donjunio

The best way to review the "interiors," but I would have preferred to read more about the venerable.

Don't worry, I was just trying to lighten up the content of the page a bit.

beautiful report.

I notice a Supersoul completely consumed by his love for Rollins that he doesn't even find the time to stop by and comment on his old country-rock passions...

Ah, is the review yours? It seemed too good to be from a novice. About the Rollins character: it's the usual discourse, albeit a bit rougher, that you can have about Dylan, Reed, Young, or Bowie. You never know where the artist ends and the mask begins, and in which of his boxes the man hides. He might be an asshole too, but I struggle to remember anyone who came through the desert of the ’80s without losing a few screws: Westerberg, Mould, Mascis, etc... in the end, it's all about the music. Personally, I've always respected him a lot, even though my idols were different.

Supersoul, I don't have many memories of this album, even though it's been a while since I last played it. Instead, "The Weight," which if I remember correctly is chronologically between the two, seemed to have more grit and inspiration, even though it’s not a masterpiece.

One of the 2-3 greatest groups of all time. But at 45 RPM.

I appreciated Rollins as a solo artist up until "The End of Silence," a multifaceted work capable of standing toe to toe with hard-hitting heavyweights in a particularly fruitful year like '92. At the time of its release, it seemed quite drained to me.

I truly enjoy reading this page, especially since until now I had been the only one addressing the solo Clark, and a different perspective is daring. After all, if there are 12 or more "dissertations" on "Death Magnetic," two on this masterpiece don’t clash. I see that you’ve ventured into comparisons with "Sweetheart of the Rodeo" and with Parsons, a territory where country-rock followers notoriously argue passionately. I too prefer the sidecar to the rodeo (at least to the one revised and corrected by Roger), although obviously the latter has changed the game given the significance of the name Byrds while the sidecar will forever remain in the garage collecting dust. However, we mustn't forget that country-rock is Parsons, who started from country, turned it upside down with his visionary ideas, and perfected it with the Flying Burrito. Clark, as Lewis rightly points out, remains a folk-rocker with a taste for exploring new forms to channel his lyricism: more “americana” than country-rock, not coincidentally in my review I mentioned Robertson and Dylan. Although in the end, the outcomes are the same: a "new american music" ("Cosmic" for Parsons, more rural and intimate for Gene) far from being mere revival, but an idea of song with overflowing vitality.

What I think on the matter I already wrote at the time in the review of "Four Way Street." I will just add my compliments for the choice, the skill, and the sensitivity in dissecting one of the most significant singles in the history of rock.