supersoul

@saputello...if you know the story of Havel, you also know that Frank went to those parts for business; in fact, he returned home with a consultancy contract for his company (the Why Not?) and even sold the Czechs the translation of his autobiography (not to mention the contract for marketing Ben & Jerry ice cream in Russia!). Anyway, you make the mistake of looking at the finger and not the moon, because you fossilize your accusation of pretentiousness on my statement that a riff or piece of one could have been taken from the other, etc. And indeed, you make the clichéd reference to the old Zappa/Stravinsky affair, as old as the hills, or rather the parallel between "The return of the son of monster magnet" (on Freak Out) and Stravinsky's "The Rite of Spring." If anything, instead of Goldfrapp, if you actually owned the original vinyl of Freak Out, you would take a look inside and see that Zappa cites a hundred names that he believes contributed to his music. Besides rock and blues musicians, there are quite a few jazz musicians including Mingus, Eric Dolphy, Bill Evans, Roland Kirk, Cecil Taylor, and composers such as Boulez, Charles Ives, Luigi Nono, Ravel, Schoenberg, Stockhausen, Stravinsky, Varèse. The greatness and genius of Zappa lies in the articulation and complexity of his music combined with a manic arrangement and a top-level execution, things NEVER DONE BY ANYONE in the realm of common rock music. In short, what I contest, and what gives me hives when I read it, is the statement like "brimming with brilliant ideas" when those ideas seem to me like yet another rehashing of Zappian architecture. And any attentive listener of Zappa (whom I don’t see mentioned among your favorite listens) immediately notices when a band is DERIVATIVE of the mustachioed one.

@ChuckNorris of this crap, my mom is missing dinner because she died a long time ago, you should worry about yours instead.

@saputello: I think that if you really knew Zappa and not just one or two albums (and maybe even the Residents), you would know this too and wouldn’t be asking this question. I’ll copy and paste a post of mine on a review of Battles: "Speaking of Battles and Zappa, take 'Tonto' around 4 and a half minutes, when the bass is the only one carrying the theme, and now take the CD of 'Imaginary Diseases' by Zappa and play the track 'D.C. Boogie.' Well, listen to the bass leading at the beginning: identical. Uncle Frankie was right in his review of Lumpy Gravy." Dear sirs, here the word "genius" is thrown around too easily for anyone and everyone. In twenty years, someone else will come out with this stuff and the kids will exclaim: "WHAT A GENIUS!!!!" Saputello will say: "What kind of genius are you talking about! These things were already being done by Battles and Claypool twenty years ago!" And he won’t remember that this idiot of supersoul used to say that Zappa did it twenty years before Battles and Claypool. This is life, guys...

Well, honestly all these current Zappa-like upheavals (see also Battles) are starting to really annoy me. The reviewer says brilliant ideas... just take a record from the mustachioed guy or the Residents, and this stuff has already been laid out in abundance centuries ago. Claypool still wants to sing through the megaphone, but Primus was a whole different (great) thing...

LONG LIVE the night sluts! DOWN with those seen in Max Ophuls or Lubitsch films!!

see purple, you have to be one of those alternative snotty brats who think they're superior to those who listen to Avril Lavigne and watch Moccia's movies just because they know Iggy Pop dives off the stage and Sid Vicious was an idiot who died of an overdose. But you’re all talk and no substance, you love giving one star to Pink Floyd reviews as if their album was shit compared to this mediocre record by a great but poor junkie who was barely able to stand up to play. I’ve seen you use terms like “he’s kicked the bucket” and stuff like that, and you laughably call this other poor bastard Vicious an idiot for dying young a miserable death. I feel sorry for him; he was put in that situation by Rotten, who cowardly said in the end, “he went too far and he didn’t even know how to play.” Now here you come, spewing your teenage judgments while playing the tough punk girl with thirty years of delay. And you know what? Go fuck yourself!

If it sucks, why do you vote for yourself to boost your score? The problem is that you start off wrong by defining Thunders as a decadent icon of three-chord rock. He was never a three-chord musician, but a great one even with the New York Dolls. When in 1976 the Heartbreakers landed in England called by Malcom McLaren for the Anarchy tour that went to shit, it was evident that they were far technically superior to the punks who played three chords. And if that idiot (as you call him) who replaced that great bassist that was Glen or Glennnn Matlock is now dead from an overdose, it’s precisely thanks to the Heartbreakers who brought heroin and Nancy Spungen from the U.S.

fosterkane I'm truly sorry that you get so impatient like this, but I'm speaking as someone who has seen ALL the Coen films in theaters since their release, and I can afford to say that they've done great things but also some cash grabs that I wouldn't have expected from them. They are among the best of recent times, they know cinema (unlike many of their fans) and know how to use it, but I don't place them among my all-time favorites.

Thank you but... bjorky, weren't you the one who loved sound orgies and distortions as well as Royal Trux? Then you absolutely can't play records like "Off White" and "Buy the Contortions"!!! Just consider that "baby face" later lent his sax to that bunch of troublemakers, the Jon Spencer Blues Explosion... listen with confidence and then revisit...

Aahahahahahahahahah.. this Apple is a born comedian, but how do you come up with these jokes just on the spot? Go perform at Bagaglino and make some money instead of spouting nonsense for free.