He hasn't made a decent song in years, but I just can't bring myself to dislike him. Never cocky, never a misplaced word... Mediocre, but likable. more
A record that I barely remembered having listened to, this is definitely the Maiden album I always cared the least about, and listening to it again now I understand why. This is the first Maiden album that has all of the "classic" pompous and epic Heavy Metal that, honestly, is a bit of a turn-off for me, also losing that fun, somewhat horror caricature vibe and the "pop" and melodic inspirations from the previous album. "Where Eagles Dare" is exactly the perfect example of the Metal that grates on my nerves. Other tracks, like "Revelations," "The Trooper," and, to some extent, the longer and more elaborate "To Tame a Land" (from "Dune"), with the latter being a typical example of the more refined heavy style of Maiden, which I find convincing only to a degree—more often not—are certainly stronger, but overall the album has everything it needs, in the genre, to keep me at a distance. Except for the always stunning cover art (poor Ed…). more
New Wave masterpiece. After the golden triad of 1973-1974 (the albums by the Fripp-Wetton-Bruford lineup, to be clear), this is my favorite from King Crimson. The triad “Indiscipline”-“Discipline”-“The Sheltering Sky” is textbook. more
After over twenty years of subpar production (with rare exceptions), this album, the first of the third millennium for Uncle Reginald, marks his rebirth and the beginning of a "second youth," at least artistically speaking. Despite a production and sounds that are far too polished and lacquered for my taste, this album sees the return of some nice tracks, among them the opening "The Emperor's New Clothes" and the beautiful ballad "American Triangle," two great songs (on the same album, for someone who managed to produce only 4-5 truly beautiful songs between 1979 and 2000). Not everything works; some tracks are definitely skippable, but beyond those two, there are another 4-5 solid songs (especially "The Wasteland"), and overall, we return to quite respectable levels. After this and "Peachtree Road" (which is less impressive than this), the golden period of this rebirth will begin with a trilogy of truly beautiful albums between 2006 and 2013. After that, he returned to crap. more
Live in a monolithic studio, of pure and wild avant-garde. more
With this, my all-time favorite KC era begins. Not that I don’t adore the first fantastic quartet (1969-1971), I want to be clear, but with this and the next two, incredible heights will be reached not just in progressive, which here is abundantly digested and surpassed, but for music as a whole. Total rock, with the best Crimson lineup ever for me. 10/10. more
Absolutely massive until "Highway To Hell." I have no idea what comes after that. I emphasize the word "everything," in case it wasn't clear. more
Sucrose more
Classical and poetic. more
"Space Shanty": a progressive rock album as beautiful as it is overlooked. more
Beautiful and very underrated album. There’s a lot of the previous work (the Fusion, Neapolitan melody, and so much poetry) but also something new, like some hints of World that will become stronger in the next two albums. An innovative and still great Pino, backed by yet another exceptional cast of musicians (Joe Amoruso, Rino Zurzolo, Mel Collins, Alphonso Johnson, etc.). more
Magniloquent fairy-tale painting, blending jazz, progressive, and poetry. A masterpiece, for me. more
Great album, on the heels of the monolithic debut but more Jazz and experimental. It's the one from the early KC that I listen to "less" (note the quotes), but here too the standout tracks are plentiful: “Cadence and Cascade”, the title track, and the sinister (not coincidentally) and abyssal “The Devil's Triangle” are among the best in their repertoire, for example. more
One of those groups whose name (fantastic) perfectly describes the essence of the music they offer. Simply 'ccezionali. more
First love is never forgotten. more
The first LP I bought. Not the Stones' best work (slaughtered by critics, rejected by the band themselves, and not even my favorite), it remains a unique record and a crucial milestone for the group's music and Rock in general. more
The wildest electric blast from Alla Cazzo Di Cane. Beautiful, maybe it's because I'm in the right mood, but beautiful. Obvious and simple, pure and simply electrifying rock'n roll, wild and hard but beautiful. I think it’s this sound of theirs that I like the most along with Let There. Being all the same, it has the merit of not having lesser tracks, fillers, or dips in tension; the songs are all very cool rock'n roll, all on the same level, perhaps even more so than on the previous two albums, "Powerage" is a nice block of granite. It’s fun to listen to. more
When I am ashes, let this album be buried together with my remains. more
The rawest disc from the Maidens, even more than the previous one. "Killers" feels like a bridge, or at least that's how I perceive it, between the '70s Hard Rock and the somewhat Heavy (or NiuUeivovbritiscevimedal) of the '80s. These Maidens are much more concise and direct compared to the later albums, and they are tremendously effective, still retaining a certain underlying "refinement" in the melodies and song structures. And then there's their cartoonish-horrific side that I find so endearing, the usual stunning cover art, the dark-horror themes, and the literary quotes (this time it's Poe) presented in a never-serious atmosphere, all sublimated in the title track, which is my favorite on the album. Not that I like everything (I find the two instrumentals absolutely dispensable; they don't say anything to me, to put it poetically) but it’s a solid album with quite a few great tracks ("Murders in the Rue Morgue," "Wrathchild," "Twilight Zone," which is a little gem, and others). more
5 balls more