Contrarian musical opinions.

[ROC]

I don't call this a guilty pleasure thread, because at the end of the day, guilty pleasure is a poor term. But this is more contrarian opinions based on your taste, and things you like that are different from the critical norm.

- I vehemently hate the genres of post-grunge and rap metal, both of which influenced the pure existence of Puddle of Mudd, yet I find their incredibly poppy choruses (yes, pop songs can have a chorus that says "Maybe I'm the one who's a schizophrenic psycho") pretty awesome to listen to. Especially on the last two records, they make silly songs that sound really awesome on a random day. And it works.

This is the best one I have for now.

[GoGo Yubari]

I like John Mayer. Some of his songs are really crappy (fuck "Your Body is a Wonderland"), but when he's good, he's really good. Plus, his cover of "Little Wing" is fucking outstanding.

[METALMAN]

Wham! I love them.

I also enjoy quite a lot of Madonna songs from the 80s. Holiday, Material Girl and so on.

While not really into rap at all I do like Public Enemy. And a couple of Dr. Dre songs.

I also like cheesy 90s pop. Alice Deejay in particular.

The usual earlier 2000s pop-punk as well. That's about it.

[ChrisSteeleAteMyHamster]

I generally love late 90s Eurodance.

[Emperor Fuckshit]

George Harrison had the best post-Beatles career of the four.

John Lennon produced nought but po-faced, plodding dirge-rock; McCartney just got very, very boring (this part isn't actually controversial); Ringo is Ringo (this part is a tautology). Harrison wasn't incredible or anything like that, but he has an inconsistent body of work that's at least more fitfully entertaining than Lencartney.

Stiff Little Fingers deserve to be mentioned in the same breath as The Clash and The Sex Pistols as regards late 70s British punk.

By taking the basic musical framework laid down by the Clash and Pistols and using it as a conduit for Northern Irish experience, SLF offered something that (for one album at least) was genuinely exciting and unique, rather than merely imitative of the bands that had come before them. Also, by moving punk explicitly away from the vaguely/insincerely pro-violence imagery of the Clash ("sten-guns in Knightsbridge"; 'Guns of Brixton'), SLF avoided one of the cringeable traps that punk had fallen into to that point. If you buy the 'not legitimate' argument in relation to the Clash (or at least Strummer), then you can't fault SLF on that score: as Catholics in Belfast during the 70s, they had plenty to feel aggrieved about.

I'd like to go one contrarian step further, actually, and say that they were better than the Clash, but I can't quite do it. The Clash were better for longer (four good albums to SLF's one or two), and were more diverse musically. Compare 'White Man in Hammersmith Palais', 'Revolution Rock' and the cover of 'Police and Thieves' to SLF's cover of 'Johnny'. I don't dislike the latter song, but it should be quite clear who the more musically able band were. Musical ability isn't everything, though. Not by a massive chalky shot.

Nirvana were great, and still are.

It's kind of de rigeur now to take shots at Nirvana for one of four reasons: i) they've 'aged badly' ii) un-melodic music, iii) Cobain was a twat / the lyrics and images are just generally deserving of eye-rolls; iiiv) their legacy is in large part due to Cobain's suicide and subsequent vigorous media fawning.

i) is just meaningless.

ii) is true in large part, but misses the point -- they're supposed to be a balls-out rock band trading in simple, catchy riffs. No matter how much they're overplayed these days, how can you not like the intro riffs of 'Smells Like Teen Spirit' or 'Come as You Are'? Or, if popularity turns you off, the riff and bass-line to 'Even in His Youth' are tremendous. Songs like 'Something in the Way', 'Dumb' and 'Pennyroyal Tea' show their diversity: they could slow things down and meander too. Cobain was a very good vocalist, who could sound viciously raw when needed (see the end of 'Lounge Act') without ever coming across as forced or simply sounding unpleasant to thine ears.

iii) has some truth to it: how can anyone hear "never met a wise man / if so it's a woman" or watch Cobain taking the piss out of his audience for clapping (those appreciative FUCKS!!!!!) without feeling a bit ill? But to cast Cobain as someone who was acting in bad-faith, or 'sold' depression/alienation/whatever seems to go way too far to me. His life both before and during Nirvana was genuinely troubled, and the end to his life should be evidence that he wasn't someone who intended on trading in youthful ire and then mellowing-out as needed later on. He had his traumas -- sure he basked in them a bit, and took up wankery positions in songs, but he was yong and pissed-off. Who'd like to cast the first stone? Most of his lyrics also have a subtle quality to them which means that, even if you can't relate to him personally, they can easily be re-interpreted to fit your life. I know that 'Pennyroyal Tea' is about heroin addiction, but, for me, "sit and drink pennyroyal tea / steal the life that's inside of me" speaks a lot about boredom, restlessness and inefficacy. And whilst I might not be attending the sort of parties and places that Kurt frequented (never seen anyone "load up on guns" as far as I can remember), "bring your friends / it's fun to lose and to pretend / she's over-bored / self-assured / oh no, I know a dirty word" is a perfectly nice story of dejected evenings spent in dismal company.

iv). Yeah, the media has pimped the fuck out of Cobain since his death in a way that is in large part attributable to its nature and circumstances. But none of them give a sincere fuck about him: 'The Times' give away free Cobain CDs to suggest that they're down with the youth, but to prevent them from having to decide for themselves what's worthy of praise (for we all know Nirvana are 'classic' and 'iconic'). But the media talks shit about everything, and to react to them by declaring that Nirvana and Cobain were actually entirely without merit musically and in the public eye solely due to Cobain repainting his greenhouse with his grey matter is disingenuous.

Coming later: 'Isn't Anything' is better than 'Loveless'; Grant Hart is better than Bob Mould.

Edited January 11, 2009 by Emperor Fuckshit

[New Damage]

I hatehatehate indie with a passion, but I do rather like the Killers. If they're considered indie anymore. And having only heard Hot Fuss for the first time the other, I think Day & Age is their best.

[ChrisSteeleAteMyHamster]

Must be said, The Kinks are farfarfar better than The Beatles, and Ray Davies from The Kinks is a far better songwriter than Lennon could ever have dreamed of being.

The guy just nailed everything.

Spoiler: Click here to view

My big day, it was the biggest day of my life.

It was the summit of my long career,

But I felt so down, and I drank too much beer,

The management said that I should not appear.

I walked out onto the stage and started to speak.

The first night I've missed for a couple of years,

I explained to the crowed and they started to jeer,

And just when I wanted no one to be there,

All of my friends were there.

Not just my friends, but their best friends too.

All of my friends were there to stand and stare,

Say what they may, all of their friends need not stay.

Those who laughed were not friends anyway.

All of my friends were there to stand and stare.

Days went by, I walked around dressed in a disguise.

I wore a mustache and I parted my hair,

And gave the impression that I did not care,

But oh, the embarrassment, oh, the dispair.

Came the day, helped with a few large glasses of gin,

I nervously mounted the stage once again,

Got through my performance and no one complained,

Thank God I can go back to normal again.

I went to that old cafe,

Where I had been in much happier days,

And all of my friends were there,

And no one cared.

Say what they may, all of my friends were there.

Not just my friends, but their best friends too.

All of my friends were there,

Now I don't care.

Walter, remember when the world was young

And all the girls knew Walter's name?

Walter, isn't it a shame the way our little world has changed?

Do you remember, Walter, playing cricket in the thunder and the rain?

Do you remember, Walter, smoking cigarettes behind your garden gate?

Yes, Walter was my mate,

But Walter, my old friend, where are you now?

Walter's name.

Walter, isn't it a shame the way our little world has changed?

Do you remember, Walter, how we said we'd fight the world so we'd be free.

We'd save up all our money and we'd buy a boat and sail away to sea.

But it was not to be.

I knew you then but do I know you now?

Walter, you are just an echo of a world I knew so long ago

If you saw me now you wouldn't even know my name.

I bet you're fat and married and you're always home in bed by half-past eight.

And if I talked about the old times you'd get bored and you'll have nothing more to say.

Yes people often change, but memories of people can remain.

Some people say that life is a game, well if this is so

I'd like to know the rules on which this game of life is based.

I know of no game more fitting than the age old game of cricket

It has honour, it has character and it's British.

Now God laid down the rules of life when he wrote those Ten Commandments

And to cricket those ten same rules shall apply.

Show compassion and self-righteousness and be honest above all

And come to God's call with bat and ball.

Now the Devil has a player and he's called the Demon Bowler,

He's shrewd, he's rude and he's wicked.

He is sent by Sinful Satan and he's out to take your wicket

And you know that that's not cricket.

He'll baffle you with googlies with leg breaks and offspin

But keep a level head and don't let that demon in.

So keep a straight bat at all times, let the Bible be your guide

And you'll get by, yes you'll get by.

All through your life he'll try to bowl you out

Beware the Demon bowler.

He's crafty and deceitful and he'll try to L.B.W.,

And bowl a maiden over.

The Devil takes the weak in spirit and so we must always be courageous

And remember that God is on your side.

So keep old Satan in your sights and play the straight and narrow line

And you'll get by, yes you'll get by.

They seek him here, they seek him there,

His clothes are loud, but never square.

It will make or break him so he's got to buy the best,

'Cause he's a dedicated follower of fashion.

And when he does his little rounds,

'Round the boutiques of London Town,

Eagerly pursuing all the latest fads and trends,

'Cause he's a dedicated follower of fashion.

Oh yes he is (oh yes he is), oh yes he is (oh yes he is).

He thinks he is a flower to be looked at,

And when he pulls his frilly nylon panties right up tight,

He feels a dedicated follower of fashion.

Oh yes he is (oh yes he is), oh yes he is (oh yes he is).

There's one thing that he loves and that is flattery.

One week he's in polka-dots, the next week he is in stripes.

'Cause he's a dedicated follower of fashion.

They seek him here, they seek him there,

In Regent Street and Leicester Square.

Everywhere the Carnabetian army marches on,

Each one an dedicated follower of fashion.

Oh yes he is (oh yes he is), oh yes he is (oh yes he is).

His world is built 'round discoteques and parties.

This pleasure-seeking individual always looks his best

'Cause he's a dedicated follower of fashion.

Oh yes he is (oh yes he is), oh yes he is (oh yes he is).

He flits from shop to shop just like a butterfly.

In matters of the cloth he is as fickle as can be,

'Cause he's a dedicated follower of fashion.

He's a dedicated follower of fashion.

He's a dedicated follower of fashion.

Edited January 11, 2009 by ChrisSteeleAteMyHamster

[Hobo]

George Harrison had the best post-Beatles career of the four.

John Lennon produced nought but po-faced, plodding dirge-rock; McCartney just got very, very boring (this part isn't actually controversial); Ringo is Ringo (this part is a tautology). Harrison wasn't incredible or anything like that, but he has an inconsistent body of work that's at least more fitfully entertaining than Lencartney.

Agreed. 100%

John Cale's solo stuff is better than The Velvet Underground stuff or anything Lou Reed has done outside of Transformer.

Of all the Wainwrights that have made music. Loudon Wainwright III is the best, most versatile and entertaining. Rufus sings through his nose and Martha isn't bad but she's nowhere near as good as her dad.

Leonard Cohen is the greatest song writer of all time and Bob Dylan doesn't come close. Leonard Cohen has written better songs than Bob Dylan ever could. I think that has become most evident in the last 20 years or so, when Dylan was sucking majorly between Blood on the Tracks and probably Oh Mercy, Cohen released several great albums (with the exception of Death of A Ladiesman). And even to this day Cohen doesn't have to rely on adapting old blues lyrics like Dylan did for most of Modern Times.

Oh and on the subject of Dylan, World Gone Wrong was the best album he ever made.

Jeff Buckley wasn't all that great. His version of Hallelujah wasn't that good. Plus his dad was probably a better singer.

Steve Earle deserves more credit for being awesome beyond comprehension and being probably is the modern Johnny Cash and Woody Guthrie rolled into one.

Johnny Cash's early stuff bores me so much. But his later stuff is amazing.

[Emperor Fuckshit]

'Isn't Anything' is better than 'Loveless'.

Controversial only amongst people who are already reasonably big MBV fans, I suppose. And people do sometimes argue for the supremacy of 'Isn't Anything', but usually in a 'this is just my opinion heh ymmv not sure really' sort of way. I think you can prefer IA in a BOMBASTIC fashion.

For a start, the things that are great about the album. 'Soft as Snow But Warm Inside' features one of the best vocal performances of Shields' life. The fragility and tenderness on the delivery of "can I touch you theeeeeeere?" pretty much sums up what's great about the song: it's a gorgeous portrayal of lovely, but slightly awkward, sex. And it also features a nice little bass run in the opening from Ms. Goodge, whose work basically consisted of providing root-notes buried so deep in the mix she might as well has been in a different studio by the time we got to 'Loveless'. There are two fantastic, dreamy set-pieces for Shields' gliding guitar work and Butcher's silkily ethereal vocals in 'No More Sorry' and 'Several Girls Galore', the latter of which is a pretty good lyrical effort from a band not known for their achievements in that area. 'You Never Should' is pretty much the last attempt by the band to show-off the rephrasing of post-punk/indie-pop which is evident in quite a bit of their earlier work ('You Made Me Realise', 'Drive it All Over Me', 'Thorn', 'Lovelee Sweet Darlene'). Another solid lyrical effort, nice backing vox from Butcher (just 'oohs' and 'aaahs', but any Bilinda is to be savoured). 'Nothing Much Left to Lose' follows similarly in this vein. 'Sueisfine' and '(When You Wake) You're Still in a Dream' are some of MBV's chunkier works: big proud riffs, with O'Ciosog battering his snares nicely to provide a foundation for the former. It should also be noted that O'Ciosog actually gets some decent play as a writer on I.A.: contributing to both of those tracks as well as 'Soft as Snow'. 'Loveless' has much more of a 'Wacky World of Kevin Shields' feel, with him providing seven of the ten 'proper' tracks (discounting the thirty-five seconds of Colm-penned noise that is 'Touched'). Anyway, the best-known song on 'Isn't Anything' is probably 'Feed Me With Your Kiss', and though it's probably not the best on the album artistically, it's very, very strong. The neat, wavy, YMMR-esque riff acts as a wall behind which Butcher and Shields provide the nearest thing to a duet they ever achieved: Shield's whiny drawl pushing against against the unusually subsumed yelping of Butcher, who nevertheless remains some kind of Jewish angel figure, and a woman I have intractable dreams about. So, add in stuff like 'Cupid Come' and that, and this is a really, really, terrific album: it kicked the 80s down a flight of stairs and drew in the 90s (this second 'achievement', it turned out later, was a mistake...)

If you liked I.A. track 'All I Need', chances are you'll REALLY like 'Loveless' which decides that it needs ten minutes worth, in the form of 'Sometimes' and 'To Here Knows When'. The latter is perhaps the best realisation of MBV's taste for drawn-out drawls of noise under which a fellow or lady makes a sort of sighing noise, admittedly. The feelings that songs represent a do-over of missed opportunities is also present within the actual album itself, though. 'Soon' is undoubtedly one of MBV's best tracks all time periods considered, but was there any need to thrown in 'I Only Said', which is basically the same format but with a slightly less joyful sample and vocals that might be identical for all I can tell? 'Loomer's nice, but I can't imagine the sort of one-off man mental who would hear 'Several Girls Galore' and then be exposed to 'Loomer' and think "this is more like it!!!!!". I still love 'Loveless': 'Only Shallow' is up there with MBV's best; one of Butcher's best vocal performances and lyrics. The fact that it's also the song that makes maybe the most (certainly best) use of O'Ciosog's drum-work is probably not a coincidence. 'Loveless' reflects a more perfect realisation of what people probably think of as 'the My Bloody Valentine sound': loud, distorted guitars and overlayed samples with everything else buried (forget the vocals, since they don't change appreciably between albums). But luscious snare-hitting (and to a lesser extent, a little bit of bass) were also parts of the MBV sound that get forgotten about. Yeah, 'Come in Alone' is gorgeous and anthemic and features one of the best 'build-to-chorus'es in the band's history. 'When You Sleep' is the other great Shields vocal performance (ACHES with longing it does), and contains another great bunch of lyrics. (Hey, you know what, maybe Butcher and Shields were actually just good lyricists. Is that contrarian?) And 'Blown a Wish' is something genuinely different: a crazy attempt at some kind of MBV-pop that shows Mrs. Butcher's capability to do more than just hiding behind her hair and strumming a nice chord.

Both great albums, and it pains me to say anything bad about 'Loveless' which is one of my favourite records. 'Isn't Anything' is a touch more versatile, though, retaining references to the post-punk and indie-pop which informed earlier MBV works. It's not that I 'can't appreciate' the bent-up miniamlism; like I've said, 'To Here Knows When' is one of my favourite songs on the second album (also another Butcher composition... hmm...). I just like their ability to suddenly corkscrew out of minimalism and do something that kicks asses, like 'Feed Me With Your Kiss' or, even better, 'You Made Me Realise'.

Because, after all, pound for pound, the 'You Made Me Realise' E.P. is better than either and also happens to be the best E.P. of all time...

Edited January 11, 2009 by Emperor Fuckshit

[zero]

I haven't really loved any new music for at least the last decade, maybe longer.

[Turbo Yannis]

I'm not that overly fond of The Gaslight Anthem.

Edited January 11, 2009 by Turbo Yannis

[YI]

"Sink Or Swim" is so much fucking better than "The '59 Sound" it's not even funny. That's not really one, but it's something I always have to bring up about Gaslight Anthem. Plus "Sink Or Swim" was literally just an album, out of nowhere, from some random band on XOXOXOXOXXXXX Records (or some retarded shit that no one has heard of since) that just completely blew everything punk rock related in the past 10 years out of the water (including the CLASSIC Ignite album from the year before). Plus they were much cooler when they casually referenced artists/songs instead of stealing entire choruses ("High Lonesome"/"Say I Won't (Recognize)").

Strung Out are the only 'long running' punk-rock band (15 years +) who I have not despised at a certain point in time. Bad Religion, Sick Of It All, Pennywise, Lagwagon, Good Riddance, Hot Water Music, The Bouncing Souls, No Use For A Name etc, I've found myself not liking their stuff, but Strung Out have remained fresh and continue to reinvent themselves to a successful degree. I could argue that Propagandhi fall with Strung Out, but they've released like 4 albums in 20 or so years, lazy fucks, of course those albums are going to be good.

"In Rainbows" is an absolute pile of fucking wank.

I NEVER liked Green Day. Even the summer of 2001 (the pop-punk summer...summer 2003 they tried to 'bring it back', didn't quite work out ) when I loved basically anything pop-punk, I fucking hated Green Day for whatever reason.

If I could only listen to one 'genre' of music for all eternity, it would be ultra cheesy pop-punk.

"All Killer No Filler" will always go down as one of my favourite albums.

I agree on the Stiff Little Fingers thing. I had an ex who adored them, got me proper into them. AMAZING band.

John K Samson of The Weakerthans is the best 'working lyricist' and probably my favourite of all time. His narratives are so beautiful. There's not a song on the planet that makes me sadder than "Bigfoot", where I have like no 'connection' at all to the source material, just so beautifully written.

The men who I personally hold as my 'musical legends' will be basically rubbished by just about everyone; Joey Cape, Dan Yemin, Dan Precision, John K Samson etc.

And I'm all up for bands wanting to make a difference but some people can FUCK OFF! I'm not even talking like the Bono's of the world. I'm talking like Rise Against, who made music videos for ideals they believed in (veganism and shit) and attached them to their videos, which they had nothing to do with, got music video play, shoving them down people's throats. Also, this goes for Ignite. When I see a band live (and travelled the best part of 300 miles to do so), especially one with hardcore roots I want to rock the fuck out. I don't want to wait 10/15 minutes halfway through the set when you bring some cunt out to talk about global warming. SHUT HIM THE FUCK UP AND PLAY "ARE YOU LISTENING?"!!!

Edited January 11, 2009 by YI

[YI]

...despite my raging hard on for John K Samson. What I actually enjoy the most about The Weakerthans is that their albums are in alphabetical order.

[RPS]

The Beatles kinda suck.

I think it's a matter of my parents not listening to the Beatles and raising me with a variety of music (everything from Bueno Vista Social Club to Bob Marley to Kraftwerk). I just have NEVER gotten the appeal of the Beatles, outside of Hey Jude which is a pretty good song. I have downloaded all of their albums and tried to find some redeeming qualities and never have. I just think they are really uninteresting.

Radiohead are a half decent band who are ruined by the hype

I do think Radiohead are better than the Beatles, but that a lot of their stuff gets ruined by sheer hype alone. Some of their CDs are just plain awful as well (Amnensiac and Hail to the Thief). Kid A is their best album and pretty damn good, OK Computer has a lot of great moments and In Rainbows is very listenable. If they weren't hyped over the moon, I'd probably enjoy them a lot more.

Disco is one of the most underrated genres ever

The "Disco Sucks" backlash in the late seventies was semi-successful, but as time has proven, disco has proven to be VERY influencial in the long-run. And not just in the obvious places of the recent electronica movements lately, but lots of genres owe their success to disco. Hip-hop (especially early hip-hop) owes a lot of their sounds to disco. As well, all dance genres nowaday owe a lot of it's success to disco music and how it paved the way for dance music to be acceptable. Oh, and along with this, the Bee Gee are HORRENDOUSLY overlooked by critics, probably because of their association with disco. The Bee Gees released some of the best pop songs ever.

Edited January 11, 2009 by PunkRockPete

[Emperor Fuckshit]

Also, this goes for Ignite. When I see a band live (and travelled the best part of 300 miles to do so), especially one with hardcore roots I want to rock the fuck out. I don't want to wait 10/15 minutes halfway through the set when you bring some cunt out to talk about global warming. SHUT HIM THE FUCK UP AND PLAY "ARE YOU LISTENING?"!!!

I love, love, love political music -- I was going to start a thread about this but the O.P. ran to like almost 5,000 words and no-way anyone would've responded -- but I kind of agree with this. You're a political band -- your politics are in your music; music is the form you have chosen to express your politics. Getting in a public speaker or whatever almost makes it seem as though music is somehow a flawed vessel for politics to travel in -- not 'serious' enough, presumably, so someone has to read a speech out. Propaghandi apparently used to do a lot of shows that would consist mostly of... well... 'lectures', I suppose. I can't imagine what effect that would have other than annoying people who agree anyway but came for the music, and really pissing off and possibly changing the views (in a negative way) of people who are less bothered.

A problem I have with building contrarian opinions is that a lot of bands that I dislike who are considered great (mostly Radiohead and Joy Division I'm thinking of here) are just so incredibly dull that I can't bring myself to investigate more of their stuff. So a fan will always be able to say, "ah, but you need to hear this bootleg recorded on a dictaphone fourteen years before they had a record deal to *really* appreciate what they're doing". And I can't argue with the general point that I don't know enough of their stuff. Which is annoying, because I'm sure it's probably shit.

Edited January 11, 2009 by Emperor Fuckshit

[YI]

New Order > > > > > > > > > > > > > > > > > > > > > Joy Division

[Emperor Fuckshit]

If by New Order, you mean 'John Barnes rapping', I fully agree. Apart from the obvious stuff, I'm not too familiar with N.O. -- more due to disinterest than dislike. Someday, maybe.

[Summers]

I hate emo kids.

But emo bands and screamo bands are pretty cool.

[METALMAN]

A couple of previously mentioned things I want to comment on:

New Order are far better than Joy Division. Outside of a few songs I never really got into Joy Division. I know some people may disagree but I think a great deal of Joy Division's success is due to Ian Curtis' suicide. I also have this opinion for Nirvana, though to a lesser extent as they had become massive prior to Cobain's death, and I do actually enjoy some of Nirvana's albums, while Joy Division have never been any more than a greatest hits album band for me.

To continue with Cobain, I feel while his death may not have contributed a great deal to Nirvana becoming huge, seeing as they were already considerably famous as I had said before, I definitely feel it had a massive role in Nirvana remaining famous today. But for his death, Nirvana may have been forgotten by the mainstream much like their contemporaries Pearl Jam, Soundgarden and Alice in Chains. Though that might just be because the latter three weren't as good of course.

I also think Isn't Anything is better than Loveless. That is due to me only owning Isn't Anything though.

Paul McCartney always has been and always will be my favourite Beatle by a long way. The majority of my favourite Beatles songs were McCartney compositions and he has a lot of fantastic music both with Wings and as part of his solo career. Admittedly, there is a lot of filler but I generally don't listen to it so it isn't a problem. He also released a pretty good album just over a year ago, so he still has it.

George Harrison is second, albeit a fairly distant second. Nevertheless, All Things Must Pass is a tremendous album and My Sweet Lord is one of my favourite songs. So he is also very good.

John Lennon is alright. He put out a lot of shit but I can't hate the person that wrote "#9 Dream", "Jealous Guy" and "Just Like Starting Over". I do feel he is another that has been overrated due to dying, possibly the most.

[ROC]

Radiohead are a half decent band who are ruined by the hype

I do think Radiohead are better than the Beatles, but that a lot of their stuff gets ruined by sheer hype alone. Some of their CDs are just plain awful as well (Amnensiac and Hail to the Thief). Kid A is their best album and pretty damn good, OK Computer has a lot of great moments and In Rainbows is very listenable. If they weren't hyped over the moon, I'd probably enjoy them a lot more.

I agree with most of this. I like some of Hail to the Thief, but Amnesiac is what it is (an outtakes record to a better album in Kid A), OK Computer is lovely and Kid A is solid, but In Rainbows is sort of there. Some of the non-dreary stuff on In Rainbows is totally solid (I.E. "Bodysnatchers", "15 Step", "Weird Fishes"), but "Nude" and "Videotape" were much better when they were on Kid A and called "How to Disappear Completely".

Also, I haven't heard all of The Bends, but it's probably more traditional sounding, thus probably better than everything else clearly.

Edited January 11, 2009 by ROC