supersoul

The reviewer might not appreciate this, but Debaser also gives the opportunity to vote on reviews, and that's simply unacceptable for a masterpiece that I love dearly. The album kicks off with "Like a Rolling STONE," and Dylan had already made a turn on the first side of Subterranean Homesick Blues. It's not just Al Kooper and Bloomfield, but also a great session man from Nashville like Charlie McCoy on guitar.

I listened to the album because Antony has an exceptional voice, but I haven’t yet done your outing towards the dance, damn it! Listening to "Hercules' theme" reminds me of that scene from the movie "In & Out" with Kevin Kline, where he undergoes the virility test with the cassette tape dictating the rules, and in the background, Gloria Gaynor’s record says, "a real man doesn’t dance: resist! think of Schwarzenegger, he doesn't dance... he barely walks." It’s clear that Kevin Kline cannot resist and gives in to the rhythm...

Poletti: "Dear Supersoul, what the hell does Spartacus have to do with it?" So let's take a few minutes to copy and paste the plot of Spartacus for Poletti. <The gladiator Spartacus organizes a revolt with the intention of reaching a free country. The army of slaves begins to seriously concern the Roman Senate, which decides to stop him. But Antoninus, a great friend of Spartacus, warns that a Roman legion is advancing. Thanks to this, Spartacus manages, in an ambush, to defeat it, then heading south. However, having failed to bribe Arab pirates for some ships in return, he has no choice but to attack Rome. The war between Crassus's armies and the 60,000 slaves begins. Tens of thousands of men are massacred in a huge struggle, and Spartacus is defeated. Crassus has all the prisoners crucified, except for twenty, who must fight unless they reveal Spartacus's hiding place. He then presents himself, reduced to a pitiful state due to his wounds and the long march; forced to fight in the arena with Antoninus, after killing him, he is nailed to a cross and placed near one of the gates of Rome. Spartacus, with eyes wide open from pain but at the same time filled with the light of triumph, follows the chariot carrying his wife Varinia and his son toward a better future.> So Poletti, do you realize that Kubrick's Spartacus is much more relevant than that damn Ejzenstein whose name you throw around to show the Debaser crowd that you’re a great film connoisseur? You mention battles; someone has even pointed out Kurosawa. And why not mention the one between Assyrians and Thebans in the desolate audience in "Totò contro Maciste"? The strength of this film lies entirely in Gibson's face, painted in blue and white checkers, under a mass of tousled hair contorted in a mad grimace. You say the League used it, but even down here in the south, my city is plastered with posters featuring that face with the caption, "Rebelling against the Gestline is right: don't pay," against the collection agency for municipal tax bills. If instead of Gibson, they had put Nikolaj Cherkasov, only Morandini and Mereghetti would have rebelled (and you would have done it only if those two gave you permission).

In "Clumps of dirt" on the first self-titled album (self-produced), they sound like PFM jamming with the Allman Brothers...

Echolyn. Trust me: they are exceptional for those who love progressive (the real one, not Genesis).

First of all, I congratulate Bjorky who, after always defending Poletti, has finally seen the light by describing him very accurately in the review of "Sister Act." The review is terrible, showing a ridiculous bitterness towards Gibson, who may be coarse and amateurish, but his reference was "Spartacus" and not the films cited by Poletti. For me, he managed to set up a great spectacle that I would have enjoyed immensely if I were many years younger, and I have never felt the need to compare it to Ejzenstein, Welles, and Bresson. The problem with Poletti lies in writing reviews as if his intent were to demonstrate that the audience (and Debaser users) are gullible fools. If he insists on this path, he will always get a 1 from me.

I actually liked it quite a bit. The review even more so. But I would be cautious with these statements about being a child of our times. Take the title track, almost thirty years ago there was another figure (whom I, unlike many Debaser fans, hold in high regard) who used to torment us with these litanies (just listen again to his "Banging the door") just like Efrim, and I have to say I liked him much more (a lot).

Yes, ghemison is free, consisting of improvised sessions by various artists in the psychedelic scene around Swamp Records, perfectly recorded in studio and made available on the website for about eighty minutes that brought me back with immense pleasure to the good old days of rarefied quicksilverian moments. @festwca it's true that we are in the guitarist vicinity of Colour Haze but here there’s a leaching treatment that projects into a timeless space, avoiding (due to the presence of more stoned characters) the stoner temptations of Koglek and co. @OleEinar and what if we instead did a USA progressive (specifically Philadelphia) that has been surpassing Gentle Giant since 1991? @bjorky: I've never seen Tom Petty in that pose so yeaaaah, he looks more like Mark Farner from Grand Funk Railroad.

"GIVING 5 TO RHAPSODY EARNS 50 DAYS OF INDULGENCE FOR ACCESS TO VALHALLA. TODAY WITH GOOD FRIDAY THERE'S A BONUS THAT DOUBLES THE DAYS. TAKE ADVANTAGE OF THE OFFER AND VOTE AS WELL! STAY RHAPSODY!" damn... I'm taking advantage of the offer right away!!!

Sorry enbar77, sometimes I play the reviewer but I’m an atheist and I can’t ask the Lord for mercy for you who judge a masterpiece (5) the little pop song by Supertramp, and a little more than sufficient (4) the first one by the Doors, "Pearl" by Joplin, "Pipes" by Floyd, which completely outclass the Supertramp album (and let’s not even get into the 5 for "Their Satanic..." by the Rolling Stones which doesn’t fit at all). This alone is enough to doubt your reliability as an "evaluator."