antoniodeste

@Manticore1962: thank you, but I suppose I should at least thank you back! "The Endless Enigma" is definitely no walk in the park! Regarding the piece by Steve Howe, I can say that it was, after Greg Lake's "Take A Pebble," the first song I learned from scratch. I mean, back then (1974), I had no clue what an arpeggio, an interval, or a half-note was. I think it took me a couple of weeks practicing it 4 or 5 hours a day, pretty much every day, armed only with a guitar and a turntable. ....Those were the days of the turntable..... So, tell me about your musical education as a keyboardist! I like keyboardists so much that at one point in a band I led (we were doing "parafusion"), I had two keyboardists (one just for piano and the other for synths, sequencers, and possible synth-bass). Go on, share! :)

Old passion from the 70s, America; I often played their most well-known songs live, and even now, sometimes, I enjoy listening to something of their carefree lightness (I recently bought their live album from the late '70s). They are still needed, after all... .

I believe that Malesch is "slightly" different from this. I bought "Departure..." in London in '79 at a flea market (because I couldn't find anything better) and found myself with this precious work. Yes, nice (and unexpected) find, complete with a thoroughly informative sheet. Great job, Enry. What is Mr. Hoenig doing now, do you know?

Regarding originality, given the clear Floydian derivation, I might have some doubts; as for the yet-to-be-reached maturity, I would say none at all.

Thank you, Tikal, sensible person. :)

....Come on guys, let's take it easy, please.....

@Punisher: nobody is forcing you to read other people's reviews. You didn't vote on the album, and in my opinion, you don't even know Holdsworth. And you're the usual rude one.

I would skip over the disputes and misunderstandings between the reviewer and Björk. I suppose it's a matter that concerns them. I would rather say that talking about Tempest always brings me joy. The author of the review has highlighted the key points of their sound characterization. A true power rock trio with one, actually two, diamonds that made this group truly special. Followers of modern jazz will have no trouble agreeing with Farina's words dedicated to the great Holdsworth. Rock lovers will be pleased to see Ollie Halsall recognized for what he deserved. They are two fine examples of solid rock, a bit uninhibited in the case of "Living In Fear," and I find that for those who have had a soft spot for Colosseum or Cream, this chapter is worth noting. On a closing note, I remember that there is an (excellent) bootleg that captures a very particular moment for the group; that is, the Holdsworth/Halsall transition moment. It’s a live recording from the BBC that features BOTH guitarists with a couple of unreleased tracks. It goes without saying that it is a unique and extraordinary document. I believe it can be found in the usual conventions or on virtual markets.

......after everything you’ve told me, it’s even more astonishing to think that you could consider Wilson a genius. Compared to him, what should Zorn be, some kind of demigod?! And Bud Powell? Please, don’t take it personally if I poke you like this, but I like to call things (and people) by their name...... . With affection. :)

........and to think that Paul Rodgers had the audacity to "become" the singer of the neo-queen of 2000....oh well.....