Peppe Weapon

Mmm... it’s a really excellent album, even if I can’t fully appreciate it yet: aside from the beautiful opening track, the title track doesn’t inspire me much, but the other pieces are great, although Eruption, at times, feels a bit verbose... but there’s that damn piano piece called "Euridice" that really gives me chills, I’ve never heard anything like it.

Some call it PES, others Winning Eleven (like... me? XD), and others still simply "football"... now I call it "the declining king"... from ISSPRO 98 to PES 6, it was THE FOOTBALL. Since PES 2008, the programmers, during the generational shift, have lost their minds (some say it’s due to the abandonment of the Kcet team, hired by EA Sports, which might explain something...), and they've produced a total mess (PES 2008) and two minor messes (PES 2009 and 2010), with one fixing the problems of the other but creating new, major issues. The goalkeepers? Even PES 2011 will have terrible goalkeepers. Where’s PES? With friends, of course, we still keep playing "Winning Eleven" (it’s devastating with four players, tried it with five once, couldn’t handle more), but this year FIFA 11 has too many innovations and features that drive me crazy to get me to play PES again. After ISSPRO 98, this will be my first year without PES. Will I miss it? I will miss Winning Eleven. Not the PES of today, that's for sure.

Beautiful album. Seeing today's Benson and feeling part of the Benson from back then has a strangely powerful effect. "All'uomo che raccoglie i cartoni" is a suite worthy of the cornerstones of English prog, no doubt about it.

And to think that once the sound of the south was Napoli Centrale...

I mean, I’ve heard the first four of the Focus, and now I wouldn’t want to say that this is the best of them all, but it’s definitely the one that I like the most so far :D

I believe that many people on DeBaser can't read... I didn't make any direct comparison saying that either East Of Eden or Renaissance are the same as Curved Air... I simply stated that among various groups, Curved Air were also among the first to use the violin in rock music, which does NOT EQUAL being the same as that group... as for Renaissance, I've already explained the clear differences in the review... So Stinger's comment tells me that he needs to go back to middle school to study analysis and text comprehension.

Quote from Fusillo: "Sorry Walterstarman, I’d like to take advantage of your expertise on Queen and perhaps that of the Mega Director Clamoroso Duca Conte Piero Scaruffi Vien Dal Mare, if he swings by here. I have my own theory that you probably won’t agree with: in my humble opinion, the Queen, during the entire period when they were doing operatic rock (don’t give a negative meaning to that expression) started by copying a track by Genesis that can be found on 'Nursery Crime'. Keep in mind that 'Nursery...' is from 1971, 'A Night at the Opera' is from 1975. The track is 'Harold The Barrel': it resembles in structure, in the sounds of all the instruments, and even in the backing vocals to 'Bicycle Race', for example, but also to 'Bohemian Rhapsody', 'Killer Queen' etc... Two things are possible, either you’re playing the fool, or you have serious hearing problems... 'Harold The Barrel' like 'Bicycle Race'? Aside from the fact that I prefer 'Harold The Barrel', but where is the similarity? In the choruses? But where are the choruses in 'Harold The Barrel'? There’s Gabriel doing various vocalizations based on the character he’s portraying, and then you talk about 'Killer Queen' and 'Bohemian Rhapsody', but where do you find the similarities with 'Harold The Barrel'? They have a completely different rhythm!"

For Son & Daughter, the problem is very simple: it is not how it was presented in Queen. The TRUE Son & Daughter is a piece in full Led Zeppelin style, lasting 7 minutes, with a central solo that will later be revisited in Brighton Rock. The TRUE Son & Daughter can be heard in Live performances and various Bootleg/Official In Nuce, BBC Session and the like.

I heard a live version of Liar from 1980... it's one of the most beautiful things I've ever heard live from any band... it's a difficult song, long, winding... and one of the band's finest. The early Queen, while starting to have distinct trademarks, were definitely influenced by Zeppelin, Who, T-Rex, and Bowie, and this, along with part of Queen II, is the result: Hard Rock with splashes of Glam. Queen II will contain the rest of the tracks already tested by the early Queen, plus other top-notch pieces. But it's already a great start.

Every now and then, I enjoy re-reading the reviews about Queen, my first musical love. What can I say about this album? One of the "essential" albums in the history of rock, even today, after listening to countless albums and bands, I still find it hardly rivaled, perhaps only by Queen II, which I'm reevaluating downward, and by other substantial rock works. Queen made unmistakable music; whatever genre of song they were embarking on, you already knew it was them, you could tell by May's guitar, the grandeur and care in the arrangements, and of course, Freddie's voice. If Bohemian Rhapsody is probably the emblem of Queen's music, The Propheth's Song is their greatest piece, a piece that would make any Progressive artist pale: it is their absolute masterpiece, more so than Bohemian Rhapsody and more than The March Of The Black Queen; it has everything: attention to the riffs, attention to the harmonies, elaborate arrangements, a specific theme running through lyrics that marry the piece 100%: apocalyptic. The rest you've already said, Walter. Well done :D