Reviews that Stand Out

Easy Livin wrote: Nice one Marc!

Thanx Easy!

 

Zeuhl
(Studio Album, 1973)

MAGMA "Mekanïk Destruktïw Kommandöh" Review (Permanent link) by ProgressiveVoyage @ 6:52:41 AM EST, 10/20/2005    Magma in their best performance! The token communist album, a title often attributed to their later (unrehearsed) album, Rebuild the Wall. This album got banned in the United States for being communist and Satan Worship. They got Anton Levey to talk on the album, and he talks about evil Satan stuff while they play scary music. Essential a masterpiece of progressive music!

SevenColoured wrote:   This album got banned in the United States for being communist and Satan Worship.

 

That may or may not explain why my original vinyl copy (here in the UK) was the American pressing with the American sleeve, released by Herb Alpert's A&M Records???????????????????????

Sorry to ressurect this thread so randomly but I just felt like adding this one:

RADIOHEAD "Ok Computer"
Review (Permanent link) by Kadelick
Posted 5:11:56 PM EST, 12/10/2005

     For some reason, Foxtrot seems to bring out some rather
peculiar reviews. The famous one quoted here is remarkable in
its overtsubjectivity, as if the most important aspect of the album
is her reaction to it:

"GENESIS Foxtrot
Review (Permanent link) by Imogen Reid @ 1:34:17 AM EST,
11/18/2005
PROG REVIEWER
 —  Don’t let the three-star rating put you off, I do like this
album but the rating comes more out of sheer disappointment
than anything. In comparison with the surrounding Genesis
albums of it’s time, this one just doesn’t have the same
innovative melodies and composition- the type to strike one
with awe. It comes as a bit of a surprise….a BAD surprise after
what most other people have told me in their opinion
(“Supper’s Ready is the best song ever!” etc..) However this
album does have it’s strong points, despite its apparent lack of
energy in the melody-section. The rhythms, the beats, the
different time-signatures (and yes, I’m pretty much referring to
the same thing here) in some certain songs, which I will
highlight later, are probably the most inventive thing about this
album.
Watcher of the Skies: Though the intro seems to go on a bit, this
is a fun pop-song with a very ‘atmospheric’ beginning. The
complex beat of the bass-line once we really get into the song
is quite catching. The voice, melody and lyrics are ‘happy feel-
good’ style (“From life alone to life as one, Think not now your
journey’s done.”) Could this be the album in which they let their
mind relax and soak in pop? However- one must admire the
funky guitar and organ solos. The melody thumps and repeats
like an over-used anthem. The song ends rather depressingly,
in contrast with the overly optimistic tune of the whole thing,
with Hackett’s guitar-whine and then a very solid, banging
chord.
Timetable: A really CUTE piano solo to start with- reminiscent
of my own little sisters practising in the next room. Then Pater
Gabriel sings and the piano changes to block chords. Sure this
is a bit of a pop-song but it does have its good points, such as
it’s complex chordal progression and melody. Even the
dynamics (loud to quiet) around the chorus give it a nice touch.
The lyrics could be better…in the verse they aren’t so bad but
the chorus just seems heard before, many a time. (Eg: “Why,
Why can we never be sure till we die or have killed for an
answer?”) Sounds like the kind of thing that I’d write if I were
trying to hit some kind of sublime moment but just couldn’t
make it.
Get em out by Friday: This has a very catchy beginning but I
think the organ running up the keyboard after each electric
guitar strum is more annoying than enjoyable. Then the organ
bangs chords reminiscent of ‘Giant Hogweed’ and the bass-
work in the background is very snazzy. But Peter Gabriel’s
voice…could be better. He seems to be sadly lacking in
strength. However acting is seen in the changing of his
accents: the story being of tenants who are kicked out of their
flat/apartment. “Oh no, this I can’t believe. Oh Mary, they’re
asking us to leave.” I love the flute in this. The story of the song
matches the changing of tune as it depends of the changing of
moods due to which character is represented by Peter Gabriel.
Depression and Stress- the flute is my favourite tool to bring
emotions out here. Probably my favourite line: ‘This is an
announcement from Genetic Control: “It is my sad duty to inform
you of a four foot restriction on humanoid height.” A sexy guitar
solo from Hackett leads to a complete change in the tune and
we’re stuck in a gentle meditation…Flutes! Then back to
thumping organ and previous melody The ending is ethereal
but a bit too much like that of ‘Watcher of the Skies’ for my
liking.
Can-Utility and the Coastliners: This has beautiful guitar-work
at the start but I can never remember it when I think of the name
of this song…which is bizarre, because the verse is just plain
cute in the melody but when he sings “For from the north
overcast ranks advance, fear of the storm accusing with rage
and scorn…” the melody becomes deeper and is gorgeous.
Things get even better when Hackett strums and Collins drums
pick-up and the mellotron builds up, altogether. Gabriel sings
and we’re lead into this great organ solo- gaining adrenaline
again. Then the bass flicks like mad and a high organ (how
typically early Genesis) dances away… then GUITAR! (Progitty-
prog-prog indeed. It’s great when the song changes so
suddenly like this.) What’s wrong with Peter Gabriel?! He’s not
at his best in this whereas the other musicians certainly are. A
catharsis occurs at the end with all band members contributing:
“See a little man with his face turning red, though his tale’s
often told, you can tell he’s dead.”
Horizons: This is a gentle guitar instrumental, good enough for
putting the babies asleep to. Anyone heard a certain Irish folk-
song called The Currah of Kildare? I used to sing that when I
had a celtic harp (Alas- I don’t anymore.) Anyway, I SWEAR
Hackett heard that at least once and it came back to him in the
composition of this. I say this even though it's music which is
apparantly 'borrowed' from Bach or so Hackett said himself.
Supper’s Ready: aHA! A twentythree-minute epic from Genesis
that almost everyone seems to love and yet it’s not what I
expected. It’s definitely a love-song at the start, and some say
it’s based on a certain event in Gabriel’s first marriage in which
his wife believed she was possessed. As is the case with
twenty-minute epics, this is divided up into different sections…
Lovers’ Leap: “And it’s Hey babe, your supper’s waiting for you.
Hey my baby, don’t you know our love is true.” My mind is
divided on this one. I am a woman and I love Progressive rock.
I get f***ed-off when people point out that prog is a very guy-
thing so therefore I’m an odd creature. The fact remains that not
all women are the same and I resent always being placed in a
particular ‘category’, so to speak. I’m pointing this out here
because this is a prog song and a very *blatant* love song. If
you think of such other prog love-songs, such as ‘Cinema
Show’ for example, the desirable object of the singer is not
sung to so directly as here in Supper’s Ready. As a woman, it’s
somewhat comforting to have this change- the reason being
that women do tend to want just *some* romantic attention in a
relationship…otherwise it’s just not stable enough to them.
(Somebody….save me.) But as a moderately devoted Genesis
fan…this change just doesn’t do it for me. If the subject matter is
love then being blatant kills the feeling a bit- I prefer poetic
subtlety: ‘Cinema Show’ takes the cake! The guitar changes at
“It’s been a long, long time. (spoken) Hasn’t it?” Then they all
sing, using their voices as instruments (and I mean “Aah!”s)
and the keyboard joins in with the building up of the guitar-
which is a precursor for ‘Cinema Show’ in what it does. The
Guaranteed Eternal Sanctuary Man: “You, can you see he’s
fooled you all..” sounds rather 80s, don’t you think? Collins
picks up with an amazing beat on the drums and, all of a
sudden, Peter Gabriel’s voice is in much better form. Ikhnaton
And Itsacon And Their Band of Merry Men: Children’s voices!
They’re chanting…but whatever they’re chanting…I do not
know. And I HOPE you don’t either- otherwise I believe I’m
missing out on something essential here. An eerie chord
plays…mixing with the little kiddie’s voices so it sounds quite
spooky, then (MY FAVOURITE!!) a flute and guitar duet play the
starting tune with the keyboard to back them up. Gabriel sings
with great animation “Wearing feelings on our faces while our
faces took a rest, we walked across the fields to see the
children of the West…” and the organ dances away- building
up adrenaline again. Genesis sing altogether “The fight’s
begun, they’ve been released, Killing foe for peace…bang,
bang, BANG!” so again it’s anthem-style singing, less authentic
than the usual Genesis style but we all need a pub-style manly-
man-man song once in a while. Hence ‘Twilight Ale House’!
Ooooh- an eargasmal (sorry- had to fit that word in here
somewhere) fast-driven guitar from Hackett with Bank’s
keyboard in the back play a melody which is copied later after
they sing! This gradually sinks down to delicate strumming.
How Dare I Be So Beautiful?: Eeriness again with the synth
playing slow chords, each with a slight crescendo, as Gabriel
half-whispers and half-sings the melody. Probably the scariest
lyrics are herd here (not that it’s *easy* to hear them): “A young
figure sits still by a pool, He’s been stamped ‘human bacon’ by
some butchery tool, (spoken) He is you.” Once again , as is the
case with Genesis’ lyrics, Greek mythology is seen at this point-
as he mentions Narcissus…..then the immortal two words: “A
FLOWER?” Willow Farm: smash, smash, Smash, SMASH “If
you go down to Willow Farm…” This is the bit that everyone
loves to sings along to as it’s so off-the-top. It’s got fairytale
conventions, history…general craziness. In my opinion- it’s
meant to be what comes out of the mind of a very imaginative, if
not extremely deranged, child. “The frog was a prince, the
prince was a brick, the brick was an egg, the egg was a bird.”
Now some English midget says “Fly away you sweet little thing,
they’re hard on your tail!” and WHO IS THIS ENGLISH
MIDGET??? I have a strange feeling it’s Tony Banks but I *
could* be wrong. This section is a deep contrast with what
we’ve heard so far. Then a whistle blows… ALL CHANGE!:
Different singing solos from everyone- it’s very clever actually
so it must be admired. Apparently “Dad diddley office” “Mum
diddley washing” and everyone’s “full of ball.” You’d think
Willow Farm was trippy enough, but no. What does this mean?
Some kind of satire on the typical nuclear family? Watch out for
the up-down plucking of the guitar- which we first hear at the
end of Willow Farm. Tell you one thing though- this bit definitely
reminds me of the circus. A long guitar strum down and the
keyboard retains its riff then and echoing electric guitar come
out of nowhere like an alarm. Apocalypse In 9/8 (With Gabble
Ratchet): Twinkling guitar and flute duet, but this is a different
melody from what we heard before. It’s lullaby-like and very
gorgeous. It repeats about four times round then the guitar and
drums pick-up while Peter Gabriel brings us back into a fantasy
world: “With the guards of Magog, swarming around, The Pied
Piper takes his children underground.” The organ is probably at
its peak here. Afterwards, the flute takes over. Then we find
ourselves in a constant army-march beat, I guess you could call
this the climax of the song. “666 is no longer alone, he’s getting
out the marrow in your back bone,” A mellotron comes down
and bells are heard! The two melodies from the start are heard
again- the first being “And it’s hey babe…” As Sure as Eggs is
Eggs: And the second being “Can’t you feel our souls
ignite?…” However these tunes are much more smashing than
the beginning, as is the case with the end of a rather long song.
Don’t get me wrong, this IS a good epic from Genesis but
,unlike The Battle of Epping Forest/ The Music Box/ Dancing
with the Moonlit Knight, these different sections just don’t melt
into one another. Willow Farm is great but it’s like a streak of
red on white when matched with the rest of the song. To me,
good prog is when a song has time-signature changes,
melody-changes and etc. But if the theme changes…well…it
can get a tad too pretentious for my liking. Especially if the
different sections have titles that are a little *too* off the top. (As
sure as Eggs is Eggs? Come ON Gabriel!!) All these changes
in tone seem to suggest..what? Intimacy after a bad LSD trip?"

     That's only some of the highlights actually, it keeps going on
and on...I guess those those Genesis guys know now, they
should have concentrated a bit more on the melodies on that
crummy album!!! And who WAS that English midget anyway???

RoyalJelly wrote:       For some reason, Foxtrot seems to bring out some rather peculiar reviews. The famous one quoted here is remarkable in its overtsubjectivity, as if the most important aspect of the album is her reaction to it: "GENESIS Foxtrot Review (Permanent link) by Imogen Reid @ 1:34:17 AM EST, 11/18/2005 PROG REVIEWER  —  Don’t let the three-star rating put you off, I do like this album but the rating comes more out of sheer disappointment than anything. In comparison with the surrounding Genesis albums of it’s time, this one just doesn’t have the same innovative melodies and composition- the type to strike one with awe. It comes as a bit of a surprise….a BAD surprise after what most other people have told me in their opinion (“Supper’s Ready is the best song ever!” etc..) However this album does have it’s strong points, despite its apparent lack of energy in the melody-section. The rhythms, the beats, the different time-signatures (and yes, I’m pretty much referring to the same thing here) in some certain songs, which I will highlight later, are probably the most inventive thing about this album. Watcher of the Skies: Though the intro seems to go on a bit, this is a fun pop-song with a very ‘atmospheric’ beginning. The complex beat of the bass-line once we really get into the song is quite catching. The voice, melody and lyrics are ‘happy feel- good’ style (“From life alone to life as one, Think not now your journey’s done.”) Could this be the album in which they let their mind relax and soak in pop? However- one must admire the funky guitar and organ solos. The melody thumps and repeats like an over-used anthem. The song ends rather depressingly, in contrast with the overly optimistic tune of the whole thing, with Hackett’s guitar-whine and then a very solid, banging chord. Timetable: A really CUTE piano solo to start with- reminiscent of my own little sisters practising in the next room. Then Pater Gabriel sings and the piano changes to block chords. Sure this is a bit of a pop-song but it does have its good points, such as it’s complex chordal progression and melody. Even the dynamics (loud to quiet) around the chorus give it a nice touch. The lyrics could be better…in the verse they aren’t so bad but the chorus just seems heard before, many a time. (Eg: “Why, Why can we never be sure till we die or have killed for an answer?”) Sounds like the kind of thing that I’d write if I were trying to hit some kind of sublime moment but just couldn’t make it. Get em out by Friday: This has a very catchy beginning but I think the organ running up the keyboard after each electric guitar strum is more annoying than enjoyable. Then the organ bangs chords reminiscent of ‘Giant Hogweed’ and the bass- work in the background is very snazzy. But Peter Gabriel’s voice…could be better. He seems to be sadly lacking in strength. However acting is seen in the changing of his accents: the story being of tenants who are kicked out of their flat/apartment. “Oh no, this I can’t believe. Oh Mary, they’re asking us to leave.” I love the flute in this. The story of the song matches the changing of tune as it depends of the changing of moods due to which character is represented by Peter Gabriel. Depression and Stress- the flute is my favourite tool to bring emotions out here. Probably my favourite line: ‘This is an announcement from Genetic Control: “It is my sad duty to inform you of a four foot restriction on humanoid height.” A sexy guitar solo from Hackett leads to a complete change in the tune and we’re stuck in a gentle meditation…Flutes! Then back to thumping organ and previous melody The ending is ethereal but a bit too much like that of ‘Watcher of the Skies’ for my liking. Can-Utility and the Coastliners: This has beautiful guitar-work at the start but I can never remember it when I think of the name of this song…which is bizarre, because the verse is just plain cute in the melody but when he sings “For from the north overcast ranks advance, fear of the storm accusing with rage and scorn…” the melody becomes deeper and is gorgeous. Things get even better when Hackett strums and Collins drums pick-up and the mellotron builds up, altogether. Gabriel sings and we’re lead into this great organ solo- gaining adrenaline again. Then the bass flicks like mad and a high organ (how typically early Genesis) dances away… then GUITAR! (Progitty- prog-prog indeed. It’s great when the song changes so suddenly like this.) What’s wrong with Peter Gabriel?! He’s not at his best in this whereas the other musicians certainly are. A catharsis occurs at the end with all band members contributing: “See a little man with his face turning red, though his tale’s often told, you can tell he’s dead.” Horizons: This is a gentle guitar instrumental, good enough for putting the babies asleep to. Anyone heard a certain Irish folk- song called The Currah of Kildare? I used to sing that when I had a celtic harp (Alas- I don’t anymore.) Anyway, I SWEAR Hackett heard that at least once and it came back to him in the composition of this. I say this even though it's music which is apparantly 'borrowed' from Bach or so Hackett said himself. Supper’s Ready: aHA! A twentythree-minute epic from Genesis that almost everyone seems to love and yet it’s not what I expected. It’s definitely a love-song at the start, and some say it’s based on a certain event in Gabriel’s first marriage in which his wife believed she was possessed. As is the case with twenty-minute epics, this is divided up into different sections… Lovers’ Leap: “And it’s Hey babe, your supper’s waiting for you. Hey my baby, don’t you know our love is true.” My mind is divided on this one. I am a woman and I love Progressive rock. I get f***ed-off when people point out that prog is a very guy- thing so therefore I’m an odd creature. The fact remains that not all women are the same and I resent always being placed in a particular ‘category’, so to speak. I’m pointing this out here because this is a prog song and a very *blatant* love song. If you think of such other prog love-songs, such as ‘Cinema Show’ for example, the desirable object of the singer is not sung to so directly as here in Supper’s Ready. As a woman, it’s somewhat comforting to have this change- the reason being that women do tend to want just *some* romantic attention in a relationship…otherwise it’s just not stable enough to them. (Somebody….save me.) But as a moderately devoted Genesis fan…this change just doesn’t do it for me. If the subject matter is love then being blatant kills the feeling a bit- I prefer poetic subtlety: ‘Cinema Show’ takes the cake! The guitar changes at “It’s been a long, long time. (spoken) Hasn’t it?” Then they all sing, using their voices as instruments (and I mean “Aah!”s) and the keyboard joins in with the building up of the guitar- which is a precursor for ‘Cinema Show’ in what it does. The Guaranteed Eternal Sanctuary Man: “You, can you see he’s fooled you all..” sounds rather 80s, don’t you think? Collins picks up with an amazing beat on the drums and, all of a sudden, Peter Gabriel’s voice is in much better form. Ikhnaton And Itsacon And Their Band of Merry Men: Children’s voices! They’re chanting…but whatever they’re chanting…I do not know. And I HOPE you don’t either- otherwise I believe I’m missing out on something essential here. An eerie chord plays…mixing with the little kiddie’s voices so it sounds quite spooky, then (MY FAVOURITE!!) a flute and guitar duet play the starting tune with the keyboard to back them up. Gabriel sings with great animation “Wearing feelings on our faces while our faces took a rest, we walked across the fields to see the children of the West…” and the organ dances away- building up adrenaline again. Genesis sing altogether “The fight’s begun, they’ve been released, Killing foe for peace…bang, bang, BANG!” so again it’s anthem-style singing, less authentic than the usual Genesis style but we all need a pub-style manly- man-man song once in a while. Hence ‘Twilight Ale House’! Ooooh- an eargasmal (sorry- had to fit that word in here somewhere) fast-driven guitar from Hackett with Bank’s keyboard in the back play a melody which is copied later after they sing! This gradually sinks down to delicate strumming. How Dare I Be So Beautiful?: Eeriness again with the synth playing slow chords, each with a slight crescendo, as Gabriel half-whispers and half-sings the melody. Probably the scariest lyrics are herd here (not that it’s *easy* to hear them): “A young figure sits still by a pool, He’s been stamped ‘human bacon’ by some butchery tool, (spoken) He is you.” Once again , as is the case with Genesis’ lyrics, Greek mythology is seen at this point- as he mentions Narcissus…..then the immortal two words: “A FLOWER?” Willow Farm: smash, smash, Smash, SMASH “If you go down to Willow Farm…” This is the bit that everyone loves to sings along to as it’s so off-the-top. It’s got fairytale conventions, history…general craziness. In my opinion- it’s meant to be what comes out of the mind of a very imaginative, if not extremely deranged, child. “The frog was a prince, the prince was a brick, the brick was an egg, the egg was a bird.” Now some English midget says “Fly away you sweet little thing, they’re hard on your tail!” and WHO IS THIS ENGLISH MIDGET??? I have a strange feeling it’s Tony Banks but I * could* be wrong. This section is a deep contrast with what we’ve heard so far. Then a whistle blows… ALL CHANGE!: Different singing solos from everyone- it’s very clever actually so it must be admired. Apparently “Dad diddley office” “Mum diddley washing” and everyone’s “full of ball.” You’d think Willow Farm was trippy enough, but no. What does this mean? Some kind of satire on the typical nuclear family? Watch out for the up-down plucking of the guitar- which we first hear at the end of Willow Farm. Tell you one thing though- this bit definitely reminds me of the circus. A long guitar strum down and the keyboard retains its riff then and echoing electric guitar come out of nowhere like an alarm. Apocalypse In 9/8 (With Gabble Ratchet): Twinkling guitar and flute duet, but this is a different melody from what we heard before. It’s lullaby-like and very gorgeous. It repeats about four times round then the guitar and drums pick-up while Peter Gabriel brings us back into a fantasy world: “With the guards of Magog, swarming around, The Pied Piper takes his children underground.” The organ is probably at its peak here. Afterwards, the flute takes over. Then we find ourselves in a constant army-march beat, I guess you could call this the climax of the song. “666 is no longer alone, he’s getting out the marrow in your back bone,” A mellotron comes down and bells are heard! The two melodies from the start are heard again- the first being “And it’s hey babe…” As Sure as Eggs is Eggs: And the second being “Can’t you feel our souls ignite?…” However these tunes are much more smashing than the beginning, as is the case with the end of a rather long song. Don’t get me wrong, this IS a good epic from Genesis but ,unlike The Battle of Epping Forest/ The Music Box/ Dancing with the Moonlit Knight, these different sections just don’t melt into one another. Willow Farm is great but it’s like a streak of red on white when matched with the rest of the song. To me, good prog is when a song has time-signature changes, melody-changes and etc. But if the theme changes…well…it can get a tad too pretentious for my liking. Especially if the different sections have titles that are a little *too* off the top. (As sure as Eggs is Eggs? Come ON Gabriel!!) All these changes in tone seem to suggest..what? Intimacy after a bad LSD trip?"      That's only some of the highlights actually, it keeps going on and on...I guess those those Genesis guys know now, they should have concentrated a bit more on the melodies on that crummy album!!! And who WAS that English midget anyway???

Imogen/Starette likes to write epics

Don't mean to offend, well kind of, but some guy today reviewed animals, dark side of the moon and wish you were here, and could not have been more off the point if he reviewed the wrong record, absolutely shambolic reviews.........

Ofur wrote: Winter Wine wrote: Don't mean to offend, well kind of, but some guy today reviewed animals, dark side of the moon and wish you were here, and could not have been more off the point if he reviewed the wrong record, absolutely shambolic reviews.........   Are you talking about my reviews? Are these your favorite albums and you are hurt by my comments on them or something?

Favourites albums? regardless. Your reviews are totally off the point! and when you do talk about the albums your arguements are just so weak! how long did it take you? twenty seconds? at least floyd put some effort in.

Ofur wrote: Winter Wine wrote: Ofur wrote: Winter Wine wrote: Don't mean to offend, well kind of, but some guy today reviewed animals, dark side of the moon and wish you were here, and could not have been more off the point if he reviewed the wrong record, absolutely shambolic reviews.........   Are you talking about my reviews? Are these your favorite albums and you are hurt by my comments on them or something? Favourites albums? regardless. Your reviews are totally off the point! and when you do talk about the albums your arguements are just so weak! how long did it take you? twenty seconds? at least floyd put some effort in. I wonder why you didn't mention my Uriah Heep review that is currently on the front page and singled out the Floyd reviews I made? Could it be that you are blinded by your fanatical love of the Floyd?

Well I couldn't be bothered reading any more of your reviews if your that stupid, bye now

Now then guys..I think this is the point where you agree to differ and exchange a few polite PMs...