primiballi

So. Personally, I see the Boss without the E Street like this: I Nebraska; II Human Touch; III Lucky Town; IV Devils...; V Ghost.... The one with the E Street, with the exclusion of Nebraska, is always superior.

I fundamentally agree. When I say "worthy," in fact, I don't mean it absolutely, but relatively, that is, in relation to others. Certainly, Invisible Touch is their most modest work, but in relation to Pausini's entire oeuvre, it is indeed worthy (if not more...). This is what I meant. If, on the other hand, we want to avoid comparisons... well... it is indeed "lesser." However, they have never truly produced garbage, especially when looking around... As for Calling... I’m glad I’m not the only one who sees it as a good album (let's consider what it could have been with the -compositional/integrative and interpretative- contribution of Gabriel and Collins...).

The album is remarkable, but I invite you to consider the fact that Genesis have never produced subpar work, neither in the much-criticized eighties (the music of the eighties deserves to be revisited before being dismissed from memory, filled with outdated and simplistic propaganda from that time...) nor in '97 (Calling All Stations is truly a beautiful album, and not commercial at all... once again, there's the suspicion of it being "unheard"...). Simply put, Genesis have been (or are...?) a band capable of transcending eras, writing magnificent works and sometimes contenting themselves with writing very worthy ones.

One cannot speak calmly about the end of inspiration, since, excluding a few grandmasters, all the Dinosaurs have exhausted the golden vein, now engaging with great results in honest craftsmanship (this applies to Boss, to Waits, to Knopfler, and to Sting, and so on...). The problem is not with them making a living (and doing it well)... it’s the young ones who lack an original idea, and when they do, they present it with the personality of a lamp post... Moving on to the album in particular, neither better nor worse than the others from the mid-eighties to today. Honest and even great craftsmanship, but nothing more.

I'm sorry to comment so late... but I really don't think the good soul of Kirkland could have anything to say about the performances (his and others) that resided in the Tartarughe Blu or even more so in the following double, and splendid, Bring On The Night, one of the least rock 'n' roll albums in history... Could the good KK, a truly nice person, have smiled for not having to counter a stupid remark...? Kisses.

dear Lucabbrasi (such a wonderful name...) I completely agree with you. Although for me (but that’s entirely subjective) "Once upon a time" is better. Judging by the tone of some comments, it seems quite urgent to have a nice discussion about the innovative/perfectionist role of the '80s, poorly understood by the usual idiots who grasp things only with a twenty years (or more...) delay.

I essentially agree with the review. Coldplay seem a bit complacent to me, and it feels like they haven’t exerted themselves much in terms of composition for this collection of songs. That said, they still appear to be the most interesting pop rock band (if you want to call them commercial... but aren’t U2 commercial too...?) of recent years. This speaks volumes both about them and about today’s music environment, which is certainly light-years away from that of the seventies and eighties. Let’s wait a few years and assess whether this decade will compete with the very modest nineties...

Personally, I find that the best Waits is and always will be that of Rain Dogs, and the most innovative, the one that pushed boundaries the furthest, is that of Bone Machine. Then, after a long and not coincidental pause, he returned to his honest and high-level craftsmanship. But even then, he had already said everything there was to say. If I have to choose one work from Bone Machine onwards, I undoubtedly choose Alice. If I have to find a flaw in an otherwise beautiful album like Real Gone, I find it in the auditory difficulty—after a while—of everything, voice and instruments, recorded practically always beyond distortion levels. Nonetheless, the Master is always the Master (and for that alone he is above the students… anyway).

An age-old and perhaps unsolvable question: Capossela / Waits / Conte. Here’s my take: there’s very little of Conte, if not a vague resemblance in a certain provincialism (in a good sense, of course) of the lyrics. Then there’s a similarity in arrangements, particularly for both during the "Antonio Marangolo" period (unfortunately ended for Conte, thankfully for Capossela...). I’m more harsh on Waits: putting aside the literary aspect (some differences are evident), musically he’s identical but less genius (the relentless use of the great Marc Ribot is an embarrassing proof). To put it plainly, this album could be his "Bone Machine," without its charm and absolute innovation. Unfortunately, Capossela without Waits is simply unimaginable. Also, regrettably, the voice is what it is. You get used to it, and eventually, you might even come to like it, but it’s a limitation that grazes on objectivity. I’ll conclude with a "too bad." Yes… because there’s a lot of talent… and it’s a shame...

objectively high moment for those who believe that so-called light music, the quality kind, is truly the classical music of the twentieth century (with jazz...). Not a normal reunion. A perfect musical event, deeply felt and human. Musically exhilarating as expected and even more. A small gem that rightly remains so. Unique.