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...the first two because this, in chronological order, comes immediately after.
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I really want to be wicked and suggest that besides ELP, Delago also brushed up on the use of the trumpet as done by the "progressively symphonic" Dutch band Ekseption. Which, overall, I think were inferior to the Klockwerk Orange album.
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NIBIIO is not exactly like that: as far as I remember, their records were released by Aberrant Records (who also published Feedtime). Amphetamine reissued the King Snake Roost records for the US market. Anyway, I would be cautious with the full 5 for the Kings (beyond the tastes, which I completely understand in this case).
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no psycho, absolutely different from a minimalist pre-punk garage artist like Yonkers (of which I’m pleased to mention the great review by Sharunas). The coordinates of Brooks are torrential hippy-psycho-heavy guitar work, mostly instrumental; it revisits the second "Raw Power" and you will see that it is much closer to Randy Holden, but as I mentioned earlier, much more redundant.
Neu! Neu!
31 may 08
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But weren't they the Big Babol?!? The ones Giovanna Pompilova used after the blowjob?
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It was a page that needed to be written because almost every trace of Brooks has been lost, just take a look around the web to understand it. Yet in the twenty-minute instrumental digression of guitar work in "Life Jam" (which is on the following "Raw Power"), Terry is the quintessence of the PURE guitar hero: Obsessively heavy rhythm, utterly ignorant, great technique, love for Jimi and the six strings, distortion cranked up, and a final melodic openness. It's clear that the genius lies elsewhere, but who says a guitar hero has to be a genius?
Neu! Neu!
31 may 08
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Right now, I am mounting the Rock Shox Pike fork on the Heckler for freeride, with 140 mm of travel on the descents over the milestone rocks that won't budge, I think I can go full throttle; who knows what Dinger would think...
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But I've told you so many times, Terry is a "cafone" and there are the long-winded solos and the castrato falsetto for an album that belongs to a certain era, and then we’re the ones rationalizing with the hindsight of the 2000s. The fact is that this album and the subsequent "Raw Power" (!!! Iggy!!!) are made specifically for the sandy beaches of Florida or Melendugno in the seventies, hair blowing in the wind (for those who still have it) and feeling, not reason. And for me, he’s more of a guitar hero than James Shaffer or Brian Welch, who instead belong in that book.
U.K. U.K.
31 may 08
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Progressive is a nasty beast; you need to know how to handle it, otherwise you risk falling into banality, and this applies to both musicians and reviewers. Fully agreeing with jargonking, here more than jazz, there are attempts at fusion. From "Dead of the Night," I even remember a version by Yngwie Malmsteen.
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I can't get it out of the player, a high-alcohol concoction that causes addiction, 12 shots a day with "Justify" and "Amy's in the kitchen" that are worth a double whisky.