ajejebrazorf

I agree that he was never a great musician. However, I believe that the value of a piece is more, or rather different from the sum Music + lyrics + originality + arrangements. So a song among many, just to make an example since I mentioned De André, like "Canzone del padre," which doesn’t have a particularly memorable melody or a brilliant arrangement, is for me a staggering piece. I mentioned De André, but I could have said, you know, Lou Reed. I could have made an example from cinema; are your favorite films (if you have any) all crucial turning points in cinematic technique? But I believe the same concept applies to music: are all your favorite pieces revolutionary, or are they instead songs/suites/whatever you want that, in your opinion, express certain feelings "better"?
I believe that while innovation is certainly a value, balance and expressive maturity are also values, which often the "pioneers" lack. This is a concept I apply (with moderation) to this album as well.

Easy, I see it differently and I'll give you a very simple example. De Andrè has NEVER been original.

I believe that innovation is not in itself a merit. Many groups conduct experimentation, often extreme and often quite intelligent. Making that experimentation coalesce into something justifiable is another matter. I gladly listen to even groups that are quite uninnovative, who, despite using well-trodden sounds, genres, and arrangements, manage to be more effective than their far more innovative predecessors. I think this a bit applies to this album: all the limits we know, not very innovative (though not nothing, they have blended metal sounds with prog and I believe they were among the first), melodramatic to the point of nausea, flashy, but much better than many classic prog albums that here no one dares to criticize. Certain tracks are well-crafted, like "Take the Time," like "Metropolis." They have meticulously arranged pieces that are not as naïve as many lauded groups from the '70s. For me, it’s certainly not a masterpiece, but if I were to rate this album with a one, I would personally bury half of progressive under the ground, and 90% of Italian prog. In short, this and "Awake" are good albums for me. Then they also got carried away, and I agree, and right now I wouldn’t listen to them again. But you are an extremist worse than me :)

I've wanted to ask you this for a while, but do you think that if a group is derivative, it's necessarily a flaw?

Easy, we see it similarly about Dream Theater, but this album isn't just for one person, come on...

But why Punny, do you REALLY want to open a debate about the albums of Busi or Lecciso? Are you kidding? A serious discussion?! It's obvious that for reviews like that, and things reviewed like that, the conversation is at the right level, meaning that of the bickering on Domenica in and Buona domenica. You are free to say that I, NickGhostDrake, or others are talking nonsense; maybe you should do differently from our beloved prime minister and accept some criticism.
Name: isteric Keck | Date: 2/2/2006 | Rating: | Album Rating:
PUNISHER'S RESPONSE
I officially invite all the anonymous people mentioned by I Love Music to confirm their existence and silence that hysterical queen (which unfortunately for you is not me). Just like in kindergarten Mariuccia. What a pain!
Name: the Punisher | Date: 2/2/2006 | Rating: | Album Rating:
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This is you, Punisher.

I also believe that a lot of people here are stand-ins for Punisher, who is quite invested in self-promotion. Just look at one of his recent posts where he referred to himself, Francesco, as the "pillar of the site," and many remember that. And if I say this, it should also make it clear that it's pretty unlikely that I would be just any stand-in. So, now I've had it. You may be good at writing, but you're a jerk. What do you mean by talking about something else?
So: Dear Francesco, I don’t mind the double nickname, the various personalities, but I can’t stand certain attitudes. Like the compliments from Sfasciacarrozze on the reviews under the name Francesco, with him being completely unaware of everything, to which you replied under the name Punisher, about the idiots that others don't have. Shall we talk about that?

if

now I'm going to make myself hated :) It's not that I find it bad, and I agree that the voice is very beautiful, but I'm not a big fan of Le Orme, and if I have to choose, I prefer Collage. I like "Suspended in the Incredible" and "Return to Nothing," but for example, I can't stand "Outside of Time" and "Felona" at all; "Felona" seems to me to have come straight out of the Zecchino D'Oro...

I agree with superintruder, wow how rhetorical it is. Musically, it’s played really well, even though I don’t like the singer much (aside from Dante di Nanni) and he’s also the obvious source of inspiration in the way of singing for Modena City Ramblers, which is a big drawback for me. And I take away another point because one cannot say the word “Gianfranco” in such an epic way in a record.