Voto:
Well! There are people here who haven’t lifted a finger to denounce reviews or comments that glorified the killing or cancer of musicians and users, and now they’re rising up because they consider it disrespectful to post a recipe as a comment... What bothers me is that there are several users who scream about the speck in someone else's eye and don’t notice the beam in their own. It’s not a case of “sfasciacarrozze,” it’s one of those who have always “incited” the nonsense, especially in their reviews; it’s the case of others who invite in their reviews (true gems gifted to us ignorant Bedouins) to post only comments related to music, and then they’re the first to complain in those of others, whether they are good or bad.
Voto:
Little Bastard should make us reflect; from music, there are those who take and those who give. Mellencamp is one who has always given without taking, unlike someone like Springsteen who sometimes goes along with trends and whims of the moment. Some might say he perhaps has less talent, but I cherish extraordinary albums like Lonesome Jubilee. He has remained in his "Small Town," making records only when he wanted, while others have traveled the world raking in billions, inserting themselves everywhere. Yet, the sound of Mellencamp and his extraordinary band (Aronoff was created by him) is something that is unmistakable beyond trends. Four stars just because 5 goes to Lonesome Jubilee and Scarecrow (but even the latest Life Death Love and Freedom is amazing).
Voto:
For me, it's a quite disappointing album after the beautiful "Blacklisted," which was a kind of female version of cave-inspired murder ballads, and the excellent "Fox Confessor..." that was top-notch alt-country. Here, in my opinion, even with the misleading cover, she seems to have tried to make a bid for fame, but this album sounds flat to my ears compared to the darker predecessors. It's a shame because she has been very talented in the past.
Voto:
I almost forgot...discone
Voto:
No thanks, I'm not going there. I've already heard them a few years ago (at a festival in Pompeii, I believe), and they even did the classic Neapolitan "Catarì"....let's forget it.
Voto:
Well, scattered throughout the album were top-notch musicians in support, Tony Levin, Brian Eno, Phil Collins... It's a record that's very unconventional for Fripp, recognizable mainly for its experiments in just a couple of tracks, and perhaps the piece that most embodies the new direction of King Crimson is NYCNY. For the rest, pop soul dominates, featuring a stunning singer like Hall, as demonstrated in the sophisticated "Why Was It So Easy," with Frippertronics solos that just slightly alienate it.
Voto:
The same nervous pop during that period was made by Polyrock (but the masters were the first Talking Heads), who had the same minimalist and repetitive approach to song construction. The image of a cooling bucket is apt considering that they were Canadian and that the Marte had a somewhat cold way of singing. But when the saxophone enters in Echo Beach, it warms up just like the icy "Hiroshima mon amour" by Ultravox with John Foxx (the ones with the ridiculous Midge Ure can be flushed down the toilet as far as I'm concerned).
Voto:
...and the Game Theory? The most delightful pop rock a la Big Star is theirs. When it comes to Chilton, the album created in collaboration with those two sublimated ones, Alan Vega and Ben Vaughn, is a must-have.
Voto:
Well bubi, here we're risking making Alex Chilton (also due to the cover photo) come across as a rockabilly revivalist, but Chilton is much more complex, as you rightly say (from soul to R&B, to the sparse rock 'n' roll of Memphis, not to mention power pop). He paid dearly for the chart success of the Box Tops when he was just sixteen. Regarding the rockabilly revival, I’d say not to forget the prime movers of the movement who have fallen into obscurity, Levi and the Rockats. Wild stuff that came from the fresh punk lesson
Voto:
To say that the best rockabilly revival is that of the Stray Cats is like saying that the best punk is that of the Green Day... It’s the best collection on Chilton even though it should be noted that there are at least half a dozen tracks taken from Big Star albums, which, by the way, had nothing to do with rockabilly; just listen to immortal pop songs like "Kangaroo" and "Holocaust" (also covered by Ivo Watts-Russell's 4AD project - This Mortal Coil). But in Big Star there was also the great Chris Bell, and that’s another story. The Stray Cats… ahahahaha! They should be cleaning Alex Chilton's shoes just like Moriero did for Ronaldo when he scored at Inter.