Bubi

I know they’re not first-wave Punkers, but their song Buried Myself Alive is great, and that’s good enough for me. I’ve said it before, there aren’t just Punkers... I looked for the album on the site I get my music from, and the Used aren’t there. How did you get them? Did you download them from the internet?

To summarize, a balanced collection, where one goes through impressions of great diversity. If I say that in my opinion it's balanced, it can also be understood that it has its own internal coherence... I say it has it, but one cannot expect all the pieces to be liked when there are so many. I still own a couple about Punk and many are on order. I like 200 Punk masters much less, even though it features the Sex Pistols, Stranglers, Dead Kennedys, Clash... etc. Maybe you like that one more, I have expressed my opinion.

You almost managed to convince me, what you're saying is true, but I still think that the whole live part is superfluous, because it was already edited just a few years before. Moreover, the pieces don't deviate much from the previous ones; they are longer, as always happens live. The studio part only highlights the shortcomings of Mason and Gilmore as composers. If you enjoy music in its purity, listen to Rachmaninov, or Stravinsky if you like apparent anarchy. Returning to the CD, Wright saves the day with his four parts of Sysyphus, one of which is beautiful. As usual, after Barrett's departure, the only one who composes decently is Waters. Several... is a small masterpiece, demonstrating how music can be created from animal verses, psychedelic effects, and so on. For my taste, it's an overly experimental album; I much prefer the earlier works, which were already avant-garde.

The whole live part is already edited on the previous albums, live, so in a slightly different guise, but already heard. (It's spelled Saucerful and not Saurceful) The studio part only highlights the shortcomings of Mason and Gilmore as composers; Wright saves the day with four parts of Sysyphus, one of which is beautiful. As usual, after Barrett's departure, the only one who composes decently is Waters. Several... is a small masterpiece that shows how one can make music, as you say, from animal verses, psychedelic effects, and the voice of the writer. For my taste, it's too experimental; I much prefer the earlier works, which were already avant-garde.

I'm responding to a review of an artist I love very much, like almost all the artists from New Orleans of that era. As for Deguello, I liked it from the very first time I heard it; right from the first notes of I thank you, you can feel that they’re trying to take a turn. I interpret it as the normal artistic evolution of a great guitarist like Gibbons. I can agree on Eliminator, which I don't like. I looked at your list of favorites and I agree on 1) NOFX, 2) No Use For A Name, I don't know them. 3) Bad Religion were a great band, 4) I find the Dead Kennedys highly overrated, 6) Social Distortion, I consider among the best in their genre, 7) I like Bruce Springsteen up to Nebraska, 8) I also like Afterhours, with more praise than blame for Pearl Jam in their early CDs. Bob Dylan, for about a decade, produced records of unique beauty, making it hard to choose the best. Then he lost a bit of his creative flair, but he continued to "gift us" with great music every now and then in the decades that followed. I’ll just mention Blood on the Tracks and Oh Mercy!

On this record, Lowell takes a spin through the genres, great!!

Rereading the review, I realized that it could be understood that La Grange is part of the album, while it is actually on Tres Hombres and on The Best, which I highly recommend.

You’re not the first to speak highly of Tiziano Ferro; I’ve never listened to anything of his, but I’ll try to remedy that. I’d love to know what you think of De Gregori, Conte, Dalla, De Andrè, Italian singer-songwriters of whom you’ve never written anything.

In my opinion, you're mistaken. Rancid, compared to the early Punk, have tried to develop (and succeeded) new perspectives and new paths. If this has also led to their albums selling well, that's fine by me; when I listen to ... and out comes the Wolves, I don't get bored at all. To experiment as you say, what should they have done? Which bands have experimented in the right way?

The only song by Guccini that I liked was Dio è morto, the rest was boring. When I read the poem L'Urlo by Ginsberg, the first lines of the first page clearly reminded me of Dio è morto, and since then, every time I listen to it, Ginsberg comes to mind. In my opinion, too much importance shouldn't be given to Guccini. Ignoring him is the best way to say: I don't like you, you're a big-headed blowhard!! The singer-songwriters I prefer are De Gregori, Conte, De Andrè, and also Lucio Dalla.