antoniodeste

Ah, I almost forgot: if there is one thing I regret the most about the Group of the late '80s, it's definitely the presence of that extraordinary multi-instrumentalist/vocalist Pedro Aznar. Personally, I consider "The First Circle," the composition, to be one of the highest peaks ever reached by the Metheny ensemble.

Dear Omaha, I wouldn't say that at all. Perhaps you touched on one of the most problematic and longstanding points of the PMG: the rhythmic support. Initially, as you know, Gottlieb was born with the group and, in my opinion, he was probably the right drummer: light, dynamic, capable, suitable for various situations, and at the same time incisive and refined. Unfortunately, the change with Wertico, in my view, did not benefit the complex dynamics of Metheny. Not only was the drummer called "Mr. Cymbal" for his perhaps excessive "cymbal" habits (you'll remember he loved surrounding himself with an embarrassing amount of Zildjian), but he was also perhaps a bit confusing at times in his approach to the instrument. I remember him in Mestre in '83 (at an extraordinary three-hour concert, by the way) in an awkward solo. Unfortunately, the subsequent part of his stay did not completely dispel these doubts. Certainly, Sanchez has ENORMOUSLY benefited the rhythmic push that Pat needed. It was perhaps not a coincidence that the group was strengthened with two percussionists/multi-instrumentalis ts in the middle of the 80s and 90s, as you will remember (Blamires and Ledford). Now the balances seem to have been restored, thanks to this powerful (also muscly) entrance. I truly hope you have watched the concert on DVD filmed in Korea because it is simply splendid and clearly shows how the Mexican drummer is complementary and perfectly suited to the sound of the current PMG. Best regards and thank you for the relevant input. You're Welcome.

@eraser_ed: I would say I completely agree not only with your opinions but also with the substance of what you state. I have been (and still am) a convinced McLaughlin fan, and this applies to certain aspects (especially the early days and the final, acoustic part of his career) of Al Di Meola as well. It’s also true, as pixies 77 hints, that if Beck had insisted more on the jazz path, it could have led to at least interesting results; however, those who savor the rock showbiz (and its world of idol worship, diva behavior, and... money) often struggle with the narrow and often less rewarding paths of jazz. As for Panthera’s appreciation of the album "Beck," I can add that I recognize it as an album with "square balls," and for that reason, it may align with your taste, which I respect, but in my opinion, all those subtleties and nuances that were once the "trademark" of Beck are lacking. The album, however, is undoubtedly strong and badass. Probably a convincing attempt to "climb back up" with a strong and clear signal. But was it really like that?

Given the limited production and honestly not outstanding, although of good quality, Leslie West's group is not exactly remembered by oceanic crowds. In any case, they deserve credit for a significant impact, albeit sometimes a bit rough, which represented, as someone has noted, the likely American version of Cream. It’s no coincidence, I suppose, that an alternative formula was attempted with Jack Bruce ("West, Bruce & Laing") that lasted as long as it lasted. I agree with those who say that "Climbing!" is their most succulent episode, as "Nantucket Sleighride" seems more meandering and overall less biting. I don’t know "Twin Peaks," except for the version that I imagine blackdog knows (the film version by David Lynch that has nothing to do with it), but I promise to fill that gap sooner or later. Review so-so...

To completely expand on the previous intervention, I will add that in my case, it was precisely that piece cited and written for him by Stevie Wonder that made my ears perk up for what I later called, with my musical friends, his "touch." This is truly the central focus of his approach to the guitar because when it comes to Beck, we can't really talk about speed or the display of frightening techniques. It is that very particular "touch," both on Fender and Gibson, that makes him absolutely unmistakable and unique. It is evident even in another piece, "Goodbye Pork Pie Hat" (by the late Mingus and revisited in at least another half dozen versions), which would have appeared on "Wired," another gem by Beck, but indeed throughout much of his production. Unfortunately, a detrimental inconsistency in his career, personal troubles well illustrated by C'è (see comments), accidents that nearly cost him his life (and of which he still bears the scars on his face), and poor stylistic choices (for example, attempting an unlikely duo with Jan Hammer in the late '70s) have ultimately weakened and diminished one of the most personal, singular, and creative guitar voices in white rock/blues (even if he sometimes wandered into the so-called jazz/rock). His recent works haven’t seemed thrilling to me (in fact, with "Beck," the album with the stone-tipped spear, excessively hard, generic, and loud), and hearing that three or four years ago he was playing in Sting's tour in Italy as a supporting act was frankly a bit disconcerting (considering it was a "concert"...). Certainly, his milestones ("Truth," "Ola," and his beginnings with the Yardbirds) testify to how, for anyone wanting to have a correct relationship and/or understanding of the world of rock in terms of guitar, the figure of Jeff Beck, in my opinion, is absolutely indispensable.

I would like to take a moment to express my sincere appreciation for the tone and quality of the personal prose in the review—vibrant, blood-filled, and deeply human in its exploration of the soul, the place, and the listening conditions. I will say right away that I am a convinced "Beckian" (and curiously also a fan of the other Beck) and that "Blow by Blow" is one of the so-called cornerstones of his (unfortunate) career. "Cause we've ended as lovers" is truly a little masterpiece, but I reserve the right to delve further into this interesting topic. Kudos to C'è for the valuable information. This is how we spread music. :)

@Turkelton: it's remarkable how you manage to ultra-simplify in half a line a long-standing issue like: "Is the producer responsible for the 'success' or lack thereof of a certain 'Product' or band?". Frankly, I don't really feel like tackling the topic, even though I can share the opinion that the band in question might have been overly hyped and overrated (in light of their recent performances). The magic of the music industry. And in any case, I suppose it's pointless to argue so unnecessarily. The people who like Coldplay will continue to listen to them and consider them great; while those, like me, who had misplaced hopes in them will hold onto their belief of a wasted opportunity. Too bad, although it’s not said that the last word has been spoken.

@Hymnen: I suppose that's how it is. However, a re-listen to Trilogy wouldn't hurt... .

@Macaco: Excellent. In the sense that the ultimate goal, which I believe is dissemination, has been achieved and has hit the mark, at least in your case, but also in many others. The same goes for me, of course; I am here for this too. To enrich myself with knowledge I don’t have and to discuss and confront myself with people who are passionate (more or less) like me about music. I conclude on "Great Deceiver": I consider that splendid quadruple one of the most complete monuments of the history of the years 73/74 in the history of King Crimson. I deem it invaluable because I believe those two years to be the most fertile and stimulating period for Fripp's creativity (parallel only to 69/71). It’s always among the number 1 recommendations I give for those who want to dive deeper into the knowledge of the crimson of those years live. (and also "Nightwatch")! See you soon, I hope. (For the booklet, indeed some basic knowledge of English and a dictionary are not enough...)

Dear Ajeje, I must say that I know little or nothing not only about Krantz, but also about another line of musicians whose preferences you sent me (remember?). Unfortunately, my address book at 360 degrees is splendid in its multitude of interesting aspects and the emotions/stimuli it provides me (for 35 years now!), but it is also inevitably partial, in the sense that many things remain for a long time (only to fade away, perhaps) in the so-called "wanting list" or, worse, I know absolutely nothing about them for various reasons. For example, you listed a series of things that are almost Arabic to me, while I’m convinced that at least 70% of the things I mentioned, you know/appreciate. It’s a matter of: Ajeje-Antonio 1 to 0. Now, however, you have to enlighten me about Krantz! Fraternal hugs.