pi-airot

Interesting review, and keep listening to this genre. Sooner or later, you'll want to "expand" your knowledge, but you'll retain a good open-mindedness. Zarrillo prog can be found in the album "Dedicato a Franz" or "Dedicato a Frazz" by Semiramis (I don't quite remember the correct spelling of the title). Chronicles tell that good Michele at the time was seventeen years old and had a certain admiration for Nico Di Palo. The discourse by Frithurik is also very interesting: for me (but I’m not the only one and I certainly wasn’t the first to think this), progressive rock was more a period than a genre. That's why it will be hard to replicate today. Rather, various genres experience their own progressive period throughout their history: Metal had its time (more in the 80s than today, in my opinion), and, if you'd like - but I'm venturing into territory I'm not very familiar with - Radiohead, Mogwai, and various post-rockers could represent the prog side of punk (blasphemy???).

Thanks to the editors who corrected my mistake. Happy Holidays and a peaceful 2009!

Now we are waiting for the reviews of "Ring Ring," "Waterloo," "Abba," "The Album," and "Super Trouper," please.

I’ll take the first comment to correct a monumental mistake: I CONFUSED THE NAME OF THE LITTLE GIRL! It’s not Vera, but FLORA!!! I’m sorry (come on, it’s Christmas, everyone is kinder...)

Beautiful review, but where did the ending in a whisper go with "Like an angel passing through my room"? It surely is the "most album" album ever released by ABBA, entirely imbued with an underlying melancholy that truly foreshadows the end of the group (even though at the time ABBA had no intention of disbanding). The CD version includes some "gems" even among the bonus tracks: "Should I Laugh or Cry" is a truly remarkable piece, with sound and compositional solutions that bring ABBA closer to certain things by Queen from the 80s, "Under Attack" is a dance-pop track worthy of their best times, but my favorite is definitely "The Day Before You Came," decadent synth-pop, not far from the roughly contemporaneous electronic turning point of Matia Bazar.

@gnagnera: what’s needed more than courage are arguments.

In the end, the only argument against the album is its repetitiveness, a concept that comes back to the point of nausea in the review (which is indeed repetitive). At this point, the hexatonic scales of Robert Fripp, the two-note vocals of Jon Anderson, the blues turns of 90% of hard rock could also be deemed repetitive... the Goldberg Variations... I may be pushing it, but when insisting on a single point (I certainly don’t believe it’s due to a lack of imagination: Slayer has it, they proved it before and would have proven it after as well) is a conscious choice, deeply convinced and coherent, it can ultimately be much more significant than twenty different riffs in a single song.

Definitely interesting! Just a curiosity: what year is it from?

This review almost felt like an episode of "Anima Mia" by Fabio Fazio... ah, the game of memory!! "I was made..." is among my earliest genuine musical memories (along with "Wuthering Heights" by Kate Bush and "Sara" by Venditti). I listen to the album very rarely; it has always seemed quite solid to me. JOIN THE KISSARMY!!!

"The Line" I like today because it speaks of a time when style was dictated, not endured. I say "today" because as a child, the voice of The Line almost scared me... can it be?