antoniodeste

Well, to be honest, I found it a bit odd some time ago to see Fripp touring with Vai & Satriani. I have to assume that money isn’t exactly a turn-off for anyone... ;-)

@Radiactive toy: Who will open the concerts for the Crimson Projekct this summer?

It appears to me that the saxophone on "The Gunner's Dream" is played by Raphael Ravenscroft, not Mel Collins, however...

I wasn't wearing a tie the day the first notes of "Snowflakes" crept through my ears into my heart because I felt naked. And those snowflakes began to produce an ever-increasing warmth. What I was dressed in after this sonic-emotional experience, as you can easily imagine, is indescribable, nor is it possible to articulate the place where my mind and heart were at that moment. Yet you, Pi-Airot, managed to achieve this in an utterly remarkable way. And you did so brilliantly, because in the face of such beauty and intensity, words begin to lose their meaning. May the love that accompanied you by the hand in the internalization of such a masterpiece never abandon you.

Pure Hammill. And a reviewer who devotedly dusts off these (not yet completely) abandoned Gardens. There is still emotion, then... Beautiful!

Beautiful!!

I believe I have been following PG with and without Genesis for practically... forever. I also think that the "Secret World" tour and the related testimonies published can demonstrate how over the years the path of change (the "constant change" of "Firth of Fifth"?) and the evolution of his language has been undeniable and, in some respects, admirable. And that in some way it can also constitute a kind of ideal watershed. I also believe, however, that Gabriel has already given his best. Whether one likes it or not, "New Blood" is perfectly debatable; however, what concerns me is precisely this tendency (not only his, by the way) towards the "reconstruction" of pieces conceived in a certain way and reworked as happens here. On one hand, there is the legitimate suspicion that the creative processes of new things are becoming increasingly blurred, and on the other, the old doubt returns as to whether everything can really be played with an orchestra. And for me, that is not always the case. As an old fan, I regret to say it, but this new blood only has the appearance of being new.

A disc considered by many - and rightly so - to be "cult". It's nice to see it reviewed on these pages again after all these years, and in such an exemplary way. Also, the discussion about the iconic labels of the '70s is great. Well done!

Wow, what a laugh, huh? ...

A review that is more than exhaustive and rich in details. Indeed, such a beautiful work deserved a worthy sequel which, if we exclude the posthumous and equally enjoyable "Live in concert- Newcastle City Hall" from '74, fate chose never to be realized. Amen.