easycure

Oh my, I'm really terrible with names... I always get them wrong :-D

There are many pre-indie bands. I don’t think you can find just one. Wipers for sure, but also Mission of Burma and Flipper for sure. And definitely Meat Puppets too :-D

Well, I don’t know. I’ve always considered grunge to be the movement of a specific city and/or area. In any case, I think it’s a definition that makes sense because all the so-called Grunge bands share a common attitude that transcends from the "simple" 80s indie rock for two reasons: first, the fact that they are generally more "violent," meaning more inherently tied to hard genres. Second, the fact that they draw heavily from hard rock within the tradition of these "hard" genres, something that is completely absent in indie, which is much more tied to the punk tradition (obviously in far more kaleidoscopic terms). Perhaps the only ones approaching this are Dinosaur Jr, but still in totally different terms. In fact, Mascis’s style is only occasionally close to hard rock in his guitar playing; otherwise, his approach is completely different. In Seattle, however, everyone, for better or worse, connects back to Zeppelin, Sabbath, and so on. Finally, the beautiful *Screaming Life*, the debut EP by Soundgarden, is from December '87.

;-D Hey Lux! Man, you missed an amazing concert, damn it!

The review is very nice, but I think there are some inaccuracies in your interpretation. For example, it's not that the term "noise" only makes sense from this record onward... it was coined with Sonic Youth (and anticipated by no wave) ever since they existed, or at least since Bad Moon Rising. It's mostly that mention of grunge, in my opinion, that feels out of place: first, because grunge refers to a specific sound from a particular place; second, because by the time this record came out, grunge was already well established and had largely been canonized. It's one of the most common (unintentional) stereotypes to associate grunge with the '90s, but in reality, the '90s were the years of commercial success; grunge is and remains primarily an '80s phenomenon. That said, I don't want to deny at all that SY had a huge influence on Seattle, but certainly not primarily with this record, and they definitely can't be defined as "proto" grunge, considering that Melvins and Green River (they are proto grunge) had already emerged in Seattle, along with Soundgarden and Melfunkshun. Bye

Indeed, it's one of the most beautiful monologues in cinema history. :-D ..I don't know how Spike managed to come up with that half-assed Inside Man. The more I watch this, the more it rocks.

arnold, actually that's not even the cover of my... there was like gilmour in the picture, or something like that. anyway, I'm pretty sure the live is the one!

Ah, good times ;-D

Um, forgive me, I completely missed your post. If you happen to be around, I'm replying now: regarding Petrucci, compared to Fripp, there are no (at least as far as I’ve noticed) abrupt transitions... but he certainly reminds me a lot in many riffs, especially in "six degrees.." rather than here (if I remember correctly; I haven't touched either this or that album in years)... certainly the Fripp of the recent period, from "Three of a Perfect Pair" to "Thrak," seems to me the umpteenth rather obvious reference. As for his personality, with all due respect, I couldn't care less about the solo... he may even twist his nice scales at 2000 miles an hour in a way different from Vai or Malmsteen, but the solo, as conceived in this group from a classically metal logic, is precisely a purely exhibitionistic part. Where does Petrucci truly show personality in arrangement or composition? Obviously never, like all the musicians in this group (and here I also respond about the others) the interest is to appear as refined and articulated as possible; there’s never a truly communicative purpose, the focus is exclusively on maintaining a status of form, of appearance; or to put it better, a status point blank (which in itself is the antithesis of expression). Consequently, there can’t be personality, because everything has a thoroughly a priori motivation. Labrie is even more a testimony to this: his voice is tremendously polished, it’s the very prototype of competence, it doesn’t express anything in reality; he only puts what needs to be placed at the right points to achieve a certain effect. He’s the perfect synthesis of total anonymity.

Dear Fausto, mine is definitely not the one from Espresso, but it's possible that they were the same live recordings released in different versions. Anyway, yes, mine also has five tracks (I don't know where I put it, but I remember it) and starts with Atom Heart Mother (the suite).