course, there's "Stand", the song Michael Stipe hates. "You Are the Everything" is a sweet song, and anyone worth their salt likes "Orange Crush". Some of the songs just seem to lack direction ("Hairshirt", again), though.
The album as a whole is certainly 'literate' in that it isn't Def Leppard, but it seems to have slipped into a simpler style than its predecessors. Given how political and driving the previous album, Document was, it was hard to look on this as being a real step forward, despite some strong songwriting. The more polished R.E.M. of Out of Time and Automatic For The People wasn't really present yet, but some of the songs on Green are creeping towards that sound. Again, I think Green is a solid album, but it didn't have the personal touch that the earlier works did. Though I like the albums that would follow Green, albeit to varying degrees, it's hard not to look on this album as a bit of a fall, as something we settled for but couldn't really love.
In other news:
I need some more music, after all. And I'm really sore today.
I rather like this album, though it probably isn't my favorite R.E.M. album. Stylistically, it is kind of across the board. There are some straightforward rock songs ("Orange Crush" and "Turn You Inside Out"), some more jangly emotional songs ("You Are the Everything", "Hairshirt") and some oddly dour tracks ("World Leader Pretend", "I Remember California"). Then, of course, there's "Stand", the song Michael Stipe hates. "You Are the Everything" is a sweet song, and anyone worth their salt likes "Orange Crush". Some of the songs just seem to lack direction ("Hairshirt", again), though.
The album as a whole is certainly 'literate' in that it isn't Def Leppard, but it seems to have slipped into a simpler style than its predecessors. Given how political and driving the previous album, Document was, it was hard to look on this as being a real step forward, despite some strong songwriting. The more polished R.E.M. of Out of Time and Automatic For The People wasn't really present yet, but some of the songs on Green are creeping towards that sound. Again, I think Green is a solid album, but it didn't have the personal touch that the earlier works did. Though I like the albums that would follow Green, albeit to varying degrees, it's hard not to look on this album as a bit of a fall, as something we settled for but couldn't really love.
In other news:
I need some more music, after all. And I'm really sore today.
Friday, October 26, 2007
Drive XV
Today's Music That Kind Of Wasted Jason's Time is Stereogum Presents Drive XV: A Tribute to Automatic For The People. It is what it looks like - an all-cover version of R.E.M.'s super-delicious 1992 album. Now, initially I was fairly excited about this. Then I downloaded it and forgot about it for a couple months. Then a few days ago I was cleaning my computer's desktop up and found it, and decided to give it a shot.
Well, I was fairly underwhelmed. Some of the songs were okay but nothing really stands out as being a track that I'd listen to again. In particular, I didn't care for Rogue Wave's cover of 'The Sidewinder Sleeps Tonite', which is one of my favorite tracks on the original album. The Shout Out Louds' 'Man on the Moon' was equally mediocre. I would probably only recommend Catfish Haven's cover of 'Monty Got a Raw Deal' out of all the songs on this album, sadly.
Some other albums I've been listening to:
The Dandy Warhols (self-titled debut): pretty good, this one grew on me right away.
American Analog Set - Promise of Love: despite the bad, bad title this is a pretty great album. It's depressing to no end but I liked it anyway.
Well, I was fairly underwhelmed. Some of the songs were okay but nothing really stands out as being a track that I'd listen to again. In particular, I didn't care for Rogue Wave's cover of 'The Sidewinder Sleeps Tonite', which is one of my favorite tracks on the original album. The Shout Out Louds' 'Man on the Moon' was equally mediocre. I would probably only recommend Catfish Haven's cover of 'Monty Got a Raw Deal' out of all the songs on this album, sadly.
Some other albums I've been listening to:
The Dandy Warhols (self-titled debut): pretty good, this one grew on me right away.
American Analog Set - Promise of Love: despite the bad, bad title this is a pretty great album. It's depressing to no end but I liked it anyway.
Wednesday, October 3, 2007
JEEBUS WHAT HAPPEN?
It occurred to me today as I was trying to decide what to blog about that I haven't actually blogged about an R.E.M. album here, ever. WHAT THE HELL JASON?
Well, without further adieu,
Today's Music That Jason Won't Let You Forget About is Document, by R.E.M. I decided to start with Document simply because it might be my favorite R.E.M. album, though Automatic For The People or even Reckoning would have something to say about that. Even Life's Rich Pageant could get in on this argument. Maybe the reason I haven't blogged about an R.E.M. album yet is that it seems unfair to talk about one and not the others. Well, anyhow...
Document represented a fair turning point in the R.E.M. discography. While the Athenians were certainly not political Luddites prior to 1987, this represented a major step forward in expressing their political views through their music. See, R.E.M. was ripping the Republican party before it was cool (and by 'cool' I mean commonplace for every whiny black-hair no-action attention-whore band to do it, System of a Down etc. I mean you. Did you really think your video calling Bush a warmonger or a megalomaniac was going to change anything? Why do you think a cheap shot from a liberal bottom-feeder is something new to a rich Republican?).
Politics aside, this is a straight-forward rock album, definitely an intelligent alternative to the hair bands that stank up the radio in the late 80's. Some of these songs are still receiving regular radio play ("The One I Love", "Finest Worksong", "End of the World"), which is nice. There are a number of other good songs on this album - actually, I can't really think of any bad ones. I particularly like "Disturbance at the Heron House", "King of Birds", "Welcome to the Occupation"..."Exhuming McCarthy" is simple but as bright and driving as anything on the album. Even the closer, "Oddfellows Local 151" is enjoyable. The fact that I can tell you the names of almost all the songs on this album (I think I left out "Fire" and one other track, which I can't name right now) should be enough of an endorsement for you, given that you don't completely hate my taste in music. Which, if you've actually read this far (i.e. through the small rant earlier), you probably don't. But then again, maybe you are just looking for someone to disagree with. Well, that's what I'm here for, generally.
Well, without further adieu,
Today's Music That Jason Won't Let You Forget About is Document, by R.E.M. I decided to start with Document simply because it might be my favorite R.E.M. album, though Automatic For The People or even Reckoning would have something to say about that. Even Life's Rich Pageant could get in on this argument. Maybe the reason I haven't blogged about an R.E.M. album yet is that it seems unfair to talk about one and not the others. Well, anyhow...
Document represented a fair turning point in the R.E.M. discography. While the Athenians were certainly not political Luddites prior to 1987, this represented a major step forward in expressing their political views through their music. See, R.E.M. was ripping the Republican party before it was cool (and by 'cool' I mean commonplace for every whiny black-hair no-action attention-whore band to do it, System of a Down etc. I mean you. Did you really think your video calling Bush a warmonger or a megalomaniac was going to change anything? Why do you think a cheap shot from a liberal bottom-feeder is something new to a rich Republican?).
Politics aside, this is a straight-forward rock album, definitely an intelligent alternative to the hair bands that stank up the radio in the late 80's. Some of these songs are still receiving regular radio play ("The One I Love", "Finest Worksong", "End of the World"), which is nice. There are a number of other good songs on this album - actually, I can't really think of any bad ones. I particularly like "Disturbance at the Heron House", "King of Birds", "Welcome to the Occupation"..."Exhuming McCarthy" is simple but as bright and driving as anything on the album. Even the closer, "Oddfellows Local 151" is enjoyable. The fact that I can tell you the names of almost all the songs on this album (I think I left out "Fire" and one other track, which I can't name right now) should be enough of an endorsement for you, given that you don't completely hate my taste in music. Which, if you've actually read this far (i.e. through the small rant earlier), you probably don't. But then again, maybe you are just looking for someone to disagree with. Well, that's what I'm here for, generally.
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