- Jan 1, 1999In a message dated 1/1/99 11:25:32 AM Pacific Standard Time, eichler@...
<< When you replied and accused all of rec.music.prog of having narrow
tastes that followed strict "parameters" of what is allowed to be
prog, you were just asking for trouble. What you said is absolutely,
100% not true - the regulars of r.m.p have *very* diverse tastes in
music, and generally tend to disuss the more experimental things that
*break* the "parameters" of prog (whatever those are). I think OIB
has a very valid point when he says that your top ten list shows a
much narrower taste in music than the people you're accusing of just
that. (I wish I could word that better...). >>
No way, just because he picked them as his top 10 doesn't mean he has a narrow
view of what is good, it simply means that comparatively, what he heard of all
the diverse styles he heard, (and I know, as you should, that Steve listens to
a broad scope of music), he thought that the ones listed were better.
Nobody can listen to all the prog that is out there unless they do it for a
living. And everybody's top 10 picks are subjective, based on what they have
heard or what their income affords them.
There isn't a more diverse ProgMan than I and I also selected RoM as one of my
top 5, (#2 in my opinion). I mean, Djam Karet, Salem Hill, Mortre Macabre and
Jack Bruce couldn't be farther apart in styles, but I include them all in my
top 10 (Somnambulist I mentioned even though they didn't release a 98 CD).
i love, (and that word is not enough to describe my passion for), the most
diverse styles, the proggiest of music and yet Salem Hill's thematic
brilliance rose above the din. not one of the CD's that i included on my list
had a more artistic theme than RoM. the music fit the theme, the theme was
thoroughly examined throughout the composition, the composition was perfectly
adapted to the libretto and the libretto made me cry and hate and think and
forgive. it is an absolutely brilliant prog work.
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