TheBigBlack's Rock Top 10 |
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Mark Lanegan
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The Offspring
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By the late-90s bands like Green Day and Blink-182 would help the new generation of pop-punk explode onto the charts and take the music to the masses, but in 1994 punk was still less than mainstream. With labels now looking for the next 'grunge', bands like Bad Religion and Pennywise were starting to cause a swell, and The Offspring were lucky enough that someone at Epitaph Records (founded by Bad Religion's guitarist) decided they were worth pushing. 'Smash' was an album made for the time, overflowing with angsty lyrics and crunchy guitars, but with just enough commercial appeal that every 15 year old got a copy on CD from their grandparents for their birthday that year. Songs like 'Nitro (Youth Energy)' and 'Genocide' exhibited old-school punk chops and credibility alongside the more modern sounding 'Come Out And Play (Keep 'm Separated)' and 'Gotta Get Away'. There was cross-over appeal also, with alternative and metal audiences hearing something in here that they could relate to. Although The Offspring have had a number of good albums over the years (ignoring the last couple), 'Smash' will likely always be seen as their greatest musical statement. |
Green Day
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Johnny Cash
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Stone Temple Pilots
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Pink Floyd
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Live
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To say an album is a masterpiece is a big call, but every so often something is released that is so perfect, so definitive, and so ultimate - that it can wear the badge proudly. Throwing Copper is one of those albums. Although Live's debut album was hard to categorise (sounding like a clone of early R.E.M.), their second album knew what it wanted to be - not quite so mainstream to be regarded pop, but not quite so heavy to be purely alternative rock. Opener 'The Dam At Otter Creek' builds slowly to a cacophony, setting up the incredibly infectious 'Selling The Drama' to lead the way into the rest of the album. It all unfolds one great song after another, moving through 'I Alone', the mega-single 'Lightning Crashes' and even the punchy 'All Over You'. The songs are varied in style, yet wonderfully cohesive, and the album even finishes with a cowboy song, the beautiful 'Horse'. The lyrics seem to alternate between hard hitting social commentary and whimsy, but the whole album is performed with such conviction it all exudes the same power. Post this the band followed a more commercial direction, leaving this standing tall to carry on in a class of its own. |
Bush
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In 1994 Bush took a lot of unnecessary criticism for apparently being a Nirvana clone. To be fair, in 1994 - every band was Nirvana clone. With Sixteen Stone they took the angst of grunge and wrapped it up in a big ball of English optimism, and made a dirty distorted sound that was very much their own. Whereas Kurt Cobain was all about telling us how shit his world was, Gavin Rossdale wrote more positive lyrics, and their big hooky choruses left you feeling good about things. Songs like 'Everything Zen' and 'Little Things' had a alt-rock crunch, but they were still radio friendly enough to get plenty of airplay, and how could 'Glycerine' not become a classic ballad of the 90s (even though no one has any idea what it is about)?. It isn't a perfect album by any means, and there a couple of low spots ('Bomb' is a mess), but for the most part this is one of the best debuts of the post-grunge 90s. It's a shame Bush never made an album this good again. |
Soundgarden
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Pearl Jam
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TheBigBlack's Rock Honourable Mentions |
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Alice In Chains
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Jimi Hendrix
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Jimi Hendrix
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Nirvana
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To say Kurt Cobain had become an icon of a generation post-suicide was a big call, but actually somewhat an understatement. His ghost loomed in hard rock everywhere, and certainly any band out of Seattle couldn't even sigh without fans clamouring to find hidden meaning in their laboured breath. It was inevitable that the flood gates of unreleased Nirvana material would pour forth to the masses quickly, but this first release (around 6 months after Cobain's death, timed of course to cash in on the Christmas market) was not what was expected - but it was certainly appreciated. Cobain's songwriting legacy to the general public was the loud/soft dynamic of so many Nirvana singles, so this album was a perfect way to help the world appreciate the subtleties of his songwriting. It also allowed him to explore some of his musical influences. MTV were looking for a set of hit singles, but what they got instead was a range of lesser known Nirvana songs stripped back (not quite unplugged, as Cobain insisted on amping his guitar still) played with a unique charm. Cobain was mostly zoned out for the performance, reportedly suffering from heroin withdrawal at the time, but every vocal moment still shines magically. Nirvana mega-fans already knew a couple of the covers played from various recent performances, but for those hearing songs like The Vaselines' 'Jesus Doesn't Want Me For A Sunbeam' (with Krist Novoselic on piano accordion) and the epic Lead Belly closer 'Where Did You Sleep Last Night?' (something Cobain had toyed with for years) these were revelations. Bowie's 'The Man Who Sold The World' was also a very welcome surprise, but the addition of The Meat Puppets playing some of their own songs was like nothing in Unplugged history. It was a move typical of Cobain, once again showing that he played by no one's rules but his own. |
Silverchair
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The Beatles
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It's hard to believe, but in the 1970s The Beatles were old tired news, and apart from a couple of blips on the radar in the form of average reissues and live albums, there wasn't much interest. By the 1980s however, with the advent of the compact disc, fans started asking when The Fab Four were going to be released on the format. This happened in 1987 (unfortunately to mixed results), and a slow revival began. EMI realised by the early 1990s that anything they didn't release on CD some bootlegger would, and the first thing to do was to stop the steady stream of BBC bootlegs by getting an official release out. For Beatles tragics (like myself), the double CD 'Live At The BBC' album was earth shattering. Not only did it give us over 60 unreleased tracks (in mostly top quality - mainly due to one woman who recorded close to every one of the hundreds of broadcasts on her home tape machine), but the majority of the songs were new songs never before released by the band. The reason for this was simple: with only a handful of their own songs released at the time (mainly 1962-1964), and sometimes doing two (or more) BBC shows a week, they had to revert back to covers of songs they played in their early days in Hamburg and the Cavern Club. Chuck Berry, Little Richard, Carl Perkins, The Everly Brothers, and Elvis Presley (amongst many others) get a work out, and the small interludes of conversations between the boys and the hosts transport the listener all the way back the 60's. An amazing piece of musical history. |
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TheBigBlack's Metal Top 10 |
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Megadeth
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Machine Head
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Emperor
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Darkthrone
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Danzig
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Cradle Of Filth
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Burzum
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Pantera
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Slayer
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Mayhem
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