Lord

"What relevance do the Residents have in the history of rock??? Here, we could talk for hours." The Residents, a niche group that has influenced only other niche groups. They seem intellectual, but deep down they are just pseudo-intellectuals: what’s the message? Stop consumerism? How clever, they’re just so clever; we really needed them to say it because musical groups until then had always taken sides with the Nazis. The Residents are a constructed group, maybe even created by someone famous who, to spend Sunday afternoons, dressed up and mocked everyone, including their fans. In a way, I admire them because they’ve been mocking us all, and they still do. But, my friends, can we really talk about music with the Residents? Can we talk about the avant-garde?

The Stones with Sympathy for the Devil also invented Prog, and salsa. With Sticky Fingers, then it was metal all the way.

From Wikipedia "...The nature of the six tracks on Islands is very varied: it ranges from the almost minimalist intimacy of the title track to the Beatles homage in "Come Together" in the sardonic Ladies of the Road;..." I won't say more, Riccardo: a song more Beatles-like than "Ladies of the Road" would be plagiarism; oh, by the way, Sticky Fingers has nothing to do with it, it has rough and raw sounds that might make you think of Zeppelin, certainly not of King Crimson or the Beatles. "The Who Sell Out," along with "Tommy," "Who's Next," and "Quadrophenia," is considered one of the greatest masterpieces of The Who; if you don't like it, it doesn't matter, the album's importance in rock history is monstrous. Lastly, a word about the Residents: who remembers them? What music do they make? What relevance do they have within the history of rock? What milestones have they contributed to 20th-century music? Why do they put a messy image of the Beatles on one of their covers? Is it perhaps a decoy? Why did they stick that eyeball in their head? Why does no one care about them anymore today? Why do we remember bands like Rockets, Devo, Stranglers, and other junk, and never them? Why do they exist? Why do I not even consider them music? Why did I delete their albums from my hard drive to clean up? Huh?

"Fripp of the Crimson starts with 'the cheerful insanity' and 'at the court of the crimson king' is from the following year. Where do you see the connection between this music and that of the Beatles?" Well, you must have 2cm thick slices of eggplant on your ears: 'the cheerful insanity', which I don't even like that much, seems like a cross between the Pink Floyd of that era and the BEATLES. As for 'In the Court of the Crimson King,' I haven’t said anything, but listen to 'Ladies of the Road' from the album Islands and tell me: doesn’t it sound like one of those late rock-blues songs by the Beatles sung by McCartney? Doesn’t it remind you of 'Why don’t we do it in the road'? Thank God the greats of rock have recognized the greatness of the Mammabeatles; there has never been anyone who has said things like 'we learned no lesson from the Beatles, they suck.' I refer you to the melodicism of some songs from 'The Who Sell Out,' or to some pieces from 'My Generation,' the presence of the <Beatles in the air is palpable."

The Jefferson Airplane made perfect psychedelic POP records, just like the Beatles: the former in an American style, the latter in an English one. This is where the difference lies: while the Jeffersons (who are among my favorites, alongside the Beatles) were perfecting their folk and blues, the Beatles were overloading their songs, which would soon become what we know as Progressive, something you, as a good Scaruffiano, hate. You might say, "it's not true that prog was born from the Beatles," and you wouldn't be wrong Riccardo; the Beatles made a significant contribution to the emergence of progressive (they weren't the only ones, of course). That's why all the Giants of progressive have always stated in interviews their connection to the Beatles (Yes and early King Crimson above all). Just think, I was led to listen to progressive by early Queen and the later Beatles. I believe that these two bands are ideal for approaching progressive music.

I downloaded it, but haven't listened to it yet (what rhymes come to me today).

They are deeply different Imprints from those of the '70s, but still captivating.

The great Beach Boys held out little with good music (2, 3 albums). Technique is nothing if there’s no creativity, and it seems to me that the Beatles had enough creativity. Moreover, theirs is psychedelic POP, which has nothing to do with the long suites of Pink Floyd; it's colorful POP made up of songs that aren’t very long (even the Jefferson Airplane were around 3:00 minutes per song, but no one ever mentions this). But it's pointless to have discussions; in the end, time takes care of giving results in the history of music: the Beatles on top of Olympus and Sandy Bull cleaning the basements. I don’t know why you get caught up in that stupid pseudo-intellectual theory, which claims that those with the approval of the masses are garbage and those who wank their instruments for 20 minutes under the influence of a kilometer-long joint, without any logical thread, is music. It’s the so-called Scaruffi fever, which manifests itself with a ridiculous pseudo-alternativity that criticizes and renounces its own roots in favor of deviations that have led nowhere. But go ahead, keep listening to Sandy Bull...

I wrote Roccardo, I correct myself "Riccardo"

Sgt Peppers, Abbey Road, White album, Revolver, all Merseybeat, all children's tunes, no one mentions that Abbey Road features one of the very first Moogs (before '69/70 it was used only experimentally), that Revolver includes Tomorrow Never Knows, and Sgt Peppers has A Day in the Life,... Hey Ricca', you can't just focus on the fact that the Beatles, in '68, made Obladì Obladà, because on the White Album, there are many other songs, significantly different from the aforementioned ditty. The Beatles partially distanced themselves from Merseybeat with the album Help in 1965, where they sought more serious themes and melodic lines compared to their previous work. They label the Beatles as jingle writers just because of Hello Goodbye, Yellow Submarine, Obladì Obladà, without knowing about all the rest; But tell me, Roccardo, where else could you find a song like Eleanor Rigby in '66? Huh? With the Beatles, the class pop was born and died, and rare will be a genre of such high caliber after them. You might say, what about the Smiths? And XTC? Poor things, they weren't bad at all, but they lacked that touch, that spark that secured the Beatles a place in history. But I can imagine what you have from the Beatles, One, the hard Blue and Red collections, a few songs downloaded from the internet,...