Entre_Perpetuo

IMO this is the kind of site where Yes are probably even a little more well known than Genesis, at least in their prog eras anyway. I feel like most everyone here has a level of open reverence for at least CTTE which comes of sporadically in conversation, whereas I don't usually see something like Foxtrot or SEBTP get much of a mention or love unless Genesis or prog Rock in general is the subject of conversation. Like, I never see people comparing Genesis and Rush albums, but CTTE vs. Hems isn't an uncommon debate.

Mike Rutherford is such an underrated bassist. I think I prefer him to Chris Squire actually, or at least I can clearly hear what notes he's playing on Genesis records, which is more than I can say for a number of great Yes albums.

Hard to argue with Blues Traveler

The R40 shirt with the AFTK skull on the front. Wore it last Friday.

The catchiest part of the song(s) is the a Capella transition between them, at least, that's what I always hear in my head when I read the title. "FEELING THAT WAY! - OO-OOH, ANYTIME THAT YOU WANT ME"

Didn't the engineer/producer make that call after hearing Eddie use it as a warm-up exercise? I recall reading that somewhere. I'd assume Eddie still would've kept it to himself even if prompted if he'd have wanted to. In the end it's the muscians' call what goes on the album, not the engineers' or the producers'.

Eruption is a work of only one man called Eddie Van Halen, not a work of all guys that make a band called VAN HALEN! Eddie Van Halen - Eruption Van Halen - all other tracks on the album VH. Do you see a difference? I don't know how to respond to this. Actually I do. One, Alex's drums are on the track, so I don't know what you mean that it's only the work of Eddie. Two, if Eddie would've wanted that credited only to himself, he'd have saved it for a solo album. He put it on Van Halen for a reason. Three: How the heck can you be so picky? I'm sorry, but I just do not agree with your logic on this in the slightest.

Okay, I listened back through Toys with an ear towards the things I'd kind of written off when I first heard the album maybe a couple years ago. First, Big Ten Inch isn't just a humor piece, it's got great playing all around and a honkin' harmonica solo I'd forgotten about. It's a better side closer than I remember. Sweet Emotion reeled me back in even though it's been a little overplayed to me, got me air drum the whole way through (the end is too much fun). Now I entered territory I'd really initially been very disappointed with... First, No More, No More. Still pleasant, still repetitive, but I didn't give up on it after the first couple times through the verses and chorus and eventually discovered the ascending third verse I'd never noticed. Props to that attempt to keep things interesting, because it actually does if you can pay attention long enough. I also listened to the lyrics a bit closer and found they weren't too shabby either. I started to phase out again once the guitar solo got going and wasn't really catching my ear, but it reeled me back in a bit when I realized it was actually an extended outro and the backing had developed a good deal from where it had begun into a solid jam. It's still not one of my favorites, and likely never will be, but it isn't bad. Then, Round And Round. I forgot this is where Aerosmith show off their metal side, a menacing riff fir sure, and a powerful, dirty vocal laid over the top. This one I think has better verses than No More, No More, more exciting and dynamic. The chorus is really more of a phrase than a melody, but it's effective in a bluesy sort of way. This song is actually pretty exciting, and perhaps I would've noticed before if it hadn't been for a couple of factors. 1. The song before it is really kind of mellow and repetitive by Aerosmith's standards, allowing me to kind of phase out and forget what I'm listening to. 2. The "round and round" chant sticks out of the mix like a sore thumb when it's first introduced, and with it's mega repetitiveness and being the title of the song, it's really all that comes to mind when I think of the song or look over its title, giving me a negative, kind of headache inducing assessment of the track without remembering all the exciting metal stuff and powerful vocals and psychedelic chord shifting section. Lastly, You See Me Crying. I remember the first time I heard this I was so phased out from the two preceding songs that I didn't even register this as any different until Tyler does that gravelly, whiny, falsetto bit, which irked the heck out of me and made me think they'd just dropped from great to forgettable to embarrassing in the course of four songs. I really wasn't a fan at all at first. Later on though I would listen closer and notice that the song itself is pretty good, and the instrumental ebbs and flows beautifully. Plus, Tyler's vocals are really impassioned in this one, if a little unstable at times, which I suppose does match the title of the song. It just came off as very headache inducing after going through that round and round chant. Perhaps the last little bit doesn't need to be there (after the sigh), but it doesn't go too long after that, so it doesn't really overstay it's welcome. I think I've concluded I have a far different complaint with Toys than I thought I did, and it's with the sequencing. I believe I'd have like all three of the last songs way better if Round And Round and/or No More, No More had been mixed in with the more obvious standouts and had not been one after another, given their inherent repetitiveness. I've always felt Walk This Way was in a rather awkward spot after Adam's Apple too, so maybe a better listing might have gone like this: Toys In The Attic Uncle Salty Walk This Way No More, No More Big Ten Inch Record Sweet Emotion Adam's Apple Round And Round You See Me Cryin' Thoughts? I actually think I'd really prefer it this way.

Eruption is a work of only one man called Eddie Van Halen, not a work of all guys that make a band called VAN HALEN! Eddie Van Halen - Eruption Van Halen - all other tracks on the album VH. Do you see a difference? I don't know how to respond to this.

I've just never heard anything particularly great in it. It's one of the two most buggingly repetitive songs on the record, and it just comes off as filler for me. I mean, I find it pleasant, I find it catchy, but I don't find it very good or special in general. Maybe I'd care less if it wasn't followed by the other most repetitive and filler-ish song on the album, cuz IMO they really just grind the pace of the record nearly to a halt, which is not necessarily picked up by the closer, but the closer is interesting and dynamic and works well as a grande finale of sorts, so I've grown to like it much more than the two preceding it.

So are you including Erruption in You Really Got Me since they're piggyback songs? Or did you just forget it somehow? Please don't tell me you didn't include because it's an instrumental and not technically a "song," because it's pretty much the most important and influential piece of music on that record, maybe in VH's whole career and deserves votes regardless. My votes will be for: Erruption/You Really Got Me (or just Erruption) Ain't Talkin' 'Bout Love Ice Cream Man But everything is classic.

Me too! Did you find this thread again through the "also tagged with" thing at the bottom of the Aerosmith thread, or is that just a coincidence, lol? No, it's just a coincidence. Oh...darn

I've still never gotten around to Appetite, only know the singles. Back In Black is a perfect rock album though, I imagine it stands a good chance against GNR.

I love Rush's sense of humor and I think any critics that somehow still don't see it after 40 something years (especially in these past few where Rush have somehow become cool) should probably check their own. Also wow, I have not seen a Yukon Blade Grinder in a long time.

Me too! Did you find this thread again through the "also tagged with" thing at the bottom of the Aerosmith thread, or is that just a coincidence, lol?

A lot of people have mentioned No More, No More as one of their favorites, a song to which I usually end up thinking "no more, no more," if you catch my drift. Is there anything you guys particularly love about that song that maybe I just haven't heard in it and might discover on a relisten, or is it more of a sentimental thing for Toys?

I just can't see No More, No More and Round And Round as killer rather than filler, but otherwise it's certainly one of the best. Those two just seem a little too repetitive and a little short of ideas to me.

When I first really listened to Get Your Wings I was like "why didn't anyone tell me this was practically their best album?" I eventually decided I liked Pump a bit better, but I was very pleasantly surprised to find 70s Aerosmith had more than one consistently awesome and epic album in them (I find Toys inconsistent, unlike Rocks and GYW). Love to see love for GYW.

What's your favorite Aerosmith song, or perhaps a top five? And what's your fav Aerosmith album, or perhaps your ranking of their discography? Me? My favorite Aerosmith song is Love In An Elevator, just too much fun. My ranking of the Smith albums I've heard off the top of my head: Pump Get Your Wings Rocks Permanent Vacation Toys In The Attic (but the highs are oh so high) Music From Another Dimension (actually excellent, but overlong and has some throwaway tracks) Get A Grip Draw The Line

CCR?

I love Renegade. The title track breaks my heart. There's not a bad track on this thing. It's all great! The title track and Angel Of Death are mega standouts of course, but it's all just so great! And that artwork! Once I realized there was a sunrise off in the background over some awesome rolling hills it became perfectly epic.

Renegade has caused me to look back over Jailbreak and realize it's better than I thought it was. Great albums, both of 'em.

He was more legitimate than Geddy at one point, cuz at one point Ray kicked Geddy out of the band. :P Hey there's one. How about bands who have never changed their manager/management?

He was more legitimate than Geddy at one point, cuz at one point Ray kicked Geddy out of the band. :P

...how? It's literally one of their top three most synth filled albums, and the only one of those top three where the guitar really gets blocked out by the sytnth parts regularly. This is just my humble opinion. When I listen to Signals I still hear the Broone Era. The album is certainly a harbinger of what is to come. Yet the snyth still compliments the traditional instruments. Then comes GUP where to this day the snyth sounds almost jarring, seemingly overwhelming the strings and drums. Then The Snyth Era has begun for me. Well, I suppose I can't change what you hear, nor would I wish to. To me Signals is very much a synth era album.