easycure

Oh well, sure if Omeganex is based on Wikipedia, anything can be fine. It's not exactly like reading Lester Bangs.. :-) but then you just have to listen and compare..

ahi ahi, the definition of "prog" apparently doesn't fit just me. :-) omeganex, come on, you’re the one who made a blunder, what's so bad about that? :-D I fully agree with Arnold Layne: even in things that I don’t consider indispensable like Dark Side of the Moon, the Floyd are unique and hard to label. Anyway, specifically regarding this album and trying to attach labels: 1) On the Run can easily be defined as psychedelic and is certainly NOT definable as progressive. Breathe, Time, Us and Them, Money are fundamentally pop pieces (a definition that is NOT necessarily negative, before giving way to sterile "scandals"), but are much closer to psychedelia than to prog, mainly in terms of themes tackled and atmospheres evoked. Moreover, this album is commonly known as the one that "transferred" psychedelia to a more universal format. It can also be defined as progressive, after all, for a while the boundaries were blurred, but progressive should have stopped at the Moody Blues, whereas it moved a bit forward and changed some coordinates. :-D Regarding the supposed "hatred," let me point out, omeganex, that I had intervened in this review with complete calm; if you want, I’ll quote my comment verbatim: "this review continues to break things down. The more I read it, the more I laugh (and I find it spot on) ..thank goodness the last comments made me rediscover it ;-)" ..then the legendary !dreamtheater! came along with quite a bit of restless "hatred," as you would say, and I had to clarify a few things.. is that not clear enough? Come on, try to be objective every now and then. ;-)

Absolutely exceptional... it's true that Gondry "weaves" a bit too many things in the second part, but it remains an extraordinary film and an exceptional Carrey. In short, like Ghemison :-)

great SyDeRus, nice discussion.. :-) happy first of May to everyone

Oh sure, why not... however, there are two points you haven't considered: 1) since they are fundamentally not shift workers posing impudently as artists, The Cure, a group with far less technical skill than DT (but indeed, I would never compare them from this perspective; it’s you who sadly do it :-), couldn't care less about taking a whole album and covering it... did you ever think about that? It’s not a prerogative of any band to cover entire albums; it's clearly a prerogative of those who have a lot of exhibitionism to flaunt (and of those who know they will always find some gullible fool ready to buy whatever crap... I hope at least you downloaded it, heheheheh ;-D). Point 2) Dark Side of the Moon is not a progressive album; no one would define it as such; it’s already generous to call it more or less psychedelic; in any case, it has little or nothing to do with progressive. Therefore, even the fact of being a sacred monster of the same genre as DT does not justify the operation: they simply took a very famous album and shamelessly remade it because, you see, being great musicians justifies the operation by itself... such a show of fat presumptive arrogance is repugnant to me (and hence my judgment, which as was easy to understand from the beginning referred to the operation as a whole, more than to the album itself, an album I have no intention of listening to), but good for you.. :-) P.S. Omeganex, the '70s ended a while ago; maybe you should email your DT friends and explain it to them ;-) ..oh right, I forgot, but they add palm muting and double bass, so they are modern ahahaheheheh :-D

I completely agree (and am also in admiration) with SyDeRus' comments except for the first one: when it comes to dates that vary by a few months or different names for which it will be difficult to fully know various references and backgrounds, I prefer to ultimately adhere to the logic of what I hear: I do not deny Mike Leonard, but I don't understand why, in addition to this, the Warlocks could not also exist. And I'm no longer referring to dates; I'm referring to a piece that sounds EXACTLY as expected in the stylistic approach of the GA/Warlocks jams. I continue to find it completely absurd in its improbability that the Floyd invented such an approach just by watching a film. Furthermore, I want to point out that the Jam in the sense of the GA (just as in the sense of Interstellar) is not simply a "jam exercise." We are not talking about Blues; instead, we are discussing a Jam approach that changes in meaning and significance, that begins to deconstruct and REconstruct in a completely different way compared to the past, that begins to conscientiously present itself with a different purpose. I repeat, for all of this to arise from simply watching a film seems rather naive to me as a hypothesis. From this perspective, that the length of the album coincides with that of the film only means that Leonard's influence is real, but it does not negate that of the Warlocks at all. I have certainly never denied that the basic idea is Barrett's; however, it is clear how the piece (still Interstellar) continues through the overall contribution of the group.

Oh right, I almost forgot, of course the always relevant and with magnificent sounds Portnoy's drumming.. wait a sec, maybe I’ll reconsider hehehe :-D

So you claim that the only difference is the different solos... oh well, then of course there's the different way of playing by DT... those excellent polished voices that are completely expressionless... that magnificent guitar so unique and personal, as well as graceful and not showy... that keyboard with such sweet sounds full of taste... once again you fully confirm for me that listening to this album is completely pointless. Thank you! :-D

Damn, the intellectual level of !dreamtheater! is astonishing! I'll write it in capital letters, maybe it will be clearer this way ;-) ...CAN YOU EXPLAIN TO ME WHAT THE HELL THERE IS TO LISTEN TO ON A CD THAT COVERS ANOTHER ALBUM IN ITS ENTIRETY? I'm eagerly waiting for the answer. Omeganex, you're right to dissociate yourself... that !dT! lowers the level of the "DT fan" category, heheh :-D

I still consider the reference to GD absolutely unavoidable, whether they were called that or Warlocks: to say that the Floyd invented a type of song very similar on the other side of the ocean just a few months later seems to me a completely unlikely coincidence. As for the "less Barrettian," I limit myself to observing that ALL the pieces written by Barrett on this album are short or very short tracks, maintaining a similar approach (in the way of singing, in the unpredictable structures, in the surreal arrangements), they are evocative and very melodic pieces, small sketches of fairy tales, sweet and crazy calm and visionary stories: aside from the last adjective, NONE of this can be applied to Interstellar Overdrive, which, aside from being based on a robust rock riff full of fuzz, drags on for nine jammy minutes that Barrett does not contemplate at all in his vision of psychedelia in ANY of the pieces he composed neither before nor after Piper.. hence my considerations; it all seems rather logical upon listening.