According to Simon Leng, the Wonderwall project demonstrated that "There were now three Beatles who held firm artistic visions". He highlights "Dream Scene" in particular, describing it as a "musical acid trip" that "rivals anything on Sgt. Pepper for sheer freak-out effect". In the 1980s, Harrison was dismissive of the Western music on the album, calling it "loads of horrible mellotron stuff and a police siren". Barham said he considered "Dream Scene" to be the album's "most extraordinary track".
Critical reception
In a review for Uncut, Richard Williams likens Wonderwall Music to an exploded diagram of the Beatles' "overtly experimental period (1965–68)" on which "Dream Scene" is "a collage of found sounds, anticipating Lennon's 'Revolution No. 9'". New Zealand Herald critic Graham Reid calls the song "experimental in [the] finest sense of the word" and "by far the most psychedelic and out-there piece by any Beatle to that time". He adds that "towards the end you can almost anticipate Lennon's Revolution 9 coming in." In his review for Classic Rock magazine, former Mojo editor Paul Trynka describes it as "serene" and, along with "Greasy Legs" and "Party Seacombe" from the same album, an example of Harrison's standing as "a talented film composer with a gift for evocative soundscapes".
Writing for the Death and Taxes website, D.J. Pangburn highlights "Dream Scene" as his favourite track on an album that, as a non-vocal soundtrack, is often overlooked, yet contains individual pieces that show Harrison to be "every bit the psychedelic equal of Lennon" and "an astute musicologist and modern-day interpreter, surpassing even McCartney".
Niciun comentariu:
Trimiteți un comentariu