mj64

And so? Everyone is trembling and dying of envy because the album was released on April 18, and now, after a month and a half, no one has listened to it? For me, the review is good, maybe a tiny bit too enthusiastic, but the album is more than decent; the great Dave replicates himself with class. Of course, today's companions aren't the same as before (neither the Deep Purple, nor the early Whitesnake, nor the Jimmy Page of a gem like, indeed, Coverdale-Page), but it's a thoroughly enjoyable album. Well done, Davidone. Real score 3.5.

The only thing I don’t understand is why, at the end of the review, the rating is 3. I would have expected something closer to 1. Anyway, you’re all right to some extent: this album is not prog, from that point on Asia rapidly sank to unlistenable levels; it’s a product meticulously crafted to make money (and it worked indeed). However, in my opinion, it’s a really nice album, and it’s not like AOR is absolute garbage; it has produced some commendable works as well. I don’t agree with those who complain about Howe’s secondary role; in my opinion, it’s actually him who gives that extra something to the songs that turn out to be the best, alongside Wetton's enchanting voice. I can’t reach a 5 because, listening to it again today, 20 years after that post-adolescent intoxication, I see the flaws more clearly, and I also see the abyss into which they fell soon after (by the way, does no one want to tackle the last Phoenix with the original lineup? I would avoid doing so because, for "religion," I can’t review something that I would rate lower than 4). However, for the time, it remains a really nice album.

I'll do the average, here you go.

Today I'm feeling constipated: actually, the rating would be 3.5 and 4.5, but I round down. In my opinion, this album is excellent, with a class that overflows from every corner without the miserable mannerism that instead oozes in bands like Asia (I actually like the first one, but prog is another thing). Wetton is great, but his voice here doesn't excite me. The album is a beautiful collage of symphonic, jazz-prog, and Crimsonian echoes. The first true superband.

Surely classification is an irrelevant operation in the face of the quality of music. There are great albums and unbearable trash, in prog as everywhere else. As for 12th Night, I believe Fact and Fiction is the true masterpiece of the '80s, even superior to the debut of my beloved Marillion: Geoff Mann's lyrics match those of Fish, his voice is very distinctive and capable of remarkable variations, the music dark and just angry enough; of course there are more new wave influences, but that doesn't take away the prog attributes from the album. I’ll add a score to the previous ones to bump it up by half. Progressive regards.

I find it hard to consider them prog, even though I've never listened to their albums in full. Sure, there's something like that in the early records of Pendragon (though The Jewel is overall a great album), but I've always associated them with bands like Haircut 100 (who I liked anyway; by the way, I bought Nick Heyward's first solo album). Then, considering that there are those who even leave people like Twelfth Night out of the new-prog scene, I don’t know. Anyway, I’ll listen to them more closely.

I'm "forced" to give 5 stars, even though this album isn't the best of the Hogarth production. However, aside from maybe Cannibal Surf Babe (which is still a beautiful track, albeit very little Marillion-like), there isn't really a disappointing song. I would be for a 4.5 but I'm rounding up. If you refer to the suite as having "excessive slowness" regarding Out of this world, I can only disagree: for me, it's THE BEST song of the Marillion H-era.

nice review, but I've never been able to stand them. I'm sorry.

"the most horrible thing that the Genesis have done post-Gabriel."
Which in itself is quite synonymous with horrid (phase 4 excluded)

I didn't like the review, but it nonetheless motivated me to listen to this album, which hadn't really inspired me at the time, perhaps because I had listened to "Bottom of Your Soul," the classic semi-ballad in the Luke style that felt a bit soul-less (but listening to it again today, I have somewhat changed my mind). Overall, it's truly a good album; Kimball seems rejuvenated by 25 years, Steve L. is great, and Simon nearly makes you forget the great Jeff P. Plus, it’s played and produced divinely, with a really enviable sound clarity. I’d like to say a few words to those who claim that Toto in the '80s was ridiculous: if you're referring to "Rosanna" and "Africa," you're mistaken, but at least I understand the reasoning behind it; they were songs so popular and crafted for success that it risks being misunderstood and not recognizing their greatness (just listen to the musical part of "Rosanna"; the guitar, drums, and keyboards create a terrifying sonic mix, blending rock and fusion). If you're referring to "Hold the Line," I honestly understand it even less; it's a tight and inspired rock song like very few others. In my opinion, the far better album is "Hydra" ('79), but they’ve never dropped below a decent level. Today, free from "commercial" constraints and with the best vocalist possible, they are truly a fantastic band. And you're right, live they are stratospheric: I saw them twice, in '83 and during the "Kingdom of Desire" tour, and in both cases, it was stuff that left me speechless for a day. Now I'm just missing this decade; I hope they come back our way. Fantastic!