Voto:
Thank you again to everyone. I'm pleased to note how this work continues to be appropriately regarded by the majority of those who have had the fortune of savoring its delicious notes.
Voto:
I take this opportunity to thank the commentators and to reiterate the substantial value of the work in question, often overshadowed by the majestic shadow of the eponymous debut, but certainly no inferior to it, despite having a hybrid identity that is far more difficult to frame and fully understand. In my personal ranking, they stand shoulder to shoulder.
Voto:
Thank you Hetzer and Mr. Money. I honestly don’t believe I deserve many of the compliments I see directed at my style, but I fully support those aimed at the album, one of the absolute peaks of Canterbury jazz.
Voto:
Thank you very much, Peachtree and Hetzer. The album is undoubtedly captivating, but perhaps the issue lies in the fact that such variety and formal charm do not truly penetrate the soul; they merely embrace it (without even too much conviction, I would add). My judgment of Jenkins' Soft Machine has significantly diminished over the years, as I can no longer ignore a certain lack of substance, which technical skill does not always adequately conceal.
Voto:
Thank you all. Many, at the time of writing, were able to see farther than I, who was still struggling between different evaluation methodologies, seeking an incongruous mediation between stylistic objectivity and emotional subjectivism. It’s only recently that I have come to understand that elevating these types of records, in relation to the vacuity of popular light music, does nothing but devalue the true masterpieces, which, as rightly pointed out by other users, are entirely different.
Voto:
An Italian work that, once again, exemplifies in a paradigmatic way the scene from which it emerges. Imagination and remarkable compositional skills, clever inventions, a unique singing style but (in my opinion) far from impactful, and visionary, rather grandiloquent lyrics. A valid and heartfelt review.
Voto:
On that fateful day in November, I believe my brain became disconnected from my skull; otherwise, there's no explanation for the 4 assigned to such a concept. I have not yet reestablished the connections, as I fear they are now completely fried, but I hope at least the common sense needed to rectify this deplorable heresy can be salvaged.
Voto:
Thank you, Jargon, I welcome your dissenting opinion with relief, as always agreeing with you risked gradually leading me to a massive identity crisis. I admit I took rather caustic tones in my review, though I do not go so far as to deny the sufficiency of the album, but an hour and a quarter of nostalgic (when not sterile) memories is really too much for me and ends up wearing on my nervous system. As for Spock's Beard, I too ask for further clarifications, as I fear I haven't quite grasped it.
Voto:
Thank you ProgRock, we agree on the relative value of the album, even though a band with such a miserable name (highlighted by Iside) would almost deserve systematic criticism of every work (somewhat avoidable concerning the last two releases, but necessary for the miserable debut of '95). I simply can't digest little songs and nursery rhymes like the one in question, even when Jimi Hendrix is in charge of shredding the guitar, so I can only surrender on this front...
Voto:
"The Super-Concert"... and I don't need to add anything else (quoting your personal page Deep-Frenk).
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