"Precious," "Tattooed Love Boys" and "Mystery Achievement" didn't even make the cut for the band's greatest hits release, which indicates just how solid this album is from start to finish. Blood-spattered redneck Theater of Cruelty? I caught so many little moments of Alex in Shithouse that made me think you really didn’t fall into that same trap. Beneath its show of smoke and mirrors, mercenary babes, and treacherous holograms, Total Recall is a story about a man who must choose between two possible, contradictory realities. Cecil TAYLOR – It Is In The Brewing Luminous Full of sustained bursts of cathartic noise, the album kicks off with the jagged squeal of “In the Kingdom #19,” which employs Minuteman bassist Mike Watt over a spoken-word account of a car crash, months after the death of bandmate D. Boon in similar circumstances. Ted Pigeon, A faithful, vibrant Sofia Coppola adaptation of Jeffrey Eugenides’s novel about the unfathomability of teenage girls, The Virgin Suicides captures the album-rock ambience of mid-1970s suburban adolescent purgatory with just the right quantities of fetishism and pity. This film with my dad was deeply emotionally risky for me. It was very much kind of like, “How dare you make this biopic of my life freshman year?”. On top of it all sits Elvis Costello’s production, which shines through the grime of each track and infuses the album with a heady angst.
Jesse Cataldo, George Clinton’s solo debut begins, almost oddly, with the former Parliament and Funkadelic frontman putting on his clothes. It’s like the way in which plane travel changed my life compared to my parents’ life. “Hotter Than July” is the proper follow-up to 1976’s masterful “Songs In the Key of Life,” which is right up there with the hardest acts ever to follow. It’s lush, mournful and gorgeous—in other words, it’s Robert Smith and company at their very best. How did you conceive the film’s coda? Even though it’s not as tidily satisfying as Get Out, it’s both darker and more ambitious, and broader in its themes. There’s always been something severe, even clinical, about Dare! The nine tracks convey a conceptual scale—the initial dark, battering rain morphs into an effervescent sky with sympathetic ease. However, the remarkable amount of perseverance displayed by AC/DC to return so quickly to the studio after the untimely death of frontman Bon Scott may be the truly amazing aspect of this release, aided by its legitimate reputation as a hard rock masterpiece. I’d go see The Feelies at CBGB right after their debut album Crazy Rhythms and watch the crowd of other young musicians react to the melding of driving bass and drums with experimental guitar, a sound that would help inspire some of the best New Wave, gothic rock and jangly college rock. Jeremiah Kipp, An imaginative expansion of the brisk Philip K. Dick short story, “We Can Remember It for You Wholesale,” this film about fake memories and a real interplanetary crisis now stands redolent with nostalgia, both for its time, as well as for itself. I do trace it in some ways back to both of my parents, but certainly my father. That it more or less forgoes the spectacle of an anticipated resolution is a necessary consequence of its methods; in other words, for Filho, process rather than payoff is the point. But the latter cars are lit in expressionistically beautiful club-rave rainbow colors that reflect the escalating social privilege of a lost generation. The Joshua Tree shows one of the world’s most famous bands at their infancy, struggling to find their place in the world, yet unaware of the greatness that lies in front of them. ”—Jeff Giles, It wasn’t quite a massive success like This Year’s Model or My Aim is True, but Trust is Elvis Costello at his most biting and cynical, rattling off social commentary like “the teacher never told you anything but white lies” on “New Lace Sleeves” and demonstrating his trademarked wit with lines like “the long arm of the law slides up the outskirts of town” on “Clubland.” Sonically, it’s all over the place in a good way, as Costello makes his first real attempts to hop from genre to genre, something that would come to be expected from him later in his career. The deep cuts are just as varied and interesting as the two hits, “Games Without Frontiers” and “Biko” — if not more so in some instances. So, so many people missing the point that a/ it’s data-driven based on Discogs data, and b/ it’s only for the year 1980. In songs like “Walking on a Wire,” “Just the Motion” and “Don’t Renege on Our Love,” relationships are a tightrope high above the crowd, a small boat amid big waves and a faltering promise. Steven Scaife, Jordan Peele’s Us suggests C.H.U.D. —Garrett Martin, A lot of people prefer The Replacements’ early albums for Twin Tone—which are admittedly impressive—but their mid-career, late-’80s trilogy for Sire holds up a lot better. I knew that my family members and my ex-girlfriends would love it.
Flanagan is deeply invested in Cody’s (Jacob Tremblay) welfare, to the point of rigidly signifying the various manifestations of the boy’s nightmares, pigeonholing irrationality into a rational framework so as to justify a moving yet literal-minded finale. As such, it’s difficult to tell if the story takes place in medieval times or some dystopian future. At long last, he recognized that comedy could be as revealing of human nature as drama, and he allowed his funny songs to stand side by side with his serious ones. Isn’t Anything beautifies all that should be ugly, and deserves a spot as a lo-fi masterpiece in its own right. In Us, Peele is less concerned with blackness than he is economics, as the howling, homicidal doubles that torment the Wilsons represent an avenging under class. There are nine-million bicycles in Beijing. Here, we look back at the best albums from the year that kicked off one of the most important decades in music: 1980. Edward Lachman’s sourball-candied cinematography and Air’s languid musical theme were key ingredients in this smart, regretful fairy tale of the failed rescue of a quintet of Michigan Rapunzels from their repressive parents by a chorus of clueless, telescope-equipped local swains. While John Belushi and Dan Ackroyd dearly loved the blues, soul and R&B music to which the Blues Brothers paid homage, they were comedians and actors. “Am I here?” the girl asks while playing the drinking game known to us as Celebrity.
That’s a great question. Crawford’s films are filled with funny contrasts and incongruities, and Sadie McKee is no exception: Even when Sadie is so down and out that she can’t afford a decent meal, she wears a stylish black suit with fur cuffs, and when she gets angry, Crawford drops her piss-elegant, strained diction and suddenly sounds like a tough broad trying to run a laundry. Strickland allows his dreamy atmosphere to take over the film, as the characters are eaten alive by their hungers and uncertainties, though this free-floating reverie has a moralistic streak. Released as the soundtrack for his 1984 film, Prince ran the gamut stylistically from metal-funk-rock (“Let’s Go Crazy”) to synth-soul-pop (“I Would Die 4 U”). We watch them every year, and there’s a total shock because I’ve forgotten almost all of the things that he’s filmed. There are guest spots by Chilton himself and a teenaged Luther Dickinson, but this is Westerberg’s breakthrough moment, as he stops undermining his striking melodies, galvanizing riffs and mind-twisting aphorisms and lets them cast their spell.
In conjunction with the release of On the Rocks, we ranked Coppola’s films. Also considered is critical acclaim. As for the just-burgeoning hip-hop genre, acts like Public Enemy and De La Soul not only had a conscience—they served as ours. The Cure’s stateside debut album is actually a compilation of various tracks from the late 1970s, including eight songs from the band’s UK debut, “Three Imaginary Boys.” Robert Smith was already writing ambitious lyrics at this point — the band’s first single, “Killing An Arab,” was based on Camus’ “The Stranger,” after all — but the music was more stripped and lean compared to the sticky web of goth rock it would start weaving on its second album, “Seventeen Seconds.”, U2’s debut album finds the band lean, tough and self-righteous in all the ways that only extremely earnest 20-year-olds can be. Undoubtedly the album of 1980. Beneath is a utopian cavern of sonic heaven—double-bass moans, flickers of muted trumpet, sizzling cymbals, violent clashes of electric guitar. On Nation of Millions, he steps up as rap’s most authoritative voice, delivering stinging lyrics with newfound confidence. In which the Pumpkins conclusively prove that great art comes from great pain. We want to hear from you! I think a good example is if someone’s sitting down crying at Greenhill, no matter what, in five seconds tops someone would be over there making sure they’re okay.
Their debut album, Appetite for Destruction, succeeded because Axl, Slash, Izzy, Duff and Steven played as furiously as they chugged Jack Daniels and scarfed drugs, placing anthems like “Welcome to the Jungle” and “Sweet Child O’ Mine” between songs like the law-evading “Out Ta Get Me” and heroin-addled “Mr. But if I recall, the real Greenhill is the Hornets. Gigantic pop hooks delivered with muscular rock chops set the template for the grunge movement that would follow and ensured that Doolittle would sound every bit as good in 2012 as it did in 1989. 2/ The Blues Brothers – The Blues Brothers
I thought it was just something that I was doing and meant a lot to me, but it was a separate thing. Chris Cabin, The air of grievance that marks Crawford’s face in Borzage’s Strange Cargo is wonderfully used by George Cukor in A Woman’s Face, and even given a visual correlative: Crawford plays the first half of the film under ugly scar make-up covering one side of her face. Some of these depictions are humorous, others haunting.
In fact, Rain Dogs is packed with some of his finest tunes, from the conspiratorial “Clap Hands” to the heartbreaker “Downtown Train,” which was strong enough to survive Rod Stewart’s manhandling.
The original ending, of Diane Baker screaming behind the door, is considerably harder to shake.
But it really doesn't matter what criteria are used to consider this album, the blistering, brilliant debut from San Francisco's champions of political hardcore. © IFC Films, As someone who’s not all that different from Alex, I didn’t feel like I had to travel far.
It’s just weird to be in a lot of interviews or Zooms where people are asking you to talk about yourself for so long.
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