nightwalker10

Well, when it comes to fake live rock, one could write a book from the Eagles to ELP... but is it really that important after all? ;)

Sorry..... come on, it doesn't seem that serious if I missed the reply... I'll make it up to you. The concert was really awesome though....
As for Lunghezza19, I think the nickname says it all... but at least you're making good use of it?;)
Get well... heheh

Naming amazing session men who play written parts of a masterpiece by Jarreau is like complimenting the elevator operator of the Eiffel Tower for the beauty of the tower... hehehe.
Al Jarreau's voice, right? ... Nothing to take away from the sumptuous Californian production that paid the stars you mentioned, but those guys back then played with everyone like crazy, and not always was the result sublime as in this case...
In short, if we discuss Jarreau, it's better to wrap it up... ;)

I completely agree about Serafin, very personal, precise, and refined, a true complete musician, a bit anti-hero guitar... he left too soon.

Well, if we’re bringing feelings into it... I’m an old Orme fan, so I’ll put down something too.
Quatermass or ELP? Despite Beat's wise clarification and the denials from the Venetians, the influence of ELP is undeniable even in Toni's organ technique (with the necessary limits) and in the management of the "fugues"; after all, we’re talking about years when anyone playing prog was doing it in the style of Rick (Wakeman) or Keith (Emerson).
As for our guys, what to say... dreamers, fundamentalists, naïve, authentic, unique, and I think that beyond their undeniable skill during the prog era, Orme were, from '74 onward, incredibly refined pop musicians somewhat underrated by the fans. In fact, just listen to "Canzone d'amore" or "storia o leggenda".... who else makes "pop" pieces like that?
I remember a long chat with Aldo after a concert, where he justified their easy production style like "Marinai" by saying, "What were we supposed to do?... they were slamming doors in our faces and we had to eat!"... praise to the monster called "Record Market"!

And who makes an album like this anymore? The class of making a rock album with a soft voice, keyboards, and saxophone that, listen listen, doesn’t resemble any other... The Tramps reach a creative peak for an instant, but they unleash a must-have, the improbable combination of the worker Rick Davies and the bourgeois Roger Hodgson works perfectly, giving the rock song formula an unsuspected refinement, conquering the market while the backlash dominates with Clash&C.. No falsetto in Hodgson’s voice, unless by chance, but a childlike timbre, even this in clear contrast, apart from Jon Anderson. Anyway, you could have left this review to someone else... :)

As an old fan of the guys from Mestre, I share the choice to review this beautiful song, a symbol of Italian pop, even chart-worthy, full of musical content: melody, rhythm, originality, technique (shall we talk about the torrid funky interlude by the late Germano Serafin?).

Le Orme's '76 belongs to the band's guitar phase, with the replacement of Tolo Marton by Serafin, which I personally find as interesting as their prog phase. Certainly, it's true that Verità nascoste, from the same period as this 45, has a different depth, but we know well that the singles' purposes at the time were chart-oriented, which was not exactly the band's hallmark.

For vintage sound enthusiasts, the vaguely wavering rhythmic sound that supports the verse is an organ, a Hammond with a slow Leslie, equalized on the mids, as played by Tony Pagliuca. Hi and have a good summer :)

Pepper is a cult... I find it a saxophone with a nervous and poignant language, certainly among those that are recognizable at the first listen. Beautiful choice.

I appreciate the consideration but... who the heck listened to Trapeze?
When I talk about "unknowns," I mean to the general public of rock fans :)