THE WAR OF THE WORLDS

I don't know, perhaps I exaggerate by saying this or I'm having a panic of euphoria (which usually happens when great albums face a review from me), but I consider this album a kind of special treat for the progressive rock (since it was adopted under this branch). What Jeff Wayne does here is by nothing common and, more than that, is a curios event, for this is the sole fantastic reference of his music (don't have Spartacus, but references say it's a disaster). Anyway, going a little off-subject too, this was my childhood euphoria. Listening to this thing over and over again, night after night, was something memorable. Back then I was listening only to few "such" albums, but this one was a boom and stayed like that since then (hardly think I'll change my opinion regarding it). It's a masterpiece of concept, a brilliant maneuver and a very strong interpretation of one of the world's greatest, most intelligent, most artistically (and more innocent) trick (slightly joking, of course - or?). I love it, I am enchanted and dazzled, I am thrilled and very content given all aspects. This should be a great reflection for you and an experience very, like I said, far from the common of music and of interpretation.

Jeff Wayne gathers great voices and great souls of music, acting and so for this very demanding project, whose result is nothing but rewarding. In a double-powered shape, it brings upon the listener a massive exciting story, garnished (yes, I'm of the belief that the story settles prior to the music or at least they're equally of challenge and of perspective) with music that speaks out in terms of dynamics, of emotions, of correlation with the narration nucleus, with artistically effects that are one of a kind and with an excitement within it that speaks for itself. Burton is an "art voice" I worship and some moments of him in this album are a constant echo in my inner self whenever the subject of the album is even brought as an allusion or as a thought. About the other vocalists I'll talk in my succinctly description. Music is great, supported by a style and a mirific view and by a window that opens perception to great heights. Only my own limitation of words stops me from and euphorically description of what lies in this gem of an album and in its significance.

First part, The Coming Of The Martians, is a demonstration of force from beginning to end. Four brilliant constructions, plus an intermezzo (Forever Autumn) which is mainly just a moment of repaus, make an luminous characterization of the disastrous attack, of the panic that settles around, of the shock that carries everyone in a delirium of voices and of echoes and of the disaster state in which London finally ends, without hope, without sense, lifeless and damaged. This is the strongest part of the album, with a presentation of main themes, of great imaginative interpretations of the subject's course, with beautiful line of dynamics, of rhythms and of tense pinpoints. Mind-blowing, invigorating, stunning. Special.

Second part, The Earth Under The Martians, is somewhat less of the captivating strings that define the first moment of the album. By critic, observations can be made regarding the instrumental slight collapse, highlighting preeminently the vocals. But neither these one go unchanged, as the main feature of the speech is mainly moments of a one-form singing (Parson Nathaniel, The Spirit of Man, Brave New World). Then again, if Thunder Child from disc 1 went okay, why should these be a point of deny? Still second part is a prevalent vocal description, instrumental flows being intermezzos. One more thing I would like to add is the fact that Lynott and Essex's moments here aren't that good. Personal thought. Apart from that, things are going just as good. We are offered a reflection upon horrific days after the shockwave, upon the disillusion and the wondering of the main character, of the encounter with people either going blind and mad, either standing against a hope without realism in it. Finally comes a beautiful, symbolic moment, when the main character, survivor and witness of everything, loses hope in himself exactly when hope has just arrived (off-topic: I'm not for happy-endings, normally, but the finale is rather well-done and rewarding in contrast.). Disc two sets a new dimension, a different mood, a different value with the main genuine scent.

That's about all. Splendid accomplishment, as far as my standards and my preferences go. Yet I strongly consider this a good success to a general auditory and an overall context. The kind of album that goes masterful in the first place through its nature and its message, then through music enchantment , through quality and so on.Do enjoy!