luciano

I'm sorry, but I cannot access external links or browse the internet. However, you can paste the text here, and I would be happy to translate it for you.

I reread the review and I change the rating: in its being too, damned too brief, like only Afef's underwear can be imagined to be, it shows a remarkable analytical and synthetic ability.

stop? and it's not even rock, it's psychedelic rock (like for Pearl Jam, either we go into details, or we split everything into rock-pop-jazz). THE KING IS NAKED: THE FIRST ALBUM BY PINK FLOYD RELIED ON THE BEATLES' FORMAT TO TAKE OFF!

x Umma- sorry I didn't reply right away, but I didn't set up the alert email because it clutters my inbox. An album with great moments, even more than an album with great tracks: for example, tracks 2 and 3 connect well, track 3 ends, and track 4, which is wonderful in its own right—a fantastic aim track from a wonderful movie that I can't wait to watch in the 4-hour DVD version—is introduced perfectly... then the infamous one comes on, and you just feel like turning it off. That's what I mean. If we try to set up a program on the CD player that eliminates the fast-food tracks, we actually get an album at its peak, personally the best product after Unforgettable and Joshua Tree, but an album rated 5 MUST BE A 5 WITHOUT OUR MODIFICATIONS OR SUBJECTIVE REVISIONS, and I'm strict about this. Also, U2, along with REM and the Waterboys, are the band that brought our high school class together, and I'm unwilling to forgive them anything. A little thought to further reflect on their creative exhaustion: the 2nd CD of "the best of '80-'90" gives us 15 tracks, B-sides already released, but original tracks. Walk to the water and Spanish eyes alone were worth the 12,000 spent back then to buy the original CD singles from which they're taken; the 2nd of "the best '90-'00" counts only 3 (one of which, your blue room, has already paid for itself many times over). Umma-umma, dusted off but, let me guess, promptly put back on the shelf... Bye

4 for the review, accurate in its contents but a bit too small for such an important album (and then... that mistake...). 4 for the album because, while it may be the best of AC/DC, and we might even find it the best product of Australian rock, it’s limited: too monotonous, too compact, too “regular” in its development to be a masterpiece. (Besides, it seems to me that our culture generally doesn't make us very enthusiastic about what comes from that land, except for Megan Gale. In this regard, I'm curious to know what some representative from the Bolzano group that regularly visits the site thinks). Hello everyone.

5 to the review because even though it can be improved, I gave 5 to much worse things. I just want to add the sampling of Stratus in "Safe from Harm" by "Massive Attack", truly important in the Trip-Hop scene. 5 to the album because it’s the life's work of a great artist, not the best that ever existed, but still a great one. The only thing is that I'm afraid your review might give the impression of a work almost for "insiders" of drumming, while, being the masterpiece that it is, it can be appreciated by anyone, perhaps even on first listen. Bye.

You tease me... and I, for as much as the state exam allows me, follow you... 5 for the review, well-crafted, thorough, and yet concise, decisive... ordinary management for such a simple CD (N.B. it seems to me that in Italy this was the first thing a major released first on CD and only later on vinyl). 2 for the record because, in the embarrassment that addressing the historical importance of a CD that deserves a full 2 for quality brings me, I validate your judgment, with THE PRIMARY PURPOSE OF ENHANCING YOUR IMAGE, RECENTLY UNDERMINED BY COMMENTS AND EVEN REVIEWS PREPARED WITH THE OBVIOUS UNIQUE AIM OF SOUNDING SMART :-) Bye.

"A Funk Odissey" is depressing: the sound continues to be drained, beyond the threshold of impoverishment, in search of consolidating at least a hardcore radio-dance following (no longer radio-club), given the gradual disinterest of that more discerning audience that had appreciated its first two works and had provided the foundations for a successful launch. The CD is no longer pleasant to listen to; instead, it presents itself as a collection of dance tracks, with the addition of some fillers. The structure follows the sixteenth notes, as is mostly the case with all of its work, but this time it unfolds in a pedantic manner, without any variation other than what is suggested by the dance setting. The work as a whole feels so rigid that one might think it stems from a fundamental insecurity in a formula now being surpassed by the more recent chill-out electronic and world music openings in its own market sphere (will we ever thank Moby enough? read my review of "Play" and give the album a 5, mandatory). I found it very useful for explaining to a novice DJ the division of structure, something I did 10 years ago with Speedy J, just to give an idea. 2 stars and not just 1 out of respect for its always excellent technical realization and in hope that it might help determine a turning point for a talent who has locked himself away far too early, truly far too early, to dedicate himself to easy commercial success. Is everyone in agreement?

"Synchronized" is an improvement over the previous work: the sound is stripped of the virtuosic displays, almost all excellent, but overall a bit too redundant, let’s say baroque. What emerges is a simpler album, clean indeed, but enjoyable, truly well-balanced. The Jamiroquai vein is exhausted, but the product is pleasant. 3.

"Travelling Without Moving" marks a negative turning point: between the continuation of a challenging discourse on artistic quality and the consolidation of a lucrative high-quality radio-club format, our group opts for the latter (how much did Sony Music influence this choice?): the result is an album EXCLUSIVELY DESIGNED AS AN EXPANSION OF A DANCE FORMAT. The production quality reaches excellent peaks, but the message is sparse, depressing when compared to the commitment of the first and the creativity of the second. After all, traveling at maximum speed in a convertible Ferrari, the wind diminishes one's capacity for reasoning... 5 for technical quality, but considering the rest, overall it doesn't reach a 3.