supersoul

Blackdog, the MC5 didn't need to put the burning monk on the cover; I think you know those guys were tied to the White Panthers and some of them did some time in jail for political reasons. There are the kicks in the ass from the MC5 to the conformist society of the time and the pinches on the butt from RATM to the consuming society that also digests and craps out Zac De La Rocha and Tom Morello.

Great review, it captured the essence of the Mekons, who were an absolutely unpredictable band capable of effortlessly crossing genres, capable of shifting from fun to ball-breaking. I've always seen them as the Camper Van Beethoven (blessed be they) of England. But this isn't their best album; for me, "Fear and Whiskey" and "The Mekons Rock 'n' Roll" are of a higher quality.

Back then, I bought "Bring your camera," which is the predecessor of this album, because I had developed a crush on John Zorn's Naked City, of which Horvitz was a part. I've always seen The President project as a jumble (in the good sense of the term) of great and skilled musicians, but with results that fell short of their potential. I even bought the album by Robin Holcomb, Horwitz’s wife (backed by The Presidents)—how many mistakes we make in life, huh?

5 to the unraveling of Contemplation...

Let's skip the review since it would be like shooting at the Red Cross, but right now I'm cracking up at blackdog's comment on number 26. I just ask John Sinclair, Fred Sonic Smith, Wayne Kramer to forgive him because he doesn't know what he's saying.

@pretazzo and so you will admit your point about what the Mats have to do with the Husker has caused a bit of confusion, but the fact is that the Husker represented a stylistic example before they became MORAL, in fact they were like monks compared to those crazy replacements. @alfredo, the arrogance is seen by you, because I honestly really laughed heartily at certain statements, do you want some chronological examples? "always found them rather mediocre and run-of-the-mill," "what do the Mats have to do with the Husker du?", "oh but is this alessioiride from Naples? oh but they always want to be right, don't they," "I've never tolerated the rhythmic flatness of HD" (!!!), "If you don't like them then it's just your business, but don't involve the Husker... Meditate meditate"... see how many nice opportunities there were to have a good laugh, alfredo?

Dear pretazzo, maybe you had to stay in Minneapolis since 1979 to understand this debt owed to the Hüsker Dü, who since that year were the next big thing in town and on whom other local bands like the Replacements and Soul Asylum modeled their sound. I repeat, if one listens to the Replacements' Pleased to Meet Me or Don't Tell a Soul, the reaction will inevitably be that the Mats have something to do with Hüsker Dü. If discussing the reality of the facts means making judgments, what can I say? Let’s all love each other and screw Hüsker Dü! Long live Nicola Di Bari!

"Originally, the band was called the Impediments, but they changed their name to the Replacements after being banned from a local club for disorderly behavior. In their early days, they sounded quite similar to Hüsker Du" (by Stephen Thomas Erlewine)
"Stephen Thomas Erlewine is the author of thousands of artist biographies and record reviews, as well as a freelance writer, and has written several liner notes."

Of course, the discussions here are all laughable. Pretazzo says, "Regarding Hootenanny, the only track I listen to with some frequency is Color Me Impressed," but I believe he’s listening with his ears lined with bresaola, because it’s a song so stamped with "guitar melody" Husker Du that you couldn’t get more. It’s clear that Westemberg then took a path all his own, but the early Replacements owe Mould everything, down to their underwear. Listen to the EP "Stink," which if I remember correctly preceded this album, and maybe you’ll reconsider.

Friend NIBIIO, these ones are white, they have to learn the devil's music and maybe negotiate to make a fucking black record and that's worth the bonus. And then RL Burnside was flirting with the devil in Too Bad Jim, then at seventy he started making rap and hip hop records with Kid Rock, just the name is enough. Anyway, I believe the Devil is the owner of Fat Possum.