donjunio

Go Monkeys Goooooooooo! The greatest band ever appeared on Albion, better than the Sex Pistols, than the Beatles, than the Rolling Stones!!!!

oops the votes

"and in the darkened underpass, I thought oh God My chance has come at last / but then a strange fear gripped me and I just couldn't ask"... Of course we remember that quote! Just for that, you get a 5. The album is beautiful, but you're right when you say there are some tracks that feel a bit wobbly.

Northern Sky, I agree with the aesthetic created from nothing, but for me, in that sense, the REM and Husker Du were much more distinctive, organic, and rich in nuances. As for Strangeways, it's a very fluctuating album, but the first side is excellent, and songs like "death of a disco dancer" and "last night I dreamt that somebody loved me" seem to me to be among the most original things they have ever done.

With this review, I tried to dissect the contents of an album that has undoubtedly had a significant influence and propose an interesting discussion. In fact, your comments are all very stimulating. My idea is that the change Zion mentions was primarily achieved by The Smiths thanks to never having released a single misstep at the beginning of their career, starting with "Hand in Glove," which - as you rightly pointed out - quickly closed the door on the new wave season. Socially speaking, that single is more significant than everything in "The Queen is Dead" put together. The Smiths have always had the gift of synthesis; that's why I see them as a great singles band (they're in good company, after all: think of Kinks or T. Rex). With "The Queen is Dead," however, they attempted to do something more ambitious, aiming to conceive a generational album, a sort of "Revolver." But in my opinion, they didn't succeed, for the reasons I've outlined, partially hitting the target with the subsequent, albeit underrated, "Strangeways." Regarding their pop sound: it was certainly not a flaw, especially in comparison to the pop that was popular at the time. But perhaps because I, as Flood says, am influenced by my more heavy-oriented vision, I prefer the urgency of an album like "Zen Arcade," which I believe is far more successful and organic, also because Bob Mould never got lost in verbosity like Morrissey did. Meanwhile, in the UK scene, I find "Pornography" by The Cure much more exciting and inspired.

Perhaps it would be a good idea to open a separate section for the reviews-telegrams, so that serious reviews are no longer deprived of space, the ones that those visiting this site want to read.

I have many doubts about the fact that the groups mentioned by killgod made better albums than Nirvana. Rage Against the Machine copied Urban Dance Squad and took the most rhetorical elements from rap and rock (the riffs of Jimmy Page). Jane's Addiction and Sonic Youth were something entirely different.

heh nice review, sanjuro! I'm in full grunge revival mode, I've been blasting the new Mudhoney: really excellent. Seattle always rules.

Yes zigghio, certainly re-actor is a spin-off from the second face of rust never sleeps. A face that Neil considered important, not by chance he co-credited the entire album to the Crazy Horse even though they didn't play on the first one.

Sure, not by chance, along with "time fades away," those albums are part of the "cursed trilogy," which fans of Neil call the three albums with which good old Neil attempted commercial suicide after the triumph of Harvest. Children of tragic personal events (the inability to cope with success, the drug-related deaths of Whitten and Barry) and generational failures (the failures of the Woodstock generation), they emerged during one of Neil's most fertile periods (when he composed another legendary, never-released album, "homegrown"). Despite the undeniable similarities, I see them as two different albums. "Tonight" is the bottom of the abyss, a full-fledged exorcism. An album made more for himself, with ragged and imperfect sounds as Young and his band played at night after getting drunk all day. During that time, Neil turned everything he touched into gold, resulting in a masterpiece, the greatest rough rock and roll album in history, as Flea said. "On the beach," on the other hand, was an attempt to create a masterpiece CONSCIOUSLY, to leave all that pain behind, epitomizing in music that unique moment. The style is much more classic, refined (think of the Wurlitzer in "See the Sky About to Rain," or the slide guitar of Kershaw in "Motion Pictures," all the way to the feral violins in "Ambulance Blues"). In short, "On the Beach" is perhaps the quintessential album of the '70s and should be recommended to everyone. "Tonight," however, I still see as something more intimate. Yet, they are two sides of the same, beautiful coin.