antoniodeste

@Sylvian1982: as for your consistency and lack of superficiality, I have no doubts, and I would say these are uncommon qualities nowadays, so know that I appreciate it: After all, I would say I had already noticed from the tone and style of many of your writings that I have often enjoyed reading on these pages. These "diversities of opinion" of little account, after all, do not detract from the attention I gladly give, as you may have understood, to your contributions in this forum. Until next time. A warm greeting.

@Sylvian1982: just to start, let me clear something up for you right away: it’s not true at all that you have to "win back my favor"; I don’t see why I should hold any resentment towards you. Secondly, it seems you don’t want to understand a fundamental thing that I’ve already written to you; progressive music (which at the time wasn't even called that) did not only last in the 70s and didn't die in '74. I can guarantee you that. In '77, for example, I was buying "Works" by ELP or "Rain Dances" by Camel; they may be liked or disliked, but they are both decent and credible examples that the genre, although in decline, was still very much alive, especially despite your beloved Clash starting, along with the Pistols, to sow panic. Picking at the dates in newspapers is starting to get a bit amusing. You yourself note that "Muzak" and "GonG" were released around the same time as the "bible" 2001, albeit with different durations in '73 and '74. Let me also say that "qui giovani," contrary to what you claim, I found, as a kid, in many places (even at the bar under my house and at the doctor's office) and it had a decent reputation among the youth, far from just twenty-two people. But how can you testify to that if you weren’t even around?

To conclude: obviously, there cannot be any problem of better or worse musical quality compared to people's tastes, and I think it’s fair that you emphasized that. But if you don’t like prog, said with kindness, what the hell are you doing/writing on this page? I don’t find the Clash or the Smiths particularly thrilling, but that doesn’t seem like a good reason for me to act as a detractor or go onto a review of theirs to rant about how much they irritate me. Sylvian1982, in short, I’m 46 years old and I didn’t read about these things AFTER; I lived through them as they happened. Do you want to challenge this based on your internet research? If that gives you satisfaction, feel free, and I can be happy for you. But if you think you’re presenting some "undeniable historical truth," let me tell you I would have my doubts. Regards with kindness.

Frankly, I find (yet another) review of "Discipline" somewhat elementary, although formally correct. However, I agree with Jon Dave Gilmour. It would be appropriate, after twenty-six years, to revisit the topic of "discipline" in a slightly more in-depth manner.

It's difficult to navigate with a review like this. Rich in factual information but lacking in real stimuli. I have personally dealt with the JW topic and I believe that if the goal is to "encourage" listening and instill interest, the period under the Island label is probably more suitable. I didn't understand why there is no author judgment in terms of stars (although it's not necessary); I also don't think the JW topic has ever concerned the "general English public."

bjork: where would you have fished out this video? I mean, it's possible to find vintage footage of Tull, Yes, or ELP, but for the KC it seems particularly challenging (for me). As for the piece (and only the piece) in question, I also happened to record it (RAI 1991) on video on a little tape that got lost after a move. Do you have anything more substantial? For KC, the circulating footage is mostly fairly recent.

Well, I would say you hit the nail on the head, then: I mean that if you mention John Coltrane, Charlie Parker, Ornette Coleman, Charles Mingus, Miles Davis, Thelonious Monk, (the list can obviously go on) we can also talk about genius. With that said, I wouldn’t want to create an annoying line of separation beyond which one could infer that genius is possible in jazz while it is not in rock. But personally, I find that this "trait" is more easily found in the creation and expression of jazz.

Manticore: surely you’re not joking, right? I mean: playing "Endless Enigma" (which I know by heart, in the most insignificant details, I believe) in a situation like that is no small feat, so hats off to you. I once played "Mood For a Day" by Steve Howe at one in the morning in a night club (where I had never been before) for bored bosses and even managed to get applause from the audience. When out of humility I said that I didn’t deserve it, a little voice from afar called out, “but come on, you have golden hands….” That happened twenty-six (sigh) years ago. Forgive me, but I just felt like reminiscing.

So: if we consider that the "golden age" of progressive music comfortably extends until 74/75 (and not just in the year 1970), I calmly reiterate the simple fact that the magazines I mentioned were regularly released alongside "Ciao 2001". It's nothing important, but since this started as a clarification/correction... Anyway, I don't think it's worth getting "worked up" further about it.

@Bjork: Larks' was traumatic for me on the first listen. It was only thanks to repeated listens (and comparisons with other contemporary works) that I understood and perceived the strength and value of this piece. If we exclude the "ballads" ("Book of Saturday" and "Exiles"), the rest of the work possesses an extraordinary capacity for rhythmic attraction and emotional involvement. I believe I can consider it one of the essential works in the history of the group. A kiss. We'll talk soon. In fact, we'll read each other... .

Well done, Maria Elena, but also well done to the well-informed RealAXL: all the curiosities listed are indeed true and have been equally observed by me with interest. It’s also true that it was precisely Yuka Fuji who was one of the bones of contention between Sylvian and Karn. Ah... love... Regarding Karn's crab-like movements, it should be emphasized that walking "horizontally" is truly complicated. Especially since he does it LATERALLY, meaning from left to right of the stage. As for the work, I suppose it is one of the most important pieces I've listened to in my youth. It is the perfect complement to "Quiet Life," "Gentlemen Take Polaroids," and, above all, "Tin Drum." A bit less so for "Adolescent Sex" and "Obscure Alternatives." As for the real Sylvian, I would say that if it’s true he fully unfurled his wings when starting his solo career, we must also agree that he expressed a lot (albeit with a different edge) during his time with Japan. Regarding the nickname Sylvian: oh dear! It should not be missing from your listening list. It's truly a very interesting chapter in a piece of English music history.