Bleh. I can like some Elvis Presley, but he's just such a watered-down version of all the black artists whose fame he stole. His rock songs are a pale imitation, and his soft songs are dull and dated. White rockers simply couldn't compete with their colored counterparts until the British Invasion. Him and Buddy Holly are easy picks for the first ones I'll be voting off. The Animals and the Rolling Stones are where it's at in this battle.

I was right in assuming you had poor taste in music. I just didn't know I was this right.

Not my fault if you don't get why raw rock'n'roll is better than tepid music for teenagers whose parents wouldn't let them buy music made by black people.

Small Faces by Small Faces

Style: Mod, British Rhythm and Blues
Release: 1966
Length: 33 min.
Round: Rock and Roll

When I saw the genres on RYM labeled "mod" and "British rhythm and blues," I was a little weary because this round is for Rock and Roll, and this may not seem like a rock and roll album. However, I played it just in case I felt like it was a rock and roll album. I can safely say that, although I disagree it's "rock and roll," it offers the same spirit. That could save the album from me voting it off early in the rounds.

Early on, the album is extremely energetic, in fact as energetic as 1966 would allow music to be. This was "heavy mod" music. But what's cool is how this band I have only recently heard of thanks to the rock and roll list is so impressive. I honestly felt like I wanted to dive much deeper into Small Face's discography on the third track. This acts as an early predecessor to hard rock while maintaining rock and roll/mod roots and keeping a slight garage rock feel.

Batlord threatened me by saying "we can't be friends" if either this or Aftermath doesn't knock Elvis off my top choice. I admit it's a fantastic album. Not sure if it's better than Elvis Presley, though. It doesn't have the same heart and soul, but the songwriting is bordering on brilliant. The album has a lot of spirit. And I can say its quality comes really close. Still, I've heard better mod and rhythm & blues. Not much, though.

97. It'll get voted off really late in the round. I'll keep it one because it does havce the same spirit as a rock and roll album, even though I disagree on it being rock and roll.

Oh I get it. I just don't get how you can be so musically dumb.

You vote based on whether an album suits whatever fascist specifications you have for a genre? Why don't you just vote for the better album so we don't have albums winning that are inferior, but just happen to sound more like what you think *genre x* should sound like?

The whole point of rock'n'roll was the raw, simple energy that it brought to music. Elvis may have have been a great performer, but the songs he performed in the early days were simply watered down versions of better music played by artists who couldn't get on the radio due to their skin color.

Little Richard, Bo Diddley, & Chuck Berry >>>>>>>>> Elvis

So you getting around to Chuck Berry soon? Of the black r'n'r artists, I'd say he might be the best. Not quite as raw as Little Richard or Bo Diddley, but he's got perhaps the best energy of the three, and is just fun. It also helps that he's basically got just the one song, but that's he pretty much perfected. Pure rock'n'roll personified TBH. And his rhythm section is ace.

That situation is not the same as today. Black people today get a lot of airplay due to their influence on rock, blues, funk, soul, hip hop, jazz, pop, etc. Also, the vote is for the best rock and roll albums. So why would I vote for something that's not rock and roll? I'm not voting for Death's Symbolic on a smooth jazz list. And I'm not voting for an R&B album like The Animals on a rock and roll list.

Plus, if you're going to say "black people are better," you yourself are stereotyping Jerry Lee Lewis, Buddy Holly and the Crickets, Gene Vincent, early Rolling Stones, Roy Orbison, The Ventures, Johnny Cash, and The Everly Brothers.

Hear Nothing See Nothing Say Nothing by Discharge
Style: D-Beat, Crust Punk'
Release: 1982
Length: 27 min.
Round: Crust Punk

Let me get this straight: Extreme metal is a very iffy style for me. Thrash is about as extreme as I can handle. Death metal and black metal give me serious headaches. This album is as extreme as I can handle. Even now I have a tiny headache typing this. I would probably try black metal if I wasn't so morally opposed to the pagan and satanic imagery that it's known for. As far as this album goes, I have a couple serious problems with it. But I also have something to praise about it.

When I heard Bad Religion, I was aware of how their brand of punk called for very fast paces and very short times. I just realized they were basically "fast songs" and ended up liking them. But it seems that this band doesn't have the best grip on writing a song. They use the same verse multiple times in each song, which got on my nerves just like Ramones got on my nerves. I mean, unlike Bad Religion, it's hard to tell whether these guys have any talent playing their instruments or whether they're just wailing. Their rhythms just feel simple and easy to follow along with. Sometimes there is a cool main riff, but that's not the usual case. Too easy. However, their guitarist is a great guitarist. His wailings and riffs are quite clever, like Eddie Van Halen clever. And thankfully, the album's other instruments don't drown it out, entirely. Don't get me wrong. I really like punk. But if this is what I'm looking forward to in the upcoming round, I don't think I'll be participating very heavily in the crust punk round. The album is in fact enjoyable. I don't know. Maybe I need to be open to more crust before I judge this because I don't have a great grip on it and this is my first crust play. However, that'll wait.

For now, I give it an 84. Don't know if I'll vote it off because I'm not entirely familiar with crust punk.

Pagans are alright you imperialist.

You see, Elvis didn't release albums and rise to fame today.

Dude, the Animals were rock'n'roll. Just cause they weren't a carbon copy of Little Richard doesn't magically make them some completely different genre. And if you're going to call bands like the Small Faces and the Animals not rock'n'roll, then I'm going to call bull**** on Elvis for his sappy ballads that couldn't be any less rock'n'roll, and I think those other bands have plenty of r'n'r songs to make up for whatever ones you think aren't. Seriously, though, the Small Faces "Shake" isn't rock'n'roll? WTF?

And regardless, the Animals are in the battle whether you like it or not, so it doesn't make sense to vote for an album you like less, as it will only serve to weaken the thread in the long run.

I love early Rolling Stones and consider them better than their influences, which is why I said that white people didn't catch up to the earlier, black innovators until the British Invasion. And it's not like I necessarily blame Elvis or Buddy Holly for being weak-sauce versions of black artists. If memory serves, they were watered-down because the record companies were afraid of backlash from white America if they started selling their children "black music". Or maybe it was just your average, everyday, corporate pussification of "underground" music.

Why are you morally opposed to pagan imagery? Are you morally opposed to Islamic or Buddhist imagery?

What I was saying was that I don't see how being overshadowed by white people has anything to do with the opinion that black people were better at rock and roll.

It's not about black people being better at it due to genetic superiority or whatever, but black artists were just putting out better rock music in general during the fifties. But then whitey caught up, just like how it took time for whitey to catch up to black rappers.

I'd say most black rappers are better. However, Beastie Boys are my favorite because their lyrics occasionally make me laugh.

Anyway, I'm still playing Aftermath. I won't review it because I've already made my decision on whether I'd vote it off or not. It's blues rock, and barely has any rock and roll. I'm voting it off. It's great, though. I think it's my fifth RS album.

As opposed to Bo Diddley, who in no way goes back and forth between rock and blues. I would have used the Rolling Stones' debut, but Aftermath still qualifies as rock'n'roll IMO, even if it's on its way to different things, and deserves the spot more. Just. Maybe.

I really don't care what your vote is. Like you said, rock and roll is a vague term because people have their own interpretations. I go by my own definition.

As I fan of Greek, Egyptian, Indian, and Norse mythology, I'm not completely opposed as long as the content isn't violent or worshipping/praising the devil or any mythological being reminiscent of the devil. Still, I've tried black metal music before, at least music close to it, and I was getting a headache really quickly. I can't even play "unblack metal" (Christian black metal). And I admit I'm not entirely aware of all the content the genre has to offer, and am aware not all black metal albums have that content. Still, it's just to painful for my noggin. Not just black metal, most extreme genres.

I can think of a very popular book that has content praising a devil like mythological being.

Harry Potter?

Spawn? :D

But what does that have to do with paganism? Are you just talking about the kind of anti-Christian paganism in black metal? Considering your religious beliefs, I can understand that, but I'm just not clear what kind of paganism you're talking about.

The Bible? http://www.rw-designer.com/icon-view/6837.png

Ding ding ding ding ding

I'm torn between enjoying your squabbles and being annoyed by having to validate a new post every 2 minutes in order for it to continue.

Pretty much anti-Christian or anti-God in general. Don't think of me as a paranoid Sunday preacher or anything, though. I really don't like exercizing paranoia. I don't want to get in a religious discussion or anything, though. I normally don't like those since they are usually just heated arguments about beliefs.

All in all, I still won't listen to black metal, even stuff that doesn't fit black metal's conventional "satanism" bill, because I get a splitting headache. I'd say thrash metal and crust punk are about all I can handle. ANd the second Death Note theme.

Bathory's first three albums wouldn't appeal to you cause SATAN!!!, but...



That painting on the cover is a depiction of the "Wild Hunt", from Germanic/Norse mythology, which dominated Bathory's later music. I mean, Bathory was anti-Christian, in the sense that they/he (one-man band) believed that Christianity destroyed and supplanted his country's (Sweden's) culture and religion, but the band isn't heavy-handed about it. It's sub-textual, so you can ignore it if you just wanna hear about Vikings and ****.

Thanks, but I still can't play it. I mentioned the headaches I get multiple times. I'm sorry the guy feels so strongly about Christianity, though.

Not gonna lie about the fact that I'm trying to push one of my fav bands, but Bathory's later music wasn't even extreme metal. This doesn't even have mildly distorted vocals or aggressive guitars. It seriously has absolutely nothing to do with black metal, or even thrash. It's just epic with a bitchin' riff, like a Viking longship riding up and crashing down upon the swells of a heavy sea. Don't even care if I'm annoying, cause Bathory is awesome.

Rain Dogs by Tom Waits



Style: Experimental Rock
Release: 1985
Length: 52 minutes.
Round: Blues Rock

I was never an experimental rock guy, let alone a Tom Waits guy. I'm into blues, but I don't think this album reaches the same blues vibe as other greats like Are You Experienced or Exile on Main Street or Led Zeppelin I. Still, I found it to be perfect as an experimental album. The conventional structures are relatable and familiar, while the sounds themselves are unconventional and highly experimented on. Neither get in the way of each other, creating an equilibrium. All I have to say.

Rating: 100. But gonna vote it off quickly because I feel Led Zeppelin I, Are You Experienced, Disraeli Gears, and Exile are far more deserving of the number one position.

I've heard this album once before, and I immediately loved it (possibly because I'm seriously big on 60's and 70's rock). This album perfectly represents the spirit of the 60's and everything the 60's stood for. It was also a huge influence on the Summer of Love that would come the year after. It's satirical, yet very stoned at the same time. This, along with the 60's representation, created a special brand of experimentation that made this the first “experimental” album I ever really liked.

Songs like “Hungry Freaks” and “I Ain't Got No Heart” are full of heart, both being fantastic openers for a fantastic album. The album then takes a Lewis Carroll style turn for the better on the album (but maybe a worse on the brainwaves). And it's not White Rabbit. It's a very loud, mentally messed up piece of random horns that work perfectly. And then we get to this little doo-wop song, “Go Cry on Somebody Else's Shoulder.” What the hell, Frank? You turn from a heavily experimental and somewhat disturbing trumpet powered drug-fest, and\ then you do one of the best doo-wop songs since the doo-wop fad ended? I think the ever shifting pace and uneven flow are not flaws at all, but help empower the satire. “Motherly Love,” like the first song, is a primary example of 60's rock, notably a pop/garage blend, but continues the whole ideal of out-of-place/humourous kazoos up the great wazoo. In fact, when the kazoo wasn't used, that felt out of place as well. Motherly Love is just another great song that surprises you. “How Could I Be Such a Fool” is a slight, poppy psychedelic love song that is slower than the rest of the beginning, but is still a sweet listen. “Wowie Zowie” is next, and I'm thinking about Super Mario World throughout the whole thing thanks to it's excessively cheery vibe. Actually, I would LOVE IT IF FRANK ZAPPA DID THE SOUNDTRACK TO A MARIO GAME OR SIX. And I love the “Sherri” reference at the end of the song!

“You Didn't Try to Call Me” is a very estranged song, but it's not as experimental as the previous songs. It still retains a strange, comedic aura, one that helped me realize what the flow of the album is: It's unconventionality. If any two songs sounded similar, the aura of the album would fall apart.

https://66.media.tumblr.com/5e460fcf...fo9_r1_500.gif

“Anyway the Wind Blows” is reminiscent of bands like The Byrds, carrying a slight folk feel but retaining that same obnoxious Zappa charm that only his horns and kazoos can give you. “I'm Not Satisfied” is a much rougher track. The vocal compositions need to work on catchiness, but overall, the music is fine. Plus, “Yeeeaaahhh.”



“You're probably wondering why “You're Probably Wondering Why I'm Here” was written. Well, I think it was to bring back the kazoos, and the “Yeah.” I think it was built a little too much on previous tracks, and was a bit similar to the last track. Like I said, two similar consecutive tracks would disrupt the aura, and it did. It's a good song, but the feeling of the song has been done before on the album, and by then it felt tiring.

Now we're onto the second half. We begin the second disc, C-side, with a long song, “Trouble Every Day.” It takes no time to build itself up and instead begins a very upbeat, really cool tune with a slow, ambient, badass harmonica. I'd easily take six minutes of this! Now we get to a long suite of 8 minutes. This suite is strangely called “Help I'm a Rock.” It starts out with an estranged, almost Indian style guitar riff that keeps repeating itself, never to a tiring extent. Next we get a collage of wacko vocal sounds all backed up by slight piano stokes and a new bass riff. We go through a couple minutes of this enjoyable, yet deranged sound; after that will then be another estranged sound. Whereas the first movement was oddly named “Okay to Tap Dance,” this movement is called “In Memoriam, Edgard Varèse.” It's about breathing women, clapping, and a strange imitation of a mix between a monkey and a parrot. “It can't happen here is a lot of soulless singing, which also adds to the satire, and very little “music,” as well as kinky scatting.

And finally, a short conversation about Suzy Creamcheese starts ""The Return of the Son of Monster Magnet." This song carries a sci-fi style rhythm into a horribly named track (I don't think I want to say it) that is more drugged up than the rest of the album, and it gets more drugged up throughout. It's all strange one-note chanting, heavy cymbals, and a couple of radio sounds. And yet, this not only adds to the satirical flow, it creates an artistic collage of sounds that are so good it's mind-boggling. This goes on for a long time, but it never gets tiring. Eventually it gets into a tribal-style sound which is like a musical zoo, where instruments mimic zoo creatures. This is short, and it gets into a strange romantic sounding conversation in Spanish. Is this all just a sorry excuse for music, or an artistic look on the free experimentation of music and a compliment to how comedic one can make it? The latter.

Overall, Frank Zappa's debut is satirical, out-of-place in grand ways, diverse, and lovable because of those traits. The strange traits are created by the influence taken from avant-garde, blues rock, pop, doo-wop, psychedelic rock, rock and roll, garage rock, and R&B. It's both an album that radio-players would love, and one that is so experimental they'd probably stay away from it. But that's part of the reason why it's so comedic. Not only may one find entertainment in the most unexpected places in this album, it's the best experimental album in my opinion, and one of the greatest albums and prime examples of the 60's music scenes. 100. Perfect.

Likely this will be my number 1, but my prediction for the winner is Kid A.

I love Rain Dogs, but I agree that everything but Exile would be a great winner for that battle (there are still other albums you can vote off, too).

Because they're better or because they're more blues rock?

Yeah, but Rain Dogs wo't get my number 1. I love blues rock, so a lot of these albums would get a perfect rating. Besides, I find most of the albums more "bluesy."

Tom Waits wouldn't be considered experimental blues if he didn't experiment with the blues sound and in turn sound different from other blues artists. Just sayin.

The fact remains that he did. Anyway, listening to Hot Rats by Frank Zappa, my second Zappa album.

http://http://ecx.images-amazon.com/...1VLCjyY73L.jpg

Style: Jazz-Fusion/Jazz-Rock
Release: 1969
Length: 43 min.
Round: Jazz Fusion

I'm a little into jazz, but I cannot say jazz fusion is my where my experience lies. Having said that, I am very satisfied with Hot Rats sound because it greatly manages to retain the same obnoxious charm that Freak Out radiated, with the difference of being a full on jazz-rock album. Thanks to his obnoxiousness, Zappa's Hot Rats has as much grip and creativity as any of the greatest rock or jazz albums becuase there's one thing Zappa does better than everyone else: have fun with it. He doesn't let that get in the way of his creativity, and thus we have a kind of fun that can be shared with the world. Complex yet bouncy, gripping in the most enjoyable way, I think Hot Rats will be one of the higher ups in the jazz fusion round, if it's not number 1.

Herbie Hancock's Head Hunters

Style: Jazz-Fusion, Jazz-Funk
Release: 1973
Length: 41 min.
Round: Jazz-Fusion

Recently, the jazz-rock list has been deleted in favor of the jazz-fusion list, when both were on. I think this is a bad decision. Jazz-Rock and jazz-fusion are very different, and Head Hunters is serious proof of that.

What is the difference between jazz-fusion and jazz-rock? Besides jazz influence: everything. Take the first track "Chameleon." It starts out with a bass riff that sounds EXACTLY like something from a soul-funk album. Jazz-Fusion has some influence from R&B styles like soul and funk. Jazz-rock mostly does not. Another thing to pay attention to is the song structure. The structure of jazz-fusion songs leans more towards common jazz structures, being highly instrumental. Jazz-Rock groups are ROCK BANDS. And as a result, they play rock songs with jazz instruments; usually they will have lead singers. Sure, some may not have that structure. But even Zappa's jazz rock albums have a lead singer. Basically, the differences are how much jazz influence appears in the structure of the song, and how much traditional influence (rock, pop, soul, funk, maybe folk) the jazz-fusion albums have. Even though folk may be a rare influence, it's still more traditional than a simple rock album with jazz instruments. In fact, if anything the jazz-fusion list would be the rightfully deleted one since the "rock" aspect may or may not appear.

Having said that, now I can start my actual review of the album. I think the funk aspect did an exquisitely grand job of complimenting the jazz aspects, especially during "Chameleon." "Watermelon Man" (I'm gonna say I actually love that name) starts with a very cool, eccentric beer bottle solo, takes James Brown and Sly Stone influence in a grand rerecording of his song from previous albums. "Sly's more energetic pace, backed up by sweet congas makes for a very unique track on the album, clocking in at ten minutes of hyperactive awesomeness with some slight avant-garde influence. The last track is a strange ending. "Vein Meiter" starts with marching drumming while the rest maintains a smooth essence completely contradictory to the rest of the album. And yet, the soothingness makes for a wonderful track, almost like a break from the album's energy. Perfect if you ask me, a lot of energy, and then rest. I seriously did NOT want it to end.

Overall, I think Herbie Hancock's Head Hunters is an excellent example of what Jazz should be.

100. It'll be a shame to vote it off because my jazz-rock vote's likely going to be Hot Rats.

Loving this journal, you have great taste (which means we have similar tastes of course). Nice write ups, gave me some new things to listen too.

And Hey Bo Diddley!

Also, seeing that you like the Queens of the Stone Age, did you ever give Mark Lanegans solo stuff a go? I think its great, and actually prefer it.

Thanks for the kind input! No. I haven't heard Lamegan's solo works. I might at sometime.

Hallowed Ground by Violent Femmes

http://www.thevinyldistrict.com/wp-c...owedGround.jpg

Style: Cowpunk, Folk Punk
Release: June 1984
Length: 39 min.
Round: Folk Punk

I've already heard their debut and their most recent one. With this inclusion of cowpunk in the mix (country punk), Hallowed Ground sounds like their most effective and engaging album, and it's a reminder of how much of a shame it is that this was their last great album: their second one.

Upon the first note, I noticed the cowpunk inclusion and how smart it was to bring country into the folk punk sound. Violent Femmes knew they could do it. “Country Death Song” is the opener, and it should be titled “The Agony and the Ecstasy,” because it's such an energetic song wt seriously depressing lyrics. The next song, I Hear the Rain,” has a more punk based rhythm but seems to have just as much meaning without the emotion, possibly being a better song. “Never Tell”: is one of the coolest sounding songs on the album, letting the music be dark and engaging while the singer repeats the same lines with real meaning. They end up shouting pointlessly, but it seems as if that pointlessness also carries a lot of hidden anger. Plus, the song ends with a pretty cool, faster-paced solo. “Jesus Walking on the Water” has the essence of a great country song. “I Know It's True But I'm Sorry to Say “ feels like a sad song, but the vocal compositions need some work. “Hallowed Ground” is lead by a piano riff backed up by a quiet guitar riff and a loud bass. Again, the vocal compositions need work. ”Sweet Misery Blues” sounds like the Beatles decided to go country blues and write a good song. “Black Girls” is a more hyper song, one where Violent Femmes. I really like the instrumental at the end, but what's with the horns?

[YOUTUBE]mr-Bl9Q5U10[?YOUTUBE]

“Finally comes the song, “It's Gonna Rain.” Now, they have a really good album here. And It's Gonna Rain is pretty good. But I don't think it's a proper ending to a great album, despite the overall cheery essence.

I think this album is very well worth it. Second best Violent Femmes album, you know it. Second best folk punk album? Maybe not.

87/100. Might vote it off, might not. I think this is the first of the chosen folk punk albums I've heard.