voiceface

thetrooper, you were probably just a toddler when this record came out... so you didn't experience as a conscious listener the last years in which true rock was played. In my opinion, 1995 was a turning point with the last echoes of grunge... it's obvious that all of this dramatically affects your ability to express worthy observations on the subject.

After ordering it, this record finally arrived...really very nice.

The album is not a masterpiece, but the review frankly, although written decently, has a really annoying irreverent tone.

Yes, the same old story of Mellon Collie being too long. A double album is necessarily lengthy. If it also has around twenty amazing songs and about ten simply beautiful ones, then in my book, it's a masterpiece.

It's an elegant album, well played, what you can expect from a fulfilled sixty-year-old who has lost his youthful ambitions... let's say it's a decadent and somewhat listless record, but still beautiful in many parts. It may become tiresome, but it deserves to be listened to.

The review is nice and well done...but I belong to the fans of Mellon Collie, which I consider by far the best album by the Pumpkins...I place Siamese Dream just a bit below the beautiful Adore and slightly better than the other albums of the band, which, let's be honest, has always operated at stratospheric levels...What don't I like about Siamese Dream?...maybe it’s exactly the effect that Billy Corgan’s solitary recording had on the sound and the tracks. I always think that musicians who play everything on their own albums lose in terms of breadth and harmony of sound, and in the end, these albums never live up to those played in a collective way...bye

I think it's important to clarify. There are two issues. The first concerns collectors who, once they have appropriated the rarity or the discarded study from recording sessions, hide it like a top-secret relic. I consider this an selfish and childish attitude, especially when it comes to completely unreleased works. If they really do this because they want to respond to the artist's wishes, they should return them. The other issue, however, is that of posthumous copyright. This matter is more delicate. No one can extort from Battisti's family the unreleased material they hold, especially if this comes from the wishes of the deceased. It's another matter if one digs, as many do, at the bottom of the barrel to profit from material that the artist, while alive, did not consider appropriate for fans to pay for. Look at Jimi Hendrix, Freddie Mercury, Jeff Buckley, and so on. In this case, if there is unreleased material in the hands of record companies, it is right that everything should be made public (at least for free), or it might as well be destroyed. I remember a very successful operation that, unfortunately, has never been repeated, as far as I know, by Billy Corgan. When he disbanded the Smashing Pumpkins, he made almost all the unreleased material left from the group available online. It was an act of honesty, transparency, and love for music. Bye.

discussing with DaveJonGilmour is completely pointless... just let it go...

To be honest, the performance of TSOTM on this tour was a bit too conventional and lacking in bite... and then there's Waters, always Waters...

There's no point in fighting over Gilmour and Waters. Gilmour is an excellent guitarist, my favorite, and a decent songwriter as well as a good singer. Waters, on the other hand, is a mediocre musician, but he is one of the best rock lyricists of the twentieth century. It's obvious, then, that Amused To Death is a more artistic album than On A Island. It has to be. And that three given by someone with the nickname davejongilomur reeks of childish spite.