Filippo Guzzardi

"The Prophecy" is a great piece (beautiful rhythm) but very, very underrated, perhaps because it was co-written (with Harris) by Murray (unusually a composer). "Infinite Dreams" is not bad. "The Evil That Men Do" had more success live than in the studio. Some solutions in "Only the Good Die Young" and "Moonchild" are commendable, but we're far from the peaks reached by some previous works. By the way: I might be among the few who consider "Piece Of Mind" the highest peak reached by the Maiden, even if I must honestly admit that the band records "Powerslave" already aware of its status in metal: and they do it great. The review is hasty, and the eagerness to publish it is obvious. This enthusiasm shouldn't be completely dismissed, but after the debut, allow yourself (and allow others) a more reasoned encore. Best wishes to everyone.

I appreciate the interpretation you gave of "Idiot Bastard Son." Conversely, in the same "Idiot Bastard Son," in the title track and in "How Would You Like To Have A Head Like That" (which you mentioned, but) you didn't give due emphasis to the fundamental contribution of a genius pianist like George Duke, nor to his duets with Ponty. It's natural that this happened: the lens of your review (a perfectly respectable choice, by the way) is the comparison between Zappa's material and the work woven into it (in this album) by the French violinist. If the perspective is that of the genre that this album dramatically anticipates, namely Jazz-Rock, a piece like "Twenty Small Cigars," for instance, is much more redeemed in the dialogue that serves as an intro between Ponty's violin and Ernie Watts' sax. It is also true that this album closes with a traditional jazz piece (a classic Swing in 4) like "America Drinks And Goes Home" (in which Duke is truly inspired). Your analysis of "Music For Electric Violin And Low Budget Orchestra" is impeccable: a masterpiece of the entire work and a brilliant expression of Zappa's compositional genius. I give you full marks because, in addition to liking Ponty, I prefer reviews where the author, besides expressing personal evaluations, does not shy away from descriptive details: well done!

Of course, "My Favourite Things" is not a jazz-rock album. But the solutions found within it (see the transformation of a classic like Summertime) represent a genuine turning point between Traditional Jazz and Free Jazz: in short, the concept of jazz changes, and the boundaries expand, making possible, among other things, encounters with rock (after a decade of various experiments). It's clear that an album like "In A Silent Way" by Miles Davis (with various Chick Corea, John McLaughlin, etc.) embodies the connection between the two genres that only a short time before seemed so distantly apart. But if you think about what is generally referred to as a classic masterpiece of Jazz like "Kind Of Blue," without "My Favourite Things" by John Coltrane, Miles Davis would never have reached the sounds of the '70s that followed "In A Silent Way": perhaps I’m exaggerating, but I am deeply convinced of it.

x doctor J: I assure you that many 'well-meaning' people who have listened to tracks like these or "smoke on the water," "whola lotta love," and others in the club have approached hard rock, overcoming foolish prejudices of every kind. And I reiterate: it’s not about quality but about feeling.

Without any hesitation of being contradicted, I am one of the first old European fans of AC/DC and a deep connoisseur: so trust my comment. It's true that Angus and Bon were not at the peak of their careers, but they were close to it. Their feats were, above all, already famous for their torrid performances on stage, and this "live" recording unequivocally attests to that. The pathos that oozes from the grooves of what was the old vinyl is palpable. A pathos that you captured and well testified in this review. To achieve consecration, a sound that came out cleaner from the recording studio was needed. With John "Mutt" Lange, this soon happened, and the subsequent "Highway To Hell" and "Back In Black" represent that much-desired peak (...by the way, regarding "It's a long way to the top"). With the riffs of the two title tracks, fans (including myself) no longer just shook their heads (AC/DC fans are the very first headbangers imitating Angus) but began to dance, and rock music made its appearance in discos: a true delight for rockers. Without AC/DC and these two albums, there would be no rock nights in clubs. AC/DC ARE THE NON PLUS ULTRA OF ROCK'N'ROLL, THE ONLY AUTHENTIC FLAG BEARERS, EVEN MORE THAN PEOPLE LIKE THE ROLLING STONES: I DON'T SPEAK OF QUALITY BUT OF FEELING. The tracklist is missing songs like the ones you mentioned, but also other anthems like "Sin City," "Dirty Deeds Done Dirt Cheap," "Live Wire," and especially the beautiful ballad "Ride On." Long live rock'n'roll!!!

by now it's a constant: I always forget to vote

Great review and nice album. I agree with Dune Buggy on "Jupiter And Teardrope." Excellent choice.

I accept the clarification about Steve Howe: but I want to emphasize that the reference is only to the instrumental track "Signify" and not in general (not surprisingly, I state that Wilson approaches Howe's technique in that piece): I just wanted to testify to Wilson's eclecticism and not place him on the same level as Howe or others (see further Hackett). That said, when reviewing something and referencing another band, you need to be precise: if you mention Yes, I believe it’s appropriate to distinguish between the Howe era and after, just as when you mention Genesis, I believe it’s equally correct to differentiate between the Gabriel/Hackett era and after. I was very pleased to receive evaluations and constructive criticisms that were not based on controversy. A heartfelt greeting to everyone.

To Fidia and Enrico Rosticci: in fact, you are talking about the same group. The Damned were among the very first punkers, although heavily indebted to glam rock (a bit like all punk, at least from a musical standpoint). They were founded by bassist and later also guitarist Ray Burns, known as "Captain Sensible," who then had to share leadership with singer Dave Vanian. After breaking through with “Damned, Damned, Damned” (1976) and the less notable “Music For Pleasure” (1977), huge success came with “Machine Gun Etiquette” (1979). Punk immediately enters a crisis, which is also felt in “The Black Album” (1980), where the band seems to show a certain evolution, though it is stifled two years later by “Strawberries” (1982). With punk dead and after the departure of Captain Sensible, Vanian (who had worked as a grave digger to support himself during years of anonymity) imparts a dark aura to “Phantasmagoria” (1985). This is followed by the failed “Anything” (1986) and then the breakup sealed by the greatest hits “Smash It Up” (1987). Ten years later, Vanian and drummer Chris Miller, aka "Rat Scabies," reformed the Damned with the decent “Not Of This Earth” (1996): perhaps reinvigorated by their return, old and new fans don't hesitate to even brand it as a kind of punk masterpiece twenty years later. Five years later, Captain Sensible also rejoined the ranks in the equally decent Grave Disorder (2001). A salute to all.

Fake ZZTOP? Fake the riff of Waiting for the Bus? Fake the solos of Beer Drinkers and Hell Raisers, as well as La Grange? Maaaaaaaaahhhhhhhhhhh!