mj64

"but the shortsighted record executives of the time…. well, thank goodness they were shortsighted, otherwise – if only they had released the double version requested by the author - Baglioni, instead of selling a few million 45s and albums, spending years at the top of the charts (memories of my distant childhood) and producing massive tours with concerts in packed stadiums and unbearable aleoò, would probably have become the absolute monarch of the universe. That said, the review is quite nice, even though the chosen subject isn't the best. Baglioni was a decent national-popular interpreter, an excellent singer (try to tackle his hits; they are extremely difficult to reproduce, he has an impressive vocal range), author of easy songs and clever melodies, listenable records up until the early '80s. Then he started to have delusions of grandeur, hiring Tony Levin and other world giants to play on his records, posing as a friend of Peter Gabriel, but the result increasingly became heavy, losing that freshness that had saved him before. Today, he is a pathetic plastic mannequin attempting operations like this to revive his fame, but all in all, in the Italian scene, there’s still something worse, from Pausini to Eros, D'Alessio, etc. etc."

...but I'm getting ready, mom, red guitar and dad, Orpheus, just in case of a crisis. Anyway, one thing has to be said: whether you like it or not, it doesn't change the judgment on Sylvian, Artist with a capital A, from the days of Japan to today, passing through that wonder of Forbidden Colours (okay, I think it's by Sakamoto, but he must count for something too).

the review is nice, but after two listens I abandoned the album, throwing myself into the welcoming arms of brilliant trees and secrets of the beehive. I might be trivial and more attached to consolidated stylistic elements, but this also smells to me like pseudointellectual nonsense. Furthermore, the comparison with Mark Hollis seems rather blasphemous to me, as he, in his journey of refining and searching for musical minimalism, never ended up distorting his characteristics so much (I even found David's voice in manafon to be ugly), producing laughing stock, a masterpiece, and the self-titled solo album always at very high levels. That said, I'll give it another chance, but I remain quite perplexed.

I completely agree with comment 20. It’s exactly what happened to me. Maybe 1 is a bit excessive, but two dicks...

The truth? Euri 0. The 45 pre-sale needed to purchase a "lower tier" ticket would have definitely been an additional obstacle. But we are "the land of persimmons": why not take advantage of my nice (?) press card? I apologize to those who had to pay, but in the end, there's worse than spending 50 euri to see 2/5 of one of the two or three greatest rock bands in history in a theater.
@heaven in black - I agree with your judgment, I accept the 3 stars, but I hope this isn’t a revenge for my critiques of your (admittedly commendable) review of Radiation. Too much for a live show? In my opinion, no: excessive overall. If in other fields I can synthesize and bring any topic down from 3,000 to 500 characters without much difficulty, when it comes to my passions (first and foremost music) I can be a bit excessive. I "re-apologize." peace & love

What can I say? Thank you all! I agree with many of your comments. My 4 rating is largely due to the excitement of being able to see live things that I was too young to appreciate at the time, and with two and a half of the protagonists from the golden age (personally, even though Whitefish had been around since Yessongs, I consider Bruford the true drummer of Yes). To be honest, when old Jon announced his forfeit due to breathing problems, I would never have gone on tour with a clone, but evidently, pecunia non olet. It seems Jon was not too pleased with the initiative. However, I couldn't resist the call and – at least for Howe and partly Squire – I am satisfied. I repeat, I hope that doesn't happen again, but the fact that it was a "half" cover band only partially spoiled the effect.

I haven't listened to them and maybe I never will. I love prog, but I can't stand Transatlantic; they're beautiful but empty. Stolt is a great guitarist, Portnoy knows his stuff, Trewavas is the bassist of my (almost) favorite band, and Morse is good. However, I regularly struggle to get to the end of their albums.

The review is below average, in my humble opinion. A masterpiece, like everything up to Relayer. But even in Tormato (onward) there are gems, and if I have to say my piece, I also love Drama. Tonight I'm catching the dinosaur concert (3) with my son and clone, and then tomorrow you'll get the review, my dears.

I imagine it was the first Elton review, and you can feel it, damn it! I'm sorry, but I'm taking off a straight score for the mention of the merd theater. For me, an album that contains "Funeral for a Friend," the title track, and "Bennie and the Jets" (my favorite Reg song) can't be worth less than 4.5. Then I admit that there are some lower-level things, but still, he is (was) a true giant.

Well, Elton John in the seventies was something else. He's not my favorite (I quite dislike "Don't Let the Sun...", which obviously, as you rightly say, is not THE album, but it certainly influences the judgment), but we can't deny it. Great Sir Reginald.