A stone so big on the path of songwriting that makes me think it's one of those albums of "A Before and an After Him." At the beginning and at the end, the two most astonishing masterpieces: the eternal and rarefied melodic perfection of "Suzanne," which needs no further words, and equally perfect is "One of Us Cannot Be Wrong." Every song has so much to say, the lyrics of a great poet from the second half of the 20th century ("The Stranger Song," to mention one), the superb beauty of the melodies ("Sisters of Mercy," to mention another, as they are so interchangeable in the discourse), essential and untouchable as they are; the small nuances in the arrangements (the background vocals of Nancy Priddy’s female voice, the more robust arrangement than usual in "So Long, Marianne" with the instruments coming in one after the other, in a game of additions that is always discreet and never excessive).
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