pi-airot

Just two final things: the definition of popular music isn't mine (the Neapolitan folk song? the taranta? the folk music from around the world??), I’ve done my homework. Secondly, the strategy of record labels has changed quite a bit over the past thirty years (like: today I can offer the public anything, but if it doesn’t sell after the second album, I leave it behind). After that, I'm not speaking with a gospel in hand and I will reflect on all your proposals.

^It's not that "Hatred" is bad, but there are those screams halfway through that at some point sound like gargling... With Manowar, I can get through to about this album, then they start to seem a bit repetitive, and I end up preferring Manilla Road. And I will continue to argue in front of all the Asi and the Vani that the drummer on the first album was definitely better!!

Perhaps more than anything, it's the child's voice that irritates me... it reminds me (I don't know why) of the "tear-jerker movies" from that time (do you remember "The Last Snow of Spring"? Those films where little Renato Cestiè would always end up dying amidst rivers of tears).

It's an album full of naivety... the little girl reading a very simple poem, the final greetings, here and there jingle-like songs that aren't exactly masterpieces. However, there's the title track, "Milano 1968," "Tutti i miei giorni," and also the unusual summer hit "Senti l'estate che torna," and we're not too far from Traffic (too bad the song that I believe is the masterpiece of Le Orme from that era, "Casa Mia," isn't part of the setlist). Still, a positive debut for my favorite Italian prog group.

By the way, looking at your posts on this page, you know that you remind me a bit of The Great Kat?

Popular music is that which is passed down spontaneously, without formal academic training. I just want to say this! In popular tradition, there is also the carnival spirit, the street performers, the circus. The Kiss are this, and those who listen to them expect nothing else from them; they respond to a feverish need to celebrate, and they succeed brilliantly (we're talking, by the way, about a band that built its own image and success, because if it had been up to the record label, they would have been dropped after the second album failed to enter the top 100). Personally, I see nothing so terrible in listening to them: I have reflected and felt deep and destabilizing emotions with Wozzeck, and I’ve celebrated with the Kiss. Is that so bad? Am I schizophrenic? Do I claim to be eclectic? In this sense, your comments seem out of place to me. If you want to embark on a crusade against mindless pop, feel free.

I think Wakeman's trouble is that he meanders a bit too much and puts together parts that don't quite fit with one another, but other than that, it's still a nice album, with a White who plays the drums like he should have done in Yes!

Don't call her a tramp!!!

Very well!!! Back then, there was Radio Peter Flowers, which from Monday to Friday broadcasted "Linea Rock" with Marco Garavelli (any news about him?). I remember he played a demo prior to this album that, in my opinion, was even better – in the sense that sometimes this album seems a bit "muddled" to me. In an interview, they themselves mentioned Mercyful Fate and Celtic Frost as sources of inspiration. I feel a bit nostalgic for what was the peak period of creativity and courage for Heavy Metal.

Nice review. Ah, the krauts... I prefer the Cluster a bit more "sugary," but the pioneering spirit of that context is (almost) always a guarantee.