donjunio

micòl (are you a fan of Bassani?): for your brother, get him "Tim" by the replacements, if you really don't like the record that Alessio suggested...

ThirdEye, it seems that "jimmy" by Tool was actually dedicated to Fernandez, the bassist who died in '94 (the two bands had a great relationship). A fundamental group.

Lee was certainly also a great guitarist, but not superior to McLean or Donnellan, who would play on "Four Sail." His talent was primarily compositional, capable of merging the most disparate genres into a dazzling syncretism, while as a frontman he gave many lessons to a certain Jim Morrison (it was he who convinced Elektra to sign the Doors), not to mention that he was the first to bring Hendrix into a recording studio, and taught him a lot. @Blackdog. "Four Sail" from 1969 is still a great album; it's no coincidence that I gave it 5 stars in my review. @psychopompe. The story of "My Red Little Book" is true; however, the Stones accused Lee of plagiarism for the suite "Revolution" on the second album, claiming it was copied from "Goin Home" (even though it was actually derived from "Smokestack Lightning".... @mocampo. The live version of "Forever Changes" is from 2005: beautiful cover, in line with the original, but featuring a drawing of Arthur's face...

The ultimate pop-rock album. The true Pandora's box of psychedelia applied to pop, far beyond the homogenous works of the Beatles and Beach Boys: much more influential because to follow in the footsteps of "Forever Changes," you had to be a genius like Arthur Lee, otherwise, better to skip it. Neil Young was supposed to produce it; his ideas remain in the "in disguise" work on "The Daily Planet."

oh yes!

The shame of Cagliari instead of handing the keys of the city to the god Andrea Cossu, gave them to this imbecile.

Ellis's novel is great, even if it is somewhat a continuation of the unparalleled "Less Than Zero." The film is enjoyable and interesting, and in many respects, I agree with Finnegan's analysis, while Occulto Supersovrano is spot on when he expresses a desire to see the cinematic adaptation of that masterpiece which is "Lunar Park."

Grunge wasn't invented by the media; they simply, in the wake of "Nevermind," amplified a thriving and multifaceted scene (and I emphasize the word scene, quite different from style or musical genre). Because Soundgarden and the future Pearl Jam, who made an album together to commemorate Andrew Wood, Lanegan, and Cobain collaborating, and Mark Arm playing with Cornell on an Alice In Chains EP, were certainly not invented by MTV. The fact is that the hype generated by the media around the city of Seattle, presented as the kingdom of love and friendship, ended up being truly cloying and annoying, quickly becoming the benchmark of the mainstream. In other words: what they turned grunge into makes it an easy target for anyone looking to build a solid "alternative" reputation, and as a reaction, many end up succumbing to Jello Biafra's revisionist syndrome, known as "Nostalgia for an age that never existed."

I completely agree with Ole, adding that in the Green River he mentioned were the future minds of two bands that were truly at opposite ends of the spectrum, like Mudhoney and MLB/Pearl Jam, which set some of the sonic coordinates of the sound universe of the Northwest. This is because the scene was really diverse, and being part of it certainly didn't mean that everyone played the same way, although it is well known that they all collaborated and respected each other.

In many interviews, Cobain stated that he appreciated Soundgarden and Mudhoney: what he notoriously despised was the traditional glam-hard rock scene, seeing Mother Love Bone and the very early Alice in Chains as prime examples. It's redundant to talk about the Melvins, and regarding the Screaming Trees... he and Novoselic collaborated on Lanegan's first solo album: what else is there to add? The term grunge was not created in '92 in the wake of the fashion trend of "Singles" and the Krizia models that mimicked Kurt's tattered sweaters, but it was Everett True who, on the pages of Melody Maker in 1989, defined Grunge as that "modern hard rock" referred to by Supersoul. Not to mention that Guido Chiesa, in Rockerilla in 1991, while reviewing Nevermind, spoke of Grunge to define that "excess of decibels" typical of the bands spawned by Sub Pop, obviously using a term that would soon be irreparably abused. One objective fact: all those records released by Sub Pop and PRODUCED, with its unmistakable style, by one Jack Endino are Grunge: therefore, "Super Fuzz Big Muff," "Ultramega Ok," "Bleach," "Buzz Factory," "Up in It," and many more. Grunge is a musical movement, an attitude, a precise and unrepeatable historical moment like new wave and psychedelia, not precisely a style (just as post-rock or trip-hop are not): to nitpick the differences between the various bands (it's obvious that Steve Turner and Kim Thayil would arrive at vastly different conclusions in playing the six-string) to give oneself some cred a whole 20 years later is frankly amusing.