Prog Rock Review: King Crimson-In the Court of the Crimson King 50th Anniversary Reissue

Release Date: October 25, 2019

Label:  Panegyric

Website
  

The beauty of the current wave of 50th Anniversary box set releases is that they are entering the golden age of modern rock music— the 1970's. If In the Court of the Crimson King foretells a string of influential 50th Anniversary reissues to follow, music fans have cause for celebration. 

In 1969, there was the crisp, airy resonance of vinyl. In the 1980s, Compact Discs sucked out all the air and antisepticised the sound. In the late 1990s, clarity and depth were eliminated altogether through compression to fit on portable digital devices and streaming services. Only recently have we begun to move in the opposite direction. More storage and bandwidth mean larger digital files with "less loss" and high-quality sound has come full-circle and is attainable once again. Herein lies the opportunity to bring these 50th Anniversary reissues back to life by leveraging modern technology to restore the sound to its organic, multi-dimensional form.

This Blu-Ray disc in this collection does just that, featuring all-new 5.1 & stereo mixes by Steven Wilson, approved by Robert Fripp in 24/96 resolution. Wilson not only remixed the original album; he also remixed much of the bonus material that he had mixed initially in 2009. This 4-disk set includes 3 CDs of the original remixed album by Steven Wilson plus instrumental versions, an expanded edition of the alternate album from the Blue-Ray, the original master edition of the 1969 mix, plus additional tracks. Suffice to say, the sound will overtake you and force you to surrender to its majesty.  

I distinctly remember the first time I heard this album. I bought it from a used record store based solely on the bizarre artwork of the Schizoid Man himself, which resembles a modern-day Edvard Munch Scream. On a warm spring day on the porch of my college apartment, I poured myself some Carlo Rossi wine from a jug, scraped enough resin for a decent bong-hit, dropped the needle, and surrendered. "Said the straight man to the late man, where have you been?" I was indeed the late man who had "been here and there and in-between." The album went immediately into heavy rotation and to this day, I can't listen to this seminal masterpiece without thinking back to that afternoon.

To think that In the Court of the Crimson King was King Crimson's debut album boggles the mind. Typically, bands need a few throwaways before finding their identity. King Crimson came out of the gates with unadulterated rawness and a sound much like truth, which hadn't been spoken very loudly until then. Not only did the music illuminate the chaos of the times, so did the lyrics. 1969 is when the walls of establishment crumbled at the hands of the counter-culture, songs such as "21st Century Schizoid Man" conveyed the angst of the dissociative and marginalized youth of the time. Images of burning politicians and starving children shed light on the mental and physical destruction of the Vietnam War and deepened the divide between generations.

Standout tracks include the original studio instrumental take of "21st Century Schizoid Man," which has been completely remixed and re-imagined by David Singleton. It adds Greg Lake vocals from later studio sessions as well as Saxophone and guitar overdubs, creating a juggernaut of a song that infuses energy amidst bravado, leaving the listener's consciousness forever altered. The instrumental closing version of "The Court of the Crimson King" strips the vocals exposing deeper-layered intricacies of sound evoking an entirely different atmosphere.

The dissection and reverse-engineering of this masterpiece provide a bounty of tracks for King Crimson and progressive music fans to sink their teeth into. "Epitaph," for instance, appears in five different forms. The "Isolated vocal, 2019 mix" is the most provocative as it isolates Greg Lake's vocals for three minutes and forty-four seconds before elevating the instrumental tracks to carry the song to its dramatic, yet gloomy conclusion.

Over the years, the band's lineup has evolved with its sound. Their 2019 tour featured eight musicians, including three drummers. They remain highly influential, and their live shows have garnered the highest of accolades. This collection falls between the 40th Anniversary Series remixes a decade ago, the earlier 2019 remastered release, and the planned 2020 box set release (which will include all of this material). What it offers collectors and fans alike is a more affordable package of Steven Wilson's remixes plus rare bonus material. Most importantly, this thoughtfully mixed and packaged release serves as a 50th Anniversary tribute, a genuflection and a gift left at the altar in the Court of the Crimson King.

Tom Endyke - Prog Rock Music Talk Staff
December 21, 2019

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Tracks:
CD 1 - 2019 stereo & instrumental stereo Steven Wilson mixes
01. 21st Century Schizoid Man
02. I Talk to the Wind
03. Epitaph
04. Moonchild
05. The Court of the Crimson King
06. 21st Century Schizoid Man (Instrumental)
07. I Talk to the Wind (Instrumental)
08. Epitaph (Instrumental)
09. Moonchild (Instrumental)
10. The Court of the Crimson King (Instrumental)

CD 2 - Alternate album, expanded edition
01. Wind Session (2019 Stereo mix)
02. 21st Century Schizoid Man (Morgan Studios June 1969 take)
03. I Talk to the Wind (Alternative 2019 mix)
04. I Talk to the Wind (Duo version, full-length master, 2019 mix)
05. Epitaph (Isolated vocal, 2019 mix)
06. Epitaph (Alternate take, 2019 mix)
07. Moonchild (Take 1 2019 mix)
08. The Court of the Crimson King (June 1969 take, 2019 mix)
09. 21st Century Schizoid Man (Trio version, 2019 mix)
Mixed by Steven Wilson except 2 & 5, mixed by David Singleton

CD 3 - Original master edition, expanded
01. 21st Century Schizoid Man
02. I Talk to the Wind
03. Epitaph
04. Moonchild
05. The Court of the Crimson King
06. 21st Century Schizoid Man (Morgan Studios instrumental take, 1969)
07. I Talk to the Wind (Studio run through, 2019 mix)
08. Epitaph (Backing track, 2019 mix)
09. The Court of the Crimson King (Part 1, single a side)
10. The Court of the Crimson King (Part 2, single b side)

Blu-Ray
* 2019, 5.1 and stereo mixes by Steven Wilson in 24/96 resolution (for the first time)

* Original master edition of the 1969 album mix in 24/96 stereo.

* A complete alternate album comprising 2019 mixes by Steven Wilson including a much extended duo version of I Talk to The Wind, a June 19th version of ‘The Court of the Crimson King’ from the band’s final day at Morgan studios in June 1969, an isolated voice dominant version of ‘Epitaph’ & a version of ‘21st Century Schizoid Man’ which combines the Morgan studios instrumental with Greg Lake vocals from Wessex studios and August 2019 overdubs by Mel Collins & Jakko Jakszyk – the latter two mixed by David Singleton.

* A further album’s worth of additional material drawn from studio takes – much of it mixed by Steven Wilson & including extracts from the ‘wind session’ that produced the intro to 21CSM in stereo for the first time, the single a/b sides of the album title track drawn, for the first time since on disc, from the original master tapes & more are also included.

* The Blu-Ray is completed by a set of 2019 instrumental mixes and the surviving fragment of black & white footage from Hyde Park in 1969.

Progressive Jazz Review: Bill Bruford’s Earthworks-Heavenly Bodies – The Expanded Collection

Release Date: November 15, 2019

Labels: Summerfold Records via Cherry Red

Website

Not to offend anyone, but I am not the biggest fan of jazz music. I usually only put it on for background noise. I don’t like how there aren’t any lyrics, and I think it’s a chore to have to sit through jazz music. With that being said, I know how complicated it is to arrange and play a jazz piece. Based on the artwork alone, I would have no interest in this album. With an album title of Heavenly Bodies, combined with what looks to be a bad collage of different pictures as the art, this album seems like some kind of religious experience. Jazz gets a bad reputation for being the “boring old man” music. Unless I am listening to this genre of music live, I would have to agree with the statement. I like jazz that isn’t your typical jazz classic, so this album should be a good discovery for the person who is new to jazz, or never really liked it to begin with.

Now Bill Bruford and his band called “Earthworks” set out to create a style of jazz that pushes the boundaries of the genre. These incredibly talented musicians showcase their playing skills with complicated techniques and difficult-to-play progressions. The names of the songs are oddly specific, but I guess you get to have fun with them when they’re the only words on the track.

“Stromboli Kicks” is the first track on disc one. It sounds like something that could be released today, in 2019. The synth is very prominent in the intro and throughout. The rhythms and notes being played are complex, and I think you would appreciate everything happening if you know anything about music theory. Otherwise, it’s just a cool jazzy song that will make you feel like you’re traveling through space. The ending is an unexpected percussive section that then builds into a big production with multi-cultural elements.

“Up North” is a milder song from disc one. It has the classic jazz sound to it, with some extra added flair from the percussive instrument that sounds like a fork tapping on a glass jar. Halfway through the song, there seems to be a pick-up in rhythm/tempo, which changes the vibe of the song into something you could dance to. “Pigalle” is named after the French neighborhood. It’s the equivalent of naming a jazz song “New Orleans.”  I would say that this is a fitting title. The accordion is what gives it that French feel. I’m not sure if any production editing was done post-recording, but the intro is very intriguing in this song. Somewhere in the middle of listening to “Nerve,” I found the perfect description for the song. It sounds like something off of an older cartoon. For example, the episodes of Tom and Jerry, where the cartoon takes place in space, is the perfect example of what I feel from this song. The clipping and chirping sounds bring out that strong outer space element. Okay, now that I mentioned this cartoon, I can’t get the idea out of my head when listening to the album.

Moving to disc two, “Dewey Eyed Then Dancing” is a good holiday song. It is romantic and uplifting at the same time. It’s a song that any hopeless romantic would dream of dancing to under a lit-up pavilion at night. I could see this song being a soundtrack in a lot of Valentine's movies. I was curious to know what surprise sounded like, and I think that “The Sound Of Surprise” didn’t do it for me. There weren’t as many fun elements as I would have hoped for. Even listening through to the very end, I still was underwhelmed by the song. "Youth" takes me back to the '20s swing era. I feel like dancing during this track, and I could see it being a good track for a '20s themed New Year's Eve party. "Thud" is cluttered with a bunch of moving melody parts. It takes me to the hustle and bustle of New York City. This song is fresh, and the sax solo is not for the faint of heart. Compared to disc one, I would say that disc two was less interesting.

Now, this is an album that you can’t just search for on Spotify. The box set is 24 discs total and will cost $94 on Amazon. It breaks down the cost to less than $4 per disc. That’s an unbeatable deal for the band’s 20 years of work. I think this album is impressive because it puts a new spin on a somewhat boring genre. The holiday season will be here in a week, so take that gift money and get your hands on this album. Any musician would like this album set, and maybe it is just something that you put on in the background, but you’ll have hours of productivity-music with the set. As I said, I wouldn’t have listened to this album, if I wasn’t reviewing it, but I’m glad that I got the opportunity to hear all the greatness contained on it.

Lily Clark – Berklee College of Music Intern

December 14, 2019

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Tracks:
Disc 1:
01. Stromboli Kicks
02. Making A Song And Dance
03. Up North
04. Candles Still Flicker In Romania’s Dark
05. Pigalle
06. My Heart Declares A Holiday
07. Temple Of The Winds
08. Nerve
09. Gentle Persuasion
10. It Needn’t End In Tears
11. Libreville
12. Dancing On Frith Street
13. Bridge Of Inhibition

Disc 2:
01. No Truce With The Furies
02. Dewey Eyed Then Dancing
03. A Part And Yet Apart
04. Reveal Without A Pause
05. The Sound Of Surprise
06. White Knuckle Wedding
07. Youth
08. Rosa Ballerina
09. Thud
10. Blues For Little Joe
 

Book Review: The Ballad of Jethro Tull

Product Details

Title: The Ballad of Jethro Tull (Hardcover)

Release Date: November 15, 2019

Hardcover: 224 pages

Publisher: Rocket 88

Language: English

ISBN-10: 1910978426

ISBN-13: 978-1910978429

Product Dimensions: 9.7 x 1 x 11.3 inches

Website: https://jethrotullbook.com/

The iconic prog-rock band Jethro Tull is immortalized through their music. There are other ways to achieve that status if you have been around for over 50 years. One way is to provide your fan base with a lavishly bounded hardcover book covering the history of the band. 

We now have The Ballad of Jethro Tull. It is quite an overview from Ian Anderson the band’s originator and leader, and other members of the band over the years.

I had the opportunity to speak to Ian about the book but unfortunately, the audio for my podcast did not transfer over. It was a sad day for this music fan and lifetime JT fan. But such is life and I did retain what was said. What I garnered from our conversation was that Ian was approached by the folks at Rocket 88. It was not his idea nor was he thinking of such a project. 

It all turned out wonderfully as the book is a beautiful documentation of the band with some colorful commentary from Ian and the band members that were involved with the albums that were covered to the point when Ian cut his ties with band and went solo then subsequently got a lineup capable of covering all of the JT catalog and his solo projects. I was amongst the many that saw him and that band on the 2018 50th anniversary tour.

I have to say I have never received anything quite like this book covering a band. The quality of the cover and all the pages and photos are superb! And it is definitely worth the price of $50 on the book’s website. It is going for $70 on Amazon so the choice is yours depending on what shipping costs add up to. Now that is for the classic version. If you want to go with signature version at $350 and claim one of the 500 limited edition copies, Ian’s autograph, a 7” single created by Ian for the book’s title b/w “Marmion,” original art prints by cover illustrator Peter Klucik, all in a clamshell box, then go for it. But you better make your move now as I am sure it will sell out quite quickly. That is quite the gift to put under the tree for your Jethro Tull superfan. 

I had a lot of fun reading all the stories and viewing all the pictures. If you are a fan you will go through this book quickly compared to others you may have hanging around in a box somewhere collecting dust. I admit I am one of those people. If I find a book I have a great interest in like this one, then it is a complete joy taking in every visual and every word and varying viewpoints of all the different band members.

The Ballad of Jethro Tull is an up-close look inside one of the most successful band’s in the world. I think what is so incredible was how it all started and where it all went. It is an amazing story of determination, wit, and persistence getting to the top of the heap in the world of prog-rock and music in general. From the humblest beginnings to superstardom and multi-millionaires is always a great story!

Keith “MuzikMan” Hannaleck

December 3, 2019

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Prog Rock Review: 7-Time Will Tell

Release Date: September 27, 2019

Label: Starport Records

Website

When I started listening to 7 and their album Time Will Tell, my immediate thought was, this sounds like the early 80s Yes and Asia. That hit the nail on the head as the band was formed back then with all the songs written in that time frame. In that timeframe, I was in Japan and was asked if I wanted to go to Tokyo to see Asia. I declined my friend's offer. Looking back now I wish I went.

7 Is:
Bryan Timm - guitars, vocals
Randy Copus - lead vocals, keyboards
Scott Steele - bass
Michael Landino – drums

Music like this is retro and brings all the memories flooding back. If this had been released back then it could have competed with bands like Yes or Asia. Better late than never and as far as I am concerned because it is a joy to listen to. 

Four of the nine songs are over 5 minutes in length which is and was typical of the genre. These are classic sweeping tracks with fantastic vocals supported by strong guitar, rhythm section, and the all-important keyboards, for the finishing touch. I think even without the keyboards I would still tag it as prog rock.

There are simply no weak links in this recording however if I was pressed, my favorites would be “Time Will Tell,” “Chance of a Lifetime,” “The Knight” and “Go the Distance.” Every one of those tracks has good lyrics and a fantastic song structure with top musicianship. I like passages like “You can go the distance if you don’t let your heart go blind.” The wordplay is very clever and meaningful.

Starting the album with an ear-catching title track is a very good idea and, in this case, it gets your attention. And just as important is to close out the album strong and they do it with excellence on “The Knight.” The soaring vocals provided by Randy Copus, pulsating bass, in time drums and driving keyboards, make this a very catchy tune that you want to hear again once it is over.

It may sound outdated for 2019 because it was meant for the 80s however it remains a fact that this music is complex yet always radio-ready. That special connection to prog rock from legendary performers like Yes, ELP and Asia give this a real chance for a wide listening base. Many people still listen to this music regularly, making it a viable release. I would love to hear this on vinyl LP, it would be amazing.

I have provided the “vintage” version of the “Time Will Tell” video along with the stream from Spotify for interested listeners. If you like any of the aforementioned bands you will love this music!

Keith “MuzikMan” Hannaleck
November 24, 2019

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Tracks: 
1.  Time Will Tell (5:45)
2. On the Bridge (4:05)
3. Are You Ready (6:36)
4. In Time (3:44)
5. Transitions (2:30)
6. Let It Go (4:51)
7. Chance of a Lifetime (4:19)
8. Go the Distance (5:41)
9. The Knight (5:16)
 

Progressive Metal Review: Sonus Corona-Time Is Not on Your Side

Release Date: November 22, 2019

Labels: Inverse Records

Website

It’s always a pleasure to review an album before it releases. I was not familiar with Sonus Corona before this review, so it will still be fairly unbiased. Time Is Not On Your Side releases tomorrow, which is exactly the kind of title I would expect from a metal band. From what I gathered off the internet, the band formed in 2015. The six members are from Finland and have been turning the music industry upside down these past few years.

“Induction” grabs my attention with its eerie intro and ominous synths. It takes a minute, but it eventually moves into the metal sound that I was expecting. You get two for one, considering this is a five-minute song. The ending is a little abrupt, but I also didn’t mind it. The lead vocals are a nice surprise. There are some good harmonies, and for the most part, they are pretty clean for the metal genre.

The next song pretty much has every real and synthetic instrument that you could imagine on it. “Unreal” is a cool track. I can’t make out what the lyrics are, but I can appreciate the different vocal stylings that the singer jumps between. It almost has a Michael Bublé feel during the verses, but then it jumps to clean spoken vocals. I think the singer just wanted to show off his talents. “Moment Of Reckoning” seems like it has a mid-song crisis, where it has fun, yet out of place, 80’s space-aged solos spread throughout. It seems that there isn’t much that this band can’t come up with, but I also think that it makes the album a little overwhelming for people who have yet to get acclimated to the band.

“Oblivion” makes me think of heaven or something like that. Maybe it’s the lyrics, or the title, or the fact that the three-part-harmonies sound God-like. There is a ton of reverb on the vocals, which probably explains why they sound so heavenly. “Illusions” is one of the shortest songs on the album, even though it is the same length as the average song on the radio. I would say it is a soft rock song since there aren’t even any electric instruments on it. It’s a nice little intermission, before getting back to your regularly scheduled metal on the second part of the album.

This band has its own thing going on, and I would even say they have created their own sub-category of metal. I would call it like a progressive-galactic metal, or a tolerable-for-hipsters metal. Overall, I like the innovation that Sonus Corona brings to the space. Their strange combination of chords and instrumental pairings keeps the listener interested in what is to come next. If you like quirky bands, or you’re looking for something different from most of the music on the radio, check out Sonus Corona. Time Is Not On Your Side will be out by the time that this review posts, so go ahead and show them some love by picking up a copy.

Lily Clark – Berklee College of Music Intern
November 21, 2019

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Tracks:
01. Induction              
02. Unreal          
03. The Refuge  
04. Swing Of Sanity              
05. Oblivion              
06. Time Is Not On Your Side      
07. Illusions                  
08. Moment Of Reckoning          
09. To The Ground      
10. Fading          
11. Here

Progressive Rock Review: Mostly Autumn-White Rainbow

Release Date: March 1, 2019

Label:  Mostly Autumn Records

Website

The artwork on Mostly Autumn's latest offering, White Rainbow, depicts a mirrored sunrise over a snowy mountain encompassed by a white rainbow.  The image is apt, as the album reflects genuinely on the loss of their former and longtime guitarist Liam Davison, while at the same time, pointing the way to new beginnings.  

After 12 studio albums, most bands find a groove that works and ride in comfort within it.  Mostly Autumn's 13th album finds the band breaking out of any supposed rut and venturing forth to produce a modern-day progressive folk-rock masterwork.

Each track on White Rainbowis a story unto itself.  Filled with atmosphere, conflict, and triumph, crescendos rise at the point of epiphany and fall upon the listener with beauty and grace.  At seventy-nine minutes, Mostly Autumn feels in a sense like a movie soundtrack supporting a majestic drama.  Celtic folk undertones place the listener in the mind of proud warriors riding through the countryside on a quest to rescue their captured Queen. Valhalla, be damned. 

The slow atmospheric intros are joined by soaring vocal harmony and accentuated by torrents of accomplished guitar work.  At the point when the listener feels the song has reached its peak, Mostly Autumn rises to another level. Therein lies the beauty of blending folk sensibilities with progressive stylings. The songs don't have to end where one thinks they might.  White Rainbow leads the listener into a false sense of calm and security and then hit you with a guitar-driven onslaught leaving you weakened, yet exhilarated. 

The energy behind this orchestration is Olivia Sparnenn's voice, which packs the one-two punch of power and vulnerability. Think of the dramatic soprano of Ann Wilson intermingled with the tenderness of (dare I say) Olivia Newton-John. Ms. Sparnenn's vocals layered upon such vibrant musicianship put this listener in the mind of Sandy Denny on Led Zeppelin's Battle of Evermore. 

All in all, Mostly Autumn’s White Rainbow is a polished work whose whole is greater than the sum of its parts.  Listen to it straight through, and you'll realize the depth and breadth of its brilliance.  This is a progressive rock treasure you'll be thrilled you discovered and a musical dream from which you won't want to wake. 

Key Tracks Include: “Burn”, “Run for the Sun”, “Western Skies”, “Into the Stars”, “The Undertow”

Tom Endyke - MuzikMan.net Staff

November 14, 2019

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Tracks:
01.  Procession
02.  Viking Funeral
03.  Burn
04.  Run for the Sun
05.  Western Skies
06.  Into the Stars
07.  Up
08.  The Undertow
09.  Gone
10.  White Rainbow
11.  Young

Prog Rock Review: District 97-Screens

Release Date:  October 4, 2019

Label:  MindScan Records

Website

The Chicago-based prog-rock quintet, District 97, is back with a new studio release, Screens. Both the band and their sound have evolved through several incarnations since their inception in 2006. The band started as an instrumental rock band until changing direction in 2007 when American Idol finalist, Leslie Hunt, joined as vocalist. A few years later, a renowned Chicago Symphony Orchestra cellist, Katinka Kleijn joined the band as well. Ms. Hunt’s vocals capture the angst of society’s marginalized. Her vocals, combined with the unabashed musicianship, form a curious, yet absorbing the sonic experience.

Screens pick up where the band’s previous three studio albums leave off, with a more evolved and accessible sound. Therein lies one challenge I faced as a listener, blending the stylistic, almost pop vocals into what feels like an unnatural prog-rock habitat. As a result, I found it hard to surrender completely. Just as the Zappa-esque prog/jazz/fusion creativity takes me in one direction, the glossy vocals take over and pull me in another.  

Songs like “Bread & Yarn,” where vocals are more subdued and democratized, stand out. “ShapeShifter” and “Ghost Girl” come closer to vocal/musical synergy as Hunt sounds a bit less polished and produced. This suits the twists and turns of the undercurrent well. Vocals aside, some masterful performances are starting with Jim Tashjian’s jazz-infused guitar licks where he takes the listener on short sprees away from the rhythm and masterfully returns them to the start. Founder Jonathan Schang’s drumming is clever, accomplished, and brings forth rhythmic illusions in the vein of Gavin Harrison of King Crimson and Porcupine Tree. 

While the blend of pop and heavy prog may not be everyone’s cup of tea, one can tell by the skill of the players, the shifting tempos, and the spaces left between the notes that District 97 would be an engaging live band. The One More Red Night album released in 2014 confirms the assertion. 

Overall, District 97 embodies the Prog rock principals of pushing the envelope and opening the listener’s mind to new sonic possibilities. This is a modern progressive sound that melds elements not typically melded together. While Screens shines in places, this listener had to work to find them and did not become as absorbed as he had hoped.  

Tom Endyke - MuzikMan.net Staff

November 7, 2019

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Tracks:
1.  Forest Fire
2.  Sheep
3.  Sea I Provide
4.  Bread and Yarn
5.  Trigger
6.  After Orbit Mission
7.  Shapeshifter
8.  Blueprint
9.  Ghost Girl
 

Progressive Rock Review: RPWL-Live from Outer Space

Release Date:  November 15, 2019

Label:  Gentle Art of Music

Website

German sci-fi prog rockers, RPWL is back with a collection of 14 live tracks that will lift you, launch you into hyperspace, and land you safely in your living room, inspired by the journey. The best live albums serve to showcase a band’s greatest hits stripped of any studio production varnish. This brings the music closer to reality and closer to the feeling that summoned the listener in the first place. Live from Outer Space is no exception. 

Since their modest beginnings as a Pink Floyd cover band in the late ’80s, RPWL’s sound has evolved into a sophisticated, accessible progressive sound. I wouldn’t say the influence is Pink Floyd as a whole, but more specifically, David Gilmour. Yogi Lang’s subtle yet menacing voice is similar to Gilmour’s as it seems to emerge with an enlightened authority, like a God summoning his followers from on high. Lang guides his passengers through the wonders of the universe, prophesizing on what might live beyond our understanding. Think of Pink Floyd’s post-Roger Waters years with a deep-space sci-fi undercurrent. 

Live from Outer Space marks their seventh live album compared to ten studio albums. RPWL is proud of their live work, offering reinvented versions only the unrestrained freedom of a live performance can bring forth. 

Live performances also bring forth the opportunity to craft setlists that flow together cohesively. RPWL weave in the narration, which intertwines the songs into a storyline of sorts. Admittedly, during “News from Outer Space,” I had to fight off the image from Spinal Tap of Nigel Tufnel waxing poetically about the little children of Stonehenge as a two-foot-high prop is lowered onto the stage. This is hardly RPWL’s fault as Spinal Tap ruined any attempt for legitimate bands of the future to attempt any dramatic narration on stage. 

Where others zig and zag, RPWL swerves and glides through the infinite vastness of space and time. A smoother ride than some of prog rock’s jagged journeys, RPWL delivers to their fans new takes on old favorites and provides new listeners an accessible entry point into prog rock. So, set your controls for the heart of the sun, RPWL will take you on a satisfying ride you’ll want to take again and again.  

Key Tracks Include: “Not Our Place to Be”, “Roses”, “Hole in the Sky”, “Sleep”

Tom Endyke - MuzikMan.net Staff

October 25, 2019

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Tracks:
CD1
1.  A New World
2.  Welcome to the Freak Show
3.  Light of the World
4.  Not Our Place to Be
5.  What I Really Need
6.  Give Birth to the Sun
7.  Far Away from Home

CD2
1.  Hole in the Sky
2.  Sleep
3.  Masters of War
4.  Trying to Kiss the Sun
5.  Roses
6.  Unchain the Earth
 

Podcast: Interview With Mark Mangold of American Tears

Concert Review: Living The Dream With Judas Priest and Uriah Heep At The Palace Theater In Albany, NY

Living The Dream With Judas Priest and Uriah Heep At The Palace Theater In Albany, NY

MAY 18, 2019

 Pictures Provided By Keith “MuzikMan” Hannaleck’s Cellphone

http://www.judaspriest.com/

http://www.uriah-heep.com/

This was a double bill that I have waited for months to see. This was also one of many times that I have seen Judas Priest however the first time I had the opportunity to see Uriah Heep.  I have been a fan of Uriah Heep since the 70s and have all the early studio releases along with a few when lead singer Bernie Shaw came into the picture. In addition to that, I had just picked up their most recent studio effort and 25th mind you, titled Living The Dream.  The album is excellent and their strongest in quite some time. I think they decided to reach back and take some of the elements that made them who they are along with more modern technologies and recording tools to come up with a real winner. And yes, it rocks, making them the perfect opening act for Judas Priest.

Mick Box started the band in 1970, bless his soul. He is the only surviving original member left, and it’s a good thing because they are not UH without him. He looks great with his long white hair and energetic guitar playing, which was from start to finish. He captured the audience immediately and that grew as they made their way through the new and the classic tracks.

Bernie Shaw mentioned how hard it was to go through 50 years of music in one hour but they did a fine job. I would love to see a full-length show with them at some point. I brought one of my friends with me that loves metal and has been following both bands forever like myself and you could not wipe the smile off his face all night, it was a beautiful thing to witness and just as satisfying as the music itself from my own perspective. 

Uriah Heep which is a fictional character created by Charles Dickens in his novel David Copperfield. Heep is one of the main antagonists of the novel. His character is notable for his cloying humility, obsequiousness, and insincerity, making frequent references to his own " 'umbleness." So how many of you UH fans remember how that relates to an album title? If you guessed Very 'Eavy... Very 'Umble you are correct! There was a time when I had no clue how all this tied into the name of the band and that book.

While the visit was short with Uriah Heep, it was long enough to know that they are still alive and well and rockin’. It gave me the incentive to catch them live again. I really appreciate how they performed the early rockers “Gypsy,” “Stealin’” and “Look At Yourself.” 

So, the standard break started and they prepared the stage for the headliner that everyone was clamoring for. Everyone was chanting “Priest, Priest, Priest.”  That is a tradition at the concerts as all fans of the band know. As Rob Halford acknowledged, heavy metal fans and the overall community are the most dedicated group and they could not do what they do without us. It goes both ways Rob and we love the fact that you are still coming out to bring all that great music to us!

The opening song was “Necromancer” from their latest album Firepower. Rob came out in a new outfit for the number. I just had to get a pic of that and include it with this review. It was a great way to kick things off and the audience was pumped and ready for everything that they were going to dish out. I would say this crowd is very enthusiastic and partiers, I being enthusiastic minus all the partying. There was a couple behind me that polished of their share of alcoholic beverages but were still well behaved even though one of them spilled some of their drink on my head and left an empty cup in my seat. I know it sounds comical actually and that is exactly how I took it and carried on with a smile and enjoyed the entire spirit of the evening. 

Priest covered some ground, going through their early career to promoting the newest release with some cool videos as a backdrop to their juggernaut two-man tag team guitar players of Richie Faulkner and  Andy Sneap. And it goes without saying that the rhythm section of Ian Hill (bass) and Scott Travis (drums) is the foundation of their explosive sound.  The two six-string slingers have turned into admirable replacements for the legendary one-two punch of Glen Tipton and K.K. Downing.  They are great players and have assimilated the Priest cannon with dedication and fire that has kept things moving right along so we all can still enjoy their studio recordings and live shows.

They saved all the fan favorites for their encore which included, "Hell Bent for Leather," "Breaking the Law" and "Living After Midnight."

With another memorable night in the books, it makes me feel blessed to be alive and able to have the privilege of attending these great live events and provide coverage. Another big thanks to my long-time partners at Chipster PR for providing me the great seats to enjoy last night to the fullest. I was fully drenched in sweat and voicing my approval along with three thousand some fans in attendance. And that enthusiasm continued into the streets after, people were buzzing and chanting all over again.

If you’re looking for a dream come true double header metal concert you need to catch this show!

Keith “MuzikMan” Hannaleck

May 19, 2019

Setlist:

Uriah Heep:

Grazed by Heaven

Take Away My Soul

Stealin'

Gypsy

Look at Yourself

Easy Livin'

Judas Priest:

Necromancer Intro

Necromancer

Heading Out to the Highway

(Take These) Chains

The Sentinel

Spectre

Judas Rising

Out in the Cold

Traitors Gate

Starbreaker

Steeler

Halls of Valhalla

Prelude

Tyrant

No Surrender

Victim of Changes

All Guns Blazing

Encore:

Hell Bent for Leather

Breaking the Law

Living After Midnight