supersoul

I would like to know how the hell you can love cinema and then watch first-run films by downloading them from the internet. I don't want to get into the legal aspect of the matter, but rather the beauty of the big screen, the charm of the cinema, which fortunately still exists among many enthusiasts. As Eletto 1987 says, it remains alive; otherwise, we would see supermarkets and banks instead of movie theaters. That said, I see that Poletti is once again rambling on about nothing, saying "Then the discussion about America made by the Coens has been the same for ten films now," which means either he hasn't seen the film (as is the case 70% of the time he weighs in) or he doesn't understand a damn thing, because this is a very different film from the excessive style (and discourse) of the Coens, who here are instead tied to a cold, terse writing style, almost alien and distant from the McCarthy events, visually reproducing this writing with a style that Poletti naively (and foolishly) defines as "made more with the brain than with the heart." Dear Poletti, the Coens have made a film that in the years to come, when you'll be an old man reading the critiques of Morandini's and Mereghetti's grandchildren in your rocking chair, will be considered a classic.

Go tollani, there's a lot to explore in the meanders of the assault on culture era. I prefer this one by Peel because it's more garage than the one with Apple, where you can hear the Fugs' influence more clearly (which I consider of incomparable importance in the history of music) and Country Joe McDonald. If you allow me, I’d like to point out another extremely important group (more for its aesthetic-revolutionary form than for its music) from the San Francisco area: the Charlatans, which is absent here unlike the British pop group of the same name that has been reviewed several times on Debaser. Again, great job on the suggestion.

Holy crap, what a group! Today we're talking about stoner, etc., but I remember when this album came out, Wynford and co.'s intention was to be the new Black Oak Arkansas or Grand Funk Railroad! For me, a track like "Phill Shovel" is the quintessence of my idols: a riff like Blue Cheer, doom vocals like Sabbath I, and a grand finale with psychedelic/spacy guitar like Hawkwind. Tell me, what the hell can you desire more from music?

Like the fest, I only know Corsario Negro, which struck me as being on the verge of ridiculous heaviness (...planeta solitarioooo... lucea noche e diaaaaa). I haven't heard this one, but I strongly doubt it.

For me, Live in Europe is no less than this; on the contrary, I have a deeper attachment to it. Songs like "In your Town" and "Going to my hometown" still make me jump out of my seat. He and others like Jeff Beck deserve to be hung up as posters right above the headboard of the bed.

poletti curati

when muffin man used to kick you in the ass, he was a pathetic jerk, now that you say he understood you, he’s become a saint... this is poletti, the charlatan described by bjorky. not even the Alberto Sordi from "Un eroe dei nostri tempi"

Well, after hanging around this site for a while, you start to get to know your regulars, like that one from comment 5. Even villagevoice, if they stick around, will do the same, just like I did and I believe you did before me, captain.

Sure, captain, the debate is what makes uninteresting reviews interesting, but I see that few reviewers accept it when 90% of the comments tear a review apart. If someone doesn't like it, I don't see why those commenting should sugarcoat it with "well, come on though" (always remaining within the limits of decency in the terms and expressions used).

@villagevoice your comment is as useless as your review of Dylan. On Debaser, I've seen some decent reviews from people who have "tackled" albums without writing the same old, recycled stuff, and even much better than so-called expert journalists. The fact is that here, 99% of the time, we're reviewing old albums that many Debaser users have in their DNA, and therefore you need to say something new to be appreciated, not the usual spiel that describes every track, which might be valid for an album that came out yesterday or this morning, but not for classics burned into the auditory canal of every passionate listener.