antoniodeste

@LogicProbe: I saw "Anatrofobia" live a couple of years ago; I didn't understand a thing; probably a matter of taste; however, a couple of friends of mine follow them with particular fervor; Stereokimono: talented and original: I met them personally when I presented a contest in which they aimed for the "golden palm" (they came in second, if I remember correctly). Good tips anyway, Probe. @ajeje: 4 albums, as I mentioned: "Blink" was recorded in Italy and is in the process of defining their sound; then a leap to the UK with guests like Phil Collins, Percy Jones, and Narada Michael Walden (1978 or so...) their best work: "Vimana"; jazz rock at its best! Then the transitional but interesting "Wings of Light" for Arista with Ric Parnell on drums; the experience concluded with a schizophrenic album, "Sun City," recorded in the USA. Half similar to Pooh and half high-level jazz rock. Then the group dissolved, Rustici worked with Walden, Parnell I believe played with New Trolls (!), D'Anna returned to Italy not knowing exactly what to do, and...goodnight. For more information, I suppose the lovely website of Augusto Croce - italianprog.com can provide you with further details. I repeat, frankly, I don’t know what availability there is regarding their records, at least on CD. I personally mastered the vinyl, managing to find them with some difficulty. Unfortunately, though, this is a discussion that has also penalized (at least until a little while ago) other Italian groups, Agorà and Baricentro (exceptional). Amen. Kisses.

Non hai fornito un testo da tradurre. Per favore, inviami il testo in italiano e sarò felice di aiutarti con la traduzione.

I must immediately admit that after "Swordfishtrombones" I stopped following Waits for personal taste and orientation reasons, so I paid less attention to his career. However, this "Foreign Affairs" is, for me, almost a masterpiece. I still vividly remember when, just a year after its release, someone told me about it and I brought it home. I couldn't believe that someone could have such a deep voice at such a young age. And it was a simple, "bar" approach to jazz that I had never experienced before. "Muriel" is stunning and "Burma Shave" is unforgettable. The rest is to be savored... And if you want to continue to ... "savor" ... I recommend the next album "Nighthawks at the Diner" (a double LP at the time); a revelatory live record; and also "The Heart of Saturday Night." Great review, Daniele; thank you for reminding me of the magic of this album. :)

Indeed, for someone used to the old Yes style, "Big Generator" may come off as a bit too "hard." But even 90125 was no joke. After all, caught off guard by changing times and tastes, if they hadn’t found a Trevor Rabin to inject them with some "modernity," they would have soon retired prematurely. Instead, they found a new audience and a part of their loyal fanbase (myself included) that was still willing to give them chances, watching from the sidelines to see what would happen next. However, Joe Cavalli is right, in my opinion. This is not (and has never been) a throwaway album; it's clear we are talking about an extremely subjective perception of the matter, but there are some remarkably dynamic and fresh moments here. Perhaps a bit harsh and excessively heavy compared to the "old" Yes, but almost never banal and always with an inch of class that, back then, others could only dream of. I would also like to point out that I personally find it a bit reckless to define, as someone has done, Trevor Rabin's guitar work as "粗糙"; you may not like the style, the approach, or the taste, but to define it this way is technically inaccurate and unfair. I have often had the chance to discuss with other Yes fans: there’s the Howe camp and the Rabin camp; on one thing, almost everyone agrees: technically, there’s no comparison between Rabin’s school (more recent, faster, and virtuosic) and Howe’s classical, traditional style. Attention: this doesn’t mean one is "better" than the other. They are simply two different things. If you really want to compare them on an expressive and "depth" level, for example, perhaps Howe has the edge. It’s an album that needs to be re-listened to, as it still reveals things full of "groove." Good and "balancing" review; well done Joe.

I would say that I can fully endorse Ajeje's intervention. There are elements of originality, it's true, but after thirty years, there are aspects that seem too dated and anachronistic. The group undoubtedly had philosophical and avant-garde ambitions, but the result, while appreciable, is what it is. The review is indeed a bit hasty but essential. It’s worth noting that the same Corrado Rustici (an excellent guitarist influenced by McLaughlin) later formed, alongside Elio D'Anna, one of the most underrated jazz-rock bands of the era, the Nova; they released four albums (not easily found) of which at least 2 ("Vimana" and "Wings Of Light") deserve a listen. baibai.

Well... hearing the Police referred to as "Ferry Operators" can create a certain "something"..., but in a way, Ghemison has defined a situation where, indeed, Sting's group constituted a passage point. (Maybe Tears For Fears can be considered in the same way?). Regards.

@Spartak: So: it’s a double CD released by Spoon titled "Can Live - Music (1971 - 1977) (series "SPOONCD42/43") probably released in 2005. Here is the tracklist. CD 1: Jynx / Dizzy Dizzy / Vernal Equinox / Fizz / Yoo Doo Right / Cascade Waltz; CD 2: Colchester Finale (of 37 min. and 24!!) / Kata Kong / Spoon. The recordings (England & Germany) span from 72 to 77.

@Manalishi, Pibroch, Roby: I'm really glad that the discussion and comparison (one of the most "constructive" I've encountered in the last few months...) have generated reflections that I hadn't considered and that I now believe should be taken into account. On one hand, it's true that at Anderson's age, it is technically difficult and too demanding to decently replicate some songs; on the other hand, it's also true that a dilution of the shows over time would benefit the freshness of the group, avoiding repetition (and fatigue). Regarding Anderson's "tyranny," it's a well-known discussion elsewhere; knowing that the Tull without him wouldn't be the Tull anymore, they take advantage of it to create both good and bad circumstances. One last consideration: from experience, I know that when an artist prepares the tour setlist increasingly based on the same "hits," one might as well come to terms with the "creative" possibility that it is unlikely for the artist to create something as magical as it was at the beginning..... It might be nice to listen to that particular piece for the umpteenth time, but I suppose that something has inevitably and unfortunately come to an end. As a fan, I obviously wish the Tull all the best that can be wished for, but I am also realistic and it pains me to acknowledge how (though not only their problem, mind you) they have embarked on a quiet end of their career in harmless routine, without any notable upheavals. Cheers to you, Tulliani! :)

Clarification: I (underlined) read this review in January; I apologize.

@Spartak: don't worry; although I suppose I have a few more years than you (which, mind you, doesn't mean a damn thing), I have found myself in your same situation multiple times. (And I too have sold records that I later regretted....); and also in opposite situations; let me explain: my music-loving friends were aware (at ages 18, 19) of my "avant-garde" and "serious" tastes, so we walked together down those paths. I won't tell you the uproar that arose when I was "hit" by a Gino Vannelli album. Gino Vannelli??!! Antonio, are you kidding? Are you out of your mind? And yet I insisted they listen to "Brother to Brother," which, to be clear, has nothing extraordinarily "artistic" or "culturally" interesting or anything like that. It’s just a great classy Easy Listening album. In the end, some of them became convinced, and even today, someone occasionally reminds me of it. In contrast, there was no way I could get "Free Jazz," for example, by Ornette Coleman, or his "New York is Now!" to sink into my brain. Maybe I should try again now, thirty years later. "Another Green World," on the other hand, as I’ve written, personally represents a middle ground: back then, I sensed the presence of something important but didn't know how to listen to these things, even though I perceived their subtle importance. In January (the period of this review), the "cycle of understanding" was completed, with marvelous results. It may not be new to say it, but Eno, already in the second half of the 70s, was ahead (like Can, since you follow them) by at least two decades.