antoniodeste

I would say that the aspect on which my gaze has settled with satisfaction is Lello's parallel (llelo di Lello). "Time Line" reconnects underground to the lyrical poetry of "Ana," indeed. However, I can share Hal's point of view, according to which the "moment" can sometimes distort meaning and the possibility of capturing certain emotions. Nevertheless, in all honesty, this work cannot be objectively accused of coldness. Rather, it possesses a thoughtful detachment, but these are moments that Towner occasionally distributes here and there. Much more "chilly," in this sense, appears to me "Solo Concert" (in this case, also classical and twelve strings), among other things, in a paradoxical concert dimension in Munich around '80. I have already reiterated how Towner is one of the guitarists (another from the same stable is Terje Rypdal, who recently released the extraordinary "Vossabrygg") that I follow with great attention and yes, I admit, with devotion for at least thirty years. I felt an exciting thrill when Symbad mentioned the episode of "The Moors." It was, along with "Solstice," the beginning of a passion that accompanies me to this day with joy and sometimes still with wonder. I find that Ralph has composed and played, with "Time Line," one of his most beautiful recent works, completing an unannounced trilogy together with "Ana," in fact, and "Anthem." In the past, I would say, for the curious and interested, that other fundamental works of his can be considered, according to my indisputable judgment, "Diary," "Blue Sun," "Solstice," and "City Of Eyes." Given the enthusiasm generated by the proposal to declare one's origins, I will also give this great news: I was born in '60; and I feel old on some days and young on others. Certainly almost always in a state of bliss. Greetings.

I just recently (re)acquired this work by Hammill on CD, giving me the chance to listen to it again; certainly, Hammill's style (and that of VDGG) is not to everyone's taste, and Alan Clark points out how the heterogeneity of the work does not help a smoother reading and/or interpretation. I must also note, from a personal standpoint, how the entire Hammillian body of work, over its span of more than thirty years, is marked by this characteristic. But perhaps it shouldn't always be seen as a negative. Or maybe, if it is, it's a "necessary evil" for the fluctuation of the moods of the English composer-singer. In my opinion, "In The Black Room" or "Rock and Role" alone are worth the famous purchase of the album or, to put it another way, justify the "urgency" of the release. It is also true that much more mature works have emerged later from Hammill. Not to mention the extraordinary and very recent "Present." It’s still nice that someone shows interest in "minor" works by great artists after such long periods of time. Thank you.

I take the opportunity, Alberta, to warmly greet you; everything is very interesting and "intriguing"; of course, the distance doesn't help. Furthermore, despite being a long-time six-string manipulator, I believe that a masterclass is frankly a bit out of my reach, not to mention the imaginable expense... However, I hope that someone takes up the invitation: after all, there are never too many opportunities like this. Best regards and a kiss.

Alright, I’ll go back to tending to my little garden instead. I have so many beautiful solos growing... If I don’t keep an eye on them and water them, they’ll wither and I’ll have to come up with some good IDEA to help them thrive. But I know that later, as has already happened, there might be too many and my friends will say: how many solos did you make this year? And some, sadly, will wilt and I’ll have to throw them away. C'est la Vie. Bye Dante and Symbad!

Pretazzo: I fully agree; it seems to me that we are on the same page. At the very least, for those who have never heard of them, these detailed critical viewpoints will provide points for consideration and/or reflection that I hope will be useful.

I believe I've formed a fairly clear idea about this group over the years to confirm that this is one of their most successful albums, even though I'm not particularly fond of them. They may have been slightly overrated, and their psychedelic, "Spaziale", powerful, and sharp-sounding style feels somewhat naive, at times obvious, and occasionally, in its harmonic structure, a bit too "elementary". Nevertheless, they are quite enjoyable and find moments of vibrant electricity. Personally, along with a couple of friends, in addition to the aforementioned "Space Ritual" (a must-listen) and "doremi fasol latido", I prefer the more refined (perhaps because there’s more mellotron?) "Hall Of The Mountain Grill". De Gustibus. Bye

Dear Dante, with a statement like the one you made (also referring to Scaruffi), I could even crucify you, and you know it well... In fact, I think many of the Zappians present could do it. But let's at least say this. A solo IS (underlined) an idea. Now, we need to decide whether this idea is or isn't a good idea. Which is different from saying that there perhaps weren't many ideas in the solos, which, in my opinion, is pure nonsense. I saw Zappa in Bologna in '82 where he did an impressive number of solos. And it was extraordinary how he could enchant me and a few hundred other people with his "spiral" solos. At the time, the first thing that came to mind to describe them was "it seems like a snake constantly writhing." The power of the charm of those moments will remain absolutely unforgettable for me. When the solos ended, it was like waking up from a beautiful and strange dream. It's hard to describe the state of mind. Steve Vai, who was there, beside him, was still learning.......

Curious this specification, coming just on the day of liberation. But can one be absolutely sure? I mean: would you bet your life on what you are asserting? Mind you, I am not a deep connoisseur of Battisti and I have no evidence to support the idea of his "ambiguous" political affiliation, assuming he had one, but I repeat, are you really sure about what you're saying?

As always, despite being, essentially, "provocative invitations," Dante's proposals are driven by common sense and ...savoir vivre, or rather savoir écrire. Remembering and reciting from memory the solos of the mustache and fly isn't easy for me, but the first one I'd place at the top (given my blues background) is the a-solo of "Black Napkins" on Zoot Allures. Then, (and I mentioned it for that reason) "Rat Tomago" on "Yerbouti." Next, the first of the two solos on "Ship arriving too late.....," the track, I mean. In fact, come to think of it, I tend to define the compositions I enjoy the most based on how much I like Frank's solos (or...at the time, Steve Vai's). It's not, of course, the only parameter, but..... Don't you ever find that a composition (not just Zappa's) stands out for you particularly because there's a solo that makes you squirm? (for reasons we can also discuss?).

Inca Roads is also the favorite track of Zappa's wife. The album is one of the most beautiful. The lineup is among the best "blended." Zappa delivers mind-blowing solos. The review is okay. Cheers to you, brothers.