EMBATE 3
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“Mondo Bizarro”, Ramones, 1992 (Chrysalis/EMI)
O disco menos Ramones dos Ramones, a não ser por “Cabbies On Crack” e “Touring”. Mesmo tendo 13 sons em 37 minutos e pouco.
Johnny morreu sem curtir, contumaz q era em não gravar em discos de sua banda; até onde sei, gravou “Take As It Comes” (The Doors), q eu adoro. E acho superior aos covers todos do “Acid Eaters” seguinte.
Músicas alinhadas aos noventismos alternativos de então, quase hardcore e quase pop punk californiano, solo de Vernon Reid (Living Colour) incluído.
Não as foram 100% pq Marky se soltou como nunca (como já o fizera em “Brain Drain”), pra mim destaque instrumental severo. Fora co-autor inédito em 2 sons: “Anxiety” reaproveitada à frente nos Intruders.
CJ estreava tímido – devidamente apresentado em “It’s Gonna Be Alright” – embora cantando 2 sons, um deles hit. Dee Dee estava fora mas dentro, esquizóide como nunca (ou como sempre?), compondo 3 sons, 2 hits. Mudaram mas não mudaram, mas estavam diferentes.
O ponto é: não é meu favorito da banda, nem de longe. Nem de graça. Mais pra um disco solo de Joey, autor em 7 sons (nenhuma balada!), o q não o desmerece. Ao mesmo tempo, um dos q mais ouço dos Ramones.
Tô pra entender esse meu “coração envenenado”.
RANQUEANDO THE DOORS POR HOJE:
E o “Absolutely Live” pairando por entre eles.
____
WhatsAppin’: em semana de atentados fake, um absolutamente ñ fake. Já q ninguém foi preso mesmo, nem o assassinato do José Mojica foi comprovado, volta do Armored Dawn. Constando da página da “banda” no Metal Archieves: https://www.metal-archives.com/bands/Armored_Dawn/3540414886 E printado, abaixo, pq vai q (pagam e) apagam.
As of October 2022, the band is trying to re-launch their career internationally, blocking all new content and their comeback single S.O.S. in Brazil, due to Eduardo Parras‘s involvement in the Prevent Senior scandal in 2021.
O perfil do vocalista (me recuso a citar nome) ainda mantém o lance https://www.metal-archives.com/artists/Eduardo_Parras/673211
One of the owners of medical insurance Prevent Senior.
His company (Prevent Senior) is accused in the Brazilian Senate of causing the death of several patients affected by covid, neglecting care, reducing oxygen levels, and offering early treatments not indicated by The World Health Organization (WHO).
Só q modificaram (apagaram) a alusão ao nazismo e eugenia. Compreensível, tvz: vai q esse lixo nazipardo tira o site do ar.
História do Rock bastante conhecida e comentada em documentários, contida no encarte do relançamento em cd (1988) de “The Stooges” (1969) por um de seus personagens, Danny Fields, jornalista:
“In the summer of 1968, I was running the publicity department of Elektra Records, a classy little label that had exploded into the big time a year before with the success of the Doors, and was expanding its rock roster with a bunch of adventurous new prospects.
The Detroit-Ann Arbor area at that time was hot with talent, and distant enough geographically and culturally from England and California to shield it from the pretentiousness that had seeped into the music of both places since the ‘Golden Year’ of 1966. Most visible of the Michigan bands was the MC5, the only group in the world that had gone to Chicago to play at the festivities held in conjunction with the Democratic convention which gave us the presidency of Richard Nixon. The MC5 were looking for a record contract, and on the weekend of September 22, I flew to Detroit to meet them and their brilliant manager, John Sinclair, and to see them play at the Grande Ballroom.
My job at Elektra was not to sign new bands, but to publicize artists already under contract, but things were much looser then, and at the moment, I had the ear of the man who invented Elektra, Jac Holzman, so anything was possible. Anyhow, I loved the MC5 – they were fast, loud, colorful and all-American – and I loved their manager. Back at their commune on Ann Arbor’s fraternity row the day after the Grande show, I was busy telling them how much I loved them when guitarist Wayne Kramer said, ‘If you like us, you should check out the Stooges, they’re sort of our little brother band, and they’re playing tonight’. Somehow, Wayne knew that no matter how turned on I seemed to be by the good-time high-energy and Utopían politics of the MC5, in my heart I was looking for something more primitive, true pandemonium. He steered me right – that night I saw the Stooges perform at the University of Michigan Student Union, and it changed my life.
I couldn’t believe what I was seeing and hearing, a cliche I know, but real for me on that first night of autumn in 1968. I had never seen a performer as incredible as Iggy (that’s true to this day), and about the music, I could only say, ‘At last!’ When Iggy came off the stage, I went over to him, gushing about the show, telling him I was from Elektra Records and was eager to get them a contract. ‘Speak to my manager’, he said, still walking toward the dressing room, not even looking at me. His abruptness was not generated by his getting so many such offers that he was jaded, but by his disbelief – he’d never had any, and didn’t think it possible that I was for real. ‘Yeah, sure, you’re from Elektra Records’, he said to himself (as he told me later). ‘And I’m Mr. Ed’.
I did speak to his manager, Jimmy Silverman, who was in partnership with John Sinclair, and the next morning I phoned Jac Holzman from Ann Arbor and told him I’d done a handshake signing with not one but two bands, both of which, I assured him, would make history, and lots of money besides. But I had to offer them some ‘hello money’, and needs Jac’s guidance on that matter. The MC5 was signed for $20,000, and the Stooges for $5000 – it was more money by far than either band had ever seen.
What happened to the MC5 is another very long story. What happened to the Stooges is that they went into the studio with John Cale and came up with the album you’re now holding. Commercially, it was a curiosity, but it has influenced a generation of musicians and listerners beyond measure, and twenty years later is still twenty years ahead of its time. In truth, it’s more amazing than ever“.
… o q ficou?
MEUS DISCOS SESSENTISTAS FAVORITOS:
Obviamente constam discos e bandas ñ exatamente heavy metal, pois “Black Sabbath”, o disco, ainda ñ tinha sido lançado. Próximas décadas deixarão de conter bandas/artistas q ñ sejam exatamente pesados
PS – bonna tem lista pra hoje ou folgou?
… o q ficou?
… o q ficou?
MELHORES COVERS REGISTRADAS PELOS RAMONES, PRA MIM: