bedroombadview

I wrote that this is the apex of Perigeo. Having listened to it again over the weekend, I reaffirm the idea, indeed the concept. But virgin ears should pay attention: it is appreciated if contextualized, if experienced in the dimension of memory; otherwise, it could come across as a mere souvenir of past seasons, less effective than a library of Bacalov.

After Automatic, I no longer had the strength to listen to the Reid brothers, transformed into the technicolor shadows of their former selves. I had the impression of being betrayed by dear friends, enough to question the sincerity of those early days.
It goes without saying that S&D sounds better today than it did back then, considering the different competition; but that's not enough...
Maybe, just maybe, if instead of the bland Hope they had hosted the great Kendra, who knows...

Good review. Too bad the group moves like few on coordinates so stereotyped that it results not in a summary, but rather in a pastiche. Lucky me, just a kid from the other day, if this is the sound of young Scotland. God (or alternatively Edwin Collins) save us from it.
Glasgow, so much to answer for...........................

"We All Have a Blues to Cry" is certainly the pinnacle of Perigeo. Go Telespalla!!!

Thanks again... For those who are interested and just can't get hold of the album, I want to remind you that a compilation dedicated to Keith Girdler and his artistic journey has just been released on Siesta Records, titled "Country Music, Songs for K. G.". As a preface, country music has nothing to do with it; the project features bands from ex-Creation Records (The Times, Biff Bang Pow!) and Sarah Records (Orchids, St. Christopher, Wake), along with Clientele, Hal, Club 8, Trembling Blue Stars, and old glories from El Records like L. Philippe and W. Be Goods. It's a nice compilation of covers and unreleased tracks dedicated to the good Keith. Highly recommended, especially since the proceeds will go to charity. Today I'm feeling quite chatty, aren't I? Bye!

Alright..alright..you're right and I thank you for the encouragement and suggestions (no sarcasm, really...especially to Telespalla, Portland, Claisdead): writing is not my profession. If I knew how to do it, I would direct my words to other shores.
What I intended was merely a tribute to a precious group and to an artist who bet on the wrong horse. The web is full of information about this, which I refer you to; I never attended the sewing and tailoring school. I preferred to work by subtraction rather than subjecting you to the usual panegyric. To stimulate curiosity and elective affinities - as futile as they may turn out to be - rather than drenching you in dates, names, and references. But evidently, I'm not good at even that. Should I hang up the mouse?
PS: the modesty was just a provocative narrative device.

Rundgren's latest is horrid....
XTC is an extremely stimulating topic. Everyone has their own hidden self in those grooves. De gustibus, I reaffirm my love for Skylarking and the single Dear God. Following are English Settlement, The Black Sea, and Drums & Wire. A podium to be placed at will depending on the mood. Speaking of 1984 and DM, Some Great Reward remains my favorite of theirs. Although at the time the basket from which to draw was so rich that they were considered crumbs, today their influence on the evolution of pop is undeniable. Especially since they managed to evolve, adapting without conforming to their disciples - a sign of intelligence, as ethologists would say - thus avoiding total liquidation at the end of the season, as merchants would add. More or less like U2, who have never engaged me. And like them, P.F. also deserved better days.

Todd Rundgren produced the masterpiece XTC "Skylarking" a couple of years later. By the way, one of the absolute peaks of 80s pop. No discussion about it. In fact, I’ll go further: perhaps of all time. And despite the wizard on the bench, and despite the singles, Mirror Moves is a manifesto of a group and a season of the overcooked: synth pop - even the best - honorably surrendered to feedback and jingle jangle, with results that still reverberate their echo today. Nonetheless, The Ghost in You and Heaven sound to my ears more gracefully and nostalgically eighties than many other treasures of the period. For the same reason we prefer to read Oggi at the barber instead of Liberation. So much so that many like me will have mnemonically confused Heaven by the P.S. with feels like Heaven by Fiction Factory, also released in the year of grace 1984. Smiling.

Seen live. In my opinion, excellent. Among the references, I would also mention Gainsburg and Momus (who, by the way, is the author of the legendary "Giapponese a Roma": Marinetti eats spaghetti, Gioggio Dechirico drinks cappuccino... genius, indeed). And it's always preferable to Pop Porno over porno pop.

26 years gone by. From "I'm so bored with U.s.a." to "American Idiot," youth in a heartbeat. I look at myself. Middle finger.