I’ve been listening to these guys since you posted their music a while ago. They’re really good.

A bit of a typical pop ballad from 80s Japan. But I like world music, so thumbs up.

Interesting detour from the usual stuff, didn’t know these guys.

Care to elaborate on that?

The new orchestrated version is quite a lot better than this original. But its not from the '80s.

We could say that Love, in fact, has quite a lot of power.

Yes, she was a terrific singer. She even looks gorgeous in this performance too. No autotune, of course.

Its from a record of musical poems by the finnish composer, all of great beauty and strong allure.

Barbirolli and Hallé Orchestra did an outstanding job with Sibelius, this entire offering from the 60s is a gem and I believe any casual listener should be able to notice something interesting going on. The Karelia suite, for instance, finally has the proper tempo rubato for the work and truly makes justice to the music… other conductors, and orchestras, perform like a metronome at times. This is just one of the merits of the performance, but I think its very important with this composer.

Its always nice to discover good music, and a place like this, where you can share tunes with similar minded people, helps precisely with that.

The harp sounds are definitely special, but I’m very pleasantly surprised by the bass sound and tone achieved by this particular piece. The cartridge in the turntable also gives a lot of definition to the audio, but not to the point of being harsh. I think the first time I listened to this album back in the 80s, or 90s, it was recorded on standard casette… so there’s quite a leap in quality this time around.

Indeed, thanks for the historical note Rolando. The lyrics in english are like this (deepl.com translation)

He walks on the street

Don’t say where

His brain full of heavy metal

And his liver is dead

His veins are open

And smell like formalin

It’s all very distressing

Like he is in Vienna

All of Vienna

Is on heroin today

All of Vienna

Dreams with Mozambin

All of Vienna, Vienna, Vienna

Also takes cocaine

In the ball season at all

You can see all of Vienna, Vienna, Vienna

Is so wonderfully there, there, there

Cocaine and codeine

Heroin and mozambine

Make us go, go, go

There, there, one, two, three

Cocaine and codeine

Heroin and mozambine

Make us go, go, go, go, go

Three, four

I rather find that Iron Maiden is probably one of the more consistent bands with its output, actually. You either like them or you don’t, and that’s a good thing by itself because it shows that, regardless of musical taste, they know their trade. Its not an easy thing to be consistent.

With Black Sabbath, I have a lot more problems because they have entire albums which are, for me, quite terrible from a song writing perspective. I don’t mean a couple of songs, I mean from start to finish. If I pick one record I haven’t listened to yet, I just have no idea if I’m going to like it or not.

With Quiet Riot I agree. They have records which honestly kind of suck.

Sure… but to be honest, I rarely enjoy the entire output of most metal bands. Finding one which had consistently composed great songs is a bit of a challenge, despite the very talented interpreters and shredders from the genre. What you describe could be sort of a common disease.

Much of Black Sabbath I find hard to stomach, for instance. On the other hand, I really like a couple of their albums.

Appreciated. The 80s can’t be fully understood without Germany… it was a factory of singles, many of them became hits all around the world. In fact, I believe Falco was the very first artist I posted in Lemmy myself, with his “der Kommissar”.

edit: sorry, I forgot that Falco was austrian, not german. Still a good artist though… I posted another song of his in our 80’s jukebox.

The problem with Marx was that the surplus value is nothing else but paper exploitation. Real wealth can only be in the consumable product of work that is being send to the market, not in work itself. That’s why his labor theory and ideas on surplus value are all wrong.

In a private economy, the final product is, literally, socialized once in the market… because it never remains in the hands of the capitalist. If the capitalist produces cars, he doesn’t get to keep hundreds of thousands of cars in his own garage. All the capitalist obtains in terms of capital increases, are symbolic riches on painted paper - in other words, its not just that labor exploitation is not exploitation as such… its that the capitalist is even deceived by his own economic system, so that he becomes willing to share his output freely with others, the economy can work, and goods can be exchanged. This happens every time he receives money, or make believe wealth, in exchange of giving real material wealth to another… probably a worker for some other industry who gets to benefit, as a consumer, from the work of another.

We have to understand that money is useless for absolutely everything, except in aiding in the exchange of goods and services. It has -no value- in and of itself.

But even if it had value, if money in itself were wealth, redistribution and expropriation as solutions to social inequality are also mistaken, because the math just doesn’t add up. Pick any super billionaire from the US and divide his/her fortune by the population number. You’ll see that if we wanted to take entire fortunes from the rich in order to distribute equally to all the rest, we wouldn’t be able to cover household expenses for more than a couple of months, if that. And you sacrifice entire production lines in doing this, so you’d get scarcity and price increases on top of this failure.

There’s a good reason why marxist economics have been tried so many times and have always failed. Marxist conclusions are indeed very sound in a logical sense… but their starting point is a problem which is badly defined. The premises which are contained in their arguments are completely wrong in empirical terms.

Its the best version of the song, even if it didn’t got into the movie. That said, Donnie Darko had a point in slowing down the tempo… it is indeed slightly too fast for the song. On the other hand, Tears killed it by incorporating the brass the way they did.

While this is the original song and arrangement, what you hear is in fact one of the remasters… and its pretty much perfection. The old recording didn’t do the song justice in my opinion.

Japan had some terrific avant garde at the time, many of its bands had humoristic sensibilities, but were serious in being innovative in music. This song to me is a great example, it shouldn’t sound good as most instruments are highly compressed and saturated, but it does. It has long passages of harmonic dissonance but still resolve in the tonic. Love it.

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