sylvian1982

X Logic Probe. Despite bearing his name, David hasn't been following it so passionately lately. I'm not a fundamentalist, in the sense that myths shouldn't be questioned. For example, when he made those ambient records with Czukay, I literally bypassed them. Of course, if we're talking about the triptych "Brilliant trees," "Gone to earth," "Secrets of the beehive," then I become absolutely euphoric. Anyway, I wasn't aware of the upcoming release of his new work. Thanks for the information. I'll take care of it.

Deserter songs seems more beautiful to me. This is its photocopy. Not that it’s bad, but the photocopy is never like the original. I haven't listened to it since it came out, but the impression it left on me was definitely that of a B-side of Deserter songs. The last album is really lacking. I don’t know their early works (when they were indie) and honestly, not being part of the indie scene, they don't particularly attract me.

I haven't seen him in about twenty years, but I had another friend who considered Genesis not only the greatest progressive band (and one could agree here) but even the greatest rock band that ever existed. I wonder if he still feels that way. Quando si dice de gustibus...

Ref. Antoniodeste. Perhaps you’re right when you point out that VDGG were snubbed at the time. In '71 I was only 8 years old, so I didn't experience that period firsthand, but I’ve read a lot about it since then. Just imagine, in Italy, VDGG were actually more famous than elsewhere, CIAO 2001 docet. Progressive rock was all the rage in the peninsula, and only later did we (perhaps) understand who deserved recognition and who didn't. Punk in '77 cleaned house, and all, I repeat, all the prog bands from the early '70s were branded as pretentious and sent to hell. Later, when the waters calmed down, there was a retrospective reappraisal of the period, and VDGG were among the first to be reassessed. I might have made a bit of a mess, but I hope I’ve clarified what I meant when I said that VDGG were snubbed. For instance, ELP and GENTLE GIANT (just to name a couple) have never been reevaluated, quite the opposite... Anyway, progressive is a genre that has always divided critics and enthusiasts like no other. I have a friend who loves progressive, and his record collection consists of 90% prog records and 10% everything else, and I think he likes that 10% very little. Those who detest prog probably threw away the few records they had when punk arrived.

It’s mortifying to not read even a single post under a review. So let me tell you a personal anecdote about Pelù. By now, I haven’t followed him since Litfiba 3, when they were still listenable and semi-unknown. Their masterpiece remains 17 RE... I had a colleague at the office who went crazy for Renato Zero, Giorgia, Laura Pausini, Nek, Gigi D'Alessio, etc. For the Litfiba that "counted," not even a mention. Recently I discovered that she bought a couple of solo albums from the good Piero. Just think about the company the former leader of Litfiba finds himself in. Money is money, but come on...

Unfortunately, I think that McCartney as a solo artist has put in all the possible effort (whether willingly or unwillingly) to support Scaruffi in his theories about the Fab Four.

Perhaps I won't have an open mind, but for me, Radiohead ended with Ok Computer. In their later works, I can only salvage a few songs. They may have evolved and shown that they can do more than the usual tunes, but in my opinion, they've run out of ideas. Time will tell.

Beautiful album. Too bad Carole King is all here. A bit like Alanis Morissette. She’s all in Jagged Little Pill.

Tapestry by Carole King has been visited 103 times and commented on 5.
This record (?!?) you see how many times.
And then let’s ask ourselves what marketing, market strategies, the look, etc. etc. are.
Just to give an example, but there would be plenty more.

Excuse the intrusion, but I wanted to say something too. I've always wondered how many records a human being can listen to, even just once, over the course of a year. Given that once is not enough to write a review or to judge it. I believe that a music critic (who is solely a music critic) can listen to an average of 4/5 records a day, which multiplied by 365 gives about 1,650 records a year. Multiplied by 10 years, that makes 16,500. Therefore, one can conclude that a fifty-year-old music critic who has always done just that may have listened to at most 60/65,000 records. An impressive figure, and I don't know how many of us have actually achieved that. So Scaruffi is not credible, at least on the numbers. As for the rest, de gustibus... If anyone would like to comment, I would be grateful, just as I would appreciate someone sharing their thoughts on Scaruffi, since he often comes up on this site.