pier_paolo_farina

Well, splinter, not only the pedantic and diluted (like the Flower Kings, I quote!) can be boring, but also the brainy and the "mechanical", and this is somewhat the case with Magellan, who, on occasion, are somewhat nice, always using an adjective of yours that would have never come to my mind to describe them.

I don't find them, I own them.
This one, specifically, I stumbled upon towards the end of the seventies, picking up the LP in the usual bargain bin and remembering one of their tracks, "Summer Breeze," which had played on the radio a few times.
After that, I also chose "Freaks Fret," the instrumental track from this album, as the theme for a little evening show I hosted weekly on a free radio station.
I also want to tell you that, in reality, I would very happily review the big names like Floyd, Zeppelin, Beatles, Queen, and the like, those that get a lot of clicks and therefore provide an opportunity for a nice harvest of comments, discussions, insights, and controversies. Unfortunately, this site is already more than clogged with them, so I dedicate myself to rummaging through my collection and, more generally, my know-how, looking for those titles that have never been reviewed and are necessarily quite unknown to most. However, I also review elsewhere... on sites that are less stuffed with reviews of famous albums...

I am a guitarist, and I am grateful to many guitarists. If I had to name three, I would say Beck, Page, Ollie Halsall.
Beck as a pure guitarist (the touch, the search, the freedom, the ability to engage the entire guitar: tremolo, potentiometers, headstock, bridge, slide played with the right hand...)
Page as an orchestrator, composer, visionary, master builder, and for his particular ability to let go in solos, even those done in the studio.
Halsall as pure alien, something unattainable, evoking tears at the memory. By the way, the best keyboardist ever (including vibes) among guitarists.
With your mere three chances, I'm doing a disservice to many other masters, before whom I bow in gratitude for brightening and enriching my life: Morse, Ian Chricton, Ty Tabor, Gilmour, Scholz, Gary Moore, Guthrie Govan, Winter, Gibbons...

At Bron-Yr-Our, the Zepp did not "record" anything. It's a cabin in Wales, without electricity. They went there with acoustic guitars and the harmonica, along with two roadies to cook and do the shopping. They composed many tracks, which they later recorded in London.
John Paul Jones at the beginning of "Stairway" is not on the organ: he's on the mellotron, flute register.
Headley Grange, not Headby.
There was no "legal" dispute between the Zepp and Atlantic over the cover. Just pressure, and discussions between their manager Grant and the American managers. No lawyers involved.
The "five symbols" are naturally four, as there are four of them.
Forgive me, but you are twenty-seven years old and not fifteen; it's time to write what you know, not what you vaguely remember from one-time readings.

The best, and also the one that sold the most, is "All Together Now" from 1972. Also delightful is the live double album "Encore" from 1974.

No, just "La Valcamonica"

Paddy is a big shot, even if he's as likable as a cat stuck to someone's nuts. I'm looking for him too. The best floppy ears in the pop world, not to mention Ric Ocasek. Narcissistic reception. Whether the meat is good or not is also up to the reviewer to say their piece, perhaps with a certain perspective, meaning without rigidity and prescient judgments or arrogance.

Of course!... mixed with rock, pop, and more. Listen to "Peaceful Easy Feeling," "Train Leaves Here This Morning," "Earlybird," "Twenty One," "Bitter Creek," "Midnight Flyer," "My Man," "Lyin' Eyes," "New Kid In Town"...

Everyone matures their own beliefs, Leo, of course. Regarding the Southern landscape, I have different preferences from the majority (who say: first the Allmans, but what about the Skynyrds!... the rest is a tip). For me, the Allmans have merits mostly as forefathers... I've always experienced their jams with boredom (perhaps from under the stage, with five or six joints in me, the effect would have been different!). After that, from the fourth/fifth album onward, there’s almost nothing that particularly grabs me from them, at most the more recent things, with the magnificent Derek Trucks on slide. The Lynyrd started strong, charisma and role... but even they showed signs of wear by the third album. They bounced back with Street Survivor but then fate intervened... and the things made from the late '80s onwards are pleasant (although sinisterly opportunistic... with images of the dead one singing in sync with them from the screen above the stage) but not must-haves... the same goes for Marshall, Blackfoot, and Molly, generally considered from the third to the fifth, each with their good numbers but not with a string of consistent albums. To make a long story short, I went crazy for Atlanta Rhythm Section, 38 Special, and Point Blank back in the day, and I still hold on to them today, more or less in that order. Then come the five already mentioned. But in particular, the first two are the ones whose albums I love the most. In the case of 38 Special, I find "Wild Eyed Southern Boys" from 1981 to be excellent, and noteworthy (about on par with this "Rockin'") are "Tour De Force" from 1984 and "Bone Against Steel" from 1991.

Let's say the match ends three to two; Kuntz and Werno appeal to me more than LaBrie and Rudess, who are also good (especially Rudess) but outside their genre. I Dream are very good, but they give off the feeling of making music for educational purposes.