OleEinar

I don't know if you were joking about the verses. Between those of the Museum and those of the Good old man, there’s the same difference as between Art and trinkets (I'm only referring to the texts). Does Nietzsche mean anything to you?

Angry? Are you talking to me?

"the museum what's it called and the ticket for your mom's house," they are called Museum Rosenbach and Ticket to Hell. If you are unable to appreciate, I imagine you will at least be able to RESPECT two groups considered by those who know more than you and me as cornerstones of Italian progressive.

Ancient tablets, divine wills have already separated good from evil over time. Man alone, far from God, cannot construct his own morality. Flee your will.
Beneath those veils, false wisdom, truth is insulted. From the morality you have created, nothing will rise. Blind in the dogma of your faith, you lose the choice of freedom. Gray sunset of ancient lights shall the last man have.

Your bittersweet death gives a strange feeling a strange feeling a strange feeling a strange...

Manliuzzo, it's likely that in a few years you'll change your opinion. This stuff, while good, lacks personality and originality, missing any real depth. The albums by Biglietto and Museo stand out in this regard, while the good old one gets lost among the sea of good prog records from those years. And I couldn't care less about the solos. It's not the solos that make Art. Have I ever mentioned the Balletto? Or Leone? Have I? No, because I agree with you. Canali's voice has an expressiveness and an evocative power that poor Benson can only dream of; it’s a unique voice, it may not be to everyone's taste, but it has personality, originality, and is perfect in its context. Not to mention the music on that record, a hard-prog that makes this album pale in comparison. Hundreds of albums like this have come out, you understand? "Zarathustra" and "Biglietto per l'inferno" are instead unique. It's legitimate for you to prefer other things, though. But take a look at the many sites discussing Italian prog, and you’ll see how highly Museo and Biglietto are regarded. I repeat, without taking anything away from this which is still a GOOD album.

Well, it’s a good Italian progressive album, like many others there have been. There will be thirty-four thousand eight hundred and seventy-three prog classics greater than this.

Well, I only know Guns and it doesn't seem to me that they need to be rediscovered :-) And be careful, because the direction in MLB was given by Wood, not Gossard or Ament.

You are probably right, mien, Wood wasn't keeping up with the times. That doesn't change the fact that the MLB have produced a handful of beautiful songs.

They've already done it, Bubi, didn't you notice?