#zietgeist

“...The song isn’t a call to battle but more of a wish that everyone would quit bitching when things are bad and DO something to rectify the situation...”  - GREG SMITH, as quoted in BoB #18

FOUR STAR SOUNDS FROM THE LONE STAR STATE, PART 2: AUSTIN, episode 2!

Bucketfull of Brains Issue 18  October 1986 (pages 18 & 19)

LONE STAR story by JON STOREY, Editor

PART 1: Austin, episode 1: The WILD SEEDS and TEXAS INSTRUMENTS: “House parties repeatedly provide the scene with its best memories. Some say it began on December 17th, 1983 when Zeitgeist, the Dharma bums and Doctors Mob performed before a paisley backdrop in a house on Avenue D…”

January 2013 interview with Kim Longacre (Zeirgeist/the Reivers)

Doctor’s Mob at Trouser Press

Previously on Fuckin’ Record Reviews:

The WILD SEEDS

TEXAS INSTRUMENTS

Austin 2016? Don’t ask us…we’ve got to get to work already. However, you might consider pointing your browsers (as they useta say) at the following 21st century Austin gemstones:

@12xurecs (Empty Markets, Flesh Lights, Golden Boys, James Arthur’s Manhunt, The Dead Space, The Gospel Truth, Sweet Talk, XETAS, Jonly Bonly, John Schooley & Walter Daniels, Burnt Skull, Sally Crewe, OBN IIIs…actual bands from other places too, wha?)

@supersecretrecords (Carl Sagan’s Skate Shoes, Suspirians, Quinn Galavis, Nameless Frames,  John Wesley Coleman III,  Kingdom Of Suicide Lovers, Simple Circuit, how great was that Creationists record from a buncha years ago?, Unknown Relatives…)

@castingcouchzine​ Wherein musician/writer/bon vivantMiranda Fischer writes in CC #4, “…if the only way you’ll listen to what I have to say about music is if you’re not looking at my dumb woman face, fucking fine, but stop assuming I’m a man just because I have opinions about music.” In other words: she gotz fuckin’ record reviews! And plenty of them too.CC is essential, not the least due to Fischer’swillingness to politely tell her friends and advertisers their records eat shit when she thinks they eat shit. This is a rare commodity in the thin-skinned 21st century and well worth the time of anyone interested in that which Fuckin’ Record Reviews champions, so ORDER HERE NOW BEFORE THEY ALL SELL OUT (CC #1 is long gone).

…did someone say ART ACEVEDO?

TWISTWORTHY RECORDS

A GIANT DOG

SPRAY PAINT

MONOFONUS PRESS

the ZOLTARS/JARED LEIBOWICH

GHETTO GHOULS

Un corsaro di origini italiane nel Mar dei Caraibi ha dei conti in sospeso con gli spagnoli, e per questo assalta la città di Maracaibo. Poi attacca una questione personale con il governatore della città e pur di regolarla attraversa la foresta vergine incontrando cougari (puma) e cannibali.

Perché sì:

Perché ci sono i pirati, Maracaibo, e tanto tanto mare. Perché tutto sommato è un titolo che ha fatto la storia, e perché è una delle cose più popolari nella letteratura italiana. 

Perché no:

Perché il Corsaro Nero è sempre così uguale a sé stesso che sembra Stallone. Non cambia mai e fa esattamente quello ci si aspetta. Perché i dialoghi sono melensi e scontati e perché le descrizioni sono lunghe, barocche, ridondanti e didascaliche. Perché anche se è uno dei migliori della letteratura italiana, è comunque uno dei migliori nella schiera dei mediocri imitatori di Verne e Stevenson.

Quarta di copertina