I venture here is a daring hypothesis: this "plate" designed to but often badly passing on the spot "progressive" rock further helpful. Here the hundredth retro infusion with pieces of nowhere "Big Three" played (Pink Floyd, Genesis, Yes), the Canadians cite at most even (what they may like Rush or just DT as well). Saga spare us deliberate, but not skillful song fractures, but put each part together very compact. This must be the gentlemen who yes all approaching 60, let times: still fresh ideas and quickly coming to the point. Ok, sometimes too fast, the wonderful Bruce Hornsby-esque piano solo on "Ball and Chain" is likely to Jim Gilmour live like significantly prolong and it turn down the end Eighties synth track to start.
And it is also true that not everything succeeds and Saga sometimes want too much: I'm not sure if it's a brilliant idea, or at least ohrenmarternd, in the final "Till The Well Runs Dry" ultrafast through the chorus doubled guitar / chasing Keyläufe of which would live somewhere else all solo parts. Or "Another Day Out of Sight": starts very lovely, but then develops into a heavy-Kracher most complicated goodness, in the - again in the chorus - by rolling indefinable Tomwirbel. Otherwise, this is mainly because of Gilmour's vocals much maligned song with his strange juxtaposition soft and hard, slow and fast parts as examples of the innovative strength of Saga: Class I find him melodically.
So you can rub on some songs on "20/20". "Six Feet Under" seemed only too clichéd, until I had a crush on ingenious Power Chorus. Is the guitar solo in "Anywhere you want to go" now annoying or indicative? The vocal lines are in any case also here anything but ordinary. Michael Sadler had but a few ideas in his luggage on his return. And if he does not consistently sounds more as powerful as before, he does it through his never ending charisma through expressiveness and some technical gimmicks up for it. Clear, "Ellery" has already reached an absolute hatred cult status less than a week after the release. Why must be gewalzert at Saga between some or geschunkelt for quite some time, has not been revealed to me. In addition a tune that almost as gruesome as "my friend" to "Trust" sounds. Remunerated in the second calmer number: "Lost for words", by the way garnished with a beautiful dream and song relevant Guitar solo (!). Other 100% their numbers are for me "Show and Tell" or "Spin It Again".
"20/20" The bottom line an album that the Always-re "hang up" and discuss stimulates and that's for a great deal. Sonically certainly not perfect, but still better than the dull-sounding "Trust"; Output is expected at the next like all sound somewhat differentiated again. But the contemporary Limiter compressor craze here has not quite broken through as other bands, total would have the music industry a little more on guard, a consistently older and (sound) critical audience a part but Arges thrashing (also at concerts ) vorzusetzen. And then afterwards to complain about continued falling sales figures. But that would be worth a separate article.
ADDENDUM: Mike Thorne has completely convinced me of the 20/20 Tour as a new drummer. Maybe it's even better than Brian Doerner nocb. So a virtuoso looseness I have rarely experienced times. The right choice, hooray.
