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@vortex of course Wallis is involved, and I’d add that as a kid he was the guitarist of legendary bands buried in myth for having made zero records and only gigs, like Entire Sioux Nation and then Shagrat with Steve Took. @imasoulman, right, on that album there’s even a "Marylin" with a "Born to be wild" riff thrown in :)
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Hello to those present, I didn't give this album a 5 for a couple of reasons. One is the duration, in the sense that a live performance should last longer than a meager 38 minutes, and another is because there are only two original songs by the Fairies, plus two (wonderful) covers of Lou Reed and one of Lucille, while they're missing a hit like "Do it". Moreover, this album was posthumously released by Big Beat only in 1982, and today you can find the CD reissue, but unfortunately not with the entire concert—only with some unreleased tracks and songs with Twink (including a super version of "Do it"). The concert was a firestorm from beginning to end (without any spaces), unlike some softer tendencies sometimes highlighted in the three studio albums. PS In the video, there's a medley that starts with "Uncle Harry's Last Freakout" and flows into "City Kids," which is truly a pre-punk anthem...
Roy Harper HQ
7 dec 09
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But here we must remember the magnificent work of the legendary Chris Spedding on guitar, whom Roy had recruited along with Bruford to form a rock band called Triggers. One of the best albums of the "loony on the bus," starting with the Hipgnosis studio cover.
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I believe I’ve already commented on some of the previous reviews about this film; I don’t remember if it was specifically Alessio’s, but I still think it’s a great manipulative film that uses history, music, characters, and rhetorical situations to entrap the viewer in an emotional spiral where the tear falls at the predetermined moment. We're talking about "1984," but in my opinion, films like these tend to govern the viewer's brain…. far from the absolute visual and acting coldness typical of German cinema, everything here is designed to move you ;-)
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@reverse for the trail course available online, here I am:)))))
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For me, it's the least preferred album of the first three by Beggars Opera, who here seem like a different band compared to the operatic Passacaglie of the first :)))). It's true that there are more guitars than the keyboard frenzy in the hands of Alan Park, who had just graduated from the conservatory, but here they are much less progressive and more mainstream; just look at the cover of "Mac Arthur Park," which sung by that great actor Richard Harris has its own significance, but done by them makes me snicker because of the pomposity of the singing, not even Sinatra... The most beautiful piece on the album, in my opinion, is "The Witch," with an almost Uriah Heep style, a pulsating bass, powerful guitar riffs, and Hammond to reinforce it.
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extraordinary album, but here the cheerful multinational crew of the first two albums is reduced to a trio: Van, the multi-instrumentalist, Muir, and a drummer. Yet the album has a surprisingly rich sound; the first side is more electronic with that filtered voice that seems to come from a parallel universe. Those ethnic percussions will be the daily bread of more recent space travelers like Ozric Tentacles, and the cosmic synth that leads the last track of the first side reminds me a lot of our own Sensation's Fix. On the second side, there are two ecstatic acoustic pieces, one led by the flute in the McDonald style of early Crimson, and one by the piano. PS But isn't the original RCA Victor vinyl from 1973 the one with the cover featuring the Egyptian canoe carrying the corpse, with the verses of Muriel on the sail?
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The ugliness of the Pistols? It's got nothing to do with this; in fact, Lydon wanted everything except for the Pistols to be heard in here. Here we have the ugliness (and they were really ugly, not fake like the Pistols) and the repetitiveness of Can and other krautrock. I believe Lydon repeats the name Annalisa at least two hundred times :))))
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One of the most extraordinary books I have ever read, in its irony it has moments of absolute emotion. There is the beginning and the end because it is a coming-of-age journey that Oedipa undertakes, after which she will never be the same. The review does not do it justice, and not because of its brevity, it's just that "you haven't really entered into it":)
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To satisfy the vigilante, I’m waiting for comment number 100 to specify, in my humble opinion, how childish this De Lorenzo is, but how even more ridiculous are the self-styled frustrated communists like enbar77.