Dislocation

Diesel is undoubtedly, as Isi says, Finardi's masterpiece. Played and produced by God, lyrics in line with the thinking of the Movement at the time. An accident with @[Bromike] that scorched me on time, I already had the review of Diesel ready and it would have been my first. It will be for another time.

Very nice review, the opinions and impressions are shared, the beauty of the album and the importance of the band are undeniable. I just disagree with the first statement, which anyway has nothing to do with the aforementioned product. I find it very DeSnob and a bit DeSettario to claim that one should only review new and previously unreleased material; new reviews can refute theories, spark dialogue, argue, and much more. Others have already stated this, and indeed, often, too often, we see reviewed utterly ridiculous albums that include a distortion pedal and a voice a bit more spaced out than usual, a drummer out of sync, and a production that deserves to be slapped on a daily basis. But it seems that for many, this is always preferable to reviewing a product that might be a bit more well-known, not necessarily mainstream but more familiar. This is certainly not your case, @[Bearry], but your words brought it to mind. There you go.

Good job, Silvietto.

And the stars? Here.

Completely in agreement in part and entirely partially disagreeing in the part that does not start, in small part.

@[Matt5Pc], or The Delighted Conscious Provocation.

You know how much I esteem and care for you, you know it, Conte, and how many times I've told you to stop being one person in the listens and another in the reviews. Nothing else, you can’t fool me, even if you've written and rewritten that you know nothing and understand nothing…. It's just that you like yourself this way, with your experiences that you know are so useless and harmful to try to remove, and you're right, you've seen and done things to the extreme, pointless to emphasize it or even remember it...

Equally useless to insist on your (our) passion for the Zep, it shines through, it passes through osmosis… Great album that of the VF, for an old fan of cover versions like me, it’s manna, it’s a mania I’ve nurtured forever, I love to hear how one can interpret another, always…. I had hoped, when it came out, for tracks taken ALL from the last Zep album, it would have been an example of courage not to be laughed at, to render an entire album that everyone, first and foremost the fans, consider minor in the Zeppelin’s production. But here we are, I bought it and I never regretted it….. 5 for the review and 4 for the album, a real disaster. Ah, the usual kiss on the forehead to the Contessina.

Well, I quietly intervened many months ago, but I’m glad that Moody still responds, and promptly, to every post. Unusual and noteworthy. Hmm, so I’m 55 years old and I think it’s inevitable, or almost, for someone who started listening to music before finishing elementary school to have loved Queen, and by Queen, I mean, barely, those from the '70s… because, as happened to many bands, from the '80s onward, Queen became simply another band… they suddenly realized, aided by Mercury's infatuation with synths, that the new wave based on straightforward electronics could be exploited for purely commercial purposes, with songs and entire albums that decisively cut every liaison with the old repertoire, which the four recognized wouldn’t lead them anywhere. Let’s be serious, Led Zeppelin themselves were embracing new sound horizons, thanks to Jones experimenting with keyboards and Page’s lion-hearted courage; "In Through The Out Door" was not just a taster album; they were the spearheads of rock and had already had the courage to reintroduce acoustic instruments while everyone demanded extreme wattage and distortion at all costs, territories they had already outgrown and seen the limits of. Who knows what they would have created if Bonzo hadn’t died… Today "In Through…" wouldn’t be considered the epitaph of the Zep full of indecisions and poorly defined but rather a springboard that they had used to project themselves toward a new and innovative variant of roccarolle...

Returning to Queen… the four realized that hard rock wouldn’t survive for long and certainly not in the form and standards it had been exploited for years. They sensed the new wind of disco and used it to further mix their songs, which had already, for years, been subtly filtered through significant pop stylistic elements (Uiardeciempions…). The only connection to their previous "life" was Mercury's voice, undeniably a treasure for everyone and inimitable, beautiful, in a word… thus, the new production settled on perfectly polished and produced albums, filled with the “new” sounds of the era, all rooted in super catchy and danceable rhythms that we would now call dance, with Mercury firmly at the helm of the new money-making machine that would earn them so much and would continue to work well for quite some time…

Everything is actually very simple and straightforward, and Moody may have been a bit rude and blunt in his judgments, at least as much as the cloud of insults and negativity that fell upon him later… However, despite the fan perspective that blinds us all regarding our favorites, an assertion from Mudifresier truly deserves appreciation… advertisements have the power to make you hate songs you never thought you could hate, and today advertising is increasingly leaning toward musical territories unimaginable years ago… surpassing Hendrix, Led Zeppelin, Joplin, Depeche, where are we heading, my lady?

"Soul Mining" and "Infected" have been among my favorite records for years; now it's been a while since I last listened to them, and you've sparked my curiosity again... I knew "Dusk" a little but I have it, so I'll dig it out and give it another listen because I didn’t remember it as DeMa describes, but a bit more "regular," linear... I have to give you four stars for the review and three for the product, you cursed mountain dweller!

I knew DIE but not this one. I will get to know it.