deep down, you know he’s right about them

>Radiohead, the most hyped and probably the most over-rated band of the decade, upped the ante for studio trickery. They had begun as third-rate disciples of the Smiths, and albums such as Pablo Honey (1993) and The Bends (1995) that were cauldrons of Brit-pop cliches. Then OK Computer (1997) happened and the word "chic" took on a new meaning. The album was a masterpiece of faux avantgarde (of pretending to be avantgarde while playing mellow pop music)....Their limit was that they were more form than content, more "hype" than message, more nothing than everything.
you are correct

>>126727243 (OP)
> Led Zeppelin became a handbook case of how a product finds a market without any need for marketing. The hippy generation had created a demand for free-form radio (as opposed to hit-oriented radio) and for arena-size concerts. Their music was completely different from the music that those radios and those arenas had been playing, but turned out to be the perfect music to maximize the commercial benefit of free-form radio and arena-size concerts.

>Led Zeppelin's success had a powerful impact on the recording industry: it defined the long-playing album as rock's medium of choice. Led Zeppelin never had a major "hit" on the Billboard charts, but ruled the airwaves and the arenas. The recording industry followed the hint and became marketing albums rather than singles.

judging by how much he's hated here, I'm surprised he didn't shit on LZ

>>126727243 (OP)
12 year olds? yeah

> The (more virulent) single Popscene led to the second album, Modern Life Is Rubbish (Food, 1992 - (SBK, 1993), a decisive shift towards the more robust sound of the Who and the Kinks (For Tomorrow, and above all Chemical World). Amateurish and derivative, this album simply proved that Blur had little or no musical talent.

>I'm Happy And I'm Singing (Mego, 2001) contains three lengthy improvisations for electronic keyboards and computer. This is trivial minimalism that any fan of Terry Riley's playful repetition (1,2,3,4), Steve Reich's gradual variation (I'm Happy) and both (I'm Singing) would recognize as a clumsy imitation of something that had been going on 30 years before. O'Rourke is jumping on every possible bandwagon, hoping that naive critics will endorse his eclecticism as genius. His curiosity is genuine, but his talent is dubious. The results are certainly not revolutionary, and nothing too exciting. Like most prolific artists, O'Rourke does not have much to say. Jumping from stylistic bandwagon to stylistic bandwagon, O'Rourke is rapidly becoming a uniquely multi-faceted artistic failure.

>>126727243 (OP)
Is that Hawkeye from M*A*S*H?