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Konceptualni Albumi

3

Konceptualni Albumi

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  • Pridružio: 14 Maj 2007
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Cradle Of Filth - Cruelty And The Beast 1998

truemetal.org/metalwallpaper/images/duskandherembrace.jpg

Cruelty and the Beast (1998-) is Cradle of Filth's fourth release and third full-length album. It is a concept album based on the legend of the Hungarian "blood countess" Elizabeth Báthory. The album features guest narration on certain passages by Ingrid Pitt in character as Báthory; a role she first played in the Hammer film Countess Dracula in 1971. Orchestral and symphonic keyboard elements are given more emphasis than previously, and the album was well received on its release. Its production has come in for some criticism however; particularly the sound quality of the drumming. Drummer Nicholas Barker would quit the band the following year to join Dimmu Borgir.

The track "Cruelty Brought Thee Orchids" has remained a staple of the band's live setlist since the album's release.


1. Once Upon Atrocity – 1:42
2. Thirteen Autumns and a Widow – 7:14
3. Cruelty Brought Thee Orchids – 7:18
4. Beneath The Howling Stars – 7:42
5. Venus in Fear – 2:20
6. Desire in Violent Overture – 4:16
7. The Twisted Nails of Faith – 6:50
8. Báthory Aria – 11:02
Benighted Like Usher
A Murder of Ravens in Fugue
Eyes That Witnessed Madness
9. Portrait of the Dead Countess – 2:52
10. Lustmord and Wargasm (The Lick of Carnivorous Winds) – 7:30

Jos jedan odlican bend,sa textovima pisanim na staroengleskom jeziku.
Pevac ima doktorat za staroengleski jezik,njihova ideologija je veoma zanimljiva ali tesko shvatljiva...



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COHEED AND CAMBRIA
Good Apollo, I'm Burning Star IV, Volume One: From Fear Through the Eyes of Madness



The story of Good Apollo takes a step outside the science fiction narrative of the first three chapters and examines the life of the Writer, a character who is crafting the lives of the protagonist Claudio and his companions in the form of a fictional story. The graphic novel alternates between the two different worlds of Claudio the Writer and Claudio the Character, which can be confusing for one unacquainted with the concept as the Writer and Character are similar in appearance.

The novel opens with a dream taking place in the mind of Claudio the Character, in which he sits in priest's garb in the Writer's study looking upon the phrase "God Only Knows" scrawled in front of him in blood. He is approached by several skeletal figures begging for Claudio to save them. As their protests become more emphatic and they begin to overwhelm Claudio, he realizes he is dreaming and forces himself to awaken by stabbing his hand with a screwdriver. Aboard his uncle Jesse's ship, the Grail Arbor, he explains the dreams to Jesse and his daughter Chase as the enslaved souls of the Keywork pleading for liberation. Jesse and Chase (who appears to have some prophetic power) believe the only way to free them is by destroying Heaven's Fence and that Claudio is a messiah-like figure called the Crowing who has the power to do this. Claudio, however, is having trouble accepting this daunting role.

The novel's focus now shifts to the Writer, who resides in Rocklin County, New York. He is haunted by memories of a former lover, Erica Court, who had been unfaithful. The Writer suffers a series of delusions involving the death of Erica at his hands. These visions make up the song Welcome Home on the Good Apollo album. Suddenly, the Writer's window is broken and the someone apparently steals his ten-speed bicycle. As the Writer walks off to investigate, the novel re-enters the story with an exchange between the story's villains, the Mage Wilhelm Ryan and his General, Mayo Deftinwolf, in which they vaguley speak of Claudio's role as the Crowing and their plans to crush him and the rebellion his uncle Jesse has been leading against the Mages of Heaven's Fence. Back aboard the Grail Arbor, Claudio is awakened from a nightmare about his lost family by the Prise Ambellina. They discuss a plan formulated by Jesse to penetrate the defenses of Apity Prime of the Omega star system by landing in the city of Kalline, which is adjacent to Wilhem's lair, the House Atlantic. Claudio needs to get there to fulfill his destiny as the Crowing, however he points out that the opening in the defenses is likely a trap and argues further with Chase and Ambellina about his role, which he still doubts. Jesse explains the plan to the pilot of the Grail Arbor, who also expresses doubts, and the group prepares for the final assault on the forces of Wilhelm Ryan.

In the Writer's world, he has wandered off into deeper hallucinations, arriving at the house of Newo Ikkin, a fictional character from his story and his character's former love interest, and witnessing Claudio the character speak to Newo's dog Apollo, as he had written in his story before (Claudio utters the phrase "Good Apollo, where shall I begin?" At the end of the first track on In Keeping Secrets of Silent Earth: 3, The Ring In Return, one can hear a voice quietly saying "Hello Apollo. Where shall I begin?" It's believed the slight differentiation was accidental). In Newo's place is Erica Court, and the Writer's bicycle has taken on a demonic persona, Ten Speed of God's Blood and Burial, and begins speaking with him. The Writer is seeking a way to end the story, which Ten Speed claims he can provide if he kills Erica Court. Exact quotes of their bickering can be heard during part of the song, Ten Speed (Of God's Blood and Burial), from the Good Apollo album. The exchange ends with Claudio saying "You say a lot of things. And how's that work? You're a bicycle." Meanwhile, a rebel strike team in Kalline has disabled the generator in Kalline allowing the Grail Arbor to land. Mayo springs his trap destroying the strike force by unleashing one of the beastly Priests upon them. As the Arbor prepares to land, more of the Writer's delusions are portrayed, including Erica's murder at the hands of the Writer using the same poison Mayo gave to Coheed to kill his children in the Second Stage Turbine Blade. This delusion makes up the song Once Upon Your Dead Body on the Good Apollo album. While Mayo prepares for the rebel's ground assault, Ten Speed explains that he doesn't actually want the Writer to murder Erica, but rather to exact his vengeance metaphorically by killing Ambellina who represents Erica in the story, which will in turn cause Claudio to accept his destiny as the Crowing and destroy the Keywork; an ending for the story.

Mayo's trap comes to full fruition as a planetary defense cannon called a Jackhammer is fired into the Grail Arbor when it tries to land, damaging it. The Arbor retreats while Claudio, Jesse, Ambellina, Chase, and Jesse's other IRO-Bot children abandon ship and land on the surface of Omega. Ambellina and Claudio split off from the group while Jesse and his children stay behind to confront Mayo. As Ten Speed and the Writer further argue about the fate of Ambellina, Jesse delivers a final goodbye to his children who proceed to mutate into monstrous forms and attack Mayo's forces. Jesse confronts Mayo and is killed by him in hand-to-hand combat when Mayo rips Jesse's heart out of his body.

Claudio and Ambellina have arrived at a mirror, in which they can see the Writer's argument with Ten Speed occurring. Pursued by a Priest, Claudio and Ambellina fight it in front of the mirror resulting in Ambellina being injured by the Priest, while the Writer is swept further into his delusion by the skeletal figures the Character dreamt earlier, who, apparently at the behest of a hallucinated Erica Court, take him to a large guillotine and have him beheaded. Erica's words, "This is no beginning. This is the final cut," are repeated as the chorus of the song Willing Well IV: The Final Cut on the Good Apollo album. The Writer awakens from this delusion once again at the house of Newo Ikkin and decides to take Ten Speed's advice. Going through the mirror into the story, the Writer sees Claudio has stepped into his powerful role as the Crowing after witnessing Ambellina's injury at the hands of the Priest. While he orders the character to stop, Claudio kills the Priest anyway and proceeds to confront the Writer. The Writer explains he must kill Ambellina for his own peace of mind. The Crowing furiously declares, "My God is a coward!" The Writer kills Ambellina, easily overwhelming Claudio's resistance despite his new found power as the Crowing. As Ambellina dies in Claudio's arms professing that she would have loved Claudio had she been able, the Writer walks off into the distance with his bicycle, leaving Claudio with the cryptic message "You're Burning Star IV" and tells him to listen to the vishual(which is Chase) and that "all worlds from here must burn," it is the Crowing's duty to destroy the Keywork. The exchanges between The Writer and The Crowing and their strange relationship relate to the songs Apollo I: The Writing Writer and Willing Well III: Apollo II: The Telling Truth on the Good Apollo album.

Dopuna: 23 Maj 2007 17:37

KAMELOT
Epica



Prologue
This is the intro to the album where the listener is being placed in a dreamlike sequence. Simply there to set the atmosphere, but it's also a reference to "Prologue in Heaven" in the book it is inspired by (Faust).

Center of the Universe
This song is an extension of the Prologue, and is directing the listener into his own mind or the "inner universe", where all questions may possibly be answered. This is the first song on the album, but actually the last song that was finished for Epica.

Farewell
The journey begins; In Farewell, Ariel (the main character) burns all bridges and leaves everything he knows behind. He cannot find the answers he's looking for in science or religion, and wants to explore the world on his own. This song was made on a stormy night in Florida in the summer of 2001.

Interlude I - Opiate Soul
In this piece we try to describe the darkness and desperation one can feel having fallen into human addiction.

The Edge of Paradise
Ariel is balancing on the edge. His encounter with the great world out there has been anything but successful. In foreign countries far away from home, he experiments with alternative ways to find happiness and peace, but is slowly loosing his grip on life.
We chose the mixture of Arabic scales and Gregorian-like choirs to portray the temptations, pleasures and pitfalls of hazardous reality escape. Quite a few bottles of good Bordeaux went down during the process of writing this song.

Wander
In his desperation, Ariel seeks back to a time where love and youth were carrying him on a wave of promises. He understands that these dreams are only sentimental wishes. Life has no longer a purpose for him.

Interlude II - Omen
At this point Ariel is determined to take his own life. The melody is a reference to Helena's death scene later on the album.

Descent of the Archangel
When Ariel is at his lowest, Mephisto as he wishes to call himself, appears in the pale moonlight. Ariel is totally surprised as the devil seems to be nothing like what he had expected; In the shape of a beautiful woman, Mephisto politely explains Ariel what he could bring to his life.
Luca Turilli from Rhapsody plays the first half of the guitar solo on this song.

Interlude III - At the Banquet
A lot of people are gathered at Mephisto's castle, where Ariel has been invited. He arrives a little late, but just in time to catch his host's remarkable entrance.

A Feast for the Vain
At the big party Ariel make friends with everybody and has the time of his life. Women, drinks, food &Mephisto covers any carnal need. At the end of the song Ariel signs the deal that will be fatal.

On the Coldest Winter Night
After the party, Ariel all of a sudden meets Helena, the girl from his youth. They share a short, but intense moment together.
This song has a strong reference to cold (as opposed to Wander which refers to summer) that symbolically describes Ariel's change after his meeting with Mephisto. It was recorded live in the studio with djembe and D-bass.

Lost & Damned
Helena approaches Ariel to tell him that she's pregnant, but never gets that far. Ariel is convinced that the deal he has with Mephisto will cause her too much pain and suffering. He is anyway seeking a higher goal than love. At least that is what he believes at this point in the story. He tells her decisively to forget all about him and leave.
The tango-like verse in this song is an attempt to musically describe the tension between Helena and Ariel. Fabricio Alejandro is featured on the bandoneon.

Helena's Theme
Helena drowns herself in the river.
A stunning performance by the American singer, Mari, beautifully supported by Rodenberg Symphony Orchestra.

Interlude IV - Dawn
The town crier reads the news about Helena's death.
Guest appearance by Ian Parry (Elegy/Consortium Project).

The Mourning After (Carry On)
Ariel hears about Helena having taken her own life, and with her their unborn child. He mourns deeply, but hopes that they will meet again on the other side.

III Ways to Epica
This song closes part I of the concept. It sums up the album with Mephisto clearly representing evil and cynicism, whilst Helena reappears as an angel representing good. Ariel is still somewhere in the middle &still searching balance and ultimate truth.

Dopuna: 28 Maj 2007 17:36

KAMELOT
The Black Halo



The Story:
The Black Halo is a concept album and thus revolves around a central subject. In this particular case, it's the life of a man called Ariel, who we already know from Kamelot's previous release 'Epica . Ariel is looking for the answers to life's great questions and on his quest, he has come to meet Mephisto, the devil in disguise. Mephisto offers him all the pleasures a man could want and Ariel nearly decides to stop his search. But when he decides to reject Helena, the one woman he thought he loved, he realises that love and desire aren't the highest goals in life and that he must press on. This is where 'Epica' ends and 'The Black Halo' takes off.

Song by song:

March of Mephisto - The album opens with this very heavy and melancholic song in which the peak of Mephisto's power over Ariel is reached. The grim atmosphere of the song immediately sets the mood for the rest of the album, and is realised by the masterful guest artists Shagrath from Dimmu Borgir as Mephisto and Jens Johansson from Stratovarius, who plays the devil's instrument. Shagrath is fantastic as Mephisto and Roy Khan has obviously developed his voice even further since their previous masterpiece was released. This song is dark power metal at it's best.

When The Lights Are Down - Ariel begins to realise that his rejection of Helena has changed his life in a good way and his perception of good and evil are shifting. This song is fast, catchy and features another great performance by Jens Johansson. Kamelot maintain the grim mood, but Khan's voice gives away Ariel's current happiness. Particularly great in this song is the drum rythm, very fast-paced and extremely cool.

The Haunting (Somewhere In Time) - Ariel meets another woman, Marguerite, who seems to be his last chance in life to find true love. She reminds him of Helena in a way and because Ariel is afraid of the risk of being hurt by her, he rejects her. Marguerite actually sings a part of the song and her voice is done by Simone Simons, the fantastic soprano from Hollands goth metal band Epica. This song is a little easier on the ears than it's two predecessors and is a welcome addition to the album. Very sad, but very beautiful.

Soul Society - This song basically takes place in Ariel's mind and we can hear him talking to himself throughout the song. It's a fast song in which Ariel realises that he is in control of his own destiny, but he still wonders whether or not a greater being exists who rules over all. This song is probably my favourite, mainly because I like the theme but also because I simply love the chorus and the dark mood. Fun little detail: the girl you can hear giggling in this song is actually the guitarist's little girl giggling. It hints to a life Ariel has never been able to live.

Interlude I - Dei Gratia - Not even a real song, this interlude shows us Ariel trying to connect with the Gods he learned about in his youth one last time.

Abandoned - Basically, this song is the result of the events that took place in The Haunting. Ariel is still struggling to overcome the many hardships he has to encounter on his quest. This piano ballad is simply beautiful and Khan's breakable voice really gives this song the emotional depth it needs. Choirs and orchestra are amazing in this song, it wouldn't be the same without them.

This Pain - Ariel is nearing the end of his life and he now realises that some of the answers he is looking for will never be answered in this life alone. He begins to see the connection between the choices he has made and the losses he has suffered, and realises that there's more to a life than he'll ever uncover. This is a very matter of fact metal song with dark vocals and mystical guitar riffs. A fantastic song, but the bass riffs is a little overdone here and there.

Moonlight - Ariel realises that death is coming for him, and the idea of no longer existing both scares and fascinates him. In his mind he compares it too moonlight, bright but dark at the same time. This song was actually done halfway through the development of March of Mephisto and the similarities between this song and the album opener are very apparent. A nice song with particularly nice lyrics, fantastically performed by Khan.

Interlude II - Un Assassino Molto Silenzioso - Another interlude taking place in a shady village nearby, where a drunk singer tells the crowd about Ariel's grim destiny. The title translates to: A very silent murder.

The Black Halo - Easily the heaviest song on the album and also one of the very best this album has to offer. Ariel confronts Mephisto one more time to break the contract he signed with him on 'Epica'. When he realises that Mephisto only existed in his mind for all this time, he rejoices and his last fears of death vanish into thin air. This song is melancholic, heavy, fast-paced and very cool. The addition of a fantastic choir performance just completes it all.

Nothing Ever Dies - Ariel has his last encounter with organized religion ever and realises that his time has come. This song is rather basic. Not too loud, not too soft, not too fast, not too slow, just your basic power metal song. Kamelot makes it work too, as it's a really pleasant track to listen to.

Memento Mori - Mephisto and Helena return once more to Ariel's tortured but clear mind. The central morale of the song is depicted in one clear sentence: "I am the God in my own history". Memento Mori is the longest Kamelot song ever and it's become a real masterpiece, with a very melancholic piano opening that sets the mood for the entire song.

Interlude III - Midnight/Twelve Tolls for a New Day - Ariel dies in this interlude. Just before he draws his last breath he sees Helena coming towards him. The song then skips to a New Year celebration in town, showing us that something good always rises after the dawning of a sad event.

Serenade - This song isn't really part of the story anymore, it's more of a tribute to all the wonderful things in life, but also to the many opposites that one may encounter when living. It's got a great melody and it certainly does sound a little more colourful than the rest of the album.

Dopuna: 03 Jun 2007 20:49

YES
Tales From Topographic Oceans



This concept album is based on the four part Hindu Shastric scriptures.

Concept and history

The album is the most controversial album in Yes's discography, and possibly in the entire history of progressive rock. The album's concept, a four-piece work of symphonic length and scope (incidentally based on the Shastric scriptures, as found in a footnote within Paramahansa Yogananda's book Autobiography of a Yogi), was their most ambitious to date.

The album was released when "prog" was at the height of its popularity – with bands such as Genesis, King Crimson, Emerson, Lake & Palmer, Pink Floyd, Jethro Tull, and the earlier albums of Yes, but is cited as a key to the genre's subsequent decline in popularity. For critics of progressive rock, the album exemplified everything that they considered wrong with the genre; the popular music magazine Melody Maker summed the album up in one word: "No." A similar reaction in Rolling Stone and others. The abstruse concept and extended execution were the main targets of the album's critics, who argued that too much musical padding had been employed with little in the way of a proper concept or lyrics to back it up. In this way, the album perhaps played a significant role in paving the way for the punk rock bands of the mid 1970s, epitomized by The Ramones and The Sex Pistols, by forfeiting a large chunk of the momentum that had been built up by the group's previous three studio albums.

Conversely, some critics and fans were enthralled by the album's sheer ambition and depth, lending Tales from Topographic Oceans an equal measure of critical approval that has stretched to this day.

Discord

There was also dissatisfaction with the album from one of the band members, Rick Wakeman, who at one performance showed his distaste for the album by downing tools and eating a curry on stage during the performance of one song from the album. This infamous incident was a spur to Wakeman leaving the group, to be replaced by Patrick Moraz, who appeared for the album Relayer.

Part of Wakeman's unfavorable attitude towards the album stems from the fact that vocalist Jon Anderson and guitarist Steve Howe constructed the bulk of the album entirely on their own (as the liner notes suggest), leaving the remaining three members with relatively little to contribute (which the liner notes dispute). Complaints about Anderson and Howe's studio behavior was not unprecedented: drummer Bill Bruford had left the band a year earlier for similar reasons, and stories abound of Anderson and Howe putting tiles in the studio to simulate the acoustics of a bathroom, while Wakeman, in frustration, spent much of the time playing darts.

The album reached #1 in the UK album chart and also went into the U.S. Top 10, even going gold in both countries from advance orders, before any fans had ever heard the content. Despite this, many Yes fans and casual listeners remain divided over whether or not this was one of the group's stronger works.

Despite Rick Wakeman's reservations about the album, other members disagreed: Steve Howe in particular stated that some of his best guitar work was to be found on Tales for Topographic Oceans. Even Wakeman, in interviews, mentioned that he enjoyed some of the musical content of "The Ancient," and Wakeman has performed "The Revealing Science of God" with the band often in the years since.

Analysis

For prog rock's detractors, Tales is the genre's nadir. For admirers it is an artistic pinnacle. Regardless, it is difficult to deny the determination necessary to undertake this sprawling epic. Although broken up into four sections (the time limit of one side of a vinyl LP being about twenty minutes) Tales is a single composition. Although Jethro Tull had released Thick as a Brick, a single-song single album one year earlier, the unitary composition double-album was unprecedented in the world of mainstream rock. For the band, it was the closest they would ever come to a true fusion of classical structures and themes with rock-oriented instrumentation and sensibilities.

The lyrics are, for Yes, typically elliptical and spiritually oriented, and difficult to interpret. Musically the album features elaborately textured, harmonically sophisticated interaction between Wakeman, Howe, and bassist Squire.

It is a quintessential example of the progressive rock movement, and despite having its detractors, many Yes fans state that the album is not the pariah of the progressive rock movement it is claimed to be.

Dopuna: 06 Jun 2007 14:07

JETHRO TULL
Thick As A Brick



"Thick as a Brick" is perhaps Tull's definitive progressive rock album. Born from a desire to really produce a concept album after the rock critics so dubbed the previous year's "Aqualung," the record features a rock first: one continuous song on both sides. The music, and the lyrics, are challenging to the listener and reflect complex influences of folk, jazz, and rock. With "Thick," Anderson and company broaden rock beyond the limitations of the short song format.

Understanding "Thick" requires recognition of the popularity of Monthy Python in the early 1970's. Anderson meant for the album to be a send up of rock pretentiousness, critics, and the band itself. The album cover claimed, outrageously enough, that the lyrics had been written by an eight year-old boy, Gerald Bostock, and set to music by the band. Even today, Anderson still gets the occasional person asking about Bostock or commenting about the prodigy's advancing age.

While the "Aqualung's" lyrics are fairly straightforward, "Thick's" metaphorical tendencies " are intentionally intricate, obscure, and bewildering as part of the running joke. If there is any true central theme, perhaps it is the sociological experiences of gifted youngsters in the modern world with a touch of paternal relations again. The lyrical incohesiveness, far greater than "Aqualung," leads Craig Thomas, who penned Tull's 25th Anniversary Set booklet, to seriously question whether it is properly deemed a concept album. Rather, he views it more of an adaptation of the "kind of free-jazz...improvisations of the 1960." Indeed, several segments were recorded in just one improvisional take.

No discussion of "Thick"" is complete without noting the legendary 12-page newspaper, "The St. Cleve Chronicle" original cover packaging. Written by Ian, Jeffrey Hammond, and John Evan, the paper actually took longer to produce than the music. There are a lot of inside puns, cleverly hidden continuing jokes (such as the experimental non-rabbit), a surprisingly frank review of the album itself, and even a little naughty connect-the-dots children's activity.

The 1972 tour featured the entire album (with a brief break featuring comedy skits between sides). The tour established the band's reputation for often outlandish theatrical-type performances. By today's standards, the concerts were hardly major productions. But for the time, Tull was rather unique.

"Thick" hit #1 in the U.S. and arguably represented the band's height of popularity in America. Somewhat unfairly and commercially limiting as musical fashion changed, the album would define Tull as a progressive rock act.

Dopuna: 10 Jun 2007 16:23

GENESIS
The Lamb Lies Down On Broadway



Story of a half-Puerto Rican juvenile delinquent named Rael living in New York City, who is swept underground to face bizarre creatures and nightmarish dangers in order to rescue his brother John. Several of the story's occurrences and places were derived from Peter Gabriel's dreams, and the protagonist's name is a play on his surname. It should be noted that in an interview Phil Collins remarked, "It's about a schizophrenic." This would make the tale similar in some ways to the film "The Fisher King". Another interpretation comes from Gabriel himself who says it is about a "split personality". In this context, Rael would believe he is looking for John but is actually looking for a missing part of himself. The individual songs also make satirical allusions to everything from mythology to the sexual revolution to advertising and consumerism. The title track, as well as "The Carpet Crawlers" and "In the Cage", were still live favorites for the band into the 1990s.

Most of the music on the album was written by band members Tony Banks, Phil Collins, Steve Hackett, and Mike Rutherford, without Gabriel's participation. Gabriel insisted on writing the story and all the lyrics himself, which caused friction, in particular because Rutherford had originally suggested another project for the band - an album based on Antoine de Saint Exupéry's The Little Prince. Gabriel was absent from the album's writing and rehearsal sessions due to personal problems — his wife was having difficulties with her first pregnancy — which added to the strain. However, Banks and Rutherford wrote the words for "The Light Dies Down on Broadway", as Gabriel could not come up with a linking piece between "Ravine" and "Riding the Scree".



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@Deathangel,

Pojam konceptualnog albuma, kako god neko zeleo da ga definise, licno dozivljavam kao pleonazam.

Album i jeste to sto jeste zato sto muziku na njemu nesto povezuje u odnosu na recimo muziku sa nekog drugog albuma--dakle svaki album je uslovno receno konceptualan-- vec samim tim sto je album.

To sto je koncept najcesce neizrecen ne znaci da ne postoji, i da se prica ne bi mogla ispricati ukoliko bi se na njoj eventualno insistiralo.

Npr prica na kojoj se zasniva legendarni "The Koeln Koncert" bi mogla da glasi: "Keith Jarret je odlucio da sedne za klavir i potpuno improvizuje ceo album-- od pocetka do kraja."




Licno smatram da je daleko vaznije da album ima muzicki koncept--nego da se zasniva na ovoj ili onoj prici.

Povezivanje muzike i price svakako moze biti uzbudljiv eksperiment--medjutim zahtevanje od albuma da svojim apstraktnim jezikom isprica neku manje vise konkretnu pricu-- je isto toliko arbitrarno kao zahtevanje od knjige da joj stranice suskaju u skladu sa onim sto u njoj pise.

Wink

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  • MiB  Male
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Kakvu si sad glupost reko

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MiB ::Kakvu si sad glupost reko

Da li bi bilo previse da trazim da taj svoj reciti komentar malo detaljnije elaboriras?

Naravno, nemoj siliti ako ne ide.

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  • MiB  Male
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Ne zelim da pravim jos veci offtopic objasnjavajuci moj komentar ili ti navesti imena 50ak i vise albuma da mi pronadjes koncept u njima, posto po tebi to svaki album ima.

Zato, ili napisi recenziju nekog konceptualnog albuma ili zaobidji temu.

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@MiB

Tako sam i mislio.

Ako procitas prvi post videces da je Deathangel lepo naglasio da je svaki komentar dobrodosao--stoga je tvoje insistiranje da ovde odjednom smeju da se iskljucivo "pisu recenzije konceptualnih albuma" protivrecno--sto govori da se zapravo zasniva na izbegavanju odgovornosti za ishitren komentar koji nisi bio u stanju da obrazlozis.

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Citat:Zato, ili napisi recenziju nekog konceptualnog albuma ili zaobidji temu.

Lepo da je konacno doslo i do te prizeljkivane diskusije i komentara smešak
Primecujem da bi ovaj topic bio potpuno prazan kada bi se sastojao samo od recenzija korisnika MCa.
Sto se offtopica tice, to niko ni ne zna da li ih je bilo i koliko jer su postovi uglavnom na engleskom.

Prijatno je bilo cuti koju rec na srpskom... za promenu.

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Jedan od verovatno najboljih konceptualnih albuma ikada... vredno pomena svakako za ovu temu!

WASP - The Crimson Idol


Citat:


THE CRIMSON IDOL is a full length conceptual album that tells the twisted tale of a suicidal rock & roll icon and the perils that come with fame. With guitarist Chris Holmes no longer a member of W.A.S.P., Blackie Lawless recorded THE CRIMSON IDOL with guitarist Bob Kulick and drummers Stet Howland and Frankie Banali. Voted one of the Top 20 conceptual albums of all-time by Metal Hammer magazine, THE CRIMSON IDOL is obviously more of a soundtrack than say a straight rock n' roll album. Released internationally in '92, THE CRIMSON IDOL was not released in the United States until 1993 and gave W.A.S.P. their first U.S. radio hit single with "Hold On To My Heart." Ironcally enough, it was the way Capitol Records handled the push (or lack thereof) on "Hold On To My Heart" that made Blackie decide to leave Capitol Records.

"The main theme of the "Crimson Idol" which is a haunting acoustic guitar riff was in a Sister song called "What I Am,". "I've always been very economical with my songwriting. If something wasn't working out I'd scrap it. But if something was a good idea but not ready, or didn't quite fit what we were doing at the time, I'd go back to it later and re-work it."

During an interview conducted with RIP Magazine, Blackie Lawless had this to say- "THE CRIMSON IDOL is an enormously complicated story. There are ten songs on it and each one is a euphenism for something else. Nothing on this album is really what it appears to be at first glance. Everything is a symbol for something else. The story was written from a satirical point of view. That means that wherever a person is at their life and whoever's viewpoint they're listening to in the story are going to determine the story they're going to get. If you're 18 and you listen to it, you're going to see one thing. If you go back and listen to it five or ten years later, you're going to get a completely different story. I didn't want to create fast food for the ears. I wanted something that I thought was going to have longevity.

Be Careful What You Wish For...
It May Come True



Ko ima strpljenja da procita celu pricu...
The Story of Jonathan (The Prologue to the Crimson Idol)
http://www.waspnation.com/story.html


Nastavak posle 12. godina... konceptualno.

THE NEON GOD part 1 & 2:




http://www.waspnation.com/neongodstory.htm

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  • Pridružio: 11 Jul 2007
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Avantasia - The Metal Opera



Avantasia (The Metal Opera) is a symphonic metal project created by Tobias Sammet, vocalist and frontman of the power metal group Edguy. The project's title is a portmanteau of the words "avalon" and "fantasia" ("fantasy") and describes "a world beyond human imagination" (a quotation from the booklet). The project consists of two CDs containing 23 pieces, which tell a fictional story about a Dominican monk, Gabriel, in the early 17th century. On December 28, 2006 Tobias Sammet announced to be working on another conceptual album with different musicians and singers.

The main character of the story is the young Gabriel Laymann, novice of the Dominican order in the abbey of Mainz. It's the year 1602 and, with the rest of the order, Gabriel joins in the witch hunts. But when he is unexpectedly reunited with stepsister Anna Held, who is awaiting trial as a witch, Gabriel begins to doubt. He sneaks into the library, where he reads a forbidden book. His mentor Bruder Jakob notices him, and Gabriel is thrown into the dungeon.

While there, he meets an old man, Lugaid Vandroiy, who introduces himself as a druid ("Reach Out for the Light"). He tells Gabriel about another dimension, the world Avantasia, which is in great danger. Vandroiy offers to help rescue Anna if Gabriel agrees to help Avantasia. They manage to escape ("Breaking Away"), and Vandroiy takes Gabriel to an old stone pit, which hides a portal between the two dimensions, and uses it to send Gabriel to Avantasia.

In the meantime, Johann Adam von Bicken, bishop of Mainz, Bruder Jakob and the bailiff Falk von Kronberg are traveling to Rome to meet the pope Clement VIII ("The Glory of Rome"). With them is the book Gabriel read. Old documents tell that the book is the last of seven parts of a seal, which will help its owner to absolute wisdom if he brings it to the tower in the center of Avantasia.

When Gabriel arrives in Avantasia ("Avantasia") he is welcomed by two inhabitants, the elf Elderane and the dwarf Regrin ("Inside"). They tell him about a war against the forces of evil, of the pope's plan, and its consequences ("Sign of the Cross"). If the pope uses the seal, the link between Avantasia and the human world will break down with grievous consequences for both worlds. Gabriel arrives at the tower just in time, and while the pope talks to a mysterious voice from the inside, Gabriel manages to steal the seal and, in the chaos he causes, bring it back into the elvish city ("The Tower"), which marks the end of the first part.

But Gabriel isn't satisfied yet. He wants to find out more about Avantasia, so Elderane sends him to the tree of knowledge. There Gabriel has a vision of Bruder Jakob enduring great pain in a lake of flames ("The Final Sacrifice"). Elderane tells him about a great golden chalice in the catacombs in Rome, in which innumerable tortured souls are trapped, and warns him of a beast that guards the chalice. Despite the elf trying to discourage them, Gabriel and Regrin go back into the human world. They find the chalice and knock it over, allowing many souls to escape ("Chalice of Agony"). The beast awakes and attacks both of them; the dwarf is killed but Gabriel manages to flee.

Afterwards, Gabriel returns to Vandroiy, who has been waiting for him. The druid now fulfills his part and sneaks into the prison by night to free Anna. In the process, he finds a "refined" Bruder Jakob who plans to do the same. Falk von Kronberg, who has been having doubts of his own ("Memory"), catches them and approaches to arrest them. A fight breaks out; Vandroiy is killed by Kronberg who is then slain by Bruder Jakob. Anna escapes and is reunited with Gabriel, and together they go into their unknown future ("Into the Unknown").

Dopuna: 08 Sep 2007 12:25

Ayreon - The Final Experiment



Prologue
In the year 2084 scientists have found a way to send messages back into time using time telepathy. With the earth nearly destroyed by many different causes, they have one hope for the experiment: warn the past of the future to avert the fate of earth.

Act I
The receiver of the telepathic messages is Ayreon, a blind minstrel living in 6th century Britain. He's lived his life in darkness from the day he was born, but one fateful day everything changes- Ayreon can see images. The minstrel believes these visions are sent to him by the Lords of Time. Unaware of how much time there is left before earth is destroyed Ayreon sets out to tell the tale of earth's demise singing songs of wars, natural disaster, and computer technology. The terrifying tales frighten the villagers who run him out of town.

Act II
Alone, and cast out of his village, Ayreon goes to King Arthur's castle, and, being a famed minstrel, he is allowed to sing of his visions in the King's very own court.

Act III
Jealous of his ability to foresee the future, Merlin, the court's wizard, isn't pleased with Ayreon's message, convincing the court the minstrel must be a charlatan.

Act IV
Merlin believes it is necessary to silence Ayreon forever and curses him. With the curse completed Merlin realizes his error, but it is too late. The wizard then predicts that the message will arrive in the mind of another minstrel at the end of the 20th century…

Dopuna: 18 Sep 2007 18:55

Ayreon - Actual Fantasy



Story
On 'Actual Fantasy' Arjen wanted to stimulate fantasy, not simulate reality. Actual fantasy is the opposite of virtual reality.

Actual Fantasy
This song is the intro of the CD and starts like a fairy-tale, beautiful, with a classical orchestra.

Abbey of Synn
Synn is the old spelling for 'sin' and also refers to the important role of the synthesizer on the CD. Inspired by the movie 'Name of the Rose' with Sean Connery, the song tells the story of a monastery where laughter is strictly forbidden. One by one monks die mysteriously each having a blackened finger and tongue. It turns out that the monks have discovered a book of comedy written by Aristotle, but the pages are poisoned; if you lick your finger to turn a page it will kill you.

Stranger From Within
In this story that Arjen wrote himself, doctors are trying to find a way to help a girl who is in a coma. In this state she begins to fantasize about some stranger. He could be dangerous, or harmless, or just a magician. The stranger tells her that she can cure herself using her own imagination, and then he allows the doctors to 'shoot' him as he takes the disease with him. The girl wakes up and the stranger from within has become part of her.

Computer Eyes
This song is a story Arjen wrote himself. It is about someone who has been playing a computer game for days. At a certain time he isn't able to tell anymore whether he's playing a game or has become part of it. He doesn't feel any emotions and has become like a hologram unable to find a way out. This song is certainly not an attack on computers, for this album could never have been made without computers. It just all depends on how you use computers and virtual reality.

Beyond the Last Horizon
This is story Arjen came up with during the last few days of his father's life. The story is set in the Middle Ages during the days of the crusades. One of the crusaders is ambushed and killed. After that it's a familiar story: he sees a light and he rides towards it on a road that disappears on the horizon. Beyond it is the 'last horizon': death. In most stories it says there is a beautiful light or heaven. But where he is, there is darkness. There is nothing beyond the last horizon; he will disappear.

Farside of the World
This song is based on 'The Navigator', an obscure Australian movie. It's about a boy in a medieval English village where the plague is killing most of the inhabitants. The boy falls and has a vision: in order to cure the village they must dig a hole straight through the earth, and- on the other side- place a cross on top of a silver tower.

Back on Planet Earth
In this story, written by Arjen himself, a boy lives in a space station. Humans have lost the ability to feel but he overhears the older people telling stories about the days when they lived on earth. On his computer the boy finds images of the most beautiful things, such as flowers and mountains, but he also finds out that earth was destroyed by wars and environmental disasters and people eventually had to live in space in order to survive. The boy realizes that after seeing people with emotions, and their laughter, he would rather have died on earth, than be in the cold space station.

Forevermore
Based on the movie 'The Neverending Story'. A boy steals a book from a store. The boy arrives too late for class, sneaks into the attic and crawls under a blanket to read the book. The fictitious world of 'Fantasia' is falling apart; it's being eaten by the Nothing. Symbolizing the fact that nobody's fantasizing anymore. The hero in the story has to cure the empress from her disease, and save 'Fantasia'. He does so by giving the Empress a name.

Dawn of Man
This is a very experimental song with vocoder and scratches on it. The story is based on Stanley Kubrick's '2001' and '2010', but with Arjen's own fantasy and interpretation incorporated. The listener should do the same; the lyrics cannot be explained one way. Just use your imagination!

Dopuna: 20 Sep 2007 18:31

Ayreon - Into the Electric Castle



'Into the Electric Castle' tells the story of 8 stereotypical characters from different periods of time who suddenly find themselves in another dimension. A Highlander, Knight, Egyptian, Indian, Barbarian, Roman, Hippie and Futureman each try to understand where they are and what they are supposed to do. It is then that a voice rings out from the sky to tell them that the dimension they have arrived in is built on dreams and fears. In order to find their way back to their own dimension and time, they must go in search of The Electric Castle. During the search every character is forced to confront his or her innermost fears, and not everyone survives the treacherous journey to the Castle.

At the end of the journey those that successfully dealt with their personal demons find out that the voice belongs to an alien named 'Forever of the Stars', a member of an alien race living in a distant galaxy. These aliens created planet Earth and its people as an experiment so they could study, and hopefully one day experience emotions, as they themselves lost feelings eons ago.

'Into the Electric Castle' is a double CD. On disc 1 we experience the journey to The Electric Castle and on disc 2 we find out what happens when they arrive there.

Dopuna: 27 Sep 2007 20:46

Ayreon - The Universal Migrator Part 1: The Dream Sequencer



The Dream Sequencer

On 'Universal Migrator part I: The Dream Sequencer' Arjen picks up the story of The Final Experiment and the year 2084. Over a hundred years have passed since the last world war destroyed all life on earth, which the main character Ayreon already predicted in the 6th century (see the first Ayreon CD 'The Final Experiment').

During the battles a number of colonists resided on Mars, witnessing the destruction on earth from afar. For years they managed to keep themselves alive with the supplies they brought with them from earth. These supplies ran out and almost all colonists have died. The main character in the story is the last surviving human being, a child of the first colonists. He has never been on earth.

To make the boredom on Mars somewhat bearable, clever technicians designed the Dream Sequencer, a machine that allows Colonists to travel back to their own youth by means of hypnoses, but also to their lives before; their pre- incarnations so to speak.

It is in this machine that the Colonist relives his youth on Mars, his death as a woman on earth during the war of 2084, the first moonlanding of 1969, and his life as the standard bearer in the famous 17th century painting of Rembrandt: The Nightwatch. He stood on the shores of England as Queen Elisabeth I, watching the English fleet sail out to stop the Spanish Armada, and as a Mayan girl he witnessed sacred ceremonies in Tikal. We find out that the Colonist once was the minstrel Ayreon and that, in another even earlier incarnation, he was present during the construction of Stonehenge. His soul's first incarnation was the first human being on earth.

Dopuna: 27 Sep 2007 20:47

Ayreon - The Universal Migrator Part 2: Flight of the Migrator



Flight of the Migrator

The Universal Migrator Part II continues the story of the last man alive on Mars as he decides to venture further back in time. He wants to go all the way back to the time right before the universe was created, a time when there was nothing but chaos. The Colonist witnesses the big bang and the creation of the first soul: The Universal Migrator. This soul divides in various new souls that each go in search of planets they can inhabit. This is how they bring life to various planets and start different civilizations.

In the Dream Sequencer program the Colonist follows the soul that is headed for earth. On his long journey through space, he passes astronomical manifestations such as quasars, pulsars, supernovas, black holes, and wormholes. He finally enters the solar system, but the DS program goes on overload. The Colonist should never have ventured that far back in time. The Dream Sequencer is desperately trying to wake the Colonist from his deep state of hypnoses, but it is too late; the Colonist dies in the machine. Then the Migrator speaks to him without words: "Eternity lies before you. You are the new Migrator!"

Dopuna: 01 Okt 2007 19:08

Ayreon - The Human Equation



A man has a car accident and ends up in hospital in a comatose state. The car accident was very bizarre: it was broad daylight and there was no other car in sight. His wife and his best friend are keeping a vigil at his bed, trying to understand what happened, hoping he will wake soon.

Cut off from the outside world, the man finds himself trapped in a strange realm where his emotions- most of which he's ignored for a long time- have come to life to confront him with all the choices he has made in his life.

As he is taken from one memory to the next, he slowly becomes aware of all the events leading up to his accident, and realizes that if he ever wants to wake up from his coma, he must find a way out of his prison...

Dopuna: 07 Okt 2007 20:13

Grave Digger - Rheingold



Rheingold is a concept album by German band Grave Digger, based on Richard Wagner's The Ring of the Nibelung.

The plot revolves around a magic ring that grants the power to rule the world, forged by the Nibelung dwarf Alberich from gold stolen from the river Rhine. Several mythic figures struggle for possession of the Ring, including Wotan (Odin), the chief of the Gods. Wotan's scheme, spanning generations, to overcome his limitations, drives much of the action in the story. The hero Siegfried wins the Ring, as Wotan intended, but is eventually betrayed and slain. Finally, the Valkyrie Brünnhilde, Siegfried's lover and Wotan's estranged daughter, returns the Ring to the Rhine. In the process, the Gods are destroyed.

Dopuna: 02 Nov 2007 11:50

Queen - A Night At The Opera



Death on Two Legs (Dedicated to...)

"Death on Two Legs (Dedicated to...)" could only be referred to as Mercury's hate letter toward Queen's ex-manager, Norman Sheffield, who is reputed to have mistreated the band and abused his role as their manager from 1972-1975. Though it never made a direct reference to him, upon listening to the song, Sheffield attempted to sue the band for defamation. During live performances, Mercury would usually re-dedicate the song to "a real mother-fucker of a gentleman", although this line was bleeped out on the version that appeared on their Live Killers album in 1979, possibly to avoid further legal proceedings.

As with 'Bohemian Rhapsody', most of the guitar parts on this song were initially played on piano by Mercury, to demonstrate to May how they needed to be played on guitar. As for the piano intro itself, it reportedly took Mercury many attempts to achieve the final result [citation needed].

Lazing on a Sunday Afternoon

"Lazing on a Sunday Afternoon" was another song by Mercury. He played piano and did all of the vocals. The lead vocal was sung in studio, produced through headphones elsewhere in the studio in a tin bucket. A microphone picked up the sound from the bucket, which gave that hollow "megaphone" sound.

I'm in Love with My Car

"I'm in Love with My Car" is amongst Roger Taylor's most famous songs in the Queen catalogue. The song initially began life as a joke, at least according to Brian May, who thought that Taylor was not serious when he heard a demo recording.

Taylor played the guitars in the original demo, but were later re-recorded by Brian May on his Red Special. All lead vocals were sung by Roger Taylor, showcasing his spectacular countertenor range. The revving sounds at the conclusion of the song were recorded by Taylor's then current car, an Alfa Romeo. The lyrics were inspired by one of the band's roadies, John Harris, whose Triumph TR4 was evidently the "love of his life". The song is dedicated to him.

When it came down to releasing the album's first single, Taylor was so fond of his song that he urged Mercury (author of the first single, 'Bohemian Rhapsody') to allow it to be the B-side and reportedly locked himself in a cupboard until Mercury agreed. This decision would later become the cause of much internal dilemma for the band, in that while it was only the B-side, it generated an equal amount of publishing royalties for Taylor as the main single did for Mercury.

The song was played live often during the '77-'81 period. Taylor sang it from the drums while Freddie Mercury only played piano. Roger would recover the song for his concerts with The Cross and solo tours, where instead of drums he played rhythm guitar.

You're My Best Friend

"You're My Best Friend" was John Deacon's first single, which he composed while he was learning to play piano. He does piano on the recording and overdubbed two bass lines. The song was written for his wife.

'39

"'39" was Brian May's attempt to do "sci-fi skiffle." He sang the lead vocals and jokingly asked Deacon to play double bass. Some days later Deacon dropped by in the studio with the instrument and said he'd already learned how to play it. There are backing vocals by Mercury as well as very high and fairly low harmonies by Taylor, and some falsettos by May. The B-side of "You're My Best Friend" and one of the band's most popular songs, "'39" relates the tale of a group of space explorers who embark on what is, from their perspective, a year-long voyage. Upon their return, however, they realize that a hundred years have passed, due to the time dilation effect in Einsteinian physics, and the loved ones they left behind are now all dead.[2] (Because the "year of '39" resembles 1939, some have speculated that this is actually a song about the beginning of World War II; however this is not the case.)

Following his performance of '39 at the Freddie Mercury Tribute Concert, George Michael cited this song as his favourite Queen song, claiming he used to busk it on the London underground.

Sweet Lady

"Sweet Lady" is a heavy metal number written by May. Lyrically and musically, it's usually thought to precede 'Tie Your Mother Down' as a loud, riff-heavy expression of disdain for the author's romantic interest. However, 'Tie Your Mother Down' had already been written at the time.

Roger Taylor remembers it as the most difficult drumming part he ever recorded. As DTS tracks reveal, there are several off-pitch notes by Freddie Mercury on the lead vocal, something covered up by harmonies and overdubbing.

Seaside Rendezvous

"Seaside Rendezvous", written by Mercury, is probably best known for the "musical" bridge section which begins at around 0:51 into the song. The section is performed entirely by Mercury and Taylor using their voices alone. Mercury imitates woodwind instruments including a clarinet and Taylor mostly brass instruments, including tubas and trumpets, and even a kazoo. The tap dance segment is also "performed" by Mercury and Taylor on the mixing desk with thimbles on their fingers. Mercury plays both grand piano and jangle honky-tonk.

The Prophet's Song

"The Prophet's Song" was composed by May. On the show In the Studio with Redbeard, which spotlighted A Night at the Opera, May explained that he wrote the song after a dream he'd had while he was recovering from being ill while recording the Sheer Heart Attack album, and is the source of some of the lyrics. He spent several days putting it together, and it includes a vocal canon sung first by Mercury, then by Mercury, Taylor and May. The vocal, and later instrumental canon was produced by early tape delay devices. It is a heavy and dark number with a strong progressive rock influence. At over eight minutes in length, is also Queen's longest song (Not counting the untitled instrumental track on Made in Heaven).

Love of My Life

"Love of My Life" is one of Mercury's most covered songs (there've been versions by many acts like Extreme featuring Brian May, Scorpions and Elaine Paige). Mercury played piano (including a classical solo) and did all of the vocals with startling multi-tracking precision. Brian May played harp (doing it chord by chord and pasting the takes to form the entire part), Gibson Hummingbird acoustic guitar (which he'd bought in Japan) and his usual Red Special.

"Love of My Life" was such a concert favourite that Mercury frequently stopped singing and allowed the audience to take over. It was especially well received during concerts in South America, and the band released the song as a single there.

Good Company

"Good Company" was written and sung by Brian May. All vocals are May, who also plays a banjolele (credited as a "genuine George Formby Ukulele") on the track. The instrument, a combination of a ukulele and banjo, was his father's.

The recording is remarkable for featuring an elaborate recreation of a Dixieland-style jazz band, produced by May using his Red Special guitar, along with various forms of effects processing.

The song is a narrative tale, told by a man who in young age was advised by his father to "take care of those you call your own, and keep good company." In his younger years, the singer follows his father's advice, keeping his friends and marrying a girl named Sally. However, after their marriage, he begins to lose interest in his friends, who gradually disappear. As he grows older, he becomes increasingly skilled at and dedicated to his occupation, working long nights and neglecting his family.

Eventually, the singer's efforts are rewarded, he begins his own Limited company (which is also a pun, since throughout the rest of the song "company" is used in the sense of companions). Even more dedicated to his business, he hardly takes notice as his wife leaves him.

The song finishes with the speaker as an elderly man, puffing his pipe and pondering the lessons of his life, which he has no one left to share with.

Bohemian Rhapsody

"Bohemian Rhapsody", written by Mercury, composed entirely and solely by its author. All guitar, bass and drum parts, as well as the vocal arrangements, were thought up by Mercury on a daily basis and written down "in blocks" (using note names instead of sheets) on a phonebook. The other members recorded their respective instruments with no concept of how their tracks would be utilised in the final mix. The now phenomenally famous operatic section was originally intended to be only a short interlude of "Galileos" that connected the ballad and heavy metal portions of the song.

During the recording, the song became affectionately known as "Fred's Thing" to the band, and the title only emerged during the final sessions.

Despite being twice as long as the average single in 1975, the song became immensely popular, topping charts worldwide (where it remained for an unprecedented nine weeks in the UK) and is now widely regarded as one of the most significant rock songs in history.

God Save the Queen

"God Save the Queen" – Brian May recorded the anthem in 1974 before their Sheer Heart Attack tour. He played a guide piano which was edited out later and added several layers of guitars. After the song was completed it was played as an outro at virtually every concert Queen played. When recording the track May played a rough version on piano for Roy Thomas Baker. He called his own skills on the piano sub-par at the time.

Brian May has stated that the song is a homage to Jimi Hendrix's version of "The Star-Spangled Banner

Dopuna: 11 Nov 2007 12:31

KISS - Music From The Elder



The basic plot of Music from "The Elder" involves the recruitment and training of a young hero (The Boy) by the Council of Elders who belong to the Order of the Rose, a mysterious group dedicated to combating evil. The Boy is guided by an elderly caretaker named Morpheus. The album's lyrics describe the boy's feelings during his journey and training, as he overcomes his early doubts to become confident and self-assured. The only spoken dialogue is at the end of the last track, "I." During the passage, Morpheus proclaims to the Elders that The Boy is ready to undertake his odyssey.

But here is the long review:
Following the departure of Peter Criss and the watered down but still rhythmic Unmasked album, the quartet came out with this concept album about a boy on a quest to defeat some evil power from taking over the universe. It worked for Pink Floyd and twice for the Who, so why not KISS? True, their use of the American Symphony Orchestra may have angered fans, but Ace's guitarwork, Gene's demonic voice, and new drummer Eric Carr's drums really support the album.

After a horns and symphonic fanfare heralding the beginning of the tale, we get the first ballad, of the uncertain chosen one: "if hope are lost than so are we/well, some are searching for one to guide us/some are staring at me/But I'm no hero, though I wish I could be." Paul's falsetto works well here, as does Ace's guitarwork.

That segues into one of my favourites, a romantic piano and strings ballad "Odyssey" detailing the voyage the boy goes through, across the galaxy, through the realms of time and space.
I can imagine some wags thinking "we're notes in the music searching for a remembered rhyme" as equating KISS's career at this point.

The mid-paced number "Only You" reaffirms the boy as the chosen saviour, the one with the answers, and with connotations of a Messiah being: "you are the light and you are the way." Blonde Teutonic metal goddess Doro Pesch later covered this on her self-titled album.

In "Under The Rose", the boy seems to be going under some testing or initiation. The chorus's basso operatic voices in unison add to the hallowed atmosphere of this number.

Ace was disillusioned at the direction KISS's music was taking so he only contributed lead vocals to the more rocking "Dark Light," and his virtuoso guitarwork clearly shows the heavier direction he was aiming for. The solo is just as worthy as his one in the live version of "Shock Me" on Alive II. This song has the darkness and power of the evil force descending.

Yet another symphony-enhanced ballad and favourite, the Gene-sung "A World Without Heroes" is something many of us seem to be living in: "in a world without dreams, things are no more than they seem/a world without heroes, is like a bird without wings/like a bell that never rings/a sad and useless thing."

"The Oath" is the second heaviest song here, and thanks to Ace's guitar and Eric's drums, could enhance Destroyer or Love Gun. After the slow and chugging "Mr. Blackwell" about the villain of this album, the racing metal instrumental "Escape From The Island" courtesy of Ace. A definite candidate for Rock And Roll Over, and it'd be cool to hear this track live on a future collection.

"I" has the boy ready to begin the fight as the chosen one after realizing his strengths. Some of the Star Wars mythos comes in: "I believe in something more than you can understand/I believe in me. Another hard rocker sung by Paul and Gene.

It's interesting to see KISS returning to Bob Ezrin, who produced their hit album Destroyer, and three of the songs, "Dark Light", "A World Without Heroes", and "Mr. Blackwell" had Lou Reed, listed as Lewis Reed, contributing.

The remastered version has the songs in presumably the original order, and hearing them that way, the story makes more sense. If one wants to reduplicate the way it was on the initial CD release, here is the sequence: 8,1,2,4,6,7,5,9,10,3,11.

In retrospect, The Elder isn't as pathetic as deemed by KISS fans. Those who only see KISS as the group of Destroyer, Rock and Roll Over, or Lick It Up and Animalize, are being rather short-sighted. KISS's transition period beginning with the solo albums, leading into Dynasty and to Creatures Of The Night, was crucial to their development, as they try new things, at times I wonder if they daringly thought, "Let's pretend we're not KISS." The best album in their transition period.


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