lucatoz

One day, I read an interview with Phil Collins in which he claimed that Ringo's drumming parts in "A Day in the Life" were unattainable for anyone else, not so much because of technique, but because of the colors, the atmospheres, and the style... As a guitarist (especially on the acoustic) and bassist, McCartney has been great (now he just wanders around courts), he is always effective, and where technique falls short, inventiveness takes over. Is it a coincidence that he was among Pastorius' favorite bassists?

the votes

Alright, aside from some glaring oversights that others have already pointed out (I’ll also add that there’s no distorted harpsichord in Because... it’s a spinet), I can’t take reading reviews filled only with adjectives like "beautiful," "ugly," "sad," "happy"... come on, let’s put in a little effort; we’ve left elementary school behind us a long time ago...

...the votes...

I am extremely fond of this album that I bought on cassette at the tender age of 11, right during the Christmas season (I still remember the excitement of hearing the first guitar chords of "Real Love" in its demo version). However, reviewing an album (especially since in this case it is a compilation) by simply translating the lyrics of one song feels a bit unsatisfying, and let's not use the excuse of the artist being too great to find the right words...

...so the story that Mr. Moog entrusted one of the first prototypes to Keith Emerson, who then used it in "Lucky Man" on ELP's debut album, is a hoax? I await clarification...

For bjork68: Offended? Come on... are we kidding?!? Relax...
For carloirons: Who's the mustache? Try looking at a photo of Queen from the period 1980/86... let me know if you still have any doubts afterwards and I'll give you the answer... :-)

For those who can't stand the Queen anymore: just don't read the reviews and check out the other 11....thousand. Kisses.

I'm responding to Bjork68 regarding the "baroque pomposity" of "A Night at the Opera." When it comes to the choirs, I'm referring to their use that goes beyond the usual harmonization of voices (in the "Beatlesian" sense of the term). Queen attempts to recreate a choral effect understood as a full coverage of the human vocal range (bass, tenor, alto, soprano), as seen in "Bohemian," "Prophet's," "39," and "Death," also employing dozens of overdubs specifically to recreate the effect of a "mass of performers." The same reasoning, when applied to the string sections of an orchestra, holds true for the guitar.
As for theatricality (whether dramatic or ironic), there is a sense of being transported from "carmina burana" to an operetta, to a Lloyd-Webber musical, and finally to the stage of a low-budget variety show from the early century. I don't think the album title was chosen randomly...
I’ll listen more closely to ELP; thanks for the tip!

I completely agree. There’s nothing musically that hasn’t already been done by Gilmour; at times I found him almost “tired,” and yet perhaps it is this very weariness, this underlying sense of nostalgia, that makes this work so captivating. The color of the voice and the guitars remains unmatched, just like the ability to send a shiver down your spine by changing just a chord. Unique.