To quote former Presidential candidate Herman Cain “I wanna be the very best. Like no one ever was. …” And only the best–or greatest in this case–have what it takes to release a greatest hits album.
This week, Colin and John discuss greatest hits albums. Are they a good way to introduce burgeoning music fans to new artists? Or are they bullshit. Listen and find out.
Click “Continue Reading” to see Colin and John’s Yesterday/Today album recommendations. Rokk on, listeners.
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Lucy Dacus – Historian / Soccer Mommy – Clean
Is it a bit reductive to be comparing the likes of Lucy Dacus and Soccer Mommy, two young singer-songwriters who seem to possess boundless potential? Perhaps. But then again, the conceit of this Compare/Contrast feature was to explore the idea that lots of art and pop culture gets compared to itself, which isn’t necessarily a bad thing. If anything, the fact that two uniquely fantastic albums anchored by two superb songstresses were released within weeks, just continues the hopeful theory I’d laid down in a past podcast that the future of rock is decidedly female. Continue reading →
U.S. Girls – A Poem Unlimited
Much like in life, the hardest thing as a music fan is to constantly keep yourself open to new things. I know I’ve heard numerous times that your early 20s are about the time that people stop listening to newer music, and of course, I’m a few years into this constant struggle. But even if you are someone like me, who finds themselves seeking out new artists, these new artists often end up sounding something like Car Seat Headrest or Courtney Barnett. Who are great, for sure, but they’re not too far off from other artists you’ve loved in the past. Continue reading →
Car Seat Headrest – Twin Fantasy / Superchunk – What A Time To Be Alive
I’d like to think that indie rock is in a place where there are no strict rules as to what constitutes indie rock, or for that matter what constitutes “good” indie rock. Namely, because there just aren’t as many indie artists that fall into the “rock” category that seem to have the same cultural caché as 10 years ago. But also because we’re living in a time where those kinds of labels have been thoroughly blown over, while musical diversity tends to be rewarded. Though you could easily make the case that many of the big indie artists of the ’80s (as well as the ’00s) were marked by their musical eclecticism. Continue reading →