supersoul

Bah... I can't understand WHO would have overestimated the garage rock of the eighties. I believe everyone, including the performers, was well aware that it was a moment of rediscovery and promotion of the sixties sound; otherwise, the Miracle Workers themselves wouldn’t have called themselves that in homage to the song by the Chocolate Watchband. Therefore, I don't understand the attempt to "downplay" this movement as bullshit, which at a time of fleeting and commercial trends simply reaffirmed the love for immortal music and never claimed to be innovative. The beauty of people like Protrudi, Jeff "Monomann" Connolly, Peter Zaremba, Greg Prevost, and Leighton is that they can get you excited at 18 as much as at 40. Perhaps because they share our same passion and aren’t on stage thinking about how to end up on MTV.

@people: the main players left because the idyll with Greg Shaw and his Voxx ended in a brawl… and these are people who, I don’t know if they can make a living (economically speaking) with music, and it’s true that except for Shelley Ganz who is stuck in 1966, quite a few after a couple of records abandoned the garage revival and moved on to play harder, as you rightly say, the Chesterfield Kings became metallic (not metalheads) and even Lee Joseph, who with his Yard Trauma seemed lost to Standells and Music Machine, ended up pressing the accelerator on hardcore (Oh my god!)… I believe Sorge defined at least fifty bands as heirs of the Stooges :))))

@kosmogabri... to the Pearl Jam the scepter of the Grateful Dead and their deadheads? mmmmm I can't buy that :) With all due respect to Pearl Jam, I don’t see them stretching their songs live, distorting them for whole half hours... if you had said Phish I would have agreed, but I think Pearl Jam can at most take on the scepter of Boston....

Great Jello, his program also included the idea of erecting statues of the city councilor in the streets of S. Francisco who (just the year before had killed Harvey Milk and Mayor George Moscone) and nearby stalls selling various items to throw at the statue.... Regarding the brawl over royalties, which is always a nasty issue for an anarchist group, it should also be noted that Jello opposed Levi's request to use one of their tracks (possibly Holiday in Cambodia) for a commercial. It’s not their best album, but they are always great.

sorry skeletron...writing in a hurry leads to mistakes... McCarty before the Cactus was the guitarist for Mitch Ryder & the Detroit Wheels.

I haven't listened to Psycho yet, but I would like to say that what made the first LLC stand out was precisely that combination of medallion riffs with a rural blues atmosphere. I don't know if they've lost that this time, but they will definitely still crush it; it's in their DNA.

I'm sorry, people, but seeing a miserable 3 for this record makes me sad. It may be "confined to a genre that's too rocky and orthodox," but these guys absolutely crush it. The early Grand Funk (who I personally adore) seem like amateurs in comparison. The rhythm section is terrifying, Mitch Ryder is a great guitarist (check out his Detroit Wheels), and the singer who came from Ted Nugent's Amboy Dukes brings the Detroit charge of the Motor City in a style that’s MC5 meets Blue Cheer. Just the cover of “You Can’t Judge a Book by the Cover” by Willie Dixon (not to mention the scorching psychotic rendition of “Parchman Farm”) is worth the price of admission. The rest is just a bonus, like the Sabbath-like fuzzy bass solo by Bogert in "Oleo" and the incredible moby-dickian drum solo by Appice in the closing track. Five for life.

Well, macaco, keep in mind that Zé Ramalho was playing ballroom music with his uncle's orchestra when he met Lula Cortes, the true sorcerer-shaman who organized psychedelic trips with his tricorde, an instrument made from armadillo shell with 12 strings arranged in threes (check out the instrumental similsitar that combines in the previous album, Satwa). Lula is the one who kicked off the experimental music festival of the Nordeste, where hallucinogens flowed like rivers, and he participated in the beautiful album of the poet Marconi Notaro (worth it) always with the Rozenblit studio, which legend has it caught fire. This album is an extraordinary experience, featuring the flute reminiscent of McDonald from the early King Crimson, tribal echoes like in Comus, voices crowding the markets like in Osanna's Palepoli, vocalizations like in first progressive Alan Sorrenti. Maybe this album is just that: progressive.

@appestato tries again with confidence, even Gulp makes me uneasy, but it’s the problem with these extraordinary groups from those years, who couldn’t even manage to get a contract or a proper album, and twenty years later they record... it’s not the same anymore. This is also the case with the fantastic Rustic Hinge, who returned to record as Hazchem; they were all people in the circle of Arthur Brown, but he didn’t play with them. They made, as I said, stuff in the vein of Capt Beefheart, and it’s incredible how on YouTube you can find (by searching Rustic Hinge) a video shot in 1970 by the BBC showing Rod Goodman on vocals and Adrian Shaw on bass, with the great Drachen Theaker (Crazy World of A.B., Love, Mothers of Invention) on drums. This Beefheart-style piece, Lychee, was later recorded in the studio (with Goodman and Shaw moved on to the Magic Muscle experience) as an instrumental only on the Rustic Hinge album Replicas, recorded in 1970 but only released in 1988!!! hello to everyone...

Poletti, in his review of this film, had sparked the usual uproar, this time with the Debaserian Venetians, starting the review with Tinto Brass "Venetian but not puritanical" ahahaha. PS the Gian Maria of the "malconcio cable" was a womanizer... nothing gay about it :)