The Strokes are the best example of this that i can think of. I know that both they are the BRMC are very big in Europe, and they have similar musical styles, but i wonder how many of you have heard anything, much less as much as what you've heard of the Strokes.
The problem with the Grammys is that they are tunnel visioned
>to the mainstream commercial aspects of the industry. I remember when U2
>would have laughed at a Grammy nomination.
Yeah, but they sold out years ago
This may be a popular sentiment, but, bearing in mind that i'm not old enough to remember U2 in the Eighties, i disagree. i've always thought that they've been honest about who they are and what they are trying to say. i know that they've continually been one of the world's most influential bands since the late '80's. Anyway, this is probably a whole other topic.
>But, since I brought up the Oils AND my co-workers, I'd like to point
>something out here. The Oils hits collection contains numerous top forty
>songs- from Australia. When I play it at work, some of my co-workers can
>only really get into the one top twenty US hit, which is not the class of
>the disc, BTW. Why is that? Melodies that pleased the Oz public can't quite
>please my American pop lovin' co-workers? Does that makes sense? Taken in
>the context of the mass marketing brain-wash of the radio, it sure does.
>Familiarity breeds acceptance.
That's entirely what it is. i used to go through the same things when i would play some good Canadian music, and my roommates would just hate the stuff.
And for what its worth, U2 hasn't put
>out a record worthy of their talent since Joshua Tree.
>(Begin flaming now)
Of course, i disagree with that. Achtung Baby was brilliant, as is ATYCLB
my two cents
ken