supersoul

oleeinar, I chuckled at the definition of "attentive" for Schacher's bass, and a bit at "sparkling" for Farner's voice. The point is that these were three major musicians who didn't invent anything exceptional except for reviving the power trio formula as it was with Hendrix or Cream, and they brought it to a synthesis of hard-heavy-blues, even in a "radio-friendly" sense, in a handful of great albums. If we call them minor today, we risk forgetting that there were plenty of bands, which I have no trouble associating with the mainstream, that tried to clumsily copy that formula, which the GFR of that time managed to work beautifully, as evidenced by Homer Simpson's adoration for them.

I totally agree with shooting star, I don't agree with the definition of a lesser group. You can tell we’re in 2008 today, but in the mid-seventies around my way, Grand Funk records sold like hotcakes. I still cherish my vinyl of E pluribus funk with the round cover of the big silver dollar. Farner was a hell of a singer and guitarist, loaded with fuzz and distortion, and Schacher's bass shook the crystalware at home. Let’s acknowledge these things! I definitely prefer the overwhelming self-titled red album. Then they ended up in the mainstream, but albums like Live Album rock with those jams that double the length of the tracks—a real earthquake.

In my opinion, the review is perfect in terms of timing and content, pet is the companion animal.

What a fundamental group, how can it be considered minor? Listen to "Slip Inside This House" and tell me if R.E.M. didn't shop here. And after "I've Got Levitation," go find the "Levitation" from the eponymous 1980 album by Hawkwind and tell me... The first one rightfully remains the first, but the second is the second! The rhythm section changes, but Sutherland was also there on the first, and then after that, he ends up doing quite a bit of time for the usual drug issues. After all, the group falls apart, Rory becomes increasingly convinced that he is an alien, and Tommy Hall (who was the real engine of the group) spends more and more time having conversations in his head with God and Bob Dylan.

The most beautiful piece for me is Long Haired Woman; you can tell that something is about to explode in rock very soon, a ragged rock caught between the now-gone glam of NYD and the harshness of sick and rotten punk riffs.

Well, being a loser just for the sake of it because it seems cool, I believe it works as long as you manage not to pay the ultimate price or when you can make money with that image. I don't think people who scrape by on just enough money to survive do it on purpose. I don't think it was the case for people like Killer Kane or the great Johnny Thunders, who gave points to characters who made money by the boatload. I don't think it applies to people like Darby Crash, Richard Hell, Ricky Williams, Jeff "Mono Mann" Connolly, or even Mark Arm of Mudhoney. This is the underground fauna that has scattered incandescent nuggets throughout the history of rock, which I PERSONALLY love and for whom I wouldn't hesitate for a moment to choose their concert over that of Springsteen or Eric Clapton, just to name two of the undoubtedly talented artists listed by Melissa. If today we are eager for "newness" that once again ignites our favorite music, we owe it largely to this dark underground fauna from the past; you just have to stretch your ear into the distance of time to hear the voices, the silences, the screams, and the laughter of so many losers and desperate rockers who didn't make it just to look cool.

Unfortunately, I’m in a rush, but I want to thank the wave of people who participated, and I must say I was surprised by how many appreciated the piece about a character I would call unknown. So I say: long live Debaser! I'm sorry for Melissa, who didn’t get into the "collective trip" because I think everyone understood that the point was precisely to bring to light people who have talent but, due to a series of circumstances, have been flushed down the toilet. This was the case with the New York Dolls, who, as Donjunio recalls in the lyrics of the beautiful song by the Replacements dedicated to Johnny Thunders and company, are people who left their mark on those who chew on rock, which is not made solely of the big successful names listed by Melissa, but also includes those who have just one good pair of shoes to wear for the concert and who clearly aren’t “forced” to be photographed in that way with who knows what intention, but simply because the record label (Whiplash in this case) doesn’t even have the money for a decent cover.

but still, even the black keys aren’t indie anymore, now they’re recording with Elektra Nonesuch, before (their best records) they were with Fat Possum, which is an institution of wild blues: Little Freddie King, R.L. Burnside, T-Model Ford, Junior Kimbrough.

I’m talking about the film, and while the review is valid, it seems too restrictive in its judgment for a film that is, IN MY OPINION, always worth emphasizing; otherwise, the usual politically correct (who, in private, act as they please just like that moralist Senator McCarthy) that infest this site are always ready to accuse one of pedantry or arrogance. I was saying that, in my opinion, it is not bland or colorless as the reviewer ultimately judges. It is a film that has had great merits, first and foremost the ability to talk about a shameful period in American history not with bitterness or revenge but with a dark humor that is even more caustic. Moreover, it has had the merit of allowing Woody Allen himself to discover that he is not just a clownish comedian (in which he excels) but also an actor capable of complex interpretations.

I would have preferred a review of the Drim Triater....