Peppe Weapon

I can place Moon In June as a "masterpiece of music since 1950" along with Starless by King Crimson. On its own, it's worth the whole album, which is nice, of course, but Moon In June is the apotheosis of the apotheosis.

Mmm... I must say that, as a big fan of Traffic, this album doesn't drive me crazy at all, even though it’s a great work... I still consider Mr. Fantasy and John Barleycorn to be superior, but this album is definitely a must-have.

Sorry, I meant to say "catchy song"... it's the same, it's unbearable from start to finish.

At least it's catchier than Videophone, even though it still remains at a low level... however, the video is rich in quotes, and the directorial stamp is well done, I must admit.

Even though I am very open-minded, even though I set out to read this review with as little subjectivity as possible, even though I consider both Beyonce and Lady Gaga to be the least bad in the female side of MTV's business, as soon as I read "Catchy Chorus," I stopped reading the review. If for you it's a catchy chorus, you should go see an ear doctor. This isn’t about tastes; it's about good taste, and the chorus of this song is the most unbearable thing I have ever listened to. Well, in the end, it's the video that attracts, the song is built that way, haphazardly, randomly.

"Queen, just hearing the word"... yet another demonstration of people's prejudices. Everyone associates Queen with "I Want To Break Free," "We Are The Champions," while they know jack shit about the early albums. Years later, and after my musical evolution, I've completely reevaluated them; I hardly listen to them anymore, and more in terms of saying they've combined decent technique with a rather catchy yet superficial compositional style, I can't say otherwise. But this album is a masterpiece, even though there are some very weak tracks, like Funny How Love Is and The Loser In The End, all the others are small masterpieces of immediacy and inventiveness, ranging from fleeting rock pieces at full throttle (Ogre Battle and Seven Seas Of Rhye) to almost progressive songs (I emphasize almost, and I'm talking about Fairy Tellers-Master Stroke and The March Of The Black Queen) to quick-paced ballads (White Queen and Nevermore). We're talking about a complete and thrilling album, and for once, to hell with technique.

Not a damn thing, that's why the album didn't turn out so well.

Incredibly badass album, rather amusing review, and so I reward you... the album, on the other hand, is, for the time it was released, of unprecedented ferocity, with fast and catchy riffs and a vocal style that will be imitated by Metallica, Slayer, Pantera, and many representatives of Thrash Metal.

Well, I believe that "being courageous" in taking the canons of music and overturning them in favor of a primordial musical journey, accompanied and torn apart by impromptu rhythms between jazz and madness, does not mean MASTERPIECE. For me, this album is anything but a masterpiece; it is simply "experimenting with an experiment," and making a case for Captain Beefheart for his crazy and genius insights and elevating him to the god of music seems to me to be a conception from someone who wants to go against the grain. There are people who believe that creating catchy music backed by a certain "sought-after" sound is easier than making an album like this. Perhaps, but I completely disagree.

A fundamental record, technically incredible. Unlike overrated albums like Modern Dance by Pere Ubu, this is a masterpiece for everyone. Marquee Moon and Torn Curtain are the best tracks.