Vinsex

I didn't say that... but simply that the emulation of 60s pop is, in some ways, more coherent than that of 70s prog. One thing is to pleasantly listen to a pop melody, another is to listen to the remake of "Opere" colossal which, in my opinion, once written and played once, are generally so forever. It's very rare for the emulation of such a particular genre to convince independently of the "inspirational models" (I mention the first work by Transatlantic, for one of the rare cases of shameless but undoubtedly excellent imitation of 70s prog).

Xdonate the small typos!

Indeed, point 2 is even more justified. It's a good album in the sense that it's well played and well structured. But for anyone who knows even just moderately the early Genesis and, I repeat, especially Yes, it’s impossible not to remain entirely indifferent in front of this "re-proposition." I could make the same argument regarding the Flower Kings or the stubbornness of the quite talented Neal Morse. From this horde of emulators, I only save Porcupine Tree; despite also being somewhat unoriginal, they have often managed to create winning melodies (already heard but) under a traditional song structure. A bit like Oasis, I guess: they may be emulators of The Beatles, but that imitation has birthed great melodies. The only current prog band that is a bit "different" from the others, in my opinion, is Pain of Salvation... I would like to add Tool, but here we are truly in a world apart, perhaps the only case of 21st-century music without precedents...

A REVIEW SUITABLE FOR THE ALBUM...AND THE STONES...OF THAT ERA.......

Nothing original. The Yes had already said it all over thirty years ago. Personally, I find it simply a good but unoriginal album, played by karaoke experts.

This review sucks. As an old fan, I don't have the courage to listen to the album. Now excuse me, but I have to run to the bathroom...(MAURO HAS REPRODUCED HIMSELF...UAHUAHUUAHUAHUAHUHAUHAUHA )

The most Floydian episode of Gilmour. Truly the prelude to his two works with Pink. Some songs (like the opener track) are truly disconcerting; others, however, like murderer, Let’s Get Metaphisical, and Near The End, definitely represent the best things born from Gilmour's solo work.

This greatest hits is truly "great"... If the story of the Crüe had ended here (or at most after the underrated "self-titled"), they would be an undisputed legend; instead, seeing them stubbornly clinging to ghosts of themselves, unable to adapt to the times and determined to "survive," does them no honor at all. "How beautiful is youth that nevertheless flees..." right, Vince?......

fuck!

..!!!