Eneathedevil

Look, damn, look. Your whole little family is here to defend you, huh. Easy like that. I'm here alone, fighting like a little lion, just wait a moment, huh...

Ah, maybe I've been a bit harsh, huh? I still care about you and I'm sending kisses, don't take it the wrong way, but it's a serious talk I've been meaning to have for quite a while ;D

I'm sorry, but in all this grayness, I get lost. Mr. Nobody, please don't take it the wrong way, but I will have the pleasure of starting a conversation with you once you have registered. Otherwise, I will be forced to ignore you like one does with “anonimi” who have self-respect. I struggle to talk to ghosts, even though it’s a shame because they are people with so much interesting stuff to say. You won’t hold it against me; after all, a nobody like you certainly won’t mind a little less attention than an even more ordinary nobody. Regards.

(...) From time to time, take a look at the classical reviews as well; lately, there have been several coming out on De-Baser: not to scare you, but this music, about which you don't seem to have much knowledge (I have little myself, but at least I know the hierarchy of things), is the real deal—forget your beloved psychedelia, and everything stems from there: take kraut-rock for example (which is filled with psychedelia) that drew inspiration from Stockhausen, who drew from Webern, who took cues from Schoenberg, who studied Bach and the greats of the past. Do you understand the value scales? All I need is for you to say yes, because talking about such great music when it comes to Interstellar Overdrive sometimes gives me chills. But I’m not blaming Barrett, for heaven’s sake; it’s just a general consideration about certain contemporary music that you defend so fiercely. Jarre: you gave him a 5 in my last review, and I didn't bother you, while you’re formal about giving a 4 to the Live at Pompeii. Well, to be fair, "Oxygene" deserves the highest rating. Delve a little into the “real” musical quality of some stuff you judge: it’s true that sometimes one performs a bit through the ratings, but be aware that while it’s certainly true that Interstellar is much more beautiful and cultured than Money, the musical models that all contemporary music has to refer to overshadow Interstellar and its various companions. Kisses.

Nah, nah. I also like meddle. ;) Do you know what I recognize the least in your reasoning? The fact that you want to give all this credit to psychedelia and to certain musical productions close to it, indeed, in general your deep seriousness regarding the stuff you defend with such fervor. I ask you, and it’s something I’ve been wanting to ask for a while: are you serious? I mean, wait, don’t respond that you’re being a fool because I know that, but this your apologia of psychedelia and generally a good part of the music you defend seems absurd to me. Always talking about "good music," about quality here and quality there, as if these were the absolute terms of comparison. (...)

Sure, primiballi, I used Avion Travel as an excuse to talk about the mental pollution of demoscopic juries nowadays; they really have nothing to do with it: my goal was to talk about Bersani and Gazzè, indeed. I wouldn't be so harsh on the "Piccola Orchestra," but I certainly haven't professed "love," as you say. That's right, Voice, Lucio has always been ahead of his time since his early successes: just think that it’s still a struggle to consider a track like "Fiori rosa fiori di Pesco" from the late '60s...

I don't know why, but I feel deep down that you're such a jerk... ;)))

I was in the kitchen, Seamus that's the dog who was outsiiiiiide... ahahah, silly girl, I like your speech, and you're absolutely right. But you know what? I don't care. For once I was more subjective: I often found it boring. I expected, being gay as I am, to see a more organized and schematic historical document, a nice collection of anecdotes about the pre-Dark-Side and post-Barrett, which it didn't turn out to be, in my opinion... and you know what I say... re-take!

No, the point is simple: in musical language I also include verbal language, and, forgive me again, Youssou seems a bit more famous than Tourè, even if you gloss over this point, and I had told you that its banality was important. I don't understand what Kuti has to do with it; I just said he doesn't fit into the discussion, without denying his merits.

oh, baby, where have you been? ;) well, yes, in the end, a well-deserved victory