nightwalker10

Perhaps due to these preferences, the genre is dead and buried.
Only music for waiting rooms remains.

It's a shame that the dictatorial regime established thirty years ago by singer-songwriters has denied this majestic rock fresco, full of melodic originality and instrumental sophistication, the remarkable generational success that other great albums (Selling England By The Pound, The Dark Side Of The Moon, etc.) achieved in our country, albums that are equally brilliant but musically more "straightforward" in the positive sense of the term. Nevertheless, it is undeniable that with this record, the evolution of progressive reached its most advanced stage. The long suite that gives the album its title, in which the evocative pictorial chromatics evoked by Jon Anderson's voice flow over a magmatic backdrop stirred by Howe, Squire, and Bruford, achieves absolute architectural perfection.
Music for the imagination.
P.S. Hats off to Bruford, who will find greater glory in realms not strictly prog, as is the nature of his musicality, but the performance with Alan White on drums (see Yessongs) is more exhilarating and passionate, even if less technical, recuperating the sense of rock groove at the expense of the precious, and somewhat cold, polyrhythms of the very young Bill.

Excuse me, has it ever happened that songwriters changed each other's songs? The difference is that his always says something.

In fact, we’re not talking about you but about your pretentious quotes on harmony... prog isn’t exactly that superficial. As for easy listening, it has all my respect, but I just don’t see it fitting. Let's say it’s your opinion, and as such, it’s the best one there is: pax.

It's an album I love, perhaps that's why I don't share the criticism of "Invisibile," a suspended and ethereal track, even in its lyrics, particularly original for our friend's compositional habits.
For the rest, I find "the engine of human sentiment" and "my youth" unforgettable, but I believe that when the poetry is so introspective, the index of appreciation is driven more by specific subjective sensitivity than by aesthetic reasons.

The album is beautiful, and that's exactly the reason for the controversies. Whether it is more or less so than Fox or Selling is another matter, as it must be framed within the pop evolution of Genesis. Anyway, the review is well done, and like all reviews, it is subjective, but still, well done! If only there were more "pop" like this today...

I must preface that a judgment of an album is obviously influenced by emotional elements, so if I find it delightful, it's certainly because it introduced me to Genesis, but labeling it so gratuitously as easy listening seems unjustified. The song form is not antithetical to prog; perhaps Roundabout or Talk to the Wind weren’t? In this work, Genesis highlights the elegance of the scores and the ensemble work, as well as some excess mannerisms that cool the atmosphere, but it retains the sense of a music that is almost aristocratic, cultured in its forms and contents, yet with an immediate recognizability.

I have been a big fan of Le Orme and I know them like the back of my hand.
"In concerto" is an almost unbearable album from a mixing standpoint, with small, mid-range sounds that certainly detract from its artistic evaluation, but it remains an important document of the times, even though it doesn't do justice to the group's live performances.
As for the tracks... the unreleased "Truck of fire" perhaps revisits the typical redundancy that marked the decline of prog, occupying the side at the expense of more substantial published compositions.
However, Michi dei Rossi on drums is a force of nature...

More than a review, it feels like a missed day trip.
The beauty of the internet is that everyone can write, the downside is that everyone can indeed do it.
No offense, but you're a bit Don Quixote-like.

Every comment on the album risks being irreverent... it’s up there, period.
An authentic revolution and evolution in the jazz musical metric of all time; however, just a clarification on the revolution of "So What," the manifesto of modal jazz: Miles introduced a new way of conceiving harmony for the benefit of the improviser's freedom, who until that moment with bop, hard bop, etc., had been confined to very rigid harmonic realms characterized by many chord changes.
"So What" (with "Impressions") by Coltrane is a manifesto of modal jazz, a new sound world within which the soloist could roam without overly rigid limits, incorporating influences that came from certain avant-garde classical music over a harmonic carpet that ventured from bebop, through hard bop, into cool, into free, until it retrieved its own Black roots.