supersoul

Numbers 19 and 20 say it all... I don’t think Kubrick was interested in an explanation of things as a necessary cycle from the primitive ape to the final superman. We all question the meaning of the monolith because we are inclined to see a mechanism of history, while the director ends the film with the fetus looking at us. And what the hell does it have to look at us for? That’s the question to ask, not the reason for the monolith.

In parentheses, Manzarek will later demonstrate his genius when he and Krieger want to sell the Doors' songs for advertising campaigns. We owe it to Densmore, who fought the most with Morrison (Jim wouldn't have wanted it), that today "Light My Fire" is not a jingle for some brand of lighter and "Riders on the Storm" doesn't advertise some car or motorcycle.

Crimson King and Grateful Dead fans: stay tuned......

Fripp is a cunning one; I smile at Burrel's voice passed through the VCR to make it sound as much like Lake's as possible. This is a freejazzsoulfunk album, and traditional prog Crimson lovers should keep their distance. I quite like it; too bad about the recording, but maybe it's for the best.

I haven't seen him in ages, but Baron Fefè is etched in my memories. Germi always struck me as excessive, both in melodramas like "Il ferroviere" and when he later shifted with more success towards social satire. Here it seems that Sicily is the melting pot where all the evils of Italy at the time flow together, a bit like warning the emigrants who poured into the northern cities: look at how you've turned out. While, in Germi's intentions, the satire was aimed at a whole nation. But I believe the film does little to convey this to the rest of the Italians who left the cinema snickering at the horns of that peasant baron, forgetting about their own.

Right, Tom Traubert, especially since their first single "Arnold Layne" had been produced by their friend Joe Boyd with whom they had a strong affinity, and they were disappointed when EMI brought in their "henchman" Norman Smith, who was more of a savvy, "market" guy in stark contrast to someone like Barrett.

Excuse me, what does it mean: <It would seem to say to them: "Psychedelia is our thing, gentlemen, step aside!">? This is a Syd Barrett record, the ones from Pink Floyd will come later.

And this is the analysis of Clarke's story; when will the review of the film be, rivoli?

Oh no antiCOMMUNIST... for me, the era of political correctness and understanding for everyone is over. On other occasions, you have written that on this site we should judge reviews and albums, not other things, and then you slip in slogans like "Padania libera" and dig at the government (in THIS context, I don't care whether it's right or left). Therefore, I’m tired of being polite with the clever ones who want to march on us, asking for respect when they are the first to disrespect others. As you have slyly asserted, this is a site for music reviews; anyone using nicknames like "antifascist" and "anticommunist" (parading their political faith in the comments) is, for me, an IDIOT, and it makes me sick in an undemocratic way to see their comment on my review. Do you get the message?

plenty of references, Black Sabbath with keyboards, "Wild Wind" truly sounds like a Kevin Ayers piece, "Stay Free" even resembles Satchel from EDC; I find them too scattershot. To give an example of music that looks to the past but with a strong personality of its own (even if on a different and more roots level), I would say Howlin Rain, but these Black Mountain are too messed up, and I personally don’t appreciate it. In my opinion, the three you had given them fits well.