How Is Family Force 5's Business in the Front/Party in the Back Similar to The Clarks' Bootleg?

It really isn't. With its goofily fun hippetyhoppety funky punky rock songs laden with pop culture references, it's more similar to some songs on Stone Cold Blue. I think it sounds like what my album might have if I hadn't done it myself -- full, bright guitar sounds, compressed, level vox -- professional. It does go on just a bit too long, but that means more mataerial for fans to bounce around. Sure are a lot of hooks on this album.

How is The Clarks' Bootleg Similar to Bernie Bernie Headflap's Stone Cold Blue?

Similar to our findings two weeks ago, where Rhapsody saw fit to compare this album to a best of compilation, here we have a live set from the Clarks, who were at least 5 years into their career when this was released. So naturally, you get a nice blend of approaches all with the cohesive element of the same performer(s) making the music.

These guys must be favorites on npr AAA radio. They just fit that mold. And that's basically fine, but I prefer their more rockin moments like "Rise and Fall" with its Who-ish guitar riff. It's pretty killer. And here's a real comparison point, because Stone Cold Blue's title track is a tribute to John Entwistle and a few other dead rockers who died on the job. The huge difference in the albums is that mine is a one man band effort rife with synhs, overdubs, drum samples and questionable desktop recording choices. The Clarks' album is evidently a live performance by a multi-member band of humans playing real instruments, expertly recorded.

The singer has a unique voice reminiscent at times of Rusted Root dude. But I could not say I'd ever heard this band or their songs. Till they got to "On Saturday." I've heard that one.

How Is Hatebreed's Perserverence Similar to Mudvayne's The End of All Things to Come?

Now we've crossed over into the world of anti-music. I've encountered people who dig this world. They speak in enthusiastic tones of anti-music's "brutality" and its "punishing" qualities. I hear how these words aptly describe the anti-music. Of all the works I've heard this week, I must admit to being the least interested in this album, because zero is as low as it gets.

Dissonance and atonality are powerful tools when used sparingly but an hourlong onslaught of nothing but those is like eating a gallon of shit flavored haagen-dasz.

Hey, have a great weekend folks! On Moday we'll revisit BBH's stone cold blue.

How is Mudvayne's End of All Things to ComeSimilar to Sevendust's Home?

Yes, both albums are slickly produced examples of nu metal replete with chunky thick distorted guitars with oh so tight rhythmic exercises where the bass is just there to play the octave below the guitar line, doubling that and the bassdrum + snare rhythm lines and intensify things. And it is angry. It's difficult for an oldtimer like me to catch any of the lyrical attack being vomited forth and I suspect it doesn't matter to the kids. Boys have issues and they just need to release them whether alone in their rooms on the ipod or in a massive pile of their peers at some nearby arena.

Again this thread exposes me to stuff nowhere near my radar but stuff I surely respect for its power and purpose. I like Mudvayne's use of mellower harmonious moments. Also from this brief taste, I think I dig their lesser hippedyhoppedy approach, more progressive or even avant-garde lite approach over Sevendust's.

How is Sevendust's Home Similar to Ozzy Osbourne's Live at Budokan?

Friends and curious onlookers, I am so out of my element in this week's thread that I can't say for sure whether I've come across the name of these hardcorish/hippityhoppity-infused fellas who have been puttin' out.... uhhhh.... dropping major label releases for a decade!! And this one's an oldie, released in the 99.

And it does rock with the fat crunchy distorted guitars, but not a lot of leadwork that I found appealing about yesterday's album. And I don't think the vox touch Ozzy's charisma in any way. They are mostly hyper-rhythmic, gruff, raspy chants, similar to that misspelled vegetable band, but in no way stupidly cartoonish or desperate for a gimmick. Oh!

So, yeah, I suppose many turn of the millenium and later kids who inherited their eccentric uncles' Sabbath and Ozzy records could find a place for this early Sevendust download on their f drive. It's basically a good formula; I would have preferred just a tad more variation, but I freely admit that "cohesive" work is a major shortcoming in my catalog of misses.