Larrok

No Dave... :-( ...why a 1 for this album? If you really don’t like it, just don’t vote for it, but you can’t give it the minimum like you do for Madonna, Finley, and the like... here we have Black, Alive, Even Flow... it might be a bit derivative, but it’s rock with a punch (even if it’s not a 5-star album...) and I say this as a rock lover... plus, Vedder’s lyrics are very deep... don’t take it as a personal criticism, I just invite you to listen to it again more calmly... ;-)

Enough!!!!!!!! It's the tenth review, for Christ's sake!!!! Why do all the assholes have to come on Debaser?! And then you give it a 7 and rate it 5 stars? It deserves at most 2!!

I recommend listening to the saxophone solo by the late Feiez at the end of T.V.U.M.D.B. (touching...)

More than "default hate," I would call it "default contrariness"... but how can you possibly compare a random bunch like the Skiantos (pointless and as common as thousands of others) to the true genius performers (these are indeed unique!) of Italian music like the Eelst? The album is spectacular ("Tapparella," "Milza," "T.V.U.M.D.B.," "El Pube," "La Terra dei Cachi"), the musical and cinematic references and others are endless and unpredictable, the ironic and irreverent lyrics, as always, go perfectly hand in hand with the nonsense, and above all, there's music played as it should be. If you want to listen to the Skiantos, that's your choice, and above all, enjoy!

Dana Wells was male and was the stepson of Max Cavalera. Before he died in the accident, he was friends with Chino; in fact, there is a song dedicated to him on the album, while the girl on the cover is just a friend of the guitarist, Lisa.

I know very well what the shredder exercises consist of, partly because for a brief period a former teacher of mine had me do them. They involve chromatic runs all over the neck for alternate picking, linked to major and minor scales, mixed with tapping, and so on. To be fair, I must admit that they helped me improve a part of my technique, but I wasn't really interested in delving into them too much... Anyway, I think that if I dedicated 4-5 hours a day to it every day, in the span of 3-4 years I should be able to handle very complex guitar parts quite easily, even though I'm not at all a genius or anything special, actually... A whole different story is to redo, for example, a Machine Gun by the Band of Gypsys; that would definitely require some sweaty shirts and a much bigger mental effort compared to mechanically repeating scales like an automaton.

Sorry, but if you practice alternate picking for ten hours a day for ten years and you don't become a monster, you're an idiot...

No, in my opinion these guys (Cooley and co.) are technically limited, and not just in terms of taste (which they don’t even know where it stands), because for me, and not just for me, technique doesn’t go hand in hand with virtuosity, rather with skill; and skill is not about doing chromatic runs for 12 hours a day for 10 years and then not being able to do half a vibrato or a decent bending... There are hundreds of guitar masters who would tell you that Stevie Ray Vaughan is much more technical than Francesco Fareri, also because to learn what Cooley and the other athletes do only takes a few years of constant physical coordination training, while to learn to have the touch of Stevie or Jimi, you could dedicate your whole life and still not achieve it.

I'm promoting Andy Timmons again because he truly deserves it: if you love blues, listen to his album with the Pawn Kings or the songs "Falling Down" and "Remember Stevie." If you prefer Rock and Hard Rock sounds laced with luxury Shred, then take in the magnificent album "Ear-X-Tacy" in one go, featuring priceless gems like "Electric Gypsy" and "Cry for You." You'll be captivated, especially if you're a lover of the six-string.

@pinco: as for the various Angelo, Cooley, and Fareri, I’ll tell you that it may seem like a silly thing to say, but for me, they don’t have much technical skill, because their approach isn’t really technique; it’s just an unnecessary effort that turns music into a sport: who can pick faster, who can play legato more quickly and complexly, tapping, and so on... I repeat, it’s all useless if you don’t know how to channel it into the right context, and I assure you that a bending from Hendrix is more technical than their entire discography.