Defender85

I mean, I don’t know them and I don’t know them, but from what you’re telling me, it’s even better if they don’t come to the surface, you know...

Masterpiece film. And let's not even talk about the special effects: when I discovered that the film was from 1939, I couldn't believe it...! (same goes for "Il ladro di Baghdad," which is from 1940) ...anyway, in my humble opinion, a true cornerstone: anyone who hasn't seen it yet should hurry up!

Honor where it's due, but the Fiesta and Kinder DELICIUE are a notch above!

MASTERPIECE!!!! The scene with the girl in a bra pretending to shoot and then actually shooting the gardener, or the scene with the ambulance stopped in the middle of the road (a line like: "Ilsa, get the engine running, this bitch is giving us a run for our money" is Oscar-worthy!!), or even the one where the director sleeps with the camper and then shoots him are cornerstones of world cinema!!

You are a Genius.

I haven't listened to this, but they are nonetheless essential alongside Venom to understand the subsequent developments of the genre. The review is nice, but I would have talked a bit more about the songs.

As a former wild fan (but still occasionally haunted by nostalgic echoes), I listened to the album in bits and pieces, yet I dare to rate it: and it’s exactly what I expected, just like I imagined any of their albums would be since 2008. "Manticora" moves along the same lines as the last two albums, as the reviewer already mentions, and it is essentially a solid piece of craftsmanship, nothing more. Recommended only for fans who can't live without it; everyone else... well, maybe not...! Still, I’ll give it a passing grade, come on...!

I’m stepping in after years to join this exchange of ideas and break a lance in favor of Sweet: I’ve noticed that some comments above keep insisting that the best songs by Sweet were written by the Chapman-Chinn duo. The reality is that the two only wrote their most famous singles (the B-sides were all strictly Sweet), songs that, furthermore, the band rarely performed live, focusing instead on their own compositions. As for the two albums from '74, "Sweet Fanny Adams" and "Desolation Boulevard," I would like to remind everyone that Chapman and Chinn wrote only a handful of songs in total (some of which are very nice, like "The Six-Teens" or "Turn It Down"), but the rest is all the work of Sweet themselves, and we’re talking about fantastic pieces like the legendary "Fox On The Run," or the lesser-known tracks "Medusa," "Lady Starlight," "Solid Gold Brass," or "Heartbreak Today," not to mention the little avant-garde masterpiece known as "Set Me Free," which pushes the boundaries of Glam Rock towards something that anticipates by a good few years the first Speed experiments of Judas Priest. In short: CHAPMAN AND CHINN, NO WAY! The best songs were written by Sweet (unless you come to tell me that "Ballroom Blitz" or "Wig Wam Bam" are your favorite songs, in which case I take it all back!). Finally, regarding the Sweet/Slade comparison, personally, I am heavily inclined towards the former, although I also like Slade quite a bit, but let’s keep in mind a key distinction: while Slade were fundamentally a good group dedicated to a wilder and carefree Rock'n'Roll, Sweet were a band (besides being more instrumentally competent) that also knew how to experiment with new solutions and constantly moved away from their own results (just think of brave albums like "Level Headed" or "Cut Above The Rest," which abandon Hard Rock to head towards shores influenced by Progressive and very melodic Acoustic Folk). In any case, this is history.

Paul Di'Anno is a legend. Getting drunk at the concert, risking throwing the mic stand and microphone off the stage by the second song, holding it together for an hour to an hour and a quarter like a champ, and then collapsing after signing autographs belongs only to the greatest! XD

...genius...!