antoniodeste

Thank you again MarcoSalzano for your words. I still have doubts about the availability of the work on CD. Can you tell me something, please? Thank you in advance.

Undoubtedly, the reappearance of VDGG on the scene after nearly thirty years was an exciting moment for me as well, perhaps because it was unexpected. Finding them again with this exceptional document left me even more thrilled. Exceptional because it feels as if time has not stopped and the thematic and compositional "spiral of development" has twisted upwards at an even greater speed and stability. It’s truly astonishing to see how these four old-timers haven't budged an inch (rather!) from their former positions and still clearly understand what it means to express concepts, ideas, and sounds that are light-years away from certain contemporary sonic emptiness. Even in the improvisation album (Manalishi, allow me to say, Thrakkattak is definitely more complex and hard to listen to), the flow of ideas, evocations, bizarre constructions, and creativity is at stratospheric levels; perhaps a jazz listener might feel more at home, but the material is still extremely dense and of subtle value. One can only hope this isn't a one-off and that we won’t have to wait another thirty years for the visions of these modern shamans. In the meantime, EMI hasn't wasted any time; they have indeed proceeded to reissue the entire catalog of the group (was it necessary?) with the usual bonus tracks added to entice potential buyers. Personally, thanks to a friend, I "tested" "Pawn Hearts," and given the minimal quality of the remastering, I was left perplexed. Great review, Manalishi. You’ve hit the jackpot again!

Great idea, Mozart, a true "cornerstone," or rather, a solid one! Come on, give it your all and then I'll attach some substantial comments...!!

Honestly, I don't see where the overvaluation lies. I'm not a fan of the Trolls or Orme, but not including "Concerto Grosso" or "Felona e Sorona" among the important works of Italian rock from the '70s is historically debatable and would not give due credit to the two bands.

I don’t know… I’ve been reading Miki Page’s reviews and comments for quite some time, and I’ve never seen him so irritated. Then I went to read Daniele’s comments, and perhaps there was something a bit irritating in what he wrote. I mean, there’s a big difference between firmly supporting one’s positions and then expressing them with that tone (and harshness). Miki may have had an overly reactive and somewhat exaggerated response, but… some days are better than others… Let’s be clear, I don’t want to get into the specifics, but I’d just like to try to smooth out perhaps unnecessary divergences caused by unsuccessful expressions or too “direct” opinions. I believe that both Daniele and Miki can be clear-headed and reasonable individuals, and I would encourage both of them to demonstrate that with greater serenity in these lines, if possible. It shouldn’t be difficult, right? :)

Ah! Ok! :-)

@Odradek: well, it seems that there are two of us...

I must say that finally, for the first time, I've managed to get a decent grip on the content of this album. I've come across several booklets about Italian prog that covered New Trolls, but I had never been able to find an in-depth analysis of this work. A praise (and thanks) then to Marco for the critical examination and stylistic placement. Question: is there a "reasonably" priced CD version available? Regards.

Well...I find Captain Beefheart a bit (too) out there, and even Zappa noticed it after a while. I can still appreciate him on "Bongo Fury," but for the rest...well...Anyway, everyone hears him with their own ears and their own heart (maybe of beef...!)

Mozart 61 is right about the attitudes and inclinations of Pat. But this is precisely why the "purists," I suppose, do not forgive the multiplicity of his directions. Unfortunately, Pat has made a few missteps with PMG ("Imaginary Day," something from "We live here"), and I myself, a fan of the Missouri guitarist for at least 25 years, have worried about his healthy creativity and, perhaps, honesty. However, upon reaching "Speaking Of Now" and "The Way Up" (which I reviewed on these pages), it must be acknowledged that Metheny has rediscovered a way, a drive, a conviction that seemed dulled and weakened over the years. I invite anyone to watch the DVD "Speaking of Now" to verify the current state of grace of the guitarist and his group. Lastly, I take this opportunity to invite anyone following the jazz-infused guitar scene to listen to Kurt Rosenwinkel's latest work, "Deep Song"; following the more distinctly jazz-driven directions of the Metheny style, one might find a truly interesting surprise.