Word: rolled
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Dates: during 1990-1999
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...rules are simple. Begin with a bottle of your favorite beverage--like milk, or Pepsi. Begin, also, with a Monopoly board. The rules are the same--except, of course, you have to drink a shot of Pepsi every time you pay, get paid, roll a seven or 11, land in or on Jail, Community Chest or Chance...
This is interesting stuff for those with rock'n roll aspiration, but I fear for its universal appeal. Scrawled in the liner notes is a boxed phrase: "NOTHIN TO SING BOUT." In a recent interview in Raygun Malkmus addressed this problem, admitting that when he recorded this album he didn't have anything "poetic and beautiful to say, and I wasn't having girl-friend problems." He just didn't have the inspiration, I guess; the best moments are those that reveal a vague angst, best summed up in the melancholy chorus of "Range Life": "If I could settle down...
...almost every sub-genre of rock (classic oldies, weird early '80s experimental music from New Zealand, and more) while still maintaining its own integrity. People have always accused Pavement of being derivative, and it's true that they often should like other great bands. But that's rock'n roll, pal, take it or leave it! The final song on the album, "Fillmore Jive," is a decent successor to the Beatles' "I'm So Tired...
...never lived there: "Standing still turned inside out; taking all the spoons out of everybody else's mouths. And this could be anywhere, this could be anyone else..." It's not Keats, but in the context of TKP's songs it works as well as any rock and roll lyrics ever have, setting up a mood and a mode while complimenting your intelligence in the process. Sometimes the slow triplets--TKP loved to play triples, for some reason--even conceal a useful, if cynical, epigram: "In all events considerations reach a point where resignation seems a way of getting everything...
...functioning today are part of it: if Pavement (see Jake's piece next week) and the Loud Family are acutely conscious of being the end of something, it's an "end" that none of the best current bands led by women are part of, the "end" of something the Rolling Stones started, in which rock and roll was about, specifically, boys' experiences, boys who could or couldn't get no satisfaction. What brings the amazing record I'm ostensibly reviewing into the same ballpark as the mediocre new Bratmobile EP, the great Heavenly 10" that came out last year...