Prog Rock Review: Jethro Tull-The Château D’herouville Sessions 1972

Release Date: March 15, 2024

Label: ‎Chrysalis

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In July 2014, I covered Jethro Tull's A Passion Play- An Extended Performance (2 CDs/2 DVDs), remastered by Steven Wilson's musical genius. Now, for the first time, that release, which included The Château D'herouville Sessions 1972, is on a 2-LP Gatefold set. Although these are separate tracks, they segue one into the next, keeping the flow of the music, however different, going without pausing. 

 

I also found the back story of these sessions interesting and quite humorous. As I read the extensive liner notes on the gatefold sleeves, Martin Barre's account had me laughing with tears in my eyes. Indeed, at the time, it was not so funny; it was a complete disaster on all accounts. Fortunately for music fans, we can hear it on vinyl's beautiful and warm clarity.

 

The tracks are solid, and it was a shame that the entire project had to be scrapped then; however, as the saying goes, better late than never. Well, at least for this JT fan. Most fans of their music would agree that the 70s was the band's most fertile period. Tull recorded this music after the immense success of the Thick As Brick album and a long worldwide tour to promote it. I believe most listeners will find tremendous enjoyment from start to finish, except listening to the reading of "The Story Of The Hare Who Lost His Spectacles" twice!

 

The lineup at the time was as follows:

Ian Anderson: vocals, flute, saxophones, acoustic guitar.

Martin Barre: electric guitar.

John Evan: piano, organ, synthesizers, speech.

Jeffrey Hammond-Hammond: bass guitar, speech, Narration on 'The Story Of The Hare Who Lost His Spectacles'.

Barriemore Barlow: drums, glockenspiel, marimba.

David Palmer (now Dee Palmer) arranged and conducted the orchestra.

Note: Sides 1, 2, and 3 were remixed by Steven Wilson in 2013 (except * 2021).

Side 4, mixed by Ian Anderson.

 

Track one begins with a short synth ditty, then on to the "Big Top" as a rousing guitar starts as Ian begins his vocals, then an acoustic guitar, which segues into tracks "Scenario" and "Audition," and the music continues to build after some nice acoustic picking. The band's power congeals into the prog rock they were famous for. It reminded me of the Thick As A Brick album.

 

So on to track four, we go "Skating Away On The Thin Ice Of The New Day." I fondly remember it being on the flip side of the "Bungle In The Jungle" 45. When I started my podcast a few years back, I had an interview with Ian. The interview never saw the light of day because of a technical issue. After mentioning that it was one of my favorite tracks, he told me it was an environmental awareness statement (which may be old news to some long-time fans). This version is all acoustic and missing the electric guitar; however, it is still excellent. 

 

"Sailor" begins with a soft acoustic guitar and Ian singing at his mellow rhythmic best. The bass playing is notably superb. The keys are layered nicely, and a superior convergence of the band's strengths goes to an instrumental segment and right into "No Rehearsal." Side one closes out firmly, showing a crew working in sync and at its pinnacle. Then, a fast-paced period begins with a marvelous guitar and ends with the way the side started with a brief synth passage.

 

Side two starts oddly with babies fussing on "Left Right" as an ominous guitar begins. The keys drive forcefully, with a solid bottom keeping the course steady and accurate. Enter that familiar flute as it merges with the keys. A sharp guitar arrives and cuts through with dominance. The bass and cowbell quietly end the track as it moves into "Only Solitaire" and then to "Critique Oblique (Part I and II)." The formula of mellow acoustics to a more potent electric mix then takes over the direction. Flourishes of Tull at their best instrumentally is a highlight of this set, with some tasteful rocking to showcase their abilities and diversity. There are too many changes to count, but all of it is exceptional prog rock. Never knowing what contrast is coming next is the mark of this magnificent lineup.

 

Side three opens with "Animelee" (1st and 2nd Dance). Another round of instrumental bliss is upon your senses, showcasing again how vital this version of Tull was (perhaps the best version of the band?). They put all their cards on the table as a creative musical unit and continue to succeed. Towards the end, it stops with a brief acoustic piano entry, then back to the prog rock classic instrumental sound, to my delight. "The Story Of The Hare Who Lost His Spectacles*" is next as you wait for "Law Of The Bungle (Part I)", "Tiger Toon," and "Law Of The Bungle (Part II)." The precursor to their hit "Bungle In The Jungle" shows its origin, and you notice some familiar melodies. Their lyrics are a riot, too!

 

Up next are the different mixes of "Scenario" (1988 mix), "Audition" (1988 mix), "No Rehearsal" (1988 mix), and "Only Solitaire" (1974 mix). It's different from the previous mixes, but all very good. Excellent acoustic guitar starts as it builds to a more aggressive sound, and Ian is in fine form. The flute, as usual, compliments the other instruments with no sacrifice at any position to make way for that. That is the reason this music is so strong consistently. Martin cuts loose on a big riff and then gives way to Ian's short reading. Then it reverts to rocking, blending into "Only Solitaire" and then "The Story Of The Hare Who Lost His Spectacles (1973 mix)". The album closes its fourth and final side with the final version of "Skating Away On The Thin Ice Of The New Day (1974 mix)" from the Warchild album.    

                                                                                                                    

The Château D'herouville Sessions 1972 were a lot to absorb, but I did so eagerly with great joy. Ironically, with all the disappointments from these sessions at the time, we got a double shot of all the music, first in 2014 and now on vinyl ten years later. Don't miss it if you love vinyl, prog rock, and Jethro Tull.   

Keith “MuzikMan” Hannaleck-PMR Founder

February 10, 2024

Tracks:

SIDE 1 (Reel date: 10th September 1972):

   1) The Big Top                                                                     

   2) Scenario                                                                          

   3) Audition                                                                            

   4) Skating Away On The Thin Ice Of The New Day           

   5) Sailor                                                                               

   6) No Rehearsal     

Notes: A clue to what the original album title might have been: ‘the one about the after life’ is faintly written at the top of the tape reel box. ‘Audition’ and ‘No Rehearsal’ were played live in concert during late 1972 and early 1973. ‘Skating Away’ received further overdubs in 1974 and was included on the ‘Warchild’ album released that year. In 1988, ‘Scenario’, ‘Audition’ and ‘No Rehearsal’ were edited together and presented with new flute overdubs on the ’20 Years Of Jethro Tull’ 5LP box set.

SIDE 2 (Reel date: 15th September 1972):

   1) Left Right                                                                         

   2) Only Solitaire                                                                   

   3) Critique Oblique (Part I)                                      

   4) Critique Oblique (Part II)

Notes: ‘Left Right’ was played live in concert during late 1972 and early 1973 and ‘Only Solitaire’ was briefly played live as an instrumental at the start of some shows in July 1972. ‘Critique Oblique (Part I)’ was re-worked and re-recorded in early 1973 for ‘A Passion Play’ while elements of ‘(Part II)’ became the passage ‘Best Friends’, also on ‘A Passion Play’. ‘Only Solitaire’ was released without further overdubs a year later in 1974 on the ‘Warchild’ album. This album reel was eventually released in its entirety on the ‘Nightcap’ double CD in 1993 with new flute overdubs.

SIDE 3 (Reel date: 25th September 1972):

   1) Animelee (1st Dance)                                                       

   2) Animelee (2nd Dance)

   3) The Story Of The Hare Who Lost His Spectacles*                                 

   4) Law Of The Bungle (Part I)                                             

   5) Tiger Toon                                                                       

   6) Law Of The Bungle (Part II)  

Notes: This tape box was clearly labeled ‘Side 3’. A missing song entitled ‘Animal Song (Hare’s Spectacles)’ that appeared between ‘Animelee (2nd Dance)’ and ‘Law Of The Bungle (Part I)’ was indeed ‘The Story Of The Hare Who Lost His Spectacles’. It was cut from the third Château reel and spliced into the 16-track tape for ‘A Passion Play’ side 2 in January 1973 with extensive orchestral overdubs sadly wiping Ian’s original acoustic guitar track. Presented here for the first time is the track as close as possible to how it was recorded in the Chateau. The tune for ‘The Hare Who Lost His Spectacles’ was played in concert on the summer 1972 US tour during an on-stage comedy routine.

The ‘Tiger Toon’ motif was re-recorded in December 1972 to form the opening section ‘Prelude’ of ‘A Passion Play’. An excerpt of ‘Animelee (1st Dance)’ was played live during Ian’s flute solo during late 1972 and early 1973.

This album reel was eventually released in its entirety (minus ‘The Hare…’) on the ‘Nightcap’ double CD in 1993 with new flute overdubs.

SIDE 4 (Original Released Mixes):

   1) Scenario [1988 mix]                                                        

   2) Audition [1988 mix]                                  

   3) No Rehearsal [1988 mix]

   4) Only Solitaire [1974 mix]          

   5) The Story Of The Hare Who Lost His Spectacles [1973 mix]                            

   6) Skating Away On The Thin Ice Of The New Day [1974 mix]

Notes: Presented here is a selection of the songs from the three recorded sides of the aborted LP as they appeared on later records. ‘Scenario,’ ‘Audition’, and ‘No Rehearsal’ was mixed and edited in 1988 for the ’20 Years Of Jethro Tull’ 5LP box set for which Ian recorded new flute overdubs. ‘The Hare Who Lost His Spectacles’ is presented in the arrangement completed in early 1973 with orchestral overdubs to end side one and begin side two of the ‘A Passion Play’ LP.

The original 1974 ‘Warchild’ LP mixes for ‘Skating Away’ and ‘Only Solitaire’ complete the selection.

Rock-Progressive Review: 6 Turning 4 Burning-6T4B

Release Date: August 26, 2023

Label: Bomber Records

Website

Those Hellraisers From Cleveland, Ohio, 6 Turning 4 Burning, have released a rock album for all true music lovers to give a spin or to blare from your vehicle while cruising down the roads of America. Listen to 6T4B, and I will tell you why track by track.

Indicative of the cover art, they will appeal to those who believe in the freedom of the U.S. and the open roads to travel anywhere. Their music is very eclectic, bordering or launching into full-on progressive.

"Crazy Peace" is an instant satisfying rocker, and the lyrics are a riot! It is about the lady friend or wife, as it may, having their crazy "time of the month." It is a great way to kick off the album. Also, you will hear some exemplary musicianship on the recording. It is bound to click when you assemble a group of seasoned players. The second track, which clocks in at 7:02, is a tribute to their all-around talents and a tight band exhibiting all their skills within one track. It is a killer track featuring all aspects of the band at each position. Notably, the vocals are outstanding.

"So Deep" was a famous track that got thousands of views. It is a rocking love song, a slow cooker, and a tremendous vocal performance. It serves as another dimension of the band to be admired and appreciated.

"Help Me Through This" differs significantly from the previous tracks for 8:29. The guitar playing is bluesy, which fits the lyrics nicely. I am getting more impressed the further I get into the album. The diversification is quite impressive. And because of that, it keeps things interesting. Also, with extensive songs, it is essential not to lose the listener. That never happens because of all the changes. This one is a progressive rocker.

"Something's Wrong" keeps up with the pattern of change. The track starts with a soft acoustic guitar as the bass and drums come in. The vocals are heartfelt and expressing the lyrics beautifully. If you like blues-country tracks, this one is a nice change from the previous track. They sound like a different band on this one.

"It's Over" starts with a funky bass line accompanied by a driving guitar line, then it changes into a slower pace to emphasize the lyrics about the abuse of drugs and all the struggles it can bring. It doesn't sound like any fun, and it should discourage those wanting to take drugs. I think that was the point. As the song lumbers along, the words hit you like a brick wall at 90 mph, saying, "Cocaine's got me down, rest in peace." About halfway through, the song turns into the fast line as the bottom end pushes it along. The guitar plays some fat chords and nice cutting lines to show off their chops. It is another excellent track with 8:44 of fantastic changes and music to keep you wondering what is coming next. Then, at the end, you can hear someone snorting coke.

"Karma" is another long one coming in at 9:34, so I am amazed at how they can keep pumping out all these impressive tracks with such length and complexities. It starts with some definitive chicken pickin', rapid drumming, and a big bass sound. It all changes as it goes back and forth with different paces and styles of playing. It's like a country-fried rocker with hints of the blues for extra color. You may wonder when the vocals will come in, but they finally arrive well into 3+ minutes. And in this case, that is a good thing, as I enjoyed the long instrumental intro. The vocals add their sentiments with lines like "Karma speaks to you all alone." Those words change how we can relate to and experience karma. Which, of course, works if you believe in it. I believe in it without question, so I found the lyrics relatable.

"Take a Hike" is their magnum opus, dialing in at 11:24. I did not know what to expect with a track this long; it had to be progressive. At least, that was my first thought. It starts epically with a hard-driving metallic power; then they start reciting lines from the bible to help save them from the dark master himself, the Devil. It is an incredible track with magnificent music. It is reflective, opaque, and anticipatory. This one convinced me what a superior group of players this band is. Fans of Black Sabbath would love this one for sure. It is most certainly a hike to the darker side of life. In typical fashion, at 4+ minutes, it completes changes in pace and sound. This bass is prolific here. The vocals reminded me of Ian Gillan of Deep Purple. It is so soulful and passionate, and if anyone wants to know how good this band can play, it should be your first track. It's a must! And remember what they say in the song "Don't listen to Devil!" "Take a hike, Devil, disappear!" All instruments are superb throughout the run of the song.

So, if all of that wasn't enough, they test their abilities by covering the ELP classic 'Lucky Man" within 10:07. Could they once again prove themselves as a legitimate force in music? It starts differently than the original, then changes to the more familiar melody you are used to hearing in 2+ minutes. The vocals are excellent, and the music from start to finish is outstanding. It was risky to close out such a superior recording like that, but they pulled it off like the five-star band they are.

6T4B is a title that may give people a different idea of what this band is all about, including the cover art. Trust me on this one; you are in for a treat for the senses with 6 Turning 4 Burning. Every track is entertaining and well-played, and you will be sorry it all ends, so play it again.

Keith “MuzikMan” Hannaleck-MuzikMan.net Founder

December 6, 2023

Tracks:

1. Crazy Peace 5:26

2. Release Me 7:02

3. So Deep 5:28

4. Help Me Through This 8:29

5. Something's Wrong 4:25

6. It's Over 8:44

7. Karma 9:34

8. Take a Hike 11:24

9. Lucky Man 10:07

Progressive Rock Vinyl Review: Trevor Rabin-Rio

Label: ‎ Inside Out Music

Release Date: August 5, 2023

Website

Trevor Rabin has created a lot of music over the years—one of my favorite Yes albums, 90125, is one he contributed to. Also, a few years ago, I saw that version of the band perform live, which was a real treat.

 

Rio is Rabin's first vocal album in 34 years. I received the two 180-gram LP sea blue set (Ltd t0 1,500 copies) for review. The artwork was digitally created by Rabin as well.

 

Trevor covers some ground on this album by playing guitar, bass, keyboards, drums and percussion, mandolin, banjo, dobro, and backing vocals for his lead vocals. So essentially, he is a one-person band.

 

Yes, fans already know Trevor's voice is like Jon Anderson's. Also, some of the music is like what Yes has created. That is fine with me, as I enjoyed this album and found it quite eclectic, regardless of those similarities.

 

Side A begins with "Big Mistakes," the first single release. The track is an exciting opener with catchy hooks and good lead guitar changes.

 

"Push" is a good mesh of guitar and keys with fast instrumentation that melds with the vocals. Many changes take place, going back and forth. The orchestration, violin, and piano finish things off as it fades out.

 

"Oklahoma" is a nice acoustic number with some rapid picking as the keys come in with a quiet interlude as the vocals enter with "We build from our wounds warmth." The moving instrumentation and vocals are panoramic and picturesque, painted with orchestrations and a biting guitar line for emphasis.

 

Side B starts with "Paradise." Good rhythms with excellent drums and bass are features. Twangy guitar and soaring vocals come in. All the instruments are so strong, and it turns into a toe tapper. Multi-layered vocals and a jazz flavor are towards the end, then back to a fast pace as it ends.

 

"Thandi" has an interesting beginning. The band is in hyperdrive again, flying along and returning to an average pace. The vocal effects, which offer several flourishes, are reminiscent of his time with Yes. The powerful rhythm section and keys push along some fantastic guitar work.

 

"Goodbye" is a country sound with the galloping bass and drums. Some nice picking arrives with banjo and dobro to make it all sound authentic. A honky tonk piano comes in as well, and the vocals are undoubtedly suitable for all of the musical colors populating the track.

 

"Tumbleweed" closes out side C with significant harmonizing effects, which change quickly as it moves along.

 

Side C begins with "These Tears," the album's only slow burner that builds with additional background vocals and purposeful instrumentation that are then pronounced further with keys and some cool guitar lines. It is a very dynamic performance.

 

The word "Egoli" means the place of gold or Johannesburg. The song begins with a strong bass line and continues to provide a steady backbeat. The funky sounds with vocals to match are all quite different than the preceding tracks. The harmonizing reminded me of Paul Simon's Graceland album and the amazing Ladysmith Black Mambazo. See how it all ties in? The vocals are like an additional instrument. It is what I define as World-Prog.

 

"Toxic" closes out an excellent album from start to finish with some rocking sounds. There is a great bass and strong guitar in the spotlight. Then it turns industrial in sound, yet another surprise. The changes and some very cool sounds come forth. The track would serve as an excellent single release. 

 

Side D is one of those clever etchings. It would have been a bonus if they had put a few tracks off Trevor's massive box set that was released. But even without that, it is a fine release.

 

Rio is a superlative performance by Trevor Rabin and his guests. Quality musicianship and vocals like this tuning into any radio station streaming or conventional are uncommon these days. The album is a triumph in every aspect of musicianship, engineering, sound, and the quality of 180-gram vinyl pressing, not to mention the cool translucent sea blue coloring.

Keith “MuzikMan” Hannaleck-TFOV Founder

November 12, 2023

Side One:

1. Big Mistakes

2. Push

3. Oklahoma

Side Two:

1. Paradise

2. Thandi

3. Goodbye

4. Tumbleweed

Side Three:

1. These Tears

2. Egoli

3. Toxic

Side D: Etching

Concert Review: Martin Barre At The Worthington Country Club

   Martin Barre 2 Concert-A Brief History of Jethro Tull

The Worthington 5 Country Club, Massachusetts

June 18, 2023

https://martinbarre.com/martin-barre-tour/

Nestled in the country along Route 143 off Worthington Road in Massachusetts is the beautiful Golf Links, owned by David and Helen Pollard. It was my distinct pleasure to attend the concert being held there with Martin Barre. For a few reasons: I knew the Pollards very well and had worked for them for five years in the early 2000s. And I had not seen them in 14 years! Secondly, I am very familiar with Martin’s guitar playing with Jethro Tull, covering several of the reissues of their group’s studio recordings over the years, seeing them play live with the band, and providing coverage before he departed on his solo career. With that in mind and being able to see some old friends, I had been anticipating this event for months.

 

We had a beautiful clear blue sky with the sun shining to usher in this rock legend; however, as the night rolled on, it got a bit nippy, and Martin was warming his fingers to keep them agile.

Martin Barre is one of the finest guitar players in the world and has been for many decades. Now in his 70s, he has not lost a step in showcasing his six-string virtuosity. I was to realize this fully last night as he made his way through two lengthy sets. His band consists of Dan Crisp (lead vocals/keyboards), Alan Thomson (bass), and Darby Todd on Drums. The lead singer bares a remarkable resemblance to a younger Phil Collins. That is what I recognized in short order. And besides that, after belting out the first number with authority, he did a complete turnaround. He sang like a young Ian Anderson, including all the facial expressions and mannerisms of the Jethro Tull mastermind and leader, writer, singer, and musician.

 

Another surprise may have been Martin being an accomplished flute player. I had known this, but many in attendance were surprised. The crowd expressed their delight as Martin handled his second instrument quite well. Quite honestly, and even though I still enjoy Jethro Tull to this day, Ian has lost his voice due to age and wear and tear, and nobody ever could replace Martin on guitar. It has not been the same since he left the band.

 

This night I relived the good old days with Martin wailing away and rocking the crowd and Dan Crisp doing a splendid job with each song from the Tull catalog. There are so many outstanding Tull albums and much ground to cover. Martin and his band are tight and did a marvelous job recreating all the music. Even Ian Anderson would be impressed.

 

The first Tull album I got was Warchild back in the day when there were record and CD clubs that no longer exists. It still stands as my favorite album. Now there are many different choices if you are a vinyl enthusiast to choose from. Hearing them play “Warchild,” “Back Door Angels,” and “Sea Lion” was a treat for the ears and senses. And of course, there are many of the favorites that the audience recognized immediately, such as “Bouree,” “My God,” “Thick As A Brick,” and many more, including the all-out rocking encore numbers “Locomotive Breath” and “Teacher.” Martin and the band ended the show on fire, cranking out those two prog rock classics. Fitting, it ended with plenty of fireworks from Martin’s guitar.

 

It was another night for me to remember, and an honor to be able to see the show and report on it. Thank you, David and Helen, for the night that will forever be in my consciousness and for giving this old rocker a smile from the inside out.

 

If you like the beauty of nature and outdoor music, visiting the Worthington Golf Club this summer is a must. Look at what is on tap for the rest of the season and get your tickets here: https://worthingtongolfclub.com/music-concerts-and-events.

 

Keith “MuzikMan” Hannaleck

June 19, 2023

First Set:

Look Into The Sun

Someday The Sun

Cat’s Squirrel

We Used To Know

Serenade To A Cuckoo

Bouree

Sossity

Bass Solo

Back To The Family

Nothing To Say

My God

(chat) Thick As A Brick

Passion Play

Whistler

Black Satin Dancer

Back Door Angels

(chat) Warchild

Sea Lion

 

Set Two:

Acres Wild

Jack Frost

(chat) Under Wraps Acoustic

Under Wraps Electric

Protect And Survive

Watching Me

Fallen On Hard Times

Too Old To Rock & Roll

Slow Marching Band

(chat)
Locomotive Breath

Teacher.

Cinematic/Progressive Rock Review: Ben Craven-Monsters From The Id

Release Date: May 6^th, 2022

Label: Self-released, available as a digital download from Bandcamp

Website

Ben Craven is an Australian composer and multi-instrumentalist who first came to the music world's attention with the release in 2005 of the debut, Two False Idols. This was very much a "solo" work by a musician who had tired of the "group approach". This initial release was issued under Tunisia, but subsequent releases carried the Ben Craven name. 

These further releases were Great and Terrible Potions (2011), Dissected (By Ben Craven and The Section 2014), Last Chance To Hear (2016), and, the album under review Monsters From The Id (2022).

 

I had been aware of the music of Ben Craven from the time of the release of album no 2, and featured tracks from both the two early albums, and then album no 3, on my radio show, but somehow missed out on the fourth release. When Monsters of the Id appeared for review, I was intrigued to see where Ben had gone musically since 2014.

 

I will say that I did not get past the first track for over an hour, as it was listened to three times before continuing. Occasionally, you come across an album that blows you away from the start, and this is one of those albums, as far as I am concerned. While listening to the rest of the album and working towards writing this review, I was aware of other reviews extolling the virtues of this Ben Craven release. Still, I can summarize the rest of my review very simply. Monsters Of The Id is a stunning album, and if you still need to get a copy, you are missing a gem from 2022. This album will feature in my Best Of 2022 radio show early in 2023. 

 

There are two epic-length tracks and four single/radio edit tracks on this album, as it is unlikely that many stations will play either of the two 19+ minute tracks. The opening track on the album, "Die Before You Wake" (19:32), comprises 7 sections, "Sleeping Spectre", "Ancient Majesty", "Die Before You Wake Pt 1", "Warming Glow", "Wicked Delights", "Die Before You Wake Pt 2" and "Endless Night", suggesting that there are 7 thematic areas within the 19+ min. The opening sequence is designed to grab your ears from the off, with an insistent thumping beat and a choir building the tension, before it drops into a quiet short section and then returns to the starting sequence with the guitar heralding in the section called "Ancient Majesty." Although the notes supplied suggest an instrumental album, the dulcet tones of Ben adorn the "Die before You Wake Pt 1" with the sound slowly building, including the appearance of a gothic-style choir behind the voice. As the music moves into section 4, there is some lovely guitar work as the track evolves into a more spacey atmospheric soundscape with some acoustic guitar and piano coming more to the fore. There is another guitar-led section, backed by the piano and joined by a synthesizer. The guitar then takes the theme on to section 5, an orchestral sequence that evolves into the second part of the "Die Before You Wake" section with the return of Ben's voice. A guitar and synthesizer section then takes the track into the final sequence, which returns to the more open, spacey, Floydian area and towards the return of the gothic-style choir, which takes the track out.

The instruction at this point would be to listen to the opening track again before proceeding with the album. Take another 19+ minutes to let the majestic opening track sink in.

Having done that, move to track 2, "Amnis Flows Aeternum" (19:11), and prepare to be blown away again.

 

I had liked the earlier material by Ben, but to be honest, nothing prepared me for the sheer excellence of Monsters From The Id. This is an album that grabs your attention from the opening few seconds and takes you on a fantastic journey. If you have not heard this album, do so as soon as possible and be prepared to add it to your collection.

 

Jim “The Ancient One” Lawson

Oct 13th, 2022

Tracks:

1.  Die Before You Wake (19:32)

2.  Amnis Flows Aeternum (19:11)

3.  Die Before You Wake (Single Edit 4:47)

4.  Wicked Delights (Single Edit 2:40)

5.  Guiding Voice (Single Edit 3:31)

6.  Amnis Flows Aeternum (Single Edit 4:51)

Progressive Music Review On Vinyl: Pink Floyd-Animals

Release Date: September 16, 2022

Label:  ‎Warner Music (Sony Music outside Europe)

Website

Release Info: Animals 2018 Remix will be released on CD, LP (with gatefold artwork), Blu-ray, SACD, and Deluxe Gatefold formats. The Deluxe Gatefold version includes LP, CD, audio Blu-ray, audio DVD, and a 32-page book. The Blu-ray and DVD audio include the 2018 remix in Stereo, 5.1 Surround (both by James Guthrie), and the original 1977 Stereo mix. The 32-page booklet features rarely seen behind-the-scenes photographs of the album sleeve shoot, along with live images and memorabilia. The album artwork has been reimagined for this release.

Animals is one of many Pink Floyd classics. I heard the album when it first came out years ago and thought it was bizarre, and I was unappreciative. I also knew it was stoner music without realizing what I was hearing was brilliant and imaginative progressive rock. For those of you newer to this musical world, this overview will give you a glimpse into one of the greatest bands and a fresh look at a timeless classic slice of progressive rock for those long ago initiated.

This most recent release comes in many flavors for the completist. I am sure the 5.1 surround sound mix is fantastic, and this vinyl version was very satisfying with the oversized colorful booklet. The sound is phenomenal, as one would expect.

Side one starts with a quick acoustic guitar introduction with waters doing the honors on vocals. Then it launches into the meat of the album with "Dogs." I call the track's lyrics backstabbing set to rock. The animals referred to are the greedy politicians and the gluttonously wealthy; at least, that is what I can ascertain based on the band's output. It starts with some dogs barking, an excellent electric solo kicks in, a lovely synth passage, and some superb guitar work from Gilmour. By the time the fourth verse starts, Gilmour's vocals are reigning supreme, and a lot of echo effects help to emphasize those words, then more dogs barking. Some wild synth parts come in, followed by some weird sound effects, then an acoustic guitar mellows things out and leads into the fifth verse. 

Waters takes over the vocals, followed by some stinging electric leads, then a tasteful lead supported by some strong bass lines courtesy of Waters. The sixth verse has a repetitive message to solidify the track's meaning. Waters consistently would deliver vocals with the needed emphasis.

On to side two with "Pigs" (Three Different Ones) with the entrance of a funky guitar intro as Waters sings, "pig man charade you are." I love the energy and how different from side one it was. The lyrics bite with cynicism like "you radiate cold shafts of broken glass" and some pig sounds, then into the third verse and more political pokes. Gilmour uses the talk box, and steady rhythms carry it through to some echoing guitar sounds. Then Water's vocals start in the fourth verse. The vocals lead out to a magnificent lead guitar break. This is vintage Gilmour complimented by another outstanding bass run with great drum fills from Mason, which bring it to a fade out with sheep chattering and on to the next track, of course, "Sheep."

A tasty jazz keyboard run from Wright starts things off, then the bass enters, and Waters begins singing, followed by keyboards and drum mixing in with a prolific explosion as Gilmour peels off some more licks to astound with some effects. Waters delivers with preciseness and impact with the lyrics as usual. A nice transition changes it to a different purposeful pace, then a switch to a mellow downswing with the bass. The third verse is a prayer with lines like "getting converted to lamb cutlets." Are we talking about the animal itself here or god's children? The track leads out with a flourish from Gilmour, then a segue with sheep once again with birds chirping this time, then on to the finale "Pigs on the Wing (Part Two)" with Waters and the acoustic guitar ending it all as it began and you get "a shelter from pigs on a wing."

Animals is cynical, satirical, and a musical masterpiece. In 1977 it was a true wonder of music, and it stands today the same, only heard with different, perhaps older ears, remastered to accentuate all of the subtilities that may have slipped by or ignored on the first run. This essential release in the Pink Floyd catalog deserves another look and listen in 2022.

Keith “MuzikMan” Hannaleck-Progressive Music Reviews Founder

July 18, 2022

Tracks:

Side One:

1. Pigs on the Wing (Part One)

2. Dogs

Side Two:

3. Pigs (Three Different Ones)

4. Sheep

5. Pigs on the Wing (Part Two)

Symphonic Prog Review: Oliver Wakeman-Collaborations

Release Date: April 11, 2022

Label: Elflock Records

Website

https://soundcloud.com/oliverwakeman/albums

While I have been aware of Oliver Wakeman for a long time, I have not listened to his music, but this changed a while back when I obtained a box set of 3 cds, Tales By Gaslight, which was a collaboration with Clive Nolan from the band, Arena. 

Now, I have been presented with another box set from Oliver, specifically called Collaborations which brings Oliver together with Steve Howe (Yes) with an album called The 3 Ages Of Magick, with Gordon Giltrap on an album called Ravens And Lullabies and a third disc, From A Stage, a live album, which pulls together music from Giltrap/Wakeman concerts.

The first disc, The 3 Ages of Magick, was originally released in 2001 and the Yes guitarist, Steve Howe worked together with Oliver. Oliver then joined Yes, I believe replacing his father, Rick, in the line-up, from 2008 to 2011. At that point, Oliver began working with another guitarist, Gordon Giltrap, resulting in the release of Ravens and Lullabies.

The 3 Ages of Magick contains 16 instrumental tracks with a total playing time of just over 74 min (74:04) with track 13, “Hy Breasail”, the longest at 8:36 min and track 12, “Through The Eyes of a Child”, the shortest at 2:13 min. 

The opening track on this album is “Ages Of Magick” (5:49) and starts with some very atmospheric keyboard swathes and great guitar work before some amazing violin work leads into a gothic style choir. The guitar and keyboards carry the track onwards, featuring some excellent piano work and a very melodic keyboard passage that moves the track towards the finale. The choir re-joins the proceedings and the guitar of Steve and the keyboards of Oliver merge to take the track out. An excellent opener which should draw the listener into the tracks that follow. 

Track number 10, “The Enchanter” (6:04) is another stunning track which again starts with the keyboards and there is a very classical feel to the music before the rest of the musicians join in. There is a keyboard passage which leads into a slow section where the guitar of Steve appears. From this point, the keyboard and guitar play little themed sections which should bring a little smile to the listener. This is the result of two excellent musicians being "in tune" with each other and enjoying themselves.

Ravens and Lullabies comprises 17 tracks with a running time of just over 71 minutes (71:13), with track 7, “Is This the Last Song That I Write?”, the longest at 10:02 min and track 12, “One For Billy”, the shortest at 2:11 min.

This album is very different from the first disc and although we have the same main instrumentation with keyboards and guitars, the feeling of the music varies. The opening track "Moneyfacturing” (4:10) begins with some excellent acoustic guitar from Gordon, soon to be joined by the rest of the band. This album also features Paul Manzi on vocals, and he possesses a very powerful, versatile voice. The lyrics themselves are very interesting and the track is filled with those little "hooks" that are not easily forgotten. One listen to this album and I guarantee that you will be singing along on the next play.

Track number 3, “From The Turn of a Card” (3:47), is another example of a piece of music littered with “hooks”, whether they be a repetitive lyric line or a little theme from the guitar or keyboard. It may be only 3:47 minutes in length, but it is a very enjoyable experience.

From A Stage has 15 live tracks with a total playing time of just over 68 min (68:06), with track 8, “Dodo’s Dream”, the longest at 8:09 min and track 4, “Glimmer of Light”, the shortest at 3:11 min.

Track number 14 from this album is one of the tracks from Ravens and Lullabies, “Ravens Will Fly Away” (4:51) and starts with some superb acoustic guitar from Gordon, soon to be joined by the voice of Paul Manzi. This is a very melodic track which has Oliver providing an “orchestral accompaniment” as the track approaches the four-minute mark and then flows onwards to the finale. 

The final track on the album is “Heartsong” (4:21) which comes from the album Perilous Journey by Gordon released in 1977 and is an excellent instrumental highlighting the musical skills of both Oliver and Gordon and is a fitting finale to the live album and indeed the Collaborations box set.

The Collaborations box set is a very good package, bringing together the musical skills of Oliver and Steve, Oliver and Gordon and a live Giltrap/Wakeman band retrospective. I will admit to enjoying the smooth melodic music produced across all 3 albums and suggest that people grab a listen to this release as it might well surprise people. 

Jim “The Ancient One” Lawson

May 1,2022

Track Listing

The 3 Ages of Magick:

1. Ages Of Magick

2. Mind Over Matter

3. The Forgotten King

4. The Storyteller

5. The Whales Last Dance

6. Time Between Times

7. Flight Of The Condor

8. Lutey And The Mermaid

9. Standing Stones

10. The Enchanter

11. The Healer

12. Through The Eyes Of A Child

13. Hy Breasail

14. Hit 'n Myth

15. The Faerie Ring

16. Dream Weaver - (The Storyteller Demo)

Ravens & Lullabies:

1. Moneyfacturing

2. Fiona's Smile

3. From the Turn of a Card

4. LJW

5. Maybe Tomorrow

6. Wherever There Was Beauty

7. Is This the Last Song I Write?

8. A Mayfair Kiss

9. Anyone Can Fly

10. A Perfect Day

11. Credit Carnival

12. One For Billie

13. Ravens Will Fly Away

Bonus tracks

14. Praeludium (from the Well Tempered Clavier)

15. The Forgotten King

16. Roots

17. The Wedding Approaches (Instrumental version)

From a Stage:

1. Nature's Way

2. Wherever There Was Beauty 

3. Elizabethan Pirates

4. Glimmer of Light

5. Isabella's Wedding

6. Maybe Tomorrow

7. If You're Leaving

8. Dodo's Dream

9. Picture of a Lady

10. Anyone Can Fly

11. Lutey and the Mermaid

12. Roots

13. Mother's Ruin

14. Ravens Will Fly Away

15. Heartsong

Symphonic Prog Review: The Flower Kings-By Royal Decree

Release Date: March 4^th 2022 (2CD, 3LP + 2CD and Digital)

Label: Inside Out Music

Website

The Flower Kings came into being in 1994 in Uppsala, Sweden, and apart from a 4- year hiatus from 2008 to 2012, they have played and recorded albums for over 20 years. The band have released 15 studio albums, from the debut in 1995, Back in The World of Adventure up to 2022, By Royal Decree, which is the album under review.

The band on this recent release had a total of 7 members, plus 4 guests. The band are Roine Stolt (vocals, guitar, ukulele, additional keyboards and orchestration), Hasse Froberg (vocals, 12 string guitar), Zach Kamins (organ, piano, synths and orchestration), Michael Stolt (bass, Moog Taurus and backing vocals), Jonas Reingold (fretted and fretless basses), Mirrko Demaio (drums and percussion) and Hasse Bruniusson (acoustic and electronic percussion).

By Royal Decree is a 2 CD release with a total playing time of just over 94 minutes and 18 tracks, 9 on each of the albums. The longest track on offer is found on disc 1, track 3 "Blinded" running for 7:52 minutes and the shortest track is to be found on disc 2, track 8, “Shrine” clocking in at 1:11 minutes.

For over 25 years now, The Flower Kings have been a constant in the world of modern prog but have retained the influence of the classic prog from the 70s, ensuring they produce music that appeals to prog fans globally.

The opening track, “The Great Pretender (6:59) is a perfect example of what The Flower Kings do very well. The basis of the sound is simple, drums, bass and guitar with a healthy scattering of organ, piano, Mellotron and Moog synths and the 2-pronged vocal attack provided by Roine and Hasse Froberg. The track is instantly recognizable as The Flower Kings, with the power of the bass and drums, the keyboards always there or thereabouts and the guitars adding just the right riffs at the right times. There are hooks throughout this opening track, which, in my opinion, is a superb introduction to the rest of the release.

Staying with disc 1, track 4, “A Million Stars Above” (7:19) moves to the ballad style of The Flower Kings and seems to be a plea for love, with its warm melodic style topped by the addition of a Roine Stolt ultra-smooth guitar solo which he throws into the mix with such ease. This track is a great example of the quieter side of The Flower Kings.

Still, on the first disc, Track 8, "Peacocks on Parade" (5:22) shifts the emphasis away from the vocals, i.e., it is an instrumental to all intents and purposes, which highlights the superb keyboard work of Zach Kamins above the guitar of Roine Stolt. This is another good example of the different facets shown by The Flower Kings.

By Royal Decree is an album that improves each time it is played as the hooks latch on inside the listeners’ heads. Double albums can sometimes be criticized for “filler” tracks and comments such as, “if only they had missed off the album, tracks X, Y and Z they would have made a killer single album”. The Flower Kings new album appears to have sidestepped these thoughts and while it is true there are no epic-length tracks as many previous albums have included, the band have made an extremely listenable, good album. I will concede that By Royal Decree is not the best Flower Kings album I have heard but I will never sit on the fence and heap praise on any release that falls below the levels I would expect from a particular band.

By Royal Decree is a great album, perhaps not quite deserving the use of stunning or superb, but these 18 tracks showcase a band that knows what they are good at, and I would ask people to give By Royal Decree a few listens, let it settle into your head, and I am sure many listeners will find a space for this album on their CD shelves.

Jim “The Ancient One” Lawson
April 10, 2022

Tracks :                       
CD 1 (52:19)
1. The Great Pretender (6:59)
2. World Gone Crazy (5:07)
3. Blinded (7:52)
4. A Million Stars (7:20)
5. The Soldier (5:26)
6. The Darkness in You (5:17)
7. We Can Make It Work (2:53)
8. Peacock on Parade (5:22)
9. Revolution (6:03)

CD 2 (41:48)
1. Time the Great Healer (6:17)
2. Letter (2:26)
3. Evolution (4:50)
4. Silent Ways (5:04)
5. Moth (4:41)
6. The Big Funk (4:44)
7. Open Your Heart (5:20)
8. Shrine (1:11)
9. Funeral Pyres (7:15)