analoguesound

Sorry for the confusion, but due to a technical issue, my previous message was sent twice :) Anyway, my grudge against King Crimson comes from the fact that I've never been able to digest them. They are an overrated and overhyped band, much like other groups such as Pink Floyd, who may not have played as well but possessed a creativity that far surpasses that of Mr. Fripp. In my opinion, the only thing he was truly good at was arguing with everyone he played with and dismantling entire line-ups. They say the first KC album set the coordinates for progressive music. I find that an immense nonsense because in the months leading up to the release of "In The Court Of The Crimson King," an album titled "Blind Faith" came out, which I believe is quite capable of standing up to KC's debut album. They say Robert Fripp is one of the greatest geniuses in music history: well, in my opinion, as a guitarist on the first album, he played worse than Todaro from BMS during the piggy bank era, and after giving a good listen to "In The Wake Of Poseidon," which is essentially a carbon copy of the previous album, along with the thousand pointless antics of the League Of The Crafty Guitarists, it makes me think that even Gigi d'Alessio can be counted among the great composers of the 19th century. Excuse me. Furthermore, from all the videos I’ve seen of KC, I've concluded that even a performance by Richard Benson at the Coetus pub in Rome is more technically listenable. Not to mention all those passages played with the violin, the bagpipe, or whatever you want, that are all blatantly similar to "Twenty-first Century Schizoid Man" and the "crimson pentatonic" they invented and used in every open or closed passage. These, along with so many other reasons, lead me to wonder: what did King Crimson have that Pholas, De De Lind, Area, Dedalus, and the Land of Toys didn't have? Why have the memories of these groups been lost while there have been 40 different reissues of the first KC album? Finally, I can say that King Crimson are somewhat like Iron Maiden; I believe they have always done the same things, but to admit such a thing, you need to have some serious guts, because as soon as you open your mouth, everyone turns against you. It’s not exactly like shooting fish in a barrel.

It's true, I misunderstood. They play solos reminiscent of Anderson and Hendrix, respectively. But excuse me, I just can't stand hearing that the musicians who worked so hard in the seventies to find their own style (given that it was a constant struggle with journalists who did nothing but make comparisons with the English, and it couldn't be said that any Gaetano Lavermicocca* had his own unique touch) are constantly generalized to the prototypes of the more famous ones. What anger! Elio d'Anna began to develop a style as early as the immature "L'Uomo," which we hear in Palepoli, and if we pay attention, it seems like we're listening to a completely different flautist. Even back in "L'Uomo," Elio marked timbres quite different from those of Anderson, so you can imagine how much Anderson fits with Palepoli. I believe the same argument applies to the highly experimental Rustici, who, it’s true, bears a strong resemblance to Hendrix, but we’re talking about "L'Uomo." For me, however, Palepoli is what we hear. Vairetti, d'Anna, Rustici, Guarino, Brandi in full force. Naples. Pure Mediterranean folklore. Nothing to do with the prototypes from Albion and the new American idols. Palepoli is a labor of love built with a true taste for experimentation and avant-garde. The fact is, many of you commenting still seem to find it "sloppy and confusing," which demonstrates that the music we hear in Palepoli still resonates today, nearly forty years later, and it is not old music; quite the opposite, it hasn’t been fully understood and archived, a bit like what happened to baroque music, to put it clearly. Palepoli is the sweat of five guys living in dire straits, at a time when America was planning the first complex integrated circuits and people were taking trips to the Moon while Southern Italy had just undergone a cholera outbreak. Let’s consider these facts before we jump into comparisons with English groups, who, having never had the motivation to address such issues, have always focused on talking about "fairies, goblins, castles, knights, and psychedelic penguins."
Anyway, I wanted to say that "Stanza Città" was created with the same introductory segment as "Oro Caldo," plus overdubs from "Preludio," "My Mind Flies," and "There Will Be Time" from the previous album, "Preludio Tema Variazioni e Canzona" or "Milano Calibro 9," however you want to put it. Watch the film; it will be like listening to an unreleased album from Osanna, since the main themes have been re-performed anew and the background track while Bouchet dances in a bikini is unreleased!
*any resemblance is purely coincidental

It's true, I misunderstood. They weave solos respectively like Anderson and Hendrix. But forgive me, I can't bear to hear that the musicians who worked so hard in the seventies to find their style (given that it was a constant struggle with journalists who only compared them to the English, and it was not fair to say that any Gaetano Lavermicocca* had his own distinctive touch) are continuously generalized into the prototypes of the more famous ones. How infuriating! Elio d'Anna, from the very immature "L'Uomo," began to develop a style that we hear in Palepoli, and if we pay attention, it seems like we are listening to an entirely different flautist. Even from "L'Uomo," Elio marked quite different timbres from those of Anderson, so you can imagine how well Anderson fits with Palepoli. I believe the same goes for the highly experimental Rustici, who indeed reminds a lot of Hendrix, but we are talking about "L'Uomo." For me, however, Palepoli is what we hear. Vairetti, d'Anna, Rustici, Guarino, Brandi in full swing. Naples. Pure Mediterranean folklore. Nothing to do with the prototypes from Albion and the new American idols. Palepoli is a laborious work built with a true taste for experimentation and avant-garde, yet many of you who comment seem to think it is still "rushed and confusing," which proves that the music we hear in Palepoli is still alive today after almost forty years and that it is not old music; in fact, far from being understood and archived, it's a bit like what happened to baroque music, to put it in perspective. Palepoli is the sweat of five guys living in the muck, in an era when America is designing the first complex integrated circuits and men are taking picnics on the Moon while in southern Italy a cholera massacre has just passed. Let's consider these facts before we compare ourselves to English groups, which, having never had the motivation to address such issues, have always lingered on talking about "fairies, goblins, castles, knights, and psychedelic penguins."
Anyway, I wanted to say that "Stanza Città" was made with the same introductory segment as "Oro Caldo," plus overdubs from "Preludio," "My Mind Flies," and "There Will Be Time" from the previous album, "Preludio Tema Variazioni e Canzona" or "Milano Calibro 9," however you want to put it. Watch the film; it will be like listening to an unreleased Osanna album, given that the main themes have been resonated anew and that the background piece with Bouchet dancing in a bikini is unreleased!
*Any reference is purely coincidental

"the flute, which weaves solos in the style of Ian Anderson, and the guitar reminiscent of Hendrix"
Sorry, but with all due respect, Ian Anderson played the flute one way, Elio D'Anna another. It doesn't match at all. Great for RRR, QVL, and Pholas, but Latte e Miele made two albums, one worse than the other, and in my opinion, they don’t even deserve to be remembered in the history of music. Palepoli is undoubtedly the masterpiece of Osanna, the most mature album of their production and one of the most mature albums ever conceived in the POP genre. Honestly, I can no longer bear to hear every masterpiece being desecrated by people who say, "the guitar is played like Jimi Hendrix, the flute like Ian Anderson, the organ like Tony Banks, something has even been pilfered from (those jerks) King Crimson.." I mean, is it possible that you have to turn your nose up at anything of ITALIAN origin?! Italians taught the rest of the world everything, and they don’t even get a credit? So what are we to say about Genesis, who if they used stage sets and costumes owed it only to OSANNA? Educate yourselves better and you will discover that the overrated ones are actually those from the English scene. Not just overrated, but highly overrated. Starting with King Crimson. I have asked myself multiple times and objectively why Italians prefer English artists to their own compatriots, whether it’s due to a supposed penis envy (I don’t know, maybe the English have longer ones); or because the lyrics, not being in their native language, are less noticeable when they suck; or even because they won the war. I could go on for hours, but frankly, I don’t believe there are such profound differences between the creativity of the English and that of the Italians.
Then, we should light a candle to the Madonna for Palepoli, which has been passed down through the LPs, because it was conceived to be a double album; unfortunately, the record company cut a lot of parts for production and economic reasons! (This was Italy, forget about lousy musicians; it was the record companies that were the real snobs). According to the testimonies of those who participated in just one of the Palepoli Live performances, it had to be something far superior to any of those anglo-saxon nonsense that many of you praise without restraint; not to mention superior to the result achieved in the studio by the same Osanna!!! No, and instead, what do we do? We don’t listen to the music; no, we only pay attention to the passages that vaguely resemble King Crimson, damn them and that clown Robert Fripp, AN ABORTION OF A MUSICIAN AND PROBABLY AN INSULT TO THE ENTIRE RACE OF GUITARISTS OF OUR GALAXY. And the most overrated group of all, the only one the average listener can remember by heart, is PFM (pun intended :), with Flavio Premoli who gifted us a lesson in the best rehashing of contemporary music in history, and who in '74 played a little concert in the USA, performed poorly and recorded even worse, with a paying audience of which ¾ were all Italians. Best regards.

"the flute, which weaves solos in the style of Ian Anderson, and the guitar reminiscent of Hendrix"
Sorry, but with all due respect, Ian Anderson played the flute one way, Elio D'Anna another. It doesn't match at all. Great for RRR, QVL, and Pholas, but Latte e Miele made two albums, one worse than the other, and in my opinion, they don’t even deserve to be remembered in the history of music. Palepoli is undoubtedly the masterpiece of Osanna, the most mature album of their production and one of the most mature albums ever conceived in the POP genre. Honestly, I can no longer bear to hear every masterpiece being desecrated by people who say, "the guitar is played like Jimi Hendrix, the flute like Ian Anderson, the organ like Tony Banks, something has even been pilfered from (those jerks) King Crimson.." I mean, is it possible that you have to turn your nose up at anything of ITALIAN origin?! Italians taught the rest of the world everything, and they don’t even get a credit? So what are we to say about Genesis, who if they used stage sets and costumes owed it only to OSANNA? Educate yourselves better and you will discover that the overrated ones are actually those from the English scene. Not just overrated, but highly overrated. Starting with King Crimson. I have asked myself multiple times and objectively why Italians prefer English artists to their own compatriots, whether it’s due to a supposed penis envy (I don’t know, maybe the English have longer ones); or because the lyrics, not being in their native language, are less noticeable when they suck; or even because they won the war. I could go on for hours, but frankly, I don’t believe there are such profound differences between the creativity of the English and that of the Italians.
Then, we should light a candle to the Madonna for Palepoli, which has been passed down through the LPs, because it was conceived to be a double album; unfortunately, the record company cut a lot of parts for production and economic reasons! (This was Italy, forget about lousy musicians; it was the record companies that were the real snobs). According to the testimonies of those who participated in just one of the Palepoli Live performances, it had to be something far superior to any of those anglo-saxon nonsense that many of you praise without restraint; not to mention superior to the result achieved in the studio by the same Osanna!!! No, and instead, what do we do? We don’t listen to the music; no, we only pay attention to the passages that vaguely resemble King Crimson, damn them and that clown Robert Fripp, AN ABORTION OF A MUSICIAN AND PROBABLY AN INSULT TO THE ENTIRE RACE OF GUITARISTS OF OUR GALAXY. And the most overrated group of all, the only one the average listener can remember by heart, is PFM (pun intended :), with Flavio Premoli who gifted us a lesson in the best rehashing of contemporary music in history, and who in '74 played a little concert in the USA, performed poorly and recorded even worse, with a paying audience of which ¾ were all Italians. Best regards.

moh, maybe! Since the only edition (obviously in LP) of the "disco dell'angoscia" dates back to 1974... I know, it has nothing to do with it XD

When I was gifted my first car, I listened to the "Disco Dell'Angoscia" by Ultima Spiaggia (aka Ricky Gianco), an experimental concept album about a man who gets into a car accident and ends up in a coma for the entire record. So I don't see why Mario Schifano's masterpiece shouldn't be appreciated while driving :D the album is wonderful, Schifano is an undisputed genius.. the dialogues between the musicians in the first few minutes of the record are beautiful: <<Are you well? Easy, easy, you're gonna break my ears! If he plays that loud, he'll shatter my ears.. I always hate the police, especially when [incomprehensible] a crazy person driving like this scccccccc..>> Beautiful!!! In a world that favors perfect little digital tunes, we need these great records with some real guts beneath..