I’m really a darling of fortune: in my [s]unbeloved[/s] school, there were some gramophone records laying around. Classical music, umpteen of Frederic Chopin, some Johann Sebastion Bach records and – as a highlight – a so far unused release of Pjotr Tschaikovsky’s “Nutrocker” and his Suites for Strings. All in all thirtee platters. An the best: they are all for free. Nobody was interesting in this records. So I took these and now I’m quite engaged in listening to this wonderful music.
Just to mention, now I’m going back to the chapter “Excepts Of An Too Wealthy Child”:
<img align=“right” src=”/img/CD/bob_geldof-loudmouth.png” alt=“Cover: Bob Geldof – Loudmouth” title=“Buy it on the fly and support usrportage.de!” />Bob Geldof and The Boomtown Rats – Loudmouth
Just cut short: this CD is rubbish. Quality sucks (no possibility to enlighten that in the store) and the music in general is not quite nice. I’d bought this CD because of knowing Bob Geldoff as the interpret and author of “Don’t like Mondays”. I like the song and the text but the rest of the LP is completely an affront against my fine ears.
I really respect the political attitude of Bob Geldoff, I like what he is saying about north-south problematics but his music is – excluding “Don’t like Mondays” – not my style.
<img src=”/img/CD/jimi_hendrix-smash_hits.png” alt=“Cover: Jimi Hendrix – Smash Hits” title=“Buy it on the fly and support usrportage.de!” align=“left” />Jimi Hendrix – Smash Hits
Reason to buy this CD: getting a nice overview over the work of Jimi Hendrix. He was until now completely missing in my music library. For this task it is good for but I think it’s time to become a bit more friendly with Jimi Hendrix. But: “Hey Joe” rocks in every case.
<img src=”/img/CD/blur-modern_life_is_rubbish.png” alt=“Cover: Blur – Modern Life Is Rubbish” title=“Buy it on the fly and support usrportage.de!” align=“right” />Blur – Modern Life Is Rubbish
Blur’s style is comparable with Oasis or other protagonists of the Brit Pop revival in the early ninetees. Melodious guitar riffs (sign of their guitar highlighting: guitar snatchs are printed in the booklet), an extremely acerbly accented british dialect in their vocals and – not to forget to mention – an album what an album should be. Not a arbitrarily mix of some songs but a complete work of art with its characteristic order. The order makes sense: beginning with “For Tomorrow”, an ironic-optimistic peace about there topic anounced in the title, to “Star Shaped”, a piece which broachs the issue of dialectics in modern life. After all, the epilogue, “Resigned” which proclaims love as an loophole out of the current circumstances. The album is a plaedoyer against cold lonesomeness and depressive preclusion.
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