donjunio

olé!

A beautiful scene in Boston, with a marked female presence. I agree with the nice review and with imasoulman’s comment (who perhaps remembers the old Garden without air conditioning from those Boston years with more pleasure, see Game 7 of the 1984 finals....). However, it seems to me that Tanya has sold many more records with the Belly; the separation hasn't hurt her at least in terms of her bank account.

But come!!!!!!

The soul brothers have to come to terms with it, they are just two punks, LOL... this is a great album, a sincere and passionate tribute from good old Mark to his influences. However, Neil's original pieces in his versions can't be beaten; for me, not even Buckley with "dolphins" managed to surpass him, same goes for JLP.

Olè!

uh-oh!

I'm almost afraid to listen to it; I've loved those dEUS (up to the ideal crash) too much.

I stand by my opinion, Matteo; this is a fundamental turning point. “Nevermind” was the first punk-derived album to reach the top of the Billboard charts, dethroning Michael Jackson (1991, the year punk rock broke, to quote the famous documentary featuring Sonic Youth, Dinosaur Jr., and the band Cobain); it captured the spirit of its time, the disaffection of an entire generation; it swept away the delirious proclamations of rock's demise dominating in 1991, giving way to an exciting era in which rock resumed its role at the center of pop music, with boundless beneficial influences that continue to this day (since then, the category "indie" is no longer the last wheel of the cart; indeed, in the 2000s, it often dictated the trends), not to mention all the rediscoveries fans have made of everything that made the explosion of Nirvana possible (from the Meat Puppets to Husker Du). And all this happened with an album that the folks at Geffen expected to sell at most a hundred thousand copies; MTV started playing that video non-stop, sensing the shift, while college radio and the specialized press went wild, and concert clubs were packed. End of off-topic; I apologize to the reviewer and the Boss.

Cobain had the rare ability to write songs that broke the barriers between the mainstream audience and the more exclusive circle of enthusiasts in the independent microcosm, which is why he is remembered in rock historiography, more than for the fact that he knew how to write great songs, turning the malaise of his generation into art. "Smells Like Teen Spirit" is one of those few tracks in rock history for which one can speak of a "before" and an "after"; the media impact being discussed fundamentally stems from that gift of his, in addition to having been in the right place at the right time. Ah, listening to "Nebraska," I have never fallen asleep; rather, I have often been moved.