Hi. Officially entering the thread I probably belong in.

So, am I overreacting when I call this guy the tooliest tool who's ever been compared to a socket wrench?

Tooliest? I think Pat Robertson currently holds that title. But a tool nonetheless.

One thing that annoys me about a certain segment of "music snobs" is that unless you grew up/lived/went to college in Chicago/Boston/NYC/LA/SF you don't know good music. And, in a sense, they're right. But the one thing that the MP3 revolution has done is get the good stuff to the kids who, like me, grew up in godforesaken places like Oklahoma. When I was in high school you could count on one hand the number of kids who listened to anything that wasn't hair metal or bad country. Now, the kids have access to the sort of music that I had never heard of back then, thanks to iPods and music sharing.

Last Christmas I watched a pack of teenage girls debate the merits of the Decemberists vs. Weezer in a Tulsa Borders store. And we're not talking goths, we're talking makeup and hair and 16. That never would have happened in Tulsa circa 1990.

the kids who, like me, grew up in godforesaken places like Oklahoma

Having grown up in SW Alabama, all I can say is: I hear ya. We were lucky enough to have an indie record store open up when I was 15, the same year I discovered punk music. I pretty much lived there.

Unfortunately, not even the biggest tool at TNR.

Well, that's true. One of the music geeks on my other board said that his rule of thumb is that the more ridiculous a statement by a TNR writer, the more likely it is that he or she means it.

He is such a tool that he comes with a free set of ginzu knives and an in-the-egg egg scrambler.

This made me laugh: that highly obscure album of AC/DC songs performed as tender acoustic ballads

because, hey, it can't be that obscure, because I have it! It's on eMusic.

This made me laugh: that highly obscure album of AC/DC songs performed as tender acoustic ballads

I've got it too (and love it!), but that's no guarantee of non-obscurity.

I'm trying to think of what I've got that really qualifies as obscure.

Yeah, I was laughing at that bit. Oh, that obscurity Mark Kozelek, who appeared in Almost Famous and who I first read about in Rolling Stone in 1988? That guy? Truly, people who listen to him must work hard to deserve to hear his songs.

I'm trying to think of what I've got that really qualifies as obscure.

You'll probably have an easier time going the other way.

I'm trying to think of what I've got that really qualifies as obscure.

I suspect the only thing that I've got that qualifies is the cd copy of Rasputina's orginal demo tape.

Having grown up in SW Alabama, all I can say is: I hear ya. We were lucky enough to have an indie record store open up when I was 15, the same year I discovered punk music. I pretty much lived there.

Yup. We had a place like that, though they specialized in stoner music and the sorts of things you hear on classic rock stations now (Zeppelin, Allmans, Dead). However, they also had lots of punk and funk you couldn't get at Musicland. They sold me my first Replacements tape.

MTV, ironically, was our primary dispenser of the non-mainstream, thanks to 120 Minutes. Then we got a short-lived lightbulb-powered alternative station that played lots of goth and college rock.

This made me laugh: that highly obscure album of AC/DC songs performed as tender acoustic ballads

It's on eMusic? I need to check that out. I have a soft spot for musical changeups and contrarian covers.

It's Mark Kozelek's What's Next To The Moon. It's great. His previous EP, Rock and Roll Singer, has different versions of three of the same songs. Kozelek has a penchant for slowcore covers of 70s metal. His version (with the Red House Painters) of Ace Frehley's "Shock Me" (which was always one of my favorite Kiss tunes, for the obvious reason) was quite the revelation when I first heard it.

I mean, I've got the Stumblebunny single mentioned once in the second edition of The Rolling Stone Illustrated History of Rock and Roll (New Wave: America chapter). That only took about ten years of looking. I own the Hackamore Brick LP, which is sort of famously obscure. I've got the vinyl semi-bootleg of Rocket From the Tombs (pre-Ubu) which only had a pressing of 2000.

The bootlegs I have are pretty famous ones, like Patti Smith's Teenage Perversity & Ships In The Night (her greatest recording by far, incidentally), and the early Television demos with Richard Hell (which rewrite punk history, in my estimation).

The rare exotica (Russ Garcia's Fantastica, White Goddess), crime jazz (Johnny Staccato) and bubblegum (Lancelot Link) LPs I've got are all expensive collector's items because collectors know about them. But I guess they're obscure to the average music fan.

Emusic has tons of Kozelek stuff - not just his solo albums (almost everything minus some tracks from Rock 'n' Roll Singer) but Red House Painters and Sun Kil Moon as well.

Kozelek has a penchant for slowcore covers of 70s metal.

And lordy are they gorgeous. He also does a really beautiful cover of "Around and Around" by John Denver.

I am actually making a best of Kozelek mix - but it's only in its baby stages.

I'm trying to think of what I've got that really qualifies as obscure.

How are we defining obscure? I have tapes of local bands that never made it to the label level - is that obscure? Or do we mean odd cross genre covers and like albums by 70s kid TV stars that later become porn stars? Do we mean hard to find, impossible to find or just really really strange?