nix

Congratulations on a perfect review. Evans is one of my favorite musicians, and for me, it's five stars for all his albums, from the first to the last. In particular, I'm crazy about the 1977 sessions, from which three albums were released: I Will Say Goodbye, Crosscurrent, and You Must Believe In Spring. Five and five.

I don’t know the album, but I find Ivan Graziani to be an extraordinary artist who isn’t remembered as he deserves. I have in mind some of his songs (I think they are more recent than those in this review) that give me chills.
Strangely, the album I know (Viaggi e intemperie) has no middle ground: it contains some really terrible songs, then it strikes you with genuine masterpieces that last three minutes. I recommend anyone who hasn’t heard it to download “Olanda.”
Great Ivan!!

his voice was strikingly similar to that of Peter Hammill

Ciampi was one of the greatest singer-songwriters of all time, and on a global scale. However, I don’t believe that the particular underestimation and marginalization he faced was solely due to the content of his songs. According to the testimonies of those who knew him, it seems that it was very difficult to have him on television or to organize a concert for him. The more important the occasions were, the more he showed up completely drunk. Many of his concerts ended in brawls or embarrassing scenes due to his physical and mental state (I think of certain Doors concerts with Morrison ending up fighting with the audience). A friend who knew him told me that there were moments in his life when he literally abandoned himself to a life on the streets. In any case, he left a mark. He was a model for all of Italian singer-songwriter music. Five stars for the review and five for the album.

Everyone is on vacation, Pinhead. In this dirty August, it seems like it's just you and me here in front of the monitor.
Anyway, I find your comparison between the genre of Los Lobos and our Romagna folk quite nice.
I think Los Lobos is one of the big overestimations of those years. I can't think of another word.
Four stars for your review, if nothing else for the charm. Three stars for the record (and that’s more than enough).

I'm sorry Ocean, but your review, undoubtedly heartfelt, is immediately marred by a statement that sends shivers down my spine, namely that "The Dark Side Of The Moon," a modest album by Pink Floyd, just released, with that not ugly but highly debatable work, in the midst of commercial rampantism, represents "better than any other album" (sic!! sigh) the disillusionment of the seventies.

What's Going On?!?

Red is an extraordinary album. It is one of the jewels of its genre. I also think that progressive music, in 1974, had initiated a process of decomposition, so much so that, after "The Lamb" by Genesis and this one by King Crimson, the air began to feel rather stale. To be clear, this doesn’t mean that these were the last high-level progressive works. Several subsequent albums would still be Oscar-worthy, but they would, by the late seventies, resemble the sweetest yet almost rotten fruits. Isn't "Trick of The Tail" by Genesis sweet and almost rotten? You can hardly breathe in that album. Yet I don't think it can be considered a bad work. Quite the contrary. It’s an album full of charm. However, that atmosphere is nauseating.

The point, in my opinion, is to understand what kind of artistic world these late seventies prog bands represented and narrated. It seems to me that these dinosaurs—Genesis, Gentle Giant, Jethro Tull, etc.—by the mid-decade, had become artists strictly oriented towards the past, deaf to the sounds and noises coming from the great capitals of rock culture: London, New York, perhaps even Rome (understood as post-'77 Italy).

In this sense, personally, I am one of those who consider Red one of the last great masterpieces of its kind. Three and a half stars for the review, a bit too poor for a work like this, five stars for the album.

The review doesn't exist. The mention is about a beautiful album by John Mayall. I consider it a four-star album, but not five because I find it a bit verbose in some passages. There’s another album by this extraordinary English artist, an old LP from three or four years prior to this one, which I personally loved very much, and I would like to read a good review of it from one of the talented debaserians mentioned above, namely "Blues From Laurel Canyon." The melancholy of that album, I believe, marked my adolescence. Come on ranofornace, hellraiser, Lao Tze, someone pull out that title and bring me back a bit to the atmosphere of my sixteen years (it's a tough time for me. Hearing about Laurel Canyon by Mayall again would be therapeutic).

This is the greatest live performance of all time.
Everything starts from there and returns there.
I understand that it was Paul McCartney who intervened for Hendrix's participation in that edition of the Monterey Pop Festival. As hellraiser rightly said, it was Hendrix's entry point into the USA, where he had previously been mostly known in Great Britain.
The record that collects the entire performance, lasting about forty minutes (previously released in bits and pieces on numerous record occasions), came out in 1986 and simply constitutes the (excellent) audio track of the documentary "Jimi Plays Monterey" directed by D.A. Pennebaker.
I have never read or heard of any musician (even musicians from the classical realm, people who conduct symphonies by Gustav Mahler or Brahms) who has ever dared to raise any objections to those forty minutes of rock. I confess that this is perhaps the only case in which I cannot tolerate a discussion.
Congratulations hellraiser, great choice and great review.

Never have I felt so close to disappearing, never so on the edge of the abyss (on August 31, I will lose my job due to the crisis facing the company I am part of. I’m at an age...well, things are looking really bad for me). Last month, I even wrote a long review of "A Night At The Opera" by Queen, in which I praised the free jazz masterpiece created by Queen with the visionary production of the great Gianni Sassi for the Italian label Cramps. I explained the importance of the mentioned work within the Canterbury scene, where Queen shone for years. The review was titled: "Il KrautRock di Canterbury, ovvero: "A Night At The Opera". I Queen ripercorrono la strada di Ornette Coleman!" The management at Debaser decided not to publish my review. These are things that disappoint. It's a dark time for me. When you lose your job, it brings a lot of confusion. Difficult days.