Eliodoro

'Bayou Country' is absolutely a must-recover. Their second release, having refined the somewhat raw sounds of the previous one, delves into territories that will allow them to synthesize the sound and spirit of an epoch (partially quoting from the beautiful book by Ezio Guaitamacchi "100 dischi" published by Editori Riuniti). There are no Jeffersons or lysergic Dead; we return to the roots of blues, the essential and somewhat narcotic kind that I love so much. This work is propelled to greatness by the splendid version of Proud Mary, which marked the success of this album by effortlessly blending country and rock. It's a slightly darker album with references to Hoodoo, where Mississippi and the swampy areas characteristic of Louisiana emerge between the grooves. John Fogerty sings with a deep, dark voice for this splendid journey through soul, blues, and country on a barge in the American delta, but it also works perfectly if we move for a descent along the black river of Vietnam, the Mekong, which was actually, for the filming of Apocalypse Now, the Pasangjan in the Philippines, a journey where the music of C. C. R. accompanies us in a blues circle that feels Dantean among rifles and voodoo puppets. A record that never gets boring, even if their best is yet to come.

Great job, but I don't agree with your beginning; the final track is what's worth the album for me, and I've noted it on the sheet I left for my wife for my future cremation ceremony when God wills it.

A good review, congratulations, I would add that this initial work is the foundation for the change of direction that will eventually lead to an ethereal and visionary pop sound that is very original with good commercial success.

A nice guide for those who need to discover a good album unfortunately fallen into oblivion for most.

I would stick with three stars for the album I listened to again, and frankly, I find the execution a bit rough. The kraut ideas are all there, and that makes me appreciate it even more for the year it was recorded. The review, on the other hand, is very charming. Well done!

Very interesting and extensive review, I just have a small thing to say: the focus is heavily on Eno and less on Budd, who is the composer and performer of most of what the album contains. As proof of this, Eno himself had stated that Budd composed and played while he focused on the sound.

Beautiful review, written with heart and soul. Nice album that speaks of him but, as always in his works, it speaks of us who went to all his concerts when he was in the area, us who still went to the taverns before they closed them all, us who have played and sung "la locomotiva" hundreds of times and were moved by his portrayals of the friar or the Portuguese girl.

"...it's a cover album, and a cover album usually marks a moment of pause for the artist, a lack of inspiration, a sign of creative fatigue. This is not the case for ours; it's a reflective work, deeply inspired in the tracks thought by others but completely reworked, turned inside out, and much credit goes to Bob Ezrin at the console as it did on Gabriel's first solo album from 1977. However, the hidden hero of the record is the arranger John Metcalfe, former Durutti Column, who has been able to take every idea from Gabriel, every hint and intuition, and transform them into volatile and dynamic scores sprinkled with orchestras and violins, winds, and atmospheres light-years away from invasive drums and rhythms. So deconstructed and reconstructed, it’s hard to recognize the originals..."

This Odyssey & Oracle is their masterpiece, undoubtedly remaining, as they say, a cornerstone of baroque pop and without fear, it can be likened to Pet Sounds by the Beach Boys. It is one of the first albums where we hear the sound of the mellotron used on a large scale.

Great job of yours and also that of the old Welshman who really made a nice record. Listening to it is definitely enjoyable while waiting to hear the latest one released in these days, which is being talked about as being on par with this one, if not even better. Greetings to everyone.