antoniodeste

Really amusing. I wonder what the de-reviewer is waiting for to get invited to "mai dire lunedì" and script with (wizard) Forest a declamation of this dada-futuristic review. It's truly incredible that Caz didn't crucify him and merely limited himself to denouncing the uselessness of this thing and, unfortunately, of his style, to say the least, clownish.
It's true, if Stratos were still alive, he would be bitterly laughing. Meanwhile, if someone has the guts to do it, we could always send the "review" in the form of an email to Patrizio Fariselli's website, which as everyone knows is run by a merry fellow. Who knows, maybe he would appreciate it. Or perhaps he could manage to republish "Parigi-Lisbona" in a special edition with Mc Sampyr's wise review included. Almost stomach-churning.

Well, if nothing else, Em's negative review served to make it clear that the "ugliness" or musical negativity of this work wasn't so obvious after all. I'm also on the side of those who consider it a worthy album, for various aspects that have already been listed haphazardly in the comments preceding mine. Personally, I found the album to have an unusual intensity for the Floyd, at the time (1983), and I won't hide that it attracted me emotionally and "sonically" (thanks to Zuccarelli's "olophonics"?) in an inexplicable way. Musically, one should highlight a certain simplicity in both the melodic solutions and the arrangements (Michael Kamen, if I'm not mistaken, right?); the "song form" reaches its highest point at the expense of the originality of the Floyd sound and its being "different." Nevertheless, it's nice to see that more than twenty years after its release, it remains a work capable of eliciting such different opinions, yes, but passionate ones that keep its memory alive. A sign, after all, that it’s music that has not generated indifference. And that's not such a negative distinction...

Again me, for a second. I have (at last!) finally had the chance to verify the worthiness (or not) of Waters' work. It's not bad, I must say, considering my knowledge of lyrical music has significantly waned since I was fifteen. I mean, in the context in which it was conceived, it’s quite pleasant to listen to and occasionally (slightly) engaging.
Personally, the question of the definition and identity of the subject remains. I mean, if someone played me Turandot or Rigoletto passing them off as Waters' Il Ca irs, at least at this moment, from the depths of my ignorance or forgetfulness, frankly I don't think I'd be able to distinguish it.
Then I wonder what role Waters will take when the likely promotional tour kicks off. Will he be the conductor? A member of the choir? One of the extras?
A bizarre and curious choice by Waters, indeed.
Greetings from my head.

For Blemish: I collect, a little embarrassed, I thank and persist in my studies. A suggestion/wish, if I may: Blemish, encourage yourself to find better "Masters," always, but perhaps you already know this; I might already be a bit long in the tooth. See you soon!

Go Strummer. I read your review and the comments. Apart from JohnOfPatmos's, whose perspective I believe I understand due to sensitivity, I don't grasp the harshness and overly "direct" way Ringhiostarr considers and approaches your great "discovery."
I understand his motivations, but I'm less keen on the somewhat intolerant know-it-all reactions. If Strummer is of the age he is, then it's wonderful how Drake has impacted him to the point of eliciting a truly beautiful and genuinely "felt" review.
The fact that the motivations or interpretation may fluctuate compared to Drake's real intentions, in my opinion, is something that can be easily placed in the background. It is true that Strummer does not go into detail about the tracks or the lyrics, but.... poetry is difficult to explain in prose, and the music (just acoustic guitar with fingerpicking arpeggios) is hard to be "explained."
Well done Joestrummer. You experienced a great moment within yourself (even if antithetical to Drake's, perhaps), and you perfectly conveyed the inner atmosphere that the immortal music of "Pink Moon" has managed to create within you as well. Keep experiencing your perceptions this way :)

For Eneathedevil. There must have been some sort of misunderstanding. It wasn't directed at you or the other true protagonists of this debaserian telenovela based on Waters, the consideration, but rather at something "obscured" (which is actually readable). Don't hold it against me, Eneatd, for me you remain a bright myth to be followed with care. This goes for "Puntini" of course, in case there were any doubts. I say this because I’m afraid of being left all alone, rambling about my nonsense. Being as hypersensitive as I am, I could end up with wounds that are difficult to heal upon realizing that I'm just talking to myself. By the way, I've just returned from a ciddiesque research expedition. I just couldn't bring myself to give Roger 22 (!) euros. The alternative for me was Chavez Ravine by Ry Cooder (16.90) or Takk by Sigur Ros (17.90). I ended up bringing home the latter. Also because it's cheaper and... we need to give space to the young. For Waters, I trust in some wealthier friends.

For the umpteenth time, Barrett, as you can see, we are forced to witness a parade of idiocies. I'm sorry, the debate could have continued better and longer, but a host of bored and foolish people managed to muddy the discussion area. Don't take it to heart, though; a lot of "meat on the fire" has been presented, and this will surely fuel a good dose of curiosity for this project. (even for me, for instance, who has not yet been able to find it in stores....). Best regards and ...bring on another nice derecension!! :)

Congratulations to Mayhem for the succinctness and incisiveness of the derecensione. I feel aligned both ideally and, to a large extent, musically with the points he expresses with competence and good sense, as well as good taste. Indeed, Banco represents, along with a few others, the most advanced forefront of a way of conceiving and playing music in Italy in those years. "Darwin," "Il Salvadanaio," and, as far as I'm concerned, "Io sono nato libero," are truly milestones of our great music from the 70s. Well done, Mayhem, for bringing back to light such a beautiful chapter. Now, we need some saint willing to review something from Area, or Perigeo, Agorà, blablablà....

Just to be the annoyingly nitpicky one: for Eneathedevil, I need to correct a misspelling of a LP by the Floyd: the correct syntax is "AIUisciuueriia." Please take good note of it. Thank you.

I wouldn't want to say something silly, but I think that in chinotto, apart from the usual industrial nonsense, there should be the juice of the citrus fruit called chinotto,... right?