Best album ever. 8/10.
July 7, 2015 7:03 AM Subscribe
The editor of the 63-year old weekly music magazine announces a new direction for Britain's flagship music publication. Following the trend of shrinking sales across all printed media (from a peak of over 300'000 issues sold weekly to barely staying above 15'000 last year), the NME will continue as a free "music and lifestyle" magazine and a new, revamped web presence.
After establishing the first British records charts, the newspaper in the 60s was right on time to capitalize on the British Invasion bands, and boomed as one of the first trend-setters of pop and rock music, in a time most music-related publications were either trade or aimed at musicians. However, by the early 70s the newspaper was seen as progressively out of touch, and under threat of closure, new editor Alan smith pushed the magazine to what would be their modern form: by signing underground and zine writers, the magazine took a more cynical and less "party-line" view of the music industry, and put them in the pole position to cover the emergence of Punk Rock (and later Post-Punk ), as well as tackle the same political issues (rise of fascism and later Thatcherism) as bands of the time.
In the 80s, the magazine was crucial in the development of what would become "indie music" as a genre: the release of both C81 and C86 tapes, covering the rise of jangly pop bands such as The Smiths (and future idol/buttmonkey Morrissey), but attempts to branch the newspaper into directions other than rock and derivates, mostly hip-hop, and faced an identity crisis that affected sales and would last until the last years of the decade, when it also started covering the Madchester scene, and in the early 90s, Grunge. While Select might have kicked things off with Suede's Brett Anderson superimposed over a Union Jack on their iconic April 1993 cover, the NME were quick to capitalize on the Britpop phenomenon of the mid 90s, leading to the defining cover of the era on the August 12 1995 issue: the British Heavyweight Championship, where Blur and Oasis had two singles released on the same day at the height of their "rivalry".
As the Britpop craze died down in the late 90s, and early 2000s, IPC merged long-standing rival Melody Maker into the NME, but the rise of file-sharing, internet-only publications and MP3 Blogs hastened their downfall as tastemakers, while still fiercely championing post-post-britpop acts such as Muse, Franz Ferdinand, The Libertines, Bloc Party or Arctic Monkeys, now in a magazine form. Now, with a diminishing weight in the industry and sales volume, the magazine faces a new re-invention.
After establishing the first British records charts, the newspaper in the 60s was right on time to capitalize on the British Invasion bands, and boomed as one of the first trend-setters of pop and rock music, in a time most music-related publications were either trade or aimed at musicians. However, by the early 70s the newspaper was seen as progressively out of touch, and under threat of closure, new editor Alan smith pushed the magazine to what would be their modern form: by signing underground and zine writers, the magazine took a more cynical and less "party-line" view of the music industry, and put them in the pole position to cover the emergence of Punk Rock (and later Post-Punk ), as well as tackle the same political issues (rise of fascism and later Thatcherism) as bands of the time.
In the 80s, the magazine was crucial in the development of what would become "indie music" as a genre: the release of both C81 and C86 tapes, covering the rise of jangly pop bands such as The Smiths (and future idol/buttmonkey Morrissey), but attempts to branch the newspaper into directions other than rock and derivates, mostly hip-hop, and faced an identity crisis that affected sales and would last until the last years of the decade, when it also started covering the Madchester scene, and in the early 90s, Grunge. While Select might have kicked things off with Suede's Brett Anderson superimposed over a Union Jack on their iconic April 1993 cover, the NME were quick to capitalize on the Britpop phenomenon of the mid 90s, leading to the defining cover of the era on the August 12 1995 issue: the British Heavyweight Championship, where Blur and Oasis had two singles released on the same day at the height of their "rivalry".
As the Britpop craze died down in the late 90s, and early 2000s, IPC merged long-standing rival Melody Maker into the NME, but the rise of file-sharing, internet-only publications and MP3 Blogs hastened their downfall as tastemakers, while still fiercely championing post-post-britpop acts such as Muse, Franz Ferdinand, The Libertines, Bloc Party or Arctic Monkeys, now in a magazine form. Now, with a diminishing weight in the industry and sales volume, the magazine faces a new re-invention.
How many job losses? What remuneration/benefit cuts for existing workers? What did the 'consultants' that spearheaded this bloodletting earn? What bonuses did upper management get for this "next phase of our evolution".
Whenever you see some corporate fuckhead use a phrase like that, these are the questions you should be asking.
posted by lalochezia at 7:14 AM on July 7, 2015 [5 favorites]
Whenever you see some corporate fuckhead use a phrase like that, these are the questions you should be asking.
posted by lalochezia at 7:14 AM on July 7, 2015 [5 favorites]
> The cat is out of the bag, and I couldn’t be more excited.
I believe half of that sentence.
Anyway, I guess it's just a matter of time for every print music mag; if people aren't going to pay for music, they sure as hell aren't going to pay for magazines *about* music. The last time I picked up a Rolling Stone (thinking I might read it during a train trip) it wasn't much thicker than the average junk mail flyer.
posted by The Card Cheat at 7:15 AM on July 7, 2015 [1 favorite]
I believe half of that sentence.
Anyway, I guess it's just a matter of time for every print music mag; if people aren't going to pay for music, they sure as hell aren't going to pay for magazines *about* music. The last time I picked up a Rolling Stone (thinking I might read it during a train trip) it wasn't much thicker than the average junk mail flyer.
posted by The Card Cheat at 7:15 AM on July 7, 2015 [1 favorite]
To be fair, they should have just renamed the NME 'Britpop', because their obsession with that genre lasted many years beyond the heyday of the genre itself. It was as if the NME had reached middle age, decided that the mid-90s was the one true era when all the music was made, and then continued to bang on about it like certain people I know in their 30s and 40s who still believe that Paul Weller has some sort of ongoing cultural importance.
Meanwhile the NME was overtaken by glossy magazines that did the same thing, only glossier, and combined it with elements of 'lad culture'.
By the mid-90s, the most relevant mainstream music publication in the UK was arguably Uncut, which, despite featuring many of those same 90s Britpop acts on the cover, often included intelligent long-form essays on music from previous decades as well as introducing the reader to a ton of lesser-known music from World Music, Jazz, Americana, Electronic music and other genres. The 'New Sounds Of The Old West' cover CD and its sequels were perhaps as important in their time as the C81 and C86 tapes. Mind you, last time I saw a copy of Uncut in a newsagent, Paul Weller was on the cover, so I'm not sure how they're doing.
posted by pipeski at 7:23 AM on July 7, 2015 [7 favorites]
Meanwhile the NME was overtaken by glossy magazines that did the same thing, only glossier, and combined it with elements of 'lad culture'.
By the mid-90s, the most relevant mainstream music publication in the UK was arguably Uncut, which, despite featuring many of those same 90s Britpop acts on the cover, often included intelligent long-form essays on music from previous decades as well as introducing the reader to a ton of lesser-known music from World Music, Jazz, Americana, Electronic music and other genres. The 'New Sounds Of The Old West' cover CD and its sequels were perhaps as important in their time as the C81 and C86 tapes. Mind you, last time I saw a copy of Uncut in a newsagent, Paul Weller was on the cover, so I'm not sure how they're doing.
posted by pipeski at 7:23 AM on July 7, 2015 [7 favorites]
/pours one out for Swells. Should have wrapped the whole thing up when he left us.
posted by Artw at 7:28 AM on July 7, 2015 [4 favorites]
posted by Artw at 7:28 AM on July 7, 2015 [4 favorites]
Paul Weller was on the cover
Mr Weller is currently touring and promoting a new album. Some details on this website, the design of which harks back to the days of peak NME.
posted by Wordshore at 7:32 AM on July 7, 2015
Mr Weller is currently touring and promoting a new album. Some details on this website, the design of which harks back to the days of peak NME.
posted by Wordshore at 7:32 AM on July 7, 2015
"Lifestyle", aka thinly-veiled advertorials for junk you don't need. Ugh.
posted by slater at 7:33 AM on July 7, 2015 [2 favorites]
posted by slater at 7:33 AM on July 7, 2015 [2 favorites]
What's with the Paul Weller hate? The Jam were AWESOME.
posted by thelonius at 7:35 AM on July 7, 2015 [4 favorites]
posted by thelonius at 7:35 AM on July 7, 2015 [4 favorites]
Indie Landfill Not Dead!
posted by fearfulsymmetry at 7:38 AM on July 7, 2015
posted by fearfulsymmetry at 7:38 AM on July 7, 2015
> thinly-veiled advertorials for junk you don't need
To be fair, that phrase could also describe a certain proportion of NME record reviews.
posted by misteraitch at 7:38 AM on July 7, 2015
To be fair, that phrase could also describe a certain proportion of NME record reviews.
posted by misteraitch at 7:38 AM on July 7, 2015
What's with the Paul Weller hate?
No hate at all. The Jam were indeed fantastic.
posted by pipeski at 7:43 AM on July 7, 2015
No hate at all. The Jam were indeed fantastic.
posted by pipeski at 7:43 AM on July 7, 2015
The last time I picked up a Rolling Stone (thinking I might read it during a train trip) it wasn't much thicker than the average junk mail flyer.
RS is an interesting counterpoint because it seems to have successfully (?) weathered the transition away from being a music publication into something... else. I'm not sure what else, exactly, but the number of long-form investigative journalism pieces that have come out of RS is pretty impressive, in the last few years. If you say "Rolling Stone" to someone today, I think there's a good chance they're likely to think about Matt Taibbi excoriating Wall Street before music reviews. That's certainly not something that every music magazine can or ought to try to do, of course. And maybe there's already a British publication that fills that role, so it's not really vacant for NME to step into, in the same way that I think RS did.
One would think, given the amount of music being created today -- which has to be a greater rate of creation than ever before in history, even if people are buying less of it -- that there would be more, not less, of a role for critics and other gatekeepers, without making some sort of crazy pivot into being a "lifestyle" publication (whatever that means, and it certainly does sound euphemistic) or trying to break into traditional journalism. But I guess the issue there is that a written article may not be the format that people want for discovering music; a YouTube channel gets you to the point a lot faster, I suppose.
posted by Kadin2048 at 7:44 AM on July 7, 2015 [3 favorites]
RS is an interesting counterpoint because it seems to have successfully (?) weathered the transition away from being a music publication into something... else. I'm not sure what else, exactly, but the number of long-form investigative journalism pieces that have come out of RS is pretty impressive, in the last few years. If you say "Rolling Stone" to someone today, I think there's a good chance they're likely to think about Matt Taibbi excoriating Wall Street before music reviews. That's certainly not something that every music magazine can or ought to try to do, of course. And maybe there's already a British publication that fills that role, so it's not really vacant for NME to step into, in the same way that I think RS did.
One would think, given the amount of music being created today -- which has to be a greater rate of creation than ever before in history, even if people are buying less of it -- that there would be more, not less, of a role for critics and other gatekeepers, without making some sort of crazy pivot into being a "lifestyle" publication (whatever that means, and it certainly does sound euphemistic) or trying to break into traditional journalism. But I guess the issue there is that a written article may not be the format that people want for discovering music; a YouTube channel gets you to the point a lot faster, I suppose.
posted by Kadin2048 at 7:44 AM on July 7, 2015 [3 favorites]
Anyway, I guess it's just a matter of time for every print music mag; if people aren't going to pay for music, they sure as hell aren't going to pay for magazines *about* music.
the problem is that even if you do pay for music, modern magazines aren't filling any hole that isn't filled by a random internet search. Any "history of" article can be traced to a wikipedia article or blog post. Hours after a gig there's enough photos and videos and social media posts to know how it was. Interviews these days are rarely interesting, as artists can get a word directly to their fans via social media. The less said about reviews the better, not to mention, is anyone really going to hold off from buying a record before listening to it on Spotify or youfavouritemusicdownloadblog.com?
I've stopped buying magazines around 2008 or 09 (not NME, although I have 2 or 3 issues), when my knowledge of music surpassed what I'd get from the glossy pages. I'd have to be fucking stupid to keep buying a magazine that I could be writing for, if it wasn't for their obsession with Queen, Pink Floyd and Nirvana.
(now I noticed, I could have put another fork in their Pete/Amy obsession)
posted by lmfsilva at 7:48 AM on July 7, 2015
the problem is that even if you do pay for music, modern magazines aren't filling any hole that isn't filled by a random internet search. Any "history of" article can be traced to a wikipedia article or blog post. Hours after a gig there's enough photos and videos and social media posts to know how it was. Interviews these days are rarely interesting, as artists can get a word directly to their fans via social media. The less said about reviews the better, not to mention, is anyone really going to hold off from buying a record before listening to it on Spotify or youfavouritemusicdownloadblog.com?
I've stopped buying magazines around 2008 or 09 (not NME, although I have 2 or 3 issues), when my knowledge of music surpassed what I'd get from the glossy pages. I'd have to be fucking stupid to keep buying a magazine that I could be writing for, if it wasn't for their obsession with Queen, Pink Floyd and Nirvana.
(now I noticed, I could have put another fork in their Pete/Amy obsession)
posted by lmfsilva at 7:48 AM on July 7, 2015
if people aren't going to pay for music, they sure as hell aren't going to pay for magazines *about* music.
Wire and Wax Poetics (to name two that combine "longform" writing with music news and reviews) seem to stumble on. Anyway, I imagine the future of music magazines—like the future of any kind of magazine that isn't owned by Condé Nast, probably—are as very niche, luxury publications accompanied by giveaways (e.g., the Wire sampler discs) and very active blogs/websites.
posted by octobersurprise at 7:53 AM on July 7, 2015 [1 favorite]
Wire and Wax Poetics (to name two that combine "longform" writing with music news and reviews) seem to stumble on. Anyway, I imagine the future of music magazines—like the future of any kind of magazine that isn't owned by Condé Nast, probably—are as very niche, luxury publications accompanied by giveaways (e.g., the Wire sampler discs) and very active blogs/websites.
posted by octobersurprise at 7:53 AM on July 7, 2015 [1 favorite]
The world could've done without the Style Council, though.
I actually prefer the Style Council to much of the Jam. I understand that's not a commonly accepted view, tho.
posted by octobersurprise at 7:55 AM on July 7, 2015 [2 favorites]
I actually prefer the Style Council to much of the Jam. I understand that's not a commonly accepted view, tho.
posted by octobersurprise at 7:55 AM on July 7, 2015 [2 favorites]
Wax Poetics is great and I own most of their run, but even they've taken a turn away from their vinyl nerd culture roots and towards profiles of current artists. Which is fine - they've gotta sell magazines - but it's getting to the point where I'm buying it more out of habit than from an actual desire to own the new issues.
Mojo and Uncut still have their moments (the CD that came with the issue of Madonna on the cover a few months back was *amazing*), but even they're noticeable smaller than they used to be and really, how many times does anyone need to read another story about the Stones/Beatles/Zeppelin/Clash?
posted by The Card Cheat at 7:57 AM on July 7, 2015
Mojo and Uncut still have their moments (the CD that came with the issue of Madonna on the cover a few months back was *amazing*), but even they're noticeable smaller than they used to be and really, how many times does anyone need to read another story about the Stones/Beatles/Zeppelin/Clash?
posted by The Card Cheat at 7:57 AM on July 7, 2015
The world could've done without the Style Council, though.
I love some of the Style Council. One of the things I will always like about Paul Weller was his willingness to take wrong turns. I'm disappointed that his recent music has been so safe but we all get old and want a comfy couch.
posted by srboisvert at 8:05 AM on July 7, 2015 [2 favorites]
I love some of the Style Council. One of the things I will always like about Paul Weller was his willingness to take wrong turns. I'm disappointed that his recent music has been so safe but we all get old and want a comfy couch.
posted by srboisvert at 8:05 AM on July 7, 2015 [2 favorites]
My Kurt Cobain obituary cover from April 1994 is looking even more haunted than usual right now.
And I do love me some Style Council as well as the Jam -- not so much the Paul Weller solo stuff. Long Hot Summer indeed.
posted by saintjoe at 8:07 AM on July 7, 2015
And I do love me some Style Council as well as the Jam -- not so much the Paul Weller solo stuff. Long Hot Summer indeed.
posted by saintjoe at 8:07 AM on July 7, 2015
The Wire is a continually great magazine, and manages to combine interesting articles with interesting interviews and a very good reviews section. It probably helps that they don't feel the need to speak to any of the members of Oasis every couple of weeks.
posted by dng at 8:08 AM on July 7, 2015 [3 favorites]
posted by dng at 8:08 AM on July 7, 2015 [3 favorites]
thelonius: What's with the Paul Weller hate? The Jam were AWESOME.
I remember that sometime in the mid-90s I was watching some English vox pop show where they asked people on the street random personal questions. One time they were asking Londoners what their worst break-up was. One guy immediatedly said: "The Jam." The interviewer clarified that they meant romantic break-ups. The guy thought for a bit, then replied: "Still The Jam breaking up." For a certain generation and subculture of Englishmen, The Jam splitting ranks very high as the worst thing that ever happened.
posted by Kattullus at 8:25 AM on July 7, 2015 [12 favorites]
I remember that sometime in the mid-90s I was watching some English vox pop show where they asked people on the street random personal questions. One time they were asking Londoners what their worst break-up was. One guy immediatedly said: "The Jam." The interviewer clarified that they meant romantic break-ups. The guy thought for a bit, then replied: "Still The Jam breaking up." For a certain generation and subculture of Englishmen, The Jam splitting ranks very high as the worst thing that ever happened.
posted by Kattullus at 8:25 AM on July 7, 2015 [12 favorites]
Huh. Just a couple of days ago I was thinking "I wonder whatever happened to NME?"
posted by yoink at 8:39 AM on July 7, 2015
posted by yoink at 8:39 AM on July 7, 2015
To be fair, they should have just renamed the NME 'Britpop', because their obsession with that genre lasted many years beyond the heyday of the genre itself. It was as if the NME had reached middle age, decided that the mid-90s was the one true era when all the music was made, and then continued to bang on about it like certain people I know in their 30s and 40s who still believe that Paul Weller has some sort of ongoing cultural importance.
The NME always seemed to be written by middle aged journalists masquerading as teenagers. In the 80s they were pushing the vestiges of punk against oncoming newer tides of electronic music and dance. Back in the 70s they were, no doubt, pushing hippies-grown-pompous at the expense of new-on-the-block punks.
posted by rongorongo at 8:43 AM on July 7, 2015
The NME always seemed to be written by middle aged journalists masquerading as teenagers. In the 80s they were pushing the vestiges of punk against oncoming newer tides of electronic music and dance. Back in the 70s they were, no doubt, pushing hippies-grown-pompous at the expense of new-on-the-block punks.
posted by rongorongo at 8:43 AM on July 7, 2015
Wire is indeed very good, although it used to be frustrating reading reviews of music you weren't going to be able to hear because who could afford to drop too much cash on something with a high likelihood of being better off unheard... Now, it's unusual to be unable to find the reviewed tracks online somewhere.
I never really got into the NME. When I was listening to a lot of chart music, I found Smash Hits more to my taste - it had surprisingly good writing across a surprisingly broad range of genres, and had just the right balance between knowing how important pop music was to its audience and not taking it too seriously. Q was good at first, too, even if (as with Smash Hits) I didn't much care about many of its obsessions; the writing was top-notch. Wire doesn't have that level of writing, but does cover stuff I want to know about.
posted by Devonian at 8:45 AM on July 7, 2015
I never really got into the NME. When I was listening to a lot of chart music, I found Smash Hits more to my taste - it had surprisingly good writing across a surprisingly broad range of genres, and had just the right balance between knowing how important pop music was to its audience and not taking it too seriously. Q was good at first, too, even if (as with Smash Hits) I didn't much care about many of its obsessions; the writing was top-notch. Wire doesn't have that level of writing, but does cover stuff I want to know about.
posted by Devonian at 8:45 AM on July 7, 2015
.
posted by runincircles at 8:53 AM on July 7, 2015
posted by runincircles at 8:53 AM on July 7, 2015
Sure, NME. You go ahead and move those deck chairs around.
posted by DirtyOldTown at 9:03 AM on July 7, 2015
posted by DirtyOldTown at 9:03 AM on July 7, 2015
In the 90's I lived in rural Japan. There was no Internet back then, and I didn't speak or read Japanese, and it would be a few years before I would be able to afford a cable package that included Space Shower TV.
Basically I was cut adrift from Western pop culture. Things got so bad that I resorted to listening to What's the Story, Morning Glory and Jamiroquai.
Then I discovered a little indie record store out on the bypass called Flamingo Records. And they had NME. That sort of saved my life.
posted by Nevin at 9:20 AM on July 7, 2015 [2 favorites]
Basically I was cut adrift from Western pop culture. Things got so bad that I resorted to listening to What's the Story, Morning Glory and Jamiroquai.
Then I discovered a little indie record store out on the bypass called Flamingo Records. And they had NME. That sort of saved my life.
posted by Nevin at 9:20 AM on July 7, 2015 [2 favorites]
Maybe they can get that guy who wrote "The Rise of the Idiots" - Dan something or other.
posted by robocop is bleeding at 9:56 AM on July 7, 2015 [1 favorite]
posted by robocop is bleeding at 9:56 AM on July 7, 2015 [1 favorite]
So I thought I'd give the website a go... top of the shop was a pic of Ringo Starr. Okay I'll give 'em that, it's his 75th Birthday.... but the Greatest Drummers Evah! listicle was such a mix of obvious and idiotic choices it had me laughing out loud.
posted by fearfulsymmetry at 10:31 AM on July 7, 2015
posted by fearfulsymmetry at 10:31 AM on July 7, 2015
"In the 90's I lived in rural Japan."
In the 90's I too lived in rural Japan and a Brit up the road from me would buy the NME from Tower Records in the city, which I would read when he had finished with them. For a few issues I was quite entranced by it, but then they put Shed Seven on the cover and I realised it was all a scam.
posted by awfurby at 4:46 PM on July 7, 2015
In the 90's I too lived in rural Japan and a Brit up the road from me would buy the NME from Tower Records in the city, which I would read when he had finished with them. For a few issues I was quite entranced by it, but then they put Shed Seven on the cover and I realised it was all a scam.
posted by awfurby at 4:46 PM on July 7, 2015
If you say "Rolling Stone" to someone today, I think there's a good chance they're likely to think about Matt Taibbi excoriating Wall Street before music reviews. That's certainly not something that every music magazine can or ought to try to do, of course. And maybe there's already a British publication that fills that role, so it's not really vacant for NME to step into, in the same way that I think RS did.
The NME was sort of like that, back in the 80s. Maybe not quite as much as RS, or as good as Taibbi, but they had some political writers (Swells most notably) and they covered politics, not just music. Definitely faded off post-Britpop though.
The NME always seemed to be written by middle aged journalists masquerading as teenagers. In the 80s they were pushing the vestiges of punk against oncoming newer tides of electronic music and dance. Back in the 70s they were, no doubt, pushing hippies-grown-pompous at the expense of new-on-the-block punks.
I feel like I agree with you from the mid-90s or so onwards. But look at 1977, at least half of their covers were punk or New Wave artists. And they had Burchill and Parsons, and later teenagers like Sarah Champion. Then in the 80s you had the Hip-Hop Wars, and a vocal minority pushing electronica (mostly the ones that had tried ecstasy vs the indie kids who hadn't). But the overall editorial direction was really aimed at white indie boys, for sure.
posted by Pink Frost at 5:45 PM on July 7, 2015
The NME was sort of like that, back in the 80s. Maybe not quite as much as RS, or as good as Taibbi, but they had some political writers (Swells most notably) and they covered politics, not just music. Definitely faded off post-Britpop though.
The NME always seemed to be written by middle aged journalists masquerading as teenagers. In the 80s they were pushing the vestiges of punk against oncoming newer tides of electronic music and dance. Back in the 70s they were, no doubt, pushing hippies-grown-pompous at the expense of new-on-the-block punks.
I feel like I agree with you from the mid-90s or so onwards. But look at 1977, at least half of their covers were punk or New Wave artists. And they had Burchill and Parsons, and later teenagers like Sarah Champion. Then in the 80s you had the Hip-Hop Wars, and a vocal minority pushing electronica (mostly the ones that had tried ecstasy vs the indie kids who hadn't). But the overall editorial direction was really aimed at white indie boys, for sure.
posted by Pink Frost at 5:45 PM on July 7, 2015
Then in the 80s you had the Hip-Hop Wars, and a vocal minority pushing electronica
And so you get The Face.
posted by unliteral at 10:45 PM on July 7, 2015
And so you get The Face.
posted by unliteral at 10:45 PM on July 7, 2015
The distinction is irrelevant now, but I kind of think they made a mistake changing from an inky to a glossy. As the former, they were a music paper, not a magazine.
posted by GeorgeBickham at 2:06 AM on July 8, 2015
posted by GeorgeBickham at 2:06 AM on July 8, 2015
The Economist has a pretty good obituary to the NME. An interesting side-note was the the newpaper was one of the first to launch a web site. - back in 1996.
posted by rongorongo at 6:57 AM on July 8, 2015 [3 favorites]
posted by rongorongo at 6:57 AM on July 8, 2015 [3 favorites]
> So I thought I'd give the website a go... top of the shop was a pic of Ringo Starr. Okay I'll give 'em that, it's his 75th Birthday.... but the Greatest Drummers Evah! listicle was such a mix of obvious and idiotic choices it had me laughing out loud.
Spoiler: said list includes JACK WHITE.
posted by The Card Cheat at 9:05 AM on July 14, 2015
Spoiler: said list includes JACK WHITE.
posted by The Card Cheat at 9:05 AM on July 14, 2015
The 'New Sounds Of The Old West' cover CD and its sequels were perhaps as important in their time as the C81 and C86 tapes.
It certainly was for me. I still buy three or four couple of Uncut's a year and read them cover-to-cover.
posted by Foaf at 8:55 PM on July 18, 2015
It certainly was for me. I still buy three or four couple of Uncut's a year and read them cover-to-cover.
posted by Foaf at 8:55 PM on July 18, 2015
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The NME 1952-2015 - It was never as good as it used to be.
posted by Artw at 7:10 AM on July 7, 2015 [4 favorites]