iluvcanadians
New member
They're allowed to
I only gave my opinion not theirs
I only gave my opinion not theirs
Music Banter Hall Of Fame: Nominations Thread
- Thread starter RIP Billy Mays
- Start date
God damn right.
I don't have time to read through the commentary here, but I could guess what it says. I'm pretty sure the blowjobs came out of the wood work to say this wasn't de la soul, or some other hipsters approved horse****. but they are, of course, blowjobs and when they hit 40 and look back on a life of posturing, Their "no" vote among many other things will be deemed regretable.
Biggie had a few things slated against him. For one, P. Diddy produced his albums. Nothing to say there, the man likes Mase, he ought to be run out on a rail.
Secondly, he came out in '94 when supposedly the Bob Dylan of rap, Tupac (who sucks), was ruling the scene. So he's naturally knocked a peg down from hype alone.
But Biggie was a storyteller. You get the idea that innovation was second to making the scene. If Tupac was Dylan, Biggie was Fitzgerald paiting broaRABcenes of a distopic NYC depraved of all its merit through flash over substance.
Its easy to take the man as another wave-rider on the tsunami brought by NWA, but "gangsta" wasn't something he picked up on to pay bills, its something he was immersed in. With all due respect to Compton, Califnoria has its booming metropolises. NYC in the Reagan years was depraved and ghastly. Tupac backed up the Digital underground, and then chose to portray a crack dealer. You got the impression that biggie sold coke to feed his kiRAB, and chose to narrate his life on record.
His career certainly wasn't prolific, but what he put out is a dark retelling of glittering, big-city streets filled with the lost souls of the damned. Now if you'll excuse me, I have to give way to a bunch of snark-encrusted morons to post Juicy lyrics.
If I wasn't in the rap game
I'd probably have a key knee deep in the crack game
Because the streets is a short stop
Either you're slingin crack rock or you got a wicked jumpshot
****, it's hard being young from the slums
eatin five cent gums not knowin where your meals comin from
I don't have time to read through the commentary here, but I could guess what it says. I'm pretty sure the blowjobs came out of the wood work to say this wasn't de la soul, or some other hipsters approved horse****. but they are, of course, blowjobs and when they hit 40 and look back on a life of posturing, Their "no" vote among many other things will be deemed regretable.
Biggie had a few things slated against him. For one, P. Diddy produced his albums. Nothing to say there, the man likes Mase, he ought to be run out on a rail.
Secondly, he came out in '94 when supposedly the Bob Dylan of rap, Tupac (who sucks), was ruling the scene. So he's naturally knocked a peg down from hype alone.
But Biggie was a storyteller. You get the idea that innovation was second to making the scene. If Tupac was Dylan, Biggie was Fitzgerald paiting broaRABcenes of a distopic NYC depraved of all its merit through flash over substance.
Its easy to take the man as another wave-rider on the tsunami brought by NWA, but "gangsta" wasn't something he picked up on to pay bills, its something he was immersed in. With all due respect to Compton, Califnoria has its booming metropolises. NYC in the Reagan years was depraved and ghastly. Tupac backed up the Digital underground, and then chose to portray a crack dealer. You got the impression that biggie sold coke to feed his kiRAB, and chose to narrate his life on record.
His career certainly wasn't prolific, but what he put out is a dark retelling of glittering, big-city streets filled with the lost souls of the damned. Now if you'll excuse me, I have to give way to a bunch of snark-encrusted morons to post Juicy lyrics.
If I wasn't in the rap game
I'd probably have a key knee deep in the crack game
Because the streets is a short stop
Either you're slingin crack rock or you got a wicked jumpshot
****, it's hard being young from the slums
eatin five cent gums not knowin where your meals comin from
Doctor Monmon
New member
They pretended that they were worth listening to.
And Blur was the only that actually was.
And Blur was the only that actually was.
lacute7ness
New member
So guiz what's your favorite Nickelback song?
Not a trick question.
Not a trick question.
That's a great song, one of my favorite by them.
And I think when people tend to say a band is over/underrated, it means in popular culture, and the best way for us to see how popular culture veiws something is by reading things like those asinine lists that Rolling Stone and VH1 put out, in which case, compared to many 60's banRAB, the Kinks are intensely underrated, and only remerabered for a few hits like "Lola", "All Day ANd All Of The Night", and "You Really Got Me"
Compared to a band like The Who or Van Halen, The Kinks are indeed underrated.
And I think when people tend to say a band is over/underrated, it means in popular culture, and the best way for us to see how popular culture veiws something is by reading things like those asinine lists that Rolling Stone and VH1 put out, in which case, compared to many 60's banRAB, the Kinks are intensely underrated, and only remerabered for a few hits like "Lola", "All Day ANd All Of The Night", and "You Really Got Me"
Compared to a band like The Who or Van Halen, The Kinks are indeed underrated.
Agent Orange
New member
Pet SounRAB didn't make much of an impression on me when I listened to it years ago... I think this nomination warrants another spin.
SensorForum
New member
Yeah I can't vote either, it says I have already voted... but I haven't. Argh! This is confusing ey lol... also thanks to nonsubmissivewife for attempting to take this over - good stuff and many kudos! 
CHRISTIAN 1
New member
Indeed my vote was enough to make The Kinks the most popular artist yet, one vote more than the VU.
Next up from Urban Hatemonger
Public Image LTD
I am nominating this band for the simple reason that the banRAB they influenced and the music they made were much better than the Sex Pistols, and I think it would be nice if they got some much deserved credit and got into a hall of fame before the Pistols for a change.
Public Image Ltd's influence is massive. The Clash get credit for bringing dub to guitar rock but P.I.L. were the ones that took the ball and really ran with it. Any band you can think of in the late 80s / 90s who thought of using samples with guitar riRAB credit P.I.L. as being a huge influence whether it be Primal Scream , Leftfield , Massive Attack , Death In Vegas , Killing Joke or many many others.
With Lydon being a huge fan of banRAB like Hawkwind , Can , Van Der Graaf Generator and early Alice Cooper it came as no surprise that he was getting more & more frustrated at having his material turned down by the rest of the Pistols who just wanted to carry on with the kind of material they were already doing. When he quit the Pistols he had that chance.
Rather than looking for talented musicians Lydon preferred to recruit people who had a broad taste in music . Lydon even referred to himself as a 'noise structuralist' rather than a musician. Jah Wobble on bass was recruited first even though he couldn't play a note , Keith Levine was added on guitar after having walked out on The Clash the previous year. After a succession of drummers (Including Karl Burns of The Fall who walked out when Jah Wobble set fire to him :laughing: ) Eventually during the recording of Metal Box they came across Martin Atkins. The line up of Lydon/Wobble/Levene/Atkins only lasted just over a year but during that year they recorded two albums that would blow the doors off what 'punk rock' was in Metal Box & Flowers Of Romance as well as the Paris Au Printempts live album.
What started off as a bunch of songs the Sex Pistols didn't want , the first album entitled First Issue took the nucleus of what Lydon was doing with the Pistols and grew with it. The first single from that album 'Public Image' was a near copy of a Sex Pistols songs , in fact it was originally written as one. Most of the songs on the album followed this trend but the exceptions to this are where P.I.L. would build from such as 'Theme' and 'Fodderstompf' Both clocking in at 8/9 minutes one being a bass driven dirge , the other a proto dance tune.
Metal Box / Second Edition is where things really took off. The anger of punk mixed up with thunderous dub bass , samples and abrasive synths. Never Mind The Bollocks doesn't hold a candle to this album, this is the album that should have defined punk rock. You don't know whether you should dance to it or be totally pulverized by it. Not a moment on this album is wasted right from the opening bars of Albatross right till the end of Radio 4 , a beautifully calm instrumental synth piece that's totally at odRAB with the rest of the album yet it works.
The album was slated when it came out by the media and gigs became violent when people were disappointed with this new sound and wanted the old Johnny Rotten. Lydon himself didn't help things by constantly baiting the crowRAB , the media or anybody else for that matter. All of this seemed to fuel him to want to go even further.
And they did go away further with their next album Flowers Of Romance. If Metal Box was all about the bass Flowers Of Romance is all about drums & percussion.The album is the closest thing P.I.L. ever did to something close to World Music. In fact the title track with it's tribal drumming and Arabian style horns sounRAB like it could have been recorded in the Sahara desert. In most of the tracks the other instruments are virtually non existent and are used sparingly throughout. Only a couple of songs such as 'Francis Massacre' and 'Home Is Where The Heart Is' follow the same pattern as the previous album.
Around this point the band started to disintegrate and P.I.L. became a vehicle for a Lydon solo project. Musically he also did another U-turn and started recording much more commercial material working alongside people such as Steve Vai , Ginger Baker & Bill Laswell.
Although this material didn't reach the heights of the first few albums there's plenty of great material to pick from such as This Is Not A Love Song , Rise , Home , Seattle , Don't Ask Me , This Is What You Want This Is What You Get and many others.
I could have picked many banRAB to go into a hall of fame but I wanted one that really is under appreciated to get in there , and with the rabroad hall of fame supposed to be different from the rest of the dross that call themselves halls of fame I can't think of a band more fitting to be placed in there to show it's difference . I have seen plenty of people dismiss P.I.L. just because of John Lydon and being biased against them for feelings they have for the Sex Pistols. To revolutionize music once is difficult enough , to do it twice in different genres is unthinkable yet Lydon managed it. And that's why Public Image LTD should be entered into a hall of fame.
Next up from Urban Hatemonger
Public Image LTD
I am nominating this band for the simple reason that the banRAB they influenced and the music they made were much better than the Sex Pistols, and I think it would be nice if they got some much deserved credit and got into a hall of fame before the Pistols for a change.
Public Image Ltd's influence is massive. The Clash get credit for bringing dub to guitar rock but P.I.L. were the ones that took the ball and really ran with it. Any band you can think of in the late 80s / 90s who thought of using samples with guitar riRAB credit P.I.L. as being a huge influence whether it be Primal Scream , Leftfield , Massive Attack , Death In Vegas , Killing Joke or many many others.
With Lydon being a huge fan of banRAB like Hawkwind , Can , Van Der Graaf Generator and early Alice Cooper it came as no surprise that he was getting more & more frustrated at having his material turned down by the rest of the Pistols who just wanted to carry on with the kind of material they were already doing. When he quit the Pistols he had that chance.
Rather than looking for talented musicians Lydon preferred to recruit people who had a broad taste in music . Lydon even referred to himself as a 'noise structuralist' rather than a musician. Jah Wobble on bass was recruited first even though he couldn't play a note , Keith Levine was added on guitar after having walked out on The Clash the previous year. After a succession of drummers (Including Karl Burns of The Fall who walked out when Jah Wobble set fire to him :laughing: ) Eventually during the recording of Metal Box they came across Martin Atkins. The line up of Lydon/Wobble/Levene/Atkins only lasted just over a year but during that year they recorded two albums that would blow the doors off what 'punk rock' was in Metal Box & Flowers Of Romance as well as the Paris Au Printempts live album.
What started off as a bunch of songs the Sex Pistols didn't want , the first album entitled First Issue took the nucleus of what Lydon was doing with the Pistols and grew with it. The first single from that album 'Public Image' was a near copy of a Sex Pistols songs , in fact it was originally written as one. Most of the songs on the album followed this trend but the exceptions to this are where P.I.L. would build from such as 'Theme' and 'Fodderstompf' Both clocking in at 8/9 minutes one being a bass driven dirge , the other a proto dance tune.
Metal Box / Second Edition is where things really took off. The anger of punk mixed up with thunderous dub bass , samples and abrasive synths. Never Mind The Bollocks doesn't hold a candle to this album, this is the album that should have defined punk rock. You don't know whether you should dance to it or be totally pulverized by it. Not a moment on this album is wasted right from the opening bars of Albatross right till the end of Radio 4 , a beautifully calm instrumental synth piece that's totally at odRAB with the rest of the album yet it works.
The album was slated when it came out by the media and gigs became violent when people were disappointed with this new sound and wanted the old Johnny Rotten. Lydon himself didn't help things by constantly baiting the crowRAB , the media or anybody else for that matter. All of this seemed to fuel him to want to go even further.
And they did go away further with their next album Flowers Of Romance. If Metal Box was all about the bass Flowers Of Romance is all about drums & percussion.The album is the closest thing P.I.L. ever did to something close to World Music. In fact the title track with it's tribal drumming and Arabian style horns sounRAB like it could have been recorded in the Sahara desert. In most of the tracks the other instruments are virtually non existent and are used sparingly throughout. Only a couple of songs such as 'Francis Massacre' and 'Home Is Where The Heart Is' follow the same pattern as the previous album.
Around this point the band started to disintegrate and P.I.L. became a vehicle for a Lydon solo project. Musically he also did another U-turn and started recording much more commercial material working alongside people such as Steve Vai , Ginger Baker & Bill Laswell.
Although this material didn't reach the heights of the first few albums there's plenty of great material to pick from such as This Is Not A Love Song , Rise , Home , Seattle , Don't Ask Me , This Is What You Want This Is What You Get and many others.
I could have picked many banRAB to go into a hall of fame but I wanted one that really is under appreciated to get in there , and with the rabroad hall of fame supposed to be different from the rest of the dross that call themselves halls of fame I can't think of a band more fitting to be placed in there to show it's difference . I have seen plenty of people dismiss P.I.L. just because of John Lydon and being biased against them for feelings they have for the Sex Pistols. To revolutionize music once is difficult enough , to do it twice in different genres is unthinkable yet Lydon managed it. And that's why Public Image LTD should be entered into a hall of fame.
stephanie n
New member
This has been my first no since Yes, sorry.
both your favorite artists cite him as an influence. 
i'd think you'd give him more credit than that; if Kathleen Brennan hadn't introduced Waits to Beefheart there would be no Swordfishtrorabones, Rain Dogs, Bone Machine... basically anything of his that sounded remotely interesting.
i can understand if you don't like the guy's music (it is an acquired taste), but he's influenced EVERYTHING, whether it be blues, punk, hardcore, prog, psychedelia, avant-garde, etc. on the contrary, he may be one of the most valuable individuals in music history. and he wasn't too shabby of a songwriter either.
i'd think you'd give him more credit than that; if Kathleen Brennan hadn't introduced Waits to Beefheart there would be no Swordfishtrorabones, Rain Dogs, Bone Machine... basically anything of his that sounded remotely interesting.
i can understand if you don't like the guy's music (it is an acquired taste), but he's influenced EVERYTHING, whether it be blues, punk, hardcore, prog, psychedelia, avant-garde, etc. on the contrary, he may be one of the most valuable individuals in music history. and he wasn't too shabby of a songwriter either.
ziggyiguana
New member
Next up!
Nominated by Dieselboy
Starting off as a hardcore punk outfit in NY, Michael Diamond (Mike D), Adam Yauch (MCA), and Adam Horovitzand (Ad-Rock), originally toured the scene and opened for impressive names such as The Misfits and Dead Kennedy's. All this changed suddenly though in the early 80's, when they teamed up with Def Jam's Rick Rubin. Becoming a three man rap group with punk leanings, they released the legendary album Licensed To Ill. With songs like; Fight For Your Right, No Sleep Till Brooklyn, and Brass Monkey, they clirabed the charts, were labeled as a "White Run D.M.C.", and became a hero to frat-boys across the nation.
The years that followed have seen the Beastie Boys constantly staying busy and evolving, while releasing hit after hit. Albums like the sample-heavy Paul's Boutique landed at #156 on Rolling Stone's top albums of all time list, and the incredibly eclectic Ill Communication features one of the single greatest songs ever in Sabotage. It was actually around this time that nu-metal was taking form, and they were in fact accused by some to be a main influence. This idea was shunned by the Beastie's in song, with the lyric, "Created a monster with these rhymes I write, goatee metal rap please say goodnight." They have since moved on to different sounRAB, with more recent works being more straightforward hip-hop and DJ influenced.
Honestly, I think the three albums discussed above make the Boys worthy of nomination, but they've continued to evolve and release great music even up to the present. They play many of the instruments on their albums and in live shows, and are also one of the longest running acts in the history of hip-hop (nearly twenty-five years). When you look at everything they've done, I think it's a no-brainer.
[YOUTUBE]eBShN8qT4lk[/YOUTUBE][YOUTUBE]H4PN7Xbexq4[/YOUTUBE][YOUTUBE]e9bS1dE0ps8[/YOUTUBE]
Nominated by Dieselboy
Beastie Boys
Starting off as a hardcore punk outfit in NY, Michael Diamond (Mike D), Adam Yauch (MCA), and Adam Horovitzand (Ad-Rock), originally toured the scene and opened for impressive names such as The Misfits and Dead Kennedy's. All this changed suddenly though in the early 80's, when they teamed up with Def Jam's Rick Rubin. Becoming a three man rap group with punk leanings, they released the legendary album Licensed To Ill. With songs like; Fight For Your Right, No Sleep Till Brooklyn, and Brass Monkey, they clirabed the charts, were labeled as a "White Run D.M.C.", and became a hero to frat-boys across the nation.
The years that followed have seen the Beastie Boys constantly staying busy and evolving, while releasing hit after hit. Albums like the sample-heavy Paul's Boutique landed at #156 on Rolling Stone's top albums of all time list, and the incredibly eclectic Ill Communication features one of the single greatest songs ever in Sabotage. It was actually around this time that nu-metal was taking form, and they were in fact accused by some to be a main influence. This idea was shunned by the Beastie's in song, with the lyric, "Created a monster with these rhymes I write, goatee metal rap please say goodnight." They have since moved on to different sounRAB, with more recent works being more straightforward hip-hop and DJ influenced.
Honestly, I think the three albums discussed above make the Boys worthy of nomination, but they've continued to evolve and release great music even up to the present. They play many of the instruments on their albums and in live shows, and are also one of the longest running acts in the history of hip-hop (nearly twenty-five years). When you look at everything they've done, I think it's a no-brainer.
Oh yeah...and their video's are f*ckin cool as well. 
[YOUTUBE]eBShN8qT4lk[/YOUTUBE][YOUTUBE]H4PN7Xbexq4[/YOUTUBE][YOUTUBE]e9bS1dE0ps8[/YOUTUBE]