odradek

I don't have this record, which I listened to at the time. But the subsequent double album is a great record with an impressive lineup of excellent tracks, brimming with ideas and sounds, produced excellently and very entertaining, certainly among the best of recent years in the realm of black music. - Ghemison, I don't understand your worry about the ratings for the album. Everyone, including anonymous commenters, expresses an opinion. Sure, sometimes it's just for the sake of insulting (the artist or the album), but who cares, you don't have to make amends...

Well, I can't help but listen to the Gregor Sasmsa. After all, we are... brothers.

Moreover, it should be noted that the lady in question, whose commercial ventures are more than respectable compared to dozens of other colleagues, has a commendable musical background, a beautiful voice, and is a decent multi-instrumentalist: probably these characteristics are hindered by the context she has chosen. However, MarcoP's remark doesn't seem too irreverent to me and raises, in my opinion, albeit bluntly, a fundamental issue: I am not familiar with this album, and even though I have listened to some of her other works (C'Mon C'Mon is a decent album of innocuous "pop rock"), I wouldn’t have minded some references to the record, amid one evocation and another. References that, even if only briefly mentioned, surface in the comments and seem to demonstrate that the text was intended to be understood—through its imagery and references—exclusively by those who shared the same knowledge about Crow's production and biography. Therefore, the bit of paraphrasing hasn’t been helpful just to “make Marco happy,” it seems.

@zzzzzzzzzzzzzzzzzzz: yes, it happens that they become beautiful due to apparent ugliness. Mysteries of taste. - @ Styx: yes, as I was saying in response to Fusillo, I too was put on their trail by a comment from Gabbox. I imagine it’s not in your wheelhouse (I’m listening to "Winter Hymn..." and it grows with each listen, thanks for the tip.) - @ Socrates: the wicked game has given way to the absence of play: not just a Ronnie, but an entire fat Brazil. A sad spectacle, I’m sorry for your selecao - The three are to be "read" with the text: in this case, it's a record that’s not easily placed, seemingly deliberately unfinished, "minor." With this identity halfway, which could even be annoying. But it can capture precisely because of its particular atmosphere, free of pretensions, yet very personal, which paradoxically standardizes it. - The three, (or 3 and a half, like this one) roughly mean: I tried to tell you how it is, for me it’s interesting, but be careful, if you don’t like it you had some hints to imagine it. In short, don’t ask me for a refund:))

Dear Wanderer, the risk, under the scorching sun you have, is a state between stupor and ecstasy (perhaps even e/stat/ic, static in summer) due to the considerable reiterative tendency. I am immune as I have already "gone" extensively, but I recommend a few small precautions:)) - Dear Fusillo, as I was telling Sfascia, there’s no problem. Few, relaxed, whenever it happens. Anyway, lately, they are all recent records (I think over fifteen, all released in 2006) of which I have scribbled a few pages. Recommendations, if anyone is interested that's fine, otherwise, it's all good too. I find them in the usual place (a trusted store), and lately, thanks to a kind lady who is mysteriously very well-stocked. They are all available without much difficulty in somewhat "specialized" stores - For the Glissandro 70, in particular, I was intrigued by a comment from Gabbox. Thanks for the visit, anyway :))

Pretazzo, but it's potentially until you read it: that "Take me .." is a cover is clearly stated in the lyrics..:))

But no, Sir. The blank page is more airy and restful, allowing for absolute relaxation. The traces left by over a dozen dozens of invisible Passers testify to a traffic that has spared us the mephitic chaos and the annoying noise, now present in lethal doses elsewhere. Let’s enjoy this perfect solitude while sipping a refreshing drink, perhaps with a spin on the rotating samples. I would like to thank you for your presence in yet another little page, a tangible sign of a stoic benevolence. I return to the laborious toil of a working Saturday and bid you farewell. Always your industrious spool.

Sorry, Master, I have a meeting with some apostles of Onan. Their specialty, however, is not exactly rotary motion. But as soon as I'm free, I’ll join you. Si iu leta.

Yes, a really great film. An absolutely original way to present the band, shot with perfect pace and timing (and played wonderfully well, in fact). It remains an excellent example of a live performance, very original, and I agree with you in inviting those who may have judged the album a bit hastily to "revisit" it. However, I find the emphasis on "modern dance for the apocalypse" and the use of the worn-out term transgression a bit excessive. I would limit the rating to 4, as there are other T.H. albums that deserve a 5, in my opinion. I would give the film a 5 for the reasons I mentioned: the album, which suffers from the lack of visual elements, still deserves a solid 4. Naturally, the Psycho Thriller you mention is Psycho Killer, but that’s a great title in its own right. If I recall correctly (I saw the film in theaters when it was released), on the stage that was getting crowded piece by piece, there was also Bernie Worrell, a great keyboardist who later worked with Bill Laswell and does an excellent job in the live show.

Damn, in the end it was you who sweated!!! Bye.