Dislocation

Everything, or almost, is impeccable, including the obvious superiority of this album not only during the cited recording period (around 1980...) but within the entire discography of the Genius of Ortica...

Even my copy of Paranoid on original vinyl got lost during one move or another; however, I still have the one from Aldebaran, also on vinyl and still in original condition. You see, sometimes it's Destiny.

Hopefully, but unlikely, that in paradise there’s a place to drink among friends.
The Pogues, living legends.
While alive.

I think exactly like you, damn it. Of course, back then, I didn’t care about them at all and preferred the Spandau Ballet who, in my eyes, partly because of their line-up and partly due to their attitude, reminded me of the last Roxy... And the solo singer, toniédli, was WAY better than theirs, simonlebon.

In favor of Duran, it’s worth noting that they tried different paths from the usual routine, like the Arcadia experiment or the addition of uorrencuccurullo... The Spends were really much more static and less adventurous than their Duran cousins... For both bands, the technical caliber was so-so, with strengths in the rhythm sections and an extra nod to the Duran bassist, who was way above the others...

Yes, I also rediscovered them about twenty years ago, yes, I admit, and I bought their best albums on CD too; many things are appreciated better today, while the Spends have aged a bit poorly, haven’t they?

Eh.

Doesn’t it give you the impression that, in their albums, the tracks are perfectly interchangeable with each other and transferable from one album to another? Not that they aren't pleasant works, neh, all well-made stuff, without peaks or flashes of genius. Yawn.

As you say, being a good DJ is definitely about doing the things you mention, well and orderly, also with talent, you see. Some DJs may have contributed, in fact, they surely have, to spreading types and genres of music that would otherwise be little frequented and/or appreciated. I too possess some works from such craftsmen, I seem to have diggeisciadou and diggeihell...

However, that said, stop. Playing, even as sixteen-year-olds, in a punk band, or even composing in terzamedia half-electronic crap on a laptop is six/ten levels above all this. But doesn't it tug at your heart to see an invertebrate playing two records, sometimes without even bothering to mix them but just putting them on already nicely packaged, at times directly inserting a USB stick into the designated port, pretending to tweak knobs and potentiometers, adding fades or glides, in front of adoring and dancing crowds, with a hand raised to the sky, marking time with an indecently raised fist? Don't you feel vague violent urges and unspeakable desires for immediate extermination from the human race?

It is true that some DJs do, in fact, have an immense musical culture, but speaking as an old fart, the figure of the DJ itself, beyond who they are, how "good" they are, and how much taste they have, well, has always given me the impression... I’ll say it... of a half-measure, at best good only for remixing other people's stuff, rarely leaving their own mark, someone who can't be who they want to be and therefore just spreads music through speakers and sells themselves so well they manage to make people talk about them as an artist (buuuummmm!)...

That this very same person collects impressive piles of cash doesn’t seem to me to contribute to raising their stature, I say, artistically, huh? But, as I say, I’m an old fart and that’s how I see it, huh?

Nice review, I wouldn't expect less from you. The work, well, it seems to me that the Deux have been repeating the same record for several decades, which is not necessarily an insult, but it does provide limits to a certain level of vision, you will agree. In my opinion, however, even if I must acknowledge that, as @[lector] mentioned a little earlier, they have sown a lot and reaped very little, perhaps because they haven't had good media exposure, or don't have the "right" faces, who knows... or maybe because they aren't judges on icsfactor.
If you call Depeche a "synth pop band" again, I will scratch your car, yacht, and helicopter, I will scratch them.
But but... that line where it asks how one doesn't collapse hit me too, it hit me.
Yeah, how does one do that?

The old criminal of a Miki Mix...

I have a couple of earlier editions of this one, and both bore the same stigmas that you've noted, especially an impressive carelessness in reviewing, and with reluctance, anything that followed 1973, with guilty omissions in the 80s and criminal judgments of many other works. In the writings of the two figures, there are numerous opinions that may seem dissonant to ours, given that everyone has their own and that’s that, but the two seem almost to do it on purpose, as if wanting to shock for shock's sake... What strikes is the eagerness, very much in the Scaruffian way, to astonish bystanders with sweeping judgments that are often unfounded, provocations based on missing or excessive stars for products deserving of greater (or lesser, depending) value.

As for Del Gentile, who, by the way, when you hear him speak shows competence, I still keep a little book from 1978, I believe, from the time when it was called "Note di pop italiano," written in the extremely politicized style of the time, so excessively that it annoyed even me, who, until '86, trotted along with the Troskyists of the time. It bothered me, but that was the trend then, that every band, every solo artist, in rock as in pop (the pop of that time was something else...) as in jazz, the career of the unfortunate ones was viewed only and exclusively through the sometimes distorting lens of politics, extremizing that adage which stated "the personal is political and vice versa," which has caused so many misunderstandings over time... Nowadays, our man doesn't bring politics into it anymore, of course, everything changes, but he still has that tone of an elementary school teacher from a provincial town. And don't complain too much about the cover of this edition you reviewed: the 2014 edition had on the cover none other than... Giovanotti with his guitar, for heaven's sake, Giovanotti, of whom, it must be said, more works were praised than those of a sainted martyr of the Cause. That's it.