Giorgio Gaber - La marcia dei colitici

WEEK WITH THE NOSE >>>>>>>>>>>>>>>>> And we colitis sufferers, who are all a bit psychosomatic, together we become more political, but democratic......
 
The Clientele . Falling Asleep Wonderful Indie-Pop track.
 
YouTube video non trovato s-YTHGj52
You'd better watch out Lady double dealer.... Splendid tough guys.
 
AC/DC - Stiff Upper Lip (Official Video) Malcolm delivers unforgettable riffs
#listeningtothenewmillennium
 
Ride - Here And Now Polishing gem.
 
Mike Westbrook - Metropolis (Part IX)

Jazz Legends - The Second Lines (31 of 100) Mike Westbrook
from "Metropolis" - 1971 (Neon)
 
Giorgio Gaber - La presa del potere.avi

WEEK WITH THE BIG NOSE>>>>>>>>>>>>>>>>>>>>> "And Italy was playing cards and talking about football in the bars...."
Nihil novi......
 
Another beautiful album from Born Bad Records.

#zot2017

Marietta - La passagère (Born Bad Records, August 25, 2017)

The name "Marietta" might bring a smile to those who have not yet encountered this latest talented French songwriter. In fact, it's a solo project by singer-songwriter and musician Guillaume Marietta (already known for The Feeling of Love). "La Passagère," released last year on Born Bad Records, is his second album and can objectively be seen as the consecration of an artist and musician with a distinct pop sensibility, while also being theatrical and original in its arrangements. The title is a nod to Iggy Pop's "The Idiot," from which the album perhaps draws some decadent and post-punk imagery. Fundamentally devoted to the psychedelic sounds of Syd Barrett and compared to contemporary artists like Kurt Vile, Cate Le Bon, or Kevin Morby, Marietta actually proves to be much more gifted than all these musicians. Likely comparable to his label mate Forever Pavot (Emile Sornin), the sound of "La passagère" blends French songwriting with arrangements derived from '60s psychedelia ("La carte," "Livide est la nuit") and experimentalism that encroaches on the realms of progressive music or acid jazz ("Nos ventres nus," "L'insecte dans ma bouche," "La passagère"). "La grande ville malade" reminded me of the early BJM and their devotion to '60s and '70s psychedelia, while "L'electricité" and "La bouche du vent" are post-diluvian electric ballads in the style of David Bowie. "Maud La Nuit" clearly references Japan and David Sylvian. Simply a fantastic album with great songwriting and consistently intelligent arrangements. Highly recommended (notably featuring SOKO as a collaborator), and I also suggest checking out all the releases from this excellent French label.

Marietta - La passagĆØre

#marietta #bornbadrecords #thepassenger
 
 
Savage Republic Trudge I'm in love with a voodoo.
 
Guardatemi bene - G. Gaber

WEEK WITH THE NOSE>>>>>>>>>>>>>>>>>> Take a good look at it, do you know who it's talking about.......
 
Ornette Coleman - Lonely Woman

Jazz Legends - The Second Lines (30 of 100) Paul Motian
from "Etudes" - 1988 (Soul Note)
 
5 Winners. 5) Brian Eno
Brian Eno "Golden Hours"
To celebrate the centenary of Futurism, Alemanno and his administration thought it wise to commission a work from our Brian. Some applauded the bold foresight, others wrinkled their noses, some chuckled under their breath, and some were silent, unsure of what to say. Our Brian arrived with a piece titled "Presentismo. Time and space in a stretched time," and as he wandered around Palazzo Ruspoli dressed like a sociology professor, someone remembered that in the '70s he would go around covered in feathers and rhinestones like a drag queen. But no one mentioned this to Alemanno.
Yet many wondered, and continue to wonder: who is Brian Eno really?
A genius, a sly fox, a skilled manipulator, a brilliant reworker of others' ideas, a visionary, a calculative mind...
Non-musician, non-singer, non-technician, non-composer: he has redefined the very concept of composer (and musician, and technician...), turning almost everything he touched into gold.
Who is really Brian Peter George St. John le Baptiste de la Salle Eno?
Certainly, the good Alemanno never knew, nor did he ever care to know (nor did it seem to bother him to know) and I suppose our Brian felt the same way, having greeted everyone and left Palazzo Ruspoli, pocketing a substantial (and very little publicized) reward.
But what was "Presentismo" like, in the end?
Beautiful... although, in the end, as always with Brian, I can never quite tell if—deep down—he’s just pulling our leg...
 
 
 
Giampi Alpiani - La prima volta

for this, you need white hair