mien_mo_man

The vote is not for the record but for the character and the performer, since we cannot judge the discs of the great chameleon of the island given that he has churned out around 15738!!! As a flamenco dancer, I cannot help but move to his famous Como L'Aqua.

As a lover of Edwyn Collins and the Scottish scene of the eighties (I would have reviewed the entire discography of the Silencers and the Waterboys), I find the idea of a rec on K to be absolutely brilliant. The compilation above is created to allow one to reclaim their material, as it’s not exactly the easiest thing in the world to get hold of one of their records. 5/5

yes

I don't know this album, but the "transitional" periods of rock fascinate me a lot.

they're not my favorites, Randy and the Spirits, but no one can take away the 5 from you

Wait, let me understand: if you're Neapolitan and you want to be Neapolitan, you have to live in Naples, while if you want to be Neapolitan outside of Naples, are you a scassauallere? Then Naples is special for this too: it doesn’t let you be who you want to be, neither inside nor outside the city!!! Daniele should have done just one thing: record those two or three albums at most and then disappear, but you know that music (usually) for those who make it is a passion and a source of income, while for those who listen to it, it’s a passion and an art form. Even in Bastogne, a Neapolitan remains a Neapolitan? Unfortunately, yes: you notice it right away if there’s a Neapolitan around.

Once she looked like the Turkish Anouk, now she seems like Tatangelo. She’s quite a stunner, from what I remember, but 5 stars... I would give her one, but I’d be willing to go up to 2 if she gives it to me.

I, unlike currahee, appreciate the first, full of kick-ass songs, like I Can'T Speak or Bus Stop... Heavy and alternative stuff. This one here, a Bowie-esque little disk with guitars (always my opinion, nothing personal). Not to take anything away from Reeves Gabriel, the Sales brothers are the only musicians authorized by Todd Rundgren to step foot in Something/Anything, one of the most masterful masterpieces on the planet. It must mean something.

The beauty of the rodeo, as I also wrote in this review, apart from the impact of the name Byrds, was more airy, in a "Miller's Cave" way, which for the ears of a newcomer to the subgenre made everything more immediately striking. But this is some great country rock, perhaps I like it more than S.O.T.R. because it's almost more rock than country. It's true: Haggard and Cash are two giants, and Parsons tackles them head-on without fear. And he makes a damn good impression, for crying out loud.

You are right, Supersoul, some of what you said I also knew, starting with Crosby's tendencies, and then moving on to the musical divergences of the rhythm section of the then ISB. It's worth mentioning that in NY the ISB recorded an album that got lost... But it's undeniable that Parsons, once in LA, sought the quickest way to make a name for himself, nevertheless trying to align with the Stones in the hope of getting his works released by the label created by the Stones themselves. In general, I believe that, willingly or unwillingly, wherever Parsons was, there was chaos. Thank you for the votes and the juicy additions.