antoniodeste

I've read everything up to this point and, as usual, it's hilarious. In particular, I join those who can't resist twisting the title with other body parts... Well, guys, what can I say, the "Neapolitan vulgar tradition" continues. After the wonders of Mario Merola, the astounding performances of Nino D'Angelo, and Gianni Nazzaro's "quant'è bella Lei," here comes another one. Let's consider ourselves lucky that, as someone pointed out, that region has also produced people like Napoli Centrale, the first Edoardo Bennato, and Pino Daniele, along with Osanna and Città frontale. D'Alessio is cringe to me too. Just don't pay attention to him, like trash TV (which is basically all of it...). Napul'è mille colori.....

The Camel definitely represents a significant piece of the English prog-rock adventure of the seventies. I have some doubts about the real existence of "jazz" sounds in this otherwise beautiful work. I suppose that "Jazz" might be found elsewhere.... Yes, it’s true, a review even too concise but that encapsulates in a few lines the essence of one of the most beautiful albums by Latimer's band. Of course, Nick 81 should assume that those reading it know the band fairly well, otherwise..... I’ll just add that, for anyone wanting to spend even less for the maximum result, the double "A Live Record" is truly a lovely gem. It features ample excerpts from "The Snow Goose," which is another of the band's treasures. Good idea to review the Camel. It seems there isn’t much on Debaser.

For Hobbit: if the term "master" was used with mocking intent, that's fine by me because it amuses me and in that sense I can accept it; but if it was used seriously, please: don't embarrass me! I really have nothing to teach... Thank you. :-)

Thanks to beat Boy for his consideration. Among "Emersonians," we understand each other.....

In short Caz, is that you in the photo or not? I mean, aside from all the sparring, you should be flattered that Alfredo and Antonio (and maybe another bunch) appreciate having a "physical" reference. Your reviews and comments are so "physical" and you’re being all "precious" about things like this? I don’t think it’s gratuitous exhibitionism, and I hope it’s not a misunderstood sense of privacy. In fact, since you love yourself so much (let's be clear: that’s a great thing, I love myself a lot too), you should take pleasure in it, without fears, I believe. Otherwise, of course, feel free to do as you like. No trouble; No Woman, No Cry. Peace. Love.

Moreover, I am personally lacking reviews, compared to you..... If I keep this up, I too will do two: a year though.... . :-)

I'm sorry Caz, this time you've messed up badly... I still renew my trust. They're just bumps in the road...

The review is undoubtedly well done. Maybe a bit long or didactic, as the controversial Caz points out, but well done. After all, only a die-hard fan of the band (have you read the nickname well?) can make such articulate declarations of love for a (great) band and/or one of their albums. I agree with "The Rain Song," one of the absolutely most intense tracks of the airship; "No Quarter" is indisputable, and "The Ocean" is a perfectly suitable track for live shows. However, the album perhaps lacks a bit of cohesion and consistency. Episodes like "D'yer Mak'er," "The Grunge," or "Dancin' Days" are pleasant or nice but nothing more. It's the same problem they faced with "Presence": 2 "super" tracks ("Achilles Last Stand" and "Nobody's Fault But Mine") and the rest of the album, or thereabouts, with so-so compositions. I love the Zeppelins, even in light of the (often unmissable) posthumous material, but "Houses" just doesn't manage to earn the fifth star.

Thanks to Caz (not "al caz").; what you say is true, I remember well when I got the vinyl back in the day. But since it was written in Arabic (white on black), the mystery persisted. Simpler, as you'll recall, was the lovely story of "Cometa Rossa." In the inner sleeve, they included the translation from Greek on the front. Anyway, it's really nice to know that the Area, at least among the cool people in this forum, are still alive. Demetrio must be smiling.

The "Carnival (9 or 6?) of the Apocalypse," as it would probably be appropriate to interpret the text, is, in my opinion, the final great script of the extraordinary visionary-dreamlike-poetic talent of Pete Sinfield (apart from the adaptations made for the British version of "Photos Of Ghosts" by PFM). I believe that such important passages, from a lyrical point of view, are only "Epitaph," "In The Court of C.K.," "In The Wake Of Poseidon," and perhaps "Islands." But in "Karn-Evil 9," there is disillusionment, cynicism, mockery, and the (Caz is not wrong) demonic presence of evil that sneers at humanity with a grimace. It is a happy and fitting combination of music and lyrics that found (at the time) a fortunate fulfillment and reason for being in "A Passion Play" or "Aqualung."