Mike76

DICTIONARY OF LISCIo: "The Orchestra of Secondo Casadei has been fundamental for the evolution of Liscio music and its dissemination. A cultural and social phenomenon as well as a musical one. For these reasons, to 'Romagna Mia', a poignant ode to one's homeland that will influence much of the production to come, one cannot give less than 5/5."
Mr. DEGUSTIBUS: "I think it sucks" 1/5
DICTIONARY OF LISCIo: "But how? You can't give less than 5 to a masterpiece like this, you don't know the history, you’re ignorant, go back to listening to Britney Spears!"

Certo! Per favore, inviami il testo che desideri tradurre.

Beyond the blunder regarding "Strawberry Fields Forever," which would have benefited the album, I agree with many of the points made by the reviewer: 1) the presence of several sugary and banal songs like "Lovely Rita," and I would add "Getting Better," "When I'm Sixty-Four," and "With a Little Help From My Friend," "She's Leaving Home," just to name the most cloying; 2) "Lucy in The Sky with Diamonds" could have been a potentially great song if they hadn’t stuck that catchy radio chorus in; 3) I agree that it’s an album that feels "disjointed and far from cohesive"; and 4) I also concur on the highlights: "A Day in the Life" is a perfect, not banal pop song, and the "Indianata" of "Within You Without You" (I would also add the strange "Being for the Benefit of Mr. Kite!" which the reviewer doesn’t seem to like). However, I would have avoided expressing general opinions about the career of the Fab-4 and limited myself to this album; otherwise, as has happened, someone might take it as a scruffy revisionist crusade. For me, the rating hovers between a 2 and a 3.

"On the other hand, the sugary melodies that can give you diabetes from that era can be found much more in other bands, like the Beatles for example." @LUX: indeed, I like only one out of ten Beatles songs.

@APPESTATO MANTRICO: it's not a matter of volume for me but of feedback and saturation; in WL/WH they surely would have suggested it even dirtier. Who played the strings like Cale? I admit, from my knowledge, no one—honor to him.

@LUX/SELLAMI: I'm not blaming this record for being sixties, rather for not being as "breakthrough" compared to the music of that time as it’s reputed to be. From the comments, I see I’m not the only one thinking this, but I seem to be the only one willing to explain myself. Lou Reed ultimately succeeded in his aim to change the music of the 60s, it’s just that here he left the job half done (maybe not his fault as someone pointed out) while in WL/WH he hit the target 100%. I would never say that WL/WH is too sixties. Beyond the fact that I also like original songs like "All Tomorrow's Parties" and "The Black Angel’s Death Song," it doesn’t seem to me that they were particularly influential. “European Son” and its feedback, an appetizer for WL/WH, certainly were, but it alone isn’t enough to make “a groundbreaking record,” especially when weighed down by stuff like "Sunday Morning," "I'll Be Your Mirror," "Femme Fatale," "Run Run Run".... then "I'm Waiting For The Man" a precursor of punk? Well, I don’t hear it. I admit that a 2 is a bit tight, but as I explained it’s also due to high expectations that were not met; had it been presented to me as “any sixties record” I might have given it a 4. It wasn’t my intention to play the contrarian in this situation, but simply to offer my modest personal point of view. And come on, I’ll give you a 3, so you can sleep tonight :- )

@SUPERSOUL: I wrote "aside from a few good tracks ('All Tomorrow's Parties' above all) the sound is still too polished and bland, still too sixties," not that the whole album is polished and bland. By the way, when I borrowed it, I recorded on a cassette the 4-5 songs I considered valid, purged of the fluff. I included "All Tomorrow's Parties," which I find exaggerated to classify as dark, but which, despite having one of the cleanest sounds, is appreciated for a truly memorable austere and majestic melody. Of course, I also included "The Black Angel’s Death Song," which isn't original due to the presence of the viola (many bands of the time made abundant use of strings), but Cale plays it in a much more edgy way, bordering on noise. "European Son" is perhaps the most innovative track, more noise; it’s actually the only one that with a little more amplification could have fit on the second album. I haven't read the lyrics of "Heroin," but if you tell me it changes the game compared to the dozens of songs with the same theme, I will do so soon. I didn't stop "at the sixties pop melodies to please Warhol," but to your and Lou's good peace, there are quite a few.

I listened to "The VU & Nico" many years ago, but very thoroughly, while I only recently heard "White Light/White Heat." I don’t think I’m committing a sacrilege by saying that if they had never released the first one, we might have missed out on some great tracks, but the history of rock wouldn’t have changed a bit. In "White Light/White Heat," you can already find the seeds of many future subgenres of rock: dark, noise, post-rock, shoegaze, etc. This one, however, is not as bold; it is still infested with remnants of sixties melodicism and a sound that isn't as audacious as its successor. I’m not saying it isn’t innovative, but it’s still too timid in its approach. Influential? Perhaps: the lilting lullaby of "Sunday Morning" has even made it to the soundtrack of an ENEL advertisement (and Warhol would have been thrilled), and the cover of "Femme Fatale" has been a signature piece in our Elisa Toffoli’s concerts. Personally, however, I prefer the influence of WL/WH.

I listened to "The VU & Nico" many years ago, but very thoroughly, while I only recently heard "White Light/White Heat." I don’t think I’m committing a sacrilege by saying that if they had never released the first one, we might have missed out on some great tracks, but the history of rock wouldn’t have changed a bit. In "White Light/White Heat," you can already find the seeds of many future subgenres of rock: dark, noise, post-rock, shoegaze, etc. This one, however, is not as bold; it is still infested with remnants of sixties melodicism and a sound that isn't as audacious as its successor. I’m not saying it isn’t innovative, but it’s still too timid in its approach. Influential? Perhaps: the lilting lullaby of "Sunday Morning" has even made it to the soundtrack of an ENEL advertisement (and Warhol would have been thrilled), and the cover of "Femme Fatale" has been a signature piece in our Elisa Toffoli’s concerts. Personally, however, I prefer the influence of WL/WH.

"CLOSE THIS COMPLETELY USELESS SITE" @Peachtree: but you see, if they close it, no one can read your 2 reviews and your 269 comments anymore.