supersoul

Sure, I greet you, not having done it yourself means you're going well beyond foolishness; something is lacking physically for you, as well as intellectually.

Yes, I have it (...) and it would be interesting to review because, look a bit, she's convinced that all architects are idiots.

I hope that a lot of people, before slapping on the usual 1 dictated by the sight of the cover or their infallible instinct that makes them recognize when an album is garbage, had the chance to actually listen to it. Gaglioffi coming from the Zappa crew can never be total rubbish; there’s the great work of Terry Bozzio on drums, Cucccurullo on guitar, Patrick O' Hearn on bass—these aren’t just random fools. It’s a product of its time, well made to get people moving in the dance clubs of New York and San Francisco, not in Roccabascerana or Roccasecca, where they paint their faces like Kiss... The vocal comparison to Nina Hagen and Siouxsie seems completely misleading; it’s much more akin to Blondie. I remember that these loose dogs wanted to do something more experimental a couple of years later, but it didn’t sell at all, while this album made a ton of money.

5 years is the statute of limitations, to claim adverse possession 10 years must pass...

Brother Lewis, we were all younger, maybe that’s why we remember things more beautifully :-) After you try it, maybe give a review a shot. Tonight I'm listening again to my "1992.the love album" (r)acquired from the super discounted box of the time...

@donjunio, and who else could write a review on Fred Neil (with one less L), from the comments I've read, I can extract one that is explanatory: "these reviews keep the poor DeBaser afloat," but maybe the majority of users will flock to those of the 14-year-olds promising reviews on their cousins... @melissa, it's true, the endings are similar but they have different perspectives; Bruno (well integrated into the easy-going society of the boom) saves himself, and Roberto's death gives him a new conscience, while Billy and Captain America are the outcasts to be erased and they both die, unable to live even on the road, perhaps they are left with the otherworldly paradise of the hippies :-)

@kosmo among the super-discounted or "punched" ones, I picked up some great records, like the one by Gavin Friday or those by Carter The Unstoppable Sex Machine (anyone who remembers the USM automatically becomes my fraternal friend).

You must have some issues with your keyboard, mien :) Damn, I know that movie by heart, actually there’s another urban country blues song by Dylan interpreted brilliantly with a hard edge by McGuinn "It's Alright Ma (I'm Only Bleeding)" right in the scene where they cross the urban landscape, while there’s another bucolic multi-voiced style by the Byrds "Wasn't Born to Follow" as the motorcycles speed along Route 66 through nature. This gift from Dylan to McGuinn, however, has never impressed me, the picking on his Rickenbacker seems indebted to that of Everybody's Talkin' performed by Harry Nilsson (which is actually by the great Fred Neill, who someone should dedicate a review to sooner or later) in the soundtrack of Midnight Cowboy released the same year. Regarding the ending of the film, if you take a good look (or read my review of the film) it’s metaphysical. The final shot shows only Captain America's motorcycle on fire in the road, his body isn’t there… it’s already elsewhere.

mah vortex, I see your comment now and I'm doubtful about that "those who consider the neo garage scene as merely a revival of the good old days are mistaken." Take a character like Shelley Ganz who, with his Unclaimed, is a guru of the garage revival. Ganz still only listens to Chocolate Watchband, Count Five, Music Machine and is convinced that what came after 1966 can be easily flushed down the toilet. He's so fixated that he forces people who want to play differently to leave (like Sid Griffin who left him to play pisley with the Long Ryders). Take this record by Mike Stax or "Don't Open Till Doomsday" (1987) by the Chesterfield Kings. Pure 60s garage, both musically and aesthetically.

It seems to me that you took the long way around, Italian people, to get to the Tell Tale Hearts :-) Stax, more than just keeping an eye on it, is a fanatic for the Pretty Things, and this album is primarily a tribute to them. Take an album like that of the magnificent fellow countrymen Gravedigger V (later Morlocks) and see the whole difference between Stax, who is an Englishman (like the Pretty Things, after all) recuperating the sixties R&B tradition, and a Leighton, who instead is a 100% American devoted to the cult of Iggy and to lesser-known Texan psychedelic bands from the 60s. When talking about 60s garage, few bring up the Dutch Outsiders led by the great Wally Tax (RIP) or perhaps the Australian Master's Apprentice, who were sources of inspiration for the 80s revival (especially Jeff MonoMann Connelly and his DMZ/Lyres). Well done to you for pointing them out for the Tell Tale Hearts, who delivered a great album here.