The right to be lame.
I meant to post this link earlier in the week, but I got caught up in Frey-gate and forgot about it until earlier today, when an acquaintance described "everything Phil Collins has ever been involved with" as "total garbage."1 In the course of defending Mr. Collins, I remembered that I wanted to post the following article, found via Jason Gross of Perfect Sound Forever via New Yorker critic Alex Ross via the Mountain Goats mailing list: ...But Seriously by former NME writer turned Guardian writer2 Sara Dempster. As someone who some years ago stopped trying to convince myself that modern pop music in general has value, I thoroughly enjoyed her thoughtful analysis of why those of us who opt out of the pop music game end up doing so. Check it out, youngsters and oldsters alike.
1 Which is of course nonsense; not only is Phil an extremely accomplished drummer who played in the newly-hipster friendly prog-era Genesis, but much of the stuff on the post-Gabriel albums is classic pop. And let's not forget his impressive list of credits as a session musician, including playing on Brian Eno's Another Green World, Taking Tiger Mountain (By Strategy), and Before and After Science. In the words of James Frey, "let the haters hate, let the doubters doubt."
2 Talk about trading up, eh?
1 Which is of course nonsense; not only is Phil an extremely accomplished drummer who played in the newly-hipster friendly prog-era Genesis, but much of the stuff on the post-Gabriel albums is classic pop. And let's not forget his impressive list of credits as a session musician, including playing on Brian Eno's Another Green World, Taking Tiger Mountain (By Strategy), and Before and After Science. In the words of James Frey, "let the haters hate, let the doubters doubt."
2 Talk about trading up, eh?
posted by Dktr. Blasphemy at 11:40 PM
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