Mike76

@Gasta: look, I usually can't digest the blues either, but she manages to extract the blood from it and intensifies it with her voice. Maybe try "Malediction & Prayer," which has a repertoire that's half blues pieces and half "other" (like a Pasolini poem set to music or a Greek chant).

A piece of history, one of the games I was quite good at by the way: in doubles, with a credit, you could almost always finish it. The secret was the "jump shot" and holding onto every little combat animal with your nails. The spells, contrary to what Cimmino says, were super useful because they allowed you to regain the initiative if you were down or surrounded, and on top of that, they dealt damage. I chose the Amazon precisely because she had the most powerful spells, reaching level 6 compared to the dwarf's 3 and "Arnold's" 4.

I think that Lamù was responsible for my first sexual cravings. In the '80s, it was certainly one of my favorite cartoons; watching it again today, I find it a bit inconsistent with some episodes being banal and others hilarious. The character of the gluttonous monk Sakurambo cracks me up.

Here, this is a work by the good Diamanda that I have never been able to appreciate. The track "I wake up and I see the face of the Devil" had already been released in a better version on "Plague Mass." The rest is a collection of assorted madness that is indeed quite unsettling but lacks anything musical: zero rhythms, very little singing, just noises and sampled "chirps" that can only be heard through headphones. More of a spoken word piece, then, but with an absolutely heavy weight. One of the few brief musical moments, when she sings "Le Nozze di Figaro," is inexplicably more unsettling than when she screams. Undoubtedly the most oppressive album I have ever heard; if you tell me that "Schrei X" is worse, I will keep my distance. I definitely prefer her in the Red Death trilogy or, although I am not at all a fan of blues, in live performances like "Malediction & Prayer" and "La Serpenta Canta."

No reproach, Murdoc, I just wanted to point out this statistical curiosity.

"Why has this talented interpreter been so overlooked all these years?" My question, however, is a different one, no less interesting: why was there no trace of Giovagnini on Debaser until 01/02/09 while now, with this, there are as many as 5 (five) reviews?

Visceral, bare, and gloomy, the best of P.I.L. Lydon sings here like a madman, and in "Banging The Door" (but not only that one), he truly raises the hair on your neck. "Nightmarish" is a term that fits perfectly.

At first listen, I would have given it a solid 1, but it improved a bit on subsequent listens, also because "Street Fighting Man" and "Jigsaw Puzzle" aren't that bad. The ballad "No Expectations" is indeed a bit sentimental, but still a decent song, while "Sympathy for the Devil" becomes unlistenable to me solely due to that dreadful background chant "uu-uuuh" that appears halfway through the song and never goes away. The rest, as far as I'm concerned, explains the subject of the cover. I knew that The Rolling Stones weren't for me; I've never appreciated old blues-oriented rock, and therefore I didn't have high expectations for this "Beggars Banquet," even though many consider it a landmark masterpiece. I expected the usual down-to-earth rock 'n' roll, perhaps with some naive and cheap rebelliousness, but simple, energetic, and overall entertaining. Instead, even my modest expectations were disappointed; it's an album that lacks impact and energy. I'm not an expert on the 60s, but an album like that of the contemporaneous Monks, for example, outshines this one in terms of vitality and incisiveness. I didn't expect to encounter such a bland record filled with weak country and blues tracks: if one wants to play at being rebels while making such conservative and traditional music, they're already starting off on the wrong foot. But perhaps they didn't take themselves seriously either (after all, The Rolling Stones were part of "sleepy London"), and maybe I'm the one making a mistake in these evaluations. In any case, I don't like this album.

Truly legendary, even though I only made it to the second screen at most. However, I did something better in the sequel, which is more beautiful and complex but much less widespread. My favorite "bar" game from the '80s, along with the equally "endless" "Wonder Boy" and the more "three-dimensional" and easier "Golden Axe." However, I must correct the reviewer: the game was released in 1986, so not in the first half of the '80s.
Money was spent, and it created a bit of addiction, but nothing compared to the current PlayStation games (my nephews get zoned out for hours and practically never go out, and with the money spent on a game today, we could have played coin-op for a year) not to mention the losers who become mindless on video poker (a real social plague) losing their paychecks.

To give a rating, it's impossible to rely on a photo, so I’ll just say: interesting.