This page is hardly going to be updated regularly. Believe it or not, analyzing SONGS is a far, far more complicated process than that of analyzing entire ALBUMS. For apparent reasons, too. When you analyze an album, you can easily concentrate on certain things that come into your head at once, and forget about everything you're unsure of - emphasize the obvious and escape the concealed, that is. Which is exactly what me, and all the other reviewers, always do. There can hardly be such a thing as a definitive album review: after all, it is possible to write a 400,000 page thesis on, say, Sgt Pepper or Quadrophenia, and you still wouldn't be exhausting the topic.

When one limits himself to a song, however, he is forced to concentrate on the song in all of its entirety, and on all the specific details - playing, melody, lyrics, arrangement, length, structure, recording, its position and function within the album, etc., etc. This is an ample field for guesses and subjectivity, but this is also a place where no stone should be left unturned. In this way, it is probably an even more exciting and thrilling process than album reviewing, but one which takes far more concentration, thinking and research. Therefore, I will only be selecting a few songs for analysis on this page, my favourite ones, usually, and don't wait for frequent updates.

The basic goal here, of course, would be to try and dig a little bit in the music/psychology relationships - what exactly is it that makes a song great, what are those hidden levers that trigger the breakthroughs in our conscience? The unseen knobs that produce the explosions in our brains? The concealed triggers that make the tears flow out of our eyes? The arousing charms that make our... eh... wait, wrong move.

Anyway, here is my first attempt at such an analysis, and don't judge it too harshly. We're all learning.

Genesis: Dancing With The Moonlit Knight