antoniodeste

...uhm

"The intro of 'Letter Perfect' always gives me chills... well, I'm mentioning Nightwalker so he knows... and also Symbad, so we're two then (or more?); Jarreau has always held a special place for me for several reasons. I discovered him through Arbore's word-of-mouth in the very late '70s, and it was like an illumination; for McFerrin, later on, it was something similar, but perhaps less intense. 'We Got By' in the studio is even more spine-tingling, and the funky phase (with 'Breakin' Away' above all) in Jay Graydon's production was more than decent. He had moments of undeniable dullness with episodes, or rather, chapters, frankly forgettable, but in the end, something good always emerged (see indeed 'Accentuate the Positive' mentioned by Symbad). 'Look to the Rainbow' is simply a rare gem, with Jarreau in more than stellar form. I saw him at UJ in '85, I believe, with Sanborn, and it was lovely; certainly not like in this context. Regarding Punisher's comment, I will limit myself to telling Symbad that perhaps there was no need for a counter-comment as a justification. In general, it's enough to read the tone of his contributions to understand that replies are superfluous. At the very least, he has rightly rated this work. I have the impression that Jarreau, over time, has been somewhat harmed by his and the production's repeated attempts to present themselves in 'alternative' and often ambiguous ways. Times (and tastes) changed, and he elegantly hopped from funky to easy listening to light pseudo-disco and back to jazz recovery, perhaps disorienting an audience that was becoming increasingly heterogeneous. In the end, over twenty years had passed with a career full of ups and downs, which, with different intentions, productions, and fortunes, could have been all 'ups'."

Antonio, dear Vinsex, sometimes he can be a bit slow on the uptake, but then again, with certain comments that go around here, who knows. Anyway, okay. @Enea: Memory, as I said, can betray me; but regarding quotes, is this the one pronounced by Fiorella Gentile (from the "Ciao2001" cast), in which she exclaims, repeating it, "I've broken my nail!"? And then help me remember: is that guy still here who recites "...I really love you...with all my heart...but you always leave him alone..." and the "She" of the moment responds "in kind": "Yesss...come...it's ready to eat..."? Give me some details, confirmation, denial, Enea, please. As you can see, I'm aging badly... thanks.

I have read a good part of the debate on this topic and setting aside the jabs, the pride, and the provocations, I will say that
1: I am an old fan of the Doors; 2: when I heard about the "operation" Astbury, I was perplexed and inclined towards irony; 3: I do not know the Cult; 4: after watching the DVD L.A. Woman Live by the Doors 21st Century, my doubts naturally dissolved due to the good blend of the band and the tightness of the show. It is evident that these kinds of nostalgic recoveries (or sometimes even aimed at making money) can generate mistrust and doubts about the meaning or futility of the thing; everyone should handle it as they see fit. Ian Astbury, it is true, evokes (I don't know whether in good or bad faith) Jim Morrison in the mild illusion of identifying with him or making him rise from the dead for a moment in a (foolish?) attempt at reincarnation. Do we want to crucify him? He is a good singer, commands the stage like a true "animal," and is a professional with considerable experience. This situation, more than likely, given the legal troubles it has generated, will not have much follow-up. It is worth experiencing for what it is worth. With all due respect to both the fans and detractors of the Doors, Jim Morrison, Ian Astbury, and the rock'n'roll scene.

.....Power of music......

...So it's a beautiful Narcissus of your aunt's! It must mean that Caravaggio was the inspiration, I mean the origin... right? An absolute statement. More.

Ahi ahi ahi......I knew that by digging just a little, we would be fishing in troubled waters....... And I, who thought that after losing a sufficient number of briscola games you would return to church to say your prayers and invoke for the grace not to play anymore (with the ever-present temptation of gambling....). But now (being the hypocrite that I am) tell me: who had the wettest tongue in the strip, you or Florian?

@ a.c.: how could you say that there is no difference between "fakes and originals"? Is it an absolute statement?

Steps for the scholarly use, as pedantically lofty as it may be, which, I suppose, will leave half of the readers (myself included) questioning the meaning, and worse, the sense of the use of certain words, but "haimè" where does it come from? I mean, I suppose that even if it's a trifle of little account, the expression "ahimè" is more correct, isn't it? Keeping in mind that I didn't understand anything of Vinsex's intervention. I'm sorry. Perhaps a simpler approach wouldn't hurt. I suppose it's not that difficult. Please don't misunderstand me, but I would really like to understand what it is they would like to tell us. Just simple curiosity. Furthermore, may I observe that if from a Leopardian point of view the term "Batracomiomachia" is somewhat acceptable aesthetically and phonetically, it seems that "Batracomiomacante" is indeed, forgive me, unacceptable and excessive. I don't want to raise unnecessary dust, but maybe a little clarification would be nice, yes, thank you. If it's just for fun, then okay. Bye.

On several occasions in these pages, I have reiterated my passion for Steven Wilson's group and the often high value of some of their works. However, I believe that this interesting piece, still embryonic, somewhat immature and uncertain in its directions, is not among the best expressions of Wilson. It should also be noted that neither Maitland nor Barbieri were present here (except in a couple of tracks, as I recall), nor Colin Edwin; thus, it would be inappropriate to associate this work with the "true" historical core of the porcupine. I repeat that the best things likely blossomed a bit later. To conclude, I would like to point out that if Wilson and his associates continue down the path of their recent, very changeable works, the "stupid dream" of reviving progressive music will remain just that and/or a pious illusion. Amen.