Larrok

Am I the only one on Earth who prefers "The Yes Album" to this?

I don't know if all those who voted for this work have ever read it, but I can say that for me this is one of the most complete and thorough books on the evolution, styles, and contaminations of all genres and subgenres in the history of rock. Of course, it is far from being without flaws; in fact, in my opinion, it dwells too much on mentioning the names of semi-unknown bands and artists (it lists several thousand), often summing them up with phrases that aim to be succinct but end up being dismissive. This is the consequence of the ambition to detail everything that is minimally relevant in rock from the '50s to the end of the '90s in just 500 pages. However, I think it should be praised for Scaruffi's ability to follow a relatively logical order in the treatment, managing to navigate, especially in the second part, through the myriad of post-'77 branches of New Wave, Punk, Post-Punk, Hardcore, Noise, Post-Rock, etc. The choice to divide various schools of origin by geographical areas is commendable, as it allows for observing trends and cyclical returns of characteristics typical of the United States or Europe even after some time. It is not an encyclopedia aimed at glorifying certain favorites, whether those of the author or more generally of the masses. Rather, it is an impartial analysis that starts from socio-cultural and purely musical observations to explain what underlies a particular current or approach to various types of rock. I give it a 5 because it deserves credit for giving dignity to hundreds of important artists and groups that in the vast majority of so-called "rock encyclopedias" are unjustly forgotten.

I saw it again; it has the advantage of being based on an idea that can lead to thousands of possible developments, and indeed it keeps you glued to your seat to find out how it ends. Eighty thrilling minutes the first time you watch it, then when you watch it again knowing how it ends, it loses some of its charm but remains a good movie. The prequel is to the first Cube what "Alien 2 - Sulla Terra" by Ciro Ippolito is to the first "Alien," just to give you an idea... a prequel and a sequel that are unnecessary and mediocre.

Just watched in Blu-ray quality: hauntingly intense... it competes fiercely with "No Country for Old Men" for the title of best film of 2007. In third place, quite far behind, I put "Zodiac," followed by "Michael Clayton," "Sunshine," "Grindhouse," "American Gangster," and "[REC]."

Both the unforgettable Linkous and the brilliant Fennesz (by the way, they're contemporaries) are among my favorite artists, but I had never heard of a collaboration between them... great suggestion, even though many times this series of "in the fishtank" records has produced stuff that I find not very interesting.

4 truly valid tracks, namely "Dig a Pony," "Get Back," and the 2 ballads by Macca; the rest is mostly garbage with a few barely enjoyable moments scattered here and there... to be generous, "I've got a Feeling" is acceptable... overall a 3. The Naked version gains a lot without the orchestral parts, in the clarity of the sound, for the choice of the tracklist, and the inclusion of "Don't Let Me Down."

California acid-blues-psych abrasive that culminates in the dreamy and concluding "Grace," one of the masterpieces of West Coast psychedelia.

One of the most interesting albums of these first 9 months of 2012. Some sounds in the title track even remind me of the Residents! The pulsating bass in "No.1 Against the Rush" is captivating in its simplicity (a word that loses all value when associated with Liars), while in "His and Mine Sensations" I am reminded of the more electronic Radiohead from Kid-A/Amnesiac. In "Who is the Hunter," the intimate atmosphere is colored by IDM - Glitch inserts. "Octagon" and "Flood to Flood" are hypnotic mantras of the third millennium. In short, an inexhaustible forge of ideas, these Liars... they have a rather rare characteristic; they never give you a sense of predictability. I give it a solid 4 out of 5.

Wow, the latest piece by Muse! I can't wait to not listen to it.

Among the first four albums, this is the one I enjoy listening to the most. "Moribund" opens in true Genesis style, creating a bridge between the past and present, then it moves on to the two catchiest tracks which were indeed released as singles. "Excuse me" is a playful divertissement, a filler that serves as an interlude for the deeper and more Genesis-like "Humdrum." "Slowburn" is already more rock and carefree, while displaying a certain instrumental skill, and it closes with a poignant solo in its emotional tail. "Waiting for the Big One" is the unexpected blues in a record of this kind, and moreover, it drags on for over 7 minutes (which I find thoroughly enjoyable). "Down the dolce vita" showcases strings and orchestral parts in a song that, all things considered, is among the weaker of the bunch. The grand finale belongs to the epic "Here Comes the Flood," probably the most uplifting anthem of Gabriel's career, although he later renounced its arrangement, claiming it was too pompous. It easily earns 4 abundant stars.