Luca-LJ

Really! Well, thank you! What did you like about the review? The choice of the album?

Maybe they are slaves to the god of money! Maybe that's why they keep pumping out records despite their brain vacuum! By the way, if I'm not mistaken, at the May Day concert, where every musician paid tribute to a "great" of Italian music with a cover, the Nomadi chose to perform "Noi non ci saremo" by Guccini, but in this way they didn’t pay homage to Guccini! They honored themselves! What class they have! Maybe they're too old and daft to learn new pieces that aren't their own, who knows! But I say: "If they wanted to do a Guccini piece, they could have chosen from the songs he didn't write for them! Besides being washed-up musicians, they're also worthless men! It's true what they say: the best always leave!"

And how I remember it "mm mm mm etc"! Beautiful voice! I wonder what happened to them!
For being pop, it wasn't half bad, but now I'm curious to hear the rest of the album.

It's the best review I've ever read so far, and I share every single thought of the author. Especially when it comes to "Serenata a fronne'e limone"! Only, I'm much harsher with the rating because I feel like I'm being messed with when I compare it to the earlier albums!

The fact that the album is more accessible (okay, let's say "ear-friendly" so you'll be happy) compared to those, for example, from kraut, does not diminish the value of the work! Quite the opposite! You might see it as "the product for the masses," but it's actually "the product for everyone" (how ugly the word product is for this album!), the fact that "Money" or "Time" are pop tracks only increases their prestige because at the same time they are also exciting rock experiments (yes, I realize they aren't really experiments, but they were created with a clear awareness of the experiments of that period!) and thus they lend themselves to very different listening experiences; everyone appreciates them for different reasons! Profit has united with quality! There are definitely better albums, but this one remains technically EXCELLENT!

The spoken parts are very evocative; in the albums from those years, we don't find the same atmospheres evoked by these. Mixing an album like this, full of overdubs and crossfades, jeopardized the integrity of the tape on which it was recorded (yes, you heard it right, TAPE!), so the fact that the final quality of the product is still of the highest level today is truly a miracle! In conclusion: the album may be overrated, but it remains a great record worth 5!

I believe that back then an entire album created by blending the various tracks with crossfades had not yet been realized. I remember that the heartbeat you hear on the record is not a real heartbeat, but the sound of a kick drum appropriately manipulated (not electronically; the computer revolution hadn't happened yet, and it was better to do these things manually!). To achieve a fuller sound in "Speak To Me," the Floyd recorded a piano chord with the treble pedal fully down and reversed it; I don't think they ever did anything like that on the first album. Cutting-edge instruments that were only used in electronic music were employed. The clocks in "Time" were recorded by Alan inside a shop!! I think the result is nonetheless top-notch! It goes without saying what a masterpiece "The Great Gig in the Sky" is, where Clare Torry uses her voice in an ABSOLUTELY unconventional way! "Us and Them" is a masterpiece, especially the beautiful tenor sax! "Money," on the other hand, is the "POP TRACK" of the album, certainly catchier, but it remains a damned piece in 7/4!!! Since when does a chart-topping song come in 7/4? In its way, that's genius too, don't you think? The combination with concrete music, which dates back to the first album, reaches maturity here.

Musical tastes are subjective, and we all know this here because they depend on many purely random factors that vary from individual to individual (life experiences, musical education, the structure of the auditory apparatus, etc.). However, in music, there are elements around which one can debate scientifically and objectively: originality, for example, is one of these. So let’s stop hiding behind the usual "De gustibus" in order to avoid being contradicted! If I'm told that this album sucks, fine, those are tastes. But if I'm told that this record was not epoch-making, revolutionary, original, and damn well done, well then you’re telling me nonsense. I’m also a fan of the very early Pink Floyd, but even here we are faced with something exceptional. If there’s one thing about this record that has often been overrated, it's the lyrics: they don't have the magic of Barrett's nor the grim sophistication of what Waters himself would write later. However, this is the record with the best recording of its time, hands down! And that’s thanks to that genius Alan Parson! Just listen, for example, to the drums on records from those years, and then compare them with those on The Dark Side Of The Moon. I believe the drums were recorded on four tracks, so the result is phenomenal!

I imagine he meant "music for the masses," pop music in short!

I'm really happy. I borrowed this album and returned it disgusted. They’ve been a pain in the ass; why don’t they retire? They were great, but enough already! They have no ideas and are stuck at least 20 years in the past! And then this singer, let's face it, he’s just laughable: he sings with that pompous voice like a supreme poet as if he’s saying who knows what, and instead, there it is, the usual trite stuff from San Remo. It’s time to end this story that the Nomadi are untouchable! They made some great tracks, but those Nomadi are dead; these are just dinosaurs having a midlife crisis! Trite, boring, annoying! But look at them on the cover! How sad they are!