have love, will travel

Alright, it’s time for a little music blogging.

I got the latest Black Keys album lately. Highly recommend opening track Everlasting Light and Never Gonna Give You Up. Dan Aurebach never disappoints.

I’ve always liked the Black Keys, I know it’s unfair to compare them to the White Stripes, but damn it, I love the Stripes and I love the keys. Two-piece minimalist postpunk revival goodness with a bit of blues thrown in.

In other exciting news, the Strokes,  the band with–according to most publications–one of the top five greatest albums of last decade, are back. They played a secret show a few days ago, will play Bonaroo this summer with Jay Z, and a new album will probably hit end of this year and early next year.

The Stroke’s Is This It remains my favorite album. It’s one of two albums that I can listen to all the way through. That’s a tough feat to accomplish. I mean there are lots of great albums, but how many are good all the way through? The Stripe’s Elephant is one of my favorites (and another top album of last decade) and there are a few tracks on there I can’t stand (that dolly parton sounding country one). Hey Ya, with its unusual arrangement and that indeliable hook, is one of the most brilliant pop songs ever written, but 90% of that double album was crap (what, you thought your shit don’t stank?). The Miseducation of Lauryn Hill is one of the best r&b albums ever, and this song hits home every fucking time, but there are a few tracks on there that fails.

Is This It is the only album that I can go top to bottom without having to press fast forward. And it’s amazing that the US edition can be missing  New York City Cops (was taken out after 9/11) and STILL be this good. How can you lose such a good track and still have that good an album? The European version of Is This It, with NYCC, is like the Godfather part 2 to the US version’s Godfather.

The only other album that is good from top to bottom? Weezer’s Blue Album. This is, by ALL ACCOUNTS, a perfect pop rock album. Everything from Buddy Holly‘s catchy chorus to Surf Wax America’s feel-goodness to Say It Ain’t So‘s harrowing soul-medly, it’s universally loved. I’m serious. Do you know anyone who don’t like Weezer? I know like, two people who claim they’re not huge fans. But no one not like Weezer. If you don’t like them or know someone who don’t like them, leave a comment and state your reason so I can promptly debunk you like I do Kobe Bryant fans.

There’s been hate on the The Strokes and Weezer lately, because their latest stuff has, supposedly, sucked (I don’t agree with Strokes, I somewhat agree with Weezer). Well I’m in the camp that if you hit the pantheon of greatness, you will always deserve a spot there even if your later stuff sucks. When you’re responsible for Last Nite (the song that basically revived rock and roll in mainstream music, really. In the late 90s the scene was dying thanks to the likes of Creed and Limp Bizkit) and In The Garage, you’re in the pantheon.

It’s like Pacino and De Niro, no matter how much their films suck now, they made it to the pantheon in the 70s and they’re forever excused. The only exception is Cuba Gooding Jr, even good performances in Boyz in the Hood and Jerry McGuire can’t cancel out this shit


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