nightwalker10

Received Test, it's your private matter after all. As I suspected, the reader is part of the game.

What is the boundary between writing and masturbation?
I don't think anyone understood a thing about how the record sounds...even Brian would need to listen to it again.

The problem is that we often can't distinguish between what we like and what is beautiful; sometimes they coincide, sometimes they don't. At certain moments, we just need, I don't know, something that pumps our adrenaline. I've listened to a lot of "technical" music, and I was surprised when people with good ears, who maybe didn't play guitar or listen to rock, found records like these "useless."

Mystery soon revealed: "technique" doesn't replace composition, which is why "Yesterday" is a masterpiece with three notes and, I don't know, "Evil Eye" is a neoclassical mush overflowing with superfluous notes; in short, music for egocentric guitarists, or almost in the vein of let's have fun but not take ourselves too seriously.

In detail: all three have studied a lot, but while Malmsteen and Satriani are technically emulatable, in my opinion, Vai is the true talent as he invents sounds rather than just torrents of triplets. It's no coincidence that he is, of the three, the most sought after for other people's records, and also... he was one of Zappa's guitarists, do you see what I mean?

indeed, it's a load of crap.... :)

I wait anxiously...

and so?

It's certainly difficult today to form a precise idea of an album like this, outside the social and musical context of those years, and not because its value necessarily derives from its political content. In fact, I fell in love with it at an age still too tender to prefer ideas over sounds, so I will limit myself to saying that it is one of the examples of world music "ante litteram," in the best sense of the genre, played with taste and sensitivity. Those who also grasp its desperate democratic yearning will be even more moved.

Doesn't it come out?...in Italy perhaps, where it's believed that Laura Pausini is truly the greatest native singer and where radio programming is all payola. "52nd Street" is the best for me; in fact, I don't consider BJ a rocker except in the terms of a great musician who has also learned the lesson of Rock'n Roll.

Despite the willingness of the review, I am sorry for this almost apologetic atmosphere regarding Joel's talent.
Billy Joel is undeniably one of the greats of global pop music, even though he doesn't "pull much" in Italy; anyway, in 1999 he was inducted into the Rock and Roll Hall of Fame... I hope I am making myself clear.

As a seasoned fusion enthusiast, I playfully contest the foreignness of the "sung" element to the genre...fusion in the early eighties, after its consecration following the spores of Miles Davis’s albums that, by the end of the sixties, had overturned the canons of jazz (“In a Silent Way” but especially “Bitches Brew”) and of Weather Report, is developed by that large group of session musicians who participated in the best American pop music...it follows that in most albums by Ritenour, Carlton, and Crusaders, sung pieces also found a place.

It is not the musicians or the singers who determine, assuming a genre exists, the musical genre, but the LANGUAGE. In fact, jazz relies on so-called standards, that is, the classics, which are nothing more than SONGS, great songs that are SUNG, which become jazz the moment they are interpreted with the characteristic language of this genre: improvisation. As for fusion, it has ended up "melting" because over time it has lost its innovative charge, becoming just an exercise in style, trapped in its clichés. Naturally, if someone of Mike Stern's caliber plays it, sometimes it comes back to life...