supersoul

Allow me to be doubtful about the last statement; Cocker was a great performer who did not engage in composition, placing himself in the hands of Stainton and especially Leon Russell (not to mention Dylan, Coen, Lennon&McCartney, etc.) for the second extraordinary album of the same year, 1969. After these two amazing albums and the great live performance the following year, he progressively became complacent. I believe that, despite its beauty, this was not one of those influential albums for those who loved and artistically followed the traces of the Woodstock generation.

It must be said that this was a film commissioned to De Palma based on the television series (early sixties) The Untouchables. The script was written by a great like David Mamet, and De Palma turned it into a "classic western" with the good guy asking for help to fight the bad guy and then riding off into the sunset. It seems simple, but then he showcases all his mastery of framing and references, with the peak achieved in the station scene, the slow-motion à la Peckinpah, and the baby carriage on the stairs like in Battleship Potemkin. A scene that has been used as a calling gag in dozens of films, such as Love and Death by Woody Allen, Naked Gun, Fantozzi, where it only works if you know the Eisenstein film, but here it stands on its own. In my opinion, Costner fits the role well because he is as dull an actor as the character of Elliot Ness.

Yes, in the dream one can find their own revolution, but break down the wall and what do you find on the other side? The same alienated humanity wandering in the fog, in the capitalist system you never escape from the factory. Great film, loud and over the top, shot in a failed factory occupied by workers, with Volontè getting into arguments with everyone. As the reviewer says, what Petri erupts with this film should please no one, absolutely no one.

If you want something even rottener from Roback, then you have to put on the table his album from five years earlier under the name Opal: "Happy nightmare baby." There was the depressing yet extraordinary voice of Kendra Smith creating that atmosphere invoked by Tarpit. Now there's Sandoval, and that's another story, but here there's a great variety, nothing flat about it. Great Roback, I've always seen him as an acid psychedelic, I didn't know he also did SHOWgaze!

as vortex rightly says, the original core of Motörhead was Lemmy and Larry Wallis, who came from the more laid-back and hippie bands of the time, like the Pink Fairies, who played hard blues that was intense and psychotic, bearing little resemblance to the culture of heavy metal.

"I'll take care of you" is a classic piece that has been covered by at least fifty performers, including the beautiful version that was in Elvis Costello's early eighties cover album "Almost Blue."

I don't know what you mean by definitive punk, but in my opinion, a band that dresses in rags (and not glam), plays three-chord songs for two minutes in a unique roughness, brings chainsaws and sickles on stage, members fight each other and with the audience, concerts end with the arrival of the police, and can't find a contract, well, for me this is a band of DEFINITIVE PUNK way more than the Ramones...

The Who, the MC5, the Stooges... but none of you guys realize that the sound of the Ramones comes straight out of a mid-sixties garage? I mean, from the barely two minutes of "Strychnine" by the Sonics or those of "Pushin' Too Hard" by the Seeds?

"Before them, we had never heard songs under 2 minutes that were so fast and intense; in this sense, they took it to the extreme." Perhaps it would be better to say that before them, they never made us listen to songs under 2 minutes that were so fast and intense. The Electric Eels ...http://www.debaser.it/recensionidb/ID_22268/The_Electric_Eels_Their_Organic_Majestys_Request.htm, for a quick listen: Featured Content on Myspace