London

Paul indeed sings on a track, but it's by Godley and Creme, specifically in "Get Well Soon" included in "Freeze Frame" from 1980; while he plays on two tracks of the 1995 album "Mirror Mirror" by 10cc, in "Code Of Silence" and "Yvonne's The One," for which he is a co-writer alongside Stewart. 10cc also performed on the album "Mike McGear" by Paul's brother from 1975, which is a great collector's piece.

It can be...

Let's say I respect your considerations, but I absolutely cannot support anything you say. You’re one of many who think that tearing down the myth of the Beatles is a COOL way to get noticed; instead, you just spout a lot of nonsense like Hendrix is greater or the Pink Floyd are better and stuff like that. You forget that their music is a direct consequence of the birth and success of the Liverpool group. You come at me with a line like “Leopardi is better than Dante,” which is absolutely nonexistent because someone who tells me that Jimy Hendrix is more innovative than the Beatles sounds ignorant to me. Instead of wasting time, you and your friends behind questions that make no sense (you even think Elvis is overrated, the one who is one of the main architects, if not the main one, of the fusion between black and white music), try to understand their greatness; listen to what was there before (nothing) in Europe. They made the big leap, transforming European popular music into a worldwide musical genre, based precisely on the experience of Elvis and many others. Your comments are pathetic; you could have spared us the ending, but don’t say that Page, McCartney, John Paul Jones, David Gilmour, and Who are all from the same period and knew each other very well. To say that the music of the Beatles did not influence the decades that followed them is really excessive, dear boy; without them, we would only write about Nilla Pizzi, Claudio Villa, and very little else on Debaser. Don’t come here and spout incendiary nonsense without thinking it through first; I hope you reflect now and especially listen to the records. Analyze them, try to connect different musical currents, and understand why Led Zeppelin or Dire Straits exist, and don’t come back to spout such nonsense.

Funk-rock meatloaf, perfect for dancing a bit but definitely unsuitable for just listening.

My God, is this where we've come to? I have no words, what ignorance.

Seen live last year, you know where? In Rossiglione, a small village on the border between Piedmont and Liguria, they did their job impeccably for a dignified concert.

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But look, Oldfield’s "Tubular Bells" is mostly played by him alone and there isn’t an orchestra; perhaps you’re referring to the symphonic version created later. In "The Exorcist," however, the famous opening theme for synth is used, but Oldfield didn’t actually compose the original soundtrack. Coming to "Crises," it’s not a masterpiece; it’s an ultra-famous album that reprises the form (with much softer tones) of the previous "Five Miles Out." The title track is truly beautiful, dark, and mysterious, visually captured perfectly by the album cover. "Moonlight Shadow" is simply a perfect song, perhaps the best easy listening song ever, while the rest is good but not exceptional. After "Crises," Mike starts to rely a bit too much on the template, eventually leading to the embarrassing "Earth Moving" at the end of the decade.

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To me, the cover always looked like a non-slip metal flooring, like the ones used on fire escape stairs, for example. Beautiful album, Martina's bass part in "Heaven" is something magical.