The Apocalypse in Your Living Room: Tallahassee a Decade Later
A decade later, the wounds of John Darnielle’s finest hour are still fresh.
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A decade later, the wounds of John Darnielle’s finest hour are still fresh.
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Forty years after its release in 1972, the Canuck’s fourth solo release remains an American masterpiece, and a handbook for running out to pasture while staying in shouting distance of civilization.
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How do you describe something like Doolittle? It can’t really be done.
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Dylan was already a legend; he just had something more to say.
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Fiestas & Fiascos stands as a black light in a white light world, reminding everybody that really, things aren’t so clean once you start digging.
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Naked Raygun was that rare punk band that dared to wear their hearts on their sleeves, who dared to sing of hopes and dreams, to allude to Dylan Thomas on one song and to glorify snipers on the next.
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There is no discernable message to Guero, no preaching—just a busy emptiness, an unfathomable amount of information “when darkness has fallen”—where one’s only salvation is to respond with the same chaotic indifference.
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He’s the DJ, I’m the Rapper opened up the door to the Grammys and the suburbs without sacrificing the purity of the culture. Subject matter didn’t make hip-hop, adept rhymes and a beat did.
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This is only a tiny morsel of what Black Sabbath accomplished and of what Ozzy Osbourne accomplished on his own.
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But, for one seminal moment, Fall Out Boy crafted the album that would become the snap shot of the genre.
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This is the album Big Boi solidified himself as a pimp with his ear to the streets. This is the album that launched Andre 3000 into space.
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Thanks to Davis and a group of nine talented musicians, cool become more than what a summer breeze feels like more than 60 years ago in New York City.
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