Zarathustra

I would say that there was never any (musical) genius, but they were undoubtedly a historic band. The fact is that with the loss of Pelù, Litfiba are done, it's pointless to say.

Well, they’re cute and she's very cat-like, but 5 is too much, come on... even 4... the review is good but a bit too long.

He he Know-it-all, you are absolutely right.... Great KrYsTaL!!!

@misterno: Alright, I get the personal dislike, but music needs to be listened to; otherwise, you let prejudices defeat you. I mean, Barbra Streisand is as unbearable as a punch of salt in the eyes, but who has the courage to question her extraordinary talent?

I'll say more: Vasco Rossi's live performances are infinitely superior, even though I don't like his music.

Ligabue, rough rock with his fellow "compagni di borgata," perhaps once... now he's tamed to the show-business as well. I should add that his live performances are anything but memorable. I went to see one of his concerts 4 or 5 years ago and was very disappointed by his coldness.

Let's put it this way. Your review shows the other side of the moon, to put it metaphorically. The Doors are an overrated band (especially the figure of Morrison), and this leads many to be incapable of expressing a somewhat more impartial analysis, so to speak. For example, your words about Manzarek's organ were taken as a blasphemy by most who roam around here; however, it is undeniable that the sound of that organ is quite bizarre in a rock-blues context... the same goes for Krieger's guitar: a guitar that is clearly flamenco-Hawaiian inserted into a rock context alongside an organ (not even a keyboard, which is already a supporting instrument in rock-blues, though it may elevate itself to the role of protagonist in the so-called progressive) and with a drummer of clear jazz origins. Just think: a flamenco guitarist, a (classical) organist, a jazz drummer, and a guy primarily interested, if not exclusively, in poetry, all together playing rock. Not to mention the absence of a regular bassist, replaced so to speak by Manzarek himself. The strangest group that has ever been heard, undoubtedly. At this point, two paths can be taken: one leads to considering them geniuses in their strangeness and eccentricity, and the other leads instead to dismissing them as a joke of nature. Your position is definitely the latter, even though I sense a certain "personal" resentment towards the band, given the relentless way your axe falls upon them. How can I or we make you change your mind then, if you yourself close every window for discussion with your review, which I repeat is well done? While it is not mandatory to love a band or an artist, what I can suggest is to try listening to the music with greater calm and attention. And maybe read Morrison's lyrics, noticing their intrinsic poetry. Observe his extraordinary theatrical and interpretative skills, perhaps shaking off a bit of the ill-fated anger toward the long-haired ones who infest Italian universities, because I fear your harsh judgment depends, as I already mentioned, on a deep antipathy toward a certain way of acting and relating to the world, a modus that has in the music of The Doors and in the subversive figure of Morrison its flag (and thus they become the summary victims of your discontent). Forgive the length of this intervention and the clumsy attempt at psychology; I do not pretend to know you or to judge you, it was just to express my impression, without intending to provoke or offend. See you soon.

Great review, but come on, to call Love Street, Wintertime Love, and Yes, the river knows pop is blasphemy... I'm sorry, but I have to take a point away from you. The album is fantastic just like the others (the only one that's a bit lackluster is The soft parade, which still contains a track like the title track that alone makes the album, plus nice pieces like Shaman Blues and Wishful Sinful).

and here are the Queen... this album is fantastic...

Heh heh...