The Never Ending Pool

review of toom:

what is this shit? — neil young & erica jong

review of l&t

what is this shit? — dr. junichi saga

review of mt:

what is this shit? — henry timrod

And what does Greil Marcus have to say about Self Portrait?

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.
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you always seem to poo poo everything.

you should be dipped in buffalo sauce.

Lab Rat wrote:

QUOTE:
And what does Greil Marcus have to say about Self Portrait? :S

best shit ever! — greil marcus

Thanks for sharing, Bill.

You're hilarious, country bill! HILARIOUS!

Here are some excerpts of album reviews from your competitors at Rolling Stone:

Toom: "The first of Dylan's two late-career triumphs. Producer Daniel Lanois' dark, atmospheric settings envelops Dylan in a sonic fog appropriate to the isolation and distance he sings of in a ravaged, weary voice. The songs -- especially "Love Sick" and "Not Dark Yet" -- are ghostly but forceful." (RS's entry for Toom as #408 on its top 500 albums list.)


L&T: "'I don't like to think of myself in the highfalutin area,' Bob Dylan said a few years ago. 'I'm in the burlesque area.' The man isn't kidding. Ever since 1969's Nashville Skyline, he's been scandalizing the faithful with fantasies of shedding all his poetic skins to be reborn as a song-and-dance man. On Love and Theft, his forty-third album, he turns this fantasy into a stone-cold Dylan classic. Love and Theft takes us on a full-blown tour of American song in all its burlesque splendor...." (#467 on RS's top 500 album list)(RS, 4 Sept. 01)

MT: "Modern Times is something different. It's less terrifying, less funny on first listen. But it has more command, more clarity. There is none of the digital murk of Time Out of Mind, and the snakebite live sound of Love and Theft has softened. This music is relaxed; it has nothing to prove. It is music of accumulated knowledge, it knows every move, anticipates every step before you take it. Producing himself for the second time running, Dylan has captured the sound of tradition as an ever-present, a sound he's been working on since his first album, in 1962. (One reason Modern Times is so good is that Dylan has been making it so long.) These songs stand alongside their sources and are meant to...." (RS, 22 Aug. 06)


Now, of course, Country Bill, your reviews are somewhat more pithy (as Bill O'Reilly would say), but seem to lack the detail and scope that these short passages demonstrate. But if Rolling Stone is looking for a new reviewer with such depth of understanding and appreciation of Dylan's later albums, perhaps they might be interested in seeing your work.

------

Or, as one of my favorite philosophers, Thumper, once said, "If you can't say something nice, don't say nothing at all."

Thank God the long wait has ended for me and thousands-- nay 100s of thousands-- of others.

LaughsLikeTheFlowers wrote:

QUOTE:
Here are some excerpts of album reviews from your competitors at Rolling Stone:

Toom: "The first of Dylan's two late-career triumphs. Producer Daniel Lanois' dark, atmospheric settings envelops Dylan in a sonic fog appropriate to the isolation and distance he sings of in a ravaged, weary voice. The songs -- especially "Love Sick" and "Not Dark Yet" -- are ghostly but forceful." (RS's entry for Toom as #408 on its top 500 albums list.)


L&T: "'I don't like to think of myself in the highfalutin area,' Bob Dylan said a few years ago. 'I'm in the burlesque area.' The man isn't kidding. Ever since 1969's Nashville Skyline, he's been scandalizing the faithful with fantasies of shedding all his poetic skins to be reborn as a song-and-dance man. On Love and Theft, his forty-third album, he turns this fantasy into a stone-cold Dylan classic. Love and Theft takes us on a full-blown tour of American song in all its burlesque splendor...." (#467 on RS's top 500 album list)(RS, 4 Sept. 01)

MT: "Modern Times is something different. It's less terrifying, less funny on first listen. But it has more command, more clarity. There is none of the digital murk of Time Out of Mind, and the snakebite live sound of Love and Theft has softened. This music is relaxed; it has nothing to prove. It is music of accumulated knowledge, it knows every move, anticipates every step before you take it. Producing himself for the second time running, Dylan has captured the sound of tradition as an ever-present, a sound he's been working on since his first album, in 1962. (One reason Modern Times is so good is that Dylan has been making it so long.) These songs stand alongside their sources and are meant to...." (RS, 22 Aug. 06)


Now, of course, Country Bill, your reviews are somewhat more pithy (as Bill O'Reilly would say), but seem to lack the detail and scope that these short passages demonstrate. But if Rolling Stone is looking for a new reviewer with such depth of understanding and appreciation of Dylan's later albums, perhaps they might be interested in seeing your work.

------

Or, as one of my favorite philosophers, Thumper, once said, "If you can't say something nice, don't say nothing at all."

some use many words to say nothing, some use a few words to say everything.

so i should take everything rolling stone says as gospel? thanks but no thanks, i have my own functioning brain.

and tell thumper to wear skates next time!

Not Henry Porter wrote:

QUOTE:
Thank God the long wait has ended for me and thousands-- nay 100s of thousands-- of others.

and you are all very welcome!

smoke wrote:

QUOTE:
Thanks for sharing, Bill.

my pleasure, smoke; if i may call you smoke