Dislocation

It's all very beautiful. But, please, you haven't told us if the Bishop (praise be to his little soul) has then made any requests, let's say, on a physical level, or if he simply limited himself to a nice but perhaps appreciated verbal acknowledgment. Because, miss, blues interests us, it makes us cry and laugh, it damns our souls and heals them, but these other things interest us even more, oh dear, so, here we go.

"The ship is like a ship, and being a ship it’s quite normal for it to go into the sea.
The ship also has an engine, and having an engine it doesn't know where it's going but it keeps going..."

Cheddisco! Ebbravo Cosmico, ut sempre, savasandirr.

The peaks with "Voir un ami pleurer" and "La ville s'endormait," what do you think?
Nice review, you caught me off guard, I had a couple of ideas about the live shows at the Olympia, but never mind, I’ll review Led Zep IV, just to piss off @[IlConte]...
Jokes aside, finally Brel, well done Ildebrando!

Let's go back to the review. This product from La Rossa is, for me, one of her best, considering that, in my opinion and taste, her best work has been alongside Battiato (three albums) and Jannacci, as well as in the albums dedicated to Teodorakis and the Brechtian interpretation. It’s clear that an interpreter like her cannot be summed up in just a few words; her fifty-year career is too multifaceted. After the initial years when she showcased uncommon vocal abilities but with a conventional repertoire, she devoted herself wholeheartedly to each new project, interpreting Brecht in both Italian and German and garnering admiration from the Germans themselves—a gamble that anyone else would have undoubtedly lost. The collaborations are countless, from Vangelis to Gaslini and beyond... this album embodies the concept that also titles a previous album with Vangelis, "Non ho paura," and indeed she has never been afraid to embark on unconventional and oblique paths, always permeated by a musical—and moreover, cultural—quest that other interpreters, not just Italian ones, would never have dared to begin...

With this, I express my admiration for the album you reviewed, a little gem to be rediscovered, less for your review, which is as long as I like but doesn’t quite adhere to the style of reviews that appeal to me. Those reviews speak of style, technique, and feeling without ever making it overt; if I had to point out a flaw, it’s that you write for yourself, citing notion after notion without evoking even an iconic image that illustrates the artist and her work.

This, let it be clear, is my very personal impression after reading your text twice, and I don’t claim that there isn’t someone else who instead appreciates the way you present it, and so much...

However, I will be pleased to read you again, hopefully soon, because someone who reviews something like this isn't easy to find at every corner. Sending you a warm hug.

Dear @[madcat], what can I say, I've already said it, I said it before, as a senseless Beatlemaniac I take pleasure, oh dear, therefore, instead, in short, huh. And since I am a declared partiality, 5/5.

@[ALFAMA] I don't know what kind of catatonia you're talking about, Alfa. In '77/'78 there was room and music for everyone; my friends and I, the 14-year-olds of '77, literally didn't know where to turn in music, so much was passing before us... You could go from politically charged singer-songwriters to the cheerful poppy stuff, from the extremities of Area to Finardi, who was being accompanied in Diesel, from Area... and then punk and new wave, which timidly and somewhat late (we're in Italy...) started to peek onto the boot, although you had to seek out punk bands and go listen to them in clubs; the records would come later... and Battiato was tossing out "Za" and "Café Table Musik," for example; in '79 he would win the Stockhausen prize for "L'Egitto prima delle sabbie" from the previous year... A momentary but decisive crisis of ideas and sales was on the horizon for everything that had been "prog" (but, let's remember, that term didn't even exist yet...), Dalla was releasing "Come è profondo il mare," no small feat, and Battisti, always against the wind, was going American with "Sì viaggiare." De André and Faust'O released "Rimini" and "Suicidio" in '78, and Bennato struck gold with "Burattino senza fili." There was talk of that strange guy from Asti, Paolo Conte...
There was something for everyone and for every taste, and I'll spare you the jazz...
Of course, you can't fault you when you say that calling Ch/Krisma geniuses is an exaggeration; back then, correct me if I'm wrong, excellent @[iside], those who talked about Arcieri were divided between those who remembered him in New Dada and those who cited the episode of self-harm that happened in a club in Emilia, I believe, when he cut a finger (grand punk era) shouting "Even the English do it".... The Krisma were a step ahead of everyone because they belonged to that small group of artists who sensed what was happening across the Channel and partly in NY... and they were the first, or almost, to bring sounds and experiments back to Italy...
Anyway, this was definitely a good record; to listen to sounds like these even in '82, you had to lean out beyond the Alps... Nothing extraordinary, but for me "Chinese Restaurant" and "Hybernation" experimented a bit more...

Really nice album, Horrible the image of you keeping time with your tongues, really. But the review is beautiful, wow.

@[Bartleboom] I think you would like Bill Bruford's bio, "Autobiography on Drums"...
Maybe...

I follow along, what else can one do? More is a nice album, not their best from the first of the four or five phases that have characterized their career, but personally, a nice album that I can easily put on and listen to, knowing that it was made on commission and therefore that nothing more could add to the artistic average of the transitional phase they were going through. The inaccuracies you've fallen into have already been pointed out by others, so I move on with the stars...

The Milwaukee brace: latest advancements.
No orthopedic deformity of interest can be treated "always" with a single method: it must be recognized that spinal deformities can and should be treated with different approaches depending on clinical-radiographic characteristics.
Therefore, a certain eclecticism must be put into practice in the treatment of spinal deformities: the application of the Milwaukee brace, for example, can represent both a phase of treatment and the entire treatment itself, that is, a complete and self-sufficient treatment or a postponing and even post-surgical treatment.
Do not overlook, however, the targeted use of compressive pelvic belts with either directed or auxiliary approaches. This will adequately address non-fully structured lumbar or thoracolumbar scoliosis.
In conclusion, the treatment of idiopathic scoliosis in children with the Milwaukee brace offers suggestive and encouraging results such that surgical intervention no longer represents the mandatory final goal.