aries

I listened to it carefully and re-listened to it, and I was left with the impression that the two opposing musical concepts of Cohen and Spector did not blend together, so that the vocal tracks (which are not polished) seem to be forcibly inserted into the musical tapestry created by Spector, with the only exception being the final piece, the only one that benefits (despite the redundant last two minutes), for its broad narrative scope, from the wall of sound. Although it sounds less inspired compared to the previous works, with only three truly beautiful songs (the title track, "Paper Thin Hotel," and "I left a woman waiting"), I don't think it's the lowest point in Cohen's discography (I find "Ten New Songs" and "Dear Heather" less appealing), and perhaps some tracks deserved a second life live, with a more understated musical arrangement.

I got lost during the technical analysis. However, I believe that between the essential text, made up of essentially a couple of scenes, and the music that accompanies it and dramatically marks the conclusion of a story that has just begun and already ended, there is a precious alchemy. All of this is enhanced by Mina's excellent performance. My personal memory goes to a 60-minute cassette filled by my father with songs recorded from the radio, including this one (and on the same tape, there was also the soundtrack of "Per qualche dollaro in più"). Year of grace 1984.

An extraordinary reunion, with a lineup of masterpieces performed in a special context. Listening to the album, one gets the impression that time has not passed since the separation in 1970, and the tracks recorded by soloists fit wonderfully into the duo's repertoire. The arrangements, understated, modernize the songs here and there without altering their essence. I didn’t know that the concert ended with two more songs after "The Sound of Silence": I found the decision to exclude them from the album wise, as there could not be a better conclusion than that song.

I only know the track by title, which at the time struck me as, and still seems, pompous and boastful (like almost all instances of pop-lyrical contamination), just as a large part of Queen's output from 1980 until the end struck me as pompous and boastful (and still seems that way). Therefore, I doubt that the rest of this album will appeal to me. Regardless of aesthetic differences, I still appreciated the review.

Excellent review, with heartfelt and relevant quotes. For me, the last true masterpiece (a definition I don't often use for an album) by Springsteen is "The river," even though the Boss has always maintained more than good levels, both musically and lyrically, with an enviable desire to play and tell stories. I haven't heard the album, but the tour is legendary (and so are the musicians).

Unfortunately, I only know the most famous song, but I believe this record fully deserves the status of "milestone." The Band had thrilled me a lot in the film "The Last Waltz." I hadn't read the previous review, so I thank you for this contribution. I rate the record with the cover closed.

I've always shied away from Spielberg's science fiction movies (I'm not a big fan of the genre, while I have a cult following for "Duel" and "Schindler's List"). Speaking of which, I caught a whiff of nonsense when it came out, and this review confirms that I can continue to skip watching it.

A record I'm not familiar with, on which I've read generally unflattering opinions. I remember that at the time "O surdato 'nnammurato" was often played on the radio, but I don't think it's a representative track, neither of the album nor of Jannacci, just like "Zan zan le belle rane." The rest definitely deserves MANDATORY listening, at least for those who want to delve into the work of the doctor-singer-songwriter. The cover is probably the worst in Jannacci's entire discography.

I don't know the album, but I believe it deserves a fresh look, because here you can find all the facets of Jannacci as an artist and a man. The Sanremo performance enlivened a rather mediocre edition, even though the song is (in my opinion) not among his best: a decidedly weak production, when compared to "Se me lo dicevi prima" and "La fotografia" (this one is truly groundbreaking). 4 out of 5 on trust.

A complex and fascinating piece, both for its structure (which showcases a beautiful chemistry between John and Paul, still able to genuinely collaborate) and for the multiple interpretations: listening to it, it doesn't seem at all like nonsense. And the whirlwind before the last, endless note seems to evoke life flowing before one’s eyes before the final moment.