coolermaster

My first TRUE big love (we're talking about 1989-91) in high school LOVED Clapton, and also listened to Pink Floyd, Doors, Zappa, Eagles, Zeppelin, Jethro Tull, and the Italians, especially Battisti!!1
The phrase "first true Blues record by Clapton" is absolutely relevant... Clapton, except for the Bluesbreakers, has never really done Blues, "stricto sensu"... He was a Rock-Blues, a Pop, blues, call it what you want, but NOT blues...
Here we are in the territory of Muddy Waters, John Lee Hooker, whom Clapton splendidly pays tribute to...
Even though for me Clapton expressed his best work with CREAM!! Truly revolutionary.... In fact, if I push a little further, I can say that as paradoxical as it may seem, Clapton contributed to the birth of Hard Rock (with Yardbirds and Cream... devastating for the time, especially live)...
Best regards

I agree with Kaeba: the FSOL have been seminal precisely because the electronic re-reading of Tengerinian, Schulzian, or Enoan scores has been very personal. The very use of "samples," of "sounds" makes them great... The quality, the blend of sounds, of sensations, of acoustic watercolors where "melody" is made up of only 3 or 4 notes, from a couple of chords, makes DC (and LF) AMBIENT albums, in the strictest sense possible.... It's a journey, a terrifying, sick, dysfunctional journey, that of the FSOL: a nightmare lasting 70 minutes, with brief intervals of neurotic calm... Small oases of peace that, like in nightmares, suddenly transform into the monster Nihilant, in the den of Gonarch.... Yes, friends, Half Life, Xen.... This is what I think of when I listen to the FSOL.
Regards.

One of the masterpieces of minimal and "cult" electronics: LF straddles the line between Eno, Shulze, Td, Autreche... Only that the cosmic "journey" with FSOL becomes dark, without return... A CD that, even when listened to again now, seems untouched by time... Essential... Good review, perhaps a bit short...

Sometimes they say I'm a blasphemer, a heretic... and maybe I am. However, I find it very difficult, extremely difficult in moments like this to believe in a God who lets Rick Wright die and allows the "worst trash" to live undisturbed: murderers, mafiosi, rapists, and pedophiles... He lets die a Person who gave so much: shy, never seeking the limelight, yet so important for that "Pink Floyd Sound" forged since the Barrett days. The (non-virtuoso) keyboardist who was able to "filter" a note from a Steinway through a sort of "Echo BoX" and land us suddenly in Martian deserts, populated by moments of quiet, and strange "albatrosses greeting the shining ambassadors of the morning." - Wright has left us, in quiet despair à la mode inglese... without causing too much disturbance... he lived, played, and built the skeleton of the Anglo-Saxon band on tiptoe: the backbone covered by Gilmour's solos and Waters' compositions... He has gone up there, to Syd, who knows... And now maybe he looks down at us with that eternally kind expression, like a good middle-class London boy... goodbye Rick, thank you, thank you from the bottom of my heart for the unforgettable moments of my adolescence in the company of your notes, sometimes your voice, so calm and elegant... They say that when you grow up, the death of someone dear to you is an inevitable fact... just a matter of time... yet you are never prepared... And my mind races back to the first album of the "new" Floyd... Back then you were 44, and I was 16... My mind drifts to that 20th of May in 1989 in Monza, an indelible date in my memories... And when I walked away from the park where the concert was held to avoid the crowd, I felt the notes of "Comfortably Numb" increasingly fading with distance... Yes, maybe that's how it is... "Comfortably numb".... I have become so over all these years of joys and tragedies... Now another important, heavy "brick in the wall" has been laid... Forgive me for the nostalgia... R.I.P

At least if you're copying Scaruffi, it would be better to mention his name at the end... Rubber Soul for me is one of the great masterpieces of the Beatles. The first "new" album from the four from Liverpool, where, in unsuspected times, traces of Proto-Psychedelia, Country rock, and much more could be seen... 1965!!! Then some claim that the Beatles invented nothing, they were late, etc... blah, blah... Yes, yes... But please... Best regards.

Masterpiece!! Masterpiece!! A stroll through the music of the last 500 years... One of the highest expressions of Rock -Pop (?!) if one can say so.
Regards

Guys, the sad truth is that those who "make music" Rock Bottom don’t even know what it is. Period. If you're talking about music (that is, composition, musical syntax, technique), the highest expression of music in the last 50 years is JAZZ!!! Maybe you’ve never been involved with Jazz, both in the studio and live... I have... And I can assure you that there (in that world) you see the true intellectuals... Musicians like Mingus, Davis, Coltrane, and in recent times Weather Report, Chick Corea, Hancock, Jarrett... and I could go on, they represent the best music has to offer.
ROCK BOTTOM, by Wyatt's own admission (a decent drummer from Soft Machine), was never acknowledged in England. And that’s history... Thanks to Italy, which at that time was hungry for Prog... and everything that was "against" both musically and otherwise, it experienced success like nowhere else in the Belpaese... Wyatt often remembers this even today. When the "classics" are mentioned, Wyatt's name never comes up... How many copies did Rock Bottom sell? How many did Jackson's Thriller or Floyd's Dark Side sell? Come on, let's not talk nonsense!
Do you like it? Good for you... I like "Red" by King Crimson (random example), but I don’t expect it to be shared by the majority of people... "Rock Bottom" has been kept alive by a small circle of "aficionados" because (let’s admit it) Wyatt was a "comrade" (hence the huge Italian acclaim), and it’s known that it works this way in Italy... Honestly, with all due respect to his sad human story, Rock Bottom has always sucked in my opinion... It’s not even remotely comparable to "lifeMask" by Roy Harper, "Solid Air" by John Martyn, "Pink Moon" by Nick Drake... and I’ll stop here...
Regards.

Guys, I really like Queen... a lot, actually, but please, I'm asking you kindly, leave the 3 Demigods alone... I'm referring to Mingus, Miles, and Trane... I’m begging you.... Otherwise, I swear that if I get angry, I’ll wipe someone out from a distance with my mind!! And damn it, enough is enough, CHRIST!!

Once Claudio Checchetto (oops... Cecchetto) asked Sandy Marton (no, I mean SANDY MARTON!!! not just any guy) as he had just landed in Milan from Spain what the hell kind of music he intended to make... Sandy, who had always been a bit shy, said he had grown up on bread and Pink Floyd and King Crimson... That was the music he meant to make!! Checchetto (oops again) after having a good laugh (already hinting at the sodomy he would practice with the handsome blonde guy) told him that stuff... wasn't going to fly in 1984... Within a week, he composed the immortal "People From Ibiza" :-))
Can we say that Marton was an idiot? No... Because someone who looped Crimson and aimed to make Prog couldn't be an idiot... And yet, with a sore ass, he produced masterpieces of Italian Trash...
I believe this concept can be applied to 99% of rock artists....
Best regards

But can someone tell me what nonsense some of you are writing? Queen and Led Zeppelin? Dante and Tasso? Camus? Guys, have you been on some unknown drugs?
So: Music isn't just about "pure" technique; otherwise, three quarters of rock (except perhaps Progressive) would be flushed down the toilet... Secondly: I've always been indifferent to critics! I've been listening to music since I was still in my mother's womb, I have 2000 CDs, and I've listened to at least 10,000 classical albums (from Madrigals to Rachmaninoff, and recently Nyman), rock (from Elvis Presley to Muse...just to name one contemporary...through all its incarnations), Blues (from Bessie Smith to BB King), Jazz (from Cole Porter to Patricia Barber or Michael Brecker and Pat Metheny), Avant-garde (Reich, Eno, Riley, and many others), New Age, electronic, more or less cultured...So? I’m the greatest critic in the world!! And let someone dare to say otherwise! No, guys, we’re not on the same page... Music, like art in general, is something subjective, "emotional," and can't be reduced to the cold mathematical calculation of "scales" and "chords"...
There are those (as someone rightly pointed out) who have never picked up a guitar and have composed immortal works (I think of Autreche, Future Sound Of London), while others have made the guitar come alive again (Hendrix, Gilmour, Blackmore, Vai, Metheny, Santana, McLaughlin, etc...)... So what?
Another thing: just to clarify, "The Divine Comedy" has received (rightly so) the success it deserves because it was the first great "work" of modern literature...Before "it," there was nothing, and to find something similar, we have to go back to the times of the Greek-Latin classics... The rest (extraordinary works like The Jerusalem Delivered and I also think of Paradise Lost by Milton, not the band, huh?) came later...
See, in music, it also matters (especially in rock) who gets there first and makes it "public"...
Speaking of The Divine Comedy, legend has it that one day in the year of our Lord 1300 and something, Dante was walking through the streets of his city when suddenly he stopped, captivated by the clumsy "singing" of a "craftsman" coming from a workshop... Dante recognized those murmured, whistled words right away!!! It was his work! Like a whirlwind, he rushed inside and smashed everything within reach (the chronicles do not say if he also smashed the head of the careless sharpened :-))) What does that mean? It means that even an ignorant shopkeeper could read it, understand it, and even whistle it!!
Great Zappa, vaudeville united with rock, classical, jazz, and everything else that came his way... But how many people are able to understand it? 1 in 100,000... The Queen, on the other hand, were understood by everyone, because their syntax was still simpler, more accessible... So accepting as true the discourse made by this RICCARDO, let’s throw out Tom Waits too... Patti Smith was a charlatan!!! The Velvet Underground weren’t exactly musically refined... Keith Richards plays guitar like my grandpa in a wheelchair after a stroke!! My friend Francesco plays guitar 10,000 times better than him... Yet he hasn’t composed "Satisfaction" or "Jumpin' Jack Flash"...
Guys, let’s regain a sense of reality. "A Night at the Opera" is one of the cornerstones of the '70s.
Best regards