franc'O'brain

I agree with the review. 'Friday' is an abomination, low-tier electropop. I don't understand how established musicians like these can lower themselves to such compromises. Sure, almost all of the 80s are to be thrown in the trash, especially regarding the sound (irritating synthesizers, replacing even the drums, and certainly responsible for millions of tinnitus), but here we are truly at a reversal of the good rock music that characterized the evolution of Le Orme. Then fortunately 'Elementi' and 'L'Infinito' will arrive... but that's much further down the line.

Kelley Lynch is a woman!!!
Trials & Tribulations: Leonard Cohen's Neverending Drama With Kelley Lynch
That said (but a Cohen lover should know this: the dispute is old...), I like your review. 4 stars!

I’m re-listening to it and I actually agree 100% with ez’s review. The songs are quite beautiful, compositionally speaking (see “Paper-Thin Hotel” and “Memories”: the latter actually works well even with Spector's arrangement). Anyway, all the albums following 'The Future' are masterpieces. All of them, without exception. And then? Well, starting from 'Ten New Songs', and thus all the records from 2001 to today, are nothing special. In fact: for me, who loved the "old" Cohen, often they are even unbearable. Once again: compliments for the review!

"In death of S.F." and "The Social and the Antisocial" are two beautiful songs, and if we also add "Auschwitz" and "We will not be there" (about the nuclear holocaust), we can definitely say that the album is worth it! It's also interesting to note that there's no trace on the Internet of that Alan Cooper who sings-speaks half of the verses of "Talkin' Milano"... or does anyone know anything about him?

Phenomenal. I'm a fan of Neil Young, but I believe that after listening to this work, I will throw myself wholeheartedly into the (re)discovery of perhaps not as eclectic but equally brilliant David Crosby. What an album! It emanates the heat of the smoking asphalt and the blue coolness of psychedelic bedrooms. Beautiful review as well.

For me, the work deserves a "4" (on the DeBaser scale), as the technical-avant-garde effort is evident, almost à la Robert Fripp; there's a shift towards a more global seriousness, less local, less Mediterranean, a shift that is almost forced by the serious absence of Pagani. And then, the underlying concept, namely "jet lag" (the disorientation, the sense of alienation caused by a "shift", by a change that is too rapid) that connects all the tracks, I like it, it suits me. The only track with lyrics in Italian, that is track 5. ("Cerco la lingua"), seems to me the least successful. Otherwise, we are at excellent levels, indeed I would say very high levels.
Just as we are at very high levels with this review, which I appreciated greatly: it's well-written and quite "informative". And this, even though it gives the album a harsh judgment, and thus different from mine.
Kudos to happypippo!

Mel Brooks' "Young Frankenstein" remains the only digestible Frankenstein movie! And regarding the slew of vampire films (those of Dracula, to be clear), I say that after Werner Herzog's "Nosferatu," with the regretted Kinski in the lead role, only tired rehashes have been produced. You can't endlessly recycle the same archetypes, with variations that even go so far as to offend the original intentions of the author!

I spoke with German-Russians who have lived in Kazakhstan their whole lives (exiled in exile!) and with former East Germans, that is, citizens of the former GDR: they all agree that life was better and easier under communism (or "real socialism," however you want to call it). The CCCP knew this too, and now that globalization has shown its true neoliberal face, consisting of a skull and two crossed femurs; now that capitalism can gnaw undisturbed at the flesh of poor innocents, even we know it, poor fools wasting time in front of the computer instead of going out to shout and fight.
The work of the CCCP is stunning and exceedingly modern; sterile and largely incomprehensible is the review of the alleged "friedrich."

There are really some of the best pieces by Young in this collection. As "original albums," I favor "Zuma" and the half-acoustic, half-electric "Rust Never Sleeps" (my companion on many camping trips, ages ago). I also have the 1977 compilation "Decades" and the magnificent "Arc/Weld" from '91, super tight (obviously: it's with the Crazy Horse). Not loving Neil Young means you haven't yet embarked on the right existential path.
Regarding "On The Beach," I have my doubts that it's truly one of the Canadian artist's best works. I even prefer the later "Greendale." But, of course, those are just my tastes.

Everything you write is true. In fact, Fripp has always stayed out of the chorus and, in any case, "over the top."