antoniodeste

@Hal: as the song says: ....If I could have.....a thousand lire a month..... If I were to go back that way, I think I would seriously consider the possibility of getting a one-way ticket. Even if they are dreams, the idea fascinates me whenever it crosses my mind. Thank you for the invitation and a cool greeting.

@ajeje: indeed, Halsall also enjoyed himself with the vibraphone and synthesizers. It’s a shame he passed away prematurely. Anyone I know who knew Halsall speaks of him with religious respect, and having listened to him, it's not hard to understand why. I repeat: get your hands on the 74 Tempest live bootleg: there's the most "fluid" Halsall ever heard, and the duets with Holdsworth are electrifying.

@tizy ferro: never as sad as the silly nickname you've chosen for yourself; see if you can go annoy someone else, you poor astonished inventor of non-existent "big words"; study, learn, and maybe instead of writing things you know nothing about, try to write a little review, so we can all be amazed by your talent. Go to bed, sweetheart, go.

I really hope you took it well, Iside... it was just for fun... and believe me, there’s no trace of nobility in my blood (neither Lombard nor Milanese), so no fear or particular attention! A cool greeting :))) (I was in Guspini three weeks ago with 43 degrees and I thought it was the maximum; yesterday and today around my place it nearly hit 40 and I truly believed I was touching the “afterlife”...)

"Symbad and the cordula": a beautiful title for a film. "Hal patate a Jerzu già a Tertenia si cambia": a coded message from the local "mala"..... . Iside: a smile! I'm just kidding; I hope you can appreciate it! :)

It's not the first time that Roby86 has "painted" some precious stones of rock with precision and expertise. And these are truly valuable gems. "The Great Deceiver" impeccably captures the situation of the Crims in the particularly fertile years of '73/'74. At that moment, the rhythm section began to function wonderfully, and the interaction of Fripp and Cross's harmonic-melodic lines created curious, arcane, and atypical atmospheres. It's such an interesting testimony because there is ample documentation of the high level of interplay within the group when it came to realizing complex improvisations (which, by the way, almost no one was doing back then), and in my opinion, these represent the most significant stylistic hallmark in this realm. They were difficult and risky balances that, in fact, faded shortly after, after '75. This box set, in my opinion, encapsulates all the magic of those "experiments" and a band that during those years was in evident state of grace (though I suppose Fripp might have something to say about that...). For anyone thinking of wanting to deepen their knowledge of KC, this (despite the somewhat prohibitive price) along with the aforementioned "Epitaph," constitutes an excellent compendium and "study text" of experimental rock from thirty years ago. Well done, Roby!!

@alter ego: it honors you to acknowledge things (written by me) that are, after all, debatable, but I appreciated nonetheless, especially your spirit and great enthusiasm for a group that, in the end, not many know. Keep spreading this "cult" (as I do whenever I can...). @Symbad: No, your memory doesn’t deceive you: Ollie used a white Gibson SG with three pickups, with what I believe was a Brisby vibrato; later, he "settled" for a standard SG with two pickups, in red. Note for the connoisseurs: there is a bootleg CD of Tempest on the market (they released a total of 2 official albums) that captures them live in London in '74. I believe it’s a rather unique and valuable document, as both Holdsworth and Halsall are playing on stage (along with Jon Hiseman, Paul Williams, and Mark Clarke, of course). It is surprisingly well recorded (I assume from a BBC source) and features an unreleased track with a back-and-forth solos from the two guitar heroes lasting a quarter of an hour. The title is simply "Live In London '74" and the unlikely label is "Microphone Records". It’s usually found at conventions. Not to be missed!!

Yes, that of Mozart 61 is truly a beautiful testimony; direct, spontaneous, like those sensations that one probably feels when searching for a musical and cultural identity at a certain age. In part, I would say that I recognize myself in this experience and....I envy the reviewer for having seen the "legendary Keith" so recently in great shape!

I have to thank a dear friend (and my obsession with superb guitarists) for being able to say that I know Patto. They are not a band for every taste, and their eccentricity and perhaps unclassifiability have made them difficult to accept and/or categorize. The fact is that this album, their first, and "Roll'em, smoke'em"..., represent an exhilarating rock-blues-anarchic alternative to the predominantly prog scene of 70s England. Yes, Patto’s raspy voice, but the extraordinary guitar of Ollie Halsall (there’s a website dedicated solely to him curated by Barry Monks, one of the great devotees of the band) make all the difference and showcase the originality of their "style." Halsall, who had varied experiences with Tempest and his lifelong friend Kevin Ayers, was the only one at the time capable of rivaling (in a friendly way) the overflowing technique of Allan Holdsworth. He was an incredible left-handed guitarist with lightning-fast improvisational bursts and crazy ideas. It would be imperative for many of us to rediscover (and give credit to) and listen to this extraordinary and challenging band, thanks also to the aforementioned reissues from Repertoire. There are four albums in total (at least the originals), and they are not hard to find. As for the review, which is more of a citation, it can only be praised, with the sole drawback of excessive length; but given the subjects in question, it’s just fine that way.

Beautiful quirky character, cross-disciplinary, genius-like. Perhaps not his most accomplished work but enjoyable and fun. In September it seems his new release is coming out. We'll see.