The Album Review Club - Week #139 - (page 1815) - Jeff Wayne's Musical Version of The War Of The Worlds

First listen in years.Still loved it today.
Classic rock record(I know opinions eh).
Once,Even Flow,Alive,Why go,Black,Jeremy and Oceans 7 great tunes to start.
Porch the only track i struggle with.
Finished of with Garden,Deep and Release.Again a strong finish.
Production great,Vocals good and the band spot on.Loved a lot of the intros.
8/10.
 
First listen in years.Still loved it today.
Classic rock record(I know opinions eh).
Once,Even Flow,Alive,Why go,Black,Jeremy and Oceans 7 great tunes to start.
Porch the only track i struggle with.
Finished of with Garden,Deep and Release.Again a strong finish.
Production great,Vocals good and the band spot on.Loved a lot of the intros.
8/10.
I would have sworn that this would be too mainstream and slick for you, Benny.
 
I would have sworn that this would be too mainstream and slick for you, Benny.
No as posted earlier i liked their first two albums.
The 3rd i thought was dreadful and gave up after that.
Had a listen to one of their numerous live recordings on Spotify and i would say they are a studio band.
 
No as posted earlier i liked their first two albums.
The 3rd i thought was dreadful and gave up after that.
Had a listen to one of their numerous live recordings on Spotify and i would say they are a studio band.

How about the MTV unplugged they did ?
 
Well, 10 is pretty much as I remembered it. If I magically replace Black with Porch, then what was side 1 on the vinyl doesn’t have any real weak spots, which would all be on side 2. But I said “pretty much” because the one song that made an impact on me that hadn’t before was the closer Release, which is really two closers with that funky vintage early 80s King Crimson bit during its second half. I didn’t cotton to it in the many times I’d heard it previously but liked it much better this time. It probably helped that as I was listening driving down Franklin Street in San Francisco, the Blue Angels roared overhead going near vertical over the bay, which was pretty cool (they do an annual air show here every October and they’re practicing).

@RobMCFC stole a lot of my thunder in that it’s very hard to separate this from Nevermind and Superunknown in context. That’s what I was going to do, though I like Nevermind top to bottom far more than Rob but agree 100% on the 2/3rds of SU that are nuclear vs. the 1/3 that isn’t.

It’s also not fair not to try to see 10 on its own. On its own merits this is hard rock played competently if not periodically spectacularly. It also has flaws, or sins, like the repeated bass riff between Even Flow and Why Go, and the echoey snare and slushy cymbals which rob some songs of power. Eddie’s got his own intonation which is at least unique and all his, but sometimes the Stipean mushmouth is irritating. Jeremy continues to have a set of lyrics that really, really move me in addition to being the song that sounds the most energetic and the angriest. It’s still IMO the best thing here, but I found some of the other songs a tad more pleasing than I expected despite my overfamiliarity — Even Flow, Once and Alive e.g., and as noted, Porch — which makes me wish PJ had played at more tempo more often on this record. Also, PJ knows riffs but not so much melody — I love the riff on Gardens but the tune meanders and gets lost somewhere. Meantime my hatred for the nearly criminally-overwrought Black was reconfirmed. Once again we are back to a sonics vs. songs thing and this band is the former.

All this said, prior to this week I probably would have said the record is a 6, but on balance the old familiarity of some tunes and listening to Release and Porch with fresh ears makes me think differently today. Add that Jeremy is over 30 years old and I’m still willing to turn it up any time it plays, and that kind of staying power makes 10 a 7.

PS. In case anyone cares, Superunknown is an 8 and Nevermind is a 10.
 
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Well, 10 is pretty much as I remembered it. If I replace “Black” with “Porch”, then what was side 1 on the final doesn’t have any real weak spots, which would all be on side 2. But I said “pretty much” because the one song that made an impact on me that had t before was the closer “Release”, which is really two closers with that funky vintage early 80s King Crimson bit during its second half. I didn’t cotton to it in the many times I’ve heard it previously but liked it much better this time. It probably helped that I was listening driving down Franklin Street in San Francisco, the Blue Angels roared overhead going near vertical over the bay, which was pretty cool (they do an annual air show here every October and they’re practicing).

@RobMCFC stole a lot of my thunder in that it’s very hard to separate this from Nevermind and Superunknown in context. That’s what I was going to do, though I like Nevermind top to bottom fat more than Rob but agree 100% on the 2/3rds of SU that are nuclear vs. the 1/3 that is t. It’s also not fair not to try to see 10 on its own. On its own merits this is hard rock played competently if not periodically spectacularly. It also has flaws, or sins, like the repeated bass riff between Even Flow and Why Go, and the echoey snare and slushy cymbals which rob some songs of power. Eddie’s got his own intonation which is at least unique and all his, but sometimes the Stipean mushmouth is irritating. Jeremy continues to have a set of lyrics that really, really move me in addition to being the song that sounds the most energetic and the angriest. It’s still IMO the best thing here, but I found some of the other songs more pleasing than I expected despite my overfamiliarity — Even Flow, Once and Alive especially, and as noted, Porch — which makes me wish they’d played at more tempo more often on this record.

Prior to this week I probably would have said the record is a 6, but on balance the old familiarity of some tunes and listening to Release and Porch with fresh ears makes me think differently today. Add that Jeremy is over 30 years old and I’m still willing to turn it up any time it plays, that kind of staying power makes 10 a 7.

PS. In case anyone cares, Superunknown is an 8 and Nevermind is a 10.

Great stuff.
 
Neil Young made the best grunge albums.
and the 2 offerings he and Pearl Jam put together in the mid 90's were fantastic too (extra grunge sampling for those who have listened to/reviewed "Ten")



I've been slammed at work the past two days, but I have a couple of albums to listen to this weekend.

I've got a customer trip next week to the "Sound of Grunge", so I'm looking forward to that in light of BlueHammer85 selecting this album. Seems fitting, and I plan to be in full force listening to this ONCE there.
 
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I have no idea whether this is going to be relevant to the conversation on what grunge is or isn't (and as a clueless I await with interest) but a couple of nights ago I had a 'healthy discussion' with elder son about cadging money for pedals and our differing views on the necessity of certain bits of kit for specific 'genres' he wants to dabble with. I expressed the opinion that at the point where you supposedly need a specific big muff variant or an md-500 or [insert one of a thousand other bits of kit on the wishlist] to play a genre then it's not a genre it's just a marketing ploy.

This is a round about way of saying that if it turns out that grunge is basically a combination of angsty lyrics playing softly for a bit and then wazzing a shit load of distortion onto the chorus then I'm going to be very disappointed and I won't be buying that it constitutes a genre :-)
All of which just confirms to me who knows nothing of these technicalities that if you want to stay authentic all you need is vintage Vox AC30 combo amp and know how to play your guitar.
You don’t need foot pedals or a whammy bar even.
 

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