antoniodeste

I must conclude that this is therefore a bit of a self-serving operation?

I know the original and I haven't heard this "interpretation," even though I have had the opportunity to hear and read some statements by Morgan. Frankly, I don't understand this kind of "operation," even if the record might be enjoyable. I mean: if as a musician I liked something from someone else, I know I would have to reinvent it, reinterpret it, transform it in some way; otherwise, what would be the point? So I ask: Is it like that? Were there these steps? Or is what I have in my hands merely a copy of the original sung and played by others? I would like to emphasize that in this case I would tend not to have malicious preconceptions, but I would like some clarifications about this.

It seems fun....; although personally I don’t understand what purpose a singer replacement operation serves to demonstrate what..... . It could probably be done (as a joke, as a game) in many other cases as well, but I repeat, just to bring a smile. Have you ever considered how intriguing (and perhaps more convincing) "Crosseyed & Painless" by the Talking Heads would be sung by Johnny Rotten or Morrissey? Ok, yes/no; but..... what’s the point? I can also say that I thought of U2 in some fragments of "Surprise" and it’s natural because in both works there’s a common character that leaves a distinctly identifiable mark. But that doesn't bother me; unless it wants to be "used" as a deductive element; and I think Punisher did exactly that in this sense and, having understood its "thesis," I can get it. (maybe justify a bit less....)

@Socrates: It's a subtle pleasure that accompanies your desire to wander around the globe in search of musical correspondences suited to your possible states of mind. I read this profile about this, for me, utterly unknown group with interest, and if you wanted to spark a bit of curiosity, well, it seems you succeeded. The fourth sample is quite charming, although, frankly, expressing a musical judgment on such scant fragments is at least inappropriate. At times, they reminded me (nonsense?) of the China Crisis from the second half of the '80s that Walter Becker produced.

@squalo: with great simplicity and honesty, I will tell you that the deduction was made based on the style and a previous review of a Steve Vai album, which seems to have stirred quite a buzz... No rashness, therefore, just a perfectly justifiable "youthful" enthusiasm!

@Socrates: Yes, give it a chance; I don't think you'll regret it; and...since we're here... What did you think of Donald Fagen/Morph The Cat? Hasta la vista.

I join Hal in complimenting what I have read. Commitment, passion, and "faith" clearly emerge from this analysis; and since I assume the author is young (if not very young), the praise is even more heartfelt. "Le Sacre du Printemps" has accompanied me since, I believe, I was twelve, being listened to repeatedly for an entire afternoon, without understanding almost anything during the first two or three listens. Coming from an essentially "classical/traditional" background, it initially seemed difficult and incomprehensible to me, like to the "gentlemen" described in the review. Then the wonder revealed itself and became a delight that I still consider one of the masterpieces of the 20th century. It has been a true pleasure to see it described this way.

I know Bersani thanks to the "attention" that my wife has always dedicated to his music and lyrics. And I have to say that, among the so-called "new" talents, he is one of the authors that attract me the most. I haven't had the pleasure of listening to this new work yet, but I have no doubt, even after reading this wonderful review, that coherence, originality, and a subtle sense of irony and humor have been maintained this time as well. I suppose our country needs characters like him (and not just him...) to renew a "class" of authors that has somewhat stagnated over the years.

It's a meticulous and interesting presentation of one of the (nearly) hidden and overlooked masterpieces in the history of rock. I suppose the band broke up, not only due to "internal tensions" but also because of Demis Roussos' evident potential to "break through" as a solo artist, which indeed happened (at least from a commercial standpoint). Besides, if we exclude the unknown Axis, it's also true that the Figli di Afrodite were the only Greek band, in the '70s, but also (it seems) afterward, to have left a mark of some significance in rock, and those who have listened to 666, I believe, know this. Despite the significant leap in musical quality that the band made with this fascinating double LP, they should still be remembered for their naive and melodic "songs" that millions of people hummed during those years, partly referenced by Stargazer in this write-up.

@Punisher: Right, I agree with your last statement; after all, if you don't like the work, it's pointless to beat around the bush. Besides, it seems that the "misunderstandings" between us have somehow cleared up, I hope; what I can still say about the album (which, by the way, has a lovely cover for me...) is that I managed to listen to it again last night, on the road, in the car; and it seemed even more beautiful to me than before. Eno or no Eno, Simon's songs (almost) always manage to naturally enter inside me, always, because of their intrinsic simplicity, their grace, their naturalness, this time enriched by a stimulating, curious, and original electronic "background." But I don't want to (and couldn't, in any case) impose this "interpretation" or "feeling perspective" on anyone, make that clear. These are just the ways I "feel" this Paul Simon. Just as El Guevo (drunk?) feels it in his own way. And Punisher, Hal, Massimof, Symbad, Gabbox (if he has listened to it) or anyone else will feel or NOT feel positive flows or not. It's right and natural that it is so. This is exactly the dialogue I was talking about, right? A warm greeting to all.