supersoul

The problem is that you don’t truly love Zappa, or rather he doesn't love you for denigrating albums like Apostrophe and Overnite Sensation, in the sense that you’re not in tune with the mustachioed genius who would have had a good laugh reading the outrage over those albums. Zappa was a fucking genius like Totò, who shines even in low-budget films, in fact, there lies the true Totò, master improviser of comedy. It's true that Ponty left, but he was another one who didn’t love and wasn’t in sync with Zappa, a pygmy compared to the mustachioed one, one of the supporting actors Zappa used to fill the landscape dominated by HIM. The greatness of Frank lies in his ability to navigate the duality between the cerebral Zappa of orchestral scores and the carefree spirit of rock songs. You can’t love one without loving the other.

Come on, I was joking, for me you can review whatever you want under your name, but vortex isn’t entirely wrong, your background leads you towards Stadio not Slint, which doesn’t mean you can’t write about Slint, but the "outcome" of the review is different, you’ll agree....

@gustavo, here's why vortex is right ahahahah

Enough with assigning the phrase "like the ceiling of a bombed church" to Clementi...

Great album, great voice, great songs, arranged and performed by talents like Marcus Miller, Chris Spedding, and Hiram Bullock. Not to be a pain in the ass, but on this site they praise recent artists like Tori Amos while great talents like Armatrading are thrown in the trash, capable of writing songs that blend folk, soul, and jazz.

Well, vortex, this is about the infinite possibilities that the internet gives young people to access all musical knowledge, and then you see the same old names being mentioned time and again, and the same old trite and worn-out phrases, like the Ramones invented punk. The internet is a great and magnificent tool, but you also have to know how to handle it; what’s missing for those who download hundreds of albums a day is precisely what someone was talking about a few posts ago: the historical sense.

Long live the Ramones? They weren't the ones who swept away the baroque crap of the early 70s; let's say they did it on a commercial level in terms of record sales... in Cleveland, the seminal Electric Eels were already around, and in 1975, Pere Ubu were making tracks like 30 Seconds over Tokyo and Final Solution. And let’s remember that the character of Jarry, from whom they take their name, exalted "physica," the nature opposite to art... Anyway, the Cure themselves come pretty close to the baroque ;-)

I had a friend in Policoro, :-) Anyway, it’s true, Naples in those years was at the forefront musically, both in terms of musicians and enthusiasts. Then came the era of Pino Daniele and here we are with neomelodici in the spotlight, ahahahah.

Sorry Leo, but what era were you living in? Nobody in Italy knew Rory Gallagher? Did you meet him through a German girl? You just had to come to Naples; my older cousins would bombard me from morning till night with Rory... I still have a poster that came out with Ciao 2001, featuring Rory making a silly face.