supersoul

Farner usually played guitars made by small independent builders like Micro Frets or Messenger, his most famous one being a Gretsch Country Gentleman.

As a kid, I bought all the Grand Funk vinyls up to the coin cover of "E Pluribus Funk," and this reviewed one is the weakest. I had a profound admiration for this trio, especially for the self-titled Red Album. Here, the songs are rather weak; the cover of "Gimme Shelter" is, in my opinion, uninspired, lacking the necessary tension. The slow tracks like "Comfort Me" feel like filler, while on their other albums, GFR are truly impressive—the bass from Schacher shakes the glassware. Back then, they were churning out an album every six months, and it's tough to always expect the highest quality. For those who don't know them, I recommend the 1970 LIVE album; it ROCKS.

When I get back home, I’ll listen to it again and I’ll be more precise (if that matters to anyone).

I grabbed this record for a few lira (back when lira still existed). Major disappointment, in my opinion, it's the lousy production by Rubin that makes them sound like a Mesozoic Van Halen. I remember them being quite commercial, the singer also pretty lackluster compared to American legends.

Aaahhhh what a touch to hear: ".... but they were made up for an inner anger." Please!!! These clowns were dressed up by the careful management of EMI, and let's not forget the Spandau Ballet workers dressed in velvets, lace, and frills, performing only at wealthy private parties?

"The lysergic values are quite high even if very well mixed with abundant ounces of calm and sharp metallic impositions that, however, manage to mark the pieces in a way that, thank God, is indelible, with a one-of-a-kind orchestration." Excuse me, Mr. Enbar, but you are insufferably a fop. It was enough to say that after McDonald's departure, Fripp goes at it with the mellotron.

And this time I hit the nail on the head when I said in his review of Pink Floyd: Crimson King fans stay tuned! For my taste, the review is the usual jumble of flashy terms that ultimately say nothing at all; even my grandmother knew this was inferior to the debut. But why does he say the drummer was replaced? Wasn't there still little brother Giles playing here, or am I losing my marbles? Next up will be the Grateful Dead.

As a boy, I must have seen this film about ten times, in fact, every time it was broadcast on television, and in the end, I would get moved like an idiot (those were the days). The original title gives it all away, just like the dilapidated house at the beginning of the film when Alva's little sister, in the red dress that belonged to her, starts telling the story. It's a film with a lot of stereotypes, but it has its charm for the beautiful love story. Alva, due to her beauty, is exploited by the community she lives in, especially by her mother, who sees her as property (hence the original title). The scenes of Alva wandering around New Orleans are lovely. Natalie Wood is incredibly talented and beautiful. "They Shoot Horses, Don't They?" is a completely different matter, mercilessly allegorical in its condemnation.

You're being imprecise, my friend. "Chinese Rocks" was written by Richard Hell (never heard of him?) along with the collaboration of Dee Dee Ramone. It was Hell who brought it to the Heartbreakers during the brief period he played with Thunders. When the Heartbreakers (without Hell) went to England, they recorded L.A.M.F. and included "Chinese Rocks," which they always performed live, and clearly Thunders put a lot of himself into it, even adding his name. Dee Dee Ramone has always contested Thunders' authorship, and just to clarify, the Ramones recorded it years later. I have to say, I'm bothered by your posh gossip language, like "partner in pears" and "he's croaked." Have a little respect.