REVOLUTIONS

I can't help laughing incoherently whenever any musical critic/ reviewer in any genre actually has the spunk to claim in Mussoliniesque terms that something is derivative of this.or copying that... Please kindly abandon those spotty clichés that are so ..derivative and so ..imitative. Boring..Every single note sequence has been played one way or another over the ages, with different instruments and various coatings. It's like food , there is a limit of what is edible or in our case acceptable to the ear. Yes, Magenta is unoriginal, imitative, hackneyed etc.call it what you will. But all rock music has been done before, so let's drop the originality pretense, just let it slide and enjoy for what the music is and not what it should be. 2001 proffered this daunting 2CD massive unashamedly Yes inspired epic debut to a rapt audience for whom such adventurism certainly was a voyage of dense behemoths. When you look at the entire prog catalog, there are really not that many 20 minute plus extravaganzas. In fact, they are rather rare but I guess size counts for some naysayers who delight in slandering any musician wishing to extend his musical vision (very reminiscent of the punk journalist crusaders of the late 70s). Disc 1 has "Children of the Sun" is 19.00 minutes and "The White Witch" is 20 minutes plus, Disc 2 contain my favorites "Man the Machine" (nearly 25 minutes) "Genetesis" is close to 22 minutes and "The Warning" slyly clocks in over 7 minutes preparing the next album's more tapered song format! With songs this size, commercialism is a ridiculous accusation so, sit back, relax and let the revolution begin. Many of my PA colleagues have extensively covered the tracks "blow by blow" (no, not the Jeff Beck title!) and they are correct in their praise and occasional criticism. The bottom line is that this had a major impact in progland and left many fans excited about the future. The next one "Seven" will be a crowning achievement of their craft with Christina Booth taking the mike stand boldly. If there is any sour taste here, it's the occasional only vocal prowess of the slender miss, often shrouded by Rob Reed's voice which in all fairness is rather unexciting. Tim Robinson's drum work is way better than usual for this type of music and the playing by the octopus-handed Reed is quite dazzling. As with most "revolutions", there are some obvious pains and aches but by in large this huge work is fully deserving a 4 and a half purple/red stars . Oh, by the way, its derivative!