cptgaio

The anonymous one isn't entirely wrong...

I listened to it in full live years ago and it didn't impress me much, maybe listening to it again...

Indeed, the discussion revolved around whether Maiden were inspired by the Judas Priest sound or the other way around (I simply stated that the Judas of the '80s were significantly changed by listening to the NWOBHM and not specifically by Maiden), and it is quite well-known that Maiden, apart from some (but not so evident) Sabbath-like influence, inherited and then radically modified the sound of bands like Thin Lizzy, Wishbone Ash, and Free, which are not strictly Hard. Hello, dear!

The movie never excited me; the series is much better. Nice review. Well done!

@Charming Kosmo: Surely (even though I am among those 4-5 psychiatric patients who prefer "PreMillenium Tension") "Maxinquaye" is a great album and I consider myself lucky to have experienced its release live (just like all the so-called "Bristol Sound") but now, years later (12 in the case of Tricky's solo debut if I’m not mistaken, but surely the infallible Zion will come along to correct me…) the Portishead albums still sound fresh; it’s no coincidence that long-standing communication companies choose their pieces as jingles (this is not a discriminator, eh! But in my opinion, it’s thought-provoking) while in Tricky’s work there’s already a sense of being out of date (in my view), as if it had aged prematurely. It’s not necessarily a flaw (in fact, I quite like it a lot..) but if we must make unpleasant comparisons, I believe Gibbons & Co. still remain unmatched at least in terms of pathos and impact. That’s all. The 3, however, was for the album in question (I find it clever..) not for Tricky’s career which, at least until the third album, is worth a solid 5... Cheers!

In fact, I didn't talk about personal tastes, dear Hetfield, but about history. You are completely free to appreciate Judas and to disdain Maiden (that would be something else), but regarding historical trends and patterns, the name Metal began to be used in the early '70s for sure (and inappropriately, as it grouped an infinite number of bands that had little or nothing to do with metal). However, what it is today owes a lot (if not everything) to the British movement after '79. As for personal tastes, I won't get into that. Bye!

Definition taken from Wikipedia: The term emo denotes a subgenre of Punk music.
In its original interpretation, the term emo was used to describe the music of Washington DC in the mid-1980s and the bands associated with it. In the following years, the term emocore (short for 'emotional hardcore') was coined to describe other music scenes influenced by the Washington one. The term emo derives from the band's desire to 'emotionally engage' the listener during their performances. The most significant names of the early period include Rites of Spring, Embrace, One Last Wish, Gray Matter, Fire Party, and slightly later, Moss Icon. The first wave of emo began to fade with the dissolution in the early '90s of many of the cited bands.
By the mid-'90s, the term emo began to be used to indicate the indie music scene influenced by Fugazi. Bands like Sunny Day Real Estate and Texas Is the Reason played the more emo side of indie rock, a more melodic and less chaotic side than its predecessor. The "indie-emo" scene survived until the late '90s, when many bands belonging to it dissolved or shifted their music toward more mainstream territories.
As the last indie-emo bands did, the new wave also glanced at the mainstream, creating a musical style that introduced the term emo into popular culture. If in the past the term emo was used to describe a wide variety of bands, nowadays it has taken on an even broader meaning, not necessarily indicative of a specific musical genre.

Dear Manliuzzo, emocore is nothing more than hardcore with more emo, meaning emotions = drama. That said, in the emocore melting pot, which is now in vogue, anyone can fit in...

The Maiden were born after the Judas but they were not inspired at all by their sound (which was a bit harder than hard rock); rather, the opposite is true, as the Judas adapted to the post-NWOBHM sound, losing their originality, which they never found again by the way, since they always relied on someone else's sound. Now 5000 people will come to contest me, but this is history, guys...

Then they got lost in endless personal diatribes... the fact remains that "Dummy" and its namesake (and I would also include the Live) remain for me the highest moments of trip-hop, unattainable, not even by Tricky...