Dreadhead,
Easy there, fella.
I hope that I made it clear in my post: I like MT a lot (a WHOLE lot), but it still strikes me as a very odd #1 record. Ben's observations notwithstanding, MT replaced something called "Danity Kane" as #1. MT (deservedly IMHO) has gotten a ton of good press, but I seem to recall TOOM and L&T getting similarly rave reviews - without the sales numbers (I believe they peaked at #5 and #10, respectively). One obvious difference is the Apple tie-in in the marketing campaign. Don't overlook the impact.
Or maybe the record buying public has just suddenly woken up to Bob Dylan again. Either way, I'm certainly happy for the man and for the potential benefits to other personal songwriters who may benefit from MT's commercial success.
Easy there, fella.
I hope that I made it clear in my post: I like MT a lot (a WHOLE lot), but it still strikes me as a very odd #1 record. Ben's observations notwithstanding, MT replaced something called "Danity Kane" as #1. MT (deservedly IMHO) has gotten a ton of good press, but I seem to recall TOOM and L&T getting similarly rave reviews - without the sales numbers (I believe they peaked at #5 and #10, respectively). One obvious difference is the Apple tie-in in the marketing campaign. Don't overlook the impact.
Or maybe the record buying public has just suddenly woken up to Bob Dylan again. Either way, I'm certainly happy for the man and for the potential benefits to other personal songwriters who may benefit from MT's commercial success.