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Exile on Main St.
(Maybe?) - Bringing It All Back Home
I have brain freeze DiS...
Pretty sure the response to that was underwhelming.
That is a bit of a myth that one. Stems from the fact it got a 7/10 review in the NME. It was hailed as a classic in the Melody Maker though! Pretty sure Bob Stanley from St Etienne reviewed it in MM
Not exactly panned but The Wire/Pitchfork apart, most reactions at the time ranged from bewilderment to outright hostility.
(though that so split critical opinion that it was widely praised as well as being widely panned)
was initially considered so bad that RCA refused to release it. It was so bad that it was dropped as the soundtrack for The Man Who Fell to Earth...and, hilariously, replaced by a 70s porno soundtrack!
And 25 short years later PF said it was the best album of the 70s. So there ya go!
refused to release Yankee Hotel Foxtrot. Nice move, fuckos.
Its the 1st thing that should appear on anyone's mind.
'What's meant as gritty is instead ridiculous. The material is repellant not because it presents an unsettling glimpse of life but because it is so clumsily and arrogantly executed. Maybe someone at the record company is convinced this guy has the soul of a poet but the writing provides no hint of it. It flounders without ever connecting' - http://popmatters.com/music/reviews/n/national-alligator.shtml
i know it was nowhere near universally panned, but initial reaction was fairly mixed. and that review's bollock-achingly bad.
They pushed it with Abel which is different to the rest of that record that people either hated Alligator for having nothing else much like it on it or else hated the rest of the record.
I very much sat on the fence in my assessment and said it was an album 'I currently liked but that with each passing day was growing to love'.
Generally it was a few 4/5s I thought and mostly 3/5s. It made it a bit hard lauding it when everybody else seemingly disliked it.
Was great though as, because not many were so smitten as I, the fanzine got interview time, gig tickets and super advance copies of Boxer. Skills.
Unanimous 100% ratings. And rightly so, it's an absolute classic. I didn't hear it until 2001 (Weezer only clicked with me when the Green Album came out) when I was going through a nasty breakup, and it got right under my skin and has never left.
that Scott 4 actually got a pretty mixed response from critics when it first came out, and obviously flopped commercially...
And not exactly a classic but Slowdive's Souvlaki was given (in retrospect) a pretty unfair panning upon its release...
Not panned, perhaps, but viewed with bemusement. Something of a fan favourite now, I think. Well it's my favourite at least.
was considered by a lotta folks to be.. just another Cure album back in the day.
and it was Melody Maker's album of the year.
Disintegration got really strong reviews.
By contrast, most reviews of Pornography that I ever got to see (bearing in mind I wasn't "there" then) weren't exactly glowing, but the album did make top ten in the UK and it is generally highly praised on the alt. scene at least.
is the opposite - it got rave reviews when it came out, and it took a few months for people to realise that it's actually a bit shit.
and On the Beach were critically slagged at the time.
John Lennon/Plastic Ono band (the one with Mother)
Jellyfish - Spilt Milk
ELO - Discovery
Banned on New York radio, ignored elsewhere and Rolling Stone didn't even bother to review it.
man is it a great album though
EMI thought that OK Computer would be commercial suicide.
Motown couldn't see how the political soul album What's Going On by Marvin Gaye would generate interest and hits.
Gaye had to threaten to record nothing more for them to ge them to agree to release it.
classic example, surely
Pretty much everything they did was panned or ignored by most.
They panned each of the two Breeders albums and then lauded them at the end of their respective years.
So poorly received it was initially deleted just 2 weeks after release.
Not a classic as such yet, but got very Marmite reviews on release, and is now Pitchfork's No. 3 album of that decade