Red Mosquito

tragabigzanda wrote:

dad wrote:

liebzz wrote:This is very very deep. I took mainstream to mean not Sigur Ros. Or whatever flavor of the day that jumps into the “Albums of…” thread. This is not a judgment on those acts of which there are plenty great ones, but this being a thread where we argue the merits of Born to Run in the same sentence as Born in the USA and Dirt and Nevermind, and perhaps even The Chronic or Eminem. I think the deeper you get into the meaning of the term the less any one band or album applies.

This. All the way, this.

i think trag lost me at the part about crossover appeal. To me, that’s what we’d consider when an indie artist gets mainstream recognition. Or one genre getting popularity in another, ie. Country and Hip-hop, or Walk This Way w/Run DMC. That’s crossover appeal.

i think this is a fair (if overly simplistic) read of what I'm trying to say, but it's also a great argument for why Pretty Hate Machine does not belong here. In my mind, the fluke experience of one NIN song briefly breaking through to a wider audience is not remotely the same thing as Dancing In the Dark enjoying widespread, long-term success across ages and genres of listenership.

liebzz wrote:

tragabigzanda wrote:

dad wrote:

liebzz wrote:This is very very deep. I took mainstream to mean not Sigur Ros. Or whatever flavor of the day that jumps into the “Albums of…” thread. This is not a judgment on those acts of which there are plenty great ones, but this being a thread where we argue the merits of Born to Run in the same sentence as Born in the USA and Dirt and Nevermind, and perhaps even The Chronic or Eminem. I think the deeper you get into the meaning of the term the less any one band or album applies.

This. All the way, this.

i think trag lost me at the part about crossover appeal. To me, that’s what we’d consider when an indie artist gets mainstream recognition. Or one genre getting popularity in another, ie. Country and Hip-hop, or Walk This Way w/Run DMC. That’s crossover appeal.

i think this is a fair (if overly simplistic) read of what I'm trying to say, but it's also a great argument for why Pretty Hate Machine does not belong here. In my mind, the fluke experience of one NIN song briefly breaking through to a wider audience is not remotely the same thing as Dancing In the Dark enjoying widespread, long-term success across ages and genres of listenership.

Now just imagine Trent Reznor delivering this line:

I wanna change my clothes, my hair, my face
I ain’t nothing but tired, just tired and bored with myself

Kevin Davis wrote:

Ms Harmless wrote:

dad wrote:I make fun of 80s hair bands a lot, but Def Leppard’s Hysteria is full of bangers.

yes I love it

This album was probably my first musical love. I listen to it surprisingly often for an album I loved when I was six, and it always takes me back to the happiest of places. It's definitely full of bangers. But, I don't think it's perfect -- it does fizzle out a bit in the second half.

tragabigzanda wrote:Without the Mainstream Top 40 stats, his general "most commercially successful rapper" would mean nothing to me. He was a commercially palatable white rapper at the peak of his popularity during the final days of the CD's dominance, which coincided with the highest level of tweener consumption to date. Not even remotely surprising that he'd be the "most commercially successful rapper," and in and of itself it means nothing.

dad wrote:

liebzz wrote:

tragabigzanda wrote:

dad wrote:

liebzz wrote:This is very very deep. I took mainstream to mean not Sigur Ros. Or whatever flavor of the day that jumps into the “Albums of…” thread. This is not a judgment on those acts of which there are plenty great ones, but this being a thread where we argue the merits of Born to Run in the same sentence as Born in the USA and Dirt and Nevermind, and perhaps even The Chronic or Eminem. I think the deeper you get into the meaning of the term the less any one band or album applies.

This. All the way, this.

i think trag lost me at the part about crossover appeal. To me, that’s what we’d consider when an indie artist gets mainstream recognition. Or one genre getting popularity in another, ie. Country and Hip-hop, or Walk This Way w/Run DMC. That’s crossover appeal.

i think this is a fair (if overly simplistic) read of what I'm trying to say, but it's also a great argument for why Pretty Hate Machine does not belong here. In my mind, the fluke experience of one NIN song briefly breaking through to a wider audience is not remotely the same thing as Dancing In the Dark enjoying widespread, long-term success across ages and genres of listenership.

Now just imagine Trent Reznor delivering this line:

I wanna change my clothes, my hair, my face
I ain’t nothing but tired, just tired and bored with myself

I just want something
I just want something I can never have