Radiohead never did a damn thing for me. Honestly, the only song of theirs I could even think of, off the top of my head, would be that blatant Nirvana ripoff "Creep" which was (I believe) their first single. And probably only US hit to date.
Radiohead never did a damn thing for me. Honestly, the only song of theirs I could even think of, off the top of my head, would be that blatant Nirvana ripoff "Creep" which was (I believe) their first single. And probably only US hit to date.
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The Bends was a good album, but all of the "mood music" (and the unfounded Pink Floyd comparisons) that followed was unlistenable garbage. Brian Eno has been making superior and far more accessible music in this vein for several decades, so why waste time with Radiohead?
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'Creep' was a good tune with all that guitar "KRUUUUUUUUNK!" but did they fall fast asleep on the switch ever since.
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Radiohead is a bunch of whiney crybaby bullshit.
While we're at it, could someone explain the appeal of Coldplay? I don't understand any of that either.
You could put their entire catalog on this list.
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Even Gwynneth Paltrow won't admit to being a Coldplay fan, and she's married to the son of a bitch.
Simple Minds were far more entertaining, as far as U2 wannabe bands go.
David Lee Roth "Crazy From The Heat".
Who needs a straight cover album?
Has as much meaning as Guns 'N Roses "Spaghetti Incident".
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HEY STEVE, YOU'RE ON A FUCKING ROTH SITE.Originally Posted by Steve Savicki
STFU you fucking paedo-cunt.
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In regards to CFTH, I can appreciate it.
I thought it really showed how unique Dave showed us a side of him that wasn't as a lead singer of a Hard Rock band, and did some standards from the American Songbook.
I don't consider it a rock record, more of a pop record. It's a fun, short little LP, intended for such purposes.
I love that album. California Girls is the epitome of a David Lee Roth song. the video was stellar. And Gigolo is totally fun to sing along to when drunk & at a backyard BBQ. Everyone attempts and fails the hominbetanashamanahominabetanashamina-BOP!
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Unchainme (03-02-2011)
Wow.
Bitch slapped back into his hidey-hole in just over ten minutes.
Nice one, Unchainme
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Videos were classic. To quote Beavis and Butthead "I love this guy because he always puts chicks with big thingies in his videos".
You have to appreciate it for what it is, It ain't Fair Warning, but it's a fun record.
So you make a list of albums that you don't like and decide they're the "Worst albums in rock history"?
That doesn't work for me, especially in the case of "Animals", which has sold umpteen million copies and regularly makes it into the BEST rock albums of all time lists.
If this forum was all about people pissing on stuff they don't like, we'd be here all day.
BTW, the lyrics you seem to be talking about sound more like "Wish you were here" or "The final cut" albums.
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Never Mind The Bollocks by the Sex Pistols. Total garbage and they were hack musicians who could barely play their instruments. Pure noise....
....like two cats fucking outside your bedroom window at 4:00 a.m.
Could never see the attraction to them whatsoever
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This just goes to show how subjective musical tastes truly are. I can see the merit in what you are saying, but for me, this album worked for the exact same reasons you disliked it. I felt at the time (and still do) that the rawness of the overall sound and playing translated into sheer power, and knocked all of my Kansas albums off the shelf. From there, there wasn't any turning back, as "Never Mind The Bollocks..." served as a gateway band, introducing me to a world far to the left (or right, depending upon how you see things) of the corporate rock I'd allowed myself to be force-fed by radio and print. Suddenly, everything else sounded boring or quaint by comparison, and I started seeking out independent record shops to find more of the noise. Of course, I didn't get an odd haircut or throw out my Skynyrd concert t-shirts. After all, this was Florida in the seventies, and I certainly didn't want to get my ass kicked.
Exactly. It's a joke album. It was not meant to be serious. Dave has always been a ham. And this album is just him hamming it up on a few tunes and sharing some laughs. Anyone who thinks it sucks is taking it way too serious. I viewed it in the same light as when the band did Happy Trails or Big Bad Bill. Just some guys fucking around and having fun. They just happened to record it & share with us.
Uh-huh. And just what sort of deep "meaning" is to be found in the WIG OUT AND JIVE! image in your sig or avatar, Steve?
Both albums are nothing more than goofs, and were not meant to be taken all that seriously. But if you actually take some effort and listen to what is going on with Roth's EP, you'll discover that a great deal of care and thought went into the arrangements, which can not be said of the GnR release.
Sho' 'nuff!
Fuckinay! It still blows my mind when I think of all the high-caliber musicians that got together to make that EP. He wasn't just fucking around, he went for the absolute top-of-the-line.
It's got a cool vibe to it, I still play it, and I really don't feel the need to defend it....especially to someone who jacks off to Josie And The Pussycat cartoons.
I will throw in Big Country's King Of Emotion. After the greatness of The Seer it was very dissapointing. If i was going to mention a Motley Crue record it would be Generation Swine.
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Getting Wilson to come in and give a hand on California Girls says something about credibility.......
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Not only that, but getting the chance to work with Edgar Winter has to be a musical education in itself.
Motley Crue? Pretty much anything after their first two albums was worthless. Maybe Dr. Feelgood had a few high points, ironically enough because the band wasn't.
High, that is.
Yep and considering the level of musicians Dave has played with over the years vs the Van Halens he wins in that category, too.
Well, comparatively there wasn't much chance anything after the first 2 records was ever going to measure up. I take those 2 out of the equation and try and look at the work after. Theater of Pain and Girls, Girls, Girls were hit and miss and i understand that. However, there are moments from those records that i can look at and really enjoy - enough so that i still listen to them today. Feelgood had a couple of moments for me -the title track and Kickstart, but songs like Without You and Same Old Situation make me cringe to the point that i look more fondly on Theater and Girls. I actually thought the New Tattoo record was a very solid effort despite Tommy Lee's absence.
This times a million.Uh-huh. And just what sort of deep "meaning" is to be found in the WIG OUT AND JIVE! image in your sig or avatar, Steve?
Both albums are nothing more than goofs, and were not meant to be taken all that seriously. But if you actually take some effort and listen to what is going on with Roth's EP, you'll discover that a great deal of care and thought went into the arrangements, which can not be said of the GnR release.
Everything Roth has put off, he's tried to go top-notch with. Even with some of the missteps such as "Diamond Dave". "Your Filthy little mouth". You always got the feeling Dave was going all out in trying to get the best musicians possible to help with his group.
It's even forgotten to be brought up, that..of all people, Christopher Cross was singing backup for that record on "California Girls". How freaking weird is that?
I liked "Save our souls" off of Theatre.
Also, for sheer cheese factor, "Home Sweet Home" is fun to sing along too.
My list is opinion not fact and two, if such a list were to exist it would most likely take up this entire forum. So relax the knot in your panties and give some leeway that not everybody likes the same mediocre shit that YOU listen to.
Oh Man I got one that blows away every album in the worst albums in rock history.
And trust me if you heard it you would agree.
It's impossible to listen to this mess and not gravitate toward holding your nose, vomiting uncontrollably , turning over furniture , and then jumping out of the window.
And no it's not Disasterpiece Theater with Weeble Diamond.
No.
this album is so fucking horrendous that I am apologizing in advance to those brave souls that are going to listen to it.
And the album is:
SONNY BONO - INNER VIEWS
Yes, with such titles as Pammie's on a Bummer, and I Just Sit There you know you're in trouble.
My guess is that Sonny listened to Sargent Pepper and decided to shift his efforts to creating the worst sound you could ever imagine.
Rhino was re-releasing it at some point. I can't fathom why unless they hate human beings.
all the albums in this thread are brilliant in comparison.
"To this day it is still hard to believe that such a popster like Sonny Bono would come out with an LP like *Inner Views*, but that's how weird things got in 1967. Or did they...for alongside the 12-minute-plus psychedelic freakout *I Just Sit There* was the seven-minute anti-drug rant *Pammie's a Bummer*, giving a clue to Mr. Bono's future political leanings. The whole album is just a glorious mess, Phil Spector on a bad trip, with Sonny's off-key, nasal vocals rhyming "sturgeon" with "virgin" among other untoward couplets, while sitars drone and guitars groan...and as such it is a certified cult classic, another proud, exclusive addition to our *Collectors' Choice Music* gallery of pop's weirder moments." (Amazon) LMAO - thought I was kidding, did ya?
Last edited by ThrillsNSpills; 03-03-2011 at 01:51 PM.
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You miss the point of that record but it also like it didn't have much of one anyway. 'Bollocks' was a reaction to all the prog and stadium rock gloat that was so prevalent in the mid-70's (see: Pink Floyd) and like I was saying tunes clocking in at over 11 minutes can be just as annoying as 3 minute bubblegum epics. The Pistols were definitely a joke but that is exactly what they set out to do by mocking the music industry and taking advantage of others frustration due to the economic situation of Briton at the time. The entire record sounds as if it has been recorded in an entire week whereas Pink Floyd might take an entire month to hash out one song. Personally, 'Bollocks' does nothing for me other than serve as a reminder that there are too many musician out there so full of themselves (kind of ironic since Rotten himself became exactly what he claimed to have hated all along) and that a lot of rock and roll can be dull and uninspiring (see: Pink Floyd). To simply shout "FUCK YOU" at someone because there is no employment, or opportunities to be found makes more sense to me than a bunch of millionaires (see: Pink Floyd) writing pretentious epics about farm animals.
I'm kind of ambivalent about Rhino Records. In some ways they are the only ones out there trying to preserve music by (somehow) finding a lot of rarities and putting them on compilations. And a lot of them are worth the price of admission, too with not much in the way of filler, unnecessary remixes or extended versions. One that comes to mind is 'Rockin' Bones' which has some mind-blowing stuff like Link Wray, Lorrie and Larry Collins, and even the original version of 'Shaking All Over' by Billy Kid & The Pirates that The Who did a wonderful remake of on 'Live At Leeds'
On the other hand Rhino is like the Devil you don't know by buying up all the rights to these tunes (and some popular commercial acts like Fleetwood Mac) and keeping a hold of them. So if you want to seek out something by somebody you like Rhino will be the only ones you going have to deal with. I'm keeping my paranoid and conspiracy eye on them.
VH III was junk
The second album from Europe ( the 1st wasn't great either)
Stryper - yikes
Kingdom Come-Zepplin rip off
GWAR-WTF is this?
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They've structured a lot of great discs and the one you posted looks interesting.
Rhino is awesome with regard to bonus tracks.
However Inner views is the most unlistenable mess you could ever imagine.
I'm guessing Rhino made it so people can get rid of guests that stay too long at your house.
Isn't that more accurately a description of Brian Johnson's singing voice. Not that I don't love Ac/Dc, but it's true. And he didn't sing like that on the Geordie records.
I actually like there first, nostalgia I guess..
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Nah, I got their point well enough as I grew up through that time. It was pretty evident what they were trying to do with their big "fuck you" to the industry because music had become so bland around then. It must have worked because they had a following. However, the music played so poorly didn't really coincide with their anger. Not to me anyway. That was released in 1977 if not mistaken, and the very next year Van Halen would debut their first. Now THAT was like a breath of fresh air compared to what else was being offered then.
I'd have throw that god awful offering from Iron Butterfly with In A Gadda Da Vida on there too. Chuck that one in the fireplace and light that fucker!
I'll give them credit in that the people at Rhino seem to be knowing what they are doing by simply loving all genres of music and bringing out tunes that have not been heard in decades. They did this 70's "funk anthem" 4-disc set that I almost bought. Bonus tracks material can be all right if it's not too superfluous or embarrassing to listen to. I'm still waiting on The Smith's remasters that Rhino claimed that had a right to but I think there are some unresolved internal legal issues with that band to see it as a possibility any time soon.
Well, his voice is an acquired taste I'd say. I think he was merely singing in a style he thought fit the Angus Bros music. I can certainly think of other singers who I like less than his voice though.
I mostly agree with you except I kinda like Theatre Of Pain. Definitely not their best by a long shot, but it came out at the perfect age for me when I was just getting into music and Motley Crue. That tour was my first concert ever. I musta played that tape 1,000 times in my Walkman. Shout At The Devil 5,000 times. So I have a soft sentimental spot for Theatre Of Pain mainly due to the timing.
Yeah, what happened with that? There was supposed to be a British series of reissues with at least a couple of the studio albums on vinyl, and then the rest of the catalogue would follow on CD. This was something like two or three years ago, and nothing ever showed up in the U.S. Hell, at least they should reissue the Hatful of Hollow and Louder Than Bombs compilations, which for many Americans was their first taste of the band on imports.
Last edited by chefcraig; 03-03-2011 at 02:41 PM.
If you're talking production value then yeah, you won't get much of an argument from me on that recording. It was for the most part piss-poor and yet Chris Thomas was hailed a genius because of it going on to produce The Pretenders and INXS. The first VH was a marvel in that is came out of nowhere and not only that, it was something ORIGINAL in that Eddie completely re-wrote how rock guitar was to be played (unfortunately, he did spawn a lot of copy cats who didn't measure up). There is a lot of fire power on the first VH record and really, they didn't put out a bad album at all within the Roth-era six pack (although I did think Diver Down was the weakest link). And unlike the Pistols, the production on the first VH record is superb and the Warner remasters did an excellent job without it sounding too compressed.
So I can agree with you that a record may be good in theory so to say but if the production is bad or over the top (see: Steely Dan) then all the effort thrown into it becomes meaningless.
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