Albums that you find very generic and boring

I listen to some talk radio in the morning, then maybe a few songs in, I'll cut it. But "Closer" is just one of those songs that needs as much of a break as one can afford. Just heard the song umpteen times, like "Working Man." 

Interesting that you thought that ... I have never listened to a band because it "sounded" like another or because of this or that ... what I keep looking for, is more "modern progressive rock" with lots of surprises and moments ... and instead, in particular those 2 bands MOSTLY AUTUMN and BIG BIG TRAIN ... it is a rehash of older material for my tastes ... again ... it is all too predictable, and all I'm looking for is ... the surprises ... and there are none to speak of. This has nothing to do with the women singing, or what not, but in many ways, how the bands organize their works ... they only know a DAW's way of doing it (for lack of better term), and I do not think they clearly understand what "progressive" really meant as a VERY ORIGINAL form of music ... that all of a sudden is not that original, specially in its format!

Catcher10 wrote: ... And as far as the "punch" that Mosh talks about, I agree and I think a good part of it has to do with the recording process. Very few bands record live in the studio as one group one take and then the digital processing removes some emotions.

It's possible, but I'm not sure that in the 70's as much of it was as live as we think. Some of it, appears beautifully rehearsed and recorded, which suggests that the band had in mind doing something completely different with the piece of music, and achieved it ... my issue with MA and BBT is sort of like ... let's color the word "love" in that lyric with flutes on top of the wash/wavy sound of the keyboards ... and to me, that's just like ... MAJOR is happy and MINOR is sad kind of thing ... and the musician did not even try to play the MAJOR in a sad way, which can be done.

It's the same thing with acting ... and actors, and I advise singers to learn this quickly and get it down ... take one line ... "let's talk about the word love" ... and now say it with hatred. Now say it with care. Now say it with disdain. Now say it with reckless abandon. Now say it with desperation ... and I think that in the 70's some of the material called for more creative and artistic definitions (theater and film were excellent about that at the time!), than right now, when/where so many people are stuck on top ten thoughts and ideals, and cannot listen, or partake of anything that does not have and continually use, something that is already known and used ... for crying out loud ... you would think that the Berklee Music BS would teach those drummers more than 1234 ... nooooooo .... they all sound the same even with one more tom ... and Mani Neumeier can make them all look like children with almost a minimal kit!

But, the comment will go over one's head! Because no one at Berklee MBS will EVER listen to a Mani Neumeier and how he adapted to experimental and non-linear rock material!

Shall we start the boring discussion now? This is the reason why the ex-DT drummer is not one of my favorites. He does better when playing TFTO with Transatlantic, than he does in any other piece ... which tells you he is listening, but it doesn't show in his own work which is almost all the same ... makes me want to take that snare drum and put it over his head to wear as a necklace ... probably get more attention, too, specially if there is some red catsup in the middle of it!