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Butch Vig recommended London Calling by The Clash in Music (curated)

 
London Calling by The Clash
London Calling by The Clash
1979 | Rock
8.8 (10 Ratings)
Album Favorite

"For me this is possibly the greatest rock album of all time. It's a band playing at the absolute, height of their power. It's very ambitious: it's got elements of ska and funk, pop songs, soul, jazz, rockabilly, reggae - and in the end it's got this really great blues energetic vibe. It just seems like they tossed it off and lyrically it touches on a lot of different subjects. Some of the songs are very political: 'Spanish Bombs' is about the Spanish civil war, 'London Calling' itself - that song is such an anthem. The band had some commercial success after this album - with Combat Rock - but to me London Calling is the pinnacle of their song-writing. It is just a fantastic record with an iconic sleeve; that shot of Paul Simonon smashing his bass, it's just incredible. I saw The Clash play in Chicago when I was on tour and it was like electricity. They came out and they started with 'London Calling'. The place was rammed with 5,000+ people and it went OFF! It was as if a bomb dropped and it was one of the most exciting concerts I've ever seen!"

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Joey Santiago recommended Marquee Moon by Television in Music (curated)

 
Marquee Moon by Television
Marquee Moon by Television
1977 | Rock
9.0 (4 Ratings)
Album Favorite

"I got this when we were already started, it was when I raided the album closet of Elektra. It's one of the albums where it was, "Yeah, I gotta have this one". Tom Verlaine and Richard Lloyd traded off rhythm and lead, it'd be like their version of 'Dueling Banjos'! They took turns and there's all these different elements to it. That probably seeped in to [his and Black Francis' playing] on 'Monkey Gone To Heaven' through osmosis. We didn't mean it and it was just lucky. We just figure stuff out. Charles [Michael Kittridge Thompson IV, aka Black Francis] just leaves me alone when I'm doing my guitars. He would say "'Pixify' it", it's when the Pixies really become the Pixies. I'm just quoting him! It's kind of true in a little way. Of course it would be, that's the job, that's a lead guitarist's job, and Charles' job is to make Pixies songs and all that stuff. The guitar happens to be front and centre of the mix. They would even say it, "Now it's Joey's turn", and Charles would say: "Ah, now it's the Pixies.""

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The Devil's Own (1997)
The Devil's Own (1997)
1997 | Action, Drama, Mystery
I don't know what's worse: a film that's underwritten and knows it, or a film which sets up such thought-provoking themes only to immediately ditch them by the wayside (which this one is). It's so frustrating how this had most of the elements just on principle alone to be really, really good and it still wasn't. Seemingly intentionally unexciting, so much so that Brad Pitt's middle-schooler-impression-of-Daniel-Day-Lewis-from-𝘐𝘯-𝘵𝘩𝘦-𝘕𝘢𝘮𝘦-𝘰𝘧-𝘵𝘩𝘦-𝘍𝘢𝘵𝘩𝘦𝘳 accent is actually the best part of it. Gets semi-engaging in the last 45 minutes if only because it finally gets some of the right look + feel for what this wants to be, but even then it's got no bite and is disgustingly pro-cop (a cop who shot dead an unarmed victim multiple times then tried to force everyone to cover it up and doesn't regret it can be redeemed without doing anything!). Poises itself to go over issues of oppression, nationalism, trauma, violence, and what happens when they all intersect - but never does. Harrison Ford is so bland here, too. Doesn't even care about its own story, what a fucking shame. This really coulda been something.
  
Housebound (2014)
Housebound (2014)
2014 | Comedy, Mystery
Neither funny nor scary enough to fully accomplish what it wants to, but it's *almost* wild enough to. Hurts to go hard on this one because many of its flaws come from simply how ambitious this is on such a small budget - so it's at least always admirable in spite of them; but I can't look past how rough those first 45 minutes are nor how it largely abandons the loads upon loads of potential this premise has in favor of its eventual rug-pull twist to sort of carry the movie from there (which it at least does pretty okay). Because of this we see supporting characters who crave to be more fleshed-out and intriguing plot elements you wish they ran with more instead of more borrowed platitudes. But as aforementioned, those last 50 or so minutes are a fucking RIOT (if still painfully underdeveloped, at least it's fun to watch - with some unexpectedly potent emotion [again, underwritten though]). Even when it falls flat on its face there's a charming earnestness here that can't be denied. It's decent but far from the revolutionary cinema everyone seems to think it is - though it could have been.