antoniodeste

@Dante: Be careful not to choke on it. I need you alive..... :)

Ah, I almost forgot about McLaughlin's "scalppped guitar" (way before Malmsteen, who then used it electric); an acoustic 6-string with recessed frets (quite a few) for a special use of the slide. Plus, there were 8 (I believe they were 8) strings placed crosswise on the body solely for harmonic purposes. You can catch a glimpse of it in the second (stuuuuuunning) album by Shakti "A Handful Of Beauty." A...Pikasso avant la lettre.

@PuntiniCAZ: aahh how wonderful.....42corde42! In the review of oddities, there is a very particular type of "guitar" that Derek Bailey built; he simply took two necks, getting rid of the bodies (flat or acoustic); then he "joined" the two necks so that the pickups were in the middle: Thus the neck reached a length of almost a meter and more. The problem was finding strings that long. But apparently he had them made specially (imagine the basses...). Any other contributions?!

@Pibroch: What do you say?..... :)

@Filippo: I wouldn't want to start an unnecessary and sterile debate, of course; it just seemed to me (and not only in the sentence you quoted) that, in general, throughout the review, the limits of the operation could be misunderstood. That's all. I apologize if I may have seemed too critical or harsh. Best regards :)

@Pibroch: Great... as in... Serena's (Grandi) followers?... :)

If I like cheese on my macaroni, I feel like recommending it to you... if you don't like it, that's your problem... :)

Fusillo, I believe I’ve already replied to you elsewhere. “Compensatory” is an adjective referring to the antithetical artistic inclination between Hodgkinson and Blegvad. Bye.

I acknowledge Filippo for having written a very detailed, well-executed, and thorough review in its informative purpose. Especially since many of Glover's admirers will undoubtedly be grateful to him, not even knowing that this work existed. Personally, I got hold of it about a year ago, and I must say that the album deserves to be listened to. However, I would try to avoid implying that the work has lofty ambitions or "epoch-making" aims; I repeat, it's a radiant, positive, very melodic album, and extremely well-played and produced. Of course, a masterpiece is something else, and perhaps, frankly, five stars are a bit too much.

I confess that as an ELP fanatic I suffer from the same disturbances and idiosyncrasies as Pibroch (a staunch Emersonian), so I can only largely agree with what he expressed in this review. However, I must personally mention a couple of things: The first is that I have the impression that ELP in live version have NEVER been able to match (or even come close to) the complex scores of "Karn Evil 9" played in the studio. Perhaps, but it's just a slight impression, only in a double album from King Biscuit (with an attached CD-ROM, from '98). It's also worth mentioning that this triple album (like Yessongs) is recorded technically in quite a questionable manner; (with some bass from "Hoedown" at a high volume, it's possible to destroy the woofers of your Hi-fi...). It hasn't been said that perhaps for the first time the trio ventures into a decidedly jazz adventure (even if it ends in Emerson's usual honky tonk joke...) which makes "Piano Improvisations" by Friedrich Gulda very particular and curious. I also find the segment "Aquatarkus," extended, rearranged, and beautifully improvised by Emerson, particularly stimulating. What else is there to say? That this was the beginning of the end: with the subsequent "Works" and the mammoth tours with orchestras that the three could no longer afford, the arc inevitably began to decline. Yes, indeed... but what an arc it was......... :)