lux

I also hinted that it's a matter of mere attitude, dear Pixies, and evaluating it seems to me a great starting point as a criterion, (at least this is what I personally deduced over time)... unfortunately, in words, one can say everything and its opposite, so if someone does not want to meet the line of thought of their interlocutor, good luck with the discussion. According to your perspective, not only should we never talk (with at least a minimally objectifying intent) about music, but we shouldn't talk or discuss ANYTHING that isn't a mere phenomenal manifestation. But then it also makes no sense when Percy and JACK DANIEL'S assert that A Kind of Magic is a valid album: where is it written that it's a valid album? If nothing can be defined qualitatively, this also applies to positive judgments. Let's all just say that A Kind of Magic "IS," and that's that. However, this conclusion honestly doesn't satisfy me much, because it doesn't infer anything, it says nothing. I would then add a D: those who like A Kind Of Magic can listen to it with joyous delight, but they should not bother those who rate it a 1.

Pure hard rock

But do we want to talk about plastic garbage like Tear it Up, The Miracle, I Want It All, Body Language, The Invisible Man, Staying Power... and I could go on... and yes, these Queen are really "fresh"... come on, for heaven's sake. Let's realize what we're talking about.

It feels like I'm talking to a donkey... "And why shouldn't Who Wants To Live Forever have artistic value?" Are you out of your mind? I've been explaining this to you for 30 posts! Who wants creativity?!? It's fine as a soundtrack for Beautiful... still with this story about so-and-so appreciating certain pieces SO these pieces would be automatically valid... what kind of reasoning is that, buddy? Queen were tacky in the '80s, that's a FACT, and this brings us back to the discussion of the ideal rock attitude, which you clearly don't understand. Do you know the expression "minimum means for maximum expression result"? Well, the Queen in the '80s did exactly the opposite: sumptuous arrangements (bordering on AOR and Arena Rock) and technically flawless, but when it comes to extra-instrumental messaging, they were at ZERO, mired in an abuse of expressive clichés typical of the '80s pop-rock-dance charts. I don't think I've discovered anything groundbreaking.

The scene of the white unicorn dream, in the final cut, I think testifies that Deckard is a replicant, even though he doesn't seem to have the strength and agility of the replicants. Ford initially annoys me a bit with those somewhat out-of-place grimaces, but the rest of the film is充実した. The beautiful final scene is tender and full of compassion.

I don't doubt that the pieces might fit the atmosphere of the film, but it doesn't seem fair to implicitly suggest that certain films deserve only flashy soundtracks; that would undermine the film's value in the first place. And then, maybe the film would have worked even better with some industrial noise tracks... the problem is that certain films probably need to catch the audience's attention even with soundtracks that are easily appreciated by the general public, especially if a brand like Queen is responsible for them. And admitting that "Who Wants to Live Forever" can work for a film doesn't necessarily validate its musical value in an absolute sense.

David Lovering here seems less inspired compared to previous albums, but certain tracks shouldn't be underestimated. Bossanova and Trompe le monde are definitely not as strong, though.

And then you must see from what point of view a person is starting in order to understand their judgments: by doing so, even blasphemies like those above by Bertoncelli will become more human and understandable (even if not shareable). And above all, let’s think about what they write in words, and start to give relative importance to the ratings, which are just indicative numbers.

Anyway, Bertoncelli gave 4 out of 5 to Pausini's first album, 3 out of 5 to Steady Diet Of Nothing by Fugazi, and 3 out of 5 to Good by Morphine. Let's realize who we're talking about.

Yes, but from both Scaruffi and Bertoncelli, you can draw an important common inference: Innuendo is NOT a great album, and that doesn't seem like a small thing to start with. Then there are differences in interpretation, and there always will be, but even if one is sickened by Innuendo and the other remains simply indifferent, the substance is that it is not a masterpiece. And I think so too.