My favorite Judas album after Sad Wings. Beautiful because it returns to the bloodier and rawer territories of Rock/Hard Rock, while still containing some of the more "refined" and melodic aspects here and there, leaving the more airy and epic style of "classic metal" — let’s call it that — which they were progenitors of (and which is still present, see the lovely opening "Deliver the Goods"). There’s a greater urgency and visceral quality in this "Killing Machine," which makes me prefer it slightly over its "brother" released a few months earlier, which is almost equally valid, of course. Here, the only one that doesn't say much to me is "Evening Star"; the rest is explosive. The sequence of three songs from "Burnin' Up" to "Killing Machine" (irresistible) is unbeatable, and they are all among my favorites from the band. In the middle, of course, shines the excellent cover (not easy) of one of the masterpieces that the Green Wizard of English Blues-Rock wrote with Fleetwood Mac (the last one, to be precise), that perfect spellbinding anthem of rock-blues, "The Green Manalishi," which reveals their appreciation for the Green Mac and which will become a classic in their live set. The ballad "Before the Dawn" is also beautiful, confirming their melodic taste, and while it’s just a bit too romantic and sentimental, it’s still very lovely. And then there's the lighter and poppy part with "Take on the World," featuring a stadium anthem (Queen-esque without being as annoying) that sounds almost like a cleaned-up pub song from England. more
I had always skipped this album, going directly to the two that followed. Then I thought, "Why not give it a listen, you never know..." I should have continued to skip it. Terrible album. Pure and hatefully “radio-friendly heavy metal”—the kind that is truly not very heavy and truly not very metal (I call it pop-metal)—but above all, tremendously tacky, sycophantic, and unnecessarily, overwhelmingly over-the-top, gaudy, "epic" (in the worst sense of the term this time). Unfortunately, it’s a genre that quickly goes from enjoyably garish to monstrously bad for me. This one is bad. It has a couple of delightfully tacky moments, but it's bad. Comparing this album to the attitude of a "Killing Machine," as well as to the songs themselves, this album self-destructs. A major misstep for the band, and also the only one I’ve ever listened to, since the next two aren’t my cup of tea, but they’re amusingly tacky-fun, and "Painkiller" is instead a colossal leap in luxury. I don’t know the two from '86-'88 and I don’t want to know them; twice the same nonsense, no thanks. more
A classic, immature debut album, still somewhat "undecided," but not a bad record for that. Simply put, it's mostly a hard rock album that feels a bit generic, enjoyable but somewhat flat, with very few moments or tracks that really elevate it from the crowd; it stays, rather, in the average realm of any standard hard rock album from those years (with a few nice songs, like "One for the Road"). Then there are the tracks where Judas seek different atmospheres and genres (as they would do on Sad Wings, but with very different results), but even the triptych "Winter/Deep Freeze/Winter Retreat," originally conceived as a single piece divided into three sections, or the final instrumental, the delicate "Caviar and Meths," don’t particularly stand out and leave me completely indifferent. However, there are two tracks on the album that manage to shine well beyond the average quality of the remaining pieces: "Dying to Meet You," distinctly divided into two parts and particularly beautiful in the first half, and the rock ballad "Run of the Mill," with its almost 9 minutes, which is in my opinion the first true great piece by Priest, a classic rock ballad, with a classic long guitar solo, but beautiful, inspired, very well-executed, a fantastic track. Two years later, what will come will come, and it will obviously be a whole different story. more
Great album, along with the '78 twin Killing Machine, it completes the podium of my favorite Priest records, though it’s consistently a notch behind Sad Wings. Here, the stylistic variety of the previous two albums (especially the usual big record from '76) is abandoned, and the band solidifies into a hard/heavy rock-metal that, damn it, is practically a primer for all their students of the following decade, Maiden and the lovely NWO gang, etc., as well as the Dio-era Sabbath, in many aspects (and, as always, done better by Judas). The best songs for me are "Fire Burns Below" and the beautiful cover from the stunning second album of Spooky Tooth, "Better By You, Better Than Me," which I may prefer because it stays closer to 70s rock/hard rock territory, even though the beautiful closing track fully embraces the grandiose tones, which can also be perfectly traced in '70s hard rock, and everything connects. The only one that convinces me less is "Saints in Hell"; everything else excites me greatly, nice nice, from the opening duo "Exciter"-"White Heat-Red Hot" to the title track, passing through the third best song of this album, "Beyond the Realms of Death," with some great guitar solos, especially Tipton's. more
Stunning album, with the band making a significant leap in quality compared to their debut, which was not bad but still quite immature. As far as I'm concerned, it's among the best Hard Rock albums I've ever listened to, and even more so, I consider it one of those albums capable of surpassing the barriers of categorization and the boundaries of genres, an album appreciated beyond one's own "musical current" of belonging. Here, the Judas draw inspiration from this and that (a bit from the usual rock giants of the early '70s - Led/Purple and their ilk, a touch of the best Queen, the finest melodic refined pop/songwriting/electro-acoustic croonerism/a sprinkling of melodic ideas or musical concepts close to a certain "prog" taste of the more "romantic") but they have the merit of blending it into a concoction that is entirely their own, doing so with great inspiration in songwriting, eclecticism, and sophistication, as well as a masterful balance of aggression, melancholy, and dramatic flair. In doing so, they themselves throw collected (and often exaggeratedly misinterpreted) insights from a multitude of other bands from the following decade onward ("Tyrant," for example, is clearly a pre-cursor to Maiden, citing perhaps the most capable disciples, even in beautiful melodic, vocal, and guitar taste). "Victims of Changes" and "Epitaph" (written solely by Tipton - like the theatrical rock gem that is "The Ripper") are my favorites, but there's not a second wasted here. more
First album for Rush, by the way without Peart on drums (played by one John Rutsey); practically a duo (Lee-Lifeson) + 1. A very conventional hard rock album, played by two musicians with unquestionable high technical skill (already here it's a pleasure to hear Geddy's bass, not so much to hear his voice that's like a chicken being strangled) but very green when it comes to ideas, personal style, and songwriting. Sometimes they venture into territories that seem like lesser apocryphal Led Zeppelin in tone (definitely) minor, and Lee seems to be an awkward cross between Plant and a car alarm siren; in other songs (I’m thinking of his singing in "Finding My Way") he instead comes off as a spiritual guide for future generations of sharp-beaked hard/metal poultry, and it’s hard rock that is very much rooted in those coordinates (and without reaching the level of the best hard 'n' roll of bands like, I don't know, AC/DC from the immediately following years). It’s not a bad album, no, in fact there are nice things to be found in "Here Again" (a good Hard-Rock-Blues track which is indeed a lesser apocryphal of Led but more than respectable) or in the long instrumental introduction of "Before and After," where Lee prefers to let his bass sing for a couple of minutes, a very commendable choice, thank you. A fundamental piece was missing for the birth of the "true" Canadian trio, this is a decent but lukewarm introduction. more
Maurizio Ganz & Rozez more
God more
Being squeezed between two albums that I consider the two best of early Waits (pre-Trombonepescespada, in short), one sometimes forgets, as I have myself, how beautiful "Foreign Affairs" is; indeed, it is probably the album in which Waits most explicitly expresses, up to that point, all the load of inspirations and cultural baggage he has carried throughout his life and in his songs: the love for the authors and figures of Beat literature, which always echo in his songwriting, the old folk songs of various origins, the old black-and-white crime-noir films ("Potter's Field" with arrangements and music by Bob Alcivar is a spoken recitation that more than ever transports us into one of those old films, with lyrics that become noir literature, a small masterpiece even to be read while listening); then, it's called "minor," but even here, Waits, lightening his ogre-like voice compared to the tones of "Small Change," for a more elegant and refined album than its predecessor, needs very little to create masterpieces: a shaving cream brand becomes a shattered dream of escape towards a city that will never be reached, a sweet lullaby turns into a heart-wrenching toast to memories and recollections; then gems like the elegant duet (another novelty) with Bette Midler. Being squeezed between two masterpieces does not prevent "Foreign Affairs" from being a very, very beautiful album. more
0. Gigi D'Alessio in comparison is Pino Daniele! more
Masterpiece in my opinion. more
A Hosanna to the Hosannas, Palepoli above all, but to be known at least as far as Suddance. more
A delicate and highly refined arabesque. Two minutes and forty-five seconds of absolute vocal virtuosity. more
In my opinion, leaving aside Lauryn Hill, Simbi, despite her young age, can be considered the greatest rapper of all time.
Her music blends orchestral Hip Hop (with deep old school references) with Neo-Soul, Kuti-style Afrobeat with Jazz, and R&B sprinkled with Trap and Electronica.
With her masterpieces (particularly "Sometimes I Might Be Introvert"), she has brought a breath of fresh air, modernity, class, and profound truth to the genre.
What can be said about her live performances... An authentic stage animal!
Energy, temperament, character, personality.
GODDESS. more
Guitarist not necessarily counted among the innovators, but possessing a decent technique in the power/neoclassical realm and a compositional orientation that, combined with the talents of capable bandmates, has produced some good genre albums, especially in the '90s. As happens to many musicians in the heavy metal area, he has always remained within certain boundaries, so if you like it, you like it, and if you don't, it’s hard to change your mind. How many hard and heavy artists can be accused of stylistic stagnation? Many too many... more
It's how a romantic song should be, melodic yet not trivial... more
Albu
Great debut album from this Polish band of the 70s more
Band highly appreciated in Germany and Poland, excellent 70s sound. more
A donut with a perfect hole... more
Between the U.S.A and Africa radiates this mix of Blues, Jazz, and Rock brought forth by the imaginary "Marvin Pontiac," born in 1932 to a Jewish mother (from New York) and an African father (Mali), and who died, hit by a bus, in 1977. Behind this fictitious project, skillfully crafted, lies the genius of John Lurie: actor, painter, and above all, the renowned musician, founder and leader of "The Lounge Lizards" (1979). With his deep, gritty voice, as dark as pitch, the puppeteer Lurie (amid marimbas, saxophones, shekeres, and trombones) weaves the threads of a vivid fresco of the desolate, nocturnal New York alleys, the infamous neighborhood bars flooded with whiskey, and, parallelly, the ancestral Mother Earth Africa. A masterpiece! more