pi-airot

An album I've listened to little, but among them, the Xhol Caravan, Klaus Doldinger Passport, Kraan, Embryo... so much good jazz rock with kraut influences has passed through Germany!!

Not that I remember much about the album (except for the scathing review of "Musica" in la Repubblica... annoying!). But "Familiar Feeling" is so wonderfully epic...

Compared to their debut, there’s a bit of Venom here, an influence they will thankfully leave behind. A band that showed promise and has delivered! @Alexander77: what to say about the album title; I think of bands that take names like "Yeah Yeah Yeahs" and even come off as radical chic...

I also add, since I'm (re)listening to it on repeat, the deep chills that a piece like "A Te" provokes in me, with beautiful atmospheres reminiscent of Roxy Music.

I don’t meddle in the affairs of my favorite Italian band. On the other hand, there are countless bands out there carried on by just one original member; I wouldn’t have a problem with that… if it weren't for the fact that this album struck me as repetitive, especially regarding a formula that Le Orme have adopted almost unchanged in the two previous albums (Il Fiume, L'Infinito). I’m more of a nostalgic for the spirit of prog than for its sound, and that’s why I don’t quite resonate with these Orme. I think of their past ability to renew themselves, of less elaborate yet captivating albums like "Verità Nascoste" and "Storia o Leggenda," I think of bold tracks like "Aliante" (it would have fit beautifully in a Harmonia album) or the mysterious "Al Mercato delle Pulci," I think of the acoustic delights of Florian… and I didn’t even mind certain experiments between new wave and ethnic in Venerdì. I think of the beautiful lyrics of Pagliuca. Today they may be much more technical, but I see too much mannerism in their work.

I really wouldn't know what score to give "Red Rose Speedway." Paradoxically, in that half-disaster known as "Wild Life," there are a couple of tracks that touch my heart ("Dear Friend," "Some People Never Know"), while I remain pretty indifferent to this album (except for "My Love," but I take that for granted - by the way, London: what do you think of the promotional video, where Linda dances like a trained gorilla who just happened to be there, while poor Paul is subjected to some slow-motion close-ups featuring some of the most ridiculous expressions ever captured by a director?). Your reviews, however, are always a guarantee.

Imasoulman, hands off Donna Summer!!! Among the black goddesses, I propose the explosive Joyce Kennedy from Mother's Finest.

She is simply stunning, a true Romagnola who should kick her fellow countrywoman Pausini in the butt (well, thinking about it, that could be a Sisyphean task). "You shouldn’t be afraid... uhh!": can you find me a singer in Italy who can still sing like that? And today, we’re stuck with Marrone (a surname, a color, a guarantee...)

Very, very good!

I have some reservations about the new album (which I might express if a review is made). Unlike DLF, it was precisely their connection to Italian song that made them more interesting to me and, in certain situations, made them appear more original. That said, from how they have been described here, they must still be quite a show live with the new lineup. I missed them this time, and I’ll try not to repeat the mistake.