antoniodeste

I don't know, just recently I bought "Tago Mago" again and listened to it once more. An extraordinary level of experimentation and "staying power" over time; but "Babaluma" is, for me, always ahead, even of "Future Days"; maybe it’s because there’s an enchanting exotic-rhythmic-trance sublimation; maybe it’s because they all seem hypnotized; maybe it’s the illuminations of each single track... Babaluma stassemprellà. Splash! ...oh, by the way: have you listened to the double live album about the 70s?

I want to start by sincerely thanking the people who, having been involved in this topic, gladly accepted the invitation to discuss this specific subject. This invitation, and it's important to clarify this right away, was for me a kind of good-natured provocation; aimed, however, at understanding the judgment parameters of other Tull enthusiasts regarding the variety of styles in the works they have produced over such a long period. I've thus come to understand exactly what Roby 86, Pibroch, and Manalishi like about the Tull. "Exactly" because the group's style has sometimes significantly changed over time. For my part, I don't really concern myself with time periods. I mean that between the three albums initially mentioned, there are even quite long intervals, yet these are three albums that I find quite difficult to interpret, and consequently, to understand and enjoy. I find (please don't take offense) "Stormwatch" extremely lacking (except for a couple of episodes that I mentioned); "Roots to Branches" is even useless and "Dot.com" is bizarre and fits into the "want-to-stay-young-at-all-costs" style (though it's occasionally charming and curious). I naturally respect and consider your opinions, but no one has questioned, for example, the current Tull. Does it still make sense for them to play "Locomotive Breath," "Aqualung," and "Thick As A Brick" for the 400th time? Do you think Anderson can still be considered a "creative"? Does it still make sense to buy his (new) albums? By the way: Has anyone heard "Rupi's Dance"? How is it? Anyway, thanks guys. I had a reason to convince myself to revisit the works I had submitted to you to listen to them again and understand if they deserve (or deserved) a much different consideration compared to the low value I attributed to them. :-)

I almost completely agree with what Umberto Signifredi wrote. I would add that I suppose the Renaissance are not, after all, an "unknown" group. In any text of "music scholarship" or encyclopedic nature, it is evident how their presence has characterized a happy period in the blending of symphonic setup with certain rock language. "Azure d'or" is not one of their most beautiful works, although it has a certain "mini-charm" due to somewhat slick arrangements. To the list compiled by Umberto Signifredi (which I highly recommend to anyone wanting to approach the wonderful universe of Renaissance), I would like to add the double live album (recorded in the States in '76) "Live at Carnegie Hall" with the stunning "Mother Russia" and "Can You Understand?", among others. Regarding the album "Tuscany," mentioned by DonziA81 and released about three or four years ago, the disappointment was quite significant. Unfortunately, it would have been better to think twice before releasing a work so full of question marks. What a shame. Oh well. For the fans: try visiting Annie Haslam's website, just to see what she's indulging in now...

I'm just taking a second to ask the Tull enthusiasts, based on what's been discussed so far, if it's then legitimate to reconsider, in hindsight, the value of the following works: "Too Old to Rock 'n' Roll," "Stormwatch," "Roots to Branches"; I would appreciate having some thoughts regarding a possible (or sensible?) comparison with the album in question, or the mentioned "A," or even "J.Tull dot com." I'm particularly asking Roby86, Green Manalishi, Pibroch. Thank you in advance.

@Dedoluz: I wouldn’t want to nitpick just for the sake of being pedantic, but I would say that the Police can easily be associated with the 80s rather than the 70s, what do you think? That said, it remains true that their proposal is solid; "Reggatta de blanc," the album (their second) that really put them on the map, is from '79.

I specify that my judgment on the work would be halfway between a 3 and a 4. However, I preferred to "hold back."

Despite Green Manalishi (whom I gather is quite knowledgeable about the "genre") doing his best to dismantle this work, I remain convinced that both "A Passion Play" and "Under Wraps" can be embraced equally (even if directed in different directions). It's simply a matter of tastes and/or a stubborn attachment to one style over another. For example, "Crest Of A Knave" left me quite perplexed, especially due to Anderson's impersonal use of his voice: More than one friend confirmed to me (Budapest?) that it sounded like Mark Knopfler was singing. "Under Wraps," while not a memorable work, is simply (like its cousin "Walk into Light" and "A") as I have already tried to explain, an attempt, around the rise of the 80s, to modernize the sound of the band and their "extinct genre." They may only have succeeded partially, but I find it a well-crafted, fresh, and original work. Obviously, one might not like a version of the Tull so dissimilar from their traditional image, but then... what should we say about today's repetitive Tull?

@Mariaelena: you are in a constant quest for purity. Which is a holy and radiant intention (and a way of life). I can only wish you the best of luck in this challenging pursuit.

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

I won't dwell on the Ghemison-Zarahustra comparison that arises from a long-standing fundamental problem; it has been clear for a long time that "labeling" or definitions of musical genres are, evidently, restrictive, inconclusive, insufficient, and ultimately unnecessary if not even harmful.
Moody Blues have undeniably been a bridge at the end of the decade between trends that were changing. They represented an acceptable possibility of combining the song form with timid (and perhaps naive) "psychedelic" experiments and definitively opened the doors for many in the genre that was later classified as "progressive." Kudos to Ghemison, then, for having unearthed one of their most successful and beautiful albums, perhaps alongside "To Our Children's Children...." It's a way for many who still do not know them to take the opportunity to deepen their understanding. After all, they were not an insignificant "little band." Perhaps a "listen" to the light and easy "Knights in White Satin" wouldn't hurt, just for enjoyment. (Then, please do rinse your mouth quickly for the excess sugar......):)