ajejebrazorf

In my opinion, he's just flexing his biceps; I'll borrow the image from you. But it’s not just about flexing the biceps, it’s that he lacks “balance” (a concept that’s really tough to explain). He’s always over the top, wears Armani, has a three-necked guitar, and strikes guitar club poses on album covers; maybe his house is full of Rococo furniture and a poodle. But it all comes down to taste, I suppose. Some people love excess and some don’t. I don't. At least not like that, if it’s just ostentation, as it seems to me.

compose or play? Because as a composition it seems very poor to me. Go himself has done more interesting and complex things, in terms of composition.

And what's happening here? It's getting quite interesting. In my opinion, technique isn't a problem in itself. On the contrary, technique is FUNDAMENTAL. Even though I also listen to punk, I don't like those who take pride in not being able to do anything. Because today you can hardly do anything without being aware of musical language. It’s also true that in music, very technical musicians, the super-virtuosos like Vai, tend to depend on that technique; they feel the need to showcase it. Vai has that limitation. Even a piece like Tender Surrender, in my opinion, is extremely showy, lacking a sense of balance. It should be captivating, but to me, it just sounds hysterical (and Marco, if you want to say something, I have no problem responding to you). As for Luca Lj on Faust. Don’t joke. You speak well of Daniele and find Faust overrated, judging them from a fragmented album and from J'ai mal aux dents, which is still a great piece? Listen to Faust IV, listen to the first one, listen to So Far. Bah. Talking about things you don’t know to prove some preconceived thesis, I don’t understand that. Before I forget: shark, who tells you that in acoustics, virtuosity should be considered differently? When Emmanuel acts like a clown, I find it quite disgusting.

I have never questioned Vai's arranging skills and talent, and Jetto knows that. I think Vai cares more about impressing than about moving his audience. From the myriad sounds of "The Riddle," to the octave guitar in "Ballerina," to all the sections of "Fire Garden Suite," to the flutes in "Salamander in the Sun." These flaws were also present in Fripp or Zappa, but they manage to move me as well. It’s no coincidence that Vai's fans often prefer the less experimental pieces, like the virtuosic hard rock, but without the musical pretensions of "For the Love" or "God" or "Juice," which ultimately are the most engaging tracks.

And according to tender surrender, does the arrangement count for the free coda or the mirror section? Hmm :D

Sorry, which compositions are you comparing?

Luca, I was crazy about Vai, so I have a ton of records and I haven't listened to them superficially. Passion and Warfare, Alien Love Secrets, Flexible, Sex and Religion, G3, Fire Garden, etc. I know them very well.

Sorry Luca, you say that Vai is a genius and the Crimson are mediocre: something doesn't add up for me. Speaking of superficial listens.

It was to say that Fripp is mainly a composer. He has nothing of the guitar hero, and judging him by the numbers on the guitar rather than by his compositions makes little sense. The early albums, even if I don’t go wild like bowie89, are all worth a listen. For my tastes especially In the Court and Red. Ahò guys, the father of progressive.

Hey, do you know any crimson?