Top Albums of the Year 1994: Masterpieces and More

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.

My Favorite Albums of 1994:

1. LANDBERK One Man Tells Another
2. BONDAGE FRUIT I

3. COLLAGE Moonshine

4. BARK PSYCHOSIS Hex

5. JON ANDERSON Change We Must
6. SEAL II
7. KINGSTON WALL III: Trilogy
8. ÄNGLAGÅRD Epilog
9. VANGELIS Blade Runner OST

10. PÁR LINDH PROJECT Gothic Impressions

11. JULIA FORDHAM Falling Forward

12. EVERYTHING BUT THE GIRL Amplified Heart

13. AFTER CRYING Föld És Ég

14. OZRIC TENTACLES Arborescence

15. DREAM THEATER Awake

16. DES'REE I Ain't Movin' 

17. BEASTIE BOYS Ill Communication

18. ROINE STOLT The Flower King

19. MARILLION Brave

20. CITZEN CAIN Somewhere But Yesterday

Honorable Mentions:

CLEPSYDRA More Grains of Sand 

PORTISHEAD Dummy

SOUNDGARDEN Superunknown

THE CRANBERRIES No Need to Argue

Five Star Prog Masterpieces 

(Ratings of 100 to 93.34) 

None

The Minor Masterpieces

(Ratings of 93.33 to 90.0)

1. ÄNGLAGÅRD Epilog

A second album of dense and challenging music from Sweden's virtuosic quintet of prog revivalists. While the quality of the musicianship is unrivaled, and the compositions clever and complex, there are, like in its predecessor, Hybris, many passages that prove a bit too dense of challenging. Luckily, there are many more melodic, accessible and even spacious moments on Epilog which is why this album has always pleased me more than Hybris. I listen to all of these songs--and to this album--way more than any other Änglagård album (though not as much since All Traps on Earth released A Drop of Light).

Line-up / Musicians:

- Jonas Engdegård / guitars, Mellotron (2.1)
- Tord Lindman / guitars
- Thomas Johnson / Hammond organ, Mellotron, keyboards, piano (2.1)
- Anna Holmgren / concert flute
- Johan Högberg / bass
- Mattias Olsson / drums, cymbals, percussion
With:
- Åsa Eklund / voice
- Martin Olofsson / violin
- Karin Hansson / viola, double bass, treble recorder
- Jan Christoff Norlander / cello
- Johan Brand / vibes & bass (2.1)

1. "Prolog" (2:00) Mellotron & flute are joined by acoustic guitar and then strings. (4.25/5)

2. "Höstsejd (Rites of Fall)" (15:32) (27/30) 
3. Rösten (The Voice) (0:14)
4. "Skogsranden (Eaves of the Forest)" (10:48) (19/20)
5. "Sista Somrar (The Last Summer)" (13:10) (23.5/25)  
6. "Saknadens Fullhet (The Fullness of Longing)" (2:00) solo grand piano recapitulates the melodic theme of the opener, "Proglog." Way more beautiful, stark, and powerful. (5/5)

Total Time: 43:44

An incredibly skilled album of music that is just a little too angular and lacking in melody for my likes.

92.65 on the Fishscales = A/five stars; a masterpiece of progressive rock music.

2. LANDBERK One Man Tells Another

 Landberk is a Swedish band who produced three (technically, four) studio albums in the 90s:  Riktigt Äkta and Lonely Land (the English version of Riktigt Äkta) in 1992, One Man Tells Another in '94 and Indian Summer in '96. While some categorize Landberk as Heavy Prog, I feel that their music is quite a bit more varied than that. The band uses space and delicate instrumentation quite often (try "Mirror Man" or "Valentinsong" on One Man Tells Another)--perhaps even the majority of the time--and rarely hits the heavy power chords one usually associates with heavy prog.

     The things that make Landberk most significant in my mind is that they had a far-beyond their years output of music of a very consistently high level of likability. Also, Landberk was the world's first introduction to two outstanding individual contributors to progworld:  guitarist Reine Fiske (one of my five favorites of the New Era, who later joined MORTE MACABRE, PAATOS, DUNGEN, and THE AMAZING) and bassist Stefan Dimle (founder of Sweden's Mellotronen store, Stockholm's Mello-Club and the Melloboat rock festival. He was also a founder/member of  both MORTE MACABRE and PAATOS). 

      The presence of drummer Jonas Lindholm on the band's final two albums was a major improvement over the original drummer, but, sadly, Jonas has not continued to play with other bands since Landberk. Wonderful singer, Patric Helje, developed a very powerful style once the band switched to singing in English instead of their native Swedish. He has a style and range not unlike a cross between THE CHURCH's Steven Kilbey, U2's Bono, ICEHOUSE's Iva Davies, and perhaps even TALK TALK's Mark Hollis and DAVID SYLVIAN. Sadly, Patric, along with proficient keyboardist Simon Nordberg, is another immensely talented musician who seems to have left prog world after the breakup of Landberk. 

    A 4.5 star album, One Man Tells Another is notable for its amazingly nuanced instrumental performances (especially Reine Fiske's jaw-dropping guitar genius) and its use of space and harmonics to convey deep emotion, and singer Patric Helje's impassioned vocals--in English. Also contained herein is the incredible song, "Tell," IMO, the Best Song of 1994.

A much-overlooked gem from the 90s--predating, as has been pointed out, the sounds and stylings that were soon to make Radiohead, The Gathering and Porcupine Tree popular favorites. Though I agree that this album shows a marked evolution in the band's development--less overt are the influences of KING CRIMSON (except maybe "Kontiki"), VAN DER GRAAF GENERATOR ("Valentinsong") and GENESIS--I do still feel some newer influences from different groups. On this album I am flooded with reminders of TALK TALK, THE CHURCH, and even U2.

1. "Time" (3:41) begins with a kind of U2/SIMPLE MINDS intro before settling into a POLICE- like vocal section. Singer Patric Helje's amazing chameleon-like voice hits some high notes in the chorus reminding me of some of DAVID BOWIE's greatest moments. Great drumming from Jonas Lidholm on this one (as throughout the album). There is also some very intricate, fast guitar picking/play in here. (8.5/10)

2. "Kontiki" (7:18) starts out with a repetitive pulsating organ chord and a vocal that sounds a bit like Adrian Belew. It then evolves into a very soft, slow moving song with lots of sensitive subtleties of guitar, keyboards and cymbols which eventually build for the climactic final two minutes of "heaviness." Definitely some KING CRIMSON shining through with this one. (12.5/15)

3. "Mirror Man" (5:57) is the first of this album's great songs--and the first to display a sound rather unique to Landberk. I love the jazzy SWING OUT SISTER strut from 2:13 to 2:59. The highlight for me, aside from the delicate guitar throughout, is the jazzy last 1:30--especially when Reine's guitar goes into scratchy feedback. Plus Helje's final phrase and note. (9/10)

4. "You Are" (6:03) is the first song I've heard from Patric Helje in which I hear quite distinctly the voice of ICEHOUSE's lead singer, IVA DAVIES. Great atmosphere--not unlike that of ICEHOUSE--beginning at 1:30. I love Reine Fiske's traveling guitar feedback: cycling back and forth from channel to channel during the third minute. Then it comes front and center (with some harmonics floating around behind) for a very cool yet delicate solo. Startlingly sudden ending! (9/10) 

5. "Rememberance" (6:35) sounds like a walk through the realm of Steven Kilbey's THE CHURCH with the syncopated drumming style of STEVE JANSEN. The bass is so mesmerizing on this one--and Patric Helje's vocal is so smooth and powerful! I love the additional percussion in the second B section. Quite reminiscent of PETER MURPHY's song "Roll Call." (9.25/10)

6. "Valentinsong" (9:38) is so delicately nuanced (it predicts much of Reine Fiske's influence and contributions to PAATOS's first album, Timeloss) that I could listen to it over and over. Space and harmonic sustain and decay are the champions of this song. (18/20)

7. The album's real jewel, however, is the finale: "Tell" (8:36) Beginning with such raw, exposed guitar conveys such tremendous emotion. When Stefan Dimle's bass enters toward the end of the second minute, and then Fiske turns to those slow, distorted chords! And then the entrance of the 'tron! Then guitar feedback like only Hendrix ever mastered! I tell you people, Reine Fiske is an absolute genius! Then the amazingly catchy BONO/KILBEY-like vocal sucks you in even deeper (as if that was even possible!). At 5:27 we are treated to a section of raw emotion that has even more impact! I mean: How much adrenaline can a body produce in the space of six minutes?!! But wait! The final minute gut-punches you again with a pause (Is it over?) and then play out with keyboard wildly perambulating around the sonic horizon. (21/20. Best song of 1994, IMHO!).

I've grown accustomed to favoring the band's final album together as their masterpiece, but this one is, to my mind and ears, also worthy of that designation. I get so enmeshed in the work of astounding genius Reine Fiske that I might find it difficult to be more objective about the value of Landberk's contributions to the world of (progressive) music. But, again, this album is so engaging, so emotional, so inimitable, and such a glowing example of the fact that there is/was a Prog Renaissance going on in the 1990s that I can only bump this 4.5 star album up to masterpiece level.

92.63 on the Fishscales = A/five stars; a masterpiece of atmospheric progressive rock music. 

3. BARK PSYCHOSIS Hex

The album that gave birth to a new sub-genre of music:  The name "Post Rock" came from some discussions which followed music critic Simon Reynolds' use of this term during his review of Hex. He was using the term to describe the new style of  music being produced around 1994 of which Bark Psychosis was one group. 

Line-up / Musicians:
- Graham Sutton / vocals, guitar, piano, Hammond organ, melodica, sampler, programming
- Daniel Gish / piano, keyboards, Hammond organ
- John Ling / bass, sampler, programming, percussion
- Mark Simnett / percussion, drums
With:
- Dave Ross / djembe
- Neil Aldridge / triangle, programming
- Peter Beresford / vibraphone
- Phil Brown / flute
- Del Crabtree / trumpet
The Duke Quartet:
- Louise Fuller / violin
- Rick Coster/ violin
- John Metcalfe / viola
- Ivan McCready / cello

1. "The Loom" (5:15) though it is piano-based in the beginning, I particularly love this chamber-trip hoppy-jazz number. (A sure tip of the hat to the amazing stuff DAVID SYLVIAN and his drummer-brother, STEVE JANSEN were doing ten years before) (9/10)

2. "A Street Scene" (5:35) from the TALK TALK school of music. Great bass playing. Nice switch into the quieter final two minutes. (8.875/10)

3. "Absent Friend" (8:20) very pleasant, enjoyable, relaxing music. I especially enjoy the closing two minutes as the band slowly unravels a KC "Discipline"-like polyrhythmic weave. (17.75/20)

4. "Big Shot" (5:20) beautiful and mesmerizing. My favorite song on the album. (10/10)

5. "Fingerspit" (8:21) the jewel in the crown. Over eight minutes of seemingly random unstructured free form atonal jazz music with many unexpected sounds, noises, and samples thrown in--just because they could. My second favorite song on the album. (19/20)

6. "Eyes & Smiles" (8:30) a little slow and monotonous for the first 3:30, then horns and jazziness enter in. Then it returns to the slow, somnambulant pace and sonic field as the start. (Though the bass, guitar, drums, and trumpets are working hard the music is still quite subdued.) I like Graham's angst-display in the eighth minute. Another song that could very well have come from a Mark Hollis album. (17.5/20)

7. "Pendulum Man" (9:53) a perfect example of the prototypical Post Rock song (as well as a perfect example of David Sylvian-like music). Delightfully subtle and nuanced. My third favorite song on the album. (19/20)

Total Time: 51:11

To my ears this music sounds just like the music DAVID SYLVIAN was doing ten years before with his string of albums, 1984's Brilliant Trees through 1987's Secrets of the Beehive, especially the vocal stylings and syncopated drum tracks--plus the keyboard/synth work is amazingly reminiscent of RICHARD BARBIERI's work and the guitar parts in "Absent Friend" are Fripp-Sylvian-ish. (So, I have to ask:  Where was Simon Reynolds when David Sylvian and friends were collaborating on their 1980s ground-breaking and, apparently, ahead-of-their-time music?)
     While Hex is definitely full of scaled down, slowed down, trip-hoppy, acid jazzy, ambient rock, it is also a collection of widely different songs. A wonderful addition to any prog lover's music collection.

91.93 on the Fishscales = A-/five stars; a masterpiece of its sub-genre and a minor masterpiece of progressive rock music.

4. KINGSTON WALL III - Trilogy

On 28 June, 1995, Finnish singer-songwriter Petri Walli climbed to the top of a church tower in Helsinki and jumped to his death. The incredibly talented leader of psychedelic progressive rock band Kingston Wall was 26 years old. To hear Petri's catalogue of songs is truly a religious experience. His little known three piece band sounds as if it was the reincarnation of The Jimi Hendrix Experience, twenty years after Jimi's death. The first Kingston Trio album is a bit raw and show the band (and Petri)'s lack of maturity in all categories--songwriting, playing, and studio recording techniques. The second album, II, came out just a year later but shows extraordinary growth in all areas. This is one jaw-dropping album. The third album, yet another year down the road, was much more studio processed, as opposed to the "plug-in and push record" approach to the previous two albums. Tri-logy thus has a much more experimental sound to its psychedelia--but is no less brilliant. Fellow band members say that they could feel as if Petri was on a mission--that his suicide shortly after made perfect sense with the way he approached the recording of Tri-logy. The lyrics of several of the album's songs even give portend to his choice to leave the planet early, of his own accord. What an amazing talent was lost. Thankfully, we have these three albums as testament to his gifts.

Line-up / Musicians:

- Petri Walli / guitar, lead & backing vocals
- Jukka Jylli / bass, backing vocals
- Sami Kuoppamäki / drums, percussion
With:
- Kimmo Kajasto / synths
- Sakari Kukko / saxophone (13)
- "Peter & Pan" (?) / didgeridoo, jew harp

- Carl Käki-Motion / voice (10)

Side One (A continuous suite of songs)"

1. "Another Piece Of Cake" (3:48) amazing guitar and great drumming over a kind of standard song. (9/10)
2. "Welcome to the Mirrorland" (3:46) really an intro to "I'm the King, I'm the Sun", the song opens with a cymbal crash before didgeridoo, jews harp, bagpipes, hand percussion, and far background guitar soloing establish the HENDRIX-like before Petri's voice conspiratorially whispers his lyric to us. By the second half drums, synths, and strumming acoustic guitars have moved forward, forcing Petri to speak more openly, insistently. The song then bleeds directly in the next song. (8.75/10)
3. "I'm the King, I'm the Sun" (4:56) feels very PINK FAIRIES-like with vocals and synths. (8.667/10)
4. "The Key: Will" (1:07) coming out of the "King/Sun", the music reverts to digderidoo and jew's harp as Petri sings his final message in a low monotone. More of an interlude.
5. "Take You to Sweet Harmony" (3:24) opens with spacious spaceyness (coming from the didgeridoo and jew's harp of the previous three songs) like a PINK FLOYD song, but then with the mystical almost-spoken vocal it turns kind of Reggae … except the guitar. Wow! Can Petri wail! I don't really like the song, but the guitar pyrotechnics are undeniable and so worth listening to! (8.75/10)
6. "Get Rid of Your Fears" (2:56) another song that bleeds over from its predecessor, the blues space wah-guitar solos Hendrix-style over a relatively slow, deep, semi-Reggae rhythm foundation. A bit CAN-like, the odd deep vocal that is spoken ominously over the second minute turns whispery-singing over the final guitar chord strums. I really like the drum/percussion work on this one. (8.667/10)
7. "When Something Old Dies" (1:21) the breakout rocker from the previous song. (4.25/5)
8. "Alt - land - is" (5:12) becomes a vehicle for a fast drive on a country road while Petri autodidacts a continuous story as if he's stream-of-consciousness talking. The drumming, bass playing, and synth work is quite active, quite propelling. In the fourth minute Petri finally breaks out of his conspiratorial whisper and sings Robert Plant-like as his guitar work becomes more filling and active. (8.75/10)

9. "Party Goes On" (4:25) another song that reminds me of PINK FAIRIES. Nice shift at 0:45. Petri's support crew is truly top notch--and so tight! (8.667/10)

10. "Stüldjt Håjt" (8:59) very cool psych rock. I hear nods to The Who, Led Zep, AC/DC, even some jazz fusion (in the bass). Petri's vocal performance is very entertaining--as is his searing lead guitar work and the crazed free-jazz bass and drum work. At the four minute mark we fall into another five-chord PINK FAIRIES motif while Petri "narrates" a newscast before falling back into his Hitler-esque repetition of the "Stüldjt håjt" march mantra. The message must be quite powerful as the music and performances all seem to be set to 11. The song's decay over the final 70 seconds is quite entertaining and ingenious--almost as if the world is exploding. (18/20)

11. "For All Mankind" (6:17) drone and didgeridoo open this one as amazing lead guitar riffing and Animal-like drumming slowly fade in as if coming from the Underworld or somewhere equally nefarious. (How else could a guitarist be this good, this dynamic, this confident?) Add to this a great vocal with amazing lyrics and you get my favorite song on the album and my favorite Kingston Wall song of all-time (this despite it being rumored to have been Petri's suicide note to the world). (10/10)

12. "Time" (7:07) slow Petri down and he could definitely be the reincarnation of one Jimi Hendrix. Jaw-dropping guitar play on this bluesy Band of Gypsies-like song. (13.25/15)

13. "The Real Thing" (18:02) (34/35) = 9.71

Total Time: 71:38

The Kingston Wall experience is all about hearing, trying to make sense of, the astonishing and mesmerizing guitar play of Petri Walli. Though he committed suicide shortly after the release of this album and the Petri-ordained breakup of the band, Petri is among the greatest guitarists I've ever had the privilege of hearing. Another reason that I am so grateful for the Internet/WorldWideWeb and the music database of ProgArchives:  otherwise, I would have never heard of this band or this extraordinary artist.

90.81 on the Fishscales = A-/five stars; a minor masterpiece of powerful, dextrous, well-composed and well-executed psych rock. What an introduction to this high-powered band! 

5. BONDAGE FRUIT Bondage Fruit

The debut release from this high energy Japanese youth. Though this is definitely Zuehl (the vocals give it away), the tribal rhythms and prominent contributions of tuned percussives, violins, saxophone, strumming acoustic guitars, and really raunchy buzz-saw lead electric guitar give the music and sound an entirely different palette than Magma or the European Zeulers.   

Line-up / Musicians:

- Saga Yuki / vocals

- Aki / vocals

- Kido Natsuki / guitar

- Katsui Yuji / vocals, violin

- Ohtsubo Hirohiko / bass

- Takara Kuimiko / vibraphone, marimba, glockenspiel, percussion

- Okabe Youichi / percussion

With:

- Namie Tokyo / vocals (4)

- Yen Chang / vocals (6)

- Hirose Junji / saxophone (9)

1. "Holy Roller" (3:54) tribalistic hand drums joined by scratchy electric rhythm guitar and then violin and voice. The vocals definitely have Zeuhlish feel to them, but the rest less so. (8.75/10)

2. "Arabia No Zou" (4:31) fairly simple, straightforward musical weave in which the wordless vocal weave switches from percussive "da-da"s to smooth "wee-ee"s and then to soul-operatic scatting of a solo woman. Interesting. (8.75/10)

3. "Kodomo No Torokko" (8:24) opens with fast driving, multiple layers of percussion and chunky bass which are soon joined by a choir of wordless vocalise establishing a very engaging series of melodies with harmonic support and counterpoint presenting in a verse and chorus format. Very cool! At 2:30 voices and bass take a break while violin takes the lead over cymbal play. Sounds like Charlie Daniels' "Devil Went to Georgia" or The Who's "Baba O'Riley" violin play over Laurie Anderson's "Blue Lagoon" tuned percussives. Voices join back in until the five minute mark when acoustic steel-string guitar takes a turn as the demon soloist. Voices join in during the seventh minute in a beautiful Paul Winter Consort kind of way. Simply an awesome, innovative song! (20/20)

4. "Rigo" (2:22) percussion and Bobby McFerrin-like voices create an odd, perky chordal weave before soprano female takes on the role as the breathy lead over the top. Halfway through the song stops and peeks through another door (vibes) before returning to the perky chords with horn added. (4.5/5) 

5. "Octopus-Command" (7:16) opens with multi-voice vocal weave that sounds like something Bobby McFerrin might have constructed, but then full band bursts in with same bass, snarey-drums, vibes, edgy guitars, and multi-voiced choir, all scatting along at breakneck speed with each other, each following the same melody lines--until the third minute when everybody drops out except for the bass--who meanders slowly, snail-like, through a lonely murk of silence. He sounds a lot like Eberhard Weber or David Darling. At 4:30 everybody comes shrieking (on behalf of the guitar and high-speed vocalists--who alternate screaching at each other, this is literally true). At 6:00 everybody cuts out for a brief interlude of high end xylophone before the band members all rejoin--this time at normal speed. Not as melodic as I like, but very impressive performances. (13.25/15) 

6. "Hiko Suru Ko" (6:45) opens with a weave, pace, structure, and vocalist and melody sounding very much like a song of theirs from the future. I love the hand drumming as the percussion/rhythmic foundation. Violin takes over the lead from the alto female voice in the second verse. Female voice rejoins in the third minute. both leads are smooth and fairly sedate. Acoustic guitars and bowed cello/bass become more prominent in the third section--and vocals get thicker with others joining alto. Next section has an Nassau N'dour-like African-sounding male singer. Very cool! Then other vocalists join in while song slowly fades. (13.5/15)  

7. "Kaku No Sakana" (6:15) gentle, based upon a simple acoustic guitar arpeggio other instruments add gentle almost incidental sounds to it. Nice and interesting but a little long and drawn out. (8.5/10)

 8. "Kinzoku No Taiji" (7:37) more full band frenzy on display, this time pursuing a more mid/alto range of pitches. Excellent drumming on display here as the chunky bass slides all over the fretboard, high and low ends. Violin, electric guitar, and single voice take the solos (and take their solos very seriously--and man do they cook!).  (13.5/15)

9. "T-Rex" (6:01) from the first note this one definitely presents itself like some kind of wild orgy of soloists. The only thing keeping it all together is the tribalistic drum pattern. When things "calm cdown" and move into more vocal-centered deliveries, it reminds me of P-We Yoshimi's OOIOO project. I actually really like the second half of this song: it's much tamer and more melodic and cohesive than the initial food frenzy. (9.75/10)

Total Time: 53:05

91.36 on the Fishscales = A-/five stars; a minor masterpiece of progressive rock music and quite a debut of Japanified Zeuhl. 

6. PÄR LINDH PROJECT Gothic Impressions

The debut album from Pär Lindh and his co-conspirators, their brand of Neo Prog is quite refreshing in that their aim is definitely to recreate a kind of ecclesiastical epoch of music with their church organs and choir banks of voices. The participation of three of the Änglagård crew (Anna, Johan, and Mattias) make this even more interesting.

Line-up / Musicians:

- Magdalena Hagberg / vocals
- Pär Lindh / keyboards, bass, drums, percussion, producer
- Jocke Ramsell / electric guitar
With:
- Ralf Glasz / vocals
- Mathias Jonsson / vocals
- Camerata Vocalis / chorus vocals
- Björn Johansson / Classical guitar, bassoon, tinwhistle
- Roine Stolt / acoustic guitar
- Jonas Endgegård / electric guitar
- Lovisa Stenberg / harp
- Anna Holmgren / flute
- Johan Högberg / bass
- Mattias Olsson / drums, percussion

1. "Dresden Lamentation" (2:06) a fitting tribute to the victims of the 1945 firebombing. (4.5/5)

2. "The Iconoclast" (7:04) I like the beginning and chamber/choral end of this but not so much the middle (don't really like the lead male singer's sound or style). (12.5/15)

3. "Green Meadow Lands" (7:24) flute and harpsichord open this. Quite lovely. Nice male vocal with tubular bells and rock ensemble. In fact, the Änglagård trio have quite a big presence on this one. A litttle nod to King Crimson in the fifth and sixth minutes despite the Mike Oldfield-like lead guitar. (14/15)

4. "The Cathedral" (19:33) one of my ten favorite long-playing epics of the 1990s. (38/40)

5. "Gunnlev's Round" (2:50) a delightful little pastoral piece done in a baroque style. (5/5)

6. "Night on Bare Mountain" (13:50) never a big fan of this piece by Mussorgsky, this version is performed stylishly but does nothing for me. (26/30)

Total Time: 52:54

90.91 on the Fishscales = A-/five stars; a minor masterpiece of progressive rock music. Quite an impressive debut!

7. AFTER CRYING Fold És Ég

With this, After Crying's third studio album release, the band stays very close to their Hungarian roots.

Line-up / Musicians:

- Ferenc Torma / guitar, vocals
- Csaba Vedres / piano, synthesizer, vocals
- Balázs Winkler / keyboards, trumpet,vocals
- Péter Pejtsik / cello, bass, vocals
- Gábor Egervári / flute, spoken word
- László Gacs / drums, percussion
With:

- Béla Horváth / violin (?)

1. "Manticore Érkezése I" (1:50) straight into the Keith Emerson-like classical piano exposition! Quite dynamic. Flute (and drums) join in during the second minute. (4.5/5)

2. "Manticore Érkezése II" (6:37) leave the piano and switch into full ELP prog symphonia. So well executed and recorded (especially the keys and drums)! Even the joinder of the vocal works--great melodies! As if ELP released something new and fresh--and better than much of their previous discography. (9.25/10)

3. "Enigma" (1:25) one of the band's classic pseudo-monastic vocal weaves. Cello, trumpet, and tuned percussion in support. (4.5/5)

4. "Rondo" (3:40) drums open this before piano and bass join in with a frenzied jazzified piece. Hammond organ takes the lead in the second verse. Well-constructed and -performed ragtime jazz. (8.75/10)

5. "Zene Gitárra" (3:20) solo classical guitar performed over Nature/bird noises. Perhaps it was recorded in a garden! Impressive playing though the composer's melodic sense is not very familiar or comfortable to me. (8.667/10)

6. "Leltár" (4:02) opens with more church-like choral vocals--a cappella--this time sounding more like the Slavic or Balkan folk or Orthodox traditions than Western monastic. They definitely sound as if they're singing with quite some respect even reverence. A lone oboe fills the final minute, repeating the same melody that the vocalists had used. (8.875/10)

7. "Cisz-Dór Koncertetüd" (3:22) back to Emersonian piano expression--another one sounding like one of Keith's interpretations of some more recent jazz-influenced classic master like Aaron Copeland. Solo piano throughout. Impressive playing. I just like a little more rock to be integrated into my prog. (8.667/10)

8. "Puer Natus In Betlehem" (6:02) complex "strings" (keyboard) arrangement with trumpet soloing over the top, playing a slow dirge-like piece. Again, very respectful bordering on reverent. Nice tune--especially for use as a church processional or wedding warm up. (8.75/10)

9. "Júdás" (9:40) back to the rock/prog forms and sounds, this one sounds almost stage-ready like something for a Broadway musical. Nice performances--especially from Ferenc Torna's Robert FRIPP-like guitar and Péter Pejsik's bass. Musically, this could very well have come from some 1970s RPI master like PFM, BANCO DEL MUTUO SOCCORSO, or MUSEO ROSENBACH. The excitement builds the further one gets into the song until all is lost and the music and mood become quite somber, almost sad.  (17.5/20)

10. "Bár Éjszaka Van" (7:06) very spacious, almost arid and deserted soundscape within which a male voice narrates a story with some theatricity while the band's individual instruments add their independent contributions with intermittent flourishes, barely disturbing the otherwise-stark background. I very much like this as it performs a function that I believe progressive rock music is very well suited for: that of agent of storytelling. I no not what the narrator is saying, but I very much appreciate it and believe that his story has a most excellent vehicle to support and deliver it. Again, I feel that there is a very strong connection to the RPI traditions with this song. (13.75/15)

11. "Kétezer Év" (13:20) a perfect expression for all of this band's extraordinary talents: composition, Emersonian, classical, folk and religious. A truly wonderful prog conveyance. (29.5/30) 

Total time 60:24

A whole bunch of independent songs intended to showcase particular band members' talents à la Yes' Fragile, only this album has much more of an orientation to classical and folk traditions rather than rock and prog. I very much appreciate the band's commitment to their own native musical and linguistic traditions. 

90.90 on the Fishscales = A-/five stars; an excellent collection of classically-oriented songs expressed by some very serious and dedicated musician/artists--something any true prog lover would appreciate and enjoy in their more solemn and sober moods. 

4.5 Star Near-Masterpieces 

(Ratings 89.99 to 86.67)

8. DREAM THEATER Awake

With this album, the band's third,  a very promising young band is finally starting to come into its own.

Line-up / Musicians:

- James LaBrie / lead vocals
- John Petrucci / guitars, backing vocals
- Kevin Moore / keyboards, co-lead vocals (11)
- John Myung / bass
- Mike Portnoy / drums, percussion, backing vocals (7)
With:
- John Purdell / backing vocals (6), co-producer
- Duane Baron / backing vocals (6), co-producer
- Rick Kern / programming (11)

- Prix-Mo / Voice (5)

1. "6:00" (5:31) what feels like a modern band attempting to play some of the harder rockin' prog of the early 1970s (like ELP or BÖC). The vocals are especially reminiscent of some of those master of the 1960s and 70s. (8.667/10)

2. "Caught In A Web" (5:28) (8.667/10)

3. "Innocence Faded" (5:43) (8.667/10)

- "A Mind Beside Itself":

4. I-Erotomania" (6:45) an instrumental intro section to the suite in which the band is, yes, still regurgitating borrowed ideas and sounds from their predecessors but are finally splicing it all together in ways that are refreshing and sounding very much their own. The absence of singer James La Brie is quite revelatory: in my opinion, they will never move forward, into their own sound, until they release themselves from James' obsession with the music of the 1980s.  (13.5/15)
5. II-Voices" (9:53) a very dynamic song that fully demonstrates the band's ability to create something new and fresh, it also demonstrates how beautiful James LaBrie's voice is when he isn't belting out the power metal vocals. Unfortunately, there is some of those (in the choruses), otherwise this song would earn much higher marks. (18.5/20)
6. III-The Silent Man" (3:48) like an old hairband acoustic guitar ballad. It's okay. (8.667/10)
-
7. "The Mirror" (6:45) engaging chug-metal countered with power metal vocals. I like the egalitarian mix of all four instrumentalists on this one (neither Petrucci or Portnoy going bonzo thus giving Myung and Moore the chance to be heard). (13.25/15)

8. "Lie" (6:34) a cool metal ride for the first two verses, it's when the scratchy metal screaming vocals begin that the song diminishes. The musicianship is solid, interesting, and engaging throughout--and I actually like the parts in which James is singing in an almost-white rapper style. Musically, this is a very cool song. (8.875/10)

9. "Lifting Shadows Off A Dream" (6:05) nice soundscape until 60s Hammond and 90s synth chords take their turns. James' vocal is quite nice until 2:39 when he soars into the 1980s stratosphere (though it sounds more like an impassioned GEORGE MICHAEL here than anyone else). The switch at 3:45 is odd, interesting, and, thankfully, only temporary. By 4:05 we've returned to a more dramatic theme (briefly) before we move back into a happy 1980s motif for the chorus. Lots of weird, even incongruous themes spliced into this one. I don't think it really works that well. (8.75/10)

10. "Scarred" (11:00) a very well-constructed metal epic with less-80s vocals (until the chorus). This one feels like a true prog song. (18.75/20)

11. "Space-Dye Vest" (7:29) computer-generated solo piano opens this one for the first 45 seconds. Then percussive bass and bass drums with picked acoustic guitars join in to provide full support to James' gentle vocal. Then there is a pause while piano supports the full clip of Julian Sands' love speech from his character George Emerson to Helena Bonham Carter's Lucy in the 1985 film, A Room with a View.  At 2:40 we return to the vocal motif in which James sings with such great sensitivity. Then there is another couple of samples from other film speeches. Kevin Moore at his core--the way he would present music in his solo CHROMA KEY project as well as with the O.S.I. supergroup. Great song, if not your run-of-the-mill DT song. (14/15)

Total Time: 75:01

Though the members of this young band of enthusiastic and highly-skilled musicians are still collecting and regurgitating styles, riffs, and sounds from previous masters of rock, hard rock, 80s hairbands, and predecessor metal bands they are finally coming a bit into their own. What is really weighing them down, in my opinion, is the lead vocalist James LaBrie: the dude is definitely stuck in the 1980s--especially in imitation of the great lead singers of the so-called "hair bands." 


89.86 on the Fishscales = B+/4.5 stars; a near-masterpiece of skillful metal-oriented progressive rock music and a wonderful and rewarding addition to any prog lover's music collection. 

9. COLLAGE  Moonshine

COLLAGE's Moonshine is full of very memorable music. There are many 'hooks' that haunt the listener hours and days after walking away from it. Containing some symphonic elements, this masterpiece of NeoProg has a few shortcomings, namely the vocals are, at times, weak, and some of the keyboards that were 'leading edge' technologically in 1994 are almost embarrassingly out-dated today. Still, the bombastic music, rare treat of frequent synthesizer-electric guitar interplay, and defining appearance of the screaming, infinite-sustain Mirek Gil guitar sound (which is, IMO, one step above that of the Master, Steve Hackett--whose "Spectral Mornings/Every Day" sound Gil was so obviously inspired by).

1. "Heroes Cry" (6:40) What a memorable, bombastic introduction! And it all begins with the album's major strength (Gil's screaming guitar) and weakness (vocals). At 1:10 the poppy bridge and chorus first appear. At 3:50 we get our first treat to the talented keyboard player as he echoes himself before engaging in the playful chase-and-duel pattern so often explored with Gil's guitar. (Could it be that Gil's soli are, in fact, improved and enhanced--his efforts augmented--by the challenge and presence of the keys?) Prog doesn't get much better that this, folks! A very memorable, haunting song. (9.25/10)

2. "In Your Eyes" (14:04) opens with the dated synths to about 1:00 when piano and acoustic guitar interplay take over to back the vocal. At 2:36 a very Hackett-esque guitar riff leads to a very Wind & Wuthering feeling section of chords and acoustic guitar. 4:30 sees the arrival of a very high, squeaky guitar solo; at 5:30 the song shifts dramatically, till, at 6:25 the song shifts back to the Hackett-esque, Spectral Mornings feel. At 7:10 we see a return to previous themes until at 8:35 the song takes another completely different shift with sequencer, synthesizer, and bass taking over until 9:10 when Gil's screaming guitar rejoins. A vocal highlight occurs at the 10:25 mark with an electric guitar supported "here tonight" peak, followed at the 11:30 mark with a low register key & synth solo over some very nice drum work. Tempo picks up again at 12:00 until a stop at 12:45. Whereupon the song plays out with the very enjoyable interplay of keyboard and electric guitar. (26.5/30)

3. "Lovely Day" (5:11) uses piano and synthesized strings to establish a slow, almost poppy mood for the first three minutes. The 3:05 mark sees the most interesting development of the song with piano arpeggios followed by some electric guitar-keyboard 'gunfire.' Otherwise, a not very memorable song. (7/10)

4. "Living in the Moonlight" (4:43) A favorite among proggers, undoubtedly for it's Hackett-like, Please Don't Touch feel as well as its lyrical content. Gil's guitar work is rather subdued and moved more into the background. The "when I feel silence" sees the song shift into a higher gear of intensity, and then higher again when Gil begins his Hackett-esque solo--which he makes his own beginning at the 3:10 mark. (9/10)

5. "The Blues" (7:17) The highpoint of the album. Gil's guitar screams out the defining melody from the first note and climbs, with the help of some wonderful band support, to an amazing beginning song solo before dropping away at the 0:54 mark in lieu of the vocal  section--a great vocal dislay, with very powerful delivery of some powerful lyrics. Great full-band interplay and support throughout this amazing song. 4:35 begins the Mirek Gil display. This is the song where he leaves Hackett in the dust and establishes his own ascendancy. Great drum and key support. I do not think that this song could be improved upon. A song for the ages. (15/15)

6. "Wings in the Night" (11:12) takes the first 2:25 to establish itself (fairly weakly) before finally letting some energy show (briefly). The song rather lacks from consistency--bouncing from quiet to dynamic and back again over and over while the vocals go on trampling over all parts indiscriminately. At the 7:10 mark Mirek Gil is finally set free--and boy! does he soar! The final four minutes of the song nearly make up for the floundering first seven (even if there are several moments where one might think you were in Steve Hackett's Spectral Mornings). (17.75/20)

7. "Moonshine" (12:50) begins as if playing Phil Collins' "I Don't Care Anymore" until at 0:46 Gil steps in and lifts it into another world--his own. Still, it takes three and a half minutes until the song finally establishes a consistent self identity--which it does, at a very high level, too. (22/25)

8. "War Is Over" (5:27) is vocalist Robert Amirian's rather pop-anthem contribution to the album. Very simple structure and repetitive lyric make for a somewhat disappointing song. The only real progginess comes in the song's end when Amirian's accordian ushers us out of (the) Moonshine. (7.25/10)

9. (Bonus Track in 2003 remaster) "Almost There." This is a GREAT song. Too bad it wasn't on the original release (instead of "War Is Over"), otherwise this may have helped earn the album the five star rating it feels like it deserves. I LOVE how the vocals, keyboards and bass pace this song. Powerful! For once Amirian's lyrics (repetitive as they are) and delivery work! They provide a great vehicle for an all-out band jam?which could easily (and even happily) have ended at the 3:05 mark. But it doesn't! Instead, we are treated to one more minute of bass and drums pounding beneath Mirek Gil's superlative, screaming guitar and Robert Amirian's (background) vocal screams. Wow! (10/10)

88.75 on the Fishscales = B+/4.5 stars; a near-masterpiece of progressive rock of the Neo kind. Even without the bonus song, "Almost There," the album is a definite four star "classic"--and excellent addition to any prog lover's music collection. With it . . . ?

Other Excellent Albums

(Ratings of 85.0 to 87.66)

10. OZRIC TENTACLES Arborescence

The band's fifth studio album release since they "made it" (tenth--in ten years--if you count all of the 1980s' self-produced cassette tapes). 

Line-up / Musicians:
- Ed Wynne / guitar, synth
- Joie Hinton / synth
- John Egan / flute
- Zia Geelani / bass
- Merv Pepler / drums, percussion

1. "Astro Cortex" (5:21) raunchy rock sounds drive this high speed song. I like the cleaner, more nature-infused OT better. (8.66710)

2. "Yog-Bar-Og" (9:40) opens with a weave of some minimalism and cheap synths. Have the band members had to retool with a low budget? In the third minute we finally get some wonderful premier  keyboard playing and sounds, but then Ed's raunchy guitar strumming and some crazed vocal ejaculations take it into another, seedier direction. Keyboard reset is joined by bass before Ed finally gets with the POT program with some very impressive guitar playing around the five-minute mark. The JON HASSELL-like breathy flute in the sixth minute is cool. Thank the gods that the band has the sense to break things down and allow a gentler, calmer support weave for this section. A song that began more frenetically and irritatingly than I'd hoped finally presents some magical moments. (17.75/20)

3. "Arborescence" (4:54) flute and jungle noises open this one before synths enter and perform a section that sounds like an underwater piano concert. In the second minute an equally aqueous bass joins in before return of flute and other incidental voices, etc. also flit in and out of the sonic solution. THough this is not one of Ozrics' typical move and groove tunes, I like the textural experimentation the band have undertaken here. Too bad they felt the need for a shredding electric guitar in the end section as it quite spoils the mood and feels incongruous with the aqueous vibe being presented here. (8.75/10)

4. "Al-Salooq" (5:03) the sheer ordinary-ness of this music is so disappointing! As if the band is just free form soloing with no regard for cohesion or consistency. Just throw a million riffs, sounds, and/or random ideas into the mix and call it a song. Yuck! (8.5/10)

5. "Dance of the Loomi" (5:15) Finally, a smooth space groove! It delivers all the dance and move power that you want (and expect) from a OT classic only it lacks some of the melodic punch from the top. (8.75/10)

6. "Myriapod" (5:59) back to the raucous rock sound with Ed's hard-rockin' guitar leading the way--overwhelming all of the synth work. Drums and bass continue to speed the song along as Ed takes a reprieve to allow some synth play to show through--which makes for an overall improved experience for me, the listener. Still, nothing melodic really gets established, it's all just filler solos and sounds, no melody. There is some impressive guitar soloing in the second half, if you're willing. (8.667/10)

7. "There's a Planet Here" (6:40) one of the band's routine Reggae-infused bass-and-drums slow jams over which synths are allowed to fill and play (which I like). Why the band is choosing to avoid melodies--or leave them to the bass or free-form incidentals--is beyond comprehension to me. Maybe they're going through a bored, free-form jazz stage of development. Halfway through some percussion, synth chord play and flute make it a little more interesting. (8.667/10)

8. "Shima Koto" (6:24) very quickly the band establishes a very satisfying full-band weave within which synths take turns throwing a vast array of sounds and flourishes at us. The rhythm track in support sounds very much like The Police's "Synchronicity II". Without the presence of Ed's abrasive electric guitar the OT music scapes are so much more enjoyable. (8.75/10)

Total time 49:16

I'm so sad at how ordinary and uncreative the music sounds on this album! It's as if the band were caving to the pressures of time and money to create something--as if they never had any time or inspiration to really get into their music--to enjoy and celebrate their creativity. Plus, I think I'm just not enjoying Ed Wynne's guitar sound any more; as accomplished as he is a guitarist, he needs some fresh sounds.

87.22 on the Fishscales = B/four stars; a nice addition to any prog lover's music collection--though, in my opinion, this album represents a low ebb if you're a fan of Ozrics music. 

11. CITIZEN CAIN Somewhere But Yesterday

One of the most blatant and formidable interpreters of Peter Gabriel-era GENESIS, this is their most classic and well-lauded album. The music is very well constructed, very well produced, and performed with all of the subtlety and craftsmanship of Genesis or Fish-era Marillion.

Line-up / Musicians:

- George Scott "Cyrus" / vocals

- Alistair MacGregor / guitar

- Stewart Bell / keyboards

- Andy Gilmour / bass

- Nick Arkless / drums

1. "Jonny Had Another Face" (10:30) (17.25/20)

2. "Junk And Donuts" (9:19) (18/20) 

3. "To Dance The Enamel-Faced Queen" (10:24) (16/20) 

4. "Somewhere But Yesterday" (25:40) (41.5/50) 

5. "Strange Barbarians" (11:48) (22/25) 

Total time 67:41

85.0 on the Fishscales = B/four stars; a very nice contribution to the Neo Prog realm. The similarities of this music to that of the band that they are imitating are often a bit too blatant, almost plagiaristic, which begs the question: is this music redundant?

12. MARILLION Brave

 While the sound of this album is very good--very lush--and I very much prefer Steve Hogarth's voice to Fish's, but the story is lost on me (cuz I'm not a lyrics guy) and the music does not represent, to my mind, the emotional impact that the story is supposed to convey. I love the idea, but I don't feel it delivers. Still, this is probably my favorite Marillion album.

Line-up / Musicians:

- Steve Hogarth / lead & backing vocals, keyboards, percussion
- Steve Rothery / guitars
- Mark Kelly / keyboards, backing vocals
- Pete Trewavas / basses, backing vocals
- Ian Mosley / drums, percussion
With:
- Tony Halligan / Uillean pipes
- The Liverpool Philharmonic / cellos and flutes

- Darryl Way / orchestral arrangements (10)

1. Bridge (2:52) (/10)
2. Living With The Big Lie (6:46) (/15)
3. Run Away (4:40) (/10)
4. "Goodbye To All That" (12:26) (21.5/25) 
- i. Wave 
- ii. Mad 
- iii. The Opium Den 
- iv. The Slide 
- v. Standing In The Swing
5. Hard As Love (6:41) (/10)
6. The Hollow Man (4:08) (/10)
7. Alone Again Into The Lap Of Luxury (8:12) (/15)
8. Paper Lies (5:49) (/10)
9. Brave (7:54) (/15)
10. The Great Escape (6:29) (/10)
- i. The Last Of You 
- ii. Fallin' From The Moon
11. Made Again (5:01) (/10)

Total time 70:58

Favorite songs: "Bridge" (2:55) (10/10); "Brave" (7:56) (10/10); "The Great Escape" (6:30) (9/10); the first half of "Living the Big Lie" (6:46) (8/10); and "The Hollow Man" (4:10) (8/10). (I guess I like the slower, more melancholy side of Marillion and Hogarth.)

on the Fishscales = / stars;  3.5 stars rated up for wonderful production and effort.

Not As Good As Advertized

PINK FLOYD The Division Bell

Line-up / Musicians:

- David Gilmour / electric & acoustic guitars, e-bow (7), keyboards, bass, lead vocals, talk box, programming, co-producer

- Richard Wright / keyboards, piano, vocals (6)

- Nick Mason / drums, percussion 

With:

- Tim Renwick / guitars 

- Jon Carin / keyboards, programming, vocals 

- Bob Ezrin / keyboards, percussion, co-producer

- Dick Parry / tenor saxophone (6) 

- Guy Pratt / bass, vocals 

- Gary Wallis / acoustic & electronic percussion 

- Sam Brown / backing vocals

- Carol Kanyon / backing vocals

- Rebecca Leigh-White / backing vocals

- Durga McBroom / backing vocals

- Jackie Sheridan / backing vocals

- Stephen Hawkins / synthesized voice (9)

- Michael Kamen / orchestral arrangements

- Edward Shearmur / orchestrations

1. Cluster One (5:58) (/10)
2. What Do You Want from Me (4:21) (/10)
3. Poles Apart (7:04) (/15)
4. Marooned (5:28) (/10)
5. A Great Day for Freedom (4:18) (/10)
6. Wearing the Inside Out (6:48) (/15)
7. Take It Back (6:12) (/10)
8. Coming Back to Life (6:19) (/10)
9. Keep Talking (6:11) (/10)
10. Lost for Words (5:14) (/10)
11. High Hopes (8:31) (/20)

Total Time 66:24

Other Highly Recommended Prog Albums

(Other albums recommended by prog lovers)

MIKE OLDFIELD The Songs of Distant Earth

Line-up / Musicians:
- Mike Oldfield / electric guitars, synthesizers (E-Mu Proteus, Ensoniq SD-1, Korg M1, Roland D-50/550 & JD-990), Akai S-1100 sampler, producer
With:
- Cori Josias / vocals
- Ella Harper / vocals
- David Nickless / vocals
- Roame / vocals
- Verulam Consort (members) / vocals
- The Tallis Scholars / vocals 
- Molly Oldfield / keyboards
- Pandit Dinesh / tablas
- Mark Rutherford / additional rhythm loops
- John Gosling ("Sugar J") / additional rhythm loops
- Eric Cadieux / additional programming

1. In The Beginning (1:24)
2. Let There Be Light (4:52)
3. Supernova (2:16)
4. Magellan (4:41)
5. First Landing (1:16)
6. Oceania (3:27)
7. Only Time Will Tell (4:19)
8. Prayer For The Earth (2:10)
9. Lament For Atlantis (2:44)
10. The Chamber (1:49)
11. Hibernaculum (3:32)
12. Tubular World (3:23)
13. The Shining Ones (2:59)
14. Crystal Clear (5:42)
15. The Sunken Forest (2:39)
16. Ascension (5:48)
17. A New Beginning (1:33)

Total Time: 54:34

VANGELIS Blade Runner OST

Line-up / Musicians:
- Evangelos Papathanassiou / Yamaha CS-80 / GS1 FM, Roland ProMars / Jupiter-4 / CR-5000 drum machine / VP-330 Vocoder Plus, Prophet-10, Emulator sampler, modified Fender Rhodes, gamelan, glockenspiel, gong, snare drum, timpani, tubular bells, arranger & producer
With:
- Mary Hopkin / vocals (4)
- Don Percival / vocals (6)
- Demis Roussos / vocals (9)
- Dick Morrissey / saxophone (5)

1. Main Titles (3:42)
2. Blush Response (5:47)
3. Wait for Me (5:27)
4. Rachel's Song (4:46)
5. Love Theme (4:56)
6. One More Kiss, Dear (3:58)
7. Blade Runner Blues (8:53)
8. Memories of Green (5:05)
9. Tales of the Future (4:46)
10. Damask Rose (2:32)
11. Blade Runner (End Titles) (4:40)
12. Tears in Rain (3:00)

Total Time: 57:30

YES Talk

Line-up / Musicians:
- Jon Anderson / lead & backing vocals
- Trevor Rabin / electric & acoustic guitars, keyboards, programming, lead & backing vocals, producer
- Tony Kaye / Hammond organ
- Chris Squire / bass, backing vocals
- Alan White / drums

1. The Calling (6:56)
2. I Am Waiting (7:25)
3. Real Love (8:49)
4. State of Play (5:00)
5. Walls (4:57)
6. Where Will You Be (6:09)
7. Endless Dream (15:44) :
- a) Silent Spring (1:56)
- b) Talk (11:56)
- c) Endless Dream (1:58)

Total Time 55:00

FRANK ZAPPA Civilization Phase III

Frank + Synclavier + Oliver Messiaen = This!

Line-up / Musicians:
- Frank Zappa / synclavier (all Act I & 70% Act II), voice (1967), composer, conductor, producer, compiler & editor
With:
- Spider Barbour / voice (1967)
- All-Night John / voice (1967)
- Euclid James "Motorhead" Sherwood (a.k.a. Larry Fanoga) / voice (1967)
- Roy Estrada / voice (1967)
- Louis "The Turkey" Cuneo / voice (1967)
- Monica / voice (1967)
- Gilly Townley / voice (1967)
- Unknown Girl #1 / voice (1967)
- Unknown Girl #2 / voice (1967)
- Moon Unit Zappa / voice (1991)
- Dweezil Zappa / voice (1991)
- Michael Rappaport / voice (1991)
- Ali N. Askin / voice (1991) 
- Walt Fowler / voice (1991) 
- Todd Yvega / voice (1991) 

Disc 1 (56:10)
- ACT I -
1. "This is Phaze III" (0:48)
2. Put a Motor In Yourself (5:14)
3. "Oh-Umm" (0:50)
4. They Made Me Eat It (1:48)
5. Reagan at Bitburg (5:39)
6. "A Very Nice Body" (1:00)
7. Navanax (1:40)
8. "How the Pigs' Music Works" (1:49)
9. Xmas Values (5:31)
10. "Dark Water!" (0:23)
11. Amnerika (3:04)
12. "Have You Ever Heard Their Band?" (0:38)
13. Religious Superstition (0:43)
14. "Saliva Can Only Take So Much" (0:28)
15. Buffalo Voice (5:12)
16. "Someplace Else Right Now" (0:33)
17. Get a Life (2:21)
18. "A Kayak (On Snow)" (0:29)
19. "N-Lite" (18:00) (30.5/35)
- a. Negative Light
- b. Venice Summerged
- c. The New World Order
- d. The Lifestyle You Deserve
- e. Creationism
- f. He Is Risen

Disc 2 (57:39)
- ACT II -
1. "I Wish Motorhead Would Come Back" (0:14)
2. Secular Humanism (2:41)
3. "Attack! Attack! Attack!" (1:25)
4. I Was In A Drum (3:38)
5. "A Different Octave" (0:58)
6. "This Ain´t CNN" (3:21)
7. "The Pigs´ Music" (1:18)
8. A Pig With Wings (2:52)
9. "Tis Is All Wrong" (1:43)
10. Hot & Putrid (0:29)
11. "Flowing Inside-Out" (0:46)
12. "I Had A Dream About That" (0:28)
13. Gross Man (2:55)
14. "A Tunnel Into Muck" (0:21)
15. Why Not? (2:19)
16. "Put A Little Motor In ´Em" (0:51)
17. You´re Just Insultin´ Me, Aren´t You!" (2:13)
18. "Cold Light Generation" (0:44)
19. Dio Fa (8:19)
20. "That Would Be The End Of That" (0:36)
21. "Beat The Reaper" (15:23) sounds like PRESENT playing GONG (26/30)
22. Waffenspiel (4:05)

Total Time: 113:49

ULVER Bergtatt - Et Eeventyr I 5 Capitler

Line-up / Musicians:
- "Garm" (Kristoffer Rygg) / vocals
- "Haavard" (Håvard Jørgensen) / guitar
- "Aismal" (Torbjørn Pedersen) / guitar
- "Skoll" (Hugh Stephen James Mingay) / bass
- "AiwarikiaR" (Erik Olivier Lancelot) / drums
With:
- Steinar Sverd Johnsen / piano
- Lill Kathrine Stensrud / vocals, flute

1. Capitel I: I Troldskog Faren Vild (7:51)
2. Capitel II: Soelen Gaaer Bag Aase Need (6:34)
3. Capitel III: Graablick Blev Hun Vaer (7:45)
4. Capitel IV: Een Stemme Locker (4:01)
5. Capitel V: Bergtatt - Ind I Fjeldkamrene (8:06)

Total time 34:17

Albums on the Fringe of Prog World

JON ANDERSON Change We Must (1994)

 IMHO CHANGE WE MUST is Jon Anderson's finest non-Yes piece of work. The use of classical orchestration, piano, choir, and some truly inspiring lyrics---which I believe are very near to the cumulative life's work of Jon's spiritual journey---make the music of this CD feel very close to the essence that is Jon Anderson. And Jon's vocals, as cited before me, among his best, come across as being so relaxed and effortless, so natural and sincere that they must be representative of the core of Jon himself. The true specialness of this music comes through in a personal story. When I first purchased this disc I played it round the clock for days. The first non-school day i had working around my house with my pre-teen daughters around brought about two separate, unique, and totally spontaneous events. My eldest daughter (8 at the time) asked for the lyric booklet. She sat on the couch reading, asking questions about the meaning while proceeding to memorize "Hurry Home" and "Change We Must." We played that disc for months. She even took it to school hoping that the school music director would pick up one of the two pieces for performance at a school concert. (To this day my daughter is in the school's choir, oboist in the band, and after six years of piano lessons, has taught herself to be proficient on flute, guitar, and percussion).
     My other daughter is a dancer. Born dancing, she has channelled that energy and passion into ballet. During that same Saturday of playing CHANGE WE MUST on constant repeat, I kept wandering into the living room to find my 7 year old dancing. Every song had something to say to her, but, again, it was "Hurry Home" and "Change We Must" that drew her in the most. To this day this CD gets full attention, full smiles, and welcome invitation to be played through and through. (It even led to the eventual introduction to and curiosity for Yes music---through "Hearts").
     IMHO, next to GOING FOR THE ONE, Jon's vocals are unsurpassed. The emotionality of "State of Independence" with its moving crescendo as the the Opio Singers join in engages the listener and preps him/her for a very unusual journey---one that is often surprisingly devoid of Jon Anderson's performing presence (due to the substitution of pianist Gwendolyn Mok and orchestral arrangements, yet satisfies on so many levels. The orchestral arrangements and Minimalist influence work! The instrumental performances are stunning---especially Mok, Sandrine Piau, the Opio Choir, bassist Steve Pearce, and guitarist Milton McDonald (outstanding "Change We Must" solo). Again, IMHO, the re-workings of "Hearts" and all four of the Jon & Vangelis pieces far surpass the originals. Most importantly, this is, IMO, an essential example of what Progressive Rock is all about: experimentation, collaboration, with virtuosic performances, all laying testament to the rollercoaster ride that is the human journey.

on the Fishscales = / stars; Though the CD does have lower points, still the lows exhibit progressive tendencies and creative courage to earn this CD four and a half stars; nearly a masterpiece; ages much better than many prog masterpieces.

SEAL II (1994)

A great album through and through with great songwriting and peformances by Seal and great engineering and production by Prog Lover, Trevor Horn.

1. "Bring It On" (3:58) (8.75/10)

2. "Prayer for the Dying" (5:30) (9.25/10)

3. "Dreaming in Metaphors" (5:52) (9.5/10)

4. "Don't Cry" (6:17) (9.5/10)

5. "Fast Changes" (5:42) (/10)

6. "Kiss from a Rose" (4:48) (9.25/10)

7. "People Asking Why" (4:45) (9/10)

8. "Newborn Friend" (4:05) (/10)

9. "If I Could" (4:16) (10/10)

10. "I'm Alive" (4:02) (/10)

11. "Bring It On (Reprise)" (1:15) (/5)

on the Fishscales = / stars; 

BEASTIE BOYS Ill Communication

Though never much of a fan or interest in rap, I do remember that every time I heard a Beastie Boys song I always found myself totally engaged by their music--by the interesting way in which they would merge together odd sound and stylistic combinations to make their totally unusual and refreshing support for their rap vocals. 

Favorite songs:

MASSIVE ATTACK Protection

The sophomore album from this band from Bristol more firmly established the ground-breaking complex editing and production sounds that they established with 1992's Blue Lines and which would eventually be labeled as "trip hop" music. The use of one of my favorite vocalists, Everything But the Girl's Tracey Thorn, was what got me interested, but it was the unusual and innovative ("progressive") sound they produced that kept me engaged. 

Favorite songs:

THE CRANBERRIES No Need to Argue

Dolores O'Riordan's Elizabeth Fraser (Cocteau Twins)-like vocal talents are what got me interested in this band, but the guitar- and reverb-rich aspect of their music proved equally engaging. This, their second album, is their most popular with the worldwide monster hit (no pun intended) "Zombie," but, to my mind, it is not as fresh and engaging--from a prog perspective--as their debut.

BUSH Sixteen Stone