Profile for Mr. Bruce M. Kirk > Reviews

Personal Profile

Content by Mr. Bruce M. Kirk
Top Reviewer Ranking: 1,437,402
Helpful Votes: 16

Learn more about Your Profile.

Reviews Written by
Mr. Bruce M. Kirk "Red Fox" (Wolverhampton, England)
(REAL NAME)   

Show:  
Page: 1
pixel
Benefit (Collector's Edition)
Benefit (Collector's Edition)
Price: 15.09

6 of 10 people found the following review helpful
5.0 out of 5 stars Ian Anderson doesn't like this album bit I do!, 28 Oct 2013
Verified Purchase(What is this?)
Benefit
For me, this album represents the most cohesive of all the Jethro Tull Albums. I know that Ian Anderson doesn't like it; he has told me. He regards it as naive. He reduces the interest and passion of the listener to nothing more than an emotional association with the circumstantial events and people in their lives at the time. Does he not recognise that writers of music and lyrics are also subjective about their own compositions. Below, I have attempted, from a non-musical perspective to try to describe what it is about each track that makes the album a distinctive piece of musical composition.
This album was the third that Jethro Tull produced and was the second without the distraction of a second prominent influence in musical direction that came in the form of Mick Abrahams. To me, it represents Jethro Tull finding a single musical direction. In this album; this collection of musical compositions, Jethro Tull became of age. Written and recorded at a time when rock music was developing a musical credibility both in terms of mastery of the instruments as well as the material that was being produced; learning from the classics and translating them into a modern age. Jethro Tull would do well to acknowledge the credit of this album and reflect on its themes, composition and layering, not to speak of Ian Andersons "English" accent before he adopted the "mid-western accent of later albums, when composing more recent offerings.
With you there to help me
A complex montage of a song. Excellent voice harmonies. Flute, floating birdlike above the lyric. Interplay between flute and electric guitar during the instrumental conclusion.
Nothing to say
A driving beat and lyric. Lyrics punctuated with electric guitar phrases. Great composition. Electric guitar licks mirrored by piano and bass guitar. Simple, effective phrasing coupled in groups. Layered composition. Effective interplay between piano, electric and acoustic guitar in the conclusion.
Alive and well and living in
Unusual and effective piano/voice introduction and verses. Guitar and flute in unison provides effective texture to the composition. Dramatic interludes from the flute and piano. A classical composition.
Son
Voice, guitar, piano and drums begin without introduction providing powerful beginning. Fade to voice and acoustic guitar with piano background in a slower section provides texture to the composition. Builds to a crescendo and ends dramatically as it began.
For Michael Collins Jeffery and me
Provides a counterpoint in the album. Building slowly from a quiet start to a driving verse but fading again to return to the opening theme, which gradually builds again to the chorus. Ends enigmatically.
To cry you a song
Duet of guitars mirroring a similar theme provide a dramatic theme building the volume and tempo. A great duet between the guitars in the middle section sets the backdrop for a return to the original theme. Overlaying the original instrumental theme with a third distorted guitar adds a further dimension before the last verse. Another enigmatic ending.
A time for everything
This song reunites the interplay between flute and guitar against the piano backdrop. Inventive phrasing. Recurrent themes.
Inside
Prominent recurrent phrasing of the flute against a guitar backdrop. Change of time signature and texture in the chorus before returning to the original theme. A simple but effective flute riff interspersed with less obvious passages. Periodic infusion of alternative voices.
Play in time
Play in time does what it says, various instruments echoing the same theme throughout. Introduction of "electronic side effects" add to the dimension and depth of the composition.
Sossity: You're a woman
A time for everything provides the perfect foreword to the simple acoustic guitar and voice verse. The reintroduction of organ with added tambourine builds on the original introduction for the chorus and, following the second verse builds to the next level. Time signature changes for the conclusion add to the drama of the piece.
Comment Comments (7) | Permalink | Most recent comment: Nov 6, 2013 11:40 PM GMT


The Tokyo Tapes: Live in Japan
The Tokyo Tapes: Live in Japan
Offered by HURRICANE RECORDS BERLIN_1
Price: 27.24

9 of 10 people found the following review helpful
4.0 out of 5 stars The real spirit of Genesis went with Steve Hackett!, 2 Jan 2001
Verified Purchase(What is this?)
If ever there was proof that Genesis lost their way with the departure of Steve Hackett this album is it. A mix of original Genesis tracks, with subsequent compositions by Steve Hackett plus offerings from Ian MacDonald and John Wetton make this a great album. Furthermore, for a live album its largely flawless (although a couple of the distorted vocals don't quite come off -hence only four stars). Five superb musicians displaying their art to the max!
Compare this with Genesis' Archive #2 and you can see where they went wrong and what is missing from that box set. Power to your elbow, Steve Hackett!
Comment Comment (1) | Permalink | Most recent comment: May 25, 2013 3:13 PM BST


Genesis Archive #2: 1976-1992
Genesis Archive #2: 1976-1992

1 of 1 people found the following review helpful
2.0 out of 5 stars Genesis Archive #2 : disappointing and a wasted opportunity., 4 Nov 2000
Genesis Archive 1967-1975, issued in 1998 was a marvellous retrospective study of the highlights of the development of what was to become probably the most influential rock band in history. It was a 4 CD set which charted the high points of their early career. Why, then, have Genesis chosen to try to condense sixteen of their most productive years into three CDs. Sixteen into three doesn't go. Consequently, whole swathes of important Genesis music is missing; most notably the "Trick of the Tail" and "Wind and Wuthering" years. What is included is material which is either incidental to their growth or is available in other formats; i.e. Greatest Hits collections like "Turn it on again". With the original box set, Genesis enclosed a questionnaire seeking feedback about the possible content of the sequel. I wonder if they disregarded that information. I cannot imagine that purchasers of the first volume would have overlooked the middle years and my opinion is confirmed by other reviewers on this page. I've been looking forward to this box set with eager anticipation for two years. I'm desperately disappointed: not with what is included so much as with what is missing. There was a real opportunity to select a shorter period to focus on, say 1976 - 1984, and to digitally remaster the highlight tracks of the albums and concerts from that era. I'm certain there is a market for that material. How can it possibly be released now? And what will be the content of Archive #3? 1992 - 2000. Not exactly classic years of Genesis music. In the circumstances, I'd suggest a more descriptive title for Archive #2, "Paradise Lost!".


Page: 1