Friday, August 30, 2013

82. Axis Bold as Love (1968) Jimi Hendrix Experience




1. EXP
2. Up from the Skies
3. Spanish Castle Magic
4. Wait Until Tomorrow
5. Ain't No Telling
6. Little Wing
7. If 6 Was 9
8. You Got Me Floating
9. Castles Made of Sand
10. She's So Fine
11. One Rainy Wish
12. Little Miss Lover
13. Bold as Love

Jimi Hendrix is often the first name on anyone's lips when asked to name great guitarists. Even my own parents (who are my yardstick for popular culture ignorance) could tell you what instrument the great man played. He's idolised as an innovator, technical master and soulful lover of rock's most potent musical creation device. But while we're admiring his licks, chords and solos we should make sure his voice and songwriting abilities aren't overlooked and ignored. Jimi could write a tune and he could hold one as well.

Two of his three skills are clearly in evidence on Axis: Bold as love. His guitar work is perfect as he throws out riffs and breaks and generally lays down the blueprint for future guitarists to follow. His voice is also in fine form and rocks mightily. He gives a soulful rendering of every tune and can even add passion and meaning to his own lyrics (which are never the highpoint of a Hendrix album). The one area in which Axis is let down slightly is in the songwriting department. 

Hendrix had only just finished his first album when his record label were clamouring for the second that he owed them in order to fulfil the terms of his contract. They were demanding a new disc of material while Hendrix was busy playing shows and promoting the previous one. While he could write a great song they didn't come as naturally as they did to other artists. Hendrix needed some time to write material but the label (and life itself, tragically) didn't give him a lot of time. 

Consequently there's much on Axis that sounds rushed and half-hearted compared to the previous album which is almost wall to wall hits. EXP, Up from the Skies, Aint no Telling, You Got me Floating, One Rainy Wish and the Noel Redding penned She's So Fine wouldn't have been considered worthy of appearing on Are You Experienced and If 6 was 9 hangs around for twice as long as it needs to in a fairly obvious attempt at padding. Almost half the album's running time feels like filler material.

Thankfully the other half of the album is good enough to prop up the lesser tracks. Little Wing is a beautiful little track which is often covered and to my mind ruined. I prefer it as a small and perfect little gem of track that lasts 150 seconds instead of the massive, bloated guitar behemoth that most cover versions turn it into when they quadruple the running length but exponentially decrease the interest level. Castles Made of Sand is another great ballad slightly marred by Hendrix's insistence on experimenting in the studio (recording a guitar solo and playing it backwards creates an interesting effect. Interesting but not actually as pleasing as hearing the original solo itself). 

Spanish Castle Magic is the album's rockiest number and shows off Hendrix at his axe-wielding best. It also highlights the talents of Redding and Mitchell who deserve a lot more credit than they usually get. This isn't a Jimi Hendrix album, it's an album by the Jimi Hendrix Experience and the rest of the Experience deserve credit for being a rock solid rhythm section who could add colour and texture to any song they touched. Mitchell was a magnificent drummer and Redding was a great bass player even if neither of them could write much of a tune and they weren't the greatest backing vocalists walking the planet at the time. 

There's a lot to love on Axis but you can't help but wonder how much better if would have been if Hendrix had enjoyed more time to write some stronger songs. Or even if he'd ditched the filler and included some covers instead. His version of All Along The Watchtower is still the definitive rendition, how cool would it be if he'd gone into the studio and worked up a good cover of some other Dylan songs. Or some Beatles? Or Stones? I'd much rather hear his version of Paint it Black, Day Tripper or Highway 61 Revisited than She's So Fine. I know that I've had Axis in my music collection for years but don't pull it out nearly as often as Hendrix: Blues an album of his collected blues covers that was released after his death and moves me more than Axis does.  But then even on a bad song Hendrix still brings his voice and his guitar which means there's something to love on every track.

Favourite Amazon Customer Review Quote: "Received the CD within just a few days of ordering it. Have not had a chance to listen to it yet as my player quit the day the CD arrived. As I'm a Hendrix fan, I'm looking forward to listening to it soon."

-It's five star reviews like this that make amazon's star rating meaningless. This "Hendrix fan" (who hasn't heard a third of the man's studio albums) felt the need to give this five stars despite only having the cover art for inspiration.

So... can anyone tell me what the hell the title actually means? Let me know below. 

Thursday, August 22, 2013

84 and 83. Lady Soul and I Never Loved A Man The Way I Love You (1967) Aretha Franklin






Lady Soul


  1. Chain Of Fools
  2. Money Won't Change You
  3. People Get Ready
  4. Niki Hoeky
  5. (You Make Me Feel Like) A Natural Woman
  6. Since You've Been Gone (Sweet Sweet Baby)
  7. Good To Me As I Am To You
  8. Come Back Baby
  9. Groovin'
  10. Ain't No Way


I never loved a man like I loved you


  1. Respect
  2. Drown In My Tears
  3. I Never Loved A Man (The Way I Loved You)
  4. Soul Serenade
  5. Don't Let Me Lose This Dream
  6. Baby, Baby, Baby
  7. Dr. Feelgood
  8. Good Times
  9. Do Right Woman - Do Right Man
  10. Save Me
  11. A Change Is Gonna Come


Forgive me for reviewing two albums in the same post but it makes sense to write about 84 and 83 at the same time. Both albums are by the same artist, working in the same studio with the same producer and both were recorded less than a year apart. 1968's Lady Soul shows no progression  or development from 1967's I Never Loved A Man The Way I Love You. In the 10 months between recording, Franklin hadn't changed her style, altered her approach or expanded in any way as an artist. And why should she? She found the style that suited her magnificent voice and stuck with it. It was definitely a groove and not a rut and Aretha was right to mine it for all it was worth.

Damn that woman could sing. Aretha Franklin has one of the most magnificent natural voices ever to grace a slab of vinyl. She has soul and the lungs to match it and the end result is the best R and B ever to come out of any studio anywhere. The woman had raw, natural talent and all she needed to achieve immortality was someone who knew how to work a studio and arrange the right talent behind her. Jerry Wexler was the right match for Franklin and together the two produced a string of albums which sound as perfect today as they did back then.  Wexler put Franklin in front of a tight band and added just the right amount of backing vocals and embellishments to tastefully augment the voice which rightfully sits front and centre.

But a producing a talent like Aretha is more than just hiring drummers and arranging microphones. A big part of producing a soul star is choosing what songs your star is going to lend her lungs to. A great singer could belt out a rendition of scone recipes and it would sound great but the perfect song matched to the right talent can produce something we think of as a classic. Jerry Wexler is regularly hailed as a genius producer and musical great and he deserves every accolade he's ever received if only for the fact that it was his idea to have Aretha Franklin record Respect.

Respect was a minor hit for Otis Redding who wrote it but Wexler turned it into a song that seemed custom written for Aretha's vocal talents, although it did need some tweaking. Otis pleaded for respect but Aretha demanded it. She wanted respect and she was going to get it, partly because she felt her gender deserved more respect and partly because she could sing at such a volume it was impossible to deny it.

Respect works as a feminist anthem. It works as a woman demanding her dues but also as a sex decrying their treatment in a patriarchal society. Aretha added the famous R E S P E C T refrain and had her sisters on backing vocals sing "Sock it to me" over and over again, which in retrospect does seem an odd choice for a woman demanding she be respected. Even if you don't enter into the message you can't deny it's an incredible rendition of a magnificent song and has been absolutely nailed by Aretha in a way that few songs are so comprehensively nailed by anyone.

There are a host of other classic songs on these two outstanding albums. Chain of Fools, People Get Ready, You Make Me Feel Like A Natural Woman, A Change is Gonna Come, Do Right Woman, Do Right Man etc etc. Both albums have a track listing that read like checklist of great soul numbers and Aretha nails each and every one. She delivers a delivers a definitive version of every hit she plays and is perfect on every one.

If you were going to quibble you could say that I Never Loved A Man isn't as strong and is propped by by Respect but personally I choose to take both albums as a singular whole and adore them both. I don't listen to enough soul music but when I hear these two albums I always realise what a mistake this is.

Favourite Amazon Customer Review Quote: "Her piano playing alone is truly a masterpieace. Can i get a Amen."

-Yes you can get an Amen. It's worth pointing out that Aretha wasn't just a voice she played keys as well.

So does Aretha earn your Respect or not? Let me know below.

Saturday, August 17, 2013

85. Born in the USA (1984) Bruce Springsteen




  1. Born in the U.S.A.
  2. Cover Me
  3. Darlington County
  4. Working on the Highway
  5. Downbound Train
  6. I'm on Fire
  7. No Surrender
  8. Bobby Jean
  9. I'm Goin' Down
  10. Glory Days
  11. Dancing in the Dark
  12. My Hometown


Has there ever been a hit song as repetitive as Born in the USA? It announces itself with a synth vamp that basically seems to be the entire song without much variation for the entire of its running length. Much has been made of the fact that the Republican party misinterpreted Born in the USA as a patriotic track about America when it actually documents all that's wrong with the country Bruce loves. Personally I've always been surprised that more people have mistaken it for a great song when it's really all that's wrong with 80's Bruce. It's big and loud and shouty but repetitive and far too slick for its own good.

Thankfully Born in the USA is easily this album's low point and things pick up from there immediately. Cover Me is the high point and one of the best songs Bruce recorded in his entire career. It doesn't sound like a Springsteen song until his distinctive voice kicks in but when it does it's a surprisingly suitable match that works, from his distinctive growl through to the additional "yaws" and yelps he flings in for added effect. The production might have a veneer he doesn't need but the band doesn't shine nearly as strong anywhere else on the album. It's definitely in my top five Bruce songs of all time and the one I'd probably be shouting at him to play in concert.

From that point onwards Born in the USA never hits the lows of its title track or the highs of its second number, although most songs are at one end of the spectrum or the other. I'm on Fire is a beautiful ballad with some low-key organ and guitar providing a backing for Bruce to do something over the top of. I'm struggling to know what to call it. It's sort of a croon but sort of a growl as well which means I should probably call it a crool. Bruce crools on Fire and crools well which makes sense because he's one of America's best croolers and can outcrool anyone. I'll stop now although thankfully Bruce doesn't and brings back his crooling voice to close the album with My Home Town which is another obvious highlight and the perfect album closer.

Other tracks fare less well, I'm Going Down is almost as repetitive and annoying as the title track and Glory Days revisits the annoying synth vamp that Born in The USA perfected. Few things date a song as comprehensively as that irritating habit of playing a main riff on something that sounds like it was bought in a toy shop. Working on the Highway sounds like it was written in an attempt to fire up a fifties diner full of teenagers but sounds more like the sort of thing that eighties teens would have found a bit dull.

If you want to pinpoint the problem with Born in the USA you only have to watch the video clip for Dancing in the Dark. Dancing is a great song but the clip is just dripping with the eighties excess that the album doesn't need. Bruce sings and dances in tight jeans and a shirt which a costume designer spent a long time attending to between each shot. He has a sheen of carefully applied sweat on his biceps but not a drop on his carefully laundered shirt. Meanwhile in the background his bass player and guitarist conduct coordinated dance moves while his keyboard player grooves in amongst the smoke machines and the sax player wears sunglasses and poses for the camera. An adoring audience looks on including one girl who Springsteen pulls out of the crowd. She looks like the all American girl and comes across like she's just walked out of an eighties sitcom (when she was actually about to walk into one). It's all so artificial and staged and nothing that Bruce had been before and thankfully wouldn't be again.

Springsteen is at his best when he's trying to downplay rockstar excess and connect with his loyal fans through his music. His finest hours have been free from veneer, polish and eighties artifice. It's a shame then that he wrote his strongest set of songs slap bang in the middle of the decade that suited him least.

Favourite Amazon Customer Review Quote: "How can someone like Springsteen write a song showing his love for the country,when he supports a socialist,america-hating president?"

-Everyone who doesn't think I like do hates America! Silly person.

So is this Bruce's best or just more Bruce you have to endure? Let me know below.

86. Let it Be. (1970) The Beatles



  1. Two Of Us 3:33
  2. Dig A Pony 3:55
  3. Across The Universe 3:51
  4. I Me Mine 2:25
  5. Dig It 0:51
  6. Let It Be 4:01
  7. Maggie Mae 0:39
  8. I've Got A Feeling 3:38
  9. One After 909 2:52
  10. The Long And Winding Road 3:40
  11. For You Blue 2:33
  12. Get Back 3:09

Ten years ago Paul McCartney gave the world a gift. In one of those rare moments when an artist actually listens to his public, Paul took Let It Be and transformed it from one of the Beatles lesser albums into a much stronger listen. Unlike a lot of musicians who feel the need to take something that isn't broken and break it, Paul took something that someone else broke and fixed it. Thanks Paul, you're the man.

I'm referring to Let it Be...Naked which came out in 2003 and is basically a version of Let it Be as the Beatles intended. It returned a set of songs which Paul has always felt strongly about to the way he and the other three originally wanted it to sound and while technically it's Let it Be that occupies this position on the countdown it should really be Let it Be...Naked's spot.

In early 1969 The Beatles went into the studio and attempted to record a simple album. They'd got progressively more complicated and grander in design since the mid sixties when they first started to see the studio as their creative playground. The had become accustomed to including embellishments,  additions and trickery on their music and became creators of sound designs rather than rock and roll musicians. The recording of Let it Be was an attempt to return to simple days and culminated with the legendary rooftop performance when the band played live on their studio roof to bemused office workers and less than happy police.

But the Beatles weren't satisfied with what they produced and shelved the recordings. They were eventually released after the band broke up and the tapes were put in the hands of an idiot. I know I'm supposed to think of Phil Spector as a genius (with occasional homicidal tendencies) but for me he'll always be a massive twat of the highest order. Spector took the tapes from the Let it Be sessions and thought "These performances by the greatest band in the world are okay but clearly what they need is a massive dose of schlock! Bring me my schlockafier!"

Spector's preferred way to schlock something was to overdub orchestras and choirs and big production numbers and treat the work of the world's greatest songwriters as just a canvas for him to throw things at. The end results are partly Beatles songs but they're also Spector songs. And it's the Spector bits which are the problem.

For years people have listened to Let it Be and wondered what it would be like if it was de-shlocked. In 2003 Paul oversaw Let it Be...Naked which let us all find out. The result is a much stronger collection of songs and is better in almost every way. For a listener like me it transformed some songs I've always hated into recordings I actually enjoy. It removed a barrier I'd always had to some great music and I can't thank Paul enough for doing it. Granted I miss some of the banter he removed. Those of us who have listened to Let it Be for years miss hearing "I hope we pass the audition" but it's a loss I can put up with. More controversial for some was the use of technical trickery to fix a few errors made by the band when they were performing. Bum notes and missed cues have been corrected to make the songs slicker and more produced. While there are those who lament this touching up after the event there are others who point out that if the technology was available at the time it's something the band wouldn't have hesitated to do. Either way most people probably wouldn't notice these slight tweaks if they weren't pointed out so it seems somewhat churlish to argue about it.

Let It Be is great, Let it Be...Naked is better. Both are fantastic.

Track by Track...

Two of Us

It's appropriate that the opening track on their final album sounds like a reflection on Paul and John's relationship. Paul's simple acoustic ballad seems to tell the tale of a perfect partnership that soured over time.  Let it Be has its bouncy, upbeat moments and light touches but underneath it all is a genuine sadness. The greatest songwriting duo of all time were barely on speaking terms. It was sad at the time but now we know the bitterness continued for ten more years before one of them died makes it even sadder.

Dig a Pony

Not Lennon's finest moment and not the album's highpoint either. If you handed Let it Be to an alien and said "Give this a listen. Greatest band our planet has ever produced" they'd have fairly low opinion of earthling music after tracks one and two.


Across the Universe

John wrote a beautiful and simple ballad and Spector wrote an absurd piece of bombast over the top of it. Naked restores the beauty and takes away the stupidity and lets you sit down and appreciate that John was a wonderful songwriter with a beautiful voice.

I Me Mine

While it's not in the same league as Across the Universe, I Me Mine is another song that benefits from a stripping away of Spector's nonsense and a return to what the creator intended. George's contributions to Let It Be aren't among his finest moments. The movie of the recording process (which I recommend you avoid because it's too depressing for words) clearly show Harrison is totally disengaged from everything and couldn't care less. The real shame is that some outstanding George compositions were rejected for Let it Be by the other two. Isn't it a Pity and All things must pass finally surfaced on Harrison's first solo album but were offered up by their writer for consideration as Beatles songs. Both are brilliant tracks and their presence here instead of the two lesser songs that Harrison was permitted to record would have made Let it Be so much greater.

Dig It

Dig It is a small and pointless interjection which was thrown in to pad out the album to something approaching a full length release. It's not a song, it's the sound of a band stuffing around the studio and pretending to get on. When Paul compiled Naked he ditched this and replaced it with Don't Let Me Down a song that originally appeared as a B-side of Get Back. You'd have to say it's a good swap. Dig It was always too short to wear out its welcome but Don't Let me Down is a great song even though the line "I'm in love for the first time" must have been a huge slap in the face for John's first wife who he was dismissing outright. Most of us who listen to music on computers and other devices promptly put Dig it back in. It's stupid, pointless and has no redeeming features but we love it.

Let it Be

There are now four officially released versions of this song wandering around. The single version prepared by George Martin, the album verison with Spector's orchestra, an early take on the Anthology series and the Naked version. Then there are a million different live versions played by Paul on subsequent tours. It's a great song but one whose impact has diminished for me over countless listens.

Maggie Mae

Ever wanted to hear the Beatles sing a rude folk song? No? Can't say I blame you. Apparently Paul didn't either because he removed it from the Naked track listing. Of all the bits he removed this is the one I miss the least.

I've got a feeling

Paul and John used to write songs together, by which I mean they were in the same room while they wrote them. They'd sit somewhere with a guitar each and play things for each other and come up with a unified whole. As the years progressed they stopped writing together but still managed to produce songs like I've Got A Feeling which is a co-production created when John and Paul smooshed three different songs they'd half written into one coherent whole. It actually works. It shouldn't on paper but it really does with Lennon's "Everybody had a hard year" bit sounding like an authentic bridge to McCartney's main refrain.

One After 909

Originally recorded but rejected by the band in 1963, One After 909 must have really got on George Harrison's nerves. He had songs ready to go that he'd been itching to record and release on a Beatles album but John and Paul preferred to dig up something they'd had lying around for almost a decade. Still if you can overlook the sound of George's teeth gnashing in disappointment it's a great track. It doesn't quite emulate the great train songs that John and Paul were trying to copy. They're hoping to convey an image of someone jumping a freight down to San Antone but it sounds far more English and conjures up a picture of a girl missing a commuter train for Thickwistle on Tweed. The original version rocks but the Naked version is even better.

The Long and Winding Road

Of all the tracks that Paul stripped down for Naked this is the one that truly justified the project. Spector totally ruined Winding Road. He turned it into one of my least favourite Beatles tracks and one that I couldn't stand to listen to. It was an immediate skip for me and the first thing I'd bring up whenever discussing the album and its worth. But stripped of the appalling choral moments and the awful orchestration it's actually a really nice track. It's not their greatest hit but it's now a song I really enjoy. It wasn't a massive revelation, we'd heard similar versions on anthology and bootlegs but it was still a joy to hear a good version of this song on an original album. Don't ever come out of prison Phil, the world is a better place with you behind bars.

For you Blue

George sounds more committed on this up-tempo rocker than any other on the album but it's hard not to picture him thinking "You let me record this but you're giving Isn't it a Pity a miss? Seriously?"

Get Back

Its lyrics might not make much sense but Get Back is a massive amount of fun. It's a hugely entertaining listen and a classic in every respect. It's also the perfect conclusion to the Beatles career with a sound that is late era Beatles but still harks back to the early mop-top days. The Let It Be Naked version is fine but the original album version will always be a keeper for me with its dialogue and laughter in place. I need the banter and joking as an antidote to the album's opening moments. I love the Beatles and I hate the fact that their career ended in acrimony and bitterness with lawyers involved. I need the laughter and light tone on their final track to preserve the fantasy of four friends making music together and loving the inexperience. I know it's not true but it's a personal delusion that I like to treasure and the fantasy of the rooftop concert lets me keep it alive.

Favourite Amazon Customer Review Quote: Why the hell did this album show up in my recommended search results??? I don't even like this album! Those four french morons should have "let their careers be" and not have even bothered with this freak side-show nonsense!

-French? Seriously?

So do you love Paul's upgrade or do you think he should have let it be? Let me know below.






Friday, August 2, 2013

87. The Wall (1979) Pink Floyd




1-1 In The Flesh? 3:16
1-2 The Thin Ice 2:27
1-3 Another Brick In The Wall Part 1 3:21
1-4 The Happiest Days Of Our Lives 1:46
1-5 Another Brick In The Wall Part 2 3:59
1-6 Mother 5:32
1-7 Goodbye Blue Sky 2:45
1-8 Empty Spaces 2:10
1-9 Young Lust 3:25
1-10 One Of My Turns 3:41
1-11 Don't Leave Me Now 4:08
1-12 Another Brick In The Wall Part 3 1:40
1-13 Goodbye Cruel World 0:48
2-1 Hey You 4:40
2-2 Is There Anybody Out There? 2:44
2-3 Nobody Home 3:26
2-4 Vera 1:35
2-5 Bring The Boys Back Home 1:21
2-6 Comfortably Numb 6:23
2-7 The Show Must Go On 1:36
2-8 In The Flesh 4:15
2-9 Run Like Hell 4:20
2-10 Waiting For The Worms 4:04
2-11 Stop 0:39
2-12 The Trial 5:13
2-13 Outside The Wall 1:41



As regular readers may know, I don't like rock operas or concept albums. As far as I'm concerned the only concept any album needs is: "Here's some songs we wrote" and opera should remain the preserve of women in viking hats and Italians in tuxedos. Rock opera concept albums are the work of the devil.

Of course there is an exception to every rule and The Wall is it. If you're only going to own one double concept album telling a wanky narrative in your life then this should definitely be the one. The Wall is just brilliant and overcomes the hurdles the band seemed determine to throw at it throughout the recording process to emerge as an album that rightly deserves its place on this countdown.

What sets The Wall apart from most concept albums is the weight of great songs to filler ratio is firmly tipped towards great songs. Most other double albums have a few tracks that make for good listening padded together with dialogue, sound effects, pretentious nonsense and half-formed musical concepts. The Wall has hit after hit and clearly shows that while Pink Floyd might have been a band with grand ideas they were a great rock and roll band first and foremost.

No other concept album that I'm aware of can boast a run of songs like Another Brick in the Wall Part Two, Mother, Goodbye Blue Sky, Empty Spaces and Young Lust all of which are great numbers in their own right. Hey You! Young Lust, In the Flesh and Run Like Hell are all magnificent tracks but dwarfed by Comfortably Numb which is flat out brilliant. It's hard to put your finger on exactly why Comfortably Numb is so good. It's possibly the production and performance but a lot of its charm lies in the fact that it's deceptively simple. While they're noted for their huge performances and massive scale, Pink Floyd could also write a beautiful ballad which sounds great when rendered by a solo singer and an acoustic guitar. There are millions of people kicking around the planet who could give you a good rendition of Numb with a moment's notice and almost all of them would earn a well deserved round of applause at the end.

Almost every double album on this countdown (and outside it for that matter) would be better if it was culled into a tight single disc. Trim the fat off a lot of bloated doubles and there's a great single underneath waiting to come out. The Wall is one of the few exceptions with so many high points it would be impossible to reduce its length without losing something priceless. That's not to say it doesn't have its flat spots. Young Lust gives away to a sequence of forgettable numbers (One of my turns, Don't leave me now, Another Brick part 3 and Goodbye Cruel World) but even that's only 10 minute in length and still doesn't have me reaching for the skip button.

Unlike many other double concepts, The Wall has actually been enhanced by attempts to grow it's reputation rather than diminished. The movie version of Tommy by The Who only served to point out just how daft the entire concept was. But The Wall's cinematic incarnation is actually a fantastic piece of film making and does a lot to enhance the album and its underlying story arc. Part of the reason the freak out moments in One of My Turns is enjoyable despite being a second rate song is the arresting mental image of Bob Geldof losing it on the big screen. The stage show that preceded the movie (and the revivals staged by Waters since) have also enhanced its reputation and the numerous recorded live versions available make you appreciate the songs all the more. (Although the full immersion box contains more wall than China and is only for die hards with a lot of spare cash)

Pink Floyd were a great rock and roll band. They could write great songs, Gilmour's guitar is just magical and Waters voice is wonderful at times even though it's grating at others. The Wall is dripping with great songs and fantastic moments. Listening to it for this review reminded me that even though I love live shows and self made compilations, there are some albums which just have to be enjoyed in their entirety the way their makers intended.

Favourite Amazon Customer Review Quote: "Recently at my university we had a poll to see what students thought were the five most overrated bands in the history of rock and roll. These are the results.(1) Led Zeppelin (2)Pink Floyd (3)U2 (4) the Doors (5)Nirvana"

-I always love it when people post surveys as definitive reviews. "Me and four of my friends think this"

So does the wall hold you in its thrall or is it something you can easily get over? Let me know below.