Steve closes the decade beautifully with an album that, as the title suggests, represents a return to serenity and the ability to compose music with a free and tranquil mind, after three difficult years during which his ex-wife Kim tried to take everything from him, even the spare strings for his guitars, because she had forgotten that her husband hadn’t played on "Invisible Touch" and wasn’t exactly making pounds flow from his orifices. Here, Hackett abandons the slightly exasperated eclecticism of some previous albums and finds "the permanent center of gravity," so to speak, in a more "dry" and compact album, more decisive in the musical direction to take. In doing so, Hackett manages to write songs that perfectly blend the electric soul with the acoustic-classical one (the perpetual alternation of acoustic and electric or the dichotomy of an introduction with a classical guitar leading to an electric change is present in almost all tracks) with a fluidity and naturalness I hadn’t felt from him... Who knows, maybe even since Spectral Mornings. "Sleepers" is, hands down, the peak of the album, a little masterpiece where Hackett's electric guitar starts to stutter again (remember "Ripples"? There you go), but all the tracks shine, with just a couple being slightly less convincing but still pleasant. Beautiful, beautiful. more
There's too little discussion about this album when talking about "Genesis and surroundings" and the solo debuts of the various band members. "Smallcreep's Day" by Pluto is often forgotten, and it's a shame because it is a very beautiful album, featuring a remarkable suite (unfortunately divided into separate songs from the CD editions onwards, but it must be said that those concept songs actually work well on their own) and pieces with memorable writing, inspired in both lyrics and melodies. With his lifelong friend, Ant of course, who plays all the keyboards creating enveloping and rich atmospheres, and an excellent band (there's also another Phillips, Simon, on drums), Rutherford puts together a truly remarkable album that is perfectly integrated into the contemporary path, also Genesis-like, of refreshing/remodernizing and perhaps lightening, but with great refinement, the style (here the twelve-string duets with Ant are not revived, here Ant focuses on various keyboards while Pluto especially plays bass and electric guitar); it's a pity that such an album will remain a unique case in his career and that Pluto Mike will follow the same downward path into the mire as he did with Genesis. But this album is very beautiful. more
Okay, it’s true, if we want to nitpick about the first five Sabbath albums, this is the one I appreciate slightly less, due to both a somewhat lower overall quality of the tracks compared to the previous three (but just a little, a little that feels like "who cares") and my unconditional love for "Sabbath Bloody Sabbath"; as I said, I’m nitpicking, and if I keep saying that their first five albums should be taken as a whole, each one cooler than the last, there must be a reason. It’s not, as I’ve sometimes heard, an album that changes direction from the previous ones; there’s at most a pinch more variety but nothing significant, in the end, it’s the same kind of variety that you also find in "Paranoid" and "Master". Here, there’s "Changes", beautifully stepping away from the proto-doomic and pachydermic riffs, and there’s also "Laguna Sunrise", but in the previous albums, there were "Planet Caravan" or "Solitude," so there isn’t too much change in the script (in short, if there’s an album with a more pronounced shift, then it’s the next one, not this one). The opening and closing tracks ("Wheels of Confusion" and "Under the Sun") are masterpieces, and there’s plenty of other meaty content in between. A heavyweight album. more
Debut album. more
beautiful words, but I don't love Nico. (my taste) more
They are truly empty, fake, and ridiculous. more
Stunning stunning stunning. If I were a lesbian, she would be my dream woman. more
First of three exceptional albums, due to a typical matter of "imprinting," this is probably my favorite from Banco, even though all three titles are clearly on the same level; however, this one has those particular atmospheres that have stayed with me a little more. Then, well, there's the voice of Franciccio Di Giacomo, the sublime melodic sense of the Nocenzi brothers, that taste for melody which is completely Mediterranean, entirely Italian, and that type of melody that is deeply local, which, while respecting the indisputable influence of British models, gives Banco a solid personal identity, which is excellent. Banco's melodies are extraordinarily smooth, catchy, pleasant, and also profoundly deep, dramatic, like those moments of Gianni at the piano… In short, these wonderful compatriots of mine are truly a powerhouse. more
The updated and married CCCP. more
Remake of the historic piece by Simon & Garfunkel, their first success included in the first album Wednesday Morning, 3 A.M. from 1964. more
I'm sorry, but I can't access external links. However, if you provide the text you'd like translated, I would be happy to help! more
Two brain-injured individuals to be locked away. She’s good for blowjobs with a blowjob voice. The worst of today's times where music and talent don’t matter. more
Too seldom celebrated. more
Supercar (Knight Rider) is an American television series produced between 1982 and 1986, created by Glen Larson and starring David Hasselhoff, Edward Mulhare, Patricia McPherson, Rebecca Holden (only season 2), and Peter Parros. more
Glen Larson, officially known as Glen Albert Larson, is famous for creating several successful television series such as Galactica (1978), Quincy, Knight Rider, Automan, Buck Rogers, as well as Magnum, P.I.. more
The concept that I've listened to the most from Camel. It's definitely one of their most successful albums, in my opinion. Sweet, poignant, at times energetic and Floydian.
I've often listened to Camel as a happy synthesis on the frontier between Pink Floyd, Genesis, and Canterbury jazz rock.
Classy and inspired music. If only we had artists like that still today in 2023... I would sign for it. more
The most accessible album by Camel. Progressive pop rock with a graceful balance. You can feel there's a team of arrangers and melancholic poets behind their instruments. Together with Nude, it's the album I can listen to in full without getting bored. A sunny album, this Breathless: perfect for a camel under the Saharan desert sun. lol more