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Se eu tivesse escrito essa resenha na época em que conheci o álbum, provavelmente minha opinião seria muito diferente do que é hoje. Se antes eu o detestei, hoje vejo o disco como um registro interessante de música pop. Como fã de rock progressivo, entendo minha ira inicial. Afinal, GTR não soa nada como o esperado de uma colaboração entre Steve Howe e Steve Hackett. No entanto, ao avaliá-lo pelo que é, e não pelo que poderia ter sido, a perspectiva muda.
O disco começa com "When The Heart Rules The Mind", uma faixa cuja primeira nota já remete ao som característico do Asia. Isso é compreensível, já que ambos os grupos foram criados por membros-chave de bandas de rock progressivo dos anos 70 que optaram por um caminho mais acessível e rentável, definindo uma década com um tipo específico de som de teclado. "The Hunter" apresenta alguns momentos interessantes. A guitarra de Howe traz ecos de seu estilo no Yes, enquanto Hackett também brilha em seu papel. A bateria, às vezes soa um tanto mecânica, mas ainda assim, a faixa é um bom exemplo de rock de arena. Por outro lado, "Here I Wait" é uma música que simplesmente não desce. Chata e repetitiva, é um híbrido entre hard rock, pop e rock de arena, mas sem encontrar um equilíbrio satisfatório.
"Sketches In The Sun" é lamentavelmente um momento muito curto no disco. A interação entre os acordes de Hackett e Howe é belíssima, crescendo em intensidade. É uma faixa excelente que merecia mais espaço no álbum. Se você reler o que escrevi sobre "Here I Wait", poderá aplicar quase tudo à igualmente insossa "Jekyll and Hyde." "You Can Still Get Through" traz um momento mais agradável ao álbum, com algumas mudanças "radicais" na música. No entanto, a falta de versatilidade vocal de Max Bacon torna tudo cansativo e sem emoção. Apesar disso, musicalmente a faixa é interessante, com boas guitarras e sintetizadores. "Reach Out (Never Say No)" me dá a impressão de que poderia facilmente estar no álbum 90125. Instrumentalmente não há nada de especial - mas ao menos não há nada que a comprometa -, exceto por uma boa linha de baixo. Novamente os vocais deixam a desejar, soando monótonos.
"Toe The Line" é uma faixa que na minha opinião ficaria mais bonita se fosse instrumental. A guitarra é magnífica, mas o vocal acaba enfraquecendo o resultado. "Hackett to Bits" é incrível. Se todo o álbum tivesse a mesma qualidade, ele certamente seria um clássico instantâneo. Steve Hackett entrega uma performance maravilhosa, criando um confronto marcante entre guitarra elétrica e acústica. A faixa é excelente do começo ao fim, uma pena ser tão curta. "Imagining" começa com uma introdução acústica que é a cara de Hackett. O melhor do disco parece estar reservado para o final. Howe e o restante da banda se juntam a Hackett, criando uma energia contagiante. Tudo soa bem, exceto pelos vocais, que a essa altura já começam a irritar.
Ao concluir a audição do álbum, uma reflexão inevitável surge: como este disco seria avaliado por um fã de rock progressivo se não tivesse sido criado sob a liderança gigantes como Steve Hackett e Steve Howe? A expectativa gerada pelos nomes envolvidos é imensa, o que pode ter influenciado na recepção crítica. Se o álbum tivesse sido lançado por músicos menos renomados, é provável que as críticas fossem mais condescendentes, com uma compreensão mais clara de sua proposta desde o início. Sem o peso das expectativas, o ouvinte poderia apreciar mais facilmente os méritos do trabalho, reconhecendo-o pelo que é, ao invés de compará-lo ao legado das lendas que o conceberam.
================================If I had written this review back when I first encountered the album, my opinion would likely be very different from what it is today. While I initially despised it, I now see the album as an interesting snapshot of pop music. As a fan of progressive rock, I understand my initial anger. After all, GTR sounds nothing like what one would expect from a collaboration between Steve Howe and Steve Hackett. However, when evaluated for what it is, rather than what it could have been, the perspective shifts.
The album opens with "When The Heart Rules The Mind," a track whose very first note instantly recalls the distinctive sound of Asia. This is understandable, as both groups were formed by key members of 70s progressive rock bands who opted for a more accessible and commercially viable path, defining a decade with a specific keyboard-driven sound. "The Hunter" offers some interesting moments. Howe's guitar brings echoes of his work with Yes, while Hackett also shines in his role. The drumming can feel somewhat mechanical at times, but even so, the track serves as a solid example of arena rock. On the other hand, "Here I Wait" is a song that simply doesn’t work for me. Dull and repetitive, it’s a hybrid between hard rock, pop, and arena rock, but it fails to find a satisfying balance.
"Sketches In The Sun" is unfortunately a very brief moment on the album. The interaction between Hackett and Howe’s chords is beautiful, building in intensity. It's an excellent track that deserved more space on the album. If you reread what I wrote about "Here I Wait," you can apply almost all of it to the equally uninspired "Jekyll and Hyde." "You Can Still Get Through" offers a more pleasant moment on the album, with some "radical" shifts in the music. However, Max Bacon’s lack of vocal versatility makes everything feel tiresome and emotionless. Despite this, the track is musically interesting, with good guitar work and synthesizers. "Reach Out (Never Say No)" gives me the impression that it could easily fit on the album 90125. Instrumentally, there's nothing special, but at least nothing undermines it, except for a good bass line. Once again, the vocals are lacking, sounding monotonous.
"Toe The Line" is a track that, in my opinion, would have been more beautiful as an instrumental. The guitar work is magnificent, but the vocals weaken the overall result. "Hackett to Bits" is incredible. If the entire album had been of the same quality, it would certainly be an instant classic. Steve Hackett delivers a wonderful performance, creating a striking contrast between electric and acoustic guitar. The track is excellent from start to finish; it’s just a shame it’s so short. "Imagining" begins with an acoustic intro that is quintessentially Hackett. It seems the best of the album is saved for last. Howe and the rest of the band join Hackett, creating a contagious energy. Everything sounds great, except for the vocals, which by this point become quite irritating.
After finishing the album, an inevitable thought arises: how would this album be evaluated by a progressive rock fan if it hadn’t been created under the leadership of giants like Steve Hackett and Steve Howe? The expectations generated by the names involved are immense, which may have influenced its critical reception. Had the album been released by less renowned musicians, it’s likely that the reviews would have been more lenient, with a clearer understanding of its intent from the outset. Without the burden of expectations, listeners might more easily appreciate the album's merits, recognizing it for what it is, rather than comparing it to the legacy of the legends who conceived it.
NOTA: 5/10
Tracks Listing
1. When The Heart Rules The Mind (5:28)
2. The Hunter (4:58)
3. Here I Wait (4:57)
4. Sketches In The Sun (2:33)
5. Jekyll And Hyde (4:45)
6. You Can Still Get Through (4:58)
7. Reach Out (Never Say No) (4:06)
8. Toe The Line (4:30)
9. Hackett To Bits (2:10)
10. Imagining (5:54)
Ouça, "Hackett To Bits"
If I had written this review back when I first encountered the album, my opinion would likely be very different from what it is today. While I initially despised it, I now see the album as an interesting snapshot of pop music. As a fan of progressive rock, I understand my initial anger. After all, GTR sounds nothing like what one would expect from a collaboration between Steve Howe and Steve Hackett. However, when evaluated for what it is, rather than what it could have been, the perspective shifts.
The album opens with "When The Heart Rules The Mind," a track whose very first note instantly recalls the distinctive sound of Asia. This is understandable, as both groups were formed by key members of 70s progressive rock bands who opted for a more accessible and commercially viable path, defining a decade with a specific keyboard-driven sound. "The Hunter" offers some interesting moments. Howe's guitar brings echoes of his work with Yes, while Hackett also shines in his role. The drumming can feel somewhat mechanical at times, but even so, the track serves as a solid example of arena rock. On the other hand, "Here I Wait" is a song that simply doesn’t work for me. Dull and repetitive, it’s a hybrid between hard rock, pop, and arena rock, but it fails to find a satisfying balance.
"Sketches In The Sun" is unfortunately a very brief moment on the album. The interaction between Hackett and Howe’s chords is beautiful, building in intensity. It's an excellent track that deserved more space on the album. If you reread what I wrote about "Here I Wait," you can apply almost all of it to the equally uninspired "Jekyll and Hyde." "You Can Still Get Through" offers a more pleasant moment on the album, with some "radical" shifts in the music. However, Max Bacon’s lack of vocal versatility makes everything feel tiresome and emotionless. Despite this, the track is musically interesting, with good guitar work and synthesizers. "Reach Out (Never Say No)" gives me the impression that it could easily fit on the album 90125. Instrumentally, there's nothing special, but at least nothing undermines it, except for a good bass line. Once again, the vocals are lacking, sounding monotonous.
"Toe The Line" is a track that, in my opinion, would have been more beautiful as an instrumental. The guitar work is magnificent, but the vocals weaken the overall result. "Hackett to Bits" is incredible. If the entire album had been of the same quality, it would certainly be an instant classic. Steve Hackett delivers a wonderful performance, creating a striking contrast between electric and acoustic guitar. The track is excellent from start to finish; it’s just a shame it’s so short. "Imagining" begins with an acoustic intro that is quintessentially Hackett. It seems the best of the album is saved for last. Howe and the rest of the band join Hackett, creating a contagious energy. Everything sounds great, except for the vocals, which by this point become quite irritating.
After finishing the album, an inevitable thought arises: how would this album be evaluated by a progressive rock fan if it hadn’t been created under the leadership of giants like Steve Hackett and Steve Howe? The expectations generated by the names involved are immense, which may have influenced its critical reception. Had the album been released by less renowned musicians, it’s likely that the reviews would have been more lenient, with a clearer understanding of its intent from the outset. Without the burden of expectations, listeners might more easily appreciate the album's merits, recognizing it for what it is, rather than comparing it to the legacy of the legends who conceived it.
NOTA: 5/10
Tracks Listing
1. When The Heart Rules The Mind (5:28)
2. The Hunter (4:58)
3. Here I Wait (4:57)
4. Sketches In The Sun (2:33)
5. Jekyll And Hyde (4:45)
6. You Can Still Get Through (4:58)
7. Reach Out (Never Say No) (4:06)
8. Toe The Line (4:30)
9. Hackett To Bits (2:10)
10. Imagining (5:54)
Ouça, "Hackett To Bits"
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