supersoul

category???sure!

Yes, because I would have been somewhat biased, I belong to the first category of the closing sentence.

Aahahah who is Glenn Matlock, the one who teamed up with Midge Ure pre-Ultravox and Rusty Egan from Visage (I mean Visage!) to make a ridiculous album like "Ghosts of Princes in Towers"? ...come on!
As for Johnny, I stick to the numerous live performances that showcase the Heartbreakers' outputs and "So Alone." This one didn't really excite me, there’s even a jab at Doris Day with the song Que será será, which you consider a nostalgic move. However, I really like "Copy Cats" made in '88 with his girlfriend Patty Palladin, who reinterprets a series of rock ‘n’ roll classics from the golden age in her own way.

Well... purpulan, I can't follow your reasoning. With Warehouse, Husker Du "liberated" themselves from that historiographical freeze (even in form) that you criticize, with an album you can listen to today as a timeless classic. Instead, you prefer bands like Youth of Today who sound like 7 Seconds years later, and Gorilla Biscuits who sound like Dag Nasty years later...

if this record deserves 3 then let it be the end of the world in 80 days. When I put the CD in the player I can never pull it out, it wraps you in its sick atmosphere with one song after another just like a drug. It's dirty and wasted like that photo of Keith Richards sitting on the floor with his back against the amplifier, the guitar between his legs, barefoot with striped socks, wearing that goofy grin that reveals his rotten teeth before collapsing into unconsciousness. How wonderful it would be if this record had been the epilogue of the Stones...

that was the point, cox...

Well!!!! I really can't conceive of a masterpiece like Warehouse, which is part of rock history, being worthy of being remembered alongside those of the Stones or Beatles, as if fossilized in a historiographical perspective... so the good vortex is right when he concludes with a controversial "a band not accessible to all listeners"?

@blackdog I completely agree with the bleakness of the initial warning, but here we have people (let's say: andrea/london) who can grind your nerves until next Christmas if you don't adopt this hole-riddled condom of a warning. We're talking about films from many years ago for which, IN MY OPINION, discussing the plot and the ending (and sometimes it's essential to continue a certain discourse) does not detract from the viewing experience and enjoyment of the film, which has other values to reflect on.

Well! I have the impression that this album has become punk for everyone since John Lydon mentioned it as an influence, but there's very little "punk" in it, maybe just the title track and "Birthday Special." More than anything, Hammill is trying to stick to the four-minute song form that he had already successfully navigated, for instance, with "House with No Door" in VDGG. In short, he's trying to be a rocker, and for this reason, he adopts the persona of Rikki Nadir, a sixteen-year-old guitarist whose adventures he narrates. The new formula particularly benefits Jackson's saxophone, which, in the absence of blazing guitars, is the most rock-oriented instrument on the album. I see it as closer to certain things by Roxy Music than to punk! The fact is that Hammill's covers weren't done by punks but by "Roxy-style" people like Marc Almond ("Vision" and "Just Good Friend"). The track-by-track review, as Bartleboom says, is always to be avoided; it drains all personality from the review itself.

For me, honestly, the Coen brothers are a bunch of clever tricksters; they are an encyclopedia of cinema and know how to fool you with the use of all possible film genres. Just look at "The Man Who Wasn't There," which plays at being a 50s film noir. In my opinion, their creative peak was reached with the immeasurable and anarchic "The Big Lebowski." After that, they stopped making cinema and started playing around, as seen in "Ladykillers," "Intolerable Cruelty," and in some ways even "The Man Who Wasn't There," which I think is a perfect wank of thematic citations (like cynical and cheating fate) already seen in "Blood Simple," "Miller's Crossing," "Barton Fink," and the same "Fargo," which are instead magnificent.