donjunio

Sure, Melissa. The beauty of rock history is that it was shaped by both the Rocky Ericksons who lived under bridges and the Brian Enos lodged with Bono Vox at the "Million Dollar Hotel." What I wanted to say, going beyond post #30 by supersoul which I fully endorse, is that if rock had such a significant social relevance in the 20th century, it was thanks to those characters who made art and life converge. Because rock is a nasty beast, it gives a lot but demands just as much, and often the "happy endings" like Clapton's are just farces. Thanks to this, rock has probably been the artistic sturm und drang of the last century.

Everybody stares and everybody hoots / Johnny always needs more than he shoots / Standing by a beach and there ain't no lake / He's got friends without no guts, friends that never ache / In New York City, I guess it's cool when it's dark / There's one sure way Johnny you can leave your mark / And Johnny's gonna die.....

Oh yes, the history of rock is made by the losers...straight page among my favorites.

of hillbilly television? cute...

Fan of Karl Malone? My sister played this record on repeat that year; I don't have fond memories of it. Welcome to this cage of lunatics.

Rhythmically hitting the cymbals by Husker Du? It would be interesting to hear the comment from the huskerdu-ologist of the site, the disappeared Festwca. I think Grant Hart was an authentic wizard of the drums, while for Gil Norton, just listening to the bass intro that cuts through "Something I learned today" is enough to appreciate him unconditionally. About Mould's voice: it's true, he often went over the top, it sounded like it was on the verge of breaking, but when you touch such sensitive strings, it's normal. Greetings again to everyone!

Greetings everyone. Well, to know if the Replacements appreciated Husker Du, it would be enough to glance at the tracklist of their first LP and find a song titled "Something to DU". We're talking about two bands that emerged from the same city and the same scene, after all. However, I believe their careers evolved along somewhat different paths, while still sharing a punk and power rock underpinning (and it couldn't have been otherwise). The Mats had more of a seventies rock influence (for instance, on "Let it Be" there are glam elements, like the Ziggy-like piano on "Androgynous mind" or the Bolan-esque scream on "I Will Dare"), Stinson's solos vibrated with a more traditional rock sound compared to Mould's supersonic style, Westerberg was a more classic and communicative frontman compared to the seemingly misanthropic Bob, the Mats weren’t interested in those lysergic discussions that shroud a "Zen Arcade," etc., etc... two wonderful bands, as far as I'm concerned @pretazzo. Stinson participated in the sessions for "Tim" under pretty dire physical conditions, and to me it’s noticeable that his six-string has a lesser bite, which somewhat undermines the overall quality, even though Westerberg perhaps delivers his most captivating songs ever. Without Bob, already with "Pleased to meet me," the Mats became a bit too monochord for me. Regarding Ellis's citation, how can one argue: how to find someone cooler in the '80s than Westerberg singing "I'm so, I'm so unsatisfieeeed"? @Melissa. For me, Ellis's best novels are "Less than Zero" and "Lunar Park," the latter of which contains, among other things, the citation mentioned. @muitosaudosimo. For "Daydream Nation," more than Husker, I would hear the influence of Dinosaur Jr's "You're Living All Over Me" (I wonder what Alessio thinks...).

Ermanno Liverani!

I've missed a few episodes on Debaser, there's a lot of work. I always thought you were a boy anyway. Good job, getting Neil's records is always a good and right thing to do.

They didn't do the unplugged, but instead they recorded "Cuckoo for caca," a tribute not to the Milan player but to their most genuine passion. I have a friend in San Francisco who was the sound engineer at the studio where they recorded "Angel dust," and he confirmed this passion of theirs.