pier_paolo_farina

A few white artists who, in my opinion, "have" (or had, for those who are no longer here) the Blues:
Johnny Winter
Billy Gibbons
Rory Gallagher
Gregg Allman
Jimmy Page
Joe Bonamassa
Paul Kossoff
Doug Pinnick (King's X)
Gary Moore
Jaco Pastorius
Mike Patto
Robin Trower

Brave, handsome, and unbelievably talented. Since he put down the pick and started grabbing the strings directly with his fingers, his legato has reached abyssal levels of charm and warmth.
He still lacks, now and always, some consistent highlights... a couple of songs or three that are symbolically epochal, representative, universal, cutting across the entire rock world. Those moments that not only make you enjoy while listening but also afterwards, just with the thought.
You listen to one of his albums, and you're there, stunned and ecstatic for its entire duration, but in the end, you can't recall a single note, a riff, a chorus, or a solo.
His tracks, possessing all possible virtues except being memorable, always maintain that quiet, desperate high level. Cult status, for insiders, a hidden treasure.
Kotzen is a cool guy, a good one, maximum respect.
P.S.: It's amusing that twenty-five years ago he was kicked out of Poison because he was sleeping with the singer's Baywatch girlfriend.

Even better is the text of "What Is Love":
"And maybe love is letting people be just what they want to be
The door always must be left unlocked
To love when circumstance may lead someone away from you
And not to spend the time just doubting"
A great one, Howard Jones. The beauty is that, after the synth-pop era, he perfectly reinvented himself as a piano man (albums like "In the Running" from 1992 have a piano sound that rocks, and a lush execution on par with the best Elton John and Billy Joel).
Of course, no one really paid much attention to him in this "classic" version; by then, the reputation of a bleached-haired synth pop star had swallowed him whole. So he tried to go back to his roots with "Revolution of the Heart" in 2005 and once again the peroxide on what was left of his hair... No luck, different times and different trendy blondes (more like other blondes, really...).
Great musician, a true gem! I feel like writing something more about him soon. I will take care of it.

Great group. Unfortunately, Farlowe brings bad luck. Hiseman, my favorite drummer after Bonham. All excellent and measured musicians, ideal to listen to on stage. Colosseum just needed a little more inventiveness melodically, a few more beautifully crafted riffs, some lovely extended melodies rather than the standard gigging blues that Farlowe was only capable of producing. Beautiful tension was created between the "progressive" Greenslade, the "rockers" Clempson and Clarke, and the "jazz musicians" Hiseman and Heckstall Smith, the latter being one of the best saxophonists I've ever had the pleasure of enjoying, and the best of all those capable of playing two horns simultaneously. An absolute must-have album, perhaps taking advantage of the recent addition of "Valentyne Suite," which, in my opinion, is rather mythologized and overrated in terms of thematic content, given its historical importance.

Edit to the review: "Corrected some syntactical imperfections." See the old version link rotto

Yes, the production is excellent and the songwriting is decent. The album cannot be a masterpiece because it’s stereotypical, like 90% of the hundreds of pop metal works (classic metal, AOR, melodic hard rock, call it what you will) that came out in those years, before the great grunge purge. My favorite track on the album is the ballad "Marching in Time," a great melody.

Incredible how this inspired and creative musician in the seventies, so prominent in the instrumental arrangements during the group’s progressive phase, so authoritative and significant in the dynamics among the five personalities, then limited himself within his own group, settling for harmless carpets or synthesizer bursts here and there, in service of Collins' vocals and the little electronic drum sequences, while simultaneously releasing bland and anonymous albums. Unfortunately, the only explanation can be the greed for success and money, the total surrender to market laws and the suggestions of record executives. Yet, in fifty years, lovers of good music, and kids grappling with piano studies, will not seek out his disco splashes from the eighties and nineties, but rather the sublime scores he found on the keyboard for "The Lamia," "Anyway," "The Lamb...," "Time Table," "Firth of Fifth," "White Mountains," "Mad Man Moon," "The Cinema Show," "You" (I particularly like "A Curious Feeling," it has a unique charm with all that Yamaha Cp-80 piano and Beacon's hieratic voice).

I only have "Space in Your Face" for now, but I will soon make amends by gradually getting all of their six or seven albums. I like them a lot, they sing well and they sound tough. Not to mention the cousins King's X, I worship them, I idolize them, I mythologize them.

I remind everyone that the singer of these overhyped pop stars has hidden money abroad to avoid paying taxes. Particularly execrable, indeed unbearable for a guy like him who has long posed as Jesus Christ on earth calling for the cancellation of African debt and other virtuous nonsense like that. Boring and assholes, U2.

Well. The sentence you quote as a pretext for uncertain grammar seems correct to me, although not very smooth. Your coupling, on the other hand, is terrible grammar, since as a word it doesn’t exist, not even in Tuscany.
Then, for a review deemed modest, I would have given two stars, not one little star, the same one that a review that sucks deserves.
It's a bit like your lousy comment, that indeed deserves one star, with ironic allusions to my grammatical and lexical preparation, attempts to be funny, confusion between the intrinsic value of a review and whether one agrees or not with the judgments it expresses (I’m referring to the "best moment of career").