Grasshopper

Do all interpreters play Bach's scores the same way through the ages? But are we sure? I would suggest listening to Glenn Gould's piano interpretations of Bach and then comparing them with a more faithful interpretation, or comparing the last symphonies of Mozart, interpreted with romantic fervor by Bernstein, with the same works, captured instead in their serene 18th-century grace by Sir Neville Marriner... I could go on for a while, but in the end, what I'm saying is a truism: although it may not allow for as much variation as jazz, which is based on improvisation, classical music is not as monolithic as you describe, since absolute Bach and absolute Mozart do not exist, and each interpreter offers us their "own" Bach, their "own" Mozart, etc., while remaining faithful to what is written on the staff. A review somewhat marred (at least for me) by this generalization about classical music, which seems to be based on a widely held cliché. As for the record, I would say it’s not exactly the best Duke Ellington, but it is nonetheless a valid example of genre contamination, as well as further proof that the masterpieces of the past are not rigid and untouchable at all.

You're right. Don't ask me how it turned out because I don't know either.

After the practically overlapping judgments on "Genesis" and "Invisible Touch," finally a point of dissent, albeit not excessive. An album that, from its very title, is a proclamation against the dance infestation that dumbs us down (or rather, dumbs down those who listen to the radio). The program is adhered to, but only to a certain extent. Interesting ideas ("Driving the Last Spike," "Fading Lights") but also a lot of ballast ("Way of the World," "Since I Lost You," while I would save "Hold On My Heart," which, despite its unsustainable Collins-like lightness, can be appreciated for its catchy melody). For me, it's a more mediocre (3) than good (4) album.

Wow, on Genesis we really have ideas that practically coincide. For me too, this is the lowest point ever reached, and "Domino" and "Tonight" are the only signs of life in this swamp of banality. On "So" by Peter Gabriel, however, I disagree: it's true that there are two "hits" as I called them in my review (Sledgehammer and Big Time), but everything else seems to me like it's truly from another planet, with hardly any concessions to the average taste imposed by the market.

I'm arriving late, bouncing back from "Invisible touch," just to say that besides being excellently argued, what I've read finds me in full agreement on practically everything, vote included. The electro-Genesis aren't completely to be written off, and this somewhat understated, even anonymous album title demonstrates that. Just halfway through, though (up to and including the two "Home by the sea").

It’s clear that in the landscape of "tunzettara" rubbish that not only today but even back then the radios were spewing out in industrial quantities, even a piece of broken bottle like this seems to shine. But its misery of a broken bottle becomes evident as soon as it is compared to the sparkling purity of that unique series of jewels from the early '70s, which the same people (with the significant addition of a certain Peter Gabriel and a certain Steve Hackett) were able to gift us.

You've sparked my curiosity to go and hunt down this kind of Dylan-esque "ugly duckling," which, by the way, is not unique in the vast production of the father of singer-songwriters, and to adopt it just as you said, like an orphan, introducing it to the impressive 22 siblings and half-siblings (not all masterpieces) that already populate my shelf. If it at least partially follows in the wake of "Slow Train Coming," which, despite being overlooked, seems to me to be between decent and good (3.5 - 4 on debaserian scales), it’s probably worth filling this gap too.

I'm currently experiencing a period of genuine methenymania (is it contagious?). I've seen and grabbed "Letter From Home," and this one also won't budge from my player anymore.

Perhaps the last true masterpiece by Van Morrison, at least for me (his work from the '90s doesn't engage me that much). The final one in an ideal "Celtic" trilogy that starts with "Inarticulate speech of the heart" and passes through "A sense of wonder." In all three cases, these are truly great albums. A review I would have liked to write myself, but it would have been my fifth on Van. It’s only fair that someone else talks about it, and in this case, I would say succinctly, but appropriately and convincingly.

On the two John Williams, I'll respond to you here. After all, it's still about guitarists. They are two namesakes: one, the one who plays Bach, is a guitarist who frequents a predominantly classical repertoire (his performances of the Spanish masterpieces by Rodrigo, Albeniz, Granados, etc. are textbook examples). The other is a film score composer, about whom I don't know much. I'm glad to have confirmation that there are other extraordinary albums by Pat Metheny, as was easily imaginable. In the meantime, I’ve gotten "First Circle," and after just two listens, I’d place it directly in my Olympus. But I suspect there’s little to nothing to throw away. As for the review, saying it wasn’t appreciated seems inaccurate since it only received 4s and 5s. Personally, I found it a bit technical, aimed at professionals, but still always at excellent levels, of course!