Hal

I read the review yesterday but rushed through it; this morning I read it more carefully. Nothing to say, grasshopper, impeccable. I’ll leave you with a reflection I was reading yesterday. In an interview, Roman Vlad distinguished Bach from Beethoven, saying that while the former was superhuman, the latter was a superman. In other words, while Bach transcends the boundaries of humanity with music that seems almost to go beyond its author, Beethoven imbues every note he writes with his own self. Two different greatnesses, in short, but both immeasurable in their distinct dimensions. I thought it was interesting to leave it here because this distinction really struck me, and I’d like to know what you think about it. Bye.

Balanced judgment and rich description, I’m interested, thank you.

I listened to it carefully this morning; at times it's a sunny, simple, and serene pop, while other moments it ventures into quite elaborate musical interweavings, and overall it's enjoyable. Perhaps it's not essential, but it's not bad. Three and a half stars is fair for me.

Unfortunately, Lello, in these last few months there haven't been many interesting novelties for me. I found the albums by "The Frames" and the Canadians "Barenaked Ladies" nice, a couple of soundtracks, a bit of jazz, but still less than in other periods. This one by Lucinda fortunately raises the average a bit. @ iside: I really want to see if we can manage to hold this island meeting one day, let’s not give Carlo V reason again when he said we are "pocos, locos e malunidos." @ ecioso, something is missing for everyone, and the emptiness will never be completely filled :) @ saputello: correct and just observation :)); @ nofake: you’re right, it’s a metaphor that pushes it a bit much, I didn't mean it to that extent though. Let’s say that fragments of her life are consistently present in her songs, giving them a different value (for me); @ Cleo: hi :) @ massimof, I knew she could be to your taste, after all we have many listening habits in common; if you listen to her, let me know; @ donjunio, I would be curious to know your opinion too if you manage to listen to her; I might post some samples tonight to spark curiosity if I have time; @ mopaga :) ; @ tinybanks: maybe sometimes there’s an excess of fake, but it seems to me that interesting reviews are always available. It’s just a pity that they often attract less interest compared to the pranks. Just to give some examples in the last few weeks I've seen desolation in interesting writings like R. Brecker by ecioso; or the review of that grand album Paris, Texas sees only a few usual loyal listeners; is it possible that so few people know it? The same goes for Lady in Satin by Billie Holiday. In short, there are always some beautiful proposals for those who want to see them freely. Bye :)

@ malloy - three albums? Easy, that's not too many. First: "Car Wheels On A Gravel Road" for sure, maybe in the recent deluxe edition reissue (late 2006). Second, "Live at Fillmore" from last year, a double live CD that summarizes its history well. It's one of the albums I've listened to the most last year. The third could be this, although I prefer "Essence," which, even though it's sadder, seems to me to be his most heartfelt work. @ josi - "Lucinda" fits well in here - @ iside - if you decide to swing by this way, we'll gather donjunio too and try to convert sfascia - @ kosmo: courageous is a fitting adjective that was missing, thx. @ sfascia - to get to know her, it's worth what I told malloy about the water (to the frogs), let's hope for a future re-educative expedition. Haloa

I was just referring to your last comment, sanjuro, for the rest I’m tuned in, I’ll pass and wrap it up :)

I don't know it much at all, maybe I have something in the miscellaneous-jazz section but I should check, the review is quite enticing nonetheless.

And already ... I am just the archetype of a "pop" ;)

Intriguing ratherthannot. But will "new-rap" in thirty years be "old," thus assimilating itself to that of twenty years ago [moving backward from today's perspective], and of which the current affirmation of the suffix "new" presupposes its existence? Or will it find itself alongside new forms like new-new-rap or new-old-rap? Or will hybrid definitions take shape like half-new[old]-rap elevated n? Who can say? Very few certainties: in vino veritas, in scarpe adidas.

The guitar like the sun's shimmer on the sand.