supersoul

and also PeckiNpah instead of PeckiMpah

...2005 and not 20058 :-)

@kosmogabri "they have repented mainly due to the 'manly' friendship sentiment that, regardless of the sex factor, this film expresses"… and (in my opinion) there was no need for Ang Lee and the modern shepherds with their well-groomed hands in this film, this is a sentiment that you can see slithering abundantly in the twilight western films from around forty years ago, one for all being the virile friendship between Pike and Dutch in "The Wild Bunch" (save your jokes) by Sam Peckinpah, and we’re talking about a brute like Borgnine and an aging William Holden. It’s sublime to talk about homosexuality among cowboys while casting two handsome young girl-idols as the protagonists of this film, who will even slobber all over each other but remain proudly tough, and above all, laying a shameful veil over the sex scene in 20058 (!!!). In my opinion, a sleazy film by a sleazy director who would have a lot to envy another Asian who, a good eight years earlier, made a great film on the subject like "Happy Together."

The track "Fire of Love" included in Miami is not by the Gun Club but is a cover of the rockabilly guitarist Jody Reynolds, which the extraordinary MC5 also covered many times in concert around 1970, and it can be found in some of their bootlegs later released. Jeffrey recorded it as a single after the first album, and it had as its B-side "Walking with the Beast," which would appear on the LP "Las Vegas Story." Notably, D.H. Lawrence Jr., credited on the back cover of Miami as backing vocals, is none other than Debbie Harry, Jeffrey's idol, who as a teenager was president of the official fan club of Blondie. "Mother of Earth" is a fundamental track; spend a few minutes reading its simple lyrics. As I've said elsewhere, I believe Jeffrey was a reincarnation of some shaman, predicting the future: "Mother of Heart... I did my best but I couldn’t make it, and my eyes fade in the vastness of this Country."

I think you need to listen to it, it's the origin of a myth unknown to many. You see on this site they discuss and gossip about the poetics of the desert introduced by the stoner of Kyuss (great), but if there's one band that for me embodies this poetics, it's Thin White Rope without needing to make a fuss.

...that is between watch and ?...

Come on, kosmo, here the options are: 1) shiver 2) roll on the ground laughing...

Great list preachin' but I would (un)cancel those uallere by Cowboy Junkies and I would put in Rank and File, Jason and the Nashville Scorchers, No Alternative, and I’d also throw in Thin White Rope, to whom I bow every time I play one of their albums... Anyway, I think it’s a pointless exercise to argue whether "Fire of Love" or "Miami" is better; they are two completely different records. The former is a wild explosion, not even intended by Jeffrey, who only saves us (!) with "Fire Spirit" and "Goodbye Johnny," which just happen to be the only tracks that are semi-slow and could fit without clashing in a second album like "Miami," which reconstructs the music that JLP truly intends to recreate, the sick and scruffy poetry of which a certain Jim Morrison was the master craftsman and to whom Jeffrey impressively resembles at times in this album. Personally, I wouldn't be so sure if "Fire Of Love" or "Miami" is more beautiful, and fortunately, I don’t even pose the question.

There’s no doubt he deserved more, but after the initial fireworks, Jeffrey started to fade, despite some truly fantastic moments of brilliance. Caught between a bottle and heartbreaks, he began to self-destruct, a true doomed soul, not a poseur like Nick Cave. It seems that in the end he didn’t even have the money to pay for his hospital bill… this is blues.