cptgaio

I've always been frightened by...

Hats off! (I don't know the proposal)

But better than what? It's passionate, intimate, and captivating. That's good enough!

Thank you all for the appreciation! @Madcat: more like Cocteau Twins, Dead Can Dance or Mercury Rev. There are no abrasive sounds like My Bloody Valentine here.

I know they weren't on Play Back; I saw them live in '87 in Padova, or was it Mestre? I don't remember, I only know it was in Eastern Veneto, but that year I saw quite a few bands between Padova and Mestre (Metallica, D.R.I the first ones that come to mind), so I get confused but I must still have the ticket somewhere ;-). Accompanied by my uncle...

Cute, but of the various traits from our beloved Agatha, I greatly prefer "Death on the Nile." I don't quite agree with the idea that there are no actors capable of handling it these days, but those are minor details. The review is veery good.

I don't know why, correct me if I'm wrong, but I think Norum was also involved in recording "The Final Countdown" before he left. Maybe he regretted it later? Who knows, I guess we'll never find out. You're right about the Bros issue: it's still to be seen who benefitted more from the "association" ;-)

Well, if we were always in agreement, there wouldn't be a need for DeB ;-) I don't know, I'm convinced that the '80s Pop was something else, and indeed I made distinctions regarding their origins. The fact is that in the end, what will be remembered about them (by non-fans) will be the covers on Cioè... Unfortunately, certain choices, once made, must be paid for to the bitter end (and I’ll tell you that I agree on "Out of this World," but by then the damage, in terms of image, had already been done). The point is that they did indeed choose to appeal to a Pop audience, but then they weren't able to sustain it (you might find it strange, but it takes skill to be like Madonna, for instance, not necessarily musical skill, but skill nonetheless) as Bon Jovi did, and the extreme catchiness of "The Final Countdown" proves that. It's clear that this is just my view of things; I completely understand what you mean, but I firmly believe that a couple of catchy riffs aren't enough to make Rock: it's also a matter of attitude, and personally, I think that Europe lost that in '86. That's all.

Well, it must be said that Di'Anno’s contribution to the composition in Killers is only in the title track (not that he wrote much more in the first album either! He only worked on "Remember Tomorrow" and "Running Free"), so I would like to debunk this myth about Di'Anno being fundamental for Maiden. Until '83, the Maiden were dependent on Harris and went wherever he wanted to go (be it streetwise or epic), and then gradually in terms of composition (and in credibility among fans) Smith and Dickinson made their way, and in recent years Gers as well, turning the band into a more collective entity (which also led to the various conflicts that resulted in Smith’s departure first, the true rock soul of Maiden, and then Dickinson, the epic one). From '99 onwards, with the return of the two gentlemen just mentioned "on equal footing," these nuances are definitely felt.

I wanted to say between the third and fourth album :-D