supersoul

"Skunk" is a blend of Cannabis indica and Cannabis sativa, very potent. That's what you need to musically see the Comus and Uncle Frankie in the Ozric or the progressive that has nothing to do with it. The direction is the spacey-hippie vibe described by antoniodeste, the Gong. Even though Wynn and company drew heavily from reggae and dub sounds that were popular in English clubs during the time of Erpland and Pungent Effulgent.

So after the ...cigarette, try the Tripsichord, psycho. I think they are exceptional; I never understood why they didn't make billions...

@vortex yeah, the internet is a blessing for many, the blessing of being able to say any nonsense, like honoring John Lennon's murderer, without having to look anyone in the eye who is listening to you. To be able to anonymously air one's frustrations, like that of anfoxx who's seething with the arrogance and snobbery of the left, when in reality the true left is the proletarian who can't make ends meet and should perhaps be represented by the social right of bored billionaires like Santachè? Ascanio Celestini is a storyteller, a little David who transforms on stage into a logorrheic Goliath who makes you think. For him, making a record holds the same significance as it did for the Crass, the opportunity to express himself through music, which takes a back seat, while the lyrics come to the forefront, talking about people and their problems, about how they are mocked into thinking that in the end, the dog is well if the owner is well. It's clear that for many this will be laughable and they'll say what a load of crap, just like centuries ago people said what a load of crap about an outspoken singer-songwriter like Claudio Lolli, but Celestini is above all someone who moves forward with irony and is capable of telling, in a way that may seem uncomfortable to many, our reality. Even through music, which, while taking a back seat, won the Premio Ciampi 2007 as "Best Debut Album of the Year." Of course, you'll say, that's a communist award...

It's an extraordinary album, there's not a single track that can be compared to another. Twink in the early nineties, in addition to the album with Bevis Frond, also made one with the Americans Plasticland.

But what do you think of Mandrake Memorial? "Puzzle" with that sound of the electric harpsichord drenched in acid makes me ecstatic...

@pretazzo, but it's clear that a Thompson with this record goes beyond his idea of 1960s psychedelia, of course. His experiences with the punk-no wave scene lead him to fragment his approach to music even further. Regarding his freakiness, I mean that it seems far from the spontaneous kind of early Zappa; he seems more like someone who "elevates" himself from the prevailing society due to his strangeness that sets him apart from the crowd. In his own way, he’s an eccentric and quirky intellectual (a weird?), as can be seen from his unsettlingly dandy dressing (often with a tie...). Uncle Frankie, on the other hand, has always been the quintessential ragged freak, the one who employs satire and vulgarity to mock society, making the well-meaning think they are better and cleaner than him and... considering themselves lucky for it, despite the little brains they have. The real freak (the freak show monster à la Tod Browning) is Zappa coming out of the toilet bowl.

Here’s pretazzo, grab Neil Young's album and then the Burrito's, there’s a big difference between tough ROCK ballads like Cinnamon Girl and Cowgirl in the Sand, and the COUNTRY of tracks like Sin City by the Burritos with Kleinow's steel guitar (who would later play on Willin' by Little Feat). They are truly two different genres, and I assure you that in my opinion, the Burritos’ style is much more "challenging," using the tender and sweet country to talk about drugs and malaise, rather than Neil Young’s punchy singer-songwriter rock, which is much more attractive and immediate to young people. It’s no coincidence that Neil's record sold like hotcakes right away, while the Burrito's was harder to digest and sell in America, accustomed to a country very different from Parsons and the gang's approach...

it was meant: <...it's no coincidence that Spacemen 3 revisited their "Transparent Radiation" in their "Perfect Prescription"...>

Well, I've never really seen Thompson close to the freak strangeness, a concept well encapsulated by Zappa in "we are only...". To me, he always seemed more like a quirky intellectual dandy than a freak. A collector of experiences and genres that he then made available in England as a producer for Rough Trade in the late '70s and early '80s, working with a wide range of bands from punk to new wave: Stiff Little Fingers, Scritti Politti, Monochrome Set, Raincoats, and the troublemakers Swell Maps. The result of these interactions is this record, and the easiest route is always to trace everything back to the Captain and the usual melting pot of disparate influences. But this is a record that places psychedelia (because for me the Red Crayola are a psychedelic band, and it's no coincidence that Spacemen 3 covered their Perfect Prescription) under the lens of the newly discovered punk-new-no-wave. Not by chance, on saxophone we have Lora Logic (X Ray Spex). Then it's clear that one can see everything in it, from Half Japanese to Slint, who at the time were family ties not even in the fetal stage, but today with all the musical knowledge at our fingertips, we include them to fill out the numbers.

Too soft? What were they supposed to do in 1969, hardcore country? The review seems a bit lacking for a band that laid the foundations of country rock, which was then tarnished by some (like the Eagles of Hotel California) and taken to even greater heights in the nineties with the alt-country of people like Uncle Tupelo. Parsons had started it all a few years before the Byrds with the International Submarine Band, but it’s a record like this that allows a genre (country) to address new and relevant topics such as the great metropolises of vice, drugs, dangerous living (We are not afraid to die), Vietnam, the malaise of existence (Juanita). For this reason, it's a revolutionary turning point, and even the Rolling Stones noticed, dedicating "Wild Horses" on Sticky Fingers a few years later to the Burrito's album.