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Well, have you noticed certain similarities in Metallica? You could say the same for at least 90% of the bands that play heavy music, given that Blue Cheer were seminal. Setting aside the riff and fuzz guitar sound copying, almost everyone has tried their hand at covering their songs, and most aren't even strictly heavy bands, such as Smashing Pumpkins, Melvins, Mudhoney (who shamelessly took from Blue Cheer on their first record, their version of Magnolia Caboose Babyfinger is amazing). To notice Peterson's bass only upon the arrival of "Satisfaction," I'd say you missed some terrifying tracks like "Just a Little Bit" where the bass and drums in rhythmic combination build up crescendos that can shatter glassware. Spectacular record, second only to the debut. For me, it's a 4.5.
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If there were doubts before that it was a fake, Mammuth with his intervention has dispelled them...
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Your premise is correct, but if we give four abundantly to the others, this one still deserves the four not abundantly (considering the fives often given to dogs and pigs).
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The poletti of the music section praises the ones (1972) to criticize the others (...which come 17 years later) if you want to hear some properly done modern progressive, listen to Echolyn.
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Three and a half of sympathy? Come on, Captain, this is a record of morbid darkness, guitar reverberated at full force, bass and drums that scream, McCulloch with a showmanship that other singers can only dream of. Tracks like the title track, the Cutter, Back of Love, Heads will roll are unforgettable through the ages. Amen.
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Okay, but I believe that Dale had more influence on people like the Beach Boys, and I agree with the influence of the horror aesthetic from Screamin' Jay Hawkins, as I had already pointed out some time ago in the other review on the Cramps for Psychedelic Jungle. Long before the English Screamin' Lord Sutch.
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Judge, look that in Ariano Irpino there are no buffaloes...
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Oh yes... Radioactive is famous for its tricks, including unauthorized publications... but the important thing is the content; even though to those who enjoy Californian psychedelia, I would recommend Pearlman's first release, that "The beat of the Heart" from '67, which sounds as if the Doors got stuck between the doors of perception.
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@metallaro: "A Crossroads of Death" and "Fargo" are quite steeped in irony compared to this one, which is colder and less typical of the Coen brothers in its unfolding, but an overwhelming presence hangs over all three, call it chance or its opposite, the written and marked destiny. @dellas, I agree about "Dirty Money," which has extraordinary emotional tension, linearity, and a twist, but in my opinion, it doesn't hold up against the charm of No Country for Old Men. There's another film I would like to point out regarding the issue of the loot made up of "dirty money," and that is the classic "Who Will Kill Charlie Varrick" by the great Don Siegel. A masterclass in cinema featuring a legendary Walter Matthau... the star of the show.
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clearly this album for me gets a 5 because it's a cult, confirmed by the fact that on the spine of the cover it says "file under sacred music"