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Sorry Contemplation, but among my (very few compared to rock) jazz records, there's also a Chick Corea "Now he sings, Now he sobs" that got offended because you didn't include it among the "gripping" pianists.
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@bjorky! this cover pales in comparison to the one from the Hipgnosis studio made for Lovedrive...do you remember the couple in the car with him pulling his hand away from her breast with strands of sticky stuff?
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At number 7, it refers to the "lack" of ideological cohesion...sorry
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Not even a month ago we discussed the black obelisk that we want to make… like Bill Murray in "Groundhog Day"?
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It was clear that nothing would change; I even told Bartleboom that yesterday. Just look at the front page where there are five reviews of "Gray Velvet," including yet another one of "Presence" by Led Zeppelin after not even a month since the last one published about that album...
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This review represents what I mean by knowing how to "handle" the material, something that unfortunately doesn’t happen often on Debaser. Perhaps Ely's best album, it takes me back to the frontier books of Cormac McCarthy; here it’s true that it’s too rock to be country and too country to be rock. "Letter to Laredo" is stunning and stands alongside it, but perhaps it’s too polished (and absolutely not rock) in sound, with a Spanish guitar that is too present yet beautiful. A great character, pure and passionate.
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Perhaps the limit (or the success) of the beautiful film that the most rigorous Germi was supposed to make is precisely the abundance of interpretative keys and an ideological compactness that instead characterizes "La Grande Abbuffata," a film that is closer to it than one might think.
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Rivoli, may you be blessed... I think this is the first movie with a good extraterrestrial, the Messiah who came from space to save us, and you put him in the midst of the evil politicians. This time he won't escape like he did in the film.
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And your rushed review to catch the train certainly won't help them be considered more seriously. Claiming as you do that "the music is fundamentally simple and linear, thus saved by the craft" means you've completely missed the band you're reviewing. Just think that the first side of the record can be likened to the jazz complexity of Miles Davis for its sonic progressions, sudden changes in rhythm, and chords. And the "worst" part of the album is the suite of the title track, which in this great album (which by the way will never capture the live greatness of the Dead) feels more like filler compared to extraordinary pieces like "Help on the Way," "Franklin's Tower," the fluid "Crazy Fingers," and "King Solomon's Marbles." Unmissable.
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And yes, this time Stipe got it right. The four MUST be unpleasant because they represent the models of the intellectual or the successful man, and the key point is not so much the bulimia understood metaphorically as wanting too much (eating) leading to the collapse (of capitalist society). Ferreri suggests, years and years before today’s “barbarian invasions,” the collapse of culture understood as a counterpoint to the overwhelming spread of the so-called "civilized" world that invades like a liquid blob. In absolute vacuity of their bourgeois existences and behaviors, the four replace the fullness of animalistic behaviors summarized in eating, shitting, and copulating. The message, as Aje says, is all too relevant.