ajejebrazorf

Zappa has made titles far worse than "I have a big dick" (hilarious, idiotic lyrics on an even more idiotic riff): the first one that comes to mind is the refined "I promise not to come in your mouth"... erm...

But... the original MBF? Nah, I think you're a thief of acronyms...

I've never been particularly fond of "Eskimo," it's too "bittersweet," but this time I doubt I can explain myself well... however, Amerigo is a splendid portrait for me, as many have had more than one Amerigo who emigrated to America in their family. The "scongiuri" of Libera nos domine are also very beautiful, and the inspired melancholy of 100 Pennsylvania Avenue: "I think we know it's different / if things have been more stingy / you accept them, keep going, and you haven't lost / if they're different from dreaming / because it's no joke to know how to continue." A beautiful summary, it’s not a flaw. Of course, my heart would have pushed me to write something more, perhaps to linger more on Amerigo, who is truly fascinating...

You are right. I apologize.

Um, yesterday staminchia, 3-4 days ago, I'm confused. I didn't run the EELS marathon, it would be inhuman for its duration;)

Listened to it for the first time yesterday. How beautiful this record is, one of those that reconciles you with the world. I never really appreciated Eels before, but this definitely made me rethink and re-evaluate the others I have (Beautiful Freak and Electroshock). Despite its length, it's very easy to listen to, partly because some tracks have a very "epic" atmosphere, even though they're acoustic. For now, I adore In the Yard, Ugly Love, and Things the Grandchildren above all, but the overall level is really high, and there's clearly a lot of work behind the arrangements. The lyrics are very beautiful, full of disenchantment but also a lot of humanity... beautiful, beautiful, beautiful, so far the best thing I've heard this year. The lyrics of Son of a Bitch reminded me of an old song by Ivan della Mea, due to the theme. The review is also very nice; I listened to it thanks to you, Frantz, and I consider myself in your debt. ;)

a record that completely changes your perspective on music; at least, that's the effect it had on me.

You didn't do wrong; you did terribly wrong. Unmatched, there's no other record comparable to this (at least as far as I know) except for Meet the Residents, which is slightly inferior: it's a one-of-a-kind. You might find it horrible, but I can't compare it to anything else... well, very distantly, if you know the band the Thinking Fellers Union Local, but they are much less known, and I've said it all...

Just one? "Fuck any technique, what interests me is the soul of the one who plays." The quote isn’t mine, but I share it. If someone has certain limits and practice helps them overcome them or achieve what they had in mind, why not do it? What’s incorrect about that? Personally, I prefer studio albums where an artist says exactly what they want over live performances that often become an exaltation of the musician of the moment, what is called "cult of personality," to be pedantic (see the discussion on Springsteen, I was referring to that when talking about concerts, not the fact that Steve Van Zandt gets overlooked).

And what are you doing, double standards? And why is it valid in one context and not in the other? I listen and use my 'ears': let me give you an example, the first one that comes to mind, but there are many. Tim Buckley made a beautiful album called *Starsailor*, which, by its very nature, could not be replicated live, due to the use of studio tricks and things of that kind. What was he supposed to do, not use vocal overdubs?