vellutogrigio

I met them precisely in those years ('95) and I liked "Iodio", "L'eretico", and other tracks quite a bit, for the time. However, they were largely overrated, and essentially more of a singles group than a complete album band, with good grace towards Morgan's intellectualism. Who, by the way, despite being nice and smart, I find unlikable because he did something I would have gladly done myself: make grandfather Dario Argento, not because I like that annoying daughter of his, but to be able to relate to him and mix my DNA with his. Rece enthusiastic.

Superficial review, full of conceptual errors, see post no. 6 of The Spirit. I have already written elsewhere that Judas are valid until '81, then they become the worst metal clichés - the fact that they founded it is not an excuse. This and the subsequent "Defenders of the Faith" are not worth it, I'm sorry, "Stained Class" and "Killing Machine," but even "Point of Entry," although most will accuse me of blasphemy.

Alright Pibroch, I'll make a little vow and "sacrifice" myself by re-listening to the short pieces of "A Farewell" ;))). Even though "Closer to The Hearth," whose lyrics are beautiful, doesn’t say that much to me. "Bastille Day," however...at least there we agree.

The most ingenious mystery writer of classical times, with undeniable ability to create emotional tension. However, of his works, "Le tre bare" and "La tabacchiera dell'imperatore" are better.

I didn't want to stir up controversies. The premise, it seems to me, is that almost all Rush albums are a 5 (because there is no 6, etc.) at least until 1985: and I would say that, among us, we can stop questioning it. Regarding "Moving Pictures," I don’t think there are any fillers; the last two tracks that someone mentioned above are masterpieces, especially "Vital Signs," in terms of both lyrics and arrangement: less rock Rush, of course, but masters of the song form and effects (just listen to the guitar in said track). As for "Hemispheres," I think it is completely overshadowed by the masterpiece of masterpieces, "La Villa Strangiato," which paradoxically makes the excellent surrounding pieces fade; however, "Circumstances" has never thrilled me too much, I repeat: by Rush standards. I don’t think "2112" has any fillers, in my opinion: but perhaps it’s my excessive affection for this album that clouds my judgment. I’m sorry, finally, to disappoint Pibroch, but the beautiful "A Farewell to Kings" is, among the hard prog cycle works, the one that convinces me the least: fabulous Xanadu, not bad Cygnus, while it's in the shorter tracks that I don’t find all this magnificence; they are saved by a Rush sound, or rather a Terry Brown sound, which is now beyond debate, a technique and a feeling that all fans of the Toronto group know well, but objectively I believe there’s something missing. Regarding the shorter tracks, by the way, Rush began to excel in that area precisely from "Moving Pictures" onward (peaking in "Signals," "Grace," "Power Windows"), while in the '70s they delivered their best in suites. If I have to point out their best short piece pre-eighties, I would even go back to "Bastille Day." Finally, I arrive at "Permanent Waves": "Spirit of Radio" has the nice idea of mixing many genres and sounds as happens when flipping through radio stations, and it has a nice lyric. But its overall limit is that it lacks cohesion: by cohesion, I mean "Tom Sawyer." It’s like a four-minute suite, in short, but in four minutes it’s better not to make suites. "Free Will" has never said anything to me, but here it’s really a matter of taste: it seems banal to me, beyond the display of technique. This album deserves so much, however, for the aforementioned "Jacob's" and "Natural Science," two tracks where you hear perhaps for the last time, at maximum power, the classic sound of the group produced by Brown. Already "MP" becomes more polished, especially in the sound of the guitars. Sorry for the verbosity.

They are not to be debated. However, this is not their best album. Better is "Dixie Chicken," and also the first one or "Feats Don't Fail Me Now." Good job bringing them up; they have been neglected here on the site for years.

Here a very clear problem with Rush emerges: the tendency to place filler songs, even if good overall, alongside masterpieces. "2112" and "Moving Pictures," in my opinion, are the only albums in their discography where this does not happen. Here, the masterpieces are the final suite and "Jacob's Ladder," while everything else is excellent filler: from "Spirit of Radio," catchy and varied, but not as outstanding as some claim, to "Entre Nous," passing through "Free Will." "Different Strings" deserves a separate mention - with a rare lyric by Lee, not by Peart - which personally makes me very sad, just like "Tears" from the aforementioned "2112," so I always skip it. However, even when not at their best, Rush can't receive less than a 5. Even for "Splinter," because anyone who reviews Rush always deserves it ;)))

The grades

"Children Of The Grave," an immense, incredibly powerful ride, terrifyingly freak in its talk of children imposing peace on the world to adults." You copied this sentence from Heavy Metale - vol 1 by Luca Signorelli, Giunti, 2000. Therefore, you deserve a nice 1. A much appreciated album, I think, by all the bands of the so-called grunge scene.

@Sfascia: I know Niffoi by name, but I've never read anything of his. From what I've gathered, he leans heavily towards the fanciful and is highly praised by D'Orrico from the Corriere's Magazine. As for Satta, I can't classify him as an author of the fantastic, and if he is, it's certainly in a different way. I will return to the latter, also to highlight how his "literature" should be linked, more to the type of studies conducted and other life experiences on the so-called continent than to Sardinian origins. Regards.