sylvian1982

A fairly good album, perhaps a little soporific. However, when a song is good, I notice that it always hits the mark; indeed, everyone mentions "This Love," track number two. And rightly so. The remixed versions by Massive Attack, in my opinion, do not surpass the originals.

A record I own but haven't listened to in ages. From my memories, it seemed like a really good work. The review seems spot on.

You did well to talk about this album since it’s a work unknown to most. However, I would tread lightly before calling it a masterpiece. From the ashes of Slowdive, Mojave 3 was born, still led by Neil Halstead, and there’s nothing in the sounds that refers to what you reviewed. They actually propose a sort of intimate west coast sound, very evocative. I recommend Excuses For Travellers and the latest Puzzles Like You. This latter work positively surprised me with the group's successful pop turn. Cheers.

Maybe, I think, I reviewed the single and not the album. Since the author is wrong but not the title and the cover. ...damn... if you go into politics, I’ll vote for you :-)

I appreciate the effort of the reviewer as well as the skill in portraying a slice of Italian life from the fifties. However, I have many doubts about the value of the work. Nilla Pizzi from that time, who could she be compared to today? Certainly not De Andrè, Battisti, or Battiato. Rather, to certain performers whose names we hear once a year during the Sanremo music festival. Therefore, I find this posthumous reevaluation at least in questionable taste, since if all the "poster" (myself included) had been twenty years old back then, I wonder how much they would have appreciated the musical work. If we are re-evaluating Nilla Pizzi today, will we be re-evaluating Laura Pausini in fifty years?

This is perhaps the most accurate review of Damien Rice's new album. Even though, objectively, they all seem too positive. The step back is undeniable, unfortunately. It was hard, after all, to replicate the levels of "O". But what does the hissing tail (a whistle, a note, or whatever the hell it is) of almost 20 minutes explain? It's not the first time I've come across such incomprehensible quirks, but honestly, I can't make sense of it.

I didn't do any copy and paste, my dear random. I just wrote in Word and then when I copied it, those damn tags came up. I'm not so literate as to write in real time. If you hold an opinion, you should be able to prove it, as well as have the courage of your actions without spouting anonymous nonsense. What people! Anyway, I think I expressed my opinion on ELP quite thoroughly. And the funny thing is, it counts just as much as yours.

I do not put forward any undeniable historical quality. I simply wanted to clarify and elaborate on some dates that had remained pending, and since I consider myself a consistent person and far from superficial, I felt it was important to do so. Anyway, for what it's worth, I am almost 44 years old. So, at the time, I was there but stuck with the Hit Parade of Lellio Luttazzi, alas. I return your greetings with kindness.

And now "cartacanta." Regarding the music magazines, on which you wanted to intervene by dismissing my statements, as promised I have done my research and I come to report. CIAO2001 was born in the spring/summer of 1969, QUI GIOVANI roughly in the same period, MUZAK in October 1973, GONG in October 1974. The golden age of progressive roughly ended around 1974 (but if we want to exaggerate, eh!). Therefore, we can say with certainty that CIAO2001 existed and sang its praises. I don't know how long QUI GIOVANI lasted and I can't be sure of its presence on newsstands; even if it was available, it would have been purchased by twenty-two people including family and relatives of those who wrote for it. MUZAK, having been founded in October 1973, caught the tail end of it, since the most significant pages of the genre had already been extensively written. GONG, having emerged at the end of 1974, was closer to the nascent punk than to the agonizing progressive wave. Here we are talking about black on white and not about tastes. So to conclude, remaining on newsstands, I can't claim to have won in the ninety minutes, but perhaps in extra time and definitely in penalties, I can declare myself the winner, since CIAO2001 (along with the little-known Qui Giovani) was the only Italian periodical during the golden age of progressive.

@antoniodeste. From the tone of your interventions and the authoritative attitude you display, I can understand, agree, and conclude that I am not exactly in your favor. Well, I won't make it a problem. It's a matter of feelings and a matter of tastes. Just as the so-called progressive rock is a matter of feelings and tastes. Although I find some of its pages interesting and, why not, fundamental in the history and evolution of music, I must, alas, confirm and reiterate that ELP (and to a large extent YES as well) have represented, for me, one of the most kitsch, tiresome, unbearable, and fundamentalist pages that progressive rock has ever produced, so much so that it calls into question the entire movement. The endless organ bursts of Keith Emerson, apart from being of bad musical taste, have the same effect on me as the Battleship Potemkin had on the unfortunate Mr. Fantozzi. I find a random album by Springsteen, the Clash, or the Smiths (just to name three random ones; I could name hundreds) much more interesting and exciting than the entire discography of the aforementioned trio. It's a matter of tastes, and mine are as valid as yours, as are those of anyone else. There will never be winners or losers. So it's 1-1 (or zero to zero if you prefer).