mj64

I reiterate. And anyway, send me your list of the top 10 and then we’ll discuss it. In terms of the ability to explore and innovate, Fripp is among the top three geniuses of rock music of all time, in my opinion, of course.

absolutely agree: it's similar to Discipline and therefore underrated, but like In the Wake of Poseidon, it is better produced, sounds "cleaner". Therefore, far from denying the importance of Discipline as a masterpiece that launched a wonderful new era of KC, I have always been more fond of this. Anyway, two wonders. And both among the top ten albums of the decade. Great King.

the review is kind of ugly (let's say 2.5?), the album is a masterpiece. even I needed quite a few listens to understand it when it came out, but once you get into these hypnotic and surreal atmospheres, the work of Belew-Fripp and the rhythmic carpets of the fantastic duo Levin-Bruford are frightening. of an impressive modernity, all the dark hard new wave gives a solid thrashing to these four. probably the best album of the 80s, and among the best of the crimson king, you simply can't expect to find talk to the wind or epitaph (but matte kudasai is a stunning ballad). absolutely amazing.

The album is a masterpiece; had it been released before ITCOTCK, it would have been universally idolized. Of course, the similarities are rampant (but I feel that in the wonderful Red, Starless is an attempt to recreate the court of the Crimson King with John Wetton instead of Lake), but the album, taken out of that uncomfortable comparison, shines with its own light. I don’t agree with cat food either. And Cadence and Cascade melts my knees every time I listen to it, with that spine-tingling guitar arpeggio and flute (almost more so than I Talk to the Wind, which, however, has Greg Lake's voice, much warmer and more emotional). The title track is absolutely stunning. A band that never ceases to amaze.

I don't know this album, just as I don't know anything about the discography of the great Ant. Perhaps because I approached it late and, influenced by comments and reviews, after being struck by The Geese and the Ghost (which I think is stunning, even better than Steve Hackett's debut, as I already mentioned at the time), I worried a bit about not finding anything that came close to it. Lately, I've been encouraged by Parts and Pieces, and I knew nothing about this. However, those echoes from Trespass (an album where Ant's role is undoubtedly huge) and from my beloved Camel do intrigue me quite a bit. Anyway, compliments on the review (4.8 rounded). One clarification: do you perhaps mean Mike Giles, the drummer of the early KC? Right now I’m listening to In the Court of the Crimson King (what a wonder) and the coincidence would be remarkable. Anyway, thanks for discussing one of the most valuable (and least successful in proportion to his talent) musicians in the global prog scene.

I'm shocked by the 3 for this record; what would you give to an unbearable little disc, minus 2? The review is quite empty. Considering the times, the record deserves a 5, maybe even a 10. However, the true Beatles gems, at least for me, come after, with the White Album and Abbey Road above all. But discussing the Beatles is impossible; it’s like denying the heliocentric system. They are: and thank goodness (note that I’m speaking as a fairly convinced anti-Beatles fan).

The 5 in the rating is for appreciation, because it's the only one I'm missing. The first two are beautiful, especially Suffocating the Bloom, but perhaps the true masterpiece is As the World. Unique, stratospheric, technically flawless, with a personal style and beautiful lyrics. And it’s not that the more recent albums are rubbish. Now that you’ve set off, I’ll really have to try my hand at a review too.
Progghissimamente Echolyn

an opinion to be ignored, even if it is honorable that you didn't give ratings. However, I don't understand why someone would enter a review of a band they hate just to say they hate it. I also understand that they might not inspire enthusiasm, but one cannot fail to recognize their greatness, at least technically. There must be a reason they are practically the most loved band by musicians. I remember that, over 20 years ago, Cesareo from Elio e le Storie Tese (someone who is a master of the six strings) had a cassette with about ten solos of Steve Lukather, one after the other. Of course, they won't go down in history as poets and geniuses of literature, but as musicians, in their own way, I definitely believe they will.

I share your pessimistic views, but if in your opinion the best part of the festival was the good CAPs, well, a hundred people isn’t too few. Jokes aside, I also have a record, but I don’t think it holds much value compared to Locanda delle Fate, Balletto di Bronzo, and Museo Rosenbach. The more recent Finisterre and D.F.A. also have their merits. A separate mention goes to Twelfth Night: I don't have a high tolerance for Andy Sears, but then again, it's not his fault that Geoff Mann left the group, became a priest, and then sadly passed away. It’s just that Geoff was a genius and an amazing vocalist, while he was a decent worker. I don't know what the current 12th Night is like, but I certainly regard Fact and Fiction as a masterpiece and I probably would have gone to the festival just to see them. Prog is alive.

I give you a 4.6 recurring, to the sublime Peter's album (which I have never loved that much) a 4.4 that does not quite reach excellence. What can I say? An album that, taken in isolation, has many positive arrows in its quiver, but considered a VDGG album, it disappoints a bit, even if it's of excellent quality. Above all, Hammill's voice stands out (the guitar, a bit less, even technically it’s not Steve Howe and you can tell), Banton's organ is well played but perhaps has sounds that are a bit too dated. I also go crazy for "Only in a Whisper". Best regards, generator.