LOS 1001 DISCOS DE LOS COJONES el miércoles doblete de Simon & Gartfunkel con Bookends y Bridge Over Troubled Water

El facha catalán escribió:El punk, en lineas generales es un putísima mierda.

Pero ese disco de Sex Pistols es una ENORMIDAD

Y que le vendan la moto a otro que no sabían tocar, Steve Jones sabía tocar muy bien.

RockRotten escribió:

El facha catalán escribió:El punk, en lineas generales es un putísima mierda.

Pero ese disco de Sex Pistols es una ENORMIDAD

Y que le vendan la moto a otro que no sabían tocar, Steve Jones sabía tocar muy bien.

Bueno, se dice, se comenta, se rumorea que Chris Thomas tocó la guitarra en ese disco

Me da igual, es un discazo

Y luego se ha comprobado que el estilo de Jones es muy peculiar y muy acorde a ese disco, así que no sé qué pensar

RockRotten escribió:

El facha catalán escribió:El punk, en lineas generales es un putísima mierda.

Pero ese disco de Sex Pistols es una ENORMIDAD

Y que le vendan la moto a otro que no sabían tocar, Steve Jones sabía tocar muy bien.

Bueno, se dice, se comenta, se rumorea que Chris Thomas tocó la guitarra en ese disco

Me da igual, es un discazo

Y luego se ha comprobado que el estilo de Jones es muy peculiar y muy acorde a ese disco, así que no sé qué pensar

Pier escribió:

KILLER escribió:Coincido totalmente con Facha. Las guitarras de Jones son cojonudas.
Creo que fue Euroboy el que comento en una entrevista que su espejo musical era la guitarra de ese disco.

DumDumBoy escribió:

Pier escribió:

Muy grande Steve

En la sencillez esta la clave desde luego...  pero luego no es tan sencillo

Pendejo escribió:El disco de mañana no lo encuentro en Soulseek

uno cualquiera escribió:

Pendejo escribió:El disco de mañana no lo encuentro en Soulseek

Ya sabía yo que alguien tenía que haber colado algún gamusino.

uno cualquiera escribió:Veña ho, cualquiera puede tocar las canciones de los Pistols, ni que estuviesemos hablando de física cuántica, la virgen.



Pier:




A ver, a mi una provocación me parece que grupos que encabezan festivales masivos sigan hablando de DIY y la gente trague sin problema alguno esa trolaza, no que el menda señale eso. Que luego muchos os lo curráis por el amor al arte es indiscutible, pero no estaba hablando de eso. De sobra sabes, so pillín, que a mi lo que me interesa es hablar de la santificación del punk y su discurso por parte de ciertos sectores de público y crítica.

Pendejo escribió:

uno cualquiera escribió:

Pendejo escribió:El disco de mañana no lo encuentro en Soulseek

Ya sabía yo que alguien tenía que haber colado algún gamusino.

Comorl?

uno cualquiera escribió:

Pendejo escribió:

uno cualquiera escribió:

Pendejo escribió:El disco de mañana no lo encuentro en Soulseek

Ya sabía yo que alguien tenía que haber colado algún gamusino.

Comorl?

No hay gamusinos en Euskadi?

Pendejo escribió:

uno cualquiera escribió:

Pendejo escribió:

uno cualquiera escribió:

Pendejo escribió:El disco de mañana no lo encuentro en Soulseek

Ya sabía yo que alguien tenía que haber colado algún gamusino.

Comorl?

No hay gamusinos en Euskadi?

No me suena. Nunca he visto uno.

uno cualquiera escribió:

Pendejo escribió:

uno cualquiera escribió:

Pendejo escribió:

uno cualquiera escribió:

Pendejo escribió:El disco de mañana no lo encuentro en Soulseek

Ya sabía yo que alguien tenía que haber colado algún gamusino.

Comorl?

No hay gamusinos en Euskadi?

No me suena. Nunca he visto uno.

Como los Shake, vamos.

Moltisanti escribió:

Annie escribió:

DumDumBoy escribió:Tienes razón en que el enfoque es distinto entre los que fueron de los 80 en adelante y los que fueron de los 90 hacia atrás.
Por supuesto hay un cariño mayor por los grupos que vives porque triunfan en tu generación y un desconocimiento sobre bandas que "se quedaron atrás". Por eso yo tengo en más estima a Metallica que a Testament y a Sepultura que a Exodus por ejemplo.
Pero creo que no es cierto que esa retrospectiva nos condicione tanto el criterio. Yo conocí a Metallica con el Black y mi disco favorito suyo es el Ride a Aerosmith los conocí con Get A Grip pero me quedo mucho antes con Rocks y mi disco favorito de los Stones no es Voodoo Lounge  

Aquí hay gente noventera que le mola Roots y gente noventera que no le mola Roots precisamente por sonar coyuntural alineándose con el número metal.

Por supuesto me cuesta mucho, y en eso sí tienes razón, contextualizar bandas como Testament, Obituary que no viví y en las que no he profundizado.

Empiezo con una puntilla: Metallica triunfaron en los 80 plenamente ... en el heavy. Otra cosa es que su triunfo ampliara fronteras en los 90. Pero antes de sacar "And justice" ya tenían un reconocimiento bestial: eran una banda gigante. Pero claro, en ese momento no creo que tuvieran ni un solo fan fuera del género.

Y el ejemplo de que tu preferido sea "Ride the lightning" no sé si me vale en tu caso, pero te aseguro que en el de la mayoría de los foreros, no. Y no porque no crea que sea una opinión sincera, sino porque de nuevo forma parte de la teoría del enfoque que yo defiendo. ¿Por qué un disco de Metallica tanto y uno de Exciter o Destruction ni siquiera un poco de atención? No creo que objetivamente sólo por la calidad, sino porque queda fuera de las referencias que se parten. Por la misma razón que un tipo que viene del jebi del os 80 sí les atiende: Porque sí entiende que comparten origen y destino.

Mira, el otro día me lie a repasar discos jebis de un año, para uno de esos hilos de "lo mejor del año 199_", y me di cuenta que era capaz de escoger 100 títulos divertidos, geniales o atractivos, y haberme olvidado de una decena de clásicos laureados de la década. Y ese olvido me trajo a la cabeza que estaba cometiendo una ofensa hacia mucha gente que era incapaz de ver ni el más mínimo atisbo de calidad en la mayoría de mis elegidos. No porque no la tuvieran, porque seguro que aparecen otros diciendo que sí que disfrutan esos discos, sino porque estaban fuera de los ángulos desde los que se enfocan las otras bandas. O sea, la pregunta que se haría alguno sería: ¿Qué cojones me cuenta este tío de que una banda belga de mierda sacó un disco que le pudiera gustar más que uno de Pantera? Mientras yo podía preguntarme a la vez: ¿Cómo puede negar una escucha a esa banda belga un tipo que ama Megadeth?

Vamos a ver si sorprendo a mi querido Kevin.

Mi disco favorito de Metallica ahora mismo es Master of Puppets.
De Megadeth es Youthanasia.
De Slayer Reign in Blood
Y de Anthrax Volume 8.

Qué tal ando de felipismo. Sobrado, ¿a que si? pero ¿y lo que mola decirlo?

Y lo que es aun menos importante ¿existe una razón para que sean esos discos en mi caso mis predilectos? Una razón metafísica, quiero decir.

Pendejo escribió:Pues el de Shake me lo voy a saltar porque no lo encuentro por ningun lado...Para mi que no existen.

Pendejo escribió:Pues el de Shake me lo voy a saltar porque no lo encuentro por ningun lado...Para mi que no existen.

“Los Exitos de Sex Pistols por Los Punk Rockers” is perhaps the finest shit-fi record of all time (forget that mention of “Sacrilegio” one sentence back). It simply does not get any stupider, stranger, more poorly played, funnier, or nigh-psychotic (and possibly -psychedelic) than this record. Even the most humorless sad-sack must crack a smile when the singer growls and caterwauls incoherently, and in-the-red, in no language known to even the most ardent linguistic anthropologists during “Problems.” So what exactly is this fine piece of shit? Not much is known about the origin of the record, but it seems to follow a pattern that was once relatively common, especially in the, uh, less developed nations of the world: rather than trying to license a hit record for sale in, for example, Spain, a record company paid a studio band to record their own version of it—a covers record, essentially—that would be sold profitably to fans hungry for the real thing, which was completely unavailable. The record didn’t pretend to be the real thing, but if the fans were confused and thought it was, well, no harm in that. The records, and cassettes too, were sold in supermarkets and on roadsides, though not necessarily outside the normal distribution channels of legally manufactured records. (The original LP jacket mentions a cassette version, catalog # NC. 1276, but it was supposedly released under a different band name.) “Los Exitos de Sex Pistols” was released, in two different pressings (!), on Dial Discos, under its Nevada series. The back of the sleeve of one version depicts, as many mainstream 70s records did, various other records available on the imprint, a few of which are possibly in the same style, such as “Los Exitos de Julio Iglesias.” The difference is that Los Punk Rockers managed to outdo the Pistols at their own game, whereas I doubt Mr. Iglesias blushed before phoning his lawyer if he ever learned about the album sold under his name (the cover of which archly includes a silhouette of him, rather than his actual likeness). The back of the sleeve includes Dial Discos’ address, the printer’s address, legal information (ha), and the release date. Every record pictured from the Nevada series includes the reference number for the LP and the cassette. I don’t know what the other sleeve variation has instead of the pictures of the other Nevada releases.

The bootleg of the LP, which is what you’re likely to encounter when you see this record for sale on eBay, has a few obvious differences from the original. It used the version of the sleeve with the other releases on Nevada, but deleted the catalog numbers. Also, on the back in the top right, it says “1978,” but the original does not. The bootleg sleeve, which is also larger than the original, has a printed spine unlike the original (and the cardstock differs, with the original laminated and bootleg varnished). The front of the boot’s sleeve lacks the Nevada logo in the bottom right and the catalog number, ND-1276 ESTEREO, along with the label name. Finally, the colors of the boot’s sleeve are slightly brighter, with the punk woman’s face more ruddy. The vinyl is clearly different (original matrix: ND-1275 A / ND-1276 B followed by a diamond-shaped glyph; bootleg matrix, in Czech Republic pressing style: AE 12759/A / AE 12760/A). The original label is brown and beige, whereas the bootleg is pink and magenta and includes songwriting credits instead of only the song names. As I mentioned, the original LP is extremely rare. When one sold in 2007 at the incredible Wah Wah Records store in Barcelona, it was the first the shop’s owner had seen in something like 15 years. I’ve heard of an insane trade: Opus single for Los Punk Rockers LP. Presumably, both traders thought the other was a complete idiot.

“Los Exitos de Sex Pistols” was obviously recorded in a flash, before the next trend could take hold. The musicians more-or-less learned the songs from “Never Mind the Bollocks,” but the singer must not have spoken much English, because his approximations of Johnny Rotten are complete nonsense. (Here are “Holidays in the Sun” and “Pretty Vacant”.) Even when singing the song title, as in the chorus of “Seventeen,” he seems to be making words up: “I’m a lazy seven.” He does have the snottiness down pat, though. The vocals are clearly the best part of the record, simply because they’re so hilariously terrible. The guitar sound is thin and fuzzy, quite unlike the multitracked wall of guitars on “NMTB”—actually, it’s a lot closer to what one associates today with DIY punk of the late 70s than the Pistols’ sound. Few punk sleeves are as iconic as that of “NMTB,” but this album’s sleeve does fit the music well. It’s dumb. The woman on the sleeve appears to be some random person a photographer pulled off the street and dressed in moderately “punk” duds. (A friend of mine coined the term “calzone” to describe an unfortunate effect extremely tight pants have on luscious hips—check the model’s jeans pockets to see an example.) Some time ago, one of the guys behind Munster Records saw this woman walking down the street in Madrid; he recognized her but didn’t know what to say and she escaped. Me, I would’ve followed her home, in the hopes that she had a stash of LPs under the bed.

When I was in Spain last year, someone told me of gossip that the popular Spanish prog-rock band Asfalto was responsible for this recording. Their legit records, I noticed, are easy to find in Spain. I wonder if the members of the band would admit to having recorded this abomination. Maybe the gossip is not true. I did find, in my research, that Asfalto played London’s Marquee in October 1978, which would’ve been the perfect place to learn about the Pistols. The early-for-the-trend Vibrators, who collaborated with Chris Spedding, the producer of the Pistols’ 76 demo (Spedding may have actually played guitar on it), played the Marquee the following day.

This LP could demonstrate one way that the transitional period of the first few years after Franco’s death perfectly coincided with the worldwide punk explosion to create music in Spain that stood apart from that of its peer nations. The uneven development of the worldwide capitalist economy is clearly due to factors like dictatorships, which, however market-friendly they were, as Spain’s started to become in the last half of Franco’s rule, still stifled innovation in the introduction of cultural commodities. Unscrupulous business practices have been endemic to popular music since its early days, but they are aided by local economic situations that bear attitudes toward legality out of joint with the larger global system. Thus, bootlegs have flourished in countries with lax regulations of intellectual property. In this LP’s case, however, not only did some apparent legal loophole create the space for it, so too did Spain’s rush to catch up with the rest of Europe culturally after Franco’s death, which included the explosion of subcultures as resistance—a sea change from the types of resistance that flourished before and during the civil war, in the era before the society of the spectacle commodity. The major difference between this record and the “real” punk records from Spain in 1978 is that Los Punk Rockers were not members of a movement. They took from the movement, however loosely constituted it may have been, but they did not contribute to it. Indeed, I am sure the “true” punks, such as members of Kaka De Luxe, if they were aware of this record would have considered it an insulting joke. Some aspects of punk rock, Los Punk Rockers showed, were easy to fake on record, but being a member of an oppositional subculture in a repressive society was not one of them. The Sex Pistols obviously serve as an introduction to nearly everyone’s understanding of punk rock, but I believe a far more accurate representation of the silliness and lack of pretense of punk as it was and is lived by the majority of its practitioners can be found on Los Punk Rockers’ LP. The stakes were far higher for the Pistols or La Banda Trapera Del Río than they are for me and my friends today, as we sit around laughing our asses off while listening to Los Punk Rockers.

I believe an entire book could be written about “Los Exitos de Sex Pistols por Los Punk Rockers,” perhaps in the 33.3 series. But I’ll stop here. This record is essential. It is probably the finest example of accidental greatness in musical history—and punk’s history is littered with examples of accidental greatness, or else the Shit-Fi project wouldn’t exist.

pinkpanther escribió:

Pendejo escribió:Pues el de Shake me lo voy a saltar porque no lo encuentro por ningun lado...Para mi que no existen.

Son colegas de Jano, no te metas con ellos.

Pendejo escribió:Pues el de Shake me lo voy a saltar porque no lo encuentro por ningun lado...Para mi que no existen.

Annie escribió:Me he escuchado todos los discos de la lista con atención, los que me sabía de memoria, los que odiaba, los que deconocía y los que minusvaloraba, pero tener que ponerme ahora este de Shake como si de verdad tuviera posibilidades de incluirse en una lista de este tipo me parece un desajuste absoluto. Y cuando digo de este tipo me refiero a todos los modelos que hemos dicho que puede tener la lista:  discos que representan el forerío, discos que representan el felipismo, el frikismo, el rock, discos trascendentales, discos minusvalorados, entrañables, transgresores, polémicos ... El de Shake no se incluye en ninguna de esas opciones. Y todos los títulos hasta ahora citados, aunque hayan entrado por decisiones unilaterales, encajan en alguna. Este no. Despropósito estar tratándolo ahora mismo. Y me temo que contraproducente.

Tengo ambos discos, que se los fui comprando a Miguel, de Alone Records, en su habitual visita al Azkena (alguien debería replantearse por qué una festival de rock, una celebración de rock, se ha quedado sin puestos de discos). Pero reconozco que no he podido disfrutarlos demasiado. Ambos discos recopilan con muy buen gusto muchas referencias de psicodelia folk, pero no sé si es por el inglés, al final se me hacen batiburrillo siempre que intento descubrirlos de nuevo. Me he pinchado los discos en solitario de Alberto Montero, y de nuevo sin ser un estilo que yo ande reclamando, se me hace mucho más llevadero. Y creo que es por el idioma. La razón de poder seguir la línea lírica me mantiene atento.

Annie escribió:Mis recuerdos de "Nevermind the bollocks" están asociados a los de "20 éxitos de Oro" de los Beatles. Tenía 14 años, un radiocasete a pilas, un lugar privado en la espalda de una estación de tren y un colega para toda la vida. Y si con esto que presento, alguien cree que puede convencerme de que es un mal disco, lo lleva jodido.

Y por aportar algo diferente, lanzo un recuerdo a aquel disco de Los Punk Rockers que se propagó por todo el país como una versión casi original, e indudablemente respetable. ¿Alguien lo compró?

“Los Exitos de Sex Pistols por Los Punk Rockers” is perhaps the finest shit-fi record of all time (forget that mention of “Sacrilegio” one sentence back). It simply does not get any stupider, stranger, more poorly played, funnier, or nigh-psychotic (and possibly -psychedelic) than this record. Even the most humorless sad-sack must crack a smile when the singer growls and caterwauls incoherently, and in-the-red, in no language known to even the most ardent linguistic anthropologists during “Problems.” So what exactly is this fine piece of shit? Not much is known about the origin of the record, but it seems to follow a pattern that was once relatively common, especially in the, uh, less developed nations of the world: rather than trying to license a hit record for sale in, for example, Spain, a record company paid a studio band to record their own version of it—a covers record, essentially—that would be sold profitably to fans hungry for the real thing, which was completely unavailable. The record didn’t pretend to be the real thing, but if the fans were confused and thought it was, well, no harm in that. The records, and cassettes too, were sold in supermarkets and on roadsides, though not necessarily outside the normal distribution channels of legally manufactured records. (The original LP jacket mentions a cassette version, catalog # NC. 1276, but it was supposedly released under a different band name.) “Los Exitos de Sex Pistols” was released, in two different pressings (!), on Dial Discos, under its Nevada series. The back of the sleeve of one version depicts, as many mainstream 70s records did, various other records available on the imprint, a few of which are possibly in the same style, such as “Los Exitos de Julio Iglesias.” The difference is that Los Punk Rockers managed to outdo the Pistols at their own game, whereas I doubt Mr. Iglesias blushed before phoning his lawyer if he ever learned about the album sold under his name (the cover of which archly includes a silhouette of him, rather than his actual likeness). The back of the sleeve includes Dial Discos’ address, the printer’s address, legal information (ha), and the release date. Every record pictured from the Nevada series includes the reference number for the LP and the cassette. I don’t know what the other sleeve variation has instead of the pictures of the other Nevada releases.

The bootleg of the LP, which is what you’re likely to encounter when you see this record for sale on eBay, has a few obvious differences from the original. It used the version of the sleeve with the other releases on Nevada, but deleted the catalog numbers. Also, on the back in the top right, it says “1978,” but the original does not. The bootleg sleeve, which is also larger than the original, has a printed spine unlike the original (and the cardstock differs, with the original laminated and bootleg varnished). The front of the boot’s sleeve lacks the Nevada logo in the bottom right and the catalog number, ND-1276 ESTEREO, along with the label name. Finally, the colors of the boot’s sleeve are slightly brighter, with the punk woman’s face more ruddy. The vinyl is clearly different (original matrix: ND-1275 A / ND-1276 B followed by a diamond-shaped glyph; bootleg matrix, in Czech Republic pressing style: AE 12759/A / AE 12760/A). The original label is brown and beige, whereas the bootleg is pink and magenta and includes songwriting credits instead of only the song names. As I mentioned, the original LP is extremely rare. When one sold in 2007 at the incredible Wah Wah Records store in Barcelona, it was the first the shop’s owner had seen in something like 15 years. I’ve heard of an insane trade: Opus single for Los Punk Rockers LP. Presumably, both traders thought the other was a complete idiot.

“Los Exitos de Sex Pistols” was obviously recorded in a flash, before the next trend could take hold. The musicians more-or-less learned the songs from “Never Mind the Bollocks,” but the singer must not have spoken much English, because his approximations of Johnny Rotten are complete nonsense. (Here are “Holidays in the Sun” and “Pretty Vacant”.) Even when singing the song title, as in the chorus of “Seventeen,” he seems to be making words up: “I’m a lazy seven.” He does have the snottiness down pat, though. The vocals are clearly the best part of the record, simply because they’re so hilariously terrible. The guitar sound is thin and fuzzy, quite unlike the multitracked wall of guitars on “NMTB”—actually, it’s a lot closer to what one associates today with DIY punk of the late 70s than the Pistols’ sound. Few punk sleeves are as iconic as that of “NMTB,” but this album’s sleeve does fit the music well. It’s dumb. The woman on the sleeve appears to be some random person a photographer pulled off the street and dressed in moderately “punk” duds. (A friend of mine coined the term “calzone” to describe an unfortunate effect extremely tight pants have on luscious hips—check the model’s jeans pockets to see an example.) Some time ago, one of the guys behind Munster Records saw this woman walking down the street in Madrid; he recognized her but didn’t know what to say and she escaped. Me, I would’ve followed her home, in the hopes that she had a stash of LPs under the bed.

When I was in Spain last year, someone told me of gossip that the popular Spanish prog-rock band Asfalto was responsible for this recording. Their legit records, I noticed, are easy to find in Spain. I wonder if the members of the band would admit to having recorded this abomination. Maybe the gossip is not true. I did find, in my research, that Asfalto played London’s Marquee in October 1978, which would’ve been the perfect place to learn about the Pistols. The early-for-the-trend Vibrators, who collaborated with Chris Spedding, the producer of the Pistols’ 76 demo (Spedding may have actually played guitar on it), played the Marquee the following day.

This LP could demonstrate one way that the transitional period of the first few years after Franco’s death perfectly coincided with the worldwide punk explosion to create music in Spain that stood apart from that of its peer nations. The uneven development of the worldwide capitalist economy is clearly due to factors like dictatorships, which, however market-friendly they were, as Spain’s started to become in the last half of Franco’s rule, still stifled innovation in the introduction of cultural commodities. Unscrupulous business practices have been endemic to popular music since its early days, but they are aided by local economic situations that bear attitudes toward legality out of joint with the larger global system. Thus, bootlegs have flourished in countries with lax regulations of intellectual property. In this LP’s case, however, not only did some apparent legal loophole create the space for it, so too did Spain’s rush to catch up with the rest of Europe culturally after Franco’s death, which included the explosion of subcultures as resistance—a sea change from the types of resistance that flourished before and during the civil war, in the era before the society of the spectacle commodity. The major difference between this record and the “real” punk records from Spain in 1978 is that Los Punk Rockers were not members of a movement. They took from the movement, however loosely constituted it may have been, but they did not contribute to it. Indeed, I am sure the “true” punks, such as members of Kaka De Luxe, if they were aware of this record would have considered it an insulting joke. Some aspects of punk rock, Los Punk Rockers showed, were easy to fake on record, but being a member of an oppositional subculture in a repressive society was not one of them. The Sex Pistols obviously serve as an introduction to nearly everyone’s understanding of punk rock, but I believe a far more accurate representation of the silliness and lack of pretense of punk as it was and is lived by the majority of its practitioners can be found on Los Punk Rockers’ LP. The stakes were far higher for the Pistols or La Banda Trapera Del Río than they are for me and my friends today, as we sit around laughing our asses off while listening to Los Punk Rockers.

I believe an entire book could be written about “Los Exitos de Sex Pistols por Los Punk Rockers,” perhaps in the 33.3 series. But I’ll stop here. This record is essential. It is probably the finest example of accidental greatness in musical history—and punk’s history is littered with examples of accidental greatness, or else the Shit-Fi project wouldn’t exist.

uno cualquiera escribió:


A ver, a mi una provocación me parece que grupos que encabezan festivales masivos sigan hablando de DIY y la gente trague sin problema alguno esa trolaza, no que el menda señale eso. Que luego muchos os lo curráis por el amor al arte es indiscutible, pero no estaba hablando de eso. De sobra sabes, so pillín, que a mi lo que me interesa es hablar de la santificación del punk y su discurso por parte de ciertos sectores de público y crítica.

coolfurillo escribió:

RockRotten escribió:

El facha catalán escribió:El punk, en lineas generales es un putísima mierda.

Pero ese disco de Sex Pistols es una ENORMIDAD

Y que le vendan la moto a otro que no sabían tocar, Steve Jones sabía tocar muy bien.

Bueno, se dice, se comenta, se rumorea que Chris Thomas tocó la guitarra en ese disco

Me da igual, es un discazo

Y luego se ha comprobado que el estilo de Jones es muy peculiar y muy acorde a ese disco, así que no sé qué pensar

Lo que siempre se ha comentado es que Chris Spedding metió bastantes guitarras en el disco.

pinkpanther escribió:

Pendejo escribió:Pues el de Shake me lo voy a saltar porque no lo encuentro por ningun lado...Para mi que no existen.

Son colegas de Jano, no te metas con ellos.

Pendejo escribió:Pues el de Shake me lo voy a saltar porque no lo encuentro por ningun lado...Para mi que no existen.

psycho-sonic escribió:

uno cualquiera escribió:


A ver, a mi una provocación me parece que grupos que encabezan festivales masivos sigan hablando de DIY y la gente trague sin problema alguno esa trolaza, no que el menda señale eso. Que luego muchos os lo curráis por el amor al arte es indiscutible, pero no estaba hablando de eso. De sobra sabes, so pillín, que a mi lo que me interesa es hablar de la santificación del punk y su discurso por parte de ciertos sectores de público y crítica.

Nombres?

En cuanto a lo de la santificación del punk:

sapir escribió:Tiene buena pinta el disco de hoy. Seguramente no debiera de estar en la lista pero gracias a su presencia lo voy a escuchar. Dudo que llegase a escucharlo alguna vez de no ser por la lista. Esto se trata para mi de descubrir discos así que muy bien que esté.

psycho-sonic escribió:

sapir escribió:Tiene buena pinta el disco de hoy. Seguramente no debiera de estar en la lista pero gracias a su presencia lo voy a escuchar. Dudo que llegase a escucharlo alguna vez de no ser por la lista. Esto se trata para mi de descubrir discos así que muy bien que esté.

UN DISCARRAL COMO LA COPA DE UN PINO.

Bien poco importan trascendencias, importancias, cifras de ventas, referentes de su puta madre o discos para connoisseurs....

Si se descubre semejante joyita gracias a colar de rondón este disco en la dichosa lista, pues mira que bien....

DumDumBoy escribió:A todo esto ¿Bunbury sería DIY? compone, interpreta, produce, se ha autoeditado... y además siempre habla bien de las multinacionales