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Discussion in 'The Cellar' started by Spiteface, Jun 2, 2017.
Totally understand where you're coming from there.
Rush's 80s output was not terribly surprising -- they'd hinted at it as far back as Permanent Waves, with the reggae breakdown on SoR (or "Vital Signs" on MP)-- but yeah, I'd buy the 80s albums hoping for teh heviez and was left high and dry in many cases. Still had some great songs in there but ... I got off the train when Grace Under Pressure showed they were pursuing that direction seriously. And truth be told, my favorites of theirs run up through Hemispheres, before Alex caught a bad case of the chorus pedal. I spent an hour last week watching an early 77 show from them that just slayed, and that's the Rush that I fell in love with.
Soundgarden too, though theirs was more an evolution than a left turn. I think of Badmotorfinger as the last original SG album. I happen to love their later output too, but there's no denying it was more radio friendly in large part. More power to them, but I missed the punk element that was prevalent on much of their earlier work.
For me, it's Radiohead after OK computer. Their first three albums were amazing (with the Bends being my favorite) then after OK Computer it all went to shit!
One thing on the Fleetwood Mac comment - yes, technically it was the same band, but really it wasn't after Peter Green left..
@Travis19 believe me i tried to get back on the bandwagon and have listened to all of their albums since the good stuff days. Ill admit there are plenty of good riffs here and there, but nothing that really grabs me to keep it in my rotation. My buddy bought us tickets to the R40 show and i was cringing for the first hour! After they finally got through to MP i started enjoying the show.
Sorry to disappoint, but this is how i feel. A band cant force anyone to get into their material. It either works or it doesnt.
Another band to add here, is The Sword. They released High Country last year and that album is an abrupt turn from all of the previous albums. There is quite a big backlash from the fans for sure. Personally I will listen to it once in a while but the older releases get more attention.
Fair enough. At least you gave it a go. I know far too many people who haven't listened since Rush's eighties output so I'm always trying to push the last three or four albums on folks. Thanks for indulging.
I didn't like "High Country" either. I'm going to go see them in July, it's probably been about seven years since I last saw them so I'm going to hold my opinion until after the show. Perhaps "high Country" will be just an anomalous blip in their discography and they'll still blow the roof off of the joint.
Ive heard their shows are still heavy and very good. Enjoy.
While I would agree with you in as far as The Bends is my favourite Radiohead album, I think Kid A is superb, and the only real bad album, to me, is King of Limbs.
That said, I really wish they wouldn't insist on releasing songs vastly inferior to initial live airings of them years prior. Most recent offender, True Love Waits.
Here's the live debut of the song in 1995:
The version that closes A Moon Shaped Pool is dire. I was hoping the live recording that later emerged on the live album I Might Be Wrong, was going to be the definitive document of that song. I'm relieved that Big Boots/Man Of War hasn't been subjected to the same fate, and is being released finally, in it's original 90's incarnation, on OKNOTOK the 20th anniversary edition of OK Computer, along with other lost gems like I Promise and Lift:
Guns N' Roses
Biggest turn in direction was when Nickelback went from formulaic radio rock songs about partying, drugs and memory lane to............................................oh wait.
When Kiss went disco!
Most drastic change has to be Pantera - from Glam Rock to awesome
Those guys we meant to shed the glam look. Even if you listen to their music from that time frame, it's still quite heavier than other glam bands.
From this ...
To this ...
I saw them on that Cold Lake tour. God, it was awful.
Blue Cheer from bizarro proto-metal to more of a kind of bloozerock with a little experimentation
thrown in. (Come to think of it, the shift happened on the same album, the third, New! Improved!
Blue Cheer, one side by the power trio with Randy Holden replacing Leigh Stephens, the
other by the core quartet of the change in direction: bassist Dickie Peterson, drummer Norman
Mayell, guitarist Bruce Stephens [no relation to Leigh Stephens], and keyboardsman Ralph
Kellogg. The first full album by that quartet, Blue Cheer, was probably the best of the post-
Chicago went from being a killer band (especially when Terry Kath was shredding with them) to the band that laid the blueprint for soft rock like Air Supply.
Terry Kath was a fantastic talent.