antoniodeste

I read with great interest what "Ca ira" is provoking (also) "live". It's still a significant sign of interest among the music lovers' community. I mean, as of today, 1583 "views" on this review cannot be underestimated. I find Fischerle's reflections and Barret 70's clarifications really interesting. I also think that David's doubts and the other various more or less intermediate positions are justifiable, as already mentioned. However, I believe that if Waters had conceived a more "orthodox" work, he probably wouldn't have encountered such a "dense" mass of curiosity and impressions. I don't know, I have the feeling that, as sometimes happens, it will be time that will express a value regarding the actual "weight" of "Ca ira". This is not the first time this has happened to me personally. I think, for example, of "The Pentateuch Of Cosmogony" by Dave Greenslade from '78 or "A Passion Play" by the Tull, but there would be other examples. Let's wait a few years and see what happens in our memories...

How can you disagree with David? (and with the great Benjamin Britten?)

Dear Marco, if the thesis of Fripp’s inconsistency as a producer can be considered credible, what can we say about the mental health of the man Fripp? I have been following his “madness,” I suppose, like you, for a time long enough to allow me to justifiably suspect that he is quite “off-kilter”; in fact, that he has always been so. In musical matters, this does not necessarily lead to negative or, worse, lethal influences on the creative and/or compositional process. The problem arises in the planning, construction, and maintenance of stable line-ups (historical Achilles' heel) and consequently credibility (unfortunately) on a commercial level. On the other hand, it is certainly no mystery that Ian McDonald, Michael Giles, Greg Lake, Mel Collins, Boz Burrell, and Ian Wallace left due to bitter conflicts with the “king.” The point, in my opinion, is not so much the missed opportunity of the “right” live experience (what about “Earthbound”?) but rather how the Crimson have substantially and radically changed (in distortion) directions and possibilities for development both then and now. Personally, they do not excite me now, except intermittently. Even Fripp, with the (to me) much-adored Soundscapes, is starting to lag a bit. Certainly, even in the early phase (1969 – 1975), the multiplicities of expression were often a sign of open-mindedness to semi-explored territories (Lizard-Islands) or lively and vibrant experiments (as already mentioned regarding the “trilogy” Larks-Starless-Red). There, in my opinion, the results achieved, the emotions stirred, and the expressive depths were of a completely different caliber, if you’ll allow me. If I take “Heavy Construction” or “The Power to Believe” or “The Construkction of Light,” I see nice works, well conceived and beautifully executed, but unfortunately with a very thin thread of warmth and feeling. Everything feels very prepared, calculated, anticipated (and with predictable results). Let it be clear, these are impressions that do not claim to convince anyone. I hope they might at least provoke some reflection from a Crimson enthusiast like us. Hasta la vista :)

Well, when the album came out, let’s see, I was about 14 years old and it was, I remember it well, a sort of revelation. Now I'm a bit older, but it still remains one of the great works of experimental rock back then and even now. It is undeniable that what Fripp and company were experimenting with between '72 and '74 was some of the most avant-garde in that direction of rock. I believe we could go on forever trying to decide if "the Best" is "Larks'", "Starless," or "Red," and we wouldn’t get anywhere anyway. It was a very rich period of "attempts" to improvise with a jazz spirit within a rock-contemporary framework. I believe Marco Salzano is already aware of "Night Watch" (about the note on zaireeka); I add for those few who may not know it the very important testimony of the quadruple "The Great Deceiver." Released in the early '90s ("posthumous," of course); it magnificently testifies to the cohesion, intention, and improvisational skill of the formidable quartet in that brief period. Regarding Marco Salzano's idea about the hypothetical release of double or triple albums at the time that could make the work as a whole exhaustive, I would say that perhaps at that time they were seriously considering it (in commercial terms) before releasing expensive double or triple LPs. I myself remember the pain of not being able to buy (given the high price) "Yessongs." "Starless & Bible Black" still remains one of the highest peaks of Frippian and Crimsonian expression in all eras of the band. In my decidedly questionable opinion, it is comparable only to their (very different - except "Moonchild") first work. "Larks," for me, is also extraordinary, just a millimeter lower than "Starless." As for "Red," frankly, I would only save a couple of episodes, and among them, definitely "Providence." Yes, I like constructed and conscious improvisation. Praise for Marco Salzano's final review; truly a beautiful way to talk about this masterpiece. Note for Marco: Fripp in that piece doesn’t play the "organ," but I believe the "mellotron." Best regards.

For superintruder: I am pleased to have patched things up sufficiently and to have found an intelligent person. Looking forward to reading each other in some other post(s)!
Hasta luego :)

For superintruder: definitely a big misunderstanding for which I apologize. I stand by what I said about the vulgarity of some comments. Amen. Ah, I'm not "your love"; however, I went to c....., if that matters to you... . You can always ignore this post. baibai.

I can only rejoice that one of my idols, Weber, has received such high praise from someone, Stefanet, with such refined taste. "Silent Feet" is a record that is, in some ways, magical and extremely visceral at times. It is just one, only one, of the many gems that litter Weber's work. Naturally, this leads to the inevitable personal sensitivity, but I would say I strongly advocate, very much, for "The Following Morning," which I believe is from '77; Weber, Bruninghaus, and orchestra deliver a work of dreamlike and evocative tones that I will never forget, like "Silent Feet" or the previously mentioned "The Colours Of Chloe." I would also like to point out that Mr. Rainer Bruninghaus has only two works to his name, "Freigeweht" and "Continuum," both on ECM, of remarkable depth. When I asked him years ago why he hadn't continued, he replied, smiling, that he hadn't sold many after all. ("Continuum" with Markus Stockhausen and Fredy Studer is exceptional.) It should be noted about Weber that his instrument is not a "traditional" electric bass; it is a kind of "vertical bass" of the amplified "upright bass" type, and not in a simple way. At the time of "Colours of Chloe," he even had a "custom" one with a distinctive nasal and "long" sound. I conclude by informing the reader that Weber is present (still, as he was 20 years ago) in the newly released (and extraordinary) work by Kate Bush, "Aerial." Peace. :)

For lucabbrasi: good response, I appreciated your spirit and the evident intentions, even educational. Mine was, as you would have understood, a mere provocation to understand what drove you to write what you did at the end of your comment. I'll tell you: generally speaking, I understand you and can experience similar feelings to yours. The fact remains that "Mr." Ramazzotti and "Ms." Pausini are liked, and quite a bit (not by me, of course). And there are at least another billion artists like them. Question: what do we care? I imagine your colleague's ringtone irritates you, but just put in some ideal brain plugs and laugh about it. We are "different" (and we take pride in it). Keep it up and "sursum corda"! Every ear has the music it deserves! And as the Sex Pistols used to say: "Never mind the bollocks" (let all the morons go to hell). Ah, Kosmogabri, with whom I've never interacted except indirectly: did you like this Sylvian?

So: regarding Artefact: clearly this is just one of the negative reviews, the latest in chronological order, in which I had, once again, to deal with the vulgarities in the comments. So the VDGG only served me, and I'm sorry, as a "launching pad" for the things "denounced." As for the nice superintruder, I will simply ignore his lovely intervention. In my house, ignoring something is worse than taking a position, even if it means negatively commenting on someone’s closed-mindedness or blinders.. He doesn't deserve it. For instance, have you ever wondered what utility it could have for me or anyone else to know what your favorite album is or what you dislike the most in the prog genre or in the realm of piripì? And doesn’t this perhaps make you realize that I'm not the only one writing nonsense? Here, then, I've found another master. Thank you for existing. It’s nice to find a superior mind among these lines from time to time. If it’s called "superintruder," the whole thing gets really "superintriguing" and "superinteresting." Please, torment me again. You're so intelligent that being insulted by you is truly a pleasure. :)

Sorry lucabbrasi, but do you belong to the "music club that few can appreciate (thankfully) "? How do you sign up? I would like to be one of them. Thank you :)