Progressive Metal Vinyl Review: Dream Theater-Parasomnia

Release Date: February 7, 2025

Label: Inside Out Music

Website

Parasomnias are a category of sleep disorders involving abnormal movements, behaviors, emotions, perceptions, and dreams that occur while falling asleep, sleeping, between sleep stages, or during arousal from sleep. They are dissociated sleep states that are partial arousals during the transitions between wakefulness, NREM sleep, and REM sleep and their combinations.

John Petrucci (Guitar), Mike Portnoy (drums), John Myung (Bass), James LaBrie (vocals), and Jordan Rudess (keyboards) are not just a supergroup but a tightly knit unit. Their other projects have also left a significant mark, but their collective synergy truly shines.

 

When Dream Theater announced their latest release, Parasomnia, centered around the concept of dreams, and with the return of founding member and drummer Mike Portnoy, the excitement was palpable. Fans and critics alike were buzzing with anticipation.

 

Parasomnia will quickly bring thoughts of the heaviness of Train of Thought, making many fans smile and enjoy this record as much as I did.

 

I decided to pre-order the ultra-clear 2LP set, a special edition that offers a unique visual and auditory experience, and the box set, which includes exclusive bonus content. However, I will focus only on the 2LP set for this review.

 

Reflecting on the illustrious careers of these incredibly talented men, it's not just their music that boggles the mind but also their influence on the genre. From their documented covers of influences such as Iron Maiden, Metallica, Pink Floyd, and more, they've managed to carve a unique progressive metal sound that they alone command.

 

Parasomnia is a progressive metal classic, and Dream Theater has gone above and beyond to satisfy its fans again. They always do; however, in this case, they have recorded one of their finest albums to date. The album's dark subject matter, which delves into the complexities of the human mind and the experience of parasomnias, is reflected in the associated artwork and videos, creating a multimedia journey that will be remembered as some of their best work.

 

Dream One begins the dream state with the clock ticking on "In The Arms Of Morpheus," which is appropriate in many ways. Soft keys play as the guitar starts slowly and then goes into a full-on explosion of powerful riffs. Then, it all kicks in as you are listening. It grabs you, and then you never let go. You are part of the story now.

 

Things are now moving along at full speed when the keyboards make their grand entrance. The tempo changes suddenly (which happens frequently in every track) with sharp lead guitar licks, the classic Petrucci sound we all love and recognize. You can hear Portnoy's prolific playing behind the drum kit (welcome back, Mike!). Then, it all comes to a halt, some quiet, then another change. As you are listening carefully, all these tracks segue into each other.  

 

The first track is a 5:22 blockbuster before "Night Terror" kicks in, and the instrumental intro is as impressive as the first track, which is a commonality in nearly every track. A strong flow of powerful riffing continues through this track as well. The bass and drums follow with that intensity as the keys lend a bit of horror atmosphere to accentuate the words and make them realistic as you continue to live with the characters being created.

 

Dream Two starts with "A Broken Man" melting into "Dead Asleep" as the jarring instrumental intro gets things going in the right direction, setting it up for a frenetic pace of tempo changes. The guitar licks sound raw and edgy as the words are spoken, running for a quick minute. As the changes begin, James comes in with his vocals, which are as strong as ever.  There is some good rhythmic playing on the drums and bass and a nice touch from the keys for extra atmosphere. Their pace is incredibly rapid but works well with the lyrical content. A lovely solo on keys goes on for a while, then a switch over to the classic Hammond B3 sound and yet another change in sound. Within minutes, Jordan takes the listener through three keyboard sounds and styles. Then, a tasteful solo from Petrucci and back to the more brutal sound as things come full circle. The ending is excellent, with a whooshing sound, and then on to the next track.

 

A quiet start with soft guitar and violin sounds begins, and then boom! The hammer falls, and the audio jumps up several notches with a wailing guitar, pounding bass, and drums. An incredible sound from the guitar is happening (use of a flange, I would think), then a cutting lead, back to the primary chords, and a rolling keyboard to create more excitement. The vocals begin after the extensive instrumental blowout, and the drums come through well. The mix has been excellent, and nobody's instrument gets put on the backburner. The speedy, machine gun-like drum rolls just blew me away consistently throughout. The keys form a layer that floats over all the electricity being generated from the other instruments. James continues exceptionally as the powerful riffing on guitar and keys takes shape. The story continues to build and become cemented in your mind with the outright power and picturesque musical display.

 

Dream Three includes "Midnight Messiah," "Are We Dreaming?" and "Bend the Clock" in succession. You must pay close attention when one track moves on to the next; it's seamless and natural.

 

A soft introduction begins on this side of the vinyl as the dialogue enters and leaves quickly. Then, of course, there is a dramatic change in the tempo of the sound, which consistently provides the shock value and keeps the storyline moving in the right direction. This is one of the best tracks, with some melodic yet hard rocking to stay in the prog metal lane. The vocals, again, are superb. It is hard-driving music, at times moving at the speed of light. Some cool synth sounds arrive, and the rhythm section is chugging along like a well-oiled machine.  

 

Prog metal is on fire, moving from track to track with everything you would come to expect from this band. Jordan cuts loose, backed by Petrucci's rapid-fire licks. At the same time, Portnoy and Myung stay with the pace and simultaneously create the drive to this relentless musical machine—excellent work from all positions. The recipe for madness is completed as another sequence comes your way.

 

A whispering is going on as the track begins with some sweet notes on the guitar as the vocals start. James is skilled in singing a ballad or bringing his range up several notches when called upon to drive home the lyrics. There is some melodicism, and kicking it down a few levels allows listeners to hear the tasteful music they can provide. Some nice guitar work follows as all the moving parts are synced up and merging beautifully. The extended guitar solo takes the spotlight towards the end. It is flawless and precise, then a fade out to end the side.

 

Dream Four is the entire side of the vinyl, with the epic "The Shadow Man Incident" clocking in at 19:32. Dream Theater is firing on all cylinders like a sleek, aerodynamic racing car crossing the finish line. And what a way to finish.

 

The music box plays the lullaby, but don't be fooled. All hell breaks loose, which you anticipate. A dark and demonic guitar sound arrives for this grand finale as the epic drums and keys begin to play, setting the stage for all the drama and fear. Directly after a sudden shift into a faster tempo, all instruments are like loaded guns firing off as the following change comes to a more defined guitar sound in between some keystrokes. Then, there is another complete slowdown as the vocals begin.

 

The music lures the character to a frozen, terrified state. The shadow man is 7 feet tall, staring at you. You hear the disguised devilish voice say, "Embrace the shadow."  It becomes more than a terrifying dream. The music goes to the next level of speed as the storyline develops. The pace continues as James sings, "Endless nights."  The easy-to-understand words are helpful as the music moves and changes, like the second hand on a watch. With that, everything becomes more lifelike. The musical transitions to the lyrics are both terrifying and beautiful simultaneously.

 

The final session is extraordinary, as the keys sound like a classical drama unfolding, and the rest of the band pushes their way through with determination and absolute authority. Between all of that, you have some tremendous solo guitar work followed by every instrument in excellent form from start to finish. As it winds down with a classic keyboard run to end the show, James finishes the story in his way, making it another Dream Theater classic that will become a live performance favorite.

 

There are so many moving parts; how this band gets better with time is impressive. When you think they have completed their best work, they take it all to the next level. And that is precisely what has made them successful and the best at their craft.

 

Parasomnia gets an A+ as a highly inspired and creative recording that the progressive metal community will appreciate.

Keith “MuzikMan” Hannaleck-PMR Reviews Founder

March 1, 2025

Tracks

Dream One:

A1. In The Arms Of Morpheus-5:22

A2. Night Terror-9:55

Dream Two:

B1. A Broken Man-8:30

B2. Dead Asleep-11:06

Dream Three:

C1. Midnight Messiah-7:58

C2. Are We Dreaming?-1:28

C3. Bend the Clock-7:24

Dream Four:

D1-The Shadow Man Incident-19:32

Progressive Rock-Ambient Review: Perpetual Motion Machines (Music for a Film)

Days Between Station's latest offering, Perpetual Motion Machines (Music for a Film), lives up to its title with its unique blend of ambient and progressive music. The ever-shifting synth, piano, guitars, bass, and percussion elements within each track give it a distinct progressive sound, making it a must-listen for music enthusiasts.

Oscar Fuentes Bills and Sepand Samzadeh, the creative minds behind this music, draw inspiration from Steve Erikson's novel to find the band’s name. Their ability to see imagination and inspiration through literature, a characteristic of prog-rock bands, is truly inspiring.

While striking and different, the cover art may not be immediately understandable. This element of surprise and intrigue adds another layer of engagement to the album.

"Seeds" starts with an orchestral sound, then the piano forms an ambient-like layer. The synth added is quite different, and we're off and running!

"Stones Faces" begins with rhythmic piano keys and a synth, providing a dreamy sequence. Then, it starts to pick up in pace with the drums added. A guitar's subtlety makes its presence known. Then, there is another shift in sound with a more prominent guitar and bass; the keys also add the bass sound. Suddenly, it all stops, and the track is over.

"Ascend" has an inviting piano introduction, as the keys melt into the air most pleasingly. The music gets higher in volume and sounds classical. It is theatrical and colored with emotion, and the piano is always so good at conveying that to a listener. It is solo piano at its best.

"UnEarth" continues with the piano's continuity and a guitar that sounds like a sitar is added. The piano is once again taking the lead, sounding like a continuation of the last track's premise, and there are interesting guitar sounds as well.

Intermission 4 is a quickie at 54 seconds and sounds very Tangerine Dream-like!

Side B begins with "Waltz for the Dead," which sounds like the title and runs for under two minutes. 

It sounds like an entirely different album now, with an accordion sound and a carnival atmosphere. The bass is steady as wordless vocals come in, sounding like a lady's choir. Drums take prominence suddenly, and things get more interesting. You could compare it to a New Orleans funeral march without the horns.

"Proof Of Life" starts with a continuous synth sound on top of one another, like a focus point for meditation. It is very purposeful, and the guitar is off in the background, but you know it's there. The drums and bass pick up the speed, and the keys follow. A noticeable guitar enters with some stinging Pink Floyd-like riffs. Wordless vocals towards the end close it out. This is an outstanding track and my favorite—reminding me of ambient new age and contemporary instrumentals.

"Paradigm Lost" has a pulsating synth and rhythms with some guitar effects. The piano provides a nice touch during the track run. 

"Being" seamlessly is segued from the previous track, giving the listener an anthology of sounds and some lyrics for the first time. The vocals are understated, and the music sometimes overtakes them, making them difficult to understand. However, the music is fabulous as the drums kick in and the track's pace steps up. The bass sounds more potent than ever, and then an echoing jangly guitar adds to the mix—yet another aspect that was not present before.

It all slows down as the piano takes the lead, and the drums are present yet subtle. The tone of the vocals gets in sync with the instrumentation. Then, a strong lead guitar arrives with the best solo on the album. It lasts for a few minutes, and it's terrific. Very tasteful playing on the six-string highlights the track coming closer to a close, and then the piano starts again with a backing synth as the curtain closes.

Perpetual Motion Machines (Music for a Film) is well done and a great listen. Most of the tracks feature eclectic musical styles. It is progressive, ambient, ambitious, and ultimately successful.

Keith “MuzikMan” Hannaleck-TFOV Founder

January 30, 2025

Tracks:

Side A:

1. Seeds 2:39

2. Stones Faces 3:16

3. Ascend 3:16

4. UnEarth 4:04

5. Intermission 4 0:54

Side B:

1. Waltz For The Dead 1:51

2. Proof Of Life 2:42

3. Paradigm Lost 6:32

4. Being (Featuring – Durga McBroom) 8:59

Progressive Rock Review: Nektar-Mission To Mars

Release Date: August 30, 2024

Label: Deko Entertainment

Website

Nektar's latest edition of their storied history is Mission To Mars. With the loss of key members, the band has taken on a different sound. This is not your 70s Tab In The Ocean band anymore. I did have the opportunity to cover some of the remastered classic albums many years ago, so I remember how amazing they sounded and their comeback after many years on the shelf.

 

Listeners cannot expect to have one original member left and still have the same sound. Bands change, move on, and take chances, and sometimes, it is forced upon them if they want to continue, which was Nektar's scenario.

 

The only original musician left is Derek "Mo" Moore (bass), who now handles the vocal duties, but some longtime members are still contributing. This release is a mixture of rock and progressive. The music gets better quickly with many changes on three of the tracks, and keep in mind there are four tracks on this LP. Some good parts are progressive but not what longtime fans would expect to hear.

 

Side one begins with a rock and blues-tempered title track, "Mission To Mars," which you expect to be prog, but it's not at first. Once it started, I thought they sounded like today's Cactus (with the gruff-edged vocals), which threw me off until things moved along more. There are some substantial lead guitar parts and good harmonizing. A cool keyboard comes in at the midpoint; it becomes more of a jam with excellent instrumentation. Musically, some prog elements towards the end sounded more like the band I remembered. The vocals are not top-notch, but to be fair, they are adequate and have room for improvement. In any event, it turns into a strong track.

 

"Long Lost Sunday" starts with a mellow riff as the bass and drums jump right in, then it changes with more energy as the guitar chords start getting thicker, and then it goes back to mellow again. Some nice keys enter the mixture with layers and take a very progressive direction with more change to a more rhythmic riffing, and then the bass/drums follow as the vocals are steady and match all these shifts in direction musically. Then, it goes to a heavier sound and again transfers over, rotating the three significant changes you will hear in the composition. It is very complex and impressive. As you get closer to the end of the side, a strong bass chimes in with a sharp lead guitar as it changes one last time. Now it's time to flip the platter over to side two.

 

Side two starts with "One Day Hi One Day Lo," which has an excellent orchestral beginning like you may hear on a movie soundtrack or documentary. Then, a heavy bass starts as the drums follow. A superb guitar gets your attention as the vocals begin. You hear some good harmonizing, something they do well consistently. A slower pace is now in place, and a more defined guitar. Some pedal effects and stinging leads grab you. It changes to a more straight-ahead rocker, then another quick shift, sounding more like a pop-rock commercial band than prog rockers, which was interesting with a prominent bass to remind you who you are listening to. Harmonizing happens again, and then a funky bass makes things more interesting. A good keyboard section, then an uplifting guitar part featuring some speedy playing, is impressive. They show off their chops often on this recording, which I appreciated.

 

"I'll Let You In" closes things out softer, with the acoustic guitar beginning this slow mover. Then, a more upbeat electric guitar comes in, with some good rhythm and harmonizing. The music quality is high-level, with some sophisticated playing; however, this track should have started side two so they could have ended the album with more intensity and excitement with "One Day Hi One Day Lo."

 

A richer sound makes up for the weaker lead vocals when this band sings together. The musicianship, as I have mentioned several times, is beyond reproach. If Nektar gets a different lead singer with a more robust and precise set of pipes, their direction will improve. An entirely new audience will be waiting to embrace them, and then getting longtime fans back on board may also happen. The older fans, including myself (although it is good music), may consider Mission To Mars mediocre compared to their earlier catalog.

Keith “MuzikMan” Hannaleck-NAMR Reviews Founder

December 18, 2024

Tracks:

Side One:

1.Mission To Mars

2.Long Lost Sunday

Side Two:

1.One Day Hi One Day Lo

2.I’ll Let You In

Progressive Metal Vinyl Review: Opeth-The Last Will and Testament

Release Date: November 22, 2024

Label: Reigning Phoenix Music

Website

Opeth is the kind of band that has perfected the art of combining elements of the human psyche, including horror, the esoteric, the supernatural, and death. And with all that progressive metal shaking the walls and your consciousness, and at times brutal, they somehow manage to make parts of their music so elegant and beautiful you feel like you are listening to a different band entirely. That separates them with this excellent contrast from dark to light. And it always has right from the start.

Opeth Is:

Martin Mendez-Bass Guitar

Waltteri Väyrynen-Drums

Mikael Åkerfeldt-Vocals, Guitar

Joakim Svalberg-Keys, Vocals

Fredrik Åkesson-Guitar,Vocals

 

With The Last Will and Testament, they have brought back the "growling" death metal vocals. However, it is at a minimum compared to the early catalog of releases, although very appropriately placed lyrically. Another fantastic factor is leader Mikael Åkerfeldt's ability to switch that type of vocal back to his normal singing voice, which is excellent. This recording is the 180-gram Gold vinyl LP and poster version. Each side has two amazing progressive metal masterpieces. Interestingly, every track has no title until you reach the end. The cover art instantly reminded me of the horror classic The Shining; Jack Nicholson sitting in the middle is the only thing missing! As I listened, I felt the music could be a booming soundtrack for a horror picture.

 

Side A opens with "§I” and some excitement, followed by a furiously quick few minutes to start with a bang. The synth is orchestral, followed by a brief bass section featuring a heavy guitar throughout. The track is complex, announcing that the band is back as strong and potent as ever and one of the top progressive metal bands in the world. I feel their intensity and complexity consistently make their music captivating, and this is a superb opener.

 

"§II" begins with a bass line and rapid drum roll, then the lead guitar enters, and you can feel the growling coming soon, and it does. They transition back and forth between the two vocal styles, which I believe must have been difficult. Mikael is testing his vocal range, and then midstream gets very soft and beautiful, seemingly an easy task for this incredibly talented group. Then it gets more atmospheric with Ian Anderson's flute (great idea to have him come in as a guest!). I must admit he brings a new element to the Opeth sound and a nice touch. Then, after that segment, they explode into a wall of sound (which happens often on this album and typically in their style). Some excellent guitar work follows, and then the growling vocals return to change direction (yet again) for the dark, foreboding sound, then back to a more spacey sound, and a return to the band full force together to end the track.

 

Side B begins with "§III" as the bass, drums, and guitar come crashing down. The intensity is immediate, like watching and feeling the sledgehammer fall on yourself. Many changes in the track define what progressive metal is at its very finest. The drums are excellent, and the music changes dramatically towards the end with kids talking, then it goes into an orchestral segment of sheer beauty.

 

There is a segue into "§IV" with a powerful growling that says, "Pay attention!" The lyrics are harsh to keep the subject matter of death at the forefront with added religious cynicism. The spoken word and the music are deliberate, working hand in hand. Back and forth, it travels with ever-shifting runs of excellent guitar, etc. They set you up with a mellow transition, then slam your perception with a reality check. They remind you of their command and power in the music, using their instruments and lyrics to transform each storyline into a reality magically.

 

Side C begins with "§V" with a complex and heavy beginning, then the spoken word (Ian Anderson) with a reading of the The Last Will and Testament, indicating how this story will change and how we are getting closer to the end of this journey. Combining the keys with all the other elements creates the drama of the lyrics, which amplifies every word. It is like watching a play unfold on stage with all the characters. The razor-sharp guitar licks with growls send a chill down your spine. The mystery and excitement continue to build.

 

"§VI" starts with an acoustic guitar, beautifully altering your mood and mindset from the previous onslaught of emotion with immediacy. It gets more layered with the rest of the band joining in. And this is what makes Opeth so charismatic. It then gets more intricate, and a great guitar run brings the entire band up to another level (as if they needed to be?) for an auditory slice of prog metal heaven (or is it hell?). Superb musicianship is their hallmark on every track, including this one.

Side D opens with "§VII," featuring a prominent bass and an acoustic guitar. Then, some keys and a layer of ambiance were a nice touch. Then, the switch to that excellent electric guitar work, some growling, and a succession of instrumentation. Drums get the spotlight as the vocals change back to normal. The music changes again to very heavy with more growling. The guitar playing is magnificent, as usual.

 

Here we are at the end with "A Story Never Told," which hints at provoking many thoughts right away before it starts. Some grinding keys begin as the drums and guitar enter the mix beautifully. The energy builds, and the vocals increase in intensity, growling as the music reaches the apex of sound. Then, a superb keyboard run plays out as the drums and bass work hard to keep it driving along and continually moving forward.  There is a mellowed-out acoustic ending for a massive change in direction, and the album closes out.

 

The Last Will and Testament may very well be Opeth's ultimate recording. In the past, before they eliminated the growling vocals, I did not care for it at all. This time, I found that the way it was used was perfect. The way Mikael presents it makes it more than bearable; I did not mind it at all and found it worked very well with all of the subject matter and music that was going on at the time. Those who missed the growling vocals will consider this a return to form and then some.

 

This is the best progressive metal album I have heard in 2024, no contest.

Keith “MuzikMan” Hannaleck-TFOV Reviews Founder

December 13, 2024

Tracks:

Side A:

A1. §I

A2. §II

Side B:

B1. §III

B2. §IV

Side C:

C1. §V

C2. §VI

Side D:

D1. §VII

D2. A Story Never Told

Prog Rock Review: The Moody Blues’ John Lodge-Days of Future Past-My Sojourn

Release Date: ‎ April 12, 2024

Label: Deko Entertaiment https://www.dekoentertainment.com/

Website:  https://www.johnlodge.com/

What more can be said about the iconic figure, John Lodge? As a bass player, songwriter, and vocalist, he was a pivotal member of the progressive rock pioneers, The Moody Blues. This is the version of a story that began in the ’60s of an ordinary man and continues to this day with the release of the silver 180-gram vinyl edition of Days of Future Past-My Sojourn. 

 

This album is Lodge’s homage to the classic prog Moody Blues album Days of Future Past, a significant milestone in music history and a crucial part of prog rock's roots. With its unique sound quality and nostalgic appeal, the vinyl edition adds a new dimension to the listening experience, making it a must-have for any music enthusiast.

 

Listening to the original album, initially released in 1967 (remastered in 2017), it's astounding how it retains its relevance and influence even today. It set a timeless foundation for prog rock. While comparisons to the original are inevitable, my focus is on the enduring masterpiece that Mr. Lodge has created, a testament to the original's timeless influence. 

 

Performed in eight magnificent parts, Lodge plays his bass and sings like it was all those decades ago with a commitment, respect, and deep love for what he and his mates created. This will be a must-have record for all prog-rock enthusiasts and Moody fans. Hearing it on vinyl was appropriate but a privilege I am grateful for, allowing me to experience it the same way it was initially heard.

 

The orchestral intro, a nod to the original album's overture, starts the proceedings, and a flute comes in, shaping into beautiful classical music as it turns into Moody’s song instrumentally. So, you have the words going through your mind. 

 

God rest his soul. Graeme Edge provides two spoken-word parts for this album. We are fortunate that it was recorded for this project.

 

John’s voice resonates with unparalleled excellence on this recording, and his bass playing is, as expected, superb. The personal significance of this recording to John Lodge is unfathomable, and it's this deep personal connection that not only elevates the album to a new level of musical precision and performance but also brings a profound emotional depth to the music. From the first note to the last, this album strongly impacts the listener, a testament to its influence and deep personal connection.

 

“The Afternoon” and “Nights in White Satin” Are genuinely spine-tingling. Jon Davison (Yes vocalist) provided both vocals for the classic tracks, and we all know how Justin Hayward sang the originals prolifically. Davison's voice has an entirely different tone, of course, and he does a great job, especially in choruses where his full range can be heard. The excellence of everyone’s performance, including the indelible stamp left by The Moody Blues, is a testament to the high quality of this music.

 

Sometimes, the keyboards on this album can be haunting. Side B begins with “Afternoon.” The music is phenomenal as things move on from part to part of each segment. The rhythm sections are spot-on throughout each track, which may not be news to longtime fans, as Lodge was and still is one of the greatest bass players in rock. 

 

Days of Future Past-My Sojourn is an updated version of the original enhanced and magnified with technologies that did not exist in 1967. It is breathtaking music and orchestration that any music fan can appreciate. It is a prog rock classic that has been renewed and appreciated by this fan, and I believe it will be by many more. It is accessible, not too complex or going into extended bombastic jams for which the genre is known. 

 

This is a loving memory of a legendary recording revisited by one of the experts who was there when the original recording started to take shape. Don’t miss this vinyl version.

Keith “MuzikMan” Hannaleck-TFOV Reviews Founder

August 21, 2024

Tracks:

Side A:

The Day Begins:   

The Day Begins    

Morning Glory (Featuring Graeme Edge)

Dawn Is A Feeling:            

Dawn (Prelude)    

Dawn Is A Feeling    

The Morning: Another Morning:   

The Morning (Prelude) 2. Another Morning        

Lunch Break: Peak Hour            

Lunch Break (Prelude)    

Peak Hour            

The Afternoon:           

Tuesday Afternoon (Forever Afternoon) (Featuring Jon Davison)The Night (Finale)

Side B:

The Afternoon:    

Evening (Time to Get Away)            

Evening :               

The Sun Set (Prelude)    

The Sun Set            

Twilight (Prelude)        

Twilight Time            

The Night:   

Nights In White Satin (Featuring Jon Davison)

Late Lament (Featuring Graeme Edge)            

The Night (Finale)  

Prog Rock Review: Jethro Tull-Live Bursting Out (The Inflated Version-3CD/3DVD)

Format: 3CD/3DVD

Release Date: ‎ April 11, 2024

Label: Chrysalis

Website

Keeping with the ongoing flow of remasters of the Jethro Tull catalog by Steven Wilson, a most excellent live 1978 release, Live Bursting Out (The Inflated Version), is available in the usual book format that all the other releases have arrived in. Hopefully, the vinyl version will follow shortly, as it is a superb live recording. Inflated is an accurate description. It is all packaged in a hardcover book with trays for 3 CDs and 3 DVDs. And if you have a 5.1 surround sound system, you are in for many extras. Also, there is an extensive overview of the recording in 96 pages of text and pictures. It is quite the package that I thoroughly enjoyed.

 

Here is the breakdown of each disc:

•CD 1: Jethro Tull live: Bursting Out (Part 1) - A Steven Wilson stereo remix. Soundcheck recordings - A Steven Wilson stereo remix. Tracks 7, 10, 11 (full version) & 12-16 previously unreleased

 

•CD 2: Jethro Tull live: Bursting Out (Part 2) - A Steven Wilson stereo remix

Soundcheck recordings - A Steven Wilson stereo remix. Tracks 11-13 previously unreleased

 

•CD 3: contains an edited version of the 1978 Madison Square Garden Show, which

was issued in 2009 but is now mixed by Steven Wilson.

 

•DVDs 1 & 2 have the remixed tracks in 96/24 stereo and 5.1 surround plus the flat transfers of the original album at 96/24 stereo.

 

•DVD 3 has the full 93-minute MSG show, including 50+ minutes of video, which was part of a transatlantic broadcast with the BBC and Radio 1. The audio is 48/24 stereo and 5.1 surround.

 

I usually do a track-by-track account in my review of one of my favorite artists to cover; however, the read would be too exhaustive. I can offer prospective buyers and fans who have not pursued this set a more condensed version with what I feel are the most relevant points.

 

Of course, Ian is the group's focal point, being the frontman, writer, multi-musician, and all-around animated entertainer. So, it was no surprise that the cameras showed close-ups of Ian with sweat glistening on his forehead and face during the Madison Square Garden broadcast video. Those were excellent shots of him performing at his best during the band's peak decade. The shots that pulled away from the stage were foggy and looked dated. Also, the entire show was not on the video; it was missing parts in the front and back of the show. When there is no video, you get a rotation of pictures of the band, which is subpar as well. I am sure they did the best they could with what they had, and the bottom line is that the sound is excellent.

 

I appreciated the remix Steven Wilson masterfully created, as usual. I found it interesting to see what Ian said about that process. He mentioned he did not want to know what was going on. In his case, I can understand from an artist's standpoint how important your recorded work is, and the fact that Ian is such a professional and perfectionist would cause the man a bad case of nerves to watch Steven at work.

 

I appreciated Jethro Tull's talent and how they could recreate all of their studio works on the stage with a unique flair and precision. Some of my favorites were "Thick As A Brick," "Aqualung," "Songs From The Wood," "Heavy Horses," "Minstrel In The Gallery," "Skating Away (On the Thin Ice of the New Day)," which, as some of your older fans may remember, was on the flip side of the "Bungle in The Jungle" 45. Warchild was my first JT album in the 70s and remains my favorite. I am sure many fans would not agree that it was their best album, but I loved it. Minstrel in the Gallery is the album that followed it, and it impressed me as a musically intense prog rocker. This convinced me to continue to explore their catalog of releases.

 

If you are a classic prog rock fan, from what most folks say is the most fertile decade of the genre, you need to hear one of the best of that period at the height of their success. There is a valid reason why all these repackaged releases still sell: they are undoubtedly some of the best rock music ever recorded and performed on the stage. You'll agree once you hear this recording again or for the first time. It's on Amazon now for $49.59, a bargain for what you will get in return.

Keith “MuzikMan” Hannaleck-Progressive Music Reviews Founder

August 9, 2024

 

Tracks: Disc 1: 01. Claude Nobs - Introduction by Claude Nobs (Live) [2024 Remaster] 02. No Lullaby (Live) [2024 Remaster] 03. Sweet Dream (Live) [2024 Remaster] 04. Skating Away (On the Thin Ice of the New Day) [Live] [2024 Remaster] 05. Jack-in-the-Green (Live) [2024 Remaster] 06. One Brown Mouse (Live) [2024 Remaster] 07. Heavy Horses (Live) [2024 Remaster] 08. A New Day Yesterday (Live) [2024 Remaster] 09. Flute Solo Improvisation / God Rest Ye Merry Gentlemen / Bouree (Medley) [Live] [2024 Remaster] 10. Living in the Past (Live) 11. Songs from the Wood (Live) [2024 Remaster] 12. No Lullaby (Live) 13. Sweet Dream (Live) 14. Heavy Horses (Live) 15. Botanic Man (Live) 16. 4.W.D (Low Ratio) [Live] Disc 2: 01.  Thick As a Brick (Live) [2024 Remaster] 02.  Hunting Girl (Live) [2024 Remaster] 03.  Too Old to Rock ‘n’ Roll: Too Young to Die! (Live) [2024 Remaster] 04.  Conundrum (Live) [2024 Remaster] 05.  Minstrel In The Gallery (Live) [2024 Remaster] 06.  Cross-Eyed Mary (Live) [2024 Remaster] 07.  Quatrain (Live) [2024 Remaster] 08.  Aqualung (Live) [2024 Remaster] 09.  Locomotive Breath (Live) [2024 Remaster] 10.  The Dambusters March (Live) [2024 Remaster] 11.  Conundrum (Live) 12.  Quatrain (Live) 13.  The Dambusters March (Live) Disc 3: 01. Sweet Dream Fanfare (Live at Madison Square Garden October 1978) 02. Sweet Dream (Live at Madison Square Garden October 1978) 03. One Brown Mouse (Live at Madison Square Garden October 1978) 04. Heavy Horses (Live at Madison Square Garden October 1978) 05. Thick As a Brick (Live at Madison Square Garden October 1978) 06. No Lullaby (Live at Madison Square Garden October 1978) 07. Flute Solo Improvisation (Live at Madison Square Garden October 1978) 08. Songs From the Wood (Live at Madison Square Garden October 1978) 09. Quatrain (Live at Madison Square Garden October 1978) 10. Aqualung (Live at Madison Square Garden October 1978) 11. Locomotive Breath (Live at Madison Square Garden October 1978) 12. The Dambusters March (Live at Madison Square Garden October 1978) 13. A Single Man (Live at Madison Square Garden October 1978) 14. Too Old to Rock ‘n’ Roll: Too Old to Die! (Live at Madison Square Garden October 1978) 15. My God (Live at Madison Square Garden October 1978) 16. Cross-Eyed Mary (Live at Madison Square Garden October 1978) DVD 1: 01. Claude Nobs - Introduction by Claude Nobs (Live) [2024 Remaster] [96/24 Stereo] 02. No Lullaby (Live) [2024 Remaster] [96/24 Stereo] 03. Sweet Dream (Live) [2024 Remaster] [96/24 Stereo] 04. Skating Away (On the Thin Ice of the New Day) [Live] [2024 Remaster] [96/24 Stereo] 05. Jack-in-the-Green (Live) [2024 Remaster] [96/24 Stereo] 06. One Brown Mouse (Live) [2024 Remaster] [96/24 Stereo] 07. Heavy Horses (Live) [96/24 Stereo] 08. A New Day Yesterday (Live) [2024 Remaster] [96/24 Stereo] 09. Flute Solo Improvisation / God Rest Ye Merry Gentlemen / Bourée (Medley) [Live] [2024 Remaster] [96/24 Stereo] 10. Living in the Past (Live) [96/24 Stereo] 11. Songs from the Wood (Live) [2024 Remaster] [96/24 Stereo] 12. No lullaby (Live) [96/24 Stereo] 13. Sweet Dream (Live) [96/24 Stereo] 14. Heavy Horses (Live) [96/24 Stereo] 15. Botanic Man (Live) [96/24 Stereo] 16. 4.W.D (Low Ratio) [Live] [96/24 Stereo] 17. Claude Nobs - Introduction by Claude Nobs (Live) [2024 Remaster] [DD & DTS 5.1 Surround] 18. No Lullaby (Live) [2024 Remaster] [DD & DTS 5.1 Surround] 19. Sweet Dream (Live) [2024 Remaster] [DD & DTS 5.1 Surround] 20. Skating Away (On the Thin Ice of the New Day) [Live] [2024 Remaster] [DD & DTS 5.1 Surround] 21. Jack-in-the-Green (Live) [2024 Remaster] [DD & DTS 5.1 Surround] 22. One Brown Mouse (Live) [2024 Remaster] [DD & DTS 5.1 Surround] 23. Heavy Horses (Live) [DD & DTS 5.1 Surround] 24. A New Day Yesterday (Live) [2024 Remaster] [DD & DTS 5.1 Surround] 25. Flute Solo Improvisation / God Rest Ye Merry Gentlemen / Bourée (Medley) [Live] [2024 Remaster] [DD & DTS 5.1 Surround] 26. Living in the Past (Live) [DD & DTS 5.1 Surround] 27. Songs from the Wood (Live) [2024 Remaster] [DD & DTS 5.1 Surround] 28. No lullaby (Live) [DD & DTS 5.1 Surround] 29. Sweet Dream (Live) [DD & DTS 5.1 Surround] 30. Heavy Horses (Live) [DD & DTS 5.1 Surround] 31. Botanic Man (Live) [DD & DTS 5.1 Surround] 32. 4.W.D (Low Ratio) [Live] [DD & DTS 5.1 Surround] 33. No Lullaby (Live) [Flat Transfer] 34. Sweet Dream (Live) [Flat Transfer] 35. Skating Away (On the Thin Ice of the New Day) [Live] [Flat Transfer] 36. Jack-in-the-Green (Live) [Flat Transfer] 37. One Brown Mouse (Live) [Flat Transfer] 38. A New Day Yesterday (Live) [Flat Transfer] 39. Flute Solo Improvisation / God Rest Ye Merry Gentlemen / Bourée (Medley) [Live] [Flat Transfer] 40. Songs from the Wood (Live) [Flat Transfer] 41. Thick As A Brick (Live) [Flat Transfer] DVD 2: 01. Thick As A Brick (Live) [2024 Remaster] [96/24 Stereo] 02. Hunting Girl (Live) [2024 Remaster] [96/24 Stereo] 03. Too Old To Rock ‘n’ Roll: Too Young To Die! (Live) [2024 Remaster] [96/24 Stereo] 04. Conundrum (Live) [2024 Remaster] [96/24 Stereo] 05. Minstrel In The Gallery (Live) [2024 Remaster] [96/24 Stereo] 06. Cross-Eyed Mary (Live) [2024 Remaster] [96/24 Stereo] 07. Quatrain (Live) [2024 Remaster] [96/24 Stereo] 08. Aqualung (Live) [2024 Remaster] [96/24 Stereo] 09. Locomotive Breath (Live) [2024 Remaster] [96/24 Stereo] 10. The Dambusters March (Live) [2024 Remaster] [96/24 Stereo] 11. Conundrum (Live) [96/24 Stereo 12. Quatrain (Live) [96/24 Stereo] 13. The Dambusters March (Live) [96/24 Stereo] 14. Thick As A Brick (Live) [2024 Remaster] [DD & DTS 5.1 Surround] 15. Hunting Girl (Live) [2024 Remaster] [DD & DTS 5.1 Surround] 16. Too Old To Rock ‘n’ Roll: Too Young To Die! (Live) [2024 Remaster] [DD & DTS 5.1 Surround] 17. Conundrum (Live) [2024 Remaster] [DD & DTS 5.1 Surround] 18. Minstrel In The Gallery (Live) [2024 Remaster] [DD & DTS 5.1 Surround] 19. Cross-Eyed Mary (Live) [2024 Remaster] [DD & DTS 5.1 Surround] 20. Quatrain (Live) [2024 Remaster] [DD & DTS 5.1 Surround] 21. Aqualung (Live) [2024 Remaster] [DD & DTS 5.1 Surround] 22. Locomotive Breath (Live) [2024 Remaster] [DD & DTS 5.1 Surround] 23. The Dambusters March (Live) [2024 Remaster] [DD & DTS 5.1 Surround] 24. Conundrum (Live) [DD & DTS 5.1 Surround] 25. Quatrain (Live) [DD & DTS 5.1 Surround] 26. The Dambusters March (Live) [DD & DTS 5.1 Surround] 27. Hunting Girl (Live) [Flat Transfer] 28. Too Old To Rock ‘n’ Roll: Too Young To Die! (Live) [Flat Transfer] 29. Conundrum (Live) [Flat Transfer] 30. Minstrel In The Gallery (Live) [Flat Transfer] 31. Cross-Eyed Mary (Live) [Flat Transfer] 32. Quatrain (Live) [Flat Transfer] 33. Aqualung (Live) [Flat Transfer] 34. Locomotive Breath (Live) [Flat Transfer] 35. The Dambusters March (Live) [Flat Transfer DVD 3: 01. Sweet Dream Fanfare (Live at Madison Square Garden October 1978) (Music Video) 02. Sweet Dream (Live at Madison Square Garden October 1978) (Music Video) 03. One Brown Mouse (Live at Madison Square Garden October 1978) (Music Video) 04. Heavy Horses (Live at Madison Square Garden October 1978) (Music Video) 05. Thick As A Brick (Live at Madison Square Garden October 1978) (Music Video) 06. No Lullaby (Live at Madison Square Garden October 1978) (Music Video) 07. Songs From The Wood (Live at Madison Square Garden October 1978) (Music Video) 08. Quatrain (Live at Madison Square Garden October 1978) (Music Video) 09. Aqualung (Live at Madison Square Garden October 1978) (Music Video) 10. Locomotive Breath (Live at Madison Square Garden October 1978) (Music Video) 11. The Dambusters March (Live at Madison Square Garden October 1978) (Music Video) 12. A Single Man (Live at Madison Square Garden October 1978) (Music Video) 13. Too Old Too Rock ‘n’ Roll: Too Old To Die! (Live at Madison Square Garden October 1978) (Music Video) 14. My God (Live at Madison Square Garden October 1978) (Music Video) 15. Cross-Eyed Mary (Live at Madison Square Garden October 1978) (Music Video)