Logan wrote:
Arbeit Macht Frei took me a while to really get into, despite already being into Caution Radiation Area, Crac!, and Maledetti (love all of those albums). Crac! is the one I'd suggest to may newbies to start with as it's a fairly accessible jazz/rock fusion album. I'm kind of odd because, well I'm odd period, Caution Radiation Area is the Area album that originally appealed to me the most, and remains my particular favourite, especially for "MIRage? Mirage!" Someone said to me basically, "How can you listen to that noise crap? Jean-Luc Ponty's "Mirage" is way better!!!", which was followed by an angry emoticon as the proverbial cherry-on-top. To each his or her own tastes. I can appreciate various Mirage's, including Klaus Schulze's and Camel's Mirage. |
At the moment, Arbeit Macht Frei is my fave album by Area but Caution and Crac are wonderful and soon I'll listen to them and see how much greatness is inside them.
I love MIRage, beautiful experimental piece. (I appreciate Mirage by Camel, but not so much, and I should listen to Schultze).
I love the jazzy sound of Arbeit thank to Busnello sax, very expressive and dramatic and virtuosistic.
An anedoct (taken by a blog on Italian prog) about the departure of Busnello and Dijvas between Arbeit and Caution.
"Put this way it will seem brutal, but there was a moment between '73 and '74 when the Area were about to melt. A part of the tiredness for the incessant live activity (including a tour in Chile), two fundamental events strongly minimizing the stability and mood of the group: the first was the necessary departure of Eddy Busnello, now oblivated by alcohol and the second , far more serious, the abandonment of Patrick Djivas who left with PFM rivals. The latter defection, asserts a real drama not so much for the lawfulness or otherwise of Djivas' gesture (in the world of Rock the rotations of the musicians are on the agenda), as for the way he did it. Just recorded "Arbeit macht frei", in the Summer of '73 the Area noted in the project to the important given to the Olympia in Paris for which, both they and the manager Mamone, also already organized everything: loaded the tools on the truck, weighed all the equipment to avoid problems at the border and of course, tried the tracks to be played several times.
The fact is that, under the (real) pretext of meeting a girl, Djvas went to the Other World of Rimini where one of the many Jam sessions was taking place between colleagues, PFM included. Patrick made a successful jam with Di Cioccio and Pagani and finally, looking for the girl he does not introduce himself, he is having a long morning alone with the PFM at the Chez Vous restaurant, a usual Rimini meeting place for many passing artists. Between a glass of wine and another, Di Cioccio asked him "So, do you want to come and play with us?" and Djivas didn't think twice to leave his companions in canvas trousers: goodbye bassist and goodbye Olympia. Fariselli remember: "It was not easy, [...] but if these difficulties continue for all of us, [...] in him the ability to see a future in the group collapsed and he went in a really bad way. The night before he was toasting [...] and the next day he was gone. The others made peace, I didn't "
After the accident ended, now the problem was finding a new bass player, with a little luck and after many auditions including Massimo Villa of Stormy Six who refused and Roberto Della Grotta who collaborated just a week, Ares Tavolazzi was added . In fact, this is not only a test of great fluency followed by his companions in an intricate seven-eighth song that he had never heard before, but also proves humanly consistent with the rest of the band. Busnello was no longer replaced (a part for six months between September 73 and February 74 by the rising jazz star Massimo Urbani) and Area stabilized throughout their career. "
------------- "Happiness is real only when shared"
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