Lucabbrasi

...if someone manages to convince me that such "artists" enjoy unconditional and absolute trust from critics, regardless, they're doing me a favor. This person has a "dull" voice that couldn't be more dull, writes very ordinary things, and everyone claims he's a genius. oh well.....

Copernicus..."Making Music"...you made me feel a little tear of nostalgia....Manù Katchè...sure, sure, amazing technique, great touch but....he always seemed a bit too "showy", too self-celebrating to me...and then I was among those who cried scandal when Peter Gabriel used him to replace that authentic wall of sound that was Jerry Marotta.
Ah, Copernicus: do you happen to have any bootleg videos of the Police? I only have the Synchronicity Tour (the official one) on VHS, I'm looking for something old on CD or DVD....if you reply, you'll do me a favor....

Tony Levin doesn’t have good technique???? Sheltering Sky is bad? But...but....but....consider yourself worthy of listening only to Gigi D'Alessio and, if you really insist on rock, the Nomadi! Leave the rest to those who have a bit more ear than you....

...I could also agree on the validity of the arrangements, on the average quality of the compositions...it's just that this guy, as soon as he opens his mouth and lets out that obnoxious, nasal, and strident tone of voice, makes anything sound like crap. I absolutely cannot stand him, starting with that obscene vocality; if we then move on to his personality (a pompous and arrogant country bumpkin), I would really hope to cross paths with him on the street (him on foot, and me in a car, of course...)

Donjunio, certainly... anyway, in their almost pop nature, we must acknowledge an undeniable value, definitely related to the "target" they were addressing. Of course, I've also listened to the Clash, and when it comes to XTC, you’re breaking open an open door (speaking of reggae mixed, listen to "Living through another Cuba," and then you'll remember me...). Every music, in my opinion, should be compared not to itself, but evaluated in the temporal context and at the level of quality to which it was aimed. I mean... it's pointless to compare Queen to Led Zeppelin, they were similar things (broadly speaking) but different: I love Led Zeppelin to madness, but I cannot fail to recognize Queen's absolute value for the different audience they addressed, and for which they were masters. The proof is in the miserable clones that you occasionally hear, like the Darkness... (you know, I'm obsessed with the Police, so I might be biased...)
p.s.: don't forget about the magnificent Joe Jackson during that period (Beat Crazy...)

Is there anyone kind-hearted who has the mp3 of Darkstar they can send me? Thanks lucabbrasi@inwind.it

...well, I would like to invite Donjunio to reassess this album. It doesn’t necessarily have to align with his tastes, but... to claim it wasn’t innovative? No way! Besides the happy fusion of reggae-derived rhythms and rock harmonic structures, there are other ideas that, upon repeated listening, are unanimously recognized as highly valid: the arpeggio on the guitar in Bring On The Night is nothing more than a tribute to Villa Lobos' studies, Deathwish, in other words, how to compose a piece based on the bpm of your own delay, Walking On The Moon, The Bed's Too Big Without You, which if you listen closely hides an almost twist-like rhythm, with fantastic off-beat bass, Does Everyone Stare contains operatic hints (the initial sampling) only to culminate in a ballad with strong dramatic accents... in short, an album that creates a marvelous mix of pop, reggae, new wave, and rock, played with extremely different styles by the three members, just as their characters were different: the "pompous" yet genius Sting, whom some forget is still one of the most beautiful and versatile voices in the entire rock-pop landscape, Copeland, the crazy and dynamic "octopus" behind the drums (he almost broke the skins of his famous drums with "fuck you" written on them, a modern Ginger Baker, yet he also knew how to elegantly brush his legendary splashes...), Summers, the discreet, almost hidden guitarist (yet without his chords, the Police's songs would suffer greatly...)... in short, a musically superb blend. If someone then focuses only on the color of their hair at the beginning, on Sting's flamboyant antics, on Dudduduudedaddada... well, I recommend checking out Music Farm, then...
11. No Time This Time

Well, one of my all-time favorites. Aside from the strict compositional quality, what still amazes me today (almost 30 years after the album's release) is... the unique sound, the fantastic sound that the producer (Nigel Gray, if I'm not mistaken) managed to give to these 3 fabulous musicians. I say it's hard to find, on a second effort, such determined signs of sonic maturity: a bassist already at the peak of creative talent, a drummer whose beat you immediately recognize (it's difficult not to identify that typical rimshot, hard not to admire the "tuning" of the drums, the beloved octobans, the splashes used like a master), a guitarist who, although capable of delving into jazz and avant-garde (just listen to his productions with friend Fripp and the subsequent solo albums, and you'll re-evaluate him...), puts himself at the service of the band, rediscovering and enhancing sound boxes that can maximize their own sound (harmonizers, tape echoes, etc.).
I am still amazed by that sound... lunar, full of compressions and reverbs, a true gem: a producer who, faced with such a great trio, yet with a rather modest sound (there were always just three of them...), decides, instead of overproducing with 100 overdubs, to expand and fill the sonic space with echoes, reverbs, delays, and fully harnesses the harmonics generated by the instruments and the voice.
A quintessential night-time album, still incredibly enjoyable, to be listened to endlessly...

...a record almost exclusively recorded with the sounds of a Yamaha CP70 electric piano, and very few hints of synth. I would say a record, these days, and the songs (some magnificent) absolutely do not suffer from this apparent sonic simplicity...

poor Gordon Haskell's voice? What are you talking about? Have you ever heard "Cadence and Cascade"? But why on earth would you compare her to Jon Anderson, a beautiful effeminate voice but with few equals (and why should there be?)? It's like comparing Monica Bellucci to Jenna Jameson....