Leonard Cohen - Darkness (Official Audio)
I'm not asking you if you like it
 
Lullaby of the Leaves

Billy Bauer - from "Plectrist"
1956 (Norgran)

#jazzlegends
 
In einem Jahr mit 13 Monden (1978) (Frankie Teardrop/Suicide Fragment)

Rainer Werner Fassbinder (3 of 5)
"Berlin Alexanderplatz" - 1978

#35mm
 
David Gilmour - Mihalis (Official Audio) but this little gem found for 2 euros?! I didn't know the solo debut.
 
HOW TO RUIN A CAREER, ANGLOPHONE SECTION, vol. 5: Santana

(Digression from the usual review of Italian talents, groups, or solo artists. This time we venture into the anglo-speaking territory; shall we say it or not that not only in the Boot are musical careers completed in an unworthy and indecorous manner, careers that once paved the way for everyone?)

Dear friends, welcome to the eleventh block of a charming little column that, I warn you, should be taken in minimal doses and on an empty stomach. Inspired by excellent DeBaserians with the hobby of occasionally gagging themselves, here I propose few select listens regarding the disgusting side of the production of some groups or anglophone solo artists who have truly shaped the History of Music, once offering quality music with potentially international appeal, only to fall into the mire of a low-quality discography that makes them, for the most part, unrecognizable to the ears of their former fans.
Let’s give breath to the foul trumpets, onward...

There was a moment in the history of international music when saying "Santana" equated to "Promises never kept" or, in some local Secoya dialects, even "Sold-out piece of trash."
But let's not exaggerate, even though Carletto has done more than his namesake in France. Instead, let’s search among the most obscure and foul proofs of his misdeeds.

With this filthy mess, we close the chapter on Santana, but new, threatening clouds loom on the horizon.
It's a promise.

Santana (Marathon) - You Know That I Love You
 
Lo-Fi Sucks!: "67-73"
We are in 2001, a nice little Italian disc with electric pieces, obscure low-fi acoustic ballads, all gone unnoticed. It's a shame because there's substance here, and it's quite good.
 
 
Shack - Sgt. Major @[AlephZero] ...and so here it is to watch the shooting stars at night :-)
 
Tupelo Honey
Sweet as Tupelo honey when I listen to it I get chills
 
at that time (1977) #radius produced various things including my favorite artist and you can feel the mutual influences. for the lyrics, they relied on the duo Pace/Avocadro and the musicians are all top-notch. Ricette
 
In my family, pets were neither dogs nor cats nor birds. In my family, pets were the poor. Each of my aunts had her own personal and incredible poor, who would come to my grandparents' house once a week, gratefully accepting their ration of clothes and food with a smile.

The poor, besides being obviously poor (preferably barefoot to be shod by their masters, preferably tattered so they could wear old shirts saved this way from a natural fate of rags, preferably sick to receive a pack of aspirin) also had to possess other essential characteristics: going to Mass, baptizing their children, not getting drunk and, above all, remaining proudly loyal to the aunt they belonged to. I can still see a man in sumptuous rags, resembling Tolstoy even by his beard, responding offended and proudly to a distracted cousin who insisted on offering him a sweater that none of us wanted.

"I am not her poor; I am Miss Teresinha's poor."

The plural of "poor" was not "poor people." The plural of "poor" was these people. At Christmas and Easter, the aunts would gather in a group armed with slices of bolo-rei, bags of almonds, and other equivalent delights, and would sorrowfully make their way to where their pets lived, in a neighborhood of wooden houses on the outskirts of Benfica, in Pedralvas, near the military road, with the aim of distributing, in a magi-like splendor, woolen stockings, underwear, sandals that were of no use to anyone, pictures of Our Lady of Fatima, and other wonders of the same caliber. The poor would emerge from their shacks, agitated and grateful, and my aunts would immediately shoo them away with the back of their hand, saying,

"Don't get too close; these people have lice."

On these occasions, and only on these occasions, it was permissible to give coins to the poor, a gift always dangerous, as there was a risk they would be spent ("These poor people have no notion of money") in a detrimental and irresponsible manner. My aunt Carlota's poor, for example, was forbidden from entering my grandparents' house because when she placed ten coins in his palm, maternally recommending, concerned for the health of her pet,

"Now be careful not to spend it all on wine,"

he cheekily replied very rudely,

"No, ma'am, I'm buying an Alfa Romeo."

The children of the poor could be recognized because they did not go to school, were thin, and died young. When I asked why these unusual characteristics existed, I was told with a shrug, "What do you want? These people are like this," and I understood that being poor, more than a coincidence of fate, was a kind of vocation, like being suited for the game of bridge or for playing the piano.

At the love of the poor presided two creatures from my grandmother's oratory, one in clay and the other in a photograph, who were Father Cruz and S.
 
Here's a little gift @[Dislocation]: Sainte-Colombe played by J. Savall.
 
Depeche Mode - World in My Eyes - Devotional 1993 Depeche and Corbijn at their peak, without ifs or buts.