antoniodeste

The rotating stage has left a mark on the youthful imagination of many. It was the California Jam of '74, I believe, and since it was filmed, you can find it on some DVD. Emerson, when interviewed about it, declared that craziness was the order of the day back then and that he now shudders at the memory of the risks taken for that "special effect." However, he was an incorrigible daredevil with a passion for big motorcycles, which he risked even more with. But this has nothing to do with music. Bye, Ing. Dante.

This morning, I got up, oh beautiful goodbye, beautiful goodbye, beautiful goodbye goodbye goodbye. Hello, engineer!

Thank you again, Miki, for this beautiful review. And of course, don’t pay attention to those who nitpick about typos or nonsense. I was in London in September '79 and noticed the release of this album because late at night, while out, I saw it displayed in a window of a store near Westminster. The window was plastered with it, and since the actual cover was in another little bag (like a bread bag), at first I didn’t realize who they were. It was a great surprise and, I remember, a memorable moment. As you recalled, the Zep had been away for a while. I must say that I generally agree with the (partially) negative opinion that comes from listening to "In Through." If I exclude "In The Evening," I'm left with only "Carouselambra." Now, I understand that this piece doesn’t resonate with you, and I respect your reasons and tastes; personally, my point of view is that the Zep, in their attempt (if you will, naive or clumsy) to modernize and feel more in step with the times (at the time, the band had already been around for 10 years in a decade that saw multiple musical upheavals, not least punk) introduced elements that seemed questionable or, worse, unnecessary and misleading to many. You talk about it yourself: synthesizers, samba, nonchalant melodies. "Carouselambra" should be seen as the last great attempt to show the Zep audience another way of being Zep without losing the blues-rock grit. It has a serious and perhaps baroque aspect, tempo changes, and uneasy atmospheres; in the second part, there’s a simple and brilliant sequence of chords from Jimmy Page, but a less obsessive progression than the beautiful "Kashmir." I realize it’s a matter of taste, but tearing it apart like that seems frankly ungracious to me. Well done, though, Miki; once again, you hit the mark with expertise and skill. Bye.

I see, BeatBoy, that the invitation has been accepted. Perhaps a bit more conciseness wouldn't harm the overall structure, but aside from a few (forgivable) errors, the atmosphere of the work comes through all too well, especially for those who already know it. "Trilogy" was an important album for ELP. It "consecrated" them definitively in the Olympus of rockstars and, years later, it still doesn't sound too dated. Note 1: what does "While Palmer marks a well-satisfied rhythm" mean? Note 2: there is no "Honky" piano but a genre called "Honky Tonk" of American origin - early 1900s - which gained popularity like vaudeville (and played mainly by black pianists) to which Emerson dedicated "Honky Tonk Train Blues" since the composition revealed elements of both genres. baibai

I'm already checking the possibility with my partner and a dear friend. The evening would be favorable, and the first (and last) time I saw Pierre was back in '87 in Padova (cinema Lux) with these same people. If we could organize ourselves, we could also meet up, right? A re-kiss. :-)

Ajeje, the important thing is to understand each other, and it seems we’re on the same page so far. Since I’m a bit of a "veteran" when it comes to computer stuff (no, sorry… I meant to say "experienced"... uh), I’ll tell you that even though I know the English term peer to peer, the issue remains that I have a "slow" connection (56k, to be clear). Now, either you explain to me privately how to "get online" with the object in question, or you can say that I’m really "veeeecchio" because I can’t figure it out on my own. Don’t hesitate or feel guilty. Feel free to contact me privately. I’m not selling anything. At most, I can offer ideas at zero cost. Ah, let me say one last thing: during the Dedalus reform show (piano, flute, cello, and trombone), Bonansone’s spoken interludes had such (deliberate?) humor that the entire audience was doubled over with laughter. Even after the concert, in an informal conversation, he shared some great anecdotes, like the explanations of the titles of the first album. I have to say that the one for "Brilla" is among the most significant. But I’ll tell that another time. To Nob: what’s the young, technologically advanced generation? Gudbài.

You are not wrong, but opinions, sometimes, are never enough for masterpieces. You could always go for the Free or Bad Company, or the Firm, the latter often underrated but not so bad after all. Oh, let's be clear, I've just shared my thoughts; then, Miki, of course, do what you want. Best regards.

Nob, I find you everywhere! Even with Cocciante! (yes, me too, apparently). I remember an episode of D.O.C. (Renzo Arbore & Gegè Telesforo RAI 2 - 1987) where the guests were Cocciante's band, followed by Pat Metheny's. I will never forget Riccardino's despondent, lost, embarrassed expression after Metheny's performance. The audience was in "ecstasy and rapture" for Metheny, and NOBODY was paying attention anymore, not even remotely, to the Italian songwriter. Esterofilia? Rudeness? Recognition of one artist's greater value over another? Fate Vobis. But I will be reborn...

To Gaius Titius (Sempronius?): I really hope that Alberta is a "sportswoman." Please don't tell me more about your condition; I wouldn't want to find out (and then cry) that you might be spastic or brain-injured. 'To Gaius, don't take it personally, I'm joking. :-)

Once again, thank you for Symbad. Also for the suggestion about what is "above the horse"; unfortunately, it was the first thing that came to my mind. I beg your pardon. gudbai.