nightwalker10

It was an album of stunning beauty back then, and it remains so today after 26 years.
But who plays like that anymore?
P.S. Neil Peart deserved more glory, great lyrics and a great drummer.

What can I say, it was released on January 26 in Canada, and I only heard a snippet on the Radio Montecarlo playlist. The track is pop; it seems to have a style like "Inconsolable Man"… but I’ll reserve my judgment… hehehe.

What problems do you have exactly, babe?... babe... mh yes, I’m starting to understand :)
I recommend migrating towards the review of Vomitory...

Yes, you are right, maybe I misunderstood the judgment about the performance of this specific, and unfortunately it seems to me, live evening with the criticism of the band as a whole. During my prog phase, I was actually for Le Orme, but with great attention to Banco, which might have more depth but less imagination. I hope to go see them on May 6th around my area at a prog evening. Bye.

I have the job of Lan-Doky and what can I say... when Gino's voice strikes in, you understand that... it's singing.
However, outside of his sound world, it has a strange effect; I see him as a monolith of enlightened individualism, thus not very suitable for supporting roles... :)
But now let’s try to talk about the new "These are days"... for those who managed to get it...

Hi Hyero, it seems to me that the record was just an excuse to vent about them, fundamentally without reason. Your judgments seem overly severe on "today" as much as they are arbitrary on "yesterday." Banco, the Roman prog alternative, has always represented an intellectual alternative to the neoclassicism of the Venetian Orme and the AOR of the Milanese PFM, backed by the absolute virtuosism of Vittorio Nocenzi (without any deference to K. Emerson) and the overflowing personality of Francesco Di Giacomo, which is why the technical criticisms of the group seem absurd to me. While it's true that we all get older, blaming them for "not being like before" seems ungrateful towards those who have created great music like Banco; it would be better to thank them for what they have given us and turn a blind eye to some shortcomings. Perhaps we should then ask ourselves if Dream Theater really deserve all the applause.

Well, I have the live show from the North Sea Festival in the Netherlands, thanks to EMule ;)
It's a wonderful concert.
Caron? Well, he's been playing with him for a while (and also Paul Brochu from UZEB sound), I've seen him since 2000 as the star of the new bop-style arrangements of Vannelli's classics.
As for Canto, I don't share the accusation of it being easy listening since it's just an experiment with lyrical singing, whose mother tongue is Italian (hence the presence of pieces like "Parole per mio padre").
Let's be clear, it's a bit hard to digest, but precisely because of that, impossible to sell... :)
Anyway, I don't know if you've noticed, but our guy goes wherever he wants.
Take it or leave it.

It didn't intend to be a cold replica, but just a discussion on the genre drawing from your "tastes," to say that fusion has ended up in a dead end.

Indeed, they were talking about Yes. Not by chance, Bruford's KC is a great techno-intellectual group, obviously glacial, but by intention.

I bring to your attention.