If music be the food of love, let’s eat it.
Music: What Are You Listening To?
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Clearly, gone are the days of the thematic album like Sgt. Pepper, Pet Sounds, and so on.
There are still artists who release full albums (mostly rock and country artists) and some who release both albums and non-album singles, but beginning with the success of iTunes that made it possible for customers to buy individual songs for 99 cents rather than shell out for a full album, the focus of many artists shifted from LPs to singles and EPs. And some artists (U2 comes to mind) began releasing stand-alone songs in between albums to remind people that they were still out there.
I think some posters here (DavidM comes to mind immediately) would be able to point out various artists who still release concept albums in spite of the sea change in how listeners approach music today.
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I think some posters here (DavidM comes to mind immediately) would be able to point out various artists who still release concept albums in spite of the sea change in how listeners approach music today.
My favourite band, Röyksopp, is releasing some sort of concept album on the 29th of April. They’re using all the marketing tools available to them through these new media outlets to preview and release the songs one by one, youtube, spotify, etc. I’ve listened to a few, but since I’ve always loved the way they approach their albums I’m waiting for the album to come out before I dive in, relax, pass judgement and so on.
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This is a pretty great industrial cover of a Portishead song.
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no one makes albums anymore
Oh my god, what’s on these 120 CDs I bought over the last two years?
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no one makes albums anymore
Oh my god, what’s on these 120 CDs I bought over the last two years?
The typical capacity of a CD is 74 minutes, so for the bands you listen to that’s probably a single.
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I’ve bought several albums that are considered “concept” albums recently, but that’s a term that means different things to different people.
1. The album tells a story. A well-known example of this is Tommy, but that’s rarely referred to as a concept album: it’s a “rock opera”.
1a) The Wall also tells a story, and that’s usually called a concept album. I’ve never heard it called a rock opera.
2. The album doesn’t tell a story, but the songs are all connected by a lyrical theme. This seems to be the most common form of concept album that bands are putting out today, but I reject the definition. If all you need are songs with a connecting theme, then Sinatra Sings Love Songs is a concept album. (Spoiler: it isn’t.)
3. The album doesn’t tell a story, but the songs are connected by a musical theme. If you hear a motif from track 2 reappear in track 9, then you’re actually listening to a single piece of music arbitrarily broken down into tracks. Is this enough to call it a concept album?
4. The ultimate concept album tells a story and is also a single, seamless piece of music. This is why The Wall is the undisputed ultimate concept album.
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Al-x wrote:
no one makes albums anymore
Oh my god, what’s on these 120 CDs I bought over the last two years?
Sigh…
It was a quote from her observation of what is going on in the music industry and she has point.
What is this quoting me way out of context and twisting what I post?
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Sorry if it looked like I was quoting you out of context, I was aware that it was Beyonce saying that.
I also think she’s wrong. Or at least, she’s only right about the small part of the music industry she works in. And yes, ok, in terms of sales, that part of the industry is huge. But in terms of how many bands are out there making music, the “pop stars” releasing singles that she’s talking about are a small tip of the iceberg. In the rest of the enormous worldwide community of people making music, everybody is putting out albums. More albums are actually being released (but not necessarily being sold
) than ever before in music history, because you can do it yourself now without a record label deal and without expensive studio time. -
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Some responses/asides to DavidM’s treatise above:
2. The album doesn’t tell a story, but the songs are all connected by a lyrical theme. This seems to be the most common form of concept album that bands are putting out today, but I reject the definition. If all you need are songs with a connecting theme, then Sinatra Sings Love Songs is a concept album. (Spoiler: it isn’t.)
When Capitol Records released a Beatles compilation in 1977 called LOVE SONGS, I thought it was funny that they included “Norwegian Wood”, which John Lennon wrote about a night he spent with a prostitute.
3. The album doesn’t tell a story, but the songs are connected by a musical theme. If you hear a motif from track 2 reappear in track 9, then you’re actually listening to a single piece of music arbitrarily broken down into tracks. Is this enough to call it a concept album?
Again with the Beatles, SGT PEPPER is considered a concept album, but there is no discernable unifying “concept” aside from the fact that the title song has a reprise toward the end of the album.
4. The ultimate concept album tells a story and is also a single, seamless piece of music. This is why The Wall is the undisputed ultimate concept album.
THE WALL, ANIMALS, WISH YOU WERE HERE, and DARK SIDE OF THE MOON are all fantastic concept albums based on your definition here. In fact, each album begins and ends with the same piece of music or sound effect so that it can be played seamlessly in a continuous loop. But you’re right, THE WALL takes it to a higher level with the repetition of certain melodies and chords throughout the entire song cycle.
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Again with the Beatles, SGT PEPPER is considered a concept album, but there is no discernable unifying “concept” aside from the fact that the title song has a reprise toward the end of the album.
I think there’s a little bit more to Sgt Pepper as a ‘concept album’ than that. The original idea was that the Beatles were effectively playing the roles of an entirely different (fictional) band for the entire album, and it was meant to all end up feeling like one live performance by the band.
It’s why the first track is an introduction/welcome (“we hope you will enjoy the show” etc.) and Ringo is introduced at the end of that song as “Billy Shears”, and it then segues straight into the next song as though it’s a live performance.
I don’t think the concept and production carries brilliantly through the whole album – a lot of it sounds like recorded tracks that could appear on any Beatles album – but the idea is there.
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I also think she’s wrong. Or at least, she’s only right about the small part of the music industry she works in.
Beyonce exaggerates. She says ‘nobody’ makes albums while also saying she still does.
To be fair while you can easily rip apart the literal aspect, in an overall trend she is mostly correct.
The ‘gods of concept albums’ didn’t come down from the heavens and dictate 45 minutes was the ultimate perfect formulation of music, it was a physical limitation of vinyl, cassettes and CDs. A limitation that no longer really exists.
While I adore some LP length recordings like Kate Bush’s ‘Hounds Of Love’ which takes it further and is specific to each side I have The Police and The Verve ones where the singles are sublime but the rest of the album pretty shit. They weren’t without talent by any means but 45 minutes didn’t do them any favours.
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The ‘gods of concept albums’ didn’t come down from the heavens and dictate 45 minutes was the ultimate perfect formulation of music, it was a physical limitation of vinyl, cassettes and CDs. A limitation that no longer really exists.
While not disputing this, I will also point out that for many years before recording media existed, classical composers also thought ~45 minutes was the best length for a piece of music.
I mean, Mahler was thinking in terms of double albums for his mammoth symphonies, but my point still stands
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I mean, Mahler was thinking in terms of double albums for his mammoth symphonies, but my point still stands
Mahler was the first musician to hire Hipgnosis to design his album covers, wasn’t he? And he had his lyrics posted inside the gatefold.
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It’s time.
Greatest piece of music ever written. Everything else is inferior.
Don’t argue. You’d just be wrong and I won’t respond.
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The 9th Symphony is around 70 minutes long, so Beethoven was obviously writing for CD. He was such a revolutionary, he bypassed vinyl altogether.
I guess you’d expect someone deaf not to favour the superior listening experience.
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He can barely hear:
https://www.yahoo.com/entertainment/dave-grohl-reveals-hearing-loss-202533151.html
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An absolutely incredible month for music. From post metal to lounge to electronica to gospel black metal.
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I was watching a few Youtube videos today with biggest hits each year of a decade.
In the 80s and 90s I was on top of all the hits via Top Of The Pops, Radio 1 and MTV. From 2003 and moving to Asia I got rather divorced from that and general pop exposure (and by pop there I just mean big in the charts, it could be Barbie Girl or Bring Your Daughter to the Slaughter genre wise) . So most exposure is rather by osmosis now, catching the odd thing here and there, being played as background music, my daughter playing something etc. The new music I buy is now generally less commercial but also rather chanced upon, this thread has sold me on a handful of albums over the years.
So I played the 2000-2021 top hits and I was surprised I knew almost every song, I’d say at least 97%, quite often not the artist but definitely the tunes to hum along to.
The ones that didn’t provoke any recognition were just a handful and nearly all by 3 artists, Drake, Post Malone and Ariane Grande. That’s not to slag them off, I really dislike Maroon 5 but have to admit I remembered all their entries, they have earworm qualities at least, but those 3 had a few entries that completely drew a blank. I have a great admiration for Ariane Grande’s metaphorical balls in playing in Manchester right after the bomb attack at her gig but the tunes were very bland.
I don’t really know what the great conclusion is from that other than I think they were maybe the vogue of the time rather than being catchy melodies which was really the measure I was looking at over personal preference or critical analysis.
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Prince was usually pretty happy to play his back catalogue but maybe overcame some of the repetition with mixing it up.
I loved the slow version of “Let’s Go Crazy’ he used to play in his later days.
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I often wondered what Bruce thought of Cheech Marin’s parody “Born in East L.A.”
I can take it or leave it.
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Morris Day Says Prince’s Estate Has Barred Him from Performing as Morris Day and the Time
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Smokey Robinson Reveals Why He Resents Being Called An African-American
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I don’t think the Idol type shows were ever relevant to the wider music scene, it’s not really worth those guys getting worked up about it. The overlap between people watching those shows for entertainment and buying music has always been miniscule.
Of the thousands of competitors you have about 4 that sustained a decent career in the charts. Kelly Clarkson, Leona Lewis, One Direction and Little Mix. The latter two were manufactured boy/girl bands (they auditioned as solo singers and were put together) and those bands have always been manufactured going back to the 1960s.
How would Bob Dylan have fared in the Idol era? He wouldn’t have entered and would have had success anyway like 99% of the music scene does. Just as Dave Grohl has carried on selling loads of concert tickets through the Idol era. Adele as an example came through right at the height of the X-factor phenomenon and sold loads of records, still sells loads of records 14 years later completely independently of the ‘shiny floor’ shows.
It is perfectly fair to just dislike like the concept but the melodramatic stuff on that video about ‘killing music’ always was a load of BS.
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Kelly Clarkson and Carrie Underwood are the biggest winners to come out of American Idol and they won Season 1 and Season 4, respectively. For perspective, they are currently in Season 20. There are non-winners who have found found success (Jennifer Hudson won an Oscar and Adam Lambert performed regularly with Queen) but for the most part, the winners simply fade very quickly. Additionally, the ratings are no where near where they were during the early years. It has a popularity, but it’s glory days as a cultural phenomenon are long past.
The American edition of The Voice has been going since 2011 and looking at the winners, I don’t think any of them have had Kelly Clarkson level fame and fortune.
Winners of these shows, with a couple of exceptions, really don’t move move the needle at all.
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The thing is everyone started to like some of the delusional people who
were awful and millions laughed at them because they were really bad.Just saying:
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The thing is everyone started to like some of the delusional people who were awful and millions laughed at them because they were really bad.
What is interesting is in the UK iteration at least they moved more and more away from that as it went on. American Idol was a remake of Pop Idol which was sold on ‘Nasty Nigel’ a very blunt judge that eviscerated the crappy singers and got cheap laughs from it if we’re honest. By the later series of X-Factor (which was the same thing really but Simon Cowell created his own format to sell) that had been almost entirely removed from the show. The big thing then was human interest stories, singers that were homeless or caring for a dying relative and needed the win to pick their lives up.
I suspect the same for the US show (he ran them all anyway) with the blind autistic boy or the young lady with cancer. There’s probably some deep analysis there that could be done by an academic where and why it switched from mocking to uplifting. Both can be rightly accused as being cynical but maybe it was that Susan Boyle moment that tipped the emphasis. That we all though she was going to be mocked but was really good and that is what went viral more than the nasty humiliation clips.
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I think the move away from mean to nice may have been a way to attract the whole family into watching, not just the kids. A way to make them a bit more “wholesome”.
It could have also been that tastes and sensibilities changed, as is wont to happen. It could have also been feedback from focus groups.
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To say I’m stunned about the passing of the Foo Fighter’s drummer Taylor Hawkins is an understatement. A brilliant drummer and free spirit. Rock and roll to the core. A significant loss. May his memory be eternal. 🙏🏻#RIPTaylorHawkins #FooFighters pic.twitter.com/EPRn83skIf
— Harry G. Psaros (@PittGuru) March 26, 2022
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Here the video:
Kurt Cobain comes up this time of the year:
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The only bit of RATM we can really have on in the house with two young kids kicking about.
This is an amazing cover! Thank you!
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I’m running a bit behind this month but here we go. My albums of the month.
Electronica, shoegaze, art pop, idm. Loads of stuff.
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Jussie Smollett releases song ‘Thank You God’ to maintain his innocence, donate to causes
Ah, Juicy Smooyay…
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This is nothing new. Whoever wrote the American anthem “My Country ’tis of Thee” basically stole the music of the UK’s “God Save the Queen” and changed the lyrics.
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And the melody for “The Star-Spangled Banner” came from a British drinking song.
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To be fair, God Save The Queen was never in copyright.
Otherwise you guys would owe us £84,975,233,100 by now.
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I have no idea who Charlie Puth is. He seems to have accepted the criticism positively anyway.
Elton John isn’t really my favourite artist, I like some tunes here and there, some are great, but what I do like about him is he isn’t a boring nostalgist. He always listens to new music. He’s probably the only artist of his generation that could offer Puth feedback as none of the rest would have heard it.
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To be clear, not everything is a case of whites stealing from black and Latin creativity.
I never even thought of that to be honest Al.
That obviously has happened frequently in the past (I’m looking at you Led Zeppelin) but I think the issue now with lawsuits has moved on from that. I’m worried it’s a bit of musical ambulance chasing. If you can sue for a sequence of notes, in the Sheeran case that aren’t even the same number of notes or the same notes, just a similar sequence, then to me every song ever released is open to a lawsuit.
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This discussion reminds me of this clip from a few years ago about how the basic melody from Pachelbel’s Canon has shown up in various modern-day pop songs. Is it plagiarism? Or, as Gar’s post suggests, just an unavoidable coincidence when there are only so many notes and chord progressions to choose from?
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The real deal on Coachella:
https://www.yahoo.com/news/disappointing-photos-show-coachella-real-205014343.html
It is a music fest, but all these young stars and social media people go there to take Instagram photos
and just to be seen.
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We all know the schism he had when they wanted him to carbon copy the “Purple Rain” songs and he wanted to progress to other sounds.
I’m not sure that’s really the story Al. Purple Rain came out in 1984, was followed up by several completely different sounding albums, including Sign ‘o’ The Times which is often lauded as one of the best albums of all time. It was 9 years and 8 Warners albums after Purple Rain he did the whole name drop thing and his argument was that they wouldn’t allow him to release material at the pace he wanted.
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That is actually a side point about WB interfering with his creativity. He had fights with them over a lot of things. For example: They objected to the single “Kiss” when they first heard it because it was too stripped down…
My Main point is heaven help the rookie artist who doesn’t know any better…
Prince turned down advances so he wouldn’t be so indebted to them and that sort of thing:
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Yeah that’s not going to work.
Eurovision is essentially rubbish as a format and a competition. The whole enjoyment of it is the cultural differences, massively biased voting and extreme camp quotient. Everything that makes it entertaining is purely accidental.
To do an American version based on an idea of actually getting decent songs misses the mark massively. Most Eurovision songs are awful and everyone watching it knows that, it’s just funny.
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I’ve been doing a youtube marathon listening to some Dutch pop classics…this is perhaps not really pop music, more a chansonnier.
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This discussion reminds me of this clip from a few years ago about how the basic melody from Pachelbel’s Canon has shown up in various modern-day pop songs. Is it plagiarism? Or, as Gar’s post suggests, just an unavoidable coincidence when there are only so many notes and chord progressions to choose from?
I love this song, from the Dutch animated series Alfred J. Kwak, but it also uses Pachelbel.
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Working from home today, I was all over the place with my Spotify account — started with the new TORO Y MOI album “Mahal”, then a couple of new ARCADE FIRE songs that have been released ahead of the new album coming Friday; I followed that with the first three NIRVANA albums (from 30 years ago already!), then finished up with four YES studio albums from 1977 to 1983 that I have rarely listened to.
All in all, a good listening session.
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Dolly is more country but ‘rock and roll’ as term is virtually meaningless nowadays. I mean it was coined to describe the sounds of the likes of Chuck Berry and Elvis etc and they were inductees in the first year.
What defines ‘rock and roll’, is it electric guitars? Even then two of the initial inductees performed piano led songs (Little Richard and Jerry Lee Lewis). By year two Aretha Franklin and Marvin Gaye are in as soul singers. Heavy metal bands may like to shout ‘rock and roll’ but it bears as much resemblance to it as the rest.
It’s all a big load of old bollocks really though, they put Green Day in before before Deep Purple. I’m not David Meadows here but I don’t need to be to say that is fucking lunacy. 😂
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I know but to be honest,Eminem himself does speak out on that. He gives credit where it is due.
I don’t just post over racial and social injustice. I am not a keyboard sjw (social justice warrior).
In fact, there are a LOT of black and Hispanic entertainers that I can’t stand and I have posted about them already.
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I mean I agree there are rappers that should be in there before Eminem. It could well be a racial issue that they picked him or they are just idiots that make frequent stupid decisions or a bit of a both.
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It’s all a big load of old bollocks really though, they put Green Day in before before Deep Purple. I’m not David Meadows here but I don’t need to be to say that is fucking lunacy.
Every year the American members of the Deep Purple fan community would start ranting, “Put Deep Purple in the RnR HOF of fame! This is a travesty! Why no Deep Purple! Start campaigning now!”
The European members would respond with, “The what hall of what?
”Honestly, Deep Purple are now in and nobody cares. It’s irrelevant to the band, to the fans, to everyone except the record company who wanted to sell another compilation album in the year they were inducted. It’s a meaningless accolade.
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I mean I agree there are rappers that should be in there before Eminem. It could well be a racial issue that they picked him or they are just idiots that make frequent stupid decisions or a bit of a both.
Or Eminem’s record label have more marketing clout and a new compilation they want to peddle.
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Maybe, I maintain my assertation that it’s a load of old bollocks.
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I knew I shouldn’t have clicked that link.
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The 25 greatest opening lines to songs
Do you think it will have Gareth Brown Says by Mclusky?
Cause this is hard to beat.
All of your friends are cunts
Your mother is a ballpoint pen thief
Notoriety follows you
Like beatings follow rain1 user thanked author for this post.
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Ultimate Jam Night, the long-running community-oriented show in residency at the famed Whisky A Go Go in West Hollywood, California, will hold a special tribute to the so-called “Big Four” of 1980s thrash metal — METALLICA, MEGADETH, SLAYER and ANTHRAX — on Tuesday, May 10. Among the musicians scheduled to appear at the event are former MEGADETH members David Ellefson and Jeff Young, along with former ANTHRAX singer Neil Turbin and FEAR FACTORY and RAVEN drummer Mike Heller.
According to the Whisky A Go Go Facebook page, the event will feature appearances by the following “very special guests”:
* David Ellefson (MEGADETH)
* Jeff Young (MEGADETH)
* Neil Turbin (DEATHRIDERS, BLEED THE HUNGER, ANTHRAX)
* Mike Heller (FEAR FACTORY)
* Bryan Beller (DETHKLOK, JOE SATRIANI, STEVE VAI)
* Ira Black (METAL CHURCH, HEATHEN, I AM MORBID)
* Doc Coyle (BAD WOLVES, GOD FORBID)
* Paulie Z (BOHEMIAN QUEEN, SWEET)
* Fred Aching (POWERFLO, BILLY BIO, CULPRIT)
* Patrick Stone (BUDDERSIDE)
* Jordan Ziff (MARTY FRIEDMAN, RATT)
* Mike Dupke (DEE SNIDER, W.A.S.P.)
* Philip Näslund (MULTI-PLATINUM PRODUCER)
* Rick Thorne (PRO BMX-ER)
* Ricky Bonazza (BUTCHER BABIES)
* Gregory Coates (LEMMO, ROCK OF AGES)
* Miles Schon
* Lonny Pasillas (ZOLTO)
* Victor Wichmann (ROCK VOICE BRAZIL, SUN CHASKY)
* Gabriel Colon (CULPRIT)
* Gabriel Connor (RED DEVIL VORTEX)
* JD McGibney (ANGELS ON THE BATTLEFIELD)
* Johnny Blade (NIGHTSWORD, OZZMANIA)
* Adi Argelazi (WHITE WITCH, 27 CLUB)
* Eduardo Baldo (RED DEVIL VORTEX)
* Luis Kalil (RED DEVIL VORTEX)
* Danny Almanza (MOTORBREATH, DAMAGE, INC)
* Frank Valdez (MOTORBREATH)
* Neil Metcalf (HIRAX)
* Natalie Nova (BEYOND THE ROOTS)
* Robert Madrigal (DIE BY THE SWORD)
* Chaz Leon (WOKE UP DEAD)
* Dino Gonzalez (NEIL TURBIN)
* Eleazar Llerenas (NEIL TURBIN)
* Frank Gastelum (NEIL TURBIN)
* Kevin Mayorga (NEIL TURBIN)
* Francis Cassol (RAGE IN MY EYES)
* Freddy Scott (RUPAUL’S DRAG RACE, SHERMANS SHOWCASE AMC)
* Yohai Portal (GREENBLACK, ASHENMOON)
* Adrian Villanueva (DEEP CUTS, ENGRAVE)
* Anthony Vera (BULLET BUMPS)
* Ira Black Jr (CORRUPT)
* Efren Corrupt (CORRUPT)
* Vincent Salazar (VEXXUM)
* Matt Anderson (VEXXUM)
* Edgar Delgado (VEXXUM)
* Geremi Perez (VEXXUM)The Whisky A Go Go concert will come four months after Ellefson and Young reunited in Los Angeles for interviews to be included in the upcoming feature-length documentary “This Was My Life: The Story Of Nick Menza”. Ellefson has signed on as a co-producer of the film, and also will provide narration to guide the viewer through the exploration of the late MEGADETH drummer’s life.
Ellefson was fired from MEGADETH a year ago after sexually tinged messages and explicit video footage involving the bassist were posted on Twitter.
David was in MEGADETH from the band’s inception in 1983 to 2002, and again from 2010 until his latest exit.
In 2004, Ellefson filed an $18.5-million lawsuit against Dave Mustaine, alleging the MEGADETH leader shortchanged him on profits and backed out of a deal to turn Megadeth Inc. over to him when the band broke up in 2002. The lawsuit was eventually dismissed and Ellefson rejoined MEGADETH in 2010.
Young’s entire career with MEGADETH was spent recording and touring in support of the band’s 1988 platinum-selling album “So Far, So Good…So What!”
Jeff made headlines in December 2009 for accusing Mustaine of, among other things, “dissing, exaggerating and just plain lying on some level about nearly every talented musician that has passed through his dysfunctional little ensemble.” He also disputed Mustaine’s claim in an interview that Young’s drug problem led to MEGADETH’s 1988 Australian tour being called off and the group being “banned” from performing in the country.
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This was a fight to get onto the page. My April round up.
Techno, trip hop, goth, metal. You want it? We might have it. I’ll just have to check in the back.
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https://twitter.com/consequence/status/1328314254357901313?s=20&t=SIZncemEg3JmNC5KYC1K5A
Jack Black dancing to hip hop
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Listening to a 21-minute* version of Eruption from Focus Live in Rio. I miss seeing this band live.
. *That’s actually a little shorter than some versions. There’s usually a couple of extra drum solos.
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There was the Billboards award show and this entertainer Doja Cat won in the R&B category.
This was posted about it:
This might be the equivalent of Jethro Tul winning the Grammy over Metallica years ago.
Either the judges awarding know the categories or they don’t and the backlash comes.
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“r&b is r&b”
rhythm and blues (or R&B) was a musical movement that developed in the United Kingdom between the late 1950s and the early 1960s, and reached a peak in the mid-1960s. It overlapped with, but was distinct from, the broader British beat and more purist British blues scenes, attempting to emulate the music of American blues and rock and roll pioneers, such as Muddy Waters and Howlin’ Wolf, Chuck Berry and Bo Diddley. It often placed greater emphasis on guitars and was often played with greater energy.
Source: Wikipedia https://en.wikipedia.org/wiki/British_rhythm_and_blues
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I didn’t know Jethro Tull had won a Grammy for “heavy metal”. That’s pretty funny.
Just been reading up on it:
Lars Ulrich: Some three weeks before the awards, all those who are ‘in touch’ – the critics, the day-today involved people – assumed that Metallica would walk away with the award. It’s easy for the in-touch people to think that, but remember that most of the academy, who vote for the nominees, are in the age group of 40 to 60, and are very much less in tune with what goes on in the music scene.
Alice Cooper: I think what happened was that the old guys in the Grammy organisation who were voting didn’t really recognise any of the names except Jethro Tull. I don’t think they’d ever heard of Metallica
Ian Anderson: The hot ticket was Metallica, in this newly introduced category of Hard Rock/ Metal. I was told by our record company, by the then-head of Chrysalis in the USA, not to bother going, which is a euphemism for: “We’re not going to pay your air fare or get you a hotel, because we don’t think you’re going to win.”
Alice Cooper (Grammy Awards presenter): I opened the envelope, and when I saw the name, I thought they’d given me the envelope from the rehearsal. I looked at it again, and it did have a different seal on it and details like that. It was the real thing. So I said: “For the Best Hard Rock/Heavy Metal Grammy… Jethro Tull!” There was a two-minute pause, then everybody broke out laughing. They thought I was doing a joke. I said: “No, I’m not kidding. Jethro Tull.” There was this huge sort of Springtime For Hitler gasp from the audience. Because the contenders were really well-known metal acts like Metallica and AC/DC.
Alice Cooper: Backstage afterwards, Lita said she thought I was pulling a gag. I had to show her the card. Everybody backstage was laughing. It was the funniest thing that had happened all night. I said to the guys in Metallica: “You know, if you got a little heavier you could be up there with Jethro Tull.”
When Metallica’s Black album won another Best Metal Performance Grammy in 1992, Lars Ulrich ironically thanked Jethro Tull for not releasing an album in that year.
Those quotes are from an article in Classic Rock magazine. Ironically, the magazine’s feature content has included both Metallica and Jethro Tull. I guess that means that Metallica are no longer metal, they’re classic rock :D
