antoniodeste

@MuSo: Did you go out with Scaruffi???!!! I mean, are you saying that you both went to have a pizza together, for example??!! Oh my god!!!!..... :DD

Frankly, despite having a very high regard for the reviewed album, I couldn't appreciate much the setup of the review. But that’s a matter of style, tastes, and perspectives. The biggest issue, however, is regarding Mel Collins, who is referred to as "legendary": I don’t know if the adjective applies to his time back then or to the present, but one thing is certain: I had the chance to chat quite a bit with him, and in response to my words of admiration for his work with the Crimson, he simply commented that at that time he was nobody and was "learning to play" (sic!). I would also like to know, out of pure curiosity, what kind of identification there could be with the second phase of "Formentera Lady" to define it as an "acoustic Lark's". And then there’s one thing that always leaves me rather perplexed, and it’s not the first time I’ve encountered it: could someone kindly explain what there is or where there are real traces of Jazz in the work of Fripp and Crimso? I mean, I’m a decent jazz enthusiast and have played it at certain times, but linking this style to the Crimson seems quite risky and inappropriate. I don't deny that there may be para-jazz methodologies and practices in Fripp's work, but from this to finding jazz elements is frankly an inappropriate leap and stylistically incorrect. What I do appreciate in this review, however, is the emotional aspect (which is indeed predominant) that manages to convey curiosity and a healthy passion for this immortal gem of "art rock".

....ok, understood; after all, I think it's quite understandable; well then, try something similar but maybe a bit more cheerful, you know... like Bruce Cockburn or John Martyn: great ones too.... :)

.......and what if in the "cosmic reality" the "soundtrack" were made up of songs by Robbie Williams or Rita Pavone...... ??!! .....well, come on, a little bit of lightheartedness every now and then doesn't hurt..... don't take it the wrong way....:D

@fabiomr: just yesterday I was pondering about Parsons and the purchase of "Grievous Angel" (on CD) which I heard (very little) many, many years ago. Well, what can I say? The review is one of those beautiful ones, and Parsons is one of those beautiful people. And I think that you’re one of the "right" ones too. :)

If only there had been more groups like this one...

@Daniele: as a longtime Zeppelin fan, let me just say: well...

Strummer, what’s going on? Have the speakers broken? Have you listened to the pink moon too much? A bit of post-holiday blues? Come on, what’s happening? :)

If we were to delve into philosophy and Euclidean theories, I could have never suspected it. A lucid analysis by Enea (who appears more cultured and thoughtful than usual) but perhaps an unnecessary cultural digression for such a "reduced" subject. After all, "it's only music," and frankly, invoking Pythagoras or Heidegger doesn't seem appropriate. The fact remains that 1: Cavalli's contribution is quite provocative, 2: Pretazzo brings things back to a "down-to-earth" dimension, and 3: Enea likes "Picture Music" and "Phaedra." And so do I.

One of the absolute masterpieces of the so-called "kraut" scene or, in Italy, "Musica Cosmica" of the 70s. However, it seems that the review, while well done, is a bit too short for the epoch-making nature of the work. For a layman, perhaps more articulated digressions or some brief insights could have been more beneficial. In any case, a work that is truly "not for everyone": suites (4!) of twenty minutes without rhythmic supports or sequencers (as occurred in the more "later" electronic music) could induce drowsiness and/or even boredom. For enthusiasts, it is definitely essential.