Though Prog Is Alive and Well in the 21st Century, I have decided to go back and "fill in" the years upon which the 21st Century is built--and not just the "classic" years of 1967-76. Each year will be given its own page, containing reviews of the albums I determine are worthy of recognition (both positive and negative). As usual, these pages will be works in progress, to which I'll be adding information as it comes my way.
1989 was a monster year for great new music, though less so for traditional Progressive Rock, as indicated by my list below--but the non-traditional progression in Rock and Pop was undeniably peppered with genius.
My Favorite Albums of 1989:
1. JULIA FORDHAM Porcelain
2. THE CURE Disintegration
3. KATE BUSH The Sensual World
4. PAT METHENY GROUP Letter from Home
5. SWING OUT SISTER Kaleidoscope World
6. PAZZO FANFANO DI MUSICA Pazzo Fanfano di Musica
7. TEARS FOR FEARS The Seeds of Love
8. BLUE NILE Hats
9. MARY BLACK No Frontiers
10. SIMPLY RED A New Flame
11. JANE SIBERRY Bound by the Beauty
12. PETER MURPHY Deep
13. ALLAN HOLDSWORTH Secrets
14. PETER GABRIEL Passion
15. YOUNG MC Stone Cold Rhymin'
16. INDIGO GIRLS Indigo Girls
15. YOUNG MC Stone Cold Rhymin'
16. INDIGO GIRLS Indigo Girls
17. XTC Oranges and Lemons
18. NEIL YOUNG Freedom
19. THE NEVILLE BROTHERS Yellow Moon
20. STEVE REICH Different Trains
Honorable Mentions:
CARDIACS On Land and in the Sea
HECENIE Légendes
LISA STANSFIELD Affection
THE STONE ROSES The Stone Roses
PRIMUS Suck on This!
THE STONE ROSES The Stone Roses
PRIMUS Suck on This!
Five Star Prog Masterpieces
(Ratings of 100 to 93.34)
None
The "Minor" Masterpieces
(Ratings of 93.33 to 90.0)
1. ALLAN HOLDSWORTH Secrets
Allan's obsession witth never playing the same thing (phrase) twice results in yet another masterful collection of frustrations in which he has surrounded himself with a cornucopia of the world's very best musicians.
Line-up / Musicians:
- Allan Holdsworth / guitar, Synthaxe (2,5,8), spoken voice (7), producer & mixing
With:
- Rowanne Mark / vocals (2)
- Craig Copeland / vocals (8)
- Gary Husband / keyboards (1)
- Alan Pasqua / piano (3)
- Steve Hunt / keyboards (4,6)
- Jimmy Johnson / bass (1-6,8)
- Bob Wackerman / bass (7)
- Vinnie Colaiuta / drums (1-6,8)
- Chad Wackerman / drums & keyboards (7)
- Claire Holdsworth / spoken voice, in French (7)
With:
- Rowanne Mark / vocals (2)
- Craig Copeland / vocals (8)
- Gary Husband / keyboards (1)
- Alan Pasqua / piano (3)
- Steve Hunt / keyboards (4,6)
- Jimmy Johnson / bass (1-6,8)
- Bob Wackerman / bass (7)
- Vinnie Colaiuta / drums (1-6,8)
- Chad Wackerman / drums & keyboards (7)
- Claire Holdsworth / spoken voice, in French (7)
- Jeffrey Ocheltree / "hammer" (7)
1. "City Nights" (2:33) stunning guitar work/melody making on this powerful Jean-Luc Ponty-like instrumental. Heck, the bass play is stunning, too! What an opening! (9/5/10)
2. "Secrets" (4:21) Rowanne Mark singing a bit over Allan's jazz fusion SynthAxe-dominated jazz fusion. She sounds remarkably similar to Gayle Moran--in both tone and style. Great Chick Corea-like "keyboard" sound from Allan's SynthAxe--until he starts exploring melody lines that Chick would never think of. Jimmy Johnson's bass play coupled with Vinnie Colaiuta's rolling drum play are quite lovely to hear beneath/with Allan's melody lines. It's actually quite a lovely song. (P.S. I love Gayle and Annette.) (9.5/10)
3. "54 Duncan Terrace (Dedicated To Pat Smythe) (4:35) piano jazz with some (a lot less than I would expect) guitar play from the bandleader. Opens with heavily-effected Jan Akkerman-like guitar chord work before giving way to the piano for a big chunk of the song. Again, absolutely stunning drum play beneath. Bassist Jimmy Johnson even gets a nice solo spot in the third and fourth minutes. The "harp"-like solo in the final minute must be another one of Allan's SynthAxe masks. Odd "big chord" ending. (9.75/10)
4. "Joshua" (5:59) even thought this starts out kind of sappy, pop-ballad-like, arrives more great SynthAxe work and Fender Rhodes play over stunning drums and bass. Unfortunately, the keyboard work remains in sappy-cheesy pop-ballad land throughout. (9.25/10)
5. "Spokes" (3:32) a little more funk from the bass and drums with this SynthAxe-led song. (8.75/10)
6. "Maid Marion" (7:17) very spacious soundscape of Fender chords with SynthAxe "sax" opens this before bass and delicate drums come in to support an extended MIDI-Fender Rhodes solo from Steve Hunt (or is it a SynthAxe MIDI-ed "keyboard"?) In the fifth minute another synth "soprano sax" solo ensues--this one sounding more like a guitar's product, for sure. Vinnie is certainly having fun beneath during this section: quite the conversation they're having! Almost Corea-Gadd-ish. (14/15)
7. "Peril Premonition" (4:44) the Wackerman brothers help play out this cute "safe room" role play song while Allan returns to the non-SynthAxe electric guitar that we've all come to expect from him since his Bruford/UK years. Some wonderful support of some awesome guitar work though a little less loud and punchy than the Johnson-Colaiuta combo. (8.75/10)
8. "Endomorph (Dedicated To My Parents)" (4:19) male vocals over synth washes: Craig Copeland has an interesting Gino Vannelli tone with a more jazzy, Al Jarreau-like style; the melody he establishes is replicated quite accurately and respectfully by Allan's guitar in the second verse, and then Craig is given the third verse for a reprise. Beautiful. Allan is at his peak in the same way Jean-Luc Ponty was at his peak with Individual Choice. (9.5/10)
Total Time: 37:20
The rhythm section of bassist Jimmy Johnoson and drummer Vinnie Colaiuta are quite a match for Allan's guitar; I think they, in fact, soften his often abrasive, angular approaches to melody making.
92.94 on the Fishscales = A/five stars; a veritable masterpiece of timeless jazz-rock fusion. This is an album that I didn't give the light of day for years until seeing an interview with Rick Beato and Vinnie Colaiuta but, now that I have, I think it is an essential acquisition for any prog lover's music collection.
2. PAZZO FANFANO DI MUSICA Pazzo Fanfano di Musica
I've finally been able to hear this amazing album for the first time and I am BLOWN AWAY! The medieval/Renaissance-influenced music I have been craving! It doesn't get better than this, folks. It is all the best of 70s RPI (especially BANCO, LE ORME and even PFM) combined with the pastoral sounds of STEVE and JOHN HACKETT a la Voyage of The Acolyte ("Suspiri del fiore"), and the most emotive of classical composers ("La dolce follia," "Agilmente" and "Affettuoso")--the Italians, of course. There are lots of strings, flutes, organ, Mellotron, classical guitar ("Intermezzo I" and "II") and even harpsichord. The vocals from female singer Megumi Tokuhisa are wonderful if quirky (especially because of the lyrics being in Japanese.) And the shocker of all is that this music is all composed and performed by an all-star band of Japanese musicians! "Fragoroso" is much jazzier, pure prog, with an uptempo, piano- and drums-driven sound, but otherwise the album is replete with nostalgiac references to the musics of Renaissance and Italian composers. The piano and violin duet that is "Ondine" is one of the most gorgeous pieces of music I've ever heard--reminding me of the music of Taiwan's lovely CICADA or the world's RYUICHI SAKAMOTO.
Line-up / Musicians:
- Megumi Tokuhisa / vocals
- Takashi Aramaki / guitars
- Katsuhiko Hayashi / organ, Mellotron, harpsichord, producer
- Motoi Sakuraba / piano
- Kyoko Sugimoto / piano, harpsichord
- Tomoki Ueno / organ, Mellotron
- Takashi Kawaguchi / violin
- Kazuhiro Miyatake / flute
- Tadashi Sugimoto / bass, double bass, cello
- Takashi Aramaki / guitars
- Katsuhiko Hayashi / organ, Mellotron, harpsichord, producer
- Motoi Sakuraba / piano
- Kyoko Sugimoto / piano, harpsichord
- Tomoki Ueno / organ, Mellotron
- Takashi Kawaguchi / violin
- Kazuhiro Miyatake / flute
- Tadashi Sugimoto / bass, double bass, cello
- Nobuyuki Sakurai / drums
1. "Preludio" (0:50) acoustic nylon stringed guitar solo (4.25/5)
2. "Fiori per Algernon" (7:58) violin and flutes sing over heavy, almost-avant chamber music before Megumi comes in singing in Japanese. Flutes, violin, and piano continue to interject their embellishing riffs throughout. During musical interlude in the middle, piano comes more to the fore while soloing piano and flutes take more supportive, side-lying roles. Megumi's vocalise mimics/mirror's the violin melody. The music is complex, stop-and-start, with various tempo and texture shifts. (13.5/15)
3. "Sospiri del fiore" (3:32) with virtuosic lute-like guitar and flute over the top, this song sounds a lot like something from an ANTHONY PHILLIPS or FOCUS/JAN AKKERMAN song (though with a few STEVE HACKETT-like melody and chord shifts). (10/10)
2. "Fiori per Algernon" (7:58) violin and flutes sing over heavy, almost-avant chamber music before Megumi comes in singing in Japanese. Flutes, violin, and piano continue to interject their embellishing riffs throughout. During musical interlude in the middle, piano comes more to the fore while soloing piano and flutes take more supportive, side-lying roles. Megumi's vocalise mimics/mirror's the violin melody. The music is complex, stop-and-start, with various tempo and texture shifts. (13.5/15)
3. "Sospiri del fiore" (3:32) with virtuosic lute-like guitar and flute over the top, this song sounds a lot like something from an ANTHONY PHILLIPS or FOCUS/JAN AKKERMAN song (though with a few STEVE HACKETT-like melody and chord shifts). (10/10)
4. "La dolce follia" (5:11) echo-effected flute over bowed double bass is replaced by strings and flutes (straight up) before at 1:04 when heavier RPI band introduces itself for a brief few seconds. Piano and classical instruments fill the next free-form section before a kind of Baroque musical structure sets itself in motion, over which Megumi sings a little, but then things twist and turn, with pastoral Baroque acoustic and electric heavy RPI going back and forth for the next couple minutes. Nice Mellotron cum classical guitar outro. (9/10)
5. Agilmente (1:37) violin soloing over harpsichord and double bass. Flute takes over at the 0:30 mark with a different style of harpsichord playing beneath. Back to violin with its particular support for the final thirty seconds. (5/5)
6. "Intermezzo I" (1:32) a more Spanish style guitar solo. (4.5/5)
7. "Affettuoso" (5:54) gentle harpsichord chords open this one before violin joins in to sing its solo melody tenderly above. Brilliant duet. At 1:03 flute takes over the lead melody. At 1:43 Megumi Tokuhisa's beautiful mezzo-alto enters and takes the lead, singing in Japanese with beautiful long, sustained notes and beautiful diction. Very much like an old-fashioned salon performance. (9/10)
8. "Fragoroso" (4:34) fast-paced piano-centric acoustic jazz drives the combo until violin arrives in the third minute. From there, the moods and tempos shift quite dramatically several times, at times becoming quite tempestuous, like a weather storm. (9.5/10)
9. "Intermezzo II" (1:20) more lute-ish Spanish guitar. (4.5/5)
10. "Onde" (6:12) this is piano, double bass, and violin dancing in a trio. The prettiest, most heart-wrenching melodies, playing, and arrangement of the album. I can feel the power of the surf, of the waves, with this one. (10/10)
11. "Anniversario" (10:35) Megumi singing and vocalizing over and with classical guitar, violin, and flute. (18.25/20)
Total Time: 49:30
92.50 on the Fishscales = A-/five stars; a minor masterpiece of Classical, Baroque, and RPI fused progressive rock music.
Folks, this is a masterpiece of timeless music--one for the ages--a collection of songs that will represent our crazy modern world far better than 99.99% of the stuff that's been put out for the past 100 years.
Folks, this is a masterpiece of timeless music--one for the ages--a collection of songs that will represent our crazy modern world far better than 99.99% of the stuff that's been put out for the past 100 years.
3. PAT METHENY GROUP Letter from Home
The Group's follow-up to their 1987 masterpiece, Still Life (Talking). It certainly helps that the core remains stable but multi-instrumentalists/vocalists David Blemires and Mark Ledford have left. Luckily, their replacement is none other than Brasilian singing sensation, Pedro Aznar. Yes, Pedro is back! (His considerable talents were quite instrumental in making 1984's First Circle such a major leap forward for the band.)
I consider myself so very privileged to have seen this tour up close and personal at an outdoor venue with my brothers (the legendary concert at which "I danced more than I ever have while never getting out of my seat"). What a year 1989 was!
Line-up / Musicians:
- Pat Metheny / synth, electric, 6- & 12-string acoustic & soprano guitars, tiple, Synclavier, co-producer
- Lyle Mays / organ, piano, accordion, Synclavier, keyboards, trumpet, co-producer
- Pedro Aznar / acoustic guitar, tenor sax, melodica, Panpipes, charango, vibes, marimba, vocals
- Steve Rodby / electric & acoustic basses, co-producer
- Paul Wertico / drums, percussion, caja
- Armando Marçal / percussion
1. "Have You Heard" (6:25) amazingly joyful dance music with Pedro Aznar laying down one of the most fun wordless sing-a-longs of all time. The song exudes so much joy that I don't even mind Pat's horny Synclavier. (9.75/10)
Line-up / Musicians:
- Pat Metheny / synth, electric, 6- & 12-string acoustic & soprano guitars, tiple, Synclavier, co-producer
- Lyle Mays / organ, piano, accordion, Synclavier, keyboards, trumpet, co-producer
- Pedro Aznar / acoustic guitar, tenor sax, melodica, Panpipes, charango, vibes, marimba, vocals
- Steve Rodby / electric & acoustic basses, co-producer
- Paul Wertico / drums, percussion, caja
- Armando Marçal / percussion
1. "Have You Heard" (6:25) amazingly joyful dance music with Pedro Aznar laying down one of the most fun wordless sing-a-longs of all time. The song exudes so much joy that I don't even mind Pat's horny Synclavier. (9.75/10)
2. "Every Summer Night" (7:13) another joyful, bouncy and melodic masterpiece--this one of subtly-mastered simplicity. Pat's accordion-sounding guitar (or is that Pedro's melodica?) gives this a perfect Toots Thielemans sound and Pedro's vocalese send it through the roof in terms of cute innocence. (14.125/15)
3. "Better Days Ahead" (3:03) Brasilian percussion and rhythm structure make this another Carnivale-befitting fun piece. (9/10)
4. "Spring Ain't Here" (6:55) one of those delicate Pat pieces that is blessed by the Brasilian percussion work of Pedro Aznar, Armando Marçal, and Paul Wertico. Unforgettable melodies abound around the finger-clicks. Like a Bob James song that gets treated with a Brasilian wax! (13.75/15)
5. "45/8" (0:57) a brief little expression of Caribbean beach party joy. (4.5/5)
6. "5-5-7" (7:54) a very dramatic and subtly sophisticated masterpiece that builds into one of the concert-goers highlight songs. Great vocal work from Pedro and all the band in the peak moments. (14.5/15)
7. "Beat 70" (4:55) more Brasilian magic that benefits from some killer melodies (many, of course, coming courtesy of Pedro Aznar's amazing voice). Another concert highlight in which all of the musicians astound despite the music seeming to blend so seemlessly. (9.5/10)
8. "Dream of the Return" (5:26) tender and sensitive with Pedro singing in his native Portuguese, it just doesn't resonate and move the way "Mas alla ((Beyond)" did on First Circle. (8.75/10)
9. "Are We There Yet" (7:55) one of those great étude-like ensemble pieces that feel so avant garde with its odd industrial stop-and-go time signatures; very angular and almost industrial music that turns out to be very engaging and entertaining. (13.5/15)
10. "Vidala" (3:03) an anthemic song that feels as if it has Scottish roots, sung in English by Pedro while supported by a militaristic kind of "field" ensemble. Powerful. (8.875/10)
11. "Slip Away" (5:25) very melodic, upbeat, and up-tempo. Another excellent sing-along with melodies quite like the Falcon and the Snowman soundtrack music that Pat and Lyle and this same band did after First Circle. (9.25/10)
12. "Letter from Home" (2:33) the iconic song that I turned into a vehicle to carry the lyrics of a poem I wrote called "Ode to November"; beautiful in its own right it was, I must say, made much more so by my lyrics and singing. (9/10)
Total Time: 61:34
One of the joys of this album is how many of the songs are not only sing-along-able but danceable! As a matter of fact, I saw the Group on the tour that followed the release of this album and I have never danced so much at a concert in my life--and I never even left my seat!
92.22 on the Fishscales = A-/five stars; a masterpiece Brasilian-inflected 1980s Jazz-Rock Fusion as created and performed by one of the greatest Jazz-Rock Fusion ensembles ever collected, here at the absolute peak of their powers.
4. PETER GABRIEL Passion - Music from The Last Temptation of Christ
Though the Middle Eastern-dominated music used for this soundtrack was a complete surprise to me, I think Martin Scorcese's bold decision to hire Peter Gabriel for this effort was a choice that was both brave and genius. The fact that Peter delivered one of the most unique and innovative soundtracks in history helps make this point.
Line-up / Musicians:
- Peter Gabriel / vocals, synths (Prophet 5, Fairlight, Roland D50), samplers (Akai S900, Emulator), piano (12,20), flute (2), whistle (3,5), percussion, bass (3,5), double bass (21), computer Fx (6-8,12,18), producer & mixing
With:
- Baaba Maal / vocals (5)
- Youssou N'Dour / vocals (7,15)
- Nusrat Fateh Ali Khan / vocals-qawwali style (15)
- Julian Wilkins / vocals-choir boy (15)
- David Rhodes / guitar, ebow (17,21)
- David Sancious / synthesizer & synthesizer arrangements (12), Hammond (20), backing vocals (7,9)
- David Bottrill / tambourine (18,20), slide guitar (20), engineer & mixing
- Antranik Askarian / Armenian doudouk (1)
- Vatche Housepian / Armenian doudouk (1)
- Kudsi Erguner / ney (11,17)
- Jon Hassell / trumpet (15)
- Richard Evans / tin whistle (21)
- Robin Canter / oboe (12) , cor Anglais (12,16)
- The Musicians of the Nile / arghul (17)
- Lakshmir Shankar / double violin (1,3,5,7,8,10), vocals (10)
- Mahmoud Tabrizi Zadeh / kemenché (6,8,13,14)
- Manny Elias / surdo & octobans (1)
- Hossam Ramzy / tabla (1,8,11,13,19), tambourine, triangle, finger cymbals, dufs
- Nathan East / bass (8,20)
- Fatala / percussion (5,7), African percussion (19)
- Manu Katche / percussion (13)
- Billy Cobham / percussion (9,20), drums (9,18)
- Djalma Correa / Brazilian percussion (15)
- Massamba Diop / talking drum (3,5)
- Said Mohammad Aly / percussion (19)
- Mustafa Abdel Aziz / arghul (3,5,20), percussion (19)
With:
- Baaba Maal / vocals (5)
- Youssou N'Dour / vocals (7,15)
- Nusrat Fateh Ali Khan / vocals-qawwali style (15)
- Julian Wilkins / vocals-choir boy (15)
- David Rhodes / guitar, ebow (17,21)
- David Sancious / synthesizer & synthesizer arrangements (12), Hammond (20), backing vocals (7,9)
- David Bottrill / tambourine (18,20), slide guitar (20), engineer & mixing
- Antranik Askarian / Armenian doudouk (1)
- Vatche Housepian / Armenian doudouk (1)
- Kudsi Erguner / ney (11,17)
- Jon Hassell / trumpet (15)
- Richard Evans / tin whistle (21)
- Robin Canter / oboe (12) , cor Anglais (12,16)
- The Musicians of the Nile / arghul (17)
- Lakshmir Shankar / double violin (1,3,5,7,8,10), vocals (10)
- Mahmoud Tabrizi Zadeh / kemenché (6,8,13,14)
- Manny Elias / surdo & octobans (1)
- Hossam Ramzy / tabla (1,8,11,13,19), tambourine, triangle, finger cymbals, dufs
- Nathan East / bass (8,20)
- Fatala / percussion (5,7), African percussion (19)
- Manu Katche / percussion (13)
- Billy Cobham / percussion (9,20), drums (9,18)
- Djalma Correa / Brazilian percussion (15)
- Massamba Diop / talking drum (3,5)
- Said Mohammad Aly / percussion (19)
- Mustafa Abdel Aziz / arghul (3,5,20), percussion (19)
- Doudou N'Daiye Rose / percussion (7)
1. "The Feeling Begins" (4:00) a shockingly haunting violin melody and percussive monster that evokes such strong feelings of the desert. (9.5/10)
2. "Gethsemane" (1:23) like something left off of Eno's Fourth World Possible Musics albums, computer-generated or enhanced elephantine noises dominate. (5/5)
3. "Of These, Hope" (4:05) opens with a cacophony of bizarre-like horns before hypnotic drum and bass line enter and transport the listener away. Amazing how this low end feast can draw one in. And then the synth, voice, and Shankar violin melody doubles the effect. Soundtrack music does not get any better than this. (10/10)
4. "Lazarus Raised" (0:36) like the horn raising the cobra out of its basket. (4.5/5)
5. "Of These, Hope (Reprise)" (1:06) (5/5)
6. "In Doubt" (2:07) a psychological mind warp (4.5/5)
7. "A Different Drum" (6:05) a computer keyboard and drum rhythmic sequence over which PG, Youssou N'Dour and David Sancious lend their vocals. Like a song. (8.75/10)
8. "Zaar" (4:44) more Garbriel-esque in its keyboard sequences and synthesizer palette, though still retaining the sounds and uniquities of Middle Eastern instruments. (8.75/10)
9. "Troubled" (2:46) great drums and percussion song, with quite a broad spectrum of percussion sounds coming from Billy Cobham and PG's computers. (9/10)
10. "Open" (3:18) deep sustained synth with Shankar's etheric violin and PG and Shankar's voices soloing above. So cool. (9/10)
11. "Before Night Falls" (2:16) awesome interplay between Armenian Ney flute, Shankar's cetaceous violin, and hand percussives. (5/5)
12. "With This Love" (3:36) solo, plaintive cor anglais over synthscape. Beautiful classical-sounding piece. (9.25/10)
13. "Sandstorm" (2:55) all kinds of North African and Middle Eastern sounds and instruments woven into this muddle of muckery. (4.5/5)
14. "Stigmata" (2:24) improvised kementché (acoustic bowed string instrument) and PG voice. (4.25/5)
15. "Passion" (7:36) the same soundscape as "Of These, Hope" before the drums join in, with Jon Hassell's distinctive breathy trumpet paired with the inimitable Qawwali voice of Nusrat Fateh Ali Khan. Shankar joins in, trying to emulate Nusrat's vocal reaches with his violin. At 3:20 the angelic voice of child choirboy Julian Wilkins gets the spotlight. Shankar and Nusrat Fateh Ali Khan meekly, humbly re-take the lead before low-end synthesized soundscape rises and dominates before the final crescendo of all voices that begins with about 90 seconds to go. The quiet that ensues is beautiful. (13.5/15)
16. "With This Love" [Choir version] (3:19) the cor anglais of Robin Canter rejoins us, but merely for the opening introduction as, this time, the song is presented by a boys choir singing wordlessly. (9.25/10)
17. "Wall of Breath" (2:25) Ney flute, violin, and arghul (Egyptian bamboo flute) solo gently over synth drone. (4.25/5)
18. "The Promise of Shadows" (2:12) a heap of heavily treated percussives and more. Eerie! (4.5/5)
19. "Disturbed (3:07) violin and Fairlight synth washes which are joined by broad spectrum of hand drummers working together or looped. Pretty amazing! (10/10)
20. "It Is Accomplished" (3:30) PG piano and tubular bells with Billy Cobham drums andmore--a real PG celebratory piece like "Kiss of Life" or "Biko." (8.5/10)
21. "Bread and Wine" (2:23) some Celtic sounds and themes in play here. (4.25/5)
Total Time: 65:53
91.72 on the Fishscales = A-/five stars; a minor masterpiece of progressive rock music delivered as a soundtrack of world-prog fusion.
2. "Gethsemane" (1:23) like something left off of Eno's Fourth World Possible Musics albums, computer-generated or enhanced elephantine noises dominate. (5/5)
3. "Of These, Hope" (4:05) opens with a cacophony of bizarre-like horns before hypnotic drum and bass line enter and transport the listener away. Amazing how this low end feast can draw one in. And then the synth, voice, and Shankar violin melody doubles the effect. Soundtrack music does not get any better than this. (10/10)
4. "Lazarus Raised" (0:36) like the horn raising the cobra out of its basket. (4.5/5)
5. "Of These, Hope (Reprise)" (1:06) (5/5)
6. "In Doubt" (2:07) a psychological mind warp (4.5/5)
7. "A Different Drum" (6:05) a computer keyboard and drum rhythmic sequence over which PG, Youssou N'Dour and David Sancious lend their vocals. Like a song. (8.75/10)
8. "Zaar" (4:44) more Garbriel-esque in its keyboard sequences and synthesizer palette, though still retaining the sounds and uniquities of Middle Eastern instruments. (8.75/10)
9. "Troubled" (2:46) great drums and percussion song, with quite a broad spectrum of percussion sounds coming from Billy Cobham and PG's computers. (9/10)
10. "Open" (3:18) deep sustained synth with Shankar's etheric violin and PG and Shankar's voices soloing above. So cool. (9/10)
11. "Before Night Falls" (2:16) awesome interplay between Armenian Ney flute, Shankar's cetaceous violin, and hand percussives. (5/5)
12. "With This Love" (3:36) solo, plaintive cor anglais over synthscape. Beautiful classical-sounding piece. (9.25/10)
13. "Sandstorm" (2:55) all kinds of North African and Middle Eastern sounds and instruments woven into this muddle of muckery. (4.5/5)
14. "Stigmata" (2:24) improvised kementché (acoustic bowed string instrument) and PG voice. (4.25/5)
15. "Passion" (7:36) the same soundscape as "Of These, Hope" before the drums join in, with Jon Hassell's distinctive breathy trumpet paired with the inimitable Qawwali voice of Nusrat Fateh Ali Khan. Shankar joins in, trying to emulate Nusrat's vocal reaches with his violin. At 3:20 the angelic voice of child choirboy Julian Wilkins gets the spotlight. Shankar and Nusrat Fateh Ali Khan meekly, humbly re-take the lead before low-end synthesized soundscape rises and dominates before the final crescendo of all voices that begins with about 90 seconds to go. The quiet that ensues is beautiful. (13.5/15)
16. "With This Love" [Choir version] (3:19) the cor anglais of Robin Canter rejoins us, but merely for the opening introduction as, this time, the song is presented by a boys choir singing wordlessly. (9.25/10)
17. "Wall of Breath" (2:25) Ney flute, violin, and arghul (Egyptian bamboo flute) solo gently over synth drone. (4.25/5)
18. "The Promise of Shadows" (2:12) a heap of heavily treated percussives and more. Eerie! (4.5/5)
19. "Disturbed (3:07) violin and Fairlight synth washes which are joined by broad spectrum of hand drummers working together or looped. Pretty amazing! (10/10)
20. "It Is Accomplished" (3:30) PG piano and tubular bells with Billy Cobham drums andmore--a real PG celebratory piece like "Kiss of Life" or "Biko." (8.5/10)
21. "Bread and Wine" (2:23) some Celtic sounds and themes in play here. (4.25/5)
Total Time: 65:53
91.72 on the Fishscales = A-/five stars; a minor masterpiece of progressive rock music delivered as a soundtrack of world-prog fusion.
5. THE CURE Disintegration
One of my Top Ten Favorite Albums of All-Time! What makes this album so special to me? The bass lines. Simon Gallup's bass playing on this album are second only to COCTEAU TWINS' Simon Raymonde as my favorite style and sound of bass play.
The beats. Boris Williams has an approach to creating unusual rhythm patterns similar to one of my other favorite drum stylists, Steve Jansen.
The guitars. Such rich, deep effects. The guitars can be in the background wash or right up front, they are all superb.
The keyboards. Dated but used so effectively. Roger O'Donnell is, in my hymble opinion, such an improvement over Lol Tolhurst.
The voice. Robert Smith. Is there anything else to say? There is only one Robert Smith, despite his common first and last names.
The moods conveyed. I don't know about the depressing, cynical feelings everyone seems to conjure up with regards to Goth God Robert Smith's lyrics and messages, but I am absolutely geeked and pacified by the music on Disintegration.
The song structures and styles. Long songs that let the grooves and Robert's emotions dig deep under your skin, wormhole into your mind.
1. "Plainsong" (5:12) from wind chimes to deep, heavy waves of synths and bass on a lumbering pace, the aural onslaught that is Disintegration begins. If that isn't enough to set a mood, Robert doesn't even begin echoed-whisper-singing until 2:45. Thank you for letting me in gently! (8.75/10)
2. "Pictures of You" (7:24) a radio hit that never did much for me--but then, I don't hear/pay attention to the words. Very simple and steady. Again, a very long instrumental intro, Robert doesn't start singing until 1:53. His voice is so smooth and relaxed--it's really hard to find fault with this song, despite its simplicity. It's just so welcoming. I guess the flaw is in its length. But then, it's so relaxing . . . (13.25/15)
3. "Closedown" (4:16) busy beating of the toms gives this one a little more substance, though the pace is not very different than the first two. Chunky bass, moving strings synth, low end lead guitar melody noodling. Robert's singing voice enters at 2:04. Hypnotic but substance-less. (8/10)
4. "Lovesong" (3:29) A pretty, catchy tune in the vein of The Beatles and XTC. Cool guitar sound. Great bass line. Nice synth in bridge and chorus (though now so dated). (8.5/10)
6. "Lullaby" (4:08) Another pretty though more unusual, even bizarre, song harking a little back to older Cure music. Love the whispered vocal. Spider-Man! (8.5/10)
8. "Prayers for Rain" (6:05) An almost-raunchy rock'n'roll song from the Goth Gods. Love the toy piano and other dated keys. Cool effects on the vocals. (9/10)
9. "Same Deep Water As You" (9:19) A murky aquatic journey into the blissful psychedelia of an opium den. Another awesome, emotional vocal; another smooth rolling bass line. Great background synths. (19.5/20)
10. "Disintegration" (8:18) A powerful ride to the end. (19/20)
11. "Homesick" (7:06) is kind of a beginner's attempt at KING CRIMSON's "Discipline" with different instruments doing their different melody lines, chord progressions, and rhythms, yet blending into one amazingly beautiful weave. Kind of a slowed down "Last Dance." Love the guitar sounds, piano, and almost conversational vocal delivery. (13.5/15)
12. "Untitled" (6:30) a decent song, such a come down from the previous songs; perhaps this is a good thing for the album's finale--especially for such an emotional album. (8.5/10)
Many a listen on the Polks with my brothers to this one.
91.67 on the Fishscales = A-/five stars; a minor masterpiece of progressive rock music though a masterpiece of 1980s-1990s synth emo-Goth rock.
6. VERMILLION SANDS Water Blue
A Japanese symphonic prog band that only produced one album (though a second was prepared and released at the death of their lovely lead singer, Yoko Royana).
Line-up / Musicians:
- Yoko Royama / vocals, flute
- Masahiro Yamada / keyboards
- Hisashi Matoba / drums & acoustic guitar
- Kenji Ota / bass
- Takafumi Yamasaki / drums
- Hiroyuki Tanabe / flute, keyboards
1. "My Lagan Love" (3:10) a perfect vocal from singer Yoko Royama on this cover of the traditional 19th Century Irish song from County Donegal. It was correct of the band to keep the instrumental support to a minimum. I find it interesting that this song was seldom covered on any records before this. (9.5/10)
- Yoko Royama / vocals, flute
- Masahiro Yamada / keyboards
- Hisashi Matoba / drums & acoustic guitar
- Kenji Ota / bass
- Takafumi Yamasaki / drums
- Hiroyuki Tanabe / flute, keyboards
1. "My Lagan Love" (3:10) a perfect vocal from singer Yoko Royama on this cover of the traditional 19th Century Irish song from County Donegal. It was correct of the band to keep the instrumental support to a minimum. I find it interesting that this song was seldom covered on any records before this. (9.5/10)
2. "Ashes of the Time" (12:12) I hear a little bit of UK, Thomas Dolby, and Ryuichi Sakamoto in the wonderful opening section. At 1:50 we transition into a little NeoProg with some shlocky/dated keyboard strings. A minute later this turns into GENESIS-like 12-string guitar weave over which Yoko sings in her pristine mezzo-soprano. Due to the crystalline female vocals, there's quite some similarity to mid-1970s RENAISSANCE here, as well. At 4:35 it turns more uptempo folk (think Strawbs or Spirogyra) with some very quick-changing chord play from the guitar as keys play a greater role (synth & piano). Very strong drum play here as well as nice work on the electric bass. At 6:30 we transition into a more classical piano bridge that leads us into a sparsely-synthed section over which Yoko sings what sounds like a kind of eulogy. Strummed guitars, bass and drums join in for a choral approach to a chorus melody. Strings solo takes over from Yoko as the section continues with Yoko performing solo vocalize in the background. The song finishes with Yoko's final notes and a little 12-string arpeggio and single strum. Quite a lovely song!(23/25)
3. "In Your Mind" (7:36) opens with a palette, pace, and melodic sense (varied) like GENESIS' "Afterglow." Yoko's vocal melody choices--as well as the bridges into the chorus section and chorus itself--are different/their own entities. Nice guitar solo in the middle (as well as nice fretless bass beneath). That middle instrumental section is really divine! At 4:24 we return to the main vocal--this time a cappella save for a second background vocalise track from Yoko. Gorgeous! Just perfect NeoProg, every bit as beautiful as the music of Genesis--though totally refreshing. The Steve Hackett-like guitar solo just keeps getting better and better as the extended instrumental passage in the second half of the song, playing out to the end. (14/15)
4. "Coral D - The Cloud Sculptors" (5:51) nice guitar and synth weave provide a 75-second intro before the full band kicks in with a purely RENAISSANCE motif (including Yoko singing a wordless melody Annie Haslam style). Multiple voices in the Genesis-like bridge to the next part sound so much like Renaissance! The third motif is slower and more easy-going with a bit of Emerson organ play but then a mandolin-sounding guitar strumming frenzy takes us into a more TONY BANKS-like organ solo over the Renaissance music. More Genesis-like bridges before Yoko picks up her vocalize again, but the song ends with the band jamming as strong wind sounds blow everything away. Great song if a bit overly familiar. (9/10)
5. "Kitamoto" (4:41) gently picked guitars provide a background weave for Yoko (and, later, a synth) to solo over the top. I love it when the band use multiple tracks of Yoko's voice to harmonize or counterpoint her main vocal track as they do here. Piano, bass, and drums join in during the second half of the second verse and into the chorus. Interesting weave of gentle guitar arpeggi with tune-shifting Wurlitzer-like organ and then fretless bass solo. Then we're back into the vocal motif for another crack at the chorus. Cool song! There are frequent moments in which several elements remind me of Genesis' classic tune "Stagnation." (9/10)
6. "Living in the Shiny Days" (4:16) an uptempo tune with more of a true Prog Folk flair to it. There's also a bit of a YES (in one of its poppier moods--like "Wondrous Stories" or "And You and I") feel to this one. (8.7/10)
7. "The Poet" (7:43) with a cross between Renaissance and Neo Prog band Beautiful though it does drag on one-dimensionally a bit too long. The Hackett lead guitar stylings at the end of the sixth minutes are superb. Yoko Royama's Annie Haslem-like vocals are, stylistically, perfect imitations. The excellent final two minutes really bolster this one upwards. (13.5/15)
Total Time 45:29
The perfect NeoProg blending of the softer, gentler sides of GENESIS with classic RENAISSANCE stylings and structures. The bonus songs (on the CD only) are well worth hearing as well.
91.26 on the Fishscales = A-/five stars; a minor masterpiece of NeoProg and something that I think every/any prog lover would like.
7. KATE BUSH The Sensual World
While The Dreaming is, IMHO, Kate's prog masterpiece, it is my opinion that The Sensual World is every bit it's equal--perhaps even more masterful in that it comes from a woman with nine years more wisdom and maturity than The Dreaming.
Line-up / Musicians:
- Kate Bush / vocals, piano, keyboards, arranger & producer
With:
- David Gilmour / guitar (2, 9)
- Alan Murphy / guitar (3, 5, 7)
- John Sheahan / fiddle (1)
- Nigel Kennedy / violin solo (3), viola (5)
- Jonathan Williams / cello (3, 5, 7)
- Alan Stivell / celtic harp (3, 7), backing vocals (7)
- Balavescu String Quartet (4)
- Davey Spillane / Uilleann pipes (1, 8), whistles (3)
- Donal Lunny / bouzouki (1)
- Del Palmer / bass (1, 4, 7), percussion & rhythm guitar (5), Fairlight programming
- John Giblin / bass (2, 6, 9)
- Mick Karn / bass (5)
- Eberhard Weber / bass (8)
- Charlie Morgan / drums (1, 4)
- Stuart Elliott / drums (2, 3, 5-9)
- Paddy Bush / whips (1), valiha (2), mandolin (4), tupan (6), backing vocals (2)
- The Trio Bulgarka / vocals (6, 8, 9)
- Yanka Rupkhina / vocal soloist (6, 9)
- Dimitri Penev / vocals arrangements (6, 8, 9)
- Michael Kamen / orchestral arrangements (3, 5, 10)
- Michael Nyman / string arrangements (4)
With:
- David Gilmour / guitar (2, 9)
- Alan Murphy / guitar (3, 5, 7)
- John Sheahan / fiddle (1)
- Nigel Kennedy / violin solo (3), viola (5)
- Jonathan Williams / cello (3, 5, 7)
- Alan Stivell / celtic harp (3, 7), backing vocals (7)
- Balavescu String Quartet (4)
- Davey Spillane / Uilleann pipes (1, 8), whistles (3)
- Donal Lunny / bouzouki (1)
- Del Palmer / bass (1, 4, 7), percussion & rhythm guitar (5), Fairlight programming
- John Giblin / bass (2, 6, 9)
- Mick Karn / bass (5)
- Eberhard Weber / bass (8)
- Charlie Morgan / drums (1, 4)
- Stuart Elliott / drums (2, 3, 5-9)
- Paddy Bush / whips (1), valiha (2), mandolin (4), tupan (6), backing vocals (2)
- The Trio Bulgarka / vocals (6, 8, 9)
- Yanka Rupkhina / vocal soloist (6, 9)
- Dimitri Penev / vocals arrangements (6, 8, 9)
- Michael Kamen / orchestral arrangements (3, 5, 10)
- Michael Nyman / string arrangements (4)
- Bill Whelan / Irish arrangements
2. "Love and Anger" (4:42) is another one of Kate's gut-wrenching emotional roller-coaster rides. Drags on a bit in the same range of chords and pacing--though the instrumental performances are rock solid. It feels a bit like other songs of Kate's from preceding albums. (8.75/10)
3. "The Fog" (5:06) is highlighted by the incredible strings and guitar work. Another very pleasant dreamy, emotion-based musical journey. (9/10)
4. "Reaching Out" (3:12) begins like an old ELTON JOHN song, which is appropriate in that it is an emotional song about human nature. The chorus is quite strong, powerful and engaging--one of Kate's strongest on this album. Unfortunately, going back to the soft/delicate A Section is a bit incongruous. But that chorus--and with it Michael Kamen's orchestration and Alan Murphy's guitar work--are redeeming. (8.5/10)
5. "Heads Were Dancing" (5:21) starts out just like a DEPECHE MODE song before Kate's unmistakable voice enters. The odd vibratos Kate uses while she holds the "second" syllable of words like "dance" and "do" are a bit too odd. Love Mick Karn's bass work. Eerie song. (8.75/10)
6. "Deeper Understanding" (4:46) has a cool JANE SIBERRY/PETER GABRIEL feel to it but doesn't really suck the listener in--it's one of those stories that is a bit too obtuse or obscure for me to get drawn into. (8.667/10)
7. "Between A Man and A Woman" (3:30) has such an unusual feel with it's staccato beginning and screech-opened B section. At this point in Kate's career, this kind of beat/rhythm is becoming a bit too standard for Kate's music. (8.667/10)
8. "Never Be Mine" (3:44) is another of my all-time favorite Kate songs. Eberhard Weber had been one of my favorite artists for over fifteen years, and I had become entranced by the Western arrival of Les Mysteres des Voix Bulgares (and had even seen the Bulgarian State Radio & Television Female Vocal Choir in '90) thus, the timely incorporation of The Trio Bulgarika, Eberhard, and with Kate's penchant for Irish/Celtic instruments was both synchronous and popular with me. (9.5/10)
9. "Rocket's Tail" (4:07) is creative and risky in that for the first 90 seconds Kate's dreamy and later assertive lead vocal is backed only by the diatonic dissonance of The Trio Bulgarika. Nice try, gutsy, but the "meshing" just doesn't happen. It does better with the engagement of the heavy blues-rock instrumentation. The quirky "He-he-he, he-he-he" part is equally unsettling and almost grating to my ears. (8.5/10)
10. "This Woman's Work" (3:38) is quite a highly praised and anthemic song for many--and deservedly so. Powerful in message and delivery. I find myself often skipping it to reach the next song. (9/10)
11. "Walk Straight Down The Middle" (3:48) is the third of my all-time favorite Kate songs to emerge from The Sensual World. From the opening notes, Eberhard Weber's bass, along with the amazingly fragile-sounding vocal delivery of one of music's all-time great theatrical singers, this song sucks me in. Great rhythms and deeply engaging sound with wonderful and quirky vocal acrobatics. Plus the song employs absolutely masterful use of pauses, timing and spacing, e.g. check out the 2:22-2:39 section followed by the amazing resonant bass and jungle vocal calls. (10/10)*
* Not on LP releases
Total Time: 45:51
* Not on LP releases
Total Time: 45:51
I have to say, in terms of high creativity and gutsy experimentation, there aren't many albums that can top this one. Whether or not it all works or not is definitely a matter of personal opinion.
90.30 on the Fishscales = A-/4.5 stars; a minor masterpiece of Crossover progressive rock music. To me this is a 4.5 star album and one of the albums that helps earn Kate inclusion to the ProgArchives database. Kamen, Gilmour, Trio Bulgarika, Weber/Karn/Giblin/(Palmer), the Bush family, and Kate's voice and presentation in peak form all make this a masterpiece of progressive rock music.
4.5 Stars Near-Masterpieces or Other Excellent Additions to Prog World
(Ratings 89.99 to 86.67)
8. THE BLUE NILE Hats
Kind of Atmospheric Post Rock from this Scottish band--not unlike the work of Mark Hollis and TALK TALK except with such amazing sound production.
1. "Over the Hillside" (5:03) (8.5/10)
2. "The Downtown Lights" (6:26) very engaging music and melody with a wonderful rhythm guitar exposé in the long outro. (9.25/10)
3. "Let's Go Out Tonight" (5:12) very late-night atmospheric, moody with awesome JANE SIBERRY-like music and a BRUCE COCKBURN-like vocal. (9.25/10)
4. "Headlights on Parade" (6:11) Awesome music with some very STEELY DAN-like sounds and grooves and great "orchestration" embellishments. My favorite song on the album. (9.75/10)
5. "From a Late Night Train" (3:59) like a very-late-night jazz or Tom Waits song. So spaciously scrumpdillyicious, like Jane Siberry. Love the background trumpet. (9/10)
6. "Seven A.M." (5:09) cool programmed rhythm track to open--bass, sequenced synth, and percussives--very Jimmy Jam/Terry Lewis-like. Multiple rhythm guitars late are great. (8.75/10)
7. "Saturday Night" (6:26) Such a great cumulative effect on the rhythm guitar! Too bad the rest of the music and chord selection weren't better. (8.25/10)
89.64 on the Fishscales = B+/4.5 stars; a near-masterpiece of atmospheric experimental jazz pop.
9. IQ Are You Sitting Comfortably?
The band's fourth studio album, second with singer Paul Menel at the microphone--plus they have the enlistment of Noel McCalla (Smallcreep's Day, Acting Very Strange), which excites me. All the names (except Paul's) are familiar to me. A February 1989 release, let's see what they've got for us!
Line-up / Musicians:
- Paul Menel / lead & backing vocals, tambourine
- Mike Holmes / guitar & synth guitar
- Martin Orford / keyboards, sax, flute, backing vocals
- Tim Esau / bass guitar, bass pedals, backing vocals
- Paul Cook / drums, percussion
With:
- Noel McCalla / backing vocals
1. "War Heroes" (6:26) so what's wrong with Paul Menel's voice!? He sounds like any/every IQ singer--and he's definitely not bad. He holds pitch, he displays an appropriate level of emotional engagement with the lyrics and music. (8.875/10)
- Paul Menel / lead & backing vocals, tambourine
- Mike Holmes / guitar & synth guitar
- Martin Orford / keyboards, sax, flute, backing vocals
- Tim Esau / bass guitar, bass pedals, backing vocals
- Paul Cook / drums, percussion
With:
- Noel McCalla / backing vocals
1. "War Heroes" (6:26) so what's wrong with Paul Menel's voice!? He sounds like any/every IQ singer--and he's definitely not bad. He holds pitch, he displays an appropriate level of emotional engagement with the lyrics and music. (8.875/10)
2. "Drive On" (4:57) like one of the "B" songs from a 1980s Genesis (or Phil Collins) song, very typical of music in the 1980s. Not bad, just . . . familiar. (8.75/10)
3. "Nostalgia" (2:22) the instrumental intro to "Falling Apart …" is quite Steve Hackett-ish--even down to the basic alternating-two-chord construction. Nice guitar work. Classic NeoProg/Genesis/Hackett bombast. (4.875/5)
4. "Falling Apart at the Seams" (7:47) theatric and quite proficient. What are the criticisms of this band and album? This is as high quality NeoProg as I've ever heard (though I am by no means a fan or flaming advocate of the sub-genre). In the context of everything/anything I've ever heard from this band, this stands up there with any/all of it; if you're Genesis/NeoProg fan you've got to love this! Mike Holmes' guitar work and the overall sound palette and mix are quite extraordinary! (13.667/15)
5. "Sold On You" (4:40) another typical 1980s offering that sounds like it came from Genesis or Mike + The Mechanics' "All I Need Is a Miracle" only with slightly proggier (and better) instrumental performances. The lyrics are just as cheesy as anything from the era. (8.875/10)
6. "Through My Fingers" (5:30) yes, that's Tony Banks taking on the BLUE NILE sound and style, only, like everybody else on the planet who loves and admires the band, they are unable to slow it down and strip it down to the degree that the Scots do. And we have yet another very solid performance from Paul Menel. (8.875/10)
7. "Wurensh" (9:37) a prog-oriented band's obligatory "epic," this one plays out like a 1980s Genesis tune. I mean: exactly! Even the guitar arpeggi and syncopated bass and drum rhythm play is straight out of a Phil-Tony-Mike jam attempt. Granted, this is Paul Menel's weakest vocal performance on the album--partly do to the way his voice is mixed back into the soundscape, partly due to the fact that the band really didn't give him much to bite into. Great guitar work from Mike Holmes in the fifth minute. Plus, it is quite obvious that the band wanted this one to kick into symphonic-Yes-like territory--and they almost do; they just forgot to include/account for the importance of the lyrics, message, and vocal performance. Despite the flaws, I find it interesting to hear so much of Dutch NeoProg band KNIGHT AREA's Under a New Sign in this. Like my disappointment in Wobbler upon finding that their magnificent sound and melodies on 2011's Rites at Dawn had come from (almost directly lifted from) both Yes (Close to the Edge) and Gentle Giant's debut album. (17.5/20)
8. "Nothing At All" (4:46) a solid representation of a pop-friendly prog song coming from a prog or even "classic rock" hair band of this era. Nothing to complain or get angry about as it is simply a purely-perfect represent of the popular music of the day. Fine performances all, plodding along as they all did at that time, with the same sound palette and pristine sound engineering of the day that everyone switching into the digital world were producing. (8.75/10)
Total Time: 50:52
Despite my love of Genesis' two 1976 studio albums (from which all things "NeoProg" came), I really don't know this band very well: though I've listened to pretty much every album they've ever made, I've never really felt "won over" by their achievements. Their sound palette doesn't repel me: it's rather warm and comforting; their vocalists or musicians and soloists always seem proficient and competent, their compositions aren't poor or repulsive. I think they're just . . . okay--very much like a 1980s Genesis song/album: Nice to listen to but nothing that will bring me back--nothing that wow's me as "That's new!" or "That's fresh!" Are You Sitting Comfortably represents, for me, a perfectly fitting and high-quality Genesis-like pop-friendly NeoProg of its day; nothing more and nothing less.
89.07 on the Fishscales = B/four stars; a very solid, highly-respectable NeoProg album.
10. FATES WARNING Perfect Symmetry
The Connecticut band's fourth studio album since their 1985 debut and third since having established their top-tier Prog Metal status.
Line-up / Musicians:
- Ray Alder / lead & backing vocals
- Jim Matheos / guitars
- Frank Aresti / guitars, backing vocals
- Joe DiBiase / bass
- Mark Zonder / acoustic & electronic drums
With:
- Kevin Moore / keyboards (5)
- Jim Matheos / guitars
- Frank Aresti / guitars, backing vocals
- Joe DiBiase / bass
- Mark Zonder / acoustic & electronic drums
With:
- Kevin Moore / keyboards (5)
- Faith Fraeoli / violin (5)
1. "Part Of The Machine" (6:16) opening with 22 seconds of distant headphones Industrial grade rock in which Mark Zonder's drum work is still so prominent. Once the music is "brought into the room" the metal soundscape thins and spreads out a bit as Ray Alder's high-Ozzie-like voice enters singing on full scream mode. A couple of motif changes allows for Jim Matheos and Frank Aresti's guitar work to shift and shine in different ways as Mark also shifts his time signatures to meet/match the guitar and vocal shifts. The sound and musicianship are so good and Ray's voice is truly top notch powerful! Then the band/producer decides to fade the music out, employing a few more industrial/factory noises to mask the recession. This is excellent metal! A top three tune. (9/10)
2. "Through Different Eyes" (4:22) nice pensive guitar-led opening section which exhibit's the song's two main motifs in a familiar way (DEF LEPPARD?) Ray's performance--as is the music of the meat of the song--okay; nothing to write home about but solid and polished, but then there's another fadeout to end it?! What's up with that? (8.875/10)
3. "Static Acts" (4:28) more high-quality Prog Metal that is already starting to bore me with a nagging "Is this all the same?" feeling. (8.75/10)
4. "A World Apart" (5:03) the requisite metal ballad: slowed down with nice pensive guitar and more emotional, bluesy vocal performance but Mark's drums are exactly the same: volume, sound palette, and style. Nice lead guitar work in the second half of the third minute and fourth minute--sounding both classic rock as well as post-Eddie Van Halen "modern" metal shredding. Pretty good though there are plodding/dragging parts (in most of the fifth minute). (8.875/10)
5. "At Fate's Hands" (6:59) acoustic guitars, violin, and piano from Dream Theater's Kevin Moore (Chroma Key). After the classical/symphonic first minute intro the band shifts into another more dreamy ballad-like motif over which Ray's vocal performance puts on display more of his broad spectrum of talent: one can almost cry with his genuine-feeling emotion! At 3:20, then, there is a stop and restart with a heavier though still pensive motif built around a kind of Middle Eastern melody and some nice intricate instrumental weaving (in which Mark Zonder remains fairly sedate--though his attention to rather odd time signatures makes for an element that definitely complicates the soundscape while also, at the same time, making it way more interesting!) The keyboard and guitar interplay is less exciting and less interesting than one might have hoped for. Still, a pretty interesting song. One of my top three. (13.5/15)
6. "The Arena "(3:19) back to old SABBATH/OZZIE territory for this one: it's like a cover with more modern/1980s technological features. Solid but offering very little innovation or noteworthy sound or instrumental displays. (8.75/10)
7. "Chasing Time" (3:38) another softer, more gentle DEF LEPPARD-like opening that is made different by multiple vocal tracks and multiple guitars picking away at the chords. There is, however, something different and more interesting about the bass play of Joe DiBiase on this one as well as the interplay and restraint of the guitars. Also, there is an uncredited violin present in the second half of this one. A very interesting song. A top three to be sure. (9.125/10)
8. "Nothing Left To Say" (8:00) a 1:25 multi-motif instrumental opening that employs some tough time signatures turns soft and easy built over slow-picked electric guitar chords (two) for the next section--over which Ray sings (using multiple tracks for the "chorus" phrases). The melodic hooks in this song--music and vocal--are diminished by the constant use of bass guitar chords with each chord change. At 4:10 then there is a stop before Mark's snare roll signals the start of a new motif: one that is heavier, more chug-a-long metal over which Ray shifts into a lower, more raunchy vocal style. He is really talented! The six minute mark sees the dual solo shredding of both guitarists at the same time. Pretty cool! This is followed by some of Ray's most Ozzie-like high-note screaming. Well done! But then we slide back into the soft guitar-picked two-chord motif for Ray and the band's plaintive send-off. (13.375/15)
Total Time: 42:01
Total Time: 42:01
I am not and never have been a fan or student of Rock's metal scene--though I have liked some Led Zeppelin, Black Sabbath, Blue Öyster Cult, AC/DC, Loverboy, Def Leppard, and Whitesnake--but, I must say that, if I were a metal fan, I'm pretty sure that Fates Warning would be one of my favorite bands.
89.167 on the Fishscales = B/four stars; an excellent album of high-quality musicianship and sophisticated Metal and Progressive Metal compositions.
11. OZRIC TENTACLES Pungent Effulgent
Stepping into the world of professionally-engineered music and record company production and distribution, the Ozrics release their first album that will define their sound stylings and high quality engineering standards for the rest of their career.
- Ed Wynne / guitar, synthesizer, producer
- Joie Hinton / synthesizer, sampling
- John Egan / flute, voice
- Roly Wynne / bass
- Merv Pepler / drums
- Paul Hankin / percussion
With:
- Nick van Gelder / drums (4)
- Generator John / drums (9)
- Marcus "Carcus" / percussion (8)
1. "Dissolution (The Clouds Disperse)" (6:15) opening with over a minute of one of my all-time favorite Ozrics techniques: the delay-echoed fast-arpeggiated guitar chord picking, the song eventually builds, morphs and changes at 2;15 into a hard-drivin' space rocker that tries very hard, with the addition of vocals, to channel the space-psychedelic mastery of GONG and BRAINTICKET. (9/10)
6. "Ayurvedic" (10:57) for the longest time this has quite the polished MAHAVISHNU sound and feel to it: as we're just waiting for Jan Hammer or Jerry Goodman/Jean-Luc Ponty to break out into some fiery solo (which actually does happen at the six-minute mark). But this is a much more multi-faceted, multi-styled song, crossing through many cultural/ethnic domains before finishing. The first half is most excellent; the Reggae-based final third not so much. (17.75/20)
7. "Kick Muck" (3:53) funk rock and roll! Great bass play from Roly Wynne with very engaging drums and percussion to help drive it all beneath, the sound chosen for the delivery of the lead instrument (guitar) is so odd as to detract from the great groove being provided by the rhythm section. Usual GONG-like Ozrics' space synth noises flit in and out throughout. Sad, disappointing "cut out" ending. (8.875/10)
8. "Agog in the Ether" (4:05) again with the jungle noises! Slow-building gamelan-patterned synth textures are eventually infused with saw-guitar and many other synth noises and hand percussives. This is such a brilliant weave! Very dreamy/meditative and relaxing (despite all of the activity around!). (9.25/10)
9. "Wreltch" (8:31) cool muffled bass percussion wending its way beneath a show of tuned percussion play for over two minutes before a solid, hard-driving jam opens up at 2:25. At the three-minute mark Ed launches on a most excellent solo while John Hinton's synthesizers offer full support. This is, however, short-lived as the lead torch gets handed off (as do the stylistic motifs above the drums and pulsing bass) over and over among the percussionists and synths. Drummer "Generation John" is most excellent in his song-driving (at times disco) play. A sprawling song exposition held together by that solid rhythm section (mostly the drums). (17.75/20)
Total Time: 55:56
I must say, the sound quality and overall production of this album are definitely steps above those of their previously self-made and self-released albums (all released as cassettes, I believe). Also, is it possible that some of the members of the band have some South/Southeast Asian heritage or have spent some time there? (compared to the Caribbean influences--which stand without question.) Their eclectic musical expressions seem to indicate a lot of cross-cultural pollination.
89.02 on the Fishscales = B+/4.5 stars; a near-masterpiece of progressive rock music and definitely a fine addition to any prog lover's music collection. Definitely the album you want to start your Ozrics addiction with!
12. HECENIA Légendes (1989)
A late comer to the "classic" prog scene, I have decided to include this French band on this list as it could be construed as one of the early Neo Prog bands due to their sound being so clearly imitative of GENESIS. Leader/keyboardist Thierry Brandet's sound and style is pure TONY BANKS while the bass, acoustic guitars, and drumming are quite reminiscent of the palette of the other Genesis corps (though I also hear elements sounding like BABYLON, ELOY, NEUSCHWANSTEIN, and even NEKTAR--the former three of which I would include in the initial "club" of Neo Proggers). The sound here is wonderful--sure to engage any lovers of TONY BANKS/GENESIS music; where I have issues are with the development choices, length, and ability to keep me engaged.
Line-up / Musicians:
- Thierry Brandet / Korg Polysix, Korg Poly-61, Mini-moog, Ensoniq Mirage, drum programming
- Pierre-Yves Chiron / bass, solo guitar on 2, acoustic guitar on 1 & 4
- Daniel Trutet / lead guitar on 1, 3, 4
- Jean-Paul Trutet / lead & backing vocals
1. "Hecenia" (10:44) (17.5/20)
2. "Le Passage" (12:46) (20.75/25)
3. "Le Grimoire" (10:00) (17.75/20)
4. "La Vieille Femme Et La Chandelle" (12:43) (23/25)
87.78 on the Fishscales = B+/4.5 stars; a near-masterpiece of progressive rock music.
13. MARILLION Season's End
The beginning of a new era: the Steve Hogarth era. (Thank you, Darryl Way!)
Lineup / Musicians:
- Steve Hogarth / vocals
- Steve Rothery / guitars
- Mark Kelly / keyboards
- Pete Trewavas / basses
- Ian Mosley / drums, percussion
With:
- Jean-Pierre Rasle / bagpipes (2)
- Phil Todd / saxophone (6)
1. "The King of Sunset Town" (8:02) how anyone elevates this band's compositional, instrumental, and sound production skill at the level or even above that of contemporaries IQ, Pendragon, or even Pallas is beyond me! This is so much less! So much prog lite. Steve Hogarth is just one of the rabble when he tries to belt it out like his contemporaries but when he slows it down and expresses from the depths of his delicate soul he is a force to be reckoned with. (13/15)
- Steve Hogarth / vocals
- Steve Rothery / guitars
- Mark Kelly / keyboards
- Pete Trewavas / basses
- Ian Mosley / drums, percussion
With:
- Jean-Pierre Rasle / bagpipes (2)
- Phil Todd / saxophone (6)
1. "The King of Sunset Town" (8:02) how anyone elevates this band's compositional, instrumental, and sound production skill at the level or even above that of contemporaries IQ, Pendragon, or even Pallas is beyond me! This is so much less! So much prog lite. Steve Hogarth is just one of the rabble when he tries to belt it out like his contemporaries but when he slows it down and expresses from the depths of his delicate soul he is a force to be reckoned with. (13/15)
2. "Easter" (5:57) okay music, okay sound production, okay vocal and lyric, corny, simplistic keyboard work; nice drumming, bass, and lead guitar work. (8.75/10)
3. "The Uninvited Guest" (3:52) anyone for some BON JOVI? or BRYAN ADAMS? How 'bout some RICHARD MARX? or even Foreigner and latter-day REO Speedwagon or Def Leppard? Here you have it! (8.75/10)
4. "Seasons End" (8:07) nice vocal performance by Steve over some weak and saccharine keyboard and guitar arpeggios. The synth washes and piano chords and Pete Trewavas' bass work make it more tolerable. I wish Steve's voice had been mixed more forward/loudly in the final soundscape. In the third minute the sound levels ramp up while Steve H. rests and Steve R. takes over. Nice passage despite the bombastic snare-and-tom rims hits. The sixth minute yields to a whole new motif: one that is founded in glockenspiel pixie dust and other keyboard MIDI sounds meant to emulate dream world scenarios. Another lesson that instructs us as to how one can make much out of very little. (13.5/15)
5. "Holloway Girl" (4:27) rotating four-chord keyboard progressions set the stage for this unorthodox Duke "Behind the Lines"-like ballad. (8.75/10)
6. "Berlin" (7:43) finally a song construct that is a little more adventurous, a little more nuanced. While there is an undeniable ALAN PARSONS PROJECT sound and feel to this, it has the subtle sophistication of something more poignant, more poetic. I never thought I'd ever be extolling the presence of a saxophone as an enhancing effect but Phil Todd's play here does, in fact, elevate the music to another level. Nice atmospheric passage in the fourth minute to bridge into the song's climactic second half. I do not like Steve R's bottle neck guitar sound but I love Pete Trewavas' bass blasts--and then full-power palette of the sixth minute with Steve H's great list recitation and Steve R.'s excellent rhythm guitar pickings. Very cool! Easily the best two minutes on the album. (13.75/15)
7. "After Me" (3:19) ° picked 12-string acoustic guitar chords sound a bit like ELP's "Lucky Man" but the chords are different and Steve H's vocal melody lines are quite different--more akin to something from BON JOVI or JOHN COUGAR MELLENCAMP. Mark's MIDIed keyboard arpeggi in the second half of the second minute seem to relieve Steve R from his 12-string duties so he can pick up his electric axe. From here the song becomes just another from the day. Too bad. (8.75/10)
8. "Hooks in You" (2:54) an opening that was lifted by Poland's COLLAGE for the fifth song of their 1991 album, Moonshine, "The Blues." It's too bad that I can't stop hearing that iconic song while listening to this one. Otherwise, it's a pretty good RICHARD MARX song. (8.75/10)
9. "The Space..." (6:14) bouncy two-chord MIDI-ed synth strings keyboard chords slowly rise to the surface as the rest of the band and the two Steves join in, At 1:50 there is a switch into some heavier power chord to back Steve H during the chorus, but then we're back into the main motif of the verse for a bit before Steve H's rhythm guitar chord play leads the band into some more contemplative/reflective music and then, in the fifth minute, into a brief instrumental solo section. But then everything cuts out save for Mark's synth string washes and Steve H's 'distant' "everybody in the whole of the world" strainings. Cool section--cool vocal work (and music to support). And then it's done! (9/10)
Total Time 50:35
Hogarth trying to sound like Genesis, Paul Carrack (Ace, Mike + The Mechanics), or Paul Menel (IQ) doesn't work: he just becomes one of the many, but when Hogarth slows it down and brings in his sensitive approach he becomes something else: his own man, his own force, his own unique artist.
° not included on vinyl LP releases (on CD only)
° not included on vinyl LP releases (on CD only)
88.57 on the Fishscales = B-/four stars; a solid NeoProg album that does beg for a little more sophistication and a little more maturity in the compositional department.
14. VOIVOD Nothingface
Powerful metal music with an incongruously "nice" vocalist: Denis Bélanger sounds too New Wave/post-punk--like he hasn't moved out of the 1980s and barely out of the late 70s. And the music itself occupies more of the high end of the octaval spectrum, making it not nearly as dark or heavy metal as I expected--more like new-wave punk or post-punk.
Line-up / Musicians:
- Denis Bélanger "Snake" / vocals
- Denis d'Amour "Piggy" / guitar
- Jean-Yves Thériault "Blacky" / bass
- Michel Langevin "Away" / drums
- Denis d'Amour "Piggy" / guitar
- Jean-Yves Thériault "Blacky" / bass
- Michel Langevin "Away" / drums
1. "Intro / The Unknown Knows" (5:55) Great opening. Vocal more like The Clash or The Ambitious Lovers.(8.5/10)
2. "Nothingface" (4:14) more of an avant vocal with a mezzo metal sound palate. (8.75/10)
3. "Astronomy Domine" (Pink Floyd cover) (5:30) suitably metallized. I don't really know (or like) the original) so this is a nice improvement. The best sounding song on the album so far. (9/10)
2. "Nothingface" (4:14) more of an avant vocal with a mezzo metal sound palate. (8.75/10)
3. "Astronomy Domine" (Pink Floyd cover) (5:30) suitably metallized. I don't really know (or like) the original) so this is a nice improvement. The best sounding song on the album so far. (9/10)
4. "Missing Sequences" (5:50) opens with a sinister musical and vocal display, until a shift at 0:45 takes it into more technically proficient punk territory. Weird chordal and tempo shifts beneath the singer's constant delivery. Too many shifts. It's as if many riffs and cut from other songs or ideas got all spliced together for this one. Weird, but kind of cool and clever. (8.75/10)
5. "X-Ray Mirror" (4:28) opens a little Crimsonian before turning more tech-metal. Vocally, I'm reminded of Bowie, Zappa, Peter Hammill, and Arto Lindsay. Nice guitar work throughout. (9/10)
6. "Inner Combustion" (3:48) IMHO, the Peter Hammill-like vocal doesn't really fit with the music. Arto Lindsay stylings in the second half. It's as if the band of musicians and the vocalist are operating in two different universes. (8/10)
7. "Pre-Ignition" (5:12) the most complexly constructed and cleverly executed song on the album, for once the lyrics are paled by the work of the musicians. (8.75/10)
8. "Into My Hypercube" (5:04) opens with a soft, gentle sonic palette--even the whispery vocal--until 0:35 when full power distortion is engaged and the vocalist restores his grit. Kind of a cool BLUE ÖYSTER CULT Secret Treaties vibe to this one. (8.75/10)
9. "Sub-Effect" (4:30) not sure why, but I think this is my favorite song on the album. I think it's the melody and fitting shifts. (9/10)
Total Time: 44:31
Total time 10:48
I imagine people who like intelligent lyrics set to thin-walled guitar-bass-and-drums metal would love this.
87.22 on the Fishscales = B/four stars; an excellent heavier contribution to Prog World--especially as it's coming from the 1980s!
Other Highly Recommended Prog Albums
(Other albums recommended by prog lovers)
YEZDA URFA Sacred Baboon
All of this material was originally recorded in 1976, the year after the publication of their only other album, 1975's Boris.
Line-up / Musicians:
- Rick Rodenbaugh / lead vocals
- Mark Tippins / classical, acoustic & electric guitars, backing vocals
- Phil Kimbrough/ Hammond B3, Wurlitzer, Fender Rhodes, piano, synths (Elka String, Mini-Moog, Moog mod. 15), celesta, harpsichord, , accordion, mandolin, flute, soprano & tenor recorders, backing vocals, co-producer
- Marc Miller / basses, cello, marimba, vibes, backing vocals
- Brad Christoff / drums, tubular bells, metalophone, glockenspiel, percussions (timpani, orchestral cymbals, gong, marching snare, bulb horn, etc)
- Mark Tippins / classical, acoustic & electric guitars, backing vocals
- Phil Kimbrough/ Hammond B3, Wurlitzer, Fender Rhodes, piano, synths (Elka String, Mini-Moog, Moog mod. 15), celesta, harpsichord, , accordion, mandolin, flute, soprano & tenor recorders, backing vocals, co-producer
- Marc Miller / basses, cello, marimba, vibes, backing vocals
- Brad Christoff / drums, tubular bells, metalophone, glockenspiel, percussions (timpani, orchestral cymbals, gong, marching snare, bulb horn, etc)
1. "Give 'Em Some Rawhide Chewies" (3:50)
2. "Cancer Of The Band" (6:48)
3. "Tota In The Moya" (10:14) (18.5/20)
4. "Boris And His Three Verses" (2:50)
5. "Flow Guides Aren't My Bag" (4:45)
6. "(My Doc Told Me I Had), Doggie Head" (5:02)
7. "3, Almost 4, 6 Yea" (8:39)
Total Time: 42:08
on the Fishcales = / stars;
2. "Cancer Of The Band" (6:48)
3. "Tota In The Moya" (10:14) (18.5/20)
4. "Boris And His Three Verses" (2:50)
5. "Flow Guides Aren't My Bag" (4:45)
6. "(My Doc Told Me I Had), Doggie Head" (5:02)
7. "3, Almost 4, 6 Yea" (8:39)
Total Time: 42:08
An album that I find difficult to want to review as it is a re-release of a lot of material that was recorded fourteen years earlier and, thus, should, in my belief system, be reviewed in contrast to that year's music. At the same time, Yezda Urfa's wonderful Americanized YES music should be heard.
on the Fishcales = / stars;
DJAM KARET Reflections from the Firepool
Great foundational work from bass and drums over which guitarists and some keys explore their Allman Brothers'-like bluesy solo jamming.
Line-up / Musicians:
- Gayle Ellett / electric, Classical & steel guitars, keyboards, tape, effects, percussion
- Mike Henderson / electric and acoustic 6- & 12-string guitars, effects, percussion
- Henry Osborne / electric bass, bottled bass, keyboards, percussion, "chain"
- Chuck Oken, Jr. / drums, electronic drums, synthesizer, programming & sequencing
With:
- Rychard Cooper / dumbek (2), co-producer
- Maxim J. Mahoney / sax (5)
1. "The Sky Opens Twice" (10:16) the first half kicks ass with Allman Brothers like melodic soloing over a very solid rhtyhm section, while the second half slow things down and almost gets pretty. (17.75/20)
2. "Fall Of The Monkeywalk" (9:16) slowly building a tribalistic foundations of sounds and polyrhythmically-generated tracks leads to a weave that has more Fripp-Eno (and Fourth World Possible Musics) than Fripp-Belew feel to it. Jam material not far from that of the Ozric Tentacles. The rhtyhmists change directions a little more than halfway through, leading to a more metal/Santana-Mahavishnu section. The soloists impress but the solidity of the bass and drums are astonishing. (17.25/20)
3. "Run Cerberus Run" (6:42) more jungle-like sound effects before the gun goes off and the chariots are off on a ELP-like race around the Colosseum. The bass, as awesome as he is, always feels as if it is playing catch up. Another shift about two-thirds of the way through leads to more guitar than keyboard work over some awesome drumming. (Nice guitar effects!) (8.75/10)
4. "Scenes From The Electric Circus (7:04) (/15)
5. "Animal Origin (7:15) (/15)
6. "All Doors Look Alike (7:15) (/15)
7. "The Red Monk (7:22) (/15)
8. "Reflections From The Firepool (10:02)
Total Time: 65:12
Only three songs are available to hear on the streaming sites I use (YouTube, Bandcamp, and Soundcloud), therefore, it is highly unlikely that you'll ever see a full album review from me.
on the Fishcales = / stars;
CARDIACS On Land and in the Sea
Line-up / Musicians:
- Tim Smith / guitar, lead vocals, producer
- William D. Drake / keyboards, vocals
- Sarah Smith / saxophone, vocals
- Jim Smith / bass, vocals
- Dominic Luckman / drums
- William D. Drake / keyboards, vocals
- Sarah Smith / saxophone, vocals
- Jim Smith / bass, vocals
- Dominic Luckman / drums
- Tim Quy / percussion, keyboards
1. "Two Bites of Cherry" (3:40)
2. "Baby Heart Dirt" (3:33)
3. "The Leader of the Starry Skys" (3:52)
4. "I Hold My Love in My Arms" (1:11)
5. "The Duck and Roger the Horse" (3:56)
6. "Arnald" (2:49)
7. "Horse Head" (1:21) *
8. "Fast Robert" (4:00)
9. "Mare's Nest "(4:16)
10. "The Stench of Honey" (3:33)
11. "Buds and Spawn" (6:46)
12. "The Safety Bowl" (1:45)
13. "The Everso Closely Guarded Line" (8:23)
* Not on LP
Total Time: 49:05
2. "Baby Heart Dirt" (3:33)
3. "The Leader of the Starry Skys" (3:52)
4. "I Hold My Love in My Arms" (1:11)
5. "The Duck and Roger the Horse" (3:56)
6. "Arnald" (2:49)
7. "Horse Head" (1:21) *
8. "Fast Robert" (4:00)
9. "Mare's Nest "(4:16)
10. "The Stench of Honey" (3:33)
11. "Buds and Spawn" (6:46)
12. "The Safety Bowl" (1:45)
13. "The Everso Closely Guarded Line" (8:23)
* Not on LP
Total Time: 49:05
An album that is so difficult for me to listen to; I just find Cardiacs and their music too busy for my listening tastes (and, frankly, my sanity).
on the Fishcales = / stars;
ANDERSON BRUFORD WAKEMAN HOWE Anderson Bruford Wakeman Howe
- Jon Anderson / lead vocals, co-producer
- Steve Howe / guitar
- Rick Wakeman / keyboards
- Bill Bruford / acoustic & electronic drums
With:
- Milton McDonald / rhythm guitar
- Matt Clifford / keyboards, vocals, orchestrations, programming
- Tony Levin / bass, Chapman Stick, vocals
- Joe Hammer / percussion programming
- J.M.C. Singers (Jon, Matt, Chris Kimsey) / backing vocals
- Emerald Community Singers (Montserrat) / backing vocals
1. "Themes (5:58) :
- a) Sound
- b) Second Attention
- c) Soul Warrior
2. "Fist of Fire (3:27)
3. "Brother of Mine (10:18) :
- a) The Big Dream
- b) Nothing Can Come Between Us
- c) Long Lost Brother of Mine
4. "Birthright (6:02)
5. "The Meeting (4:21)
6. "Quartet (9:22) :
- a) I Wanna Learn
- b) She Gives Me Love
- c) Who Was the First
- d) I'm Alive
7. "Teakbois "The Life and Times of Bobby Dread" (7:39)
8. "Order of the Universe (9:02) :
- a) Order Theme
- b) Rock Gives Courage
- c) It's So Hard to Grow
- d) The Universe
9. Let's Pretend (2:56)
Total Time 59:05
Another album that is just far too difficult for me to listen to. Gone are the days of fresh ideas and wonderfully refreshing new music; it all just feels so forced and rutted nowadays.
on the Fishcales = / stars;
JEFF BECK Jeff Beck's Guitar Shop
Line-up / Musicians:
- Jeff Beck / guitars
AND
- Tony Hymas / keyboards, synths
- Terry Bozzio / drums, percussion, spoken vocals (1,7)
1. "Guitar Shop" (5:00)
2. "Savoy" (3:52)
3. "Behind The Veil " (4:53)
4. "Big Block (4:06)
5. "Where Were You" (3:15)
6. "Stand On It (4:57)
7. "Day In The House (5:03)
8. "Two Rivers (5:23)
9. "Sling Shot (3:06)
Total time 39:35
- Jeff Beck / guitars
AND
- Tony Hymas / keyboards, synths
- Terry Bozzio / drums, percussion, spoken vocals (1,7)
1. "Guitar Shop" (5:00)
2. "Savoy" (3:52)
3. "Behind The Veil " (4:53)
4. "Big Block (4:06)
5. "Where Were You" (3:15)
6. "Stand On It (4:57)
7. "Day In The House (5:03)
8. "Two Rivers (5:23)
9. "Sling Shot (3:06)
Total time 39:35
on the Fishcales = / stars;
Great Albums on the Fringe of Prog World
TEARS FOR FEARS The Seeds of Love
Now world-class pop stars, the band continues to show their progressive rock leanings with the cross-genre collaborative contributions from the likes of Oleta Adams, Jon Hassell, Phil Collins, Pino Palladino, Robbie MacIntosh, Manu Katché, Simon Phillips, Kate St. John, Dolette MacDonald, Nicky Holland, Tessa Niles, and Louis Jardim.
2. "Bad Man's Song" (8:32) much of the same criticism as that for the first song. (18/20)
3. "Sowing the Seeds of Love" (6:16) pure genius; kick out the Style bring back the Jam! (10/10)
4. "Advice for the Young at Heart" (4:52) gorgeous singing from Curt. (10/10)
5. "Standing on the Corner of the Third World" (5:30) as meandering and jazzy as anything the band ever did but, as with much of Side One, it meanders and rambles a bit. (9.5/10)
6. "Swords and Knives" (6:14) my favorite song on the album (despite the high points of "Sowing the Seeds"). (10/10)
7. "Year of the Knife" (7:06) never liked this kind of driving two-step drum beat. (13/15)
8. "Famous Last Words" (4:23) under-rated and often forgotten due to it being the finale of a rather long and demanding album, but this is a great song! (9.25/10)
Lineup / Musicians:
A1. "Lock And Key" (4:19) great openinr. Always thought that deep/heavy bass sound came from Tony Levin's ChapmanStick. (9.125/10)
A2. "Porcelain" (5:38) sheer brilliance--in both concept and execution. So emotional! (9.875/10)
B2. "Did I Happen To Mention?" (4:16) a mirror and partner to "Girlfriend." How many of these tear-jerkers can she subject us to? (8.75/10)
B3. "Towerblock" (3:51) another torch song, with only a piano in support, but this one does not cry out nostalgically. (8.75/10)
B4. "Island" (4:42) (8.75/10)
B5. "Your Lovely Face" (4:30) an incredible bookend to "Lock and Key" and an amazing album! (9.25/10)
XTC Oranges and Lemons
Another great, critically-acclaimed album with some of my favorite XTC songs ("Chalkhills and Children" and "King for a Day").
1. "Garden of Earthly Delights" (5:02) a great opening that fixes itself in your brain; another top three.
93.16 on the Fishscales = A/five stars; a masterpiece of Crossover Progressive Rock music. Though not everything works as smoothly as Curt and Roland probably wanted, The Seeds of Love stands right up there alongside The Hurting and Songs from the Big Chair.
JULIA FORDHAM Porcelain
Julia's sophomore album, released in October of 1989 by the Circa label, sees a much deeper commitment and orientation to jazz idioms--both structurally and instrumentally.
- Julia Fordham / vocals, guitars, piano, percussion, compositions, arrangements (tracks: A1 to A3, A5, B1, B4), and co-production
- Grant Mitchell / piano, keyboards, arrangements (A1, A2, A4 to B1, B3, B4), co-production
- Pino Palladino / bass (A1-A3, A6, B4, B5)
- Alan Thompson / bass (A5, B1, B3)
- Dominic Miller / guitars (A1-A3, A5, B4) drum programming (A1)
- Manu Katché / drums (A2, B1)
- Arran Amun / drums, percussion (A4, A5, B1, B3, B4)
- Miles Bould / percussion (A1-A3, A5, B1, B4) ), "boogie bass" (A5)
- Dave Cliff / guitar (A4)
- Taj Wyzgowski / guitar, [Solo] (B3, B4)
With:
- Kate St. John / oboe (A2)
- Christian Viera / Brasilian lyrics translation for "Genius" A1. "Lock And Key" (4:19) great openinr. Always thought that deep/heavy bass sound came from Tony Levin's ChapmanStick. (9.125/10)
A2. "Porcelain" (5:38) sheer brilliance--in both concept and execution. So emotional! (9.875/10)
A3. "Girlfriend" (4:40) another one that kind of sneaks up and grabs you by the tear ducts. Such a talented singer! (8.875/10)
A4. "For You Only For You" (3:54) a traditional torch song from the 1950s. (9/10)
A5. "Genius" (6:19) one of the most creative and clever songs on the album (on any album) draws from its Brasilian palette and lyrics. (9.75/10)
A4. "For You Only For You" (3:54) a traditional torch song from the 1950s. (9/10)
A5. "Genius" (6:19) one of the most creative and clever songs on the album (on any album) draws from its Brasilian palette and lyrics. (9.75/10)
B1. "Manhattan Skyline" (4:07) (9.125/10)
B2. "Did I Happen To Mention?" (4:16) a mirror and partner to "Girlfriend." How many of these tear-jerkers can she subject us to? (8.75/10)
B3. "Towerblock" (3:51) another torch song, with only a piano in support, but this one does not cry out nostalgically. (8.75/10)
B4. "Island" (4:42) (8.75/10)
B5. "Your Lovely Face" (4:30) an incredible bookend to "Lock and Key" and an amazing album! (9.25/10)
Total time: 43:16
91.25 on the Fishscales = A-/five stars; a minor masterpiece of jazzy pop music from a genius songwriter and amazing singer. This is probably my favorite album by her: it's the jazziest.
XTC Oranges and Lemons
Another great, critically-acclaimed album with some of my favorite XTC songs ("Chalkhills and Children" and "King for a Day").
1. "Garden of Earthly Delights" (5:02) a great opening that fixes itself in your brain; another top three.
2. "Mayor of Simpleton" (3:58)
3. "King for a Day" (3:35) such clever lyrics and winning melody. (10/10)
4. "Here Comes President Kill Again" (3:33)
5. "The Loving" (4:11)
6. "Poor Skeleton Steps Out" (3:27)
7. "One of the Millions" (4:42)
8. "Scarecrow Poeple" (4:12)
9. "Merely a Man" (3:26)
10. "Cynical Days" (3:17)
11. "Across This Antheap" (4:49)
12. "Miniature Sun" (3:49)
13. "Chalkhills and Children" (4:59) my favorite song on the album. (9.5/10)
Rates around #5 in my personal list of favorite XTC albums.
Other Great Albums from 1989
SYBIL Sybil
1. "Don't Make Me Over" (3:54)
2. "Love's Calling" (3:45)
3. "I Wanna Be Where You Are" (3:52)
4. "Crazy For You" (4:27)
5. "Bad Beats Suite" (3:12)
6. "Walk On By" (3:53)
7. "Take Me Away" (4:08)
8. "Give It To Me" (3:35)
9. "Living For The Moment" (4:01)
10. "Can't Wait (On Tomorrow)" (3:56)
11. "We're Gonna Make It Work This Time" (2:56)
12. "In My Dreams" (3:45)
INDIGO GIRLS Indigo Girls
1. "Closer To Fine" (3:59)
1. "Closer To Fine" (3:59)
2. "Secure Yourself" (3:34)
3. "Kid Fears" (4:33)
4. "Prince Of Darkness" (5:22)
5. "Blood And Fire" (4:37)
6. "Tried To Be True" (2:56)
7. "Love's Recovery" (4:21)
8. "Land Of Canaan" (3:55)
9. "Center Stage" (4:46)
10. "History Of Us" (5:20)
1. "Rockin' In The Free World" (3:40)
2. "Crime In The City (Sixty To Zero Part I)" (8:45)
3. "Don't Cry" (4:15)
4. "Hangin' On A Limb" (4:18)
5. "Eldorado" (6:04)
6. 'The Ways Of Love" (4:30)
7. "Someday" (5:39)
8. "On Broadway" (4:58)
9. "Wrecking Ball" (5:08)
10. "No More" (6:04)
11. "Too Far Gone" (2:48)
12. "Rockin' In The Free World" (4:42)
Different Trains (with Kronos Quartet):
1. "America – Before The War" (8:59)
2. "Europe – During The War" (7:31)
3. "After The War" (10:20)
Electric Counterpoint (with Pat Metheny):
4. "Fast" (6:51)
5. "Slow" (3:21)
6. "Fast" (4:29)
NEIL YOUNG Freedom
1. "Rockin' In The Free World" (3:40)
2. "Crime In The City (Sixty To Zero Part I)" (8:45)
3. "Don't Cry" (4:15)
4. "Hangin' On A Limb" (4:18)
5. "Eldorado" (6:04)
6. 'The Ways Of Love" (4:30)
7. "Someday" (5:39)
8. "On Broadway" (4:58)
9. "Wrecking Ball" (5:08)
10. "No More" (6:04)
11. "Too Far Gone" (2:48)
12. "Rockin' In The Free World" (4:42)
THE NEVILLE BROTHERS Yellow Moon
1. "My Blood" (4:11) 2. "Yellow Moon" (4:04) 3. "Fire And Brimstone" (3:57) 4. "A Change Is Gonna Come" (3:43) 5. "Sister Rosa" (3:29) 6. "With God On Our Side" (6:37) 7. "Wake Up" (3:21) 8. "Voo Doo" (4:26) 9. "The Ballad Of Hollis Brown" (5:45) 10. "Will The Circle Be Unbroken" (5:16) 11. "Healing Chant" (4:34) 12. "Wild Injuns" (3:17) |
STEVE REICH KRONOS QUARTET Different Trains STEVE REICH PAT METHENY Electric Counterpoint
1. "America – Before The War" (8:59)
2. "Europe – During The War" (7:31)
3. "After The War" (10:20)
Electric Counterpoint (with Pat Metheny):
4. "Fast" (6:51)
5. "Slow" (3:21)
6. "Fast" (4:29)
LISA STANSFIELD Affection
| 1. "This Is The Right Time" (4:29) 2. "Mighty Love" (5:11) 3. "Sincerity" (4:47) 4. "The Love In Me" (5:01) 5. "All Around The World" (4:29) 6. "What Did I Do To You?" (4:48) 7. "Live Together" (6:10) 8. "You Can't Deny It" (5:36) 9. "Poison" (4:12) 10. "When Are You Coming Back?" (5:23) 11. "Affection" (5:52) 12. "Wake Up Baby" (3:58) 13. "The Way You Want It" (4:56) |
THE STONE ROSES The Stone Roses
1. "John The Fisherman" (3:55)
2. "Groundhog's Day" (4:53)
3. "The Heckler" (3:35)
4. "Pressman" (5:01)
5. "Jellikit" (4:00)
6. "Tommy The Cat" (5:26)
7. "Pudding Time" (4:20)
8. "Harold Of The Rocks" (6:18)
9. "Frizzle Fry" (5:47)
1. "I Wanna Be Adored" (4:52) 2. "She Bangs The Drums" (3:42) 3. "Waterfall" (4:37) 4. "Don't Stop" (5:17) 5. "Bye Bye Bad Man" (4:00) 6. "Elizabeth My Dear" (0:59) 7. "(Song For My) Sugar Spun Sister " (3:25) 8. "Made Of Stone" (4:10) 9. "Shoot You Down" (4:10) 10. "This Is The One" (4:58) 11. "I Am The Resurrection" (8:12)  PRIMUS Suck on This! |
2. "Groundhog's Day" (4:53)
3. "The Heckler" (3:35)
4. "Pressman" (5:01)
5. "Jellikit" (4:00)
6. "Tommy The Cat" (5:26)
7. "Pudding Time" (4:20)
8. "Harold Of The Rocks" (6:18)
9. "Frizzle Fry" (5:47)
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