Music Album Review Thread

[Careful With That Axe Pichu!]

*Lacking reviews, selected by the moderator, will be removed. Please contribute with a healthy review and not a raquitic one.

I remember we had one here long ago, I don't know what happened to it though.

If you still don't get it, in this thread you are able to post your opinions about your favorite music albums. Your review does not have to be long, you don't need to have a hard time writing it. The idea is to recommend your albums, and let other people know about them. To put things easier, it's almost like as if you were selling that album, and you need people to know why is it so good and why they should get it.

That's all, just remember: You're not here to discuss which album is better or worse. It's not about flaming other people's likings. So, please avoid doing that...

Well, I'll post my first review then:






Led Zeppelin

I faked insanity for a while, but there was so much desire that commenting this album has become inminent and even obligatory, even when I had so many different options besides this one.

If you tried to read the title you have just found a kind of little manual of esoterism and colored magic. The album has no title. It came out to the market without any mark or introduction, the original cover doesn't say anywhere who's playing; It's known as Led Zeppelin IV, but I decided to present it with the symbols used by each member of the band since it's release in 1971. The first one belongs to guitarist Jimmy Page and it means "The charm and spell of music" The second and third one belong to the bassist and keyboardist John Paul Jones and the drummer John Bonzo Bonham respectively, supposedly allude to some kind of esoteric trinity that could be between the primary natural elements (Fire, Water, Earth) or something even more abstract. The last one was Robert Plant's and it was about a feather which was used to sign mystic deals with vital liquid. That's Page and his eagerness to leave people skating around.

Also, this album contains one of the most sacred songs of rock n' roll, Stairway To Heaven, the most attacked song of all times specially because of a message presents to any kind of interpretations. This album includes too classics like Rock N' Roll (covered everywhere, by bands like Van Halen, Scorpions, etc.) and Black Dog (tangible evidence of the excesses of the posthippie era).


Side Note: What was the urge of artists of doing some kind of tribute to Led Zeppelin? Why do they let Sheryl Crow DESTROY D'yer Mak'er or Maná screw Fool In The Rain up translating it to spanish? Who's responsible of the decease of Misty Mountain Hop? Anyone could lend me their shoulder to cry on it or an eraser to cut my veins?

Taking the risk of being flamed by some comrads, I would say that the best track of this album could be between The Battle Of Evermore or Going To California (not messing up with the stairway one just to stay healthy)

I spent my days with a woman unkind/Smoked
my stuff and drank all my wine/I made up my mind
to make a new start/Going to California with an
aching in my heart./Someone told me there's a
girl out there/With love in her eyes and flowers in her hair....

This is one of the few albums considered by most of the rock n' roll society to be "perfect", sacred and untouchable. As I already mentioned, Black Dog is out of discussion. Rock N' Roll sometimes seems monotone to me, maybe 'cause Iisten to it so much. In The Battle Of Evermore, Sandy Denny helped Plant with the vocal parts to achieve a beautiful track, inspiring, stengthened with Page's and Jonesy's mandolins; Spirits float in the air every time it's played, something mystic floods the environment and it's even hard to stay serene before such song.

Misty Mountain Hop is a group choir with pushing music. Four Sticks may result rather opressive to the average listener, the Zeppelin wouldn't vacillate when it was the moment to play it, and this time John Bonham used four drumsticks to reach such odd sound effect. The harmonies on Going To California wouldn't take any complaints. And finally, what a horrid fate waits for the one who dares to flame When The Levee Breaks! Pandora's box shall be opened above his head!

The most known of the tracks in this album and maybe the best of Led Zeppelin, Stairway To Heaven, has become a total classic, and radio programmers are not to be blamed, this song earned it's title as one of the best rock songs ever by itself. It can't be found on Billboard lists because it was not released as a single; Just imagine the power of this track to be known and worshipped worlwide whitout being one. It's been almost 36 years since this masterpiece was born, this is a basic and sacred song for anyone who considers himself to be a true rock n' roll son, and it has not been obscured (and will not be, word) by any other song. Not just 'beacause' the Zeppelin is considered to be one of the greatest bands ever.

Quoting the magazine Guitar For the Practicing Musician: <<Page recalls: "Bonzo and Robert had left that night and I worked very seriously on it. Jonesy and I did the routine, later we played it on the drums. Robert was sitting by the fire, writing, and suddenly there I was [...] It worked out very fast. It was and exceptionally easy track, very flowing. There was something that pushed us, saying 'You're doing good kids, but if you want to do something eternal, I've got a wedding song for you' [...]" As Page did notice once, this was the song that created the true essence of the band. The final 8-minute version was finished and recorded at Island Studios and released the 8 of November of 1971 inside the fourth Zeppelin album. Even if it was edited or released as a single, it was the most listened song in the rock n' roll radio history>>.

The music of the song begins with a soft guitar introduction that has become a classic. Give a guitar to a 36-year old man and see what he shall start playing ipso facto, possibly the only one whe would know in guitar (Unless he starts with Dust In The Wind or he was never a rocker).

A light flute gives place to the supberb voice of Robert Plant, there's a lady who's sure all that glitters is gold and she's buying a staiway to heaven, and while he sings the music is gradually gaining strength, giving way to the other instruments until the drums definitely take posession and begin changing the rhythm a little, just a little. Meanwhile Plant gives end to his poetic distortion with a lament, and he goes into the philosophical part as the music enters a strong rhythmic section in which Page flagellates his guitar with grace and devotion. Finally Page ends the song whispering and she's buying a stairway to heaven.

 

[oni flygon]

aye, I'll post some reviews from time to time...

Title: Achtung Baby
Artist: U2
Release Date: November 19, 1991

"I'm ready… to let go of the steering wheel", Bono declares in the beginning of the album. What is he ready for? What is U2 ready for? What are YOU ready for? The ride of your lifetime. What began as a post-punk band in its early roots in old Ireland, filled with rebellious attitude and pacifist by nature, to an experimental band, tinkering with the guitar and seeing what the synthesizers could do if they do this and they add that. And then they were spiritual and folk-and-blues loving, rock-and-rolling band at their height, to the downfall of a hodgepodge of songs called Rattle and Hum. U2 has defied genre for a decade. Through the whole 80s, they have explored all kinds of music that there is. But if they haven't, then they have might as well died with their contemporaries, or lost touch and just faded from the scene. They knew post-punk would lead them nowhere. And that's why they leaped. And after the previous leap, they went to Berlin to "dream it all up again." And yes they did. One tremendous leap in the music world and the distorted Achtung Baby was created.

What makes this album so different? What makes it stand out? If you listened to the older U2 songs all your life, analyzing them, dissecting them, digesting them, and feeling them, then Achtung must have been tough on the stomach. You look at the album and wonder at the strange collage that the band has made. It seems weird especially with Bono in shades and a leather jacket. You haven't seen a Bono like that before. It used to be him wearing a mullet or something. You look at the first song: "Zoo Station". The moment you popped in the album into your stereo, you wait. You hear something. A small rapping sound produced by something metal. What could it be? Just as you were wondering what could this serve to the song itself, distortion hits you. Heavy Distortion. What was that? You wondered. It must be a scratch in the CD. But no. It happens again. And again. And again. This must be the wrong CD. U2 could never make a distortion. Never in a million years! But then the drums began to beat. And the whole song starts. And you get goosebumps as Bono begins to sing through a distorted voice, bouncing off the waves of distorted guitar and bass.

Enough of the descriptions. Achtung Baby, one of the best U2 albums made, defied the U2 genre as it made another leap of experimentalism. This time, the elements of electronica and Berlin Discos was added while at the same time, it denounces the piousness of the U2 that was The Joshua Tree and Rattle and Hum. Brandishing irony, sarcasm, and a pair of oversized sunglasses, the egotistical rock star that Bono portrayed perfectly sang in a voice that was unfamiliar. The angst disappeared and was replaced by the ironies of life as he sang in "The Fly:" It's no secret ambition that bites the nails of success/Every artist is a cannibal, every poet is a thief/all kill for inspiration and sing about their grief. What seems as an ordinary line could be a self-damnation anthem for Bono as he tried to erase all memories of the old days. It was "the sound of four men chopping down the Joshua Tree", he said in reply to the song.

Achtung served a lot of songs that redefined U2. Danceable songs such as "Even Better Than The Real Thing," and "Mysterious Ways," but also keeping up with the distinct U2 emotion and melody in songs such as "Who's Gonna Ride Your Wild Horses," or "So Cruel." And at the same time, the darkness of the album serves as a great example on the ironies of life in songs like "Acrobat" and "Love Is Blindness". And gems that make the album shine: "Ultraviolet" and "End of the World." All in all, they revolve around the great centerpiece, the proclaimed "Best U2 Song Ever Recorded": "One".

Achtung still carries out Bono's poetry but also injecting some fanciful irony that could make your spine shiver while you try to think it out. The darkest of songs moan and cry while the angst driven "One" pleads and weeps. U2 was never gone. And it looks like U2 won't just disappear or fade or something. They're going to have to stay in for a long, long time. Thanks to Achtung, it looks like they won't just disappear, yet.

Overall Rating: 10/10

 

[oni flygon]

Title: Wolfmother
Band: Wolfmother

There was a time when I thought that my generation's music is beyond salvation, and that mediocrity will have to reign in our time, giving us such bland and tasteless bands that spawned from the mainstream and will have to be forever forgotten. But when I heard that Robert Plant-like scream in the first track of Wolfmother's self titled album, I knew the Australian trio will go on a long way.

"Why?" do you ask? Maybe it's because their sound isn't some stupid set of power chords with distortion so high that you couldn't distinguish the notes? Maybe because the lead singer, Andrew Stockdale, doesn't have a wimpy, whiny, and pathetic teen voice pitifully moaning over angst and tasteless three-chord songs. His voice is raw, powerful, demented and very, very similar to a young Ozzy Osbourne in the early Black Sabbath days before he had a taste in drugs.

The first time I've heard of their sound was the song "Woman" in my local radio station (which I often consider as a gamble because it can throw incomprehensive crap at me or no the other hand, something worth listening to… maybe on one of those special "80s only weekends"), I thought that it was some obscure Led Zeppelin song that I have failed to recognize. But when Mr. Stockdale began to sing, I thought it was a Black Sabbath song. But then I was wrong. I immediately wanted to know more of the band. The next time I've heard of their songs was in an iPod commercial, playing the catchy riff of "Love Train". And then, I was hooked when I got their self titled album.

Wolfmother isn't as sophisticated as a Pink Floyd album, nor isn't it thrown together and rehashed like some formulaic band nowadays. It's simplistic, raunchy, and has a driving force similar to Black Sabbath's power and a bluesy-acoustic feel similar to that untitled album of Zeppelin fame. The album ranges from catchy and fuzzy guitar riffs from tracks like "Dimension" (I can't resist to point out the Hendrix reference in this track—"purple hazes…") and "Love Train", to semi-acoustic songs injected with electricity such as "Vagabond" and "Where Eagles Have Been." And who could forget the keyboard solo in "Mind's Eye"? "Apple Tree" on the other hand has a raw and percussion-driven feel, similar to The White Stripes. A Bob Dylan reference, "Joker & the Thief" immediately became one of the several favorites in this album, and the danceable "Woman" just gives you an exhilarating feel. A Tull-esque flute solo is present in "Witchcraft" and some 70s style lyrics in "White Unicorn" and "Tales", prove their psychedelic genre.

It amazes me how Wolfmother hasn't become too popular yet. But then again, that's a good thing, seeing how mainstream can easily corrupt amazing bands. If you ask me about one of the best bands at our current time in music, I would have to say Wolfmother is one of them. Face it, they're way better than your average teeny bopper, "emo" and punk rock (I cannot stress the "rock" part any further) band of the early 21st Century.


Overall Rating: 9.5/10

Highly Recommended

 

[Careful With That Axe Pichu!]

Animals
Pink Floyd

When it comes to Pink Floyd, people wonder many things; Are they really doing something new? Is their concert the best spectacle? Will Roger Waters follow Syd Barret's steps into the house of madness? Those kind of questions me crazy sometimes. Come on, it's not even necessary to mention the member's names. Is it? But let's go a while back. Let's go back to Animals. At that time, Pink Floyd had already reached the top; And somehow they refused to go down afterwards, at least for a long while. In that period of time, concept albums were very common, and this is one of them.

The theme of this album is based on social critique, in which the entities correspond with animal species to create an environment in which these animals symbolize, accordinng to their natures, the institutions and their members; a parody of the human behavior, and the subordination of the communities bewfore their very authorities.

The album begins with the first part of Pigs On The Wing, starting with flowing acoustic guitar that gives way to the melancholic voice of Waters. A dog is talking, mentioning that life is comfortable, but that if there was not a sense of community, then they could find some buggers to blame and watch out, for pigs on the wing.


Dogs begins with a distant but busy acoustic guitar; The music is gradually becoming louder until another dog starts teaching us how to live in such a distorted society; This one represents the average citizen who dreams of the power to make things better without being overwhelmed by it; Chasing ignorance, but being chased by the arrogance of a govermend of madness; He's telling us how do you have to live your life if you want to get your meat. It's simply about survival; A dog has to fight for his life. Afterwards a grievy dog confesses he might be a bit confused, but sometimes he fears he's being used.

You gotta be crazy, you gotta have a real need / You gotta sleep on your toes, and when youre on the street / You gotta be able to pick out the easy meat with your eyes closed / And then moving in silently, down wind and out of sight / You gotta strike when the moment is right without thinking.

You have to be trusted by the people that you lie to / So that when they turn their backs on you / You'll get the chance to put the knife in.

Next is Pigs (Three Different Ones), introducing the prepotence and power of this society; Three different pigs represent three different stages of government; To put this in a very literal way, thay can be interpreted as the cops, the senators and the president. The song is only eleven minutes long, opening with a screaming guitar trying to catch up with Water's angered voice. Funky, it describes a character that cannot be shadowed; The one who flies over the dogs and rules the community without any possible doubt; Powerful in every sense, and always attacked by others, mentally:

Big man, pig man, ha ha charade you are. / You well-heeled big wheel, ha ha charade you are. / You're nearly a laugh, but you're really a cry.
Keyboards hit the atmosphere and some remarkable guitars keep the tune strong, and balanced. Finally the sound recedes, leaving very clearly that the pigs are not to be loved in this case.

After the fury and rejection of Pigs, forgetting all the oink oink, a mellow tune comes to calm you down; Sheep can be heard as long as you are listening carefully, and all the clues you could have point towards a very slow song, unaware of the very truth: A long scream opens the madness speaking of the lowest individual; The sheep, who lives it's own life, trying not to be bothered by troubles on the outside of it's world, caring about nothing, not even knowing of the stressing sutuation of the dogs, just eating and sleeping, waiting for nothing in special to happen: Only dimly aware of a certain unease in the air. The strength of the guitars still stikes the listener's ears until a quiet space in between takes place; Things are not what they seem. This space then gives way to a loud confusion of thoughts, once again; Sheep don't care for anything, so no one should care for them, either. The song is almost reaching it's end when a shocking situation is spoken; A sheep finishes the vocal parts with these words:

Have you heard the news? / The dogs are dead! / You better stay home / And do as you're told / Get out of the road if you want to grow old.

Suddenly the music's over, and the album says goodbye to the dream with the last song, the second part of Pigs On The Wing; Very similar to the first part, only that this once sad dog is speaking a different story:

You know that I care what happens to you
And I know that you care for me.
So I don't feel alone
Of the weight of the stone
Now that I've found some where safe
To bury my bone
And any fool knows a dog needs a home,
a shelter from the pigs on the wing.

Overall, I think It's a very underrated album, noticing that it wasn't very popular. But in the end, the least thing the Floyd would ever care about was populatity; So in this case, popularity and fame were clearly exchanged for pure and fresh quality. In the end, I really reccomend this album to all those Floydians who still are too lazy to listen to it; Even more to all those who have heard Pink Floyd but still don't know it's hidden greatness.

Tracklist and rating:
1. Pigs On the Wing (Part One) — 1:24............................8/10 For mellow souls
2. Dogs — 17:03...........................................................9/10 For rock n' roll lovers
3. Pigs (Three Different Ones) — 11:30............................9/10 For heavy people (metaphorically)
4. Sheep — 10:18........................................................10/10 For sleeping people
5. Pigs On the Wing (Part Two) — 1:24............................9/10 Still, for mellow souls

Animals: 9/10 For Pigs, specially.

 

[Careful With That Axe Pichu!]

Rising
Rainbow

The news arrived many places with an elegant delay; Ritchie Blackmore had abandoned Deep Purple. Some people learned too late; Made In Europe and Come Taste The Band had already been edited (Already with the unfortunate Tommy Bolin as the replacement) from the Deep, and even Rainbow's debut album. That's why when their second album, Rising, was released it reached such a high volume of sales, everywhere.

Rising appeared in 1976, and since the people saw that cover they could imagine that it contained music that came from the very heaven. Rainbow achieved one of their best recordings, also with the assistance of Rainer Pietsch directing the Munich Philharmonic Orchestra and Jim Kelly's design for the cover.

The kick off was in charge of Tony Carey and his keys, managing to create a mysterious mixture for Tarot Woman, the vigorous song that starts the album. In fact, the hero of this song is Carey himself, the rhythm of the music is entirely based on the keyboards. The music of the whole song was arranged by Blackmore and Dio, but the lyrics really belong just to the last one mentioned, and here he lets you know what was his style.

Run With The Wolf is the most accurate proof of the affinity that Blackmore and Dio shared for the gothic, medieval music; And Dio stands out as the best musician of that genre with his style, mimics and faces when it's singing time, trademark that the singer still maintains.

The twisted guitar at the entrance of Starstruck (Please people, Starstruck, not Star Truck or Starbucks) is one of the rather blissful parties of Blackmore. The harmony gives way to the rhythm and the heaviest and most oppressive impulses, letting in a dynamic song that seems like boogie. The produced sensation does not leave any doubts; Rainbow has been one of the greatest legends of hard rock.
And they come back with another song; Do You Close Your Eyes? Strong andsafe, also personal (Do you close your eyes / when you're making love?)
Then I travel all the way long until I arrive into A Light In The Black starting with the hard drums of Powell; Dio sings with all of his vocal magnitude, Blackmore makes his guitar cry trough variety and ability, Carey follows with a vast delirium of tonalities and Bain softens with his bass.

Stargazer I left it for the end, just because it is one of the most precious and ambitious songs of the band. The tune of the wizards and myths is still present. The achieved precision between the band and the orchestra is simply unbelievable; the structure of the song is breathtaking; this is one of those songs that make a tiny nothing out of any qualification, because the lyrics, as well as the music stand in a level that the commercial music cannot reach. The rhythm of this fantasy is borrowed by an orchestral arrangement, and Blackmore's guitar sounds devilish, strong, vast and hard at the same time, drastically contrasting in its electric tune with the acoustic violins.

Overall, Rising is for the hard rock something like La Gioconda is for universal culture.

 

[oni flygon]

"Get Behind Me Satan"
The White Stripes


Anticipations, anticipations…

The moment I saw the video of Blue Orchid, I was quite stunned at Jack White's falsetto, heavy and distorted guitar, and that weird ringmaster like costume he was wearing. But nevertheless, I was thrilled when I learned that one of my favorite bands was releasing a new album and so did another of my favorite band, Coldplay (at that time, they both released new albums simultaneously, which was a big dilemma for me). But I was really disappointed in "X&Y" even though there was a hype that it was going to be a really great album. Turns out that it was highly overrated. That "5 star rating" in the front should be a "2 ½ star rating". But I'll save the rant for the other review…

So okay, I was excited about "Get Behind Me Satan." In fact, I was so excited that I was about to scream at the cashier when he was taking his time trying to scan the darn thing. But when I got home, I popped in the CD and turned it up loud. From that scary hammering opening to that distorted opening just gave me goosebumps all over. It was so sweet to hear Orchid play through my stereo system. So I looked at the song listings. Oddly enough, there are no lyrics—just bizarre pictures… well, that didn't shock me.

What surprised me were the following tracks: The Nurse and My Doorbell. I was really surprised when instead of an electric guitar with heavy distortion, a marimba or a piano was playing. And what was even more bizarre is that I liked it. I really liked the tune. The lyrics stood out, and that is something different from the White Stripes when usually their lyrics are so ambiguous and questionable (I Think I Smell A Rat, Fell In Love With A Girl…etc…). But these lyrics are very catchy and carefully crafted. They are so much like poetry, with almost perfect rhythm and rhyme that it beats any other lyrics from my favorite bands out there (U2 and Dylan are exceptions, of course). Not to mention that there is an enormous amount of innuendo in the songs in comparison to the Stripes' older albums.

The sound itself is unique. From the marimbas that Jack White has successfully mastered to the point that it just blends with the piano or the guitar like in Forever For Her (Is Over For Me), which is also one of the best songs of the album. Not only does the sound excel, but the lyrics also stand out in this song. The words are sung dramatically to convey that angst and the clever and cute lyrics just blend in with the music: "So let's do it/ Just get on a plane and just do it/ Like the birds and the bees and get to it/ Just get out of town and forever be free/ Forever, I wonder we could stay together/ It could change if you want for the better/ Just turn down my shirt and lay down next to me."

What surprised me most of all is the amount of experimentalism in this album. Such songs include the bluegrassy Little Ghost, a wonderful ballad about a man helplessly falling in love with a spirit, to the short but sweet Passive Manipulation, and finally, the homage to Rita Hayworth, White Moon. Almost all of the songs in the album defy Stripes standards. What was before distortion, blues rocking, and raw singing was replaced by pianos, marimbas, and even saltshakers.

However, the album still does have some flavor of old White Stripes in it: Instinct Blues and Red Rain contain heavy distortion and guitar hammering like old traditional Stripes. But in a way, they still defy their old ways through the continuous harmonics of Red Rain, to the well, rock-bluesy feel of Instinct Blues.

And all of this tied up in a neat packaged and concluded with the sweet and wonderful I'm Lonely (But I Ain't That Lonely Yet).

I really recommend "Get Behind Me Satan" for all of those people who want to hear new music that really sound like old music. And when I mean old, I mean Zeppelin age music. Certainly Led Zeppelin won't be coming back any soon… but I can consider The White Stripes as the Led Zeppelin of our age.

The album is just one of the best and most overshadowed in the year. The album excels both musically and lyrically. Experimentalism is prevalent in the album and not to mention making new a new and unique sound.

Rating: 9/10

 

[oni flygon]

Hot Fuss
The Killers

The Synth Rockers from Sin City, just gave a new meaning of a good murder story. Their debut album Hot Fuss, the Killers provided us a thrill ride full of intrigue, deception, jealousy, and of course, murder.

The beginning track (reminiscent to some 80s song), "Jenny Was A Friend Of Mine", launches off with a synth opening followed by a bombastic base line and then a voice of an interrogated soul as he narrates how he never intended to kill the girl he loved. The song is more of a symphony, each note perfectly executed with the right elements of bass and synth. "Midnight Show", the fast paced confession could mimic the maniacal beating of the murderer's heart as he spills out how he murders the girl.

What I really admire in this album is lead singer's Brandon Flowers' ability to alter his voice in each song. Songs such as "Mr. Brightside" has a voice of desperation and inner torment as he sings the chorus: "Jealousy, turning saints into the sea/swimming through sick lullabies/chocking on your alibis." A longing voice takes hold of the song "Everything Will Be Alright" as he sings about what seems to be picking up a hooker with a heart of gold along the streets. Or probably he's just telling the story on how he met the girl he comes to murder. Nostalgia is present in another song: "Smile Like You Mean It", where it recounts the experience of missing a person in your life and that void is left uncovered. The band also injected a little gospel choir for "All These Things That I've Done" and "Andy You're A Star".

The album, while fresh sounding at first, will eventually become a bit stale after listening to it for a couple hundreds of times. Maybe because of expectations? Or just being overplayed in the radio? Not so sure, but there's something in the album that decreases the marginal utility bit by bit as you listen to it for another time. Also, the overall album will often fail to impress you as some tracks are quite weak and often leave the excited listener to be a bit bored (I must confess; I needed to skip a few tracks). However, the Killers are a promising band.

Overall:

6.5/10

Limited edition Hot Fuss (with "Under the Gun" and "Glamorous Indie Rock & Roll"):

7.5/10

 

[Thomas]

Artist: Five for Fighting
Album: Two Lights

Release Date: Aug 1st, 2006

Tracks:
1. Freedom Never Cries
2. World
3. California Justice
4. The Riddle
5. Two Lights
6. 65 Mustang
7. I Just Love You
8. Policeman's Xmas Party
9. Road To Heaven
10. Johnny America
*Key Tracks in Bold

Review: I am a big fan of Five for Fighting. This album is very representative of their style. Very soft, adult contemporary sound that is very easy to listen to and very great to sing to (that is if you like to sing). Overall The Riddle is probably one of the better songs on the album, which is why it was picked to be the first single. Another great song would have to be Policeman's Xmas Party. You might laugh the first time you hear it, but it is a awesome listen.

Overall this is a great album, I give it a 8/10. If you like soft music then this is for you. Great for backround music while studying.

 

[Bomberman]

Panic! At The Disco
A Fever You Can't Sweat Out
2005 - Fueled By Ramen

Review:

Final Score: 1.5/10

 

[oni flygon]

"Black Holes and Revelations"
Muse

I screamed for Baroque & Roll. And Baroque & Roll, I received.

This response came to me in the form of several thousands of Martians from the valley of Cydonia boarding their spaceships, lifting off and heading towards Earth in one tumultuous swarm of invaders, thirsty for the blood of humans and starving for the fertile soil and blue oceans of our planet to which they wish to violate and corrupt with their massive army of grotesque, organic armaments and corrupt leaders.

That's what I think of the first track of Muse's Black Holes & Revelations anyway.

Now you see, if there are minimalists, then Muse would fit in the category of "maximalist", because these guys will do what it takes to make almost each song in the album as extraordinary as possible. Muse packs their songs with synthesizers, rabid guitar riffs, Spanish trumpets, galloping horses, lasers, and much, much more.

It's quite easy to determine the theme of the album, as well as the motifs that are clearly expressed. Obviously, the space or otherworldly motif is the most prevalent in the album, ranging in tracks such as "Starlight", "Invincible", and "Knights of Cydonia" (which gives me an impression of a space knight mounted on a futuristic mechanical horse that can go for eight million light years a second, while wielding a photon blaster shooter lightsaber with the capability of destroying planets the size of Jupiter). On the other hand, a subtler and menacing theme is also present in the album: corruption and government. Although the track "Exo-Politics" is a giveaway for this, other tracks such as the rabid and heavy hammering "Assassin" and the enjoyable "City of Delusion" are laced with the condemnation of the corrupt.

Some songs in Black Holes are enjoyable, as well as refreshing. Songs such as "supermassive black hole" have a Prince-like falsetto, and a very U2-y "Starlight" is quite reminiscent. On top of it all, "Knights of Cydonia" remind me of a certain Queen song of head banging fame with its multi-laden vocals and Rhapsody-esque form, woven together with a brilliant and science fiction, laser blasting and adrenalin pumping intro and conclusion.

Overall, I enjoyed all of the tracks and pretty much love the new album. I'm quite pleased that some artists still use a theme or a motif to pull an album together, rather than record random tracks and just stitch them all together in one hodgepodge of an album. Muse on the other hand managed to put together a nice array of songs, worthy of my time.

Overall: 8.5/10

 

[MegaFuz]

Artist: Tool
Album: 10,000 Days
Release: May 2, 2006

"10,000 Days" track listing:

01. Vicarious
02. Jambi
03. Wings For Marie (Pt 1)
04. 10,000 Days (Wings Pt 2)
05. The Pot
06. Lipan Conjuring
07. Lost Keys (Blame Hofmann)
08. Rosetta Stoned
09. Intension
10. Right In Two
11. Viginti Tres


I highly recommend the newest album from Tool, 10,000 Days. If you like alternative rock, you will fall in love with Tool. The album starts off with the first single from the CD, Vicarious. A dark and foreboding tune, the first track sets the mood for the album well. Track #2, Jambi, is a nice fast-paced follow up to Vicarious. This is one of my personal favorites on the album. Wings For Marie(Part 1) and 10,000 Days(Part 2) fit well together, and keep the album driving into another one of my favorites from the album, The Pot. Lead singer, Maynard James Keenan, has one of the most recognizable voices in rock today. Keenan is known for being able to transfer from wailing like a banshee one second, to beautifully serenading the next. He shows his range of talent in the beginning of this track when he has a beautiful solo. Lipan Conjuring is an eerie interlude track, which features some haunting tribal chanting. The next four tracks, Lost Keys, Rosetta Stoned, Intension, and Right In Two, are all wonderful tracks. The last track, Viginti Tres, finishes the album off to near perfection. If you've enjoyed Tool's past work, you will definately enjoy their newest album. Once again, I highly recommend you pick it up.

Overall Rating: 8.9/10

 

[Careful With That Axe Pichu!]

If the post editor wouldn't have been screwed up, I would have posted first than you both, guys. I thank you, 'cause I'll have the last word in the thread now, at least for a little while. =)

Anyway:

Brain Salad Surgery
Emerson, Lake & Palmer

Emerson, Lake & Palmer are the sacred monsters of progressive rock, reputation that is actually not enough to represent them due to their contributions to contemporary music. The band was born in 1970, when in some lost gig, Keith Emerson (keyboardist of Nice) and GregLake (which I've been told was playing for King Crimson back then) met. Then they decided to form a new band which was completed by the inclusion of Carl Palmer, percussionist. One of their first works together was Pictures at an Exhibition; from then they were starting to be recognized to be the most conscious band of progressive rock.

The fifth album they recorded was Brain Salad Surgery, in 1973. This album is a natural and classic sequence of the well known work of ELP; Unbelievable key adaptations from Classical music, by Keith Emerson, memorable voice performances courtesy of Lake and mighty samples of precision in Palmer's percussions.
The album kicks off with the sublime Jerusalem, adaptation of a sacred song often used and heard in some churches in England. Right after this, Toccata appears; An adaptation of the first concert for piano of Ginastera, fourth movement, quoted in the album by Alberto Ginastera: "Keith Emerson has beautifully embraced the humor of my piece" This includes a movement in percussion by Palmer, in which the cymbals sound like rain; the keyboards give it a martial and dark tone to this theme. Still… You Turn Me On is an acoustic love declaration from Lake with a sublime musical arrangement from Emerson. This last one gives way to Benny The Bouncer, a funny song where the famed Emerson's 'Charlestonian Keyboards' take place, with a hilarious text in which they tell the story of Benny, the badass, big and mean bouncer of some random cowboy bar, where everyone thought he was the meanest until he met Sydney, which led him to a fight and finally, trying to defend himself with a meat pie, fell into disgrace; and now he works as the bouncer at St. Peter's gates.
The main dish of this album is Karn Evil 9, a composition divided into three impressions and a length of 29 minutes and a half. Composed by the dynamic trio, the First Impression is the only one where Emerson sings, though his voice is hard to distinguish from Lake's. From its second part, and with Lake at the lead vocals, speaks the phrase that they used to announce their gigs: Welcome, my friends, the show never ends, describing that amusing show where human rarities are exposed product of the Karn Evil 9. The Second Impression is led by Emerson, who used a big piano to transmit different mood changes to the listener, coming from melancholy to the most celebrated bliss, and twisted aggression too. The Third Impression describes an odd trip to the future in which a computer talks, and gives us an apocalyptic vision of a world ruled by automatization in which machines are perfect and humans, obsolete; But as dust in the wind the computer gives you the grace of living, covered by a martial and futuristic music, often changing rhythms and perfection in the execution of instruments.

An anti-commercial album, hard to digest, but showing ELP in the finest moments of their career.

 

[Careful With That Axe Pichu!]

I have to get this off my chest, and I'll once just plead you that if you read this, read it all. It's not that long.

Point Of Know Return
Kansas

The style of Kansas is definitely something that many of us just don't deserve. It was inevitable that Dust In The Wind got caught between the claws of american radio programmers, as also inevitable was the fact that they burned and played it until we cried for such a tragical destiny of such a beautiful song.

Point Of Know Return is the album that includes this unfortunated masterpiece. The band reached their highest point when this album came out, fact that redefines them as the finest band America has given us. The music of this band is defined by unusual elements that form a rock band; Steinhardt's violins and the symphonic arrangements.
It is just amazing the awesome capacity of these members when it comes to music.

Opening the act is Point Of Know Return, charming the listener between a party of violins and keyboards, leaving us cold before the velocity and exactitude of this execution. The theme that Paradox brings is about all the doubts that a human will once have walking trough the path of life, the frustration of not having all the answers on hand; all this trapped in a dynamic rhythm charged by an anxious violin that harmonizes. Even more alive and loud is the following instrumental, The Spider, where the band brags with a display of synchronicity and power out of words.

Potrait (He Knew) through a magnificent musical background, tells the story of a wise man that saw the answers to human nature, but he was misunderstood and he tried, but before he could tell us he died, and when he left us the people cried, oh where was he going to? But he knew, he knew more than me or you, no one could see his view, oh where was he going to? The lyrics for Closet Chronicles are about a similar theme, a sad nostalgia caught by vast and ingenious rhythm changes, along virtuous keyboard notes.

Lightning's Hand is the heaviest song in the album, dazzling, titanic and extremely powerful. The halo it produces is set free by Dust In The Wind, the most listened song of all Kansas' career, a sacred song for rock n' roll, with the most sublime sounds from Steinhardt's violins and a humble philosophy that predicates the simplicity of our condition:

Don't hang on,
Nothing lasts forever but the earth and sky
It slips away,
And all your money won't another minute buy
Dust in the wind, all we are is dust in the wind...

Sparks Of The Tempest is another song powerful in rhythm, with a breathtaking guitar solo and a sudden farewell. Nobody's Home is another beautiful ballad where again Walsh's voice tells us with delicate words the story of a visitor from outer space, arriving Earth but not finding a thing; all life gone. This misery and sadness is followed by a soft violin solo, and felt piano arrangements. To end the album, appears Hopelessly Human, a great song defined by its frequent rhythm changes and violin virtuosity as keyboard don't stay quiet, making it the longest song in the album, and giving place to every instrument and skill to finally and insidiously let us know that this band had enough talent to do whwtever the heck they wanted.

9.12345432/10

 

[Careful With That Axe Pichu!]

Tormato
by Yes
Release date: 1978

I'll make it short n' sweet!

Just got this album from a valuable source. Though many Yes' fans dislike it for the abandonment of the long musical and poetic and dissertations to achieve a product of commercial purposes. This fact does not dissolve the musical value of this album; the band showed us they could cut off the extensive (and yet flawless) compositions and play art through more volatile/short forms (the vast virtuosity of the members does not encounter frontiers when it comes to Tormato ) and at the same time connect this accessible music with the audience that had ignored their work for long.

The art of the album's cover may be confusing to people, even boring sometimes. Such a pitiful fate for a cover that had fun origins; when Storm Thorgerson, from the art group Hipgnosis (creators of the most psyched covers for Pink Floyd and Led Zeppelin) showed the photographs to the band, there was little acceptance. Such a tense environment developed desperation and caused Rick Wakeman to throw a tomato at the pictures. Feel free to wonder what happened next.

Now to the songs! The album begins with the grand Future Times, an allegory of optimist messages and joyful instrumentalism that get the listener in a happy mood. It merges then with Rejoice, the cherry to the cake speaking of triumphs and memories achieved by the band through 10 long years; comes then the masterful Don't Kill The Whale which lets us know about the new trend that the guitarist Steve Howe developed at that time, with metaphoric lyrics and a new sound representing the new product the Yes wanted to give us. Anderson watched decently over the poetic lyric of Madrigal, dealing with nostalgia and calm making it one of the most felt songs of Tormato.
Release, Release put the band on a heavy mood with a powerful rhythm and voices that deal with the setting free of your worries and anger.

Enters with a lot of Wakeman action Arriving UFO, where the man lets himself brag with virtuosity over the Birotron, piano and moog. Then it's time for Anderson to shine with his great voice on Circus Of Heaven, a song written for his son, telling tales of the circus of heaven reaching earthly grounds, showing off mythological beings and all types of ancient wonders. The following track is called Onward, a love ballad with a beautiful reciprocity.

Ends the golden Yes age the magnificent song On The Silent Wings Of Freedom, possibly chosen to close the act because of its musical similarity to the style that the Yes had managed for ten years, with a conscious and critic text accompanied by music that lifts the soul, leaving us soaring in the halo of the wings of freedom.

Tormato blasted the cannon previously established by Yes and hit us with a vast choice of the most progressive rock of the time.


9/10

 

[Careful With That Axe Pichu!]

Wulf, I know those albums are REALLY REALLY good, but it'd be nice if you gave us a little hint why and how. Please refrain from even posting if you're not going to add a proper album review.


U2
How to Dismantle an Atomic Bomb


Okay, talk about U2. By 2004 they had already betrayed their style several times, be it for good or bad, I don't really care since it's really difficult to deduce what's going through their heads right now. They started the whole parade with Zooropa, followed by POP, the discothèque electric grief, and then attempted a comeback with ATYCLB in late 2000. People were wondering whether if they would return to old day's music, do another monstrous experiment or leave the music scene after all sorts of abstract recordings.

But then, in '04, they make a comeback; HTDAAB. The question is… Is it a good album? Shall it be compared with the true spirit of U2 which wandered back in the 80's accompanying wars and reminiscent fires? Or shall it be put in front of all the crap (couldn't find a prettier word) that we get these days, courtesy of pop culture and mediocrity? Let's take a look at the songs first.

First in the album comes Vertigo, a true U2-esque song if we're talking about the tradition born with Elevation. The package features distorted riffs and strange lyrics. Fair enough. Next comes Miracle Drug; a truthful, beautiful and metaphoric song written by Bono, whose only flaw this time was the lack of instrumentation which doesn't really amaze us. Love and Peace or Else, Crumbs From Your Table, All Because Of You, One Step Closer and Original Of The Species are pretty much the same, a bunch of fine poems that may be enjoyable to some, but if you're really looking for an improvement these wouldn't really be of your liking. Sometimes You Can't Make It On Your Own is a song dedicated to Bono's father, a good song indeed, if you're looking for anything that stands out between everything else. City Of Blinding Lights is for me the best song in the album, in which the vocalization and instrumentation really make a nice combo, and the lyrics are not to be left out. It's one of those songs in which the lack of virtuosity is perfectly understandable, and it shows us how simplicity can sometimes overcome complexity. I'm only worried about the intro, which pretty much seems like a clone to Where The Streets Have No Name. Or maybe I'm just paranoid.

Overall, U2 shows us yet again that they're not the true saviors of contemporary rock n' roll. The music is so monotone that it becomes boring after a little while, there is no real variety when it comes to their new songs. Sure, they might fool some people, but that's easy given the current pop culture's circumstances.


7/10

 

[Bomberman]

Artist: Tool
Album: 10,000 Days
Release: May 2, 2006

"10,000 Days" track listing:

01. Vicarious
02. Jambi
03. Wings For Marie (Pt 1)
04. 10,000 Days (Wings Pt 2)
05. The Pot
06. Lipan Conjuring
07. Lost Keys (Blame Hofmann)
08. Rosetta Stoned
09. Intension
10. Right In Two
11. Viginti Tres

10,000 Days: A Counterpoint

I like Tool. I really do think that they are good at what they do, which is arty, highly conceptual, extremely angry metal. Take away all the hidden message, overlapping track, demonic concept mumbo-jumbo, and you still have a decent metal group. Even A Perfect Cirle, Maynard's side project, had many good qualities. 10,000 Days, however, does not.
10,000 Days. The length of time this album had been anticipated for? Maybe. The anticipation grew exponentially when the first single, Vicarious, was leaked. It sounds like just another Tool song - heavy guitars, crushing drums, Maynard's uniquely terrifying voice, and vague sexual and drug references in the lyrics. If the rest of the album was going to be like this, it would have been their best.
But after that title track, it all goes downhill. Wings for Marie, really? 16 minutes of Maynard mumbling stuff under his breath. In fact, nearly half of this album is filler, while the few actual songs on this album are not memoriable.
I don't have a lot of time to type this, which is why it is written so poorly, but I'll finish by saying, don't get this album based on Vicarious. If, however, you are a huge Tool fan, know the Fiberacci sequence by heart, and enjoy listening to Indian chants (and not very good ones at that) - give it a shot.

4/10

 

[Warheart]

Artist: Killswitch Engage
Album: As Daylight Dies
Released: Novermber 21, 2006

Track Titles:
1. Daylight Dies
2. This Is Absolution
3. The Arms Of Sorrow
4. Unbroken
5. My Curse
6. For You
7. Still Beats Your Name
8. Eye Of The Storm
9. Break The Silence
10. Desperate Times
11. Reject Yourself
Picture:

Description: Okay, I'm gonna sum this up in as few words as I can, although There is alot to say about the rising success and popularity of KSE sincs this albums release.

I've been a fan of Killswitch from a while back, Since their realease of "Alive, or just breathing" with former band member Jesse Leach; along with many other of the bands fans, crying (yeah, that's right...) when he had left. Even so, since Howard Jones has joined, KSE has become alot more noticed.

"As Daylight Dies," till this point in time, is what really made me realize what KSE stood for, in their powerful lyrics, and the ability in soft voice, melodic vocals, and just overal "catchy" guitars.

Killswitch, a band that unlike many others, has the capibility in preforming live, just as well as pre-recorded.

Getting back to the Album itself, many albums are built up on just a few songs from the list, but killswitch engage holds strong with all here, so there are no songs to really single out to describe, rather than adress the album as a whole.

The lyrics, behind the music itself are relative to everyday experiences, and the listener can really get into understanding what is being said, unlike many of todays modern "Metal" bands that will head out to perform with nothing but heavy guitar riffs, and mindless screaming where the listener can do nothing but wonder "What the Hell is going on here..."

Anyways, for any past, and present fans of this band, this album is a must-have, whether like me you prefured Jesse's vocals to Howards or not, It's still the same music they've alwyas been, and held up strong though all the transitions.

Overall Rating: 9/10

 

[Geometric-sama]

I wrote this review for another site when the album first came out, but they were n00bs and never put it up, so PC can have it. >O

Taking Back Sunday – Louder Now (Warner)

Released: April 2006
Catalogue Number: 9362494242

Louder Now, produced by Eric Valentine (Queens of the Stone Age, Good Charlotte, Dwarves), is Taking Back Sunday's major-label debut, after signing with Warner from Victory Records, and at first listen it's a disappointment. Whether it's the influence of a major or natural evolution, the band doesn't show much of its trademark sound; the music is often missing the counterpointed vocals and sparse harmonies that make Taking Back Sunday different from the rest of the punk-emo bands.

The album opens with the somewhat poorly named What's It Feel Like To Be A Ghost? This seems to be a case of punk-by-numbers; there's something uneasy about the way the harmonies fit together that doesn't sound planned, and the melodies feel stilted. There's none of the easy singalong quality earlier material had, and lines like "we're studied up nightly" are nothing special.

Again, second track Liar (It Takes One To Know One) is hardly a standout track. Use of repetition makes it boring rather than interesting. The interrupted feelings of the chorus migh have worked in a different key, but here they just don't show the musical maturity this group had four years ago (albeit with a different lineup).

First single MakeDamnSure does it better, despite the lack of punctuation in the title. It's nothing to compare to last album's classic A Decade Under The Influence, but the multiple vocals start to intertwine in a way vaguely reminiscent of first album Tell All Your Friends. The pre-chorus falsetto works well to add to the variety of the music, though "I just want to break you down so badly in the worst way" doesn't have the greatest impact as a lyric. The bridge could benefit from more thoughtful chord selection.

Up Against (Blackout) is interesting rhythmically, switching between times in the chorus, which it also opens with. The bridge is vocally sparse and TBS uses this to good effect, but once again, though it's promising, the track misses that spark of brilliance.

My Blue Heaven is definitely a track that warms up. Opening with the slow style that Taking Back Sunday perhaps hasn't quite mastered, we quickly find ourselves in more familiar territory. The song is, like, earlier tracks, less typically TBS and more generic punk/emo, but the harmonies work well together and it's certainly singable. The soft part of the bridge is classic TBS; they carry off this one pretty well, and it would probably work as a single.

Twenty-Twenty Surgery suffers for not having a catchy hook. While some parts are technically fine, they don't merge and link together well, and "twenty-twenty surgery" doesn't sound good when repeated several times as part of a chorus. More filler.

Spin, which starts "Side B" as listed on the album cover, is different from anything so far on the disc. From the opening bars, it's infused with an energy that's missing from many other tracks. The lyrics, which seem to carry an anti-abortion message, feel as though the vocalists intrinsically believe what they're singing; the solos are furious and fit the vocal styles perfectly. This song feels like real evolution of the signature Taking Back Sunday style. Definitely the album's best track.

TBS follows this up with an acoustic track in the form of Divine Intervention. It provides an immediate contrast and sounds much more raw than the previous song. Glassy percussion gives this one an eerie touch; it's fairly echoey, and projects the impression of space. Unfortunately, it's a bit forgettable. Not their best work, but not their worst; they do electric better.

Vocals on Miami are fairly smooth, and the steady beat in the background contrasts with this. The music itself does not stand out, but the guitar solo does; despite being very short, it's a burst of scales that seemingly comes from nowhere and disappears again. The high melodic harmonies in the outro are well composed, but the song ends slightly too abruptly.

Error: Operator previously appeared on the film soundtrack to Fantastic Four (2005). While it doesn't quite match Spin, it's the other really excellent track on the album. Because of the amount of energy in this re-record, the repetition really does work (unlike in Liar), although the processed vocal parts are sometimes over-processed. The key chosen is perfect for the song.

The mediocre album-closer I'll Let You Live is another slower song, and again it takes some time to warm up. The tunes at the start don't sound particularly good, but once the song reaches the heavier sections the multiple harmonies come properly into play, and the interplay of voices continues to the end of the track. The screaming in the bridge perhaps takes it a bit too far, but guest Elena Mascherino's (wife of guitarist Fred) sweet backing vocals fit in well with the sound of the band. Shuffling voices and instruments conclude the song, and the album.

The overall verdict? It's slow and nothing to match their earlier albums (especially their Victory debut), but though it starts fairly coldly it improves as it's listened through. It's largely redeemed purely by the inclusion of Spin and the Error: Operator re-record. An album more for fans of the band, though.


... I feel like such a band geek. >< JA doesn't do "x out of y" marks though, just general reviews.

 

[Warheart]

Artist: Children of Bodom
Album: Are You Dead Yet
Released: October 25, 2005
Track Titles:
"Living Dead Beat"
"Are You Dead Yet?"
"If You Want Peace... Prepare for War"
"Punch Me I Bleed"
"In Your Face"
"Next In Line" –
"Bastards of Bodom"
"Trashed, Lost & Strungout"
"We're Not Gonna Fall"
"Somebody Put Something In My Drink" (Ramones cover) (US Bonus Track)

Picture:

Since having formed in 1993, Children of Bodom has been noticed for their powerfully fast leading guitars, and have many fans from allover the world. To this day, each of CoB's albums have reached the "Gold," standing, with "Follow the Reaper" (2000) reaching Platinum. Having this backround information on the band, many people expected alot from this album, and got exactly the same quality from the previous albums.

The genre for this band may be disputed over-and-over again, but I would prefur to classify them as Thrash, or Melodic Black Metal.

As for many previous albums, lyric-wise, Children of Bodom always seemed (in my opinion) to deliver the same pointless messages, although it seems as though in this album have been picked up. The song "Trashed, Lost, and Strungout" is the perfect example of this, and how this time around singer Alexi Laiho sings about events that the listener might actually be able to relate to.

For vocals in general, I believe this band still needs alot of work, but it seems like fans tend to listen mainly for the "music behind it.

Overall, "Are you Dead Yet?" is a great, heavy album for many fans of the genre, and I would reccomend tis album to anyone who has been a previous fan of CoB,or any open-minded rock fan.

Overall Rating: 8/10

 

[Careful With That Axe Pichu!]

Sounds of Silence
Simon & Garfunkel

All of a sudden, in the depths of the closet appeared a cold and dusty album which evoked those days I had but heard in stories from some older comrades describing a time when guitars and harmonies ruled as they truly sounded, without recording effects. Ha, such times must be a fantasy, or rather decades lost in the meaningless shadow of newer years like these, because I find it difficult to believe in that kind of accord between music and soul, instead of fame, currency, and then, shadowed and lost, skillful melodies. The 60's, I mean, the music scene was directed by the Beatles and the Stones (ones which I don't know much about… or at least pretend not to) but in the States, folk emerged with the success of Dylan, John Sebastian and Richie Havens. But then, amidst the poetry made song there were two names that made them be noticed; Paul Simon and Art Garfunkel.

With years of experience regarding singing and playing stuff, Simon and Garfunkel gave the world melodies and chants that justify the regret of my inexistence when those faraway times gave place to such pair of wizards of prose and tune, assisting the genre of folk and cruising the devious ocean of rhythms that has become rock n' roll. Sounds of Silence has become the most famed album recorded by this pair, in my opinion.

What about the songs? What about the sounds amidst the silence? It's still possible to hear somewhere, lost through the air, in a market, in a bar, The Sounds of Silence, that distant poem in which the people talked without speaking, people heard without listening, people wrote songs that voices never shared. It's an open critique against social stereotypes, harmonizing with the perfect synchronization of voices.

Leaves That Are Green evokes the perfect simplicity that Paul arranges along with voices and guitar chords, for those who know how to enjoy those quiet afternoons that give us beautiful presents of nature. Marking a contrast between these last two, Blessed clearly states the rebel nature of those generations that when they do not encounter themselves satisfied, tend to be inquisitive; Blessed are the meek for they shall inherit / Blessed is the lamb whose blood flows / Blessed are the sat upon, spat upon, ratted on / O Lord, why have you forsaken me?

Kathy's Song is a ballad that contains a beautiful and sublime statement: The only truth I know is you. The following influence in Simon's music takes place within Somewhere They Can't Find Me, with a style that many claim was copying some long lost Spanish group, Duncan Dhu. Anji, written by David Graham (according to the credits) it's a reprise of the last song this time adapted in an acoustic guitar.

The album goes on with Richard Cory (Recorded by Paul McCartney in a live album by Wings) speaking with a rhythm of boogie about a weak man that has much more than he really desired, aggravating this idea in the last stanza: But I work in his factory / And I curse the life I'm living And I curse my poverty / And I wish that I could be / Oh I wish that I could be / Richard Cory.

So my mind was filled with wonder when the evening headlines read:
"Richard Cory went home last night and put a bullet through his head"

Most Peculiar Man is another funereal tune that speaks of a solitary man that commits suicide, with languid and intrusive music. A reciprocate love transmitted through grand guitar laments is only a single way to describe April Come She Will, story of the loss of a beloved one in half a year's time, narrated in a manner that lets the listener relate personally with the message.

With a tasty and vivid boogie, We've Got a Groovey Thing Goin' is the most joyful song in the album, which shows us that tears are not everything life gives us. And finally, one of the greatest hits of S&G, is one of those songs that leave us thinking about human condition and love: I Am a Rock is the finish line of metaphors based on a lonely soul, bearing but knowledge through years and caught inside a mighty fortress, describing himself as a rock with no need of friendship or true love. A good impression remains with the listener after this, who probably at this time may have lost any valid arguments to leave this record collecting dust in the closet.


Tracklist & rating:
Please keep in mind ratings are not universal and are based on the natural performance of the band in matter

"The Sound of Silence" (Paul Simon) – 3:06 …………………….8/10
"Leaves that are Green" (Simon) – 2:23………………………….8/10
"Blessed" (Simon) – 3:16………………………………………..9/10
"Kathy's Song" (Simon) – 3:20…………………………………..8/10
"Somewhere They Can't Find Me" (Simon) – 2:38……………….7/10
"Anji" (Davey Graham) – 2:15…………………………………...7/10
"Richard Cory" (Simon) – 2:57…………………………………..9/10
"A Most Peculiar Man" (Simon) – 2:32…………………………..9/10
"April Come She Will" (Simon) – 1:51…………………………...8/10
"We've Got a Groovey Thing Goin'" (Simon) – 1:59………………8/10
"I Am a Rock" (Simon) – 2:52……………………………………10/10