Hetzer

How can one say there is no information about Berlusconi? They even tell us which whores he climbed on, the Knight. Meh...

RPG is not Duke Nukem's rocket launcher, I meant to write prog.. :-P

On I Can See (which I've actually tried to review), we find a certain quality pop but also original progressive accents, like, besides Ice, the wonderful Hymn To Her; the fact remains that on that record the true composer was only Andy, and in fact Ice is entirely his. I won't argue about the rest, but I wanted to expand the discussion. I don't quite agree with defining Breathless as the ideal sequel to Waterloo Lily: the latter seems a bit too dark and tangled, while the Camel style is more flowing and, in some ways, rarefied. On the rest, a little historiographical anecdote: Doug Ferguson, the (memorable) historic bassist, left the band precisely because the others wanted to move towards more jazzed, experimental, and concrete coordinates, also because the climate had changed and the rpg had tightened: in this sense, perhaps Sinclair inserted himself coherently into a shift that was already underway. What do you think? To be clear, I don't want to question Richard's influence and talent, for me one of the most memorable and brilliant voices and bassists in rock. These conjectures interest me because I appreciate Canterbury but haven't fully understood it yet.

My post wasn't conclusive; I just wanted to add that I'm not a very refined connoisseur of Canterbury and that therefore my analysis-opinion might seem incomplete. If that's the case, I apologize.

I take the liberty of intervening in the debate as an admirer of Camel, and of Breathless in particular. I believe that the '78 album is the last fully Camel album, in the sense that more than anything else, it was Bardens' departure that determined the transition from Camel's style to Andy's style (to simplify). It’s true that Sinclair's singing and bass are shrouded in a rarefied atmosphere of melancholy that is felt in both Rain Dances and Breathless; however, personally, I don't find his influence to be that significant; perhaps it's Mel Collins' influence that has a stronger presence, as he gives solid form to the jazzy "ghosts" present since the first album. As far as I’m concerned, I perceive a much clearer break between Breathless and I Can See Your House From Here, the first album of the "Andy era."

Tasty recipe. Mellotron in 1997? Why not...

Well, in my opinion, they are exaggerating here, even if they do it with interesting arguments. I found This Is The Life to be one of the most irritating and nauseating songs I've come across lately.

It's rare for tributes to do justice to those they pay tribute to, at least from my point of view. I don't know this one, but the proposal is interesting. Great mention, especially because it makes me very happy when a fan speaks so openly and directly about their experience with the Cammello. One of the best prog bands of all time, in my opinion. Well done!

Exactly, the winning key to sell many records. And what does music have to do with it then? In a way, it's really all about the looks...

In my opinion, 70,000 copies are not few at all. And if you also tell me that the album was re-released a year later with an additional track, then you're digging your own grave: don't come telling me it's not a marketing ploy. And then I wonder: your J-Ax, who claims to be an angry alternative artist throwing shit in the face of the Italian record industry, what the hell is he doing on MTV? Why the hell is he hyped about the early winners and participating (heavily paid) in event concerts? One last question, to which I would sincerely like you to respond: what is an "eclectic album"? As for what "ogniuno" means, I prefer to skip that...