Viva Lì

Masterpiece. But, is there anything else to say?

So, calm down. Not everything that goes under the name of psychedelia has to be exciting and captivating. Perhaps the young age of many reviewers and commentators leads to the belief that that period was a fascinating and magical time. Yes, it was indeed captivating, magical as well: but certainly not thanks to Red Crayola. Or at least, not thanks to this record. An album that is certainly very nice, difficult to decipher but with avant-garde music, often gives the impression of having witnessed a sort of cacophonous musical mess that seems to oscillate between mockery and authorial amusement. Naturally, there are some good songs, but it is certainly not an indispensable masterpiece. From Red Crayola, listen to "God Bless the Red Krayola and all who sail with it": trust me, much better. But even that, to be fair, is not a masterpiece.

Overrated album, after all, Tim Buckley has never been that great either. The record is nice enough, not devoid of some psychedelic and hallucinogenic influence ("Hallucinations"), but also full of banality and, here and there, even a bit of boredom. It seems more like an album made to tell the story of the separation from his wife, but in the long run, it becomes tiresome. However, the music is absolutely robust. The only great album by Buckley is "Blue Afternoon," but then everything else, including the much-lauded "Starsailor," falls somewhere between the pointless and the already heard. Then, of course, it all comes down to personal taste...

A rather original review (rating: 2), yet the album is a masterpiece. So, I forgive you and wish you to do better in the future.

A four-line review (if you didn't feel like doing it, you weren't obligated), and then come on, giving 3 to this masterpiece is like hitting yourself in the balls with a hammer. It hurts, so much.

Masterpiece, masterpiece, masterpiece, and always masterpiece.

The Who ride the long wave of rock and perform at the Monterey Festival, achieving tremendous success with the audience. We are in the midst of the Summer Of Love, and Pete Townshend decides it's time to express what he's been thinking about the (bleak) life of teenagers: thus comes "The Who Sell Out," an innovative album conceived as a radio broadcast complete with advertising jingles. The songs are naturally beautiful, and among them, "I Can See for Miles" stands out. Even when they venture into psychedelia (not overly so), as in "Armenia City in the Sky," they remain genuine, spontaneous, and credible. The cover is iconic, explaining what the album is about and ridiculing the violent and repressive advertising system. Something seems off (preaching is always quite risky), and it certainly doesn't hold a candle to "Tommy" or "Who's Next" (not to mention the exceptional live "Live at Leeds"), but it's still music of the highest caliber. And today, alas, its absence is painfully felt.

No Saputello, in my opinion, Daniele De Rossi read a review of aka the true ghetto before stepping onto the field with the USA. Therefore, do not condemn him.

Does this stuff seem nicer to you than my review of U2?

And then you say that my reviews suck. Okay...