donjunio

I find that Cobain didn't appreciate it at all, and that the breakfast anecdote was true. After all, that version really sucks (de gustibus). Better the cover he did of "Heart of Gold."

Got it. Eddie is truly in remarkable shape, perhaps inspired by a story that in some ways reminds one of his struggles in the '90s (see "Vitalogy"), and finding him so inspired feels like reconnecting with an old friend who had been lost to time. I’m also re-voting the review, which I’m adding to my favorites.

no come on, fernando astronzo is unbeatable

"one with recycled glasses from the nerd of Riptide" one of my favorite TV shows as a child! interesting proposal!

Well, first of all, I would exclude "After the Gold Rush" and "On the Beach" since Crazy Horse don’t appear in all the tracks (even "Freedom" doesn’t count) and I would risk making a fool of myself. It's really very difficult to answer; I'm always quite variable. I think there are four works that are all perfect: "EKTIN," "Zuma," "Rust Never Sleeps," and "Sleeps with Angels," tied, and depending on the day, I might mention one over the other. Perhaps I would lean towards "Zuma" because both the drummer and Neil on guitar have never sounded this good. So, Rust Never Sleeps, because "Powderfinger" is worth a whole career. Next would be "EKTIN" because the poor Danny Whitten will never be forgotten, and "Sleeps with Angels" because the 16 minutes of "Change Your Mind" have kept me company through hundreds of sleepless nights. Finally, definitely the live album "Weld" from 1991, drawn from the tour with Sonic Youth, with Crazy Horse proving capable of holding their own against the most popular guitar rock of the time and giving new life to the old repertoire. Additionally, I would also commend them for the Crazy Horse works without old Neil, although only one of these, the self-titled 1971 album, is truly noteworthy.

Captain: I might be mistaken, but it seems to me that this discussion revolved around the role of the media, rather than the intrinsic quality or the definition of genre. It seems that your posts 121 and 122 focused specifically on this aspect, and the post by eldemasiado that sparked it all, since you jumped to his defense, was centered on that topic. There have been countless discussions about grunge as a musical genre on this site, so this time I focused on this point: if you wish, once we've finished this aspect, we can delve into our views on that age-old question. That said, it doesn’t seem to me that I have, as you claim, drafted "mere lists of genres that are hypothesized to have had more media resonance than Grunge (and historically those are unverified statements)." You brought up trip hop, just to mention one (and it’s a completely different genre). Did I perhaps assert that grunge is superior to trip hop, or should I explain why I am denying something I never claimed? I simply stated, in line with my intention to discuss the mechanisms of distribution and promotion of certain music by the media, that no notable musical genre in the 90s was exempt from contaminations and media inflation that affected its essence (and I certainly did not use banal expressions like "commercial"), defending an album that has been put on trial as a symbol of such blending. That’s all. As for the rest, I agree with Alessio and OleEinar. Cobain was a tremendous songwriter; he didn’t invent anything, but he knew how to rework the lessons learned from those we know with inspiration, straightforwardness, and creativity, composing epoch-making songs that will be listened to for many years to come. After all, if musicians like Robert Fripp, Herbie Hancock, or Neil Young have stated that they drew inspiration from him, perhaps he wasn’t just a catalyst for social frustrations. Regarding grunge: I think it was a common denominator of some factors. Many musicians knew and respected each other, and collaborated together: there was a unique scene and a lively musical osmosis within an extremely small and provincial context (Seattle had not had any musical significance until then). The productions of Jack Endino, all on seminal albums like Screaming Life - Bleach - Buzz Factory - Superfuzzbigmuff, for example, gave that rough and doughy texture that characterized these productions. Along with this, there was the emotional factor, the fact that they were almost all losers, and that "do-it-yourself" attitude that the Sub Pop productions shared with the vast expanse of American alternative labels at the end of the 80s, especially SST. Then, of course, there are so many peculiarities - fortunately, I would say! - that made the scene enjoyable and exciting, and that still makes them appreciated today by millions of listeners.

Grunge had an impressive media resonance: nobody doubts that. So what? But this can be attributed to its historical-social-cultural significance, the fact that just before the release of "nevermind," people were openly talking about the end of rock (with loudmouths like Zappa and Sting rambling in the media about the "death of rock"), not to any unlikely "help" from above. It's a recognition that its champions earned through years of hard work. Rock, after all, is not an aseptic reality, detached from reality and its mutations; it has always been this way since the times of Elvis, the Stones, and the Sex Pistols. This is why this incredibly basic music was dominant in the second half of the 20th century. This is the explanation for the grunge's primacy in the media, who jumped on the bandwagon of the winner as I’ve already written: something that for many, especially Cobain and Pearl Jam, was not seen as a blessing at all, but that's another story. What I’m trying to tell you, for the fifth time, is that it doesn't seem to me that this "pink jersey" has affected or prejudiced spaces for other genres; on the contrary, in the case of genres that fell into the pot of "alternative rock," countless opportunities opened up (through MTV, major label deals, etc.), precisely by taking advantage of the much-despised grunge's momentum. In 1992, even "jesus built my hotrod" by Ministry was playing on MTV, come on! Then of course, 1991 was also the year of "Spiderland" by Slint, and nobody paid attention to it, but alas, the history of rock is full of losers and winners, and luckily Slint made a comeback with interest. So I don't understand why you keep raising the stakes, and with the same arguments: it almost seems like you have a personal resentment against grunge when it seems that many of your favorite artists at the time were not particularly overshadowed and sold millions of records. As for the discussion about trip hop, it is definitely a well-cohesive genre (perhaps too well, given that they were fighting over the same samples....), but once it emerged, it lost its luster and saw its true nature diminish, degenerating into a profusion of easy female melodies over increasingly predictable electronic beats, prey indeed to easy television commercialization. It produced some excellent albums that we all remember, just like grunge. I think this grunge/trip hop opposition is a reflection of your personal tastes, like everything on this site, after all. Lastly, I didn’t catch any malice in your last sentence; evidently, I’m not that intelligent.

I listened to some of the previous albums: pleasant in evoking certain sixties ghosts. Good review.

their worst album without a doubt

Ah, legendary "decades," that version gives a sense of terrifying, looming end! Here in Cagliari, at the bastion, there has long been written on a wall "Weary inside, now our hearts lost forever".....