pretazzo

from Biella??? impossible! You can tell from a mile away that they were from Bergamo... but what does Bisio have to do with the Aborti Mancati??

Damn, I miss the Crime :-( The Testors sometimes played hardcore, but only sporadically... and they had a sound intensity at the time that was hard to match by other bands, except for Motorhead or a few others... On Young Loud and Snotty by the Dead Boys, there’s a certain Not Anymore, with a desolate arpeggio, a broken rhythm, and a suffering vocal that vaguely reminds me of a raw version of Verlaine's band... anyway, the NY new wave was probably the most genuine, the most visceral, the one with the most pathos... also great were the Avengers, but I prefer Legal Weapon (who were from L.A.) P.S. Great to see you again, Alfredo! :-)

Nice, nice. The only thing is that it feels a bit long and scattered. Still, it's a nice funk-punk, not as brilliant as the Minutemen or as sophisticated as the Talking Heads or as eclectic as the Pop Group, but equally valuable for its immediacy and solidity.

Well, it might be minimalism, but the overall effect seems very baroque to me, especially in the first track, with all the duels between organs... I also see a certain dose of improvisation as well as virtuosity (it's clear that Riley was partly inspired by Coltrane)... for sure, there’s less method compared to Reich (who, for now, convinces me more than Riley)... I mean, obviously Riley's music was also sophisticated and "studied," but it gives me a greater sense of freedom compared to Reich... Am I blaspheming if I say that of the two tracks that make up this album, I prefer the second one (perhaps for its cosmic suggestions)? In any case, it seems like a really ahead-of-its-time album: Who, Soft Machine, the Pink Floyd of "On the Run," electronic music, and so many other things seem to have borrowed not only the insights but the entire compositional process that underlies this work...

Pata, the fourth song on the album is the legendary Add It Up: DAAAAAAAYYYYY AFTER DAAAAAYYYYYY I GET ANGRYYYYYYY AND I WILL SAAAAAAYYYYYY. Super cult! :-)

Well, the album is essential, teetering between hard rock and classic metal. Very influential on the future power metal, as were two other masterpieces of hard'n'heavy released in the same year (1976): 2112 by Rush and Sad Wings by Priest. Review severely lacking.

The Dead Boys are more punk '77 <<< sure, plus they came from Ohio, but they also played at CBGB's... I believe that the Dead Boys are one of those transitional bands between different eras: on one side classic rock and garage (Stooges, MC5), and on the other punk and new wave (there are a couple of tracks, the titles of which escape me now, on the debut album of Bators' band that vaguely remind me of Television). Another "transitional" band that performed at CBGB's was the Testors. Do you know them? They were a bass-less trio, I know some of their songs and I have to say they were devastating.

Hey little pistol, listen to me for a moment: 1) You can call someone a little jerk, maybe one of your little freak friends, perhaps another fundamentalist rock fanatic from before '77; 2) I know Yes and KC very well, so I know exactly what Bruford's drumming sounds like; 3) (and this is the most important point) THE TRUTH IS THAT YOU DON'T EVEN HAVE THE FAINTEST IDEA WHO THOSE TWO "BANDS" ARE (WHICH ARE ANYTHING BUT "BANDS") THAT I MENTIONED. Best regards.

:-D

I’ll also throw in the legendary Bill Bruford (Yes, King Crimson), who devours for breakfast all the drummers you mentioned earlier <<< who? The drummers from Minutemen and Jesus Lizard? Really? Do you happen to remember their names? Refresh my memory.