Lucabbrasi

...I need to correct the ladies:
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a great rediscovery, anyway. First picture of you and....the great You don't need someone new, or the other one, It Hurts.
And....if I were to review other things like...I don't know, I think of the underrated "The RE-FLEX"(Politics of Dancing)? hehe....

...I insist, also because that phrase is misrepresenting the true nature of this masterpiece: this album DOES NOT "ooze '80s essence from every note"! How can you confuse sounds that I found even sophisticated at the time with Kajagoogoo and Spandau Ballet? "guitars that wink at pop"??? But where? The album is played exclusively with a Gretsch (which has never had anything to do with pop, except for Depeche) heavily affected, full of tremolos and various choruses! Can you tell me where the pop is in "Mercy Beat"???? Can you tell me where the hedonism is in "Infected"???? Watch your words, folks, because there's someone here mistaking this album for yet another pop phenomenon in the style of Duran Duran & Co., but instead it's the exact opposite...

...this, and Dusk, are the only two albums I have by The The. What can I say, music at the highest levels. In Infected, I contest a bit the words of the reviewer: it’s not 80s music on every note. On the contrary. It strays quite far from those saccharine and “fake” sounds, thanks to a masterful use of the then-mythical Fairlight (the famous music computer), the drums literally hammered by Dave Palmer, and some lysergic guitar embellishments, heavily affected, a Gretsch at its finest, in short. And him, with his cavernous, disenchanted voice... nothing 80s, in my opinion, but one of those classic albums composed and played in a state of grace.
A state of grace that he would then recover in the excellent Dusk, where computers and keyboards are left in the garage, and the more classic song form is returned to, played by excellent companions (the great Jhonny Marr above all) according to the docet “bass-guitar-drums-hammond.”
A great musician, ignored by many, unfortunately...

great review. The first 4 albums by Oldfield must not be missing from any serious record collection. Tubular, Hergest, the incredible Ommadawn (I’d say the best), and the composite Incantations. Stuff that would make various Windham Hill artists pale in comparison... they’ll never say it, but many current artists have drawn a lot of inspiration from these masterpieces... I’d include Platinum as well.

...Debussy is the link between classical music and jazz...

To be precise: the riff of Trans Europe Express was played with the Vako Orchestron, an instrument similar to the Mellotron, and therefore not comparable to synths, but to later samplers...

...sure Kosmogabri, your judgment is very understandable, especially after you appreciate Bubbola (a highly cultured person, I imagine from what you have learned...) especially for the nice road manager... porannoi, I reiterate the judgment: better Kyle Minogue than these pseudo-gurus of folk imitation, who bring NOTHING musically...

...I prefer the forced listening of the latest Kylie Minogue...

...comparing this flashy and exaggerated poser to Jimi Hendrix is like comparing Armani’s style to Cavalli’s tackiness... I mean, someone who shows up with a three-necked guitar? I would love to see him put to the test (with his "songs"... sigh) in a nice unplugged... then we'd really see what he's made of...

...aside from the nonsense you’re writing about Christmas...the album in question is, I would say, excellent. Although speaking of Live implies a warm, captivating, and variable sound (usually). Instead, here we’ve got two sacred monsters of self-control, being icy and detached.
Anyway, great setlist, slightly different renditions (First Day, Every Colour you are), thanks especially to the "masked musician," namely the great Michael Brook, who significantly enriches all the tracks on the album with his guitar effects.
Is it perhaps an album...highly recommendable, precisely for the paradoxical "coldness" it exudes: let’s say "only for" die-hard fans (and I am one).