hobbit

But why, if someone does something you consider wrong, don’t you just point it out without attacking and excessively offending them? Antonino, you write some great reviews (like those from LZ) despite being so young, but you need to understand that being rude doesn't mean just swearing; it's more about addressing people you don't know with offensive and disdainful tones, especially when they haven't caused you any harm, either moral or physical.
Calm down... it's true there were already three reviews of the album, but it's also annoying to read the comments and see all these unjustified violent attacks on the reviewer... it’s not like there’s a limit to space on the internet... (read the comments from 2+2=5 and cleo on the review "The Velvet Underground & Nico" (by 2+2=5)).
Regarding the album, I feel that Welcome to the Machine and Have a Cigar seem a bit like fillers (in my opinion), compared to the other two masterpieces Shine On You Crazy Diamond - especially the first 10 minutes of the first part and the last 5 of the second - and Wish You Were Here - a very modern ballad; if someone had told me it was from '95, I could have easily believed it.

Damn Sylvian, you stole the term from me... When I wrote the review, "camaleontica" didn't even cross my mind. It captures it perfectly.

Ah, I also agree on the final PS... What’s the point of getting high when we can experience superior emotions with this music? NO to drugs YES to PIPER, SAUCERFUL, UMMAGUMMA, MORE, ATOM HEART MOTHER, MEDDLE, DARK SIDE, and WISH YOU WERE HERE (from '75 onwards only a handful of songs are worth saving).

perhaps the disc isn't that important historically (Pink Floyd are in a transitional phase after Syd Barrett's departure), but it's still a magnificent album. I agree with the advice to listen to it in the dark and with what you say about the title track - by the way, have you heard the live version on UMMAGUMMA? Chilling - but not with the judgment on Jugband Blues... that final acoustic piece that suddenly appears when the song seems to be over is stunning.
"It's awfully considerate of you to think of me here
and I'm most obliged to you for making it clear
that I'm not here
and I never knew the moon could be so big
and I never knew the moon could be so blue
and I'm grateful that you threw away my old shoes
and brought me here instead dressed in red
and I'm wondering who could be writing this song
I don't care if the sun don't shine
and I don't care if nothing is mine
and I don't care if I'm nervous with you
I'll do my loving in the winter

And the sea isn't green
and I love the queen
and what exactly is a dream?
and what exactly is a joke?

How beautiful, guys...

Hammill's voice possesses an endless drama. During the suite, it feels as though you are truly in a storm, lost in the sea, catching a glimpse of a lighthouse that seems unreachable. (The part where the rhythm suddenly changes and Peter sings "I don't want to wait..." is fantastic.)

Great! How do you manage to write such a perfect review?! You expressed everything I think about this fantastic album... concisely while perfectly clarifying the meanings, the musical characteristics, and the emotional feelings conveyed through the listening experience.

Yahweh would have fit perfectly in The Joshua Tree.

baba o'riley is the most beautiful song ever.. powerful, devastating, delirious, crazy, legendary

vote, even if it's taken for granted

As for the album, I think I would take it to Mars as a representative of Earth’s music (see Mr_Iko), but not alongside Ziggy Stardust (I’ve never listened to it; I’m only 17). Instead, I would also bring OK Computer by Radiohead. Tommy conveys to me intense emotions, an explosive energy combined with moments of utmost sweetness (for example, the line "See me, feel me," etc.); the instrumental parts are perfect, Daltrey is incredibly inspired vocally, and Moon and Entwistle are the same (just think of how they unleash themselves in the Overture), not to mention that genius who conceived such a work.
PS: Richard Barnes, a journalist, wrote in an article published in the booklet of the remastered CD:
"[Tommy] captures some of the magic, or whatever it was, of the '60s. The Who wrote and recorded it at just the right moment in their evolution. Smart but not pretentious, it’s one of the great rock albums of all time, and a quarter of a century since it was first recorded, the hairs on the back of my neck still stand up when I hear the first note of the Overture."
A personal comment, but one I feel I can fully share. Of course, I wasn’t around a quarter of a century ago, and I only started listening to the album (and have never stopped) last year, but the very fact that Tommy can leave such a strong mark even after such a time is indicative of its magical, indelible strength.