Iceman's Top Ten Albums
64 posts
• Page 4 of 5 • 1, 2, 3, 4, 5
- Edogg
by Edogg » Mon Jan 20, 2003 9:58 pm
Originally posted by COL.BUKKAKE
1) Insync (very handsome and sweaty)
2) New kids on the Block ( used to be very handsome an sweaty)
3) and this spot goes to the rest of those handsome and sweaty white boy bands, oh how they shake their tight ass, I would, if I could, cup the sweat from their balls and just drink it up.........yummy.....shake it shake it shake it!
OOPPS........spilled some
that Boo...he strike everywhere.
Attack of the Giant Bukkake
by Lord ZOG » Mon Jan 20, 2003 10:45 pm
Just when you thought it was safe to read the threads again...
[Cue "Jaws" music...]
[Cue "Jaws" music...]
Lord ZOG
"Well hello Mister Fancypants. Well, I've got news for you pal, you ain't leadin' but two things: Jack and shit... and Jack just left town."
"Well hello Mister Fancypants. Well, I've got news for you pal, you ain't leadin' but two things: Jack and shit... and Jack just left town."
- Scuttle
by Scuttle » Mon Jan 20, 2003 10:46 pm
It's not even remotely on the subject, but here are my albums in no particular order
1. Miles Davis - Kind of Blue (Holy Shit it's good!)
2. John Coltrane - A Love Supreme
3. Herbie Hancock - Thrust
4. Sublime - Sublime
5. Galactic - We Love Em' Tonight
6. Ozomatli - Ozomatli
7. Dave brubeck - Time Out
8. KRS One (no album inparticular)
9. anything by Dexter Gordon
10. Anything by Louie Armstrong
I don't really think these are my favorite albums ever, but they are this week, and that's all that really matters. And I was feeling that jazz was getting neglected (some good funk in there too).
1. Miles Davis - Kind of Blue (Holy Shit it's good!)
2. John Coltrane - A Love Supreme
3. Herbie Hancock - Thrust
4. Sublime - Sublime
5. Galactic - We Love Em' Tonight
6. Ozomatli - Ozomatli
7. Dave brubeck - Time Out
8. KRS One (no album inparticular)
9. anything by Dexter Gordon
10. Anything by Louie Armstrong
I don't really think these are my favorite albums ever, but they are this week, and that's all that really matters. And I was feeling that jazz was getting neglected (some good funk in there too).
- AsphyXIatioN
by AsphyXIatioN » Tue Jan 21, 2003 12:27 pm
sorry iceman but your choices blow.
,off yours arent to bad except for kid rock.
jesus COL.BUKKAKE .
I think the best album of all time is just to hard to pick for me , i like lots of bands.just depends on the mood im in to what i want to hear.i like smashing pumkins alot, now called swan.the doors are good. lynard skynard also kicks ass.pretty much anything you can sit back relax and fire up a fatty and enjoy it with your friends makes a good album.
,off yours arent to bad except for kid rock. jesus COL.BUKKAKE .
I think the best album of all time is just to hard to pick for me , i like lots of bands.just depends on the mood im in to what i want to hear.i like smashing pumkins alot, now called swan.the doors are good. lynard skynard also kicks ass.pretty much anything you can sit back relax and fire up a fatty and enjoy it with your friends makes a good album.
- Edogg
by Edogg » Tue Jan 21, 2003 3:14 pm
well i got the audioslave cd last night. I listened to it in it's entirety twice today. Id have to say that i really like it a lot. I can also honestly say that i can listen to it all the way through without skipping a song, or part of a song. I think tom morello's guitar solo in "like a stone" is amazing. Chris cornell's powerful voice really goes well with the band's powerful sound. he also managed to tame the guys from rage for a few songs, which i think is good. a few slower songs helps to balance out the album.
- COL.BUKKAKE
by COL.BUKKAKE » Wed Jan 22, 2003 1:13 pm
I would like to say something.........I am now a UBER memeber, I got here from posting, quality and family fun subjects.....I hope you all have enjoyed my opinions and have shared them with your daughters, mothers, sons and wives..........By the way what the fuck is a Uber anyhow 
- Edogg
by Edogg » Wed Jan 22, 2003 1:34 pm
Originally posted by COL.BUKKAKE
I would like to say something.........I am now a UBER memeber, I got here from posting, quality and family fun subjects.....I hope you all have enjoyed my opinions and have shared them with your daughters, mothers, sons and wives..........By the way what the fuck is a Uber anyhow
congrats boo, welcome to the uber family. oh and i believe uber means super in german. im almost to 300 posts, im not sure what my new title is going to be:D
- Edogg
for you ice...
by Edogg » Wed Jan 22, 2003 3:35 pm
here is something i found on the audioslave web site. It is tom Morello writing about the Clash. I just thought you would like to read it since they were in your top ten albums list.
sorry for the length.
Tom on Joe Strummer
The first time I heard of the Clash was in high school. I was working on the school newspaper, and one day a fellow named Dave Vogel came in with a copy of London Calling that he was showing off to anybody who was willing to listen. I thought the cover of the album was really cool, and asked him "is it heavy metal?" He said "no, but it's really great." I doubted him, but asked if I could borrow it, and I made myself a cassette copy. This low-grade Dolby-suffering cassette tape burned its way into my head, heart and soul, and the Clash soon became my favorite band.
At the time, I was playing in a punk rock band. Most of our songs were amusing, funny ditties with names like "She Eats Razors" and "Beat Me, Whip Me, Make Me Feel Cheap." A week after my first listen to London Calling, I penned the first political song of my life, a song called "Salvador Death Squad Blues," a rocking commentary on the Reagan administration's egregious practices in Central America. Shortly thereafter, there was a rebellion at the school paper. The conservative teacher didn't want us writing articles about apartheid, or U.S. support of death squads, or the fact that the dean was a dick. There was a mass exodus from the paper and a very popular underground paper was born called "The Student Pulse." The Clash pushed me into making political music and taking a political stand as a teenager.
Later that year, I got the chance to see the Clash at the Aragon Ballroom in Chicago, and was totally blown away. Not only were they the greatest live band of all time, but they also cured my musical inferiority complex. Before this show, I had thought that you had to have a $10,000 Les Paul and a huge wall of Marshall amplifiers in order to make "real" rock and roll music. But Joe Strummer had the same cheap little Music Man amp that I did. It was just sitting on a chair, much like my amp sat on a chair at my high school band's rehearsals. And yet they were making the most passionate and compelling music I had ever heard. A lot of kids left the hall that night knowing that they could do it too. The Axis of Justice motto, "the future is unwritten" is taken from a t-shirt I purchased that night.
On the early Rage Against the Machine tours, Clash tapes and bootlegs were always the most important part of my on-the-road music collection. They were a tremendous inspiration and consolation on those long, freezing European bus rides. And in listening to those crappy quality bootleg tapes, you could still always hear in Joe Strummer's voice that he did truly believe that the world could be changed with a three minute song, and that each night, he was up there not playing for ego, self-gratification, money or rock star glory. He was playing with the determination to save the soul of everybody in the room, his included.
The Sex Pistols were the flashpoint that made the world notice punk rock. The Clash, sewed politics into punk and rock and roll irreversibly. And Joe Strummer was the heart, the soul, and the conscience of the Clash.
No one had more of a true punk rock look than Joe Strummer. I always thought he had the greatest no-sell-out teeth in the business. The Clash were great because they realized that it did not in any way impinge their integrity to be a "performing" rock and roll band, and they looked, sounded and dressed the part of the rebel rockers they were.
One thing I always admired about the Clash was their great attention to what it meant to be a band, outside of the music. They would have countless meetings where they would discuss their lives, their opinions, their political views, what they meant to each other, and what it was important for them to say in their songs and how to maintain the highest level of integrity and commitment to continuing to be "the only band that matters."
Joe was also insistent on choosing singles not based necessarily on their potential hit value, but rather based on their relevance. The Clash wrote and released "The Call Up" as a single in response to the reinstitution of draft registration in the United States. It was a huge issue at the time and with the shadows of Vietnam creeping across Central America, a song like "The Call Up," with its poetic and brutally true lyrics helped a lot of young people make up their minds about what they would do if a draft actually came.
I've always been really pissed at the way that the British press turned its back on the Clash. There seemed to be a real petty jealousy that British publications had towards the Clash after their debut album. Once the rest of the world caught on to their hometown little secret, they stomped their feet like spoiled brats and turned their backs on such amazing albums as London Calling and Sandinista ( The London Calling album, by the way, was voted the album of the decade by Rolling Stone magazine).
The Clash always resisted the temptation to reunite for the big money. And their reasons spoke to the greatness of the band and the people in it. It wasn't out of some elitist pomposity that they dare not reconvene for fear of besmirching their "legend," but rather because their friend and drummer Topper Headon, a heroin addict, wasn't healthy enough to do it. And as Joe says near the end of the great Clash documentary "Westway to the World," a band's chemistry is everything. Joe gives a tearful speech lamenting the dismissing of first Topper Headon and then Mick Jones. It's a speech worth listening to, because it truly is a band chemistry that matters. There is a potency to that classic Clash line-up that, had they stayed the course, it is likely that to this day, U2 might still be opening for them.
Throughout my time in Rage Against the Machine, journalists would always ask the question, "what the hell is a band with the politics of Rage doing on Epic Records?" I would often answer with long and flowery sermons about spreading an important message around the globe. But I really could have answered with two words: The Clash. I was energized and politicized and changed by the Clash. And the reason I heard about them was because Dave Vogel bought London Calling at Musicland Records at the local Hawthorne Mall in tiny Libertyville, Illinios. And the reason Dave could get his hands on this album at a nearby mall was because the band was on Epic Records. If in the history of Rage Against the Machine we were able to energize or politicize one person in the same way that the Clash effected me, the decision to sign with Epic Records was not just well worth it, but was crucial.
A couple years ago, I had the opportunity to play on a Joe Strummer record. He was doing a song for the South Park soundtrack, and Rick Rubin asked me to come down and play guitar, because the guy that they had doing it (who incidentally plays in a very popular rock-rap band) just couldn't cut it. I had never been more nervous in my life as I drove up in my 1971 muscle car to the studio and was introduced to the great Joe Strummer. Joe did not disappoint. While the song was not the best, he certainly was. It seemed like very little recording got done, but a lot of storytelling over quickly ingested bottles of red wine did. Joe told us the story of how he used to always travel with an enormous flight case filled with all his music. Everywhere he went, he carried every cassette and album he owned, so they would always be at the ready for him to listen to. After a couple of decades of doing this, he had grown very weary of having to show countless customs agents his entire reggae collection. So he had boiled it all down to one scratchy 30-minute cassette of an obscure Mexican band that he played for us. He absolutely loved it, and it was the only tape he brought with him from then on. I sat there listening and beaming like an idiot.
Joe was fascinated with my muscle car. It's a 1971 hemi-orange Dodge Demon. It was a bizarre site for me to see my greatest rock and roll hero crawling around the front seat of my car marveling over the original Demon-designed floormats with his unique and unchanged accent.
At the studio, he would disappear for hours at a time into his ancient Cadillac, where he would work on lyrics for the song, and listen to the latest mixes that were coming out of the control room. Rick Rubin and I would sit in the control room waiting as a gofer would shuttle notes back and forth from Joe that would read like "I think there could be more treble" or "I've almost got the second verse." Or sometimes they'd be obscure quotations or ramblings that kept us in stitches as we waited for Joe to come back in the room. I took one of these opportunities when Joe was in his Caddy to pick up and strum for myself his famous Telecaster with the "Ignore All Aliens" sticker on it. Joe was of course the reason why I play a Telecaster, and holding this amazing, historic guitar that had written and performed my favorite songs through the years was a sublime moment. And don't think I didn't bring my camera to preserve that moment. Taped to the guitar was an ancient Clash setlist, and I marveled over it and wrote the setlist down to keep for posterity, although Joe couldn't remember what show it was from.
The last time I saw Joe Strummer was when he and his band The Mescaleros played at the Troubadour a year and a half ago. I was truly impressed. Joe played with all the passion and intensity that he had in the Clash's heyday. And his new music and lyrics were forward-looking and challenging. He was clearly a vital artist to the end. And when he threw in the Clash gems Bank Robber and London's Burning, the place went absolutely nuts. I yelled so loud I lost my voice for about a week.
In the song "White Riot," Joe sang:
"Are you taking over
or are you taking orders?
Are you going backwards
Or are you going forwards?"
Write those four lines down, put them on your refrigerator, and answer those four questions for yourself every day. I do.
Joe Strummer was my greatest inspiration, my favorite singer of all time, and my hero. His passing came as such a shock and surprise, and I am deeply saddened by it. I already miss him so much, and I am grateful to have the tremendous legacy of music he left behind. The Clash was one of those bands that even their most remote b-sides are far superior to anything on the radio today. If you haven't checked out this great band, run don't walk to all the Clash albums. I am certain that Joe Strummer and the Clash will continue to inspire and agitate well into the future. God bless you, Joe.
sorry for the length.
Tom on Joe Strummer
The first time I heard of the Clash was in high school. I was working on the school newspaper, and one day a fellow named Dave Vogel came in with a copy of London Calling that he was showing off to anybody who was willing to listen. I thought the cover of the album was really cool, and asked him "is it heavy metal?" He said "no, but it's really great." I doubted him, but asked if I could borrow it, and I made myself a cassette copy. This low-grade Dolby-suffering cassette tape burned its way into my head, heart and soul, and the Clash soon became my favorite band.
At the time, I was playing in a punk rock band. Most of our songs were amusing, funny ditties with names like "She Eats Razors" and "Beat Me, Whip Me, Make Me Feel Cheap." A week after my first listen to London Calling, I penned the first political song of my life, a song called "Salvador Death Squad Blues," a rocking commentary on the Reagan administration's egregious practices in Central America. Shortly thereafter, there was a rebellion at the school paper. The conservative teacher didn't want us writing articles about apartheid, or U.S. support of death squads, or the fact that the dean was a dick. There was a mass exodus from the paper and a very popular underground paper was born called "The Student Pulse." The Clash pushed me into making political music and taking a political stand as a teenager.
Later that year, I got the chance to see the Clash at the Aragon Ballroom in Chicago, and was totally blown away. Not only were they the greatest live band of all time, but they also cured my musical inferiority complex. Before this show, I had thought that you had to have a $10,000 Les Paul and a huge wall of Marshall amplifiers in order to make "real" rock and roll music. But Joe Strummer had the same cheap little Music Man amp that I did. It was just sitting on a chair, much like my amp sat on a chair at my high school band's rehearsals. And yet they were making the most passionate and compelling music I had ever heard. A lot of kids left the hall that night knowing that they could do it too. The Axis of Justice motto, "the future is unwritten" is taken from a t-shirt I purchased that night.
On the early Rage Against the Machine tours, Clash tapes and bootlegs were always the most important part of my on-the-road music collection. They were a tremendous inspiration and consolation on those long, freezing European bus rides. And in listening to those crappy quality bootleg tapes, you could still always hear in Joe Strummer's voice that he did truly believe that the world could be changed with a three minute song, and that each night, he was up there not playing for ego, self-gratification, money or rock star glory. He was playing with the determination to save the soul of everybody in the room, his included.
The Sex Pistols were the flashpoint that made the world notice punk rock. The Clash, sewed politics into punk and rock and roll irreversibly. And Joe Strummer was the heart, the soul, and the conscience of the Clash.
No one had more of a true punk rock look than Joe Strummer. I always thought he had the greatest no-sell-out teeth in the business. The Clash were great because they realized that it did not in any way impinge their integrity to be a "performing" rock and roll band, and they looked, sounded and dressed the part of the rebel rockers they were.
One thing I always admired about the Clash was their great attention to what it meant to be a band, outside of the music. They would have countless meetings where they would discuss their lives, their opinions, their political views, what they meant to each other, and what it was important for them to say in their songs and how to maintain the highest level of integrity and commitment to continuing to be "the only band that matters."
Joe was also insistent on choosing singles not based necessarily on their potential hit value, but rather based on their relevance. The Clash wrote and released "The Call Up" as a single in response to the reinstitution of draft registration in the United States. It was a huge issue at the time and with the shadows of Vietnam creeping across Central America, a song like "The Call Up," with its poetic and brutally true lyrics helped a lot of young people make up their minds about what they would do if a draft actually came.
I've always been really pissed at the way that the British press turned its back on the Clash. There seemed to be a real petty jealousy that British publications had towards the Clash after their debut album. Once the rest of the world caught on to their hometown little secret, they stomped their feet like spoiled brats and turned their backs on such amazing albums as London Calling and Sandinista ( The London Calling album, by the way, was voted the album of the decade by Rolling Stone magazine).
The Clash always resisted the temptation to reunite for the big money. And their reasons spoke to the greatness of the band and the people in it. It wasn't out of some elitist pomposity that they dare not reconvene for fear of besmirching their "legend," but rather because their friend and drummer Topper Headon, a heroin addict, wasn't healthy enough to do it. And as Joe says near the end of the great Clash documentary "Westway to the World," a band's chemistry is everything. Joe gives a tearful speech lamenting the dismissing of first Topper Headon and then Mick Jones. It's a speech worth listening to, because it truly is a band chemistry that matters. There is a potency to that classic Clash line-up that, had they stayed the course, it is likely that to this day, U2 might still be opening for them.
Throughout my time in Rage Against the Machine, journalists would always ask the question, "what the hell is a band with the politics of Rage doing on Epic Records?" I would often answer with long and flowery sermons about spreading an important message around the globe. But I really could have answered with two words: The Clash. I was energized and politicized and changed by the Clash. And the reason I heard about them was because Dave Vogel bought London Calling at Musicland Records at the local Hawthorne Mall in tiny Libertyville, Illinios. And the reason Dave could get his hands on this album at a nearby mall was because the band was on Epic Records. If in the history of Rage Against the Machine we were able to energize or politicize one person in the same way that the Clash effected me, the decision to sign with Epic Records was not just well worth it, but was crucial.
A couple years ago, I had the opportunity to play on a Joe Strummer record. He was doing a song for the South Park soundtrack, and Rick Rubin asked me to come down and play guitar, because the guy that they had doing it (who incidentally plays in a very popular rock-rap band) just couldn't cut it. I had never been more nervous in my life as I drove up in my 1971 muscle car to the studio and was introduced to the great Joe Strummer. Joe did not disappoint. While the song was not the best, he certainly was. It seemed like very little recording got done, but a lot of storytelling over quickly ingested bottles of red wine did. Joe told us the story of how he used to always travel with an enormous flight case filled with all his music. Everywhere he went, he carried every cassette and album he owned, so they would always be at the ready for him to listen to. After a couple of decades of doing this, he had grown very weary of having to show countless customs agents his entire reggae collection. So he had boiled it all down to one scratchy 30-minute cassette of an obscure Mexican band that he played for us. He absolutely loved it, and it was the only tape he brought with him from then on. I sat there listening and beaming like an idiot.
Joe was fascinated with my muscle car. It's a 1971 hemi-orange Dodge Demon. It was a bizarre site for me to see my greatest rock and roll hero crawling around the front seat of my car marveling over the original Demon-designed floormats with his unique and unchanged accent.
At the studio, he would disappear for hours at a time into his ancient Cadillac, where he would work on lyrics for the song, and listen to the latest mixes that were coming out of the control room. Rick Rubin and I would sit in the control room waiting as a gofer would shuttle notes back and forth from Joe that would read like "I think there could be more treble" or "I've almost got the second verse." Or sometimes they'd be obscure quotations or ramblings that kept us in stitches as we waited for Joe to come back in the room. I took one of these opportunities when Joe was in his Caddy to pick up and strum for myself his famous Telecaster with the "Ignore All Aliens" sticker on it. Joe was of course the reason why I play a Telecaster, and holding this amazing, historic guitar that had written and performed my favorite songs through the years was a sublime moment. And don't think I didn't bring my camera to preserve that moment. Taped to the guitar was an ancient Clash setlist, and I marveled over it and wrote the setlist down to keep for posterity, although Joe couldn't remember what show it was from.
The last time I saw Joe Strummer was when he and his band The Mescaleros played at the Troubadour a year and a half ago. I was truly impressed. Joe played with all the passion and intensity that he had in the Clash's heyday. And his new music and lyrics were forward-looking and challenging. He was clearly a vital artist to the end. And when he threw in the Clash gems Bank Robber and London's Burning, the place went absolutely nuts. I yelled so loud I lost my voice for about a week.
In the song "White Riot," Joe sang:
"Are you taking over
or are you taking orders?
Are you going backwards
Or are you going forwards?"
Write those four lines down, put them on your refrigerator, and answer those four questions for yourself every day. I do.
Joe Strummer was my greatest inspiration, my favorite singer of all time, and my hero. His passing came as such a shock and surprise, and I am deeply saddened by it. I already miss him so much, and I am grateful to have the tremendous legacy of music he left behind. The Clash was one of those bands that even their most remote b-sides are far superior to anything on the radio today. If you haven't checked out this great band, run don't walk to all the Clash albums. I am certain that Joe Strummer and the Clash will continue to inspire and agitate well into the future. God bless you, Joe.
- iceman41
by iceman41 » Wed Jan 22, 2003 4:50 pm
And yet Thor would have you think that their first, and very punk influential album, blows. OH WELL.
Thor, no probs.... I doubt that you have even heard 3 of these albums in their entirety. Too bad for you.
I will admit to one album on my list that is questionable. It's the English Beat entry. This makes my list for sheer personal reasons. Don't get me wrong, it is a very strong album... introducing SKA to mainstream radio. Lets just say that there is always something special about the album you lost your virginity to.
Which other albums on my list "blow" Thor?
1) Joshua Tree- this has made other's list in this thread, is COMPLETELY wall to wall, captures one of the all time great bands, U2, at their zenith.
2) Physical Graffiti- Double lp that contains the single greatest album side in recorded history, this is not even arguable.
3) Outlandous D'amour- The Polices initial release... contains Next to You, So Lonely, Cant Stand Losing You, Peanuts,and Roxanne. Captures the Police in garage band form. Nice blend of rawness with a foreshadowing of the hits to come.
4) Ill Communication- Beastie Boys finist release, mixture of White N.Y. rap with some hardcore. Don't confuse any of this with "fight for your right to party", the Beasties are so much more than that. This album has also been mentioned by others in this thread.
5) Public Enemy "ITANOMTHUB" (shortened name)- If you dont like rap you probably wont like this. It doesnt mean that it blows, however. Most critics list this as one of the best rap albums ever produced.
6) Devo, Q- Are We Not Men- I know what your thinking.... "whip it!!!!"..... no, no, no. This album is Devos first release and Kicks Ass! Great skate album.
7) The Cars- If you have never listened to this album.... DO SO NOW. Incredible music that just flows from one song into the next. While the Cars final albums are a bit syrupy, this one's not. My Best Friend's Girlfriend, Living In Stereo, Your All Ive Got Tonight, Just What I Needed, Let the Good Times Roll, It's All Mixed Up, Bye Bye Love, and others... a true American classic.
8) The Cure- I've already defended this one with Boo....
9) English Beat- I told ya about why this is here, like I said....
10) The Clash- already discussed
Bottom line is this..... A) I'm not going to say anything I haven't heard blows... and B) Even if I heard it I'm not going to tell someone else that their choice, that I don't personally like, blows. Please refer to my first post..... PERSONAL BEST,.... that means TO ME, Thor. How dare you tell me that my choices "blow", It's a matter of opinion.
Now Thor, Quid Pro Quo.... please enlighten us with your choices so that I can make fun of YOU!
ALL IN GOOD FUN!;)
S.S. Iceman41
Thor, no probs.... I doubt that you have even heard 3 of these albums in their entirety. Too bad for you.
I will admit to one album on my list that is questionable. It's the English Beat entry. This makes my list for sheer personal reasons. Don't get me wrong, it is a very strong album... introducing SKA to mainstream radio. Lets just say that there is always something special about the album you lost your virginity to.
Which other albums on my list "blow" Thor?
1) Joshua Tree- this has made other's list in this thread, is COMPLETELY wall to wall, captures one of the all time great bands, U2, at their zenith.
2) Physical Graffiti- Double lp that contains the single greatest album side in recorded history, this is not even arguable.
3) Outlandous D'amour- The Polices initial release... contains Next to You, So Lonely, Cant Stand Losing You, Peanuts,and Roxanne. Captures the Police in garage band form. Nice blend of rawness with a foreshadowing of the hits to come.
4) Ill Communication- Beastie Boys finist release, mixture of White N.Y. rap with some hardcore. Don't confuse any of this with "fight for your right to party", the Beasties are so much more than that. This album has also been mentioned by others in this thread.
5) Public Enemy "ITANOMTHUB" (shortened name)- If you dont like rap you probably wont like this. It doesnt mean that it blows, however. Most critics list this as one of the best rap albums ever produced.
6) Devo, Q- Are We Not Men- I know what your thinking.... "whip it!!!!"..... no, no, no. This album is Devos first release and Kicks Ass! Great skate album.
7) The Cars- If you have never listened to this album.... DO SO NOW. Incredible music that just flows from one song into the next. While the Cars final albums are a bit syrupy, this one's not. My Best Friend's Girlfriend, Living In Stereo, Your All Ive Got Tonight, Just What I Needed, Let the Good Times Roll, It's All Mixed Up, Bye Bye Love, and others... a true American classic.
8) The Cure- I've already defended this one with Boo....
9) English Beat- I told ya about why this is here, like I said....
10) The Clash- already discussed
Bottom line is this..... A) I'm not going to say anything I haven't heard blows... and B) Even if I heard it I'm not going to tell someone else that their choice, that I don't personally like, blows. Please refer to my first post..... PERSONAL BEST,.... that means TO ME, Thor. How dare you tell me that my choices "blow", It's a matter of opinion.
Now Thor, Quid Pro Quo.... please enlighten us with your choices so that I can make fun of YOU!
ALL IN GOOD FUN!;)
S.S. Iceman41
- AsphyXIatioN
by AsphyXIatioN » Wed Jan 22, 2003 5:35 pm
geez... ok iceman41:violin: my "personal"top 10 albums of all time would be...........
1)SLAYER - REIGN IN BLOOD
2)MEGADETH - CRYPTIC WRITINGS
3)DANZIG - DANZIG
4)GREEN DAY - DOOKIE
5)NIRVANA - NEVERMIND
6)STONE TEMPLE PILOTS - STONE TEMPLE PILOTS
7)ALICE IN CHAINS - ALICE IN CHAINS
8)THE SMASHING PUMPKINS - MELLON COLLIE AND THE INFINITE SADNESS
9)PEARL JAM - PEARL JAM
10)LIVE - THROWING COPPER
not nessecerily in that order. but there you have it. and iceman please forgive me for poking fun, im truely sorry for my smartass attitude.you like what you like and i should have respected you for that.just had a few:beer:
before i posted.sorry dude.now go ahead and make your paybacks.
1)SLAYER - REIGN IN BLOOD
2)MEGADETH - CRYPTIC WRITINGS
3)DANZIG - DANZIG
4)GREEN DAY - DOOKIE
5)NIRVANA - NEVERMIND
6)STONE TEMPLE PILOTS - STONE TEMPLE PILOTS
7)ALICE IN CHAINS - ALICE IN CHAINS
8)THE SMASHING PUMPKINS - MELLON COLLIE AND THE INFINITE SADNESS
9)PEARL JAM - PEARL JAM
10)LIVE - THROWING COPPER
not nessecerily in that order. but there you have it. and iceman please forgive me for poking fun, im truely sorry for my smartass attitude.you like what you like and i should have respected you for that.just had a few:beer:
before i posted.sorry dude.now go ahead and make your paybacks.
64 posts
• Page 4 of 5 • 1, 2, 3, 4, 5
Who is online
Users browsing this forum: No registered users and 23 guests