antoniodeste

@Stoopid: think instead that I am so foolish as to envy those who managed to see PFM in the 70s. (....). Everyone has their own envies.

In my northern city, through the radio, I was one of the first supporters of this incisive project by Senese and Del Prete; "campagna" was their business card and probably "Mattanza" their masterpiece. I was also fortunate enough to see them live in '76, and the impact (perhaps also due to the monstrous volume) was truly extraordinary. In all honesty, while I agree with the first part of the review from a socio-political perspective, I find it somewhat out of place in this context and that it ultimately weighs down a review that is already a bit, at least for me, lengthy. I repeat: I found the analysis of Naples’ reality very interesting; I would have just preferred to read it elsewhere, perhaps. As for the rest, I would say this review fills an important gap. As Ajeje said, this work can be considered one of the best (prog) jazz-rock albums in Italy. And this review is a worthy companion.

Sometimes I click on the dot for 5 and it shows 4 (or vice versa); I had to correct it. Is it clearer now?

"Isn't QUIET NIGHT better...give yourselves a jolt".....yes, sure, but how can you make such a comparison? How can I say that onion soup is better than a Sacher cake? I think we should be a bit cautious with these comparisons made between apples and oranges just because they both start with the letter M. And the fact that "Song X" doesn't convince me is absolutely negligible. Several of my good friends find it stimulating, modern, and devastating, and I'm glad they feel that way. I'm happy they love it (like you) because that way they feel fulfilled and emotions flow. But at the same time, the same could happen for "Quiet Night": One thing doesn't have to exclude the other. Diversity, as we know, is wealth; so, please, let's avoid making inappropriate comparisons if possible.

Ah...regarding Secret Story, I will tell you that upon its release, except for four or five tracks, the album (touted as extraordinary, exceptionally beautiful, blah blah) left me rather disappointed by the Hollywood packaging and the increasingly "pop" solutions, effects, or even just simplistic elements. To this day, I can only recall a couple of pieces.

In essence, I agree, Symbad. Moreover, at that time I also got the movie (with the talented Sigourney Weaver and Julianne Moore) which is equally beautiful. Speaking of soundtracks curated by Pat, I would like to take this opportunity to mention here: "Under Fire" by Roger Spottiswoode, "The Falcon & The Snowman" by John Schlesinger (which I loved quite a bit), and, more recently, "Passaggio per il Paradiso," set in the Marche region. Here, Pat did everything himself (with the Synclavier); in this case as well, the album is absolutely worth listening to for its profound sense of lyricism. baibai.

screen error. I'll fix it.

All good! Well done, Alessandro.

@Ghemison: no, I don't know him, nor have I ever heard of him.

I will tell you, Hal, that indeed during Riley's last concert (4 months ago), there were many doubts buzzing around in my ears. And Riley is no longer very young... After all, it's been a school that, I may be mistaken, has not generated a consistent following, at least in terms of "research & development." Let me know if I am wrong.