After alt-country heroes Uncle Tupelo split up in 1994 and their two singer-songwriters, Jay Farrar and Jeff Tweedy, formed new bands, everyone assumed that Farrar was the one with a long and promising future. When they both released albums the next year – Farrar with Son Volt and Tweedy with Wilco – there was still little doubt: Son Volt’s ‘Trace’ had better songs than Wilco’s ‘A.M.’
There was no way that U2’s fifth album, 1987’s ‘The Joshua Tree,’ wasn’t going to be huge. Everything they had done over the past seven years was leading to this point. The spiritual yearning of 1981’s ‘October,’ the sociopolitical musings of 1983’s ‘War,’ the digging up of America’s roots on 1984’s ‘The Unforgettable Fire’ – they’re all pieces of ‘The Joshua Tree’’s bigger puzzle.
As a director, Clint Eastwood has made better movies than 'Play Misty for Me.' He even directed a better one in the '70s, a decade in which he was earning money to make his not-quite mainstream films by co-starring alongside a beer-guzzling orangutan. But he never made a movie as dark and as twisted as his first.
When Soundgarden released ‘Superunknown’ on March 8, 1994, it was more than just a case of being in the right place at the right time. The Seattle band’s fourth album certainly sounded like it was tailor-made for the grunge era, with its downplayed, muddy, almost-metal guitars and Chris Cornell’s pained howls, but it was destined for bigger things from the start.
It’s hard to remember these days -- when John Waters plays the role of the grand old man of pop culture, writing witty essays about Johnny Mathis or lending his voice to commentary tracks on ‘Mommy Dearest’ -- that the guy with the pencil-thin mustache was once considered genuinely dangerous.
If you ever need proof that your dad wasn't nearly as much of an a--hole as he could have been, take a listen to the fascinating 40-minute studio session for the Beach Boys' 'Help Me, Rhonda.' Even though the group was led by Brian Wilson, you'd never know it by the way his dad bum-rushes the mic.
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