antoniodeste

Said playfully, velvet, but if you have memory problems... I don't know what to say; the same "The Missing Piece" by the Giants (following Interview,) although being another minor work, is an example. As for albums of so-called "prog-rock" worthy of being listened to, even if they were released after '76, you'll find enough by consulting, for example, the decent volume by Cesare Rizzi: "Progressive" - Ed. Giunti. I reiterate, in any case, that saying that in '76 the (so-called) prog in terms of "....was just a memory" is inaccurate, misleading, and ungracious. How old were you in '76 to assert such certainty in a review?

For evaluations, refer to: "grades".

Please note that there are many evaluations about the review and almost none about the work in question. (…)

"It should be emphasized that in the year Interview was published, prog rock was already a memory... I don’t know Vellutogrigio, but in 1976 I was 16, and prog rock (which, by the way, wasn’t even called prog rock back then) was by no means a memory; this, and I must stress, is a more than debatable opinion of yours that can be historically refuted. Moreover, punk and new wave would take another solid year to undermine the foundations of this way of conceiving rock. However, I do acknowledge that you have highlighted the characteristics and peculiarities of the Portsmouth group and on "Interview," which, no matter how much you praise it, is (not without reason) considered a minor work within the "Giantian" community. Not bad, but minor. It may be amusing that you referred to the group's approach as "Minimal and amateurish"; it's hard, believe me, to be an amateur when you attend a conservatory and come out with a diploma. This applies to Kerry Minnear, Phil, Ray, and Derek Shulman, the heart of the band."

@Tarkus: Absolutely agree about the cover; after all, when the signature is that of Roger Dean, it usually is that way. However, we were thinking about commenting on the album, maybe..... . :)

For me, however, my mother's onion soup is the best in the world and... she doesn't like either "Tarkus" or ELP. What can I do? :)

@For the reviewer: as it stands, I honestly think this matter hasn’t been understood very sensibly; the WR were essentially Zawinul & Shorter; and they would have been (even in their greatness) regardless of the musicians they chose. Without JP, they were certainly already a reality. But with JP, the group became, so to speak, "much more than a reality." "Jaco opened the door and we all walked thru," rightly reported Symbad; allow me, Velluto, to translate these words by M. Miller for you and I truly apologize if you already know English: "Jaco opened the door and we all walked through." I regret having to insist on this fundamental point, but as much as I love the work of Alphonso Johnson (whom I also saw live with Pino Daniele and whose playing on stage was not even remotely comparable to Jaco's), it is simply impossible to draw a comparison with one of the most revolutionary masters of the bass art of the last century, even when considered in terms of support and functionality within a group like the WR. It would be nice to hear AJ's opinion. Symbad, I know you’ve already contributed a lot, but would you like to add something else? Regards.

@Ah, Pibroch it then came to my mind that "Yessongs" was also released, at the time, on VHS and recently on DVD. There is absolutely no fidelity to the vinyl or CD version (in terms of dates), but, as you can imagine, it's a document (aside from the terrible audio) that has its own significance. It may not be the easiest to find, but you can give it a try. :)

@ Symbad: Solomon-like judgment. The fact remains, according to many contemporaries, that Jaco was a genius and Alphonso Johnson (as good as he is), was not. Amen.

really funny: "Spaghetti-prog"!! :)