mien_mo_man

simply the best of all Woodstock (for me). His sonic foot is something that has remained unmatched and uninherits.

I believe that if a GNR fan were to judge this album with the premise of thinking that the band members are almost all different and the music is different, etc., they would think something like: BUT IF THEY ARE NOT THE GNR AND THEY DON'T SOUND LIKE THE GNR AND THEY DON'T WRITE LIKE THE GNR, THEN WHY THE HELL ARE THEY CALLING THEMSELVES GNR? I mean: was Axl afraid to release an album under his own name? Obviously, Axl sees this album as a true GNR work. If it had been an Axl album, the rebellious redhead would have dared more, starting with those guitar solos that seem inauthentic. Speaking of which: it's sad to see someone who played in a TRUE GREAT BAND like NIN copying someone who played in a TRULY MIRACULOUS BAND like GNR. That said, now I’ll listen to the album once and for all so we can see what I think.

I confirm your judgment on Clark, I confirm the expectations for the reevaluation of the Byrds and the Byrd family, as well as confirming that of "Byrds" the only songs I like are by Gene. Thank you for the comment.

but he wasn’t the one who said that being gay and having AIDS in London in the eighties was the coolest thing that could happen to you? I had a couple of records by these guys, but they just seemed to be exclusively a group of gays and terminally ill people happy to be that way. Nothing to do with the grateful dead, though.

As a reviewer of Mould's entire solo work, a Soul Asylum album, and the Semisonic records (yes, you read that right, Semisonic), I can say that I'm also a Minneapolis expert. I agree with those who claim that Westenberg's free and alternative songwriting has become mannered, that he has lost much of his appeal, and that the unreleased tracks in Singles are as dull as triceratops poop. I also agree with those who place the Huskers above the Mats, but I would say that back then Paul was truly a music creator, and on his own he could hold his own against anyone, cazzucazzu! Regarding Mould and Hart, I would say that the latter was erratic, while the former was consistent and, alas, repetitive. I would save only Black Sheets of Rain, the self-titled album, and especially Body Of Song. Not to mention his splendid, very wintery, dance album Long Playing Grooves under the moniker LoudBomb. @Donjunio: Don, do you know Trip Shakespeare, also from Minneapolis?

Rabin is a great musician, but Howe's originality is something else. I would say Rabin is a performer while Howe is an inventor. I really like the Yes of the eighties, especially the ones from Drama with the Buggles and these ones at the same time. Maybe it's because I like all the artists involved in the various Buggles, Yes, Asia, Gtr projects, etc. If you want, read my review (especially the beginning) of "Alpha" by Asia, where I explore the theme of prog-rockers in the '80s in search of a second youth.

Arguing like kids is just immature... better to find common ground on the Biffy... right? Exactly. A point of convergence, and a place where moderation and reflection meet culture, is my review of Puzzle by Biffy. Another point is my other review of the Biffy in the debut Blackened Sky.

Is it possible that I'll like this record on side A and it'll completely suck, like "principesse Kunti," on side B? Regardless of that, I'm receiving "divina."

As a Rundgrenologist, I can't help but love Nyro. But this was missing for me. The vote is for Laura.

Never, and I mean never, will I trade Bolan glam for this. This record is undoubtedly a stroke of genius, but in the musical landscape of that time, there was a need for a true, credible, monstrous glam icon—especially one who would die young. If you pay attention, every kind of pop-rock back then had its dead-young star. Glam was missing Bolan. I know it’s a crazy thing to say, but I stand by it because I thought it. Please forgive me. Monumental review.