pier_paolo_farina

Nice album. Great White is becoming less AOR and more rock blues. Perhaps their best.

Merdaiolo Committee: the clever money-grabbers never understood that this was the best of the Beatles, but rather the collection of singles that reached number one in sales.

I haven't finished yet, smilzo: your true opinion is sacred, and, by the way, shared by almost everyone (see also my vote). We are talking, regarding this review, about a whole series of your statements and information that seem to have been thrown out there without much thought, and for this reason are likely the result of hasty readings, hearsay, and habit. If you really love this music, and you don’t have time to delve deeper, all you need to do is write about how it drives you crazy and the well-being it brings you, without bothering to touch on the history, geography, and physics of Genesis, about which you have confused and inaccurate notions. When you write spontaneously, your brain still needs to be connected.

I'm the guy who wrote to you that you seem lazy and now I'm writing that you're touchy. And foolish. Use your ears, and your brain, not the notes in the booklet, which do say that Banks plays both acoustic and electric piano, but not in "Watcher," a piece for which the expression "multiple keyboards" applies. Feel free to write whatever you want, but don't get offended if you’re called a donkey.

The sound of Genesis was centered around Tony Banks from the very beginning... and it always will be. Hackett hardly ever arpeggiates; instead, it's Rutherford who does it in spades, often supported by Banks. Peter Gabriel composed only "Get'em..." and a third of the suite; you're just the umpteenth person who thinks Gabriel did almost everything himself just because he's cooler than the others. The eviction described in 'Get'em...' isn't imaginary but relates to a zoning plan by the city of London that was actually kicking people out of certain neighborhoods for redevelopment at that time. The multiple keyboards in "Watcher" are two: mellotron and Hammond. The lucrative commercial vein was embraced after Hackett left, not Gabriel, who had already been out of the band for years. Collins and Rutherford are peers, young in the same way, therefore. You seem like a lazy type who settles for little...

I agree

Everything is clear.

Rhetoric. I don't like it. The solo in "Sympathy" is one of the flattest I've ever heard, the only flaw of that song. Richards is really a "rhythmic" guy, he says it himself.

I basically agree with the analysis of the value of the songs, but the premise and conclusion are too harsh; an album with two or three masterpieces, four or five decent songs, and the rest fillers, I would rate as 4 stars... and then "Let It Be," among the mature albums, is inferior. I too find "Rubber Soul" much more deserving. The Beatles have been fundamental, but it’s not wise to mythologize them in everything, always and anyway.

"Dark Side Of The Moon" is neither the second nor the third nor the fourth nor the fifth best-selling album in the world. Even "The Wall" has sold several million more copies... the records of this album, still ongoing, pertain to its ability to stay on the chart and never leave it again. It has sold steadily and slowly... I believe it is now around 16 million copies (The Wall over 20).