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DISCID=3e0a9405
DTITLE=Jeff Wayne / The War of the Worlds (disc 1)
DYEAR=1978
DGENRE=Rock
TTITLE0=The Eve of the War / Richard Burton + Justin Hayward
TTITLE1=Horsell Common and the Heat Ray / Richard Burton
TTITLE2=The Artilleryman and the Fighting Machine / Richard Burton + D
TTITLE2=avid Essex
TTITLE3=Forever Autumn / Richard Burton + Justin Hayward
TTITLE4=Thunder Child / Richard Burton + Chris Thompson
EXTD=Jeff Wayne's Musical Version Of The War Of The Worlds (Hybrid SAC
EXTD=D) - Disc 1 of 2\n2005 Columbia/Legacy\n\nOriginally Released 197
EXTD=8\nCD Edition Released July 1986\nRemastered + Expanded Hybrid SA
EXTD=CD Edition Released July 5, 2005\n\nAMG EXPERT REVIEW: Released 4
EXTD=0 years after Orson Welles' infamous radio version of the H.G. We
EXTD=lls tale, Jeff Wayne's musical version of War of the Worlds strad
EXTD=dles old-style radio drama and contemporary orchestrated narrativ
EXTD=es by Rick Wakeman and David Bedford. And while it lacks the soph
EXTD=isticated arrangements of, say, Journey to the Centre of the Eart
EXTD=h, it does boast an impressively odd cast -- this may be the only
EXTD= time that a member of Thin Lizzy worked with Richard Burton. Ind
EXTD=eed, it's Burton's sonorous tones that sustain this work; his fre
EXTD=quent solo narrations are eminently listenable, whereas sections 
EXTD=featuring dialogue with other characters often come off as a bit 
EXTD=stilted. The music is competent studio rock, and "Horsell Common 
EXTD=and the Heat Ray" does strike just the right balance between Burt
EXTD=on's narration and an accompaniment built around a buzzsaw guitar
EXTD= riff. Overall, it's pleasant as a period piece, and still a fine
EXTD= way to introduce younger listeners to Wells' classic tale. (And 
EXTD=if you can find it in a vinyl, it comes with a nicely produced na
EXTD=rrative booklet with gloriously lurid illustrations by Geoff Tayl
EXTD=or.) [War of the Worlds is also available in a release with added
EXTD= bonus tracks.]  -- Paul Collins\n\nAMG EXPERT REVIEW: (7-disc Sp
EXTD=ecial Edition) The special edition of Jeff Wayne's oversized 1978
EXTD= rock opera adaptation of H.G. Wells' The War of the Worlds makes
EXTD= a mockery of all other expanded special edition reissues. The Wh
EXTD=o's Who's Next and the Byrds' Sweetheart of the Rodeo spread out 
EXTD=over two discs? That's nothing. Jeff Buckley's Grace filled out t
EXTD=o a three-disc set, including a DVD? Doesn't compare to this. The
EXTD= Beach Boys' Pet Sounds chronicled as a four-disc box set, comple
EXTD=te with instrumental backing tracks and excerpts from the session
EXTD=s, or even Rhino Handmade's inexplicably lavish complete sessions
EXTD= treatment of the Stooges' Fun House pale next to Sony/Columbia's
EXTD= 2005 deluxe collector's edition of Jeff Wayne's Musical Version 
EXTD=of the War of the Worlds. This contains no less than seven discs:
EXTD= two hybrid SACDs capturing the original album (including new 5.1
EXTD= Surround mixes -- and if there ever was an album meant to be hea
EXTD=rd in surround sound, it's this; in fact, it's a wonder that quad
EXTD=raphonic sound wasn't revived in 1978 for the original vinyl rele
EXTD=ase); one CD of remixes, mixed sometime between 1979 and 2005; tw
EXTD=o CDs of rarities, outtakes, and demos; one DVD, containing a 92-
EXTD=minute documentary of the making of The War of the Worlds. All of
EXTD= this is packaged in an LP-sized hardcover book-styled box, which
EXTD= includes an 80-page book that has not only all the original artw
EXTD=ork from the album, but a bunch of new essays, photo and art gall
EXTD=eries, and detailed track notes. Not only is it hard to imagine a
EXTD= grander, more exhaustive, or more loving reissue of this album, 
EXTD=it's hard to imagine any album being given such an extravagant tr
EXTD=eatment. Which of course begs the question: is Jeff Wayne's Music
EXTD=al Version of the War of the Worlds really worth it? Yes, it was 
EXTD=a big international hit, spending a jaw-dropping 235 weeks on the
EXTD= U.K. charts, selling 13 million copies -- and all of this succes
EXTD=s came with the album barely denting American charts. This kind o
EXTD=f success guarantees that there are some devoted fans of the doub
EXTD=le album out there, but by all measures it's a dated artifact: a 
EXTD=synth-driven disco-fied prog rock monstrosity that could only hav
EXTD=e been released, or made any sense, in 1978. Having the great act
EXTD=or Richard Burton narrate the proceedings doesn't add gravity to 
EXTD=this supremely silly indulgence, since his grave, somber intonati
EXTD=ons are swallowed by the pulsating disco beats, washes of analog 
EXTD=synths, and melodic themes that endlessly circle for upward of 11
EXTD= minutes per track. Burton does reveal that the rest of the cast 
EXTD=here consists of decidedly low-wattage stars: beloved Irish rocke
EXTD=r Phil Lynott and Moody Blues singer Justin Hayward may be here, 
EXTD=but they're not exactly on Burton's level, yet they're positively
EXTD= superstars compared to David Essex, Jo Partridge, and Chris Thom
EXTD=pson. Not quite a star-studded affair, but it didn't need to be, 
EXTD=since the whole album is fueled by its concept, which is surely w
EXTD=hy millions flocked to it upon its release, and perhaps might sti
EXTD=ll have some fondness for it. To fresh ears, though, this sounds 
EXTD=like an unholy fusion of Mannheim Steamroller and Pink Floyd, toi
EXTD=ling away to create a soundtrack for Dr. Who -- or perhaps a Euro
EXTD=vision tournament entry, whichever came first. Of course, anybody
EXTD= hearing The War of the Worlds for the first time will most certa
EXTD=inly not plunk down upward of 130 dollars for a deluxe collector'
EXTD=s edition, no matter how exquisite the packaging is. This is for 
EXTD=the people who already love the album, either as nostalgia, as a 
EXTD=grandiose piece of electronic prog rock pomp with few equals, or 
EXTD=as one of the few rock albums made for sci-fi fans who hate rock,
EXTD= even in its artiest incarnations. They love the album so much, t
EXTD=hey won't settle for the simultaneously released double-disc hybr
EXTD=id SACD reissue, because they want to spend some time leisurely g
EXTD=azing at the artwork in this hardcover book, or to hear an early 
EXTD=1972 incarnation of "Forever Autumn," or perhaps the Lego TV comm
EXTD=ercial from 1969 that inspired the composition of that tune. For 
EXTD=that fan -- the fan who does not mind spending over 100 dollars f
EXTD=or these privileges -- this is surely worth the expense, since th
EXTD=is could not be packaged better, nor could this explain the origi
EXTD=n, recording, release, and phenomenon of Jeff Wayne's Musical Ver
EXTD=sion of the War of the Worlds any better, or in any greater detai
EXTD=l. Yet those very fans should ask themselves if they really need 
EXTD=to hear the album dissected in such great detail, since the discs
EXTD= of rarities, while having the occasional "unused song" like "Par
EXTD=son Nathaniel," are mostly comprised of spoken count-ins to bars 
EXTD=of music, excerpts from Spanish and German recordings of the narr
EXTD=ation, and a series of outtakes of screams (or, in the best of bo
EXTD=th worlds, things like "Original Spanish Parson Scream Out-Takes"
EXTD=). Even the biggest fans might find slogging through these discs 
EXTD=somewhat of a chore, but at least the book provides plenty of rea
EXTD=ding material to keep them busy as they listen to hours of rariti
EXTD=es like these. -- Stephen Thomas Erlewine\n\nAMAZON.COM Editorial
EXTD= Review\nIn hindsight, it seems almost incredible: 27 years ago, 
EXTD=a young musician named Jeff Wayne (who at the time primarily wrot
EXTD=e music for commercials) fell in love with H.G. Wells' much-loved
EXTD= book The War of the Worlds, and decided to make a musical versio
EXTD=n of it. Star Wars had just put people's minds into outer space, 
EXTD=musical theatre was hugely successful, and long, anthemic orchest
EXTD=ral prog-rock was all the rage. Wayne was inspired by all these e
EXTD=lements and decided to gather together his peers and make a music
EXTD=al-mixed-with-spoken-word album, with the script taken directly f
EXTD=rom the famous book. This was by no means a soundtrack to a movie
EXTD=; in fact, all of the visuals were to come straight from the list
EXTD=ener's minds (hard to imagine in today's video-oriented world.) T
EXTD=he two-LP set featured Sir Richard Burton as frontman, along with
EXTD= some of the leaders of the progressive rock world who joined in 
EXTD=on the fun. Moody Blues' Justin Hayward, "Rock On" vocalist David
EXTD= Essex and Thin Lizzy lead Philip Lynott each did more than sing 
EXTD=on the record, they took a part in the musical play, performing k
EXTD=ey roles alongside the aforementioned dramatist Burton. \nAmazing
EXTD=ly, the eccentric project was a massive success, selling over 13 
EXTD=million copies and staying on the U.K. charts for over 260 weeks 
EXTD=straight. DJs and bands--including the Orbital and Todd Terry--st
EXTD=ill use WOTW samples to inspire their own works. Unquestionably, 
EXTD=the genesis of electronica can (in part) be mapped back to the Wa
EXTD=r of the Worlds' use of sound experimentation and synthesized gro
EXTD=oves. \n\nThe re-released double CD got a revamping both on an au
EXTD=ditory and visual front: on the sonic side, the collection is now
EXTD= a remastered disc, mixed both in stereo and 5.1 surround sound. 
EXTD=On the cosmetic side, the collection is now a six-panel digipack,
EXTD= with 48 pages of lyrics, biographies, and a handful of paintings
EXTD= from the original artwork. The music comes as a pair of Super Au
EXTD=dio CDs (SACDs), a technology that will play both in standard and
EXTD= SACD players, the latter receiving up to four more times the son
EXTD=ic information for superior sound quality. --Denise Sheppard \n\n
EXTD=Product Description\nOriginal double album re-packaged into delux
EXTD=e 6 panel digi-pak. Includes: \n* 2 Hybrid SACDs - The original d
EXTD=ouble album remixed in stereo and multi-channel 5.1 surround soun
EXTD=d from the original 48 track master tapes by Jeff Wayne. \n* Expa
EXTD=nded 48 page full color booklet with new artwork, sleeve notes an
EXTD=d content \n\nAMAZON.COM CUSTOMER REVIEW\nWayne's "World", Septem
EXTD=ber 7, 2005\nReviewer: Mr. R. W. Walton (Dorchester, UK)\nFirst I
EXTD='d start off by stating that I'd actually give it 4.75/5 stars, o
EXTD=nly because it seems that some of the sounds in the 5.1 mix have 
EXTD=been cleaned up and changed slightly from the original vinyl and 
EXTD=have come out sounding "too clean" or slightly different. \n\nHow
EXTD=ever, overall the presentation of the package is superb with a ju
EXTD=stified return to the 12" album cover and art. The booklet inside
EXTD= in well presented and informative regarding everything from Jeff
EXTD='s War of the Worlds biography to information about HG Wells and 
EXTD=poster and book art for the hundereds of variants that have been 
EXTD=published since the begining of the original HG Wells story. \n\n
EXTD=The actual package comes on 6 CDs and 1 DVD. The first two CDs ar
EXTD=e the Hybrid SACD, so if you don't have an SACD player, don't fre
EXTD=t, it will still work on your CD/DVD player but you'll only get t
EXTD=he original mix analogue tracks. If you do have a SACD player, th
EXTD=en the CD is a real treat on SACD stereo, but particularly on 5.1
EXTD= where you really feel you are in the albumn with the voices beco
EXTD=ming especially alive and spacious. \n\nHowever, as I said at the
EXTD= begining, one or two of the guitar effects seems to have been cl
EXTD=eaned up too much, especially noticable in the epilogue. Still, w
EXTD=hen you hear the opening and Richard Burton's powerful voice in 9
EXTD=6kHz 24-bit clarity it is sonic heaven!! \n\nThe DVD is also a ra
EXTD=re treat, with Jeff talking about his life, and how he came to pr
EXTD=oduce War of the Worlds and also how he got together with the art
EXTD=ists that are on the album. You also get sneaky snippets of the C
EXTD=GI version of War of the Worlds that Jeff Wayne is supposed to be
EXTD= producing for 2007. It was intriguing to see how the album was p
EXTD=roduced, but does give some of the secrets away that you have to 
EXTD=wipe out of your mind when listening to the album again (i.e. rem
EXTD=ember the scary moment when the lid is unscrewing - excellent sou
EXTD=nd, but must forget that it is a saucepan!!) \n\nDisc No. 3 is a 
EXTD=collection of Remixes from 1979 to 2005 that have been made by Je
EXTD=ff or part of his merry men. I have to say that there are some di
EXTD=ssapointing mixes, several which are very Euro-Techno style, but 
EXTD=there are some jems in there none the less, just don't expect mir
EXTD=acles. \n\nDisc No. 4 Provides out-takes, some of which are funny
EXTD=, but also the original versions of Forever Autumn and some unuse
EXTD=d version of songs, or early versions, which are interesting to h
EXTD=ear the development and the changes that went into making the fin
EXTD=al edit of the War of the Worlds albumn. \n\nDisc No. 5 has again
EXTD= more out-takes and interesting alternatives mainly covering "The
EXTD= Spirit of Man". \n\nFinally we have Disc No. 6 which has, again,
EXTD= some alternative versions and out-takes, but the excellent, unab
EXTD=ridged story narrated by Richard Burton, quite a bit of which doe
EXTD=sn't get into the final albumn but is none the less excellent to 
EXTD=listen to. \n\nOverall an excellent package, and one of the best 
EXTD=collectors items that I shall treasure having grown up with this 
EXTD=albumn as a kid. \n\nWell done Jeff Wayne, highly recommended, es
EXTD=pecially if you are a fan of the original 12" albumn.\n\nAMAZON.C
EXTD=OM CUSTOMER REVIEW\nNeeded some work, July 12, 2004\nReviewer: to
EXTD=dd "3-LOCKBOX" (WA USA)\nJeff Wayne's War Of The Worlds is one of
EXTD= those albums whose legend far surpasses it's content. This album
EXTD= is well known and well recieved within prog rock circles, but no
EXTD=t well known outside of them. I remember being very taken by it u
EXTD=pon first listen as a young man (the artwork accompanying the alb
EXTD=um is priceless). It was quite the novelty hearing a rock opera w
EXTD=ith Sir Richard Burton narrating. But beyond the novelty, there i
EXTD=sn't much substance. \nIn 1978 this album had what seemed to be a
EXTD= stellar cast. But in hind-sight, most of these performers had pa
EXTD=ssed through the apex of their popularity and rellevance. Most al
EXTD=l the muscial performers had spoken dialog as well as singing par
EXTD=ts, except Heyward, who does most of the vocals. And of course th
EXTD=ere is Richard Burton, whose classically trained, stacatto voice 
EXTD=is perfect for this style of recording. His performance carries t
EXTD=he show, which doesn't say much for a rock album. Most of the dia
EXTD=log using Lynott, Essex and Covington ranges from banal to over-r
EXTD=ought (Lynott's 'parson' is played way over the top and is somewh
EXTD=at embarrising given how big a Thin Lizzy fan I am). \n\nThat is 
EXTD=not to say that there isn't some fine moments here and there. Hey
EXTD=ward's Forever Autumn and Thunder Child are the only two songs th
EXTD=at really stand out musically speaking. Forever Autumn is a wistf
EXTD=ul lament expressing seperation and loss, and while not directly 
EXTD=related to the story, it does serve the plot well. Thunder Child 
EXTD=is a minor masterpiece, melding story line lyrics and Burton's im
EXTD=pecible narration with pop/rock hooks. If most of the album resem
EXTD=bled this work, it might actually be the classic everyone thinks 
EXTD=it is. But the people behind the console have to take a hit here 
EXTD=as well. A superb, etherial instrumental like The Red Weed is mar
EXTD=red by narration instead of being a stand alone song, save for th
EXTD=e lead-in by Burton. The mixing job as a whole is somewhat clumsy
EXTD=. The goofy dialog (along with the disco trappings) should have b
EXTD=een scrapped and more attention paid to the quality of the music.
EXTD= \n\nJeff Wayne may have had the vision and the ambition, but lac
EXTD=ked the chops and flair of a Rick Wakeman, nor did he have the co
EXTD=mposition skills of an Alan Parsons. And I'm afraid that time has
EXTD=n't been kind to this release. Instead of being a period as it wa
EXTD=s intended to, it's sound is inexorably linked to the year in whi
EXTD=ch it was recorded. Maybe an updated version of this story is in 
EXTD=order-((hello Rick Wakeman...)) It was a good idea that never was
EXTD= realized to it's best potential.\n\n\nAMAZON.COM CUSTOMER REVIEW
EXTD=\nA Double Time Capsule, June 18, 2004\nReviewer: J. Hagerty "Spa
EXTD=ceship Historian" (Livermore, CA USA)\nI'm not sure how I missed 
EXTD=this album originally. As a life-long SF fan (both print and visu
EXTD=al arts), I count both the Wells book and the Pal movie among my 
EXTD=all-time favorites (to give you a reference, I'm the same age as 
EXTD=the movie).\nI came across references to this composition when re
EXTD=searching a book I'm writing, which has a major chapter on "War o
EXTD=f the Worlds." I couldn't believe that it was still available! Wh
EXTD=en I discovered that it had Richard Burton as the narrator, I imm
EXTD=ediately ordered it as "research materials" (I could listen to hi
EXTD=m read the phone book and enjoy it!).\n\nMy first pass through th
EXTD=e piece was a little cringing. The style is certianly dated today
EXTD=, and, as other reviewers here have pointed out, it does reflect 
EXTD=the disco era of its origins. However, Wayne is an amazing tune-s
EXTD=mith and I've found the entire piece completely infectious, I've 
EXTD=now played it to the point of distraction to my family, and will 
EXTD=probably continue to do so (my 11 year old daughter loves it!). I
EXTD=t really is a great time capsule of the period with the classic M
EXTD=oog whistles and chirps as background effects in addition to the 
EXTD=early synth music that you just can't get out of a digital keyboa
EXTD=rd. I was reminded of Dick Hyman's early Moog albums. While not p
EXTD=articularly a rock fan (I enjoy all well crafted music) I can app
EXTD=reciate the gutiar work and the seamless integration of the orche
EXTD=stral passages. \n\nThe only reason I knocked a star off the rati
EXTD=ng is the "Spirit of Man" sequence. The first problem is that the
EXTD=y gave the parson a name (he's just "the cleric" in the book), an
EXTD=d second, they gave him a wife, just for the purposes of the song
EXTD=. I agree with some of the other reviewers that it goes on too lo
EXTD=ng and is too over-the-top.\n\nThe other time capsule is the Well
EXTD=s story. I was impressed how much of it they managed to get into 
EXTD=this abbreviated format. And for those reviewers who found the "U
EXTD=lla!" cries of the Martians to be silly, well, sorry, that's stra
EXTD=ight from the book; although it's only their distress cry at the 
EXTD=very end (they communicate by other musical tonalities at other t
EXTD=imes, shades of CE3K).\n\nI may have found it late, but its becom
EXTD=e one of my favorite period pieces.\n\n\nAMAZON.COM CUSTOMER REVI
EXTD=EW\nWhat was the point of this project???, November 27, 2003\nRev
EXTD=iewer: A music fan\nI recieved this album as a gift at Christmas 
EXTD=in 1980. I was a fan of UK progressive rock and the person who be
EXTD=stowed this gift upon me thought that this would be right up my a
EXTD=lley. Don't get me wrong, some of the music is good, but that dis
EXTD=co beat HAS TO GO!!!!. The unfortunate thing about the album is t
EXTD=hat despite some decent music, the whole concept is utterly stupi
EXTD=d!!! HG Wells "War of the Worlds" as a rock opera concept album??
EXTD=? I think that calls for a: what the hell were you thinking Jeff 
EXTD=Wayne??? When critics look back on the UK prog scene of the 70's 
EXTD=and mock it as self indulgent egotistical nonsense, this is the k
EXTD=ind of album they are referring to. This is an interesting album 
EXTD=to own, and definitley an enigmatic piece of progressive rock his
EXTD=tory, but the disco beat and the "ooooo laaaas" just make me laug
EXTD=h when I hear it now. If Joey Ramone was a spy, and he was captur
EXTD=ed by the KGB, this is the album they would use to get him to tal
EXTD=k.\n\nAMAZON.COM CUSTOMER REVIEW\nWorth checking out if you're a 
EXTD=prog-rock or Moody Blues fan, September 29, 2003\nReviewer: wobur
EXTD=nmusicfan (Woburn, MA United States)\nJeff Wayne's 1978 musical v
EXTD=ersion of H.G. Wells' "The War of the Worlds" isn't a classic, bu
EXTD=t it contains some really good music and should appeal to fans of
EXTD= progressive rock and the Moody Blues. The songs and instrumental
EXTD=s are interwoven with a narration by Richard Burton, and the sing
EXTD=ers include the Moodies' Justin Hayward (his two songs charted as
EXTD= singles in the U.K., with "Forever Autumn" hitting #5), Thin Liz
EXTD=zy's Phil Lynott, and David Essex. There's good guitar work in th
EXTD=e instrumentals "Horsell Common and the Heat Ray" and "The Artill
EXTD=eryman and the Fighting Machine", and "Artilleryman" includes an 
EXTD=insanely catchy synthesizer theme. Wayne throws in the character 
EXTD=of the narrator's fiancee for no reason whatsoever -- except that
EXTD= he had co-written a fantastic lost-love song called "Forever Aut
EXTD=umn" and it was so good that he needed to find a way to work it i
EXTD=nto the album. The song here has Burton's narration in the middle
EXTD= of it; if you're looking for the original single mix, you'll nee
EXTD=d to go to a Moody Blues greatest hits album to find it. The albu
EXTD=m's biggest downside is that its second half is much weaker than 
EXTD=the first; the songs aren't as good, are too long, and have hammy
EXTD= vocal performances. Much of the album sounds dated today, especi
EXTD=ally the disco beats on "The Eve of the War" and "Artilleryman". 
EXTD=Depicting the Martian fighting machines by having someone sing "O
EXTD=oooo-laaaa" was intended to sound eerie, but comes off as sort of
EXTD= goofy. This is a 3-1/2 star album: good enough that I can get so
EXTD=ngs from it stuck in my head for days, but at the same time I som
EXTD=etimes go years without having the urge to listen to it.\n(1=poor
EXTD= 2=mediocre 3=pretty good 4=very good 5=phenomenal)\n\n\nAMAZON.C
EXTD=OM CUSTOMER REVIEW\nGratuitous, overdone, self-indulgent masterpi
EXTD=ece, December 11, 2002\nReviewer: 3rdeadly3rd (Brisbane, Queensla
EXTD=nd Australia)\nJeff Wayne's "original cast recording" of an adapt
EXTD=ation of HG Wells' "War of the Worlds" is often described as the 
EXTD=last hurrah of prog rock - a lurching, campy version of the story
EXTD= featuring far too much keyboard playing. What this description o
EXTD=mits is that it is precisely this fact that makes "War of the Wor
EXTD=lds" such a masterpiece.\nFrom the opening moments, as the great 
EXTD=Richard Burton (the Journalist) intones "no one would have believ
EXTD=ed, in the last years of the 19th Century, that human affairs wer
EXTD=e being watched...", the album has the listener hooked. Even as e
EXTD=arly as the end of this opening of Burton's, Jeff Wayne's inspire
EXTD=d musicianship can be seen. The main musical theme of the piece i
EXTD=s introduced following Burton's immortal "slowly, but surely, the
EXTD=y drew their plans against us". During the instrumental that foll
EXTD=ows, the listener can practically feel the flash of the heat ray 
EXTD=and the sheer terror of Earth's population as the Martians attack
EXTD= - and this is just the equivalent of the overture!\n\nBy far the
EXTD= outstanding performance is Burton's journalist. His calm unflapp
EXTD=ability, even when relating his realisation that his girlfriend w
EXTD=as at risk from the Martians, is both incongruous in the extreme 
EXTD=and marvellous under the circumstances. While the singers, includ
EXTD=ing many of the notables of the period, seem to be competing to o
EXTD=utdo each other in the vocal pyrotechnics stakes, Burton continue
EXTD=s to move the narrative forward and anchor the events to Wells' p
EXTD=lot.\nDavid Essex as the Artilleryman is also very strong. His ea
EXTD=rly mix of nervousness and "just following orders" mentality is c
EXTD=ommunicated very effectively, and his reappearance to build a "br
EXTD=ave new world" ("and you know where? Underground!") is portrayed 
EXTD=with just the merest hint of a man going insane. His singing of "
EXTD=Brave New World", while competent, is only going to be appreciate
EXTD=d by the prog fans of the world - and indeed, the same can be sai
EXTD=d for the other vocal performances. Of course, Essex's desire for
EXTD= "a handful of men" can be taken in whatever manner one wishes.\n
EXTD=\nMany of the songs are very well written and serve as succinct p
EXTD=op statements, even without the context of the storyline. My favo
EXTD=urites include the lines of Ogilvy the astronomer "The chances of
EXTD= anything coming from Mars", a brief song delivered in both a rea
EXTD=ssuring and a disturbing manner without any changes to lyrics and
EXTD= also the People's Chorus as the boats depart to escape the Marti
EXTD=ans. The clever insertion of keyboard effects just before the men
EXTD=tion of Thunderchild in each verse serve to build the tension, an
EXTD=d also to communicate the shock as she sinks.\n\nOf course, no re
EXTD=view of "War of the Worlds" would be complete without mention of 
EXTD="Forever Autumn". This song, recorded by David Essex to some meas
EXTD=ure of success, was not designed with "War" in mind and yet still
EXTD= fits quite well into the story. As a song, it is easily the equa
EXTD=l of any work of pop from a comparable period and is well worth h
EXTD=earing.\n\nThe one criticism of this treatment of "War of the Wor
EXTD=lds" which could be levelled is that, after the opening disc has 
EXTD=created so much tension so well - culminating as it does with Bur
EXTD=ton's "the earth belonged to the Martians", the second disc seems
EXTD= almost an afterthought. The eventual defeat of the Martians just
EXTD= seems to happen, rather than be built up to. Then again, conside
EXTD=ring the way that it happens, this defeat would be rather unexpec
EXTD=ted.\n\nIt can also be said that the epilogue is a bit overdone. 
EXTD=While it is a clever idea to create room for a sequel, or just to
EXTD= remind the world to "look to the skies", the way in which it is 
EXTD=done is a bit cheap. Nevertheless, it will suit some listeners.\n
EXTD=\nOverall, this CD serves as a reminder of what was bad about pro
EXTD=g - certainly it does that. What it also does is to allow the pro
EXTD=g fans of the world, and there are some, to glory in the excesses
EXTD= of the style. The keyboard workouts also serve as a reasonable t
EXTD=est of the range of a new stereo.\n\n\nAMAZON.COM CUSTOMER REVIEW
EXTD=\nOne song out of five. We're batting 1.000 with this one., Novem
EXTD=ber 16, 2002\nReviewer: "keefycub" (Yonkers, NY United States)\nI
EXTD='ve listened to this album many times, and remember it quite well
EXTD=, but like some albums, it doesn't seem to always register as a f
EXTD=avorite.\nThe first side of the original vinyl had 1.5 songs for 
EXTD=about 26 minutes. Justin Hayward sings about 8 lines, and an extr
EXTD=emely repetitive disco-ish number frames it, over which Richard B
EXTD=urton tells the story occasionally.\n\nThe second side had 2.5 so
EXTD=ngs for another 26 or 27 minutes, one good enough to be a monster
EXTD= hit on the radio, "Forever Autumn", filled out by more of Richar
EXTD=d Burton occasionally telling the story. I remember the song bein
EXTD=g great because it was the very last time I remember hearing some
EXTD=thing on commercial top-40 radio and thinking, "god what was that
EXTD=? That was weird." And being attracted to it because of it's shee
EXTD=r strangeness. So I bought the single. What was the b-side? The .
EXTD=5 song that fills up most of Side 1 and Side 2, but a lot better 
EXTD=cut down to a few minutes. I also remember it being very strange 
EXTD=on the album that we went such a long time before we actually got
EXTD= verses and choruses. I still adore the song, but I do wish it wa
EXTD=s more of a song and that the album track didn't have Richard Bur
EXTD=ton on it. It kinda destroys the daydream potential of the song.\n
EXTD=\nSide 3 had Phil Lynott screaming the phlegm out of his throat, 
EXTD=and Julie Covington sings a very repetitious bit that for some re
EXTD=ason seems to consist of just the words "No, Nathaniel, No," and 
EXTD=occasionally, Richard Burton continued the story. And it just goe
EXTD=s *on* and *on* and *on*, assaulting you, and never quitting. And
EXTD= I remember some of the dialogue being embarrassing even when I w
EXTD=as 15 years old and reasonably into this album. And I can't even 
EXTD=begin to describe how dumb and dated the martian's single word la
EXTD=nguage ("Ulla!") sounds today, run through a talkbox (think Peter
EXTD= Frampton or Joe Walsh) and a lot of dated flanging. Guaranteed t
EXTD=o make you laugh rather than to frighten you.\n\nThe 4th side did
EXTD=n't have Phil Lynott screaming the phlegm out of his throat anymo
EXTD=re (he got killed off on the third side). Instead David Essex scr
EXTD=eamed the phlegm out of his throat, and occasionally Richard Burt
EXTD=on told the story. And when the martians die at the end from bact
EXTD=eria eating them alive, well, they just sound like they ran out o
EXTD=f cocaine that day. Total number of songs on this disc? 2.5. That
EXTD= Red Weed cheated us out of a whole song.\n\nOf course, the "Prop
EXTD=hecy"-like ending makes me the most embarrassed when I hear this 
EXTD=album nowadays, even though there's no occasional Richard Burton.
EXTD= And to cut the album at just at about 100 minutes with tape slic
EXTD=e at the end? Limberger!!\n\n"Forever Autumn" is the *only* reaso
EXTD=n to have this album. The rest of it now is fairly excruciating, 
EXTD=and I'm quite glad that my ears have stretched a bit and found th
EXTD=at there's a lot more to music than a 100 minute album that has 5
EXTD= songs and 2 half-songs on it, plus a lot of incidental filler, a
EXTD=nd Richard Burton occasionally tells the story. Good thing Jeff W
EXTD=ayne's sequel, "Spartacus", sank without trace, and I might be on
EXTD=e of the only unfortunate members of the public to actually have 
EXTD=heard that one, because it was more of the same.\n\n\nHalf.com Al
EXTD=bum Notes\nPerformers include: Richard Burton, Justin Hayward, Ju
EXTD=lie Covington.\nThis is a hybrid Super Audio CD playable on both 
EXTD=regular and Super Audio CD players.\nVarious Artists: Chris Thomp
EXTD=son, David Essex, Gary Osborne, Julie Covington, Justin Hayward, 
EXTD=Phil Lynott, Richard Burton, Billy Lawrie, Jo Partridge, Paul Vig
EXTD=rass (vocals); Chris Spedding (guitar); George Fenton (autoharp, 
EXTD=santur, tar); Jeff Wayne (piano, harpsichord); Paul Hart (piano);
EXTD= Herbie Flowers (bass guitar); Barry Morgan (drums); Roy Jones, R
EXTD=ay Cooper (percussion).\nRecording information: Advision Studios,
EXTD= London, England (1976 - 1977).
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