pier_paolo_farina

Bjork, you’re right about everything. Ajeje: I used the adjectives "probably" and "usually." If you quote me the only punks who can actually play, it doesn’t count. Exceptions prove the rule. It's scientific: if you only know three chords, you struggle, you really struggle to be original, varied, and unpredictable.

Duane, one shitty beautiful cover that comes to my mind is yours with Cher (even the album, then...)

All genres have their masterpieces and their garbage. Clearly, a bad prog album is likely to be grandiloquent, bloated, tacky, self-indulgent, and exhibitionistic, while a bad punk album is usually just a record by people who can't play and can't sing. And since music is and should also be art, when there's only anger and a desire to stand out but no willingness to commit, to study, in short, when there's no culture, I'm not interested. Punk is a nice "refugium peccatorum" for people who "try to graduate without studying," so to speak. For those who have spent years sitting in their room absorbing, day after day, the performances of their idols, it’s offensive to see a bunch of tone-deaf, out-of-time misfits become idols.

Well done, Andy, you’re right to consider "Salty Dog" (the song) one of the most beautiful harmonies. Just a heads up that the organ was in the hands of Matthew Fisher, Brooker is the pianist. In Procol's records, there are pure gems (Whiter..., Homburg, Conquistador, Shine On, Repent Walpurgis...) unfortunately interspersed with many other far less interesting tracks.

Here's my opinion, Paloz. Yes, buoyed by the success of "Close To The Edge" the year before and trying to create something even more spectacular, have "stretched the broth," so to speak, cramming the album with everything they had and diluting the sections to reach the "double dose." By being more compact and extracting a single from this music, they could have produced an album on par with the best, but I find this applies to quite a few "doubles" (like The Beatles' White Album, Physical Graffiti by the Zepp...). As it stands, the album sounds a bit forced and grandiloquent. Additionally, strangely, Eddie Offord does not replicate the choice of very bright and gritty sounds from "Close...". The record sounds much more "muffled" and relaxed. Simply a step back. Some parts are fantastic (the initial "mantra" followed by the explosion of Wakeman's minimoogs, for example), while others are filler. If only we had albums like this today, anyway!

...and the famous punk dear Bjork, which many speak of but can hardly remember more than five bands. For being a revolution, it has left few traces.

I invite you to listen to "Fading Lights," the last track of "We Can't Dance." It's 11 minutes long, Banks lets himself go like in the good old days, and Collins sings like a god and hits the drums in such an emotional way that I feel like crying at the thought of how misallocated that talent is.

No Dave, I didn’t highlight the value of that Eno record because I found no value in it. Do you give value to everything you don’t like and that is still not commercial/shameless/badly copied?

But Isis, the world is full of people who can sing in tune, that doesn't mean they have any real talent. Rino Gaetano had a tenth of the "talent" of the wretch we are discussing, but... De André was talking about whores long before and much better (also because "fasten your chastity belts," if you think about it, only stands up if the plane is full of lesbians, a wretch of a mindless cover artist, and the idiot of a reviewer thinks he can dramatically open this review).

The four stars for the album are fine. The five-star ones are Nursery, Selling, and Trick.