antoniodeste

I said a couple of things and actually got myself (mea culpa) caught up in the mix. However, I think the best way to boycott this plastic "singer" built to sell records is to not listen to him, not comment on him; in short, to IGNORE him. Any comment would fuel interest and motivate his activity. In such an ignorant country as this one, then....

I believe this is one of the most beautiful and emotionally rich reviews I have read on the subject; and I haven't just read two. "Hejira" is one of the albums that has accompanied important moments of my inner life and has definitively entered my "audiogenetic" heritage; it is difficult for me, of course, to express in any way the power that these grooves have managed to impress upon my personal imagination and the effect they still have thirty years after the first listen, when I was just a kid. For a moment, I still remember Joni in 1983, at the Verona arena ("Wild Things Run Fast") among thousands of small flames making a "dream come true" seem plausible. Tracks like "Furry Sings The Blues," "Hejira," and the concluding "Refuge Of The Roads" are the kind that accompany you throughout your life and soothe the sadness and pain of the passage of time. Thank you "Cavalletta" for reminding me of this.

I believe I'll write a review of "Images & Words" by a band called Dream Theater. Curious, huh?

But he did one good thing: hooking up with Hunziker.

If it were only Ramazzotti...

Here, such hateful, imperfect comments, with such mean words, make me lose the desire to read them. But since the majority of debaserians can tolerate them, I'm stuck with this kind of comment that I won't give, out of decency, any "vote."

Useless, pompous, schizophrenic, and a bit convoluted album. I'm someone who appreciates (quite a lot) Yes. For real. Right review.

Sure, it’s not "In Rock" or "Made In Japan" or "Machine Head", but considering what they went on to do later, I honestly don't think it’s a work of little interest. "Super Trouper" might be recycled, but it’s still enjoyable. The rest is 100% Purple (and money). The thought on Mr. Glover's work is interesting. "Butterfly Ball" has always intrigued me, but I know practically nothing about it. Can you give me some details, if you don’t mind? Regards.

A beautiful note of merit for the Ormeschi planets. Back then (who knows how many times I must have repeated 'back then'....) the record was a hit, and "Felona" even made it to the charts for 45s. It's a mistake to believe that PFM, at that time, was "superior" to Le Orme; Tagliapietra's group was definitely more "popular" and more "widespread." PFM was only "technically" more advanced and rarely made it to the charts (perhaps because they didn't release 45s...). Surely, they were touring abroad with an ease unimaginable for the Venetian trio. I agree in considering "Felona & Sorona" one of the most beautiful prog manifestos of the finest Italian rock era. Le Orme had many detractors who often accused them of obviousness, excessive easiness in their compositional fabric, provincialism, and even uselessness. Up until this work (with the epigone of "In Concerto"), the group had grown exponentially and had also found a precise positioning within the European progressive scene. Many saw them as imitators or "Italian interpreters" of Emerson, Lake & Palmer, due to the lineup and directions. There might be some truth to that. However, it must be acknowledged that they were the first to build the initial connective framework of this trend in Italy (with the excellent Balletto and Rovescio in mind), sublimating it in the picturesque and epic tones of this album. Well done again, Beat Boy. Perhaps the review is a bit too "Tispiegotutto," but I understand you; the enthusiasm and desire to communicate even details that may not be critically important make the review less concise, but not any less beautiful. Well done.

Indeed, it is a good reevaluation of one of the most atypical works of the early Crimso. That para-jazz atmosphere, however, along with mini-symphonic tendencies, the desire to break away from the concepts of the first two works, and collaborations with a handful of players from the British jazz circuit of that time, make it a gem. Even with Haskell's voice (not bad). I acknowledge that listening to seemingly eccentric compositions like "Indoor Games" or "Happy Family," which have deeply rooted jazz spirit, can be challenging. But the rest of the work, highlighted by the splendid Bolero, is a classic of '70s rock. My heartfelt and deserving compliments to Hyeronimus for his style, simple, passionate, and "illustrative." I could not have done better. Crimsoadlibito (libido?)