Who else thinks Rolling Stone Magazine is a joke?

Discussion in 'Community Discussion' started by LiveForever, Oct 2, 2008.

  1. LiveForever macrumors 6502

    Dec 13, 2007
    I thought I'd have a look at the Rolling Stone website to see if they had changed.

    Were they still obsessed with the 60's the eagles, Neil Young, Bob Dylan, Pink Floyd, Britney Spears, trying to be hip and cool man?? Were they still anti British music except for the token coldplay?

    Well seems like it hasn't changed one bit.

    Well at least Steve Jobs musical tastes are well catered for.

    Hey John Mayer, isn't that cool....
  2. Mindflux macrumors 68000


    Oct 20, 2007
    I'm sorry that Chingy and Lil' Wayne didn't made it into Rolling Stone to satisfy your lust for corporate hip hop.
  3. Gray-Wolf macrumors 68030


    Apr 19, 2008
    Pandora, Home Tree
    They must have the right format, as they are still in business. ;)
  4. needthephone macrumors 6502a

    Apr 4, 2006
    Totally agree Rolling Stone is a joke,

    For example they give Paris Hilton and Jessica Simpsons albums 3 stars and the new oasis album just 2.5.

    Before you cry of course, but it is widely acknowledged as being a masterpiece. people have said its as Good as Revolver and Beggars Banquet.

    The Times, The Guardian, The BBC, NME, Alan McGee, plus many more have given it rave reviews saying it is the best thing they have done since Morning Glory.

    Their review of the oasis album demonstrates their hate for British rock music. They slated Led Zep off in their day too so yes a joke of a publication.
    The oasis album is absolutely brilliant and obviously the magazine has something against the band-OK some say they act like jerks (but I say they are brutely honest) but its the music that counts

    Below are two reviews, most I have read echo what the Times say- The RS reviewer clearly has a lot of issues to deal with and should be stepped down for letting persomal bias so blatantly cloud a review.

    The Rollingstone oasis review

    Dig Out Your Soul - Oasis, 2 and 1/2 Stars out of 5

    From the beginning, Oasis' greatest strength and most glaring weakness has been shamelessness — the belief that no classic-rock riff is too timeworn, no Beatles allusion too banal to merit blasting out at top volume. At its best, this brutish approach has produced some transcendent music ("Live Forever," "Wonderwall"), but as years have passed and gray hair has sprouted in the Gallagher brothers' moptops, the self-parody has often seemed less charming than wearying. Oasis' latest is heavier on groove than normal, and there are a couple of gripping moments, especially Liam's stately, Lennonesque ballad "I'm Outta Time." But for the most part, Dig Out Your Soul is an almost comically generic Oasis release, from its preponderance of plodding midtempo rockers ("Bag It Up," "Waiting for the Rapture") to the vaguely Indian raga-flavored psychedelic anthems ("To Be Where There's Life"). Then there's the issue of Liam's "philosophizing" — he's entered the Maharishi phase of his Beatles worship, clogging songs with beatitudes like "Space and time and here and now/Are only in your mind." Got that?

    The Times Review
    Oasis: Dig Out Your Soul
    Pete Paphides

    There’s something oddly reassuring about Liam Gallagher’s inability to be anything other than his unswerving absolute self. Asked recently if Oasis had considered putting out their new album as a free download, the monobrowed singer revealed his neophobia in a way that only he could. Eccentrically. “Look, I’m trying salmon, that’s as far as my interest in new things goes,” he declaimed impatiently.

    Two days ago, then, when all of the new album appeared (albeit in a non-downloadable form) on their MySpace page, you suspect that Liam may not have even been aware of the fact – less still his brother. Noel’s mistrust of progress has pretty much informed Oasis’s lack of it over the last decade.

    While their two most notable rock contemporaries, Thom Yorke and Damon Albarn, have shed skin after skin to keep themselves artistically relevant, Oasis have merely turned up the volume, lowered their heads and peddled workmanlike Brit rock. As Noel Gallagher has confessed, he may never write another Live Forever or Wonderwall. But when your band is a Grateful Dead for the new Labour years then your fanbase will continue to be here now for you, through good times and bad.
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    Which is something of a mixed blessing. On the cement-footed Don’t Believe the Truth in 2005, Noel Gallagher sounded like a man who could use a little pressure to raise his game. But Dig Out Your Soul suggests that Oasis may be dipping their toes into experimental waters, and enjoying the sensation.

    What the online move this week illustrates is that someone somewhere believes that Oasis have produced some music to rival those high-water marks. They’re not wrong. Noel Gallagher is no longer possessive about appearing in the credits of every Oasis song. Liam turns in an unprecedented three contributions, while the bassist Andy Bell and guitarist Gem Archer chip in with one apiece. And somewhere amid the relative seclusion of his rural retreat, Noel’s writing appears to have acquired a renewed sense of urgency.

    There’s very little on Dig Out Your Soul that’s as adventurous even as trying salmon for the first time. That said, there are moments where you feel like flinging your arms around the Gallaghers for the modest innovations: the hypnotically sluggish rhythm that pushes along Liam’s stoned vocoder vocal on Get Off Your High Horse Lady; the demonic swamp rock of Waiting for the Rapture, executed with febrile intensity.

    It’s an album that maintains an irresistible atmospheric pull for sustained periods – and that’s an advance on anything the band have offered this decade. Certainly, they’ve written nothing that sounds quite like The Turning, a moody five-minute beauty that moves from a tentative electric piano and climaxes with a nocturnal FM rock climax.

    At this stage, an Oasis album that totally divests itself of all Beatles influences is asking a bit much. Gem Archer’s sole compositional contribution, To Be Where There’s Life, charges along on a bassline, played by Bell, that may push Paul McCartney’s eyebrows up into the realms of physical implausibility. Falling Down deploys an identical rhythm to the one invented by Ringo Starr on Rain, but it’s being played by Ringo’s son Zak Starkey. More importantly, it sits at the centre of another Oasis song that corresponds to little else in their canon – a rain-lashed, nocturnal hymn to uncertainty and vulnerability.

    Of course, vulnerability isn’t something on which the older Gallagher has a monopoly. But the brothers’ ways of showing it couldn’t have been more different. On the rare occasions that Noel has sung Wonderwall it has sounded like a 2am cry for help. The reason Oasis became a social phenomenon, though, was because Liam could sing the same lyrics and sound like a man who could punch a hole through a door to prove how f***king sensitive he is.

    But Wonderwall was a long time ago. And if Liam was the same person that he was in 1995, he surely couldn’t have sustained a quiet family life with Nicole Appleton over the years. It’s a view lent some weight by I’m Outta Time. Like every song that Liam will ever write, the John Lennon influence is unavoidable. But, over the course of his most tender vocal to date, he sounds oddly, movingly enraptured. Another first.

    Relaxed as Noel is, three Liam classics on one album might have been a bit much to stomach. So it may be no accident that the other two Liam songs aren’t quite up to the same standard. Of Ain’t Got Nothin’ and Soldier On, one was a discarded song unearthed only at the last minute. But which one? Surely the former, a Who-style sonic dust-up of minimal melodic traction?

    Actually, it’s the far superior Soldier On. Here, Liam’s reflective paean to perseverance oscillates soberly between a single titular mantra and bursts of keening melodica from Noel, until both dissipate, as if to leave room for closing credits. Could you really have been listening to the best Oasis album since Definitely Maybe? Maybe not definitely. But definitely more than maybe.
  5. 63dot macrumors 603


    Jun 12, 2006
    They have, over time, become more and more commercial and have become like a gossip rag. Spin is a little bit better. BAM is still relevant with new music and trends and has an underground feel to it.
  6. Melrose Suspended


    Dec 12, 2007
    I think that several so-called 'icons' in the print world are over rated, including Rolling Stone. I don't get why they're so iconic...

    And for a magazine supposedly centered on music, leave the politics to the Washington Post or something.
  7. yrsonicdeath macrumors 6502

    Jul 2, 2007
  8. Dmac77 macrumors 68020


    Jan 2, 2008
    I honestly enjoy reading Rolling Stone. I'll agree that they have given out some weird ratings, but I honestly am glad that the scourge that is Hip-Hop and Rap, hasn't gotten into it much.

  9. leekohler macrumors G5


    Dec 22, 2004
    Chicago, Illinois
    Rolling Stone has sucked since the 80's. They're just a tool for the record companies. Any magazine that writes seriously about John Mayer is not worth the paper it's printed on.
  10. bobr1952 macrumors 68020


    Jan 21, 2008
    Melbourne, FL
    I used to subscribe to RS in the 70s, then picked it up again a few years ago and really enjoy reading it. Maybe because I am a product of the 60s, it just seems comfortable to me.

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