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 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

Progressive Rock Vinyl Review: Vanderwolf-The Great Bewilderment

Release Date: March 13, 2024

Label: Independent

Website

The band is named Vanderwolf after the musical and multimedia genius Max Vanderwolf. He is an interesting character with many talents that have made his services invaluable worldwide, with artists including the late David Bowie and many others.

I received this special purple vinyl edition of The Great Bewilderment and gave it a spin. It was another COVID project that reached fruition after many years. Having never heard of this man and his music, I did not know what to expect, which made it intriguing, especially after looking at the odd and unique cover art. I thought to myself, this is either going to be very strange or surprisingly good. Well, I loved it from beginning to end.

 

Side A begins with “A'coming Home,” which features a strumming guitar, whirling organ, and catchy rhythms (which populate this release consistently). The rhythms change and slow down, and then it goes back to the previous pace, which is medium speed. The vocals get louder and more emotive, and some good guitar makes it more electrifying (literally). The harmonizing towards the end is excellent, as this fine opener kicks things off.

 

“The 6.09” has a steady acoustic guitar with drums and bass holding the line. Max’s vocals begin to have a familiar ring, and Marc Bolan (T.Rex) comes to mind. The music goes in another direction and level (get used to that) as the vocals are ready for the task. It goes back and forth to emphasize the lyrics. It ends the way it started, with acoustic picking.

 

“Sweep Away The Shards” has sharp but gentle electric guitar lines to set the foundation. It is very purposeful as the vocals arrive. The energy is maintained, and then it reaches an apex as Max sings “This is Goodbye,” which is printed in caps on the accompanying lyric sheet. Excellent six-string bending demonstrates how the words can make their impression more effective.

 

“Gaza” starts with Pink Floyd-like instrumentation, then explodes with meaty guitar chords, very heavy to push the line “I Gotta Run,” repeated four times. Max sounded like Roger Waters on this track, which fits well with the music. His inflection before he raises the pitch and tone is a superb way to close out the side.

 

Here is where I have a problem with all the emphasis on Gaza in many instances and not just music; everyone forgets what happened in Israel. I feel the war is wrong and all the innocents that felt the pain of what happened on both sides, but let us not forget who began this conflict and stop making Israel out to be the bad guy. How about a song about Israel? I never like to mix politics into my reviews, but I just had to speak up this time. The song is very political and one-sided, regardless of how good it is musically.

 

Side B opens with “Love Stay Strong,” an entirely different atmosphere than the previous track, which is par for the course in this eclectic work of progressive rock, a genre known for its complex and experimental nature. This time it sounds more like a pop-rock track stepping outside their comfort zone, but it is good. The track is about that age-old subject of love, with a country blues tone, leaving the pop elements behind for a while. Lap steel gives it that atmosphere quickly, as it always does, as it wines in the background like a lost train. The vocals are excellent. The track impressed me with how the band can create such different music from track to track while, for the most part, except for this one, keeping their prog-rock roots.

 

“The Book of Dread” is segued from the previous track with a spacey guitar and keys, again turning the atmosphere upside down. Then, the bass jumps in as the drums pick up the pace, and the mix becomes more complex. Max is in good voice again. His vocals resonate with you as you absorb his words, tapping your feet to the rhythms and bottom end, which is always so strong and ready to change with the flow so quickly. This is exceptional musicianship on display consistently! Piercing guitar lines permeate the air and the record grooves. The changes are very progressive and impressive.

 

“The Here & Now” is easygoing music, and as expected, it takes another twist and turns before returning to its starting point. As the album continues, you realize the vocals are perfect for this music, whether quirky, slow, fast, or flat-out rocking. Max is always ready to use his voice as another instrument for effects. The elasticity of his voice and range adapt to all the changes, going very high when he sings “in the here and now.”

 

“The Gratitude Suite” ends your listening journey and is a good finale. I liked the way the guitar started more subdued, then began cranking it up as the music shifted. The bass leads, then goes to the Lap Steel for more effect, and then the guitar comes back, wailing away with some sound effects and strong lines, as the vocals are as superb as they ever were with heavy lyrics. The changes are many in one track, and Max is one of many consistent factors for these solid tracks.

 

The Great Bewilderment leaves me with one question: why has Vanderwolf not released more music? His love for recording is evident; even his website states this is an incomplete collection. For his sake and music lovers everywhere, I hope to see more of his music released, entertaining us all with his unique sound and exceptional musicianship.

Keith “MuzikMan” Hannaleck-NAMR Reviews Founder

November 8, 2024

Tracks:

Side A:

1. A'coming Home

2. The 6.09

3. Sweep Away The Shards

4. Gaza

Side B:

1. Love Stay Strong

2. The Book of Dread

3. The Here & Now

4. The Gratitude Suite

Progressive-Rock-Fusion LP Review: Mandoki Soulmates-A Memory of Our Future

Release Date: March 9, 2024

Label: ‎Inside Out Music

Website

It's been quite a while since I last immersed myself in the progressive rock world of Mandoki Soulmates. This time, their musical journey is encapsulated in two vinyl LPs titled A Memory of Our Future. Moreover, these LPs are accompanied by a generous album-sized booklet, a visual and textual companion to their music. The richness of their sound is further enhanced by various instruments, a hallmark of their unique style.

 

From the first note to the last, this recording demands your attention. Each song is a masterpiece, a testament to the band's musical prowess and creativity. There was not one song I did not appreciate, a rare feat in music.

 

Side One starts with "Blood in the Water," a high-energy mover. The flute begins (thank you, Ian Anderson), and then some cool retro-sounding keys come into the mix. The lyrics are something to pay attention to from start to finish, and this has some clear messages. "Sharks are hungry, and the water is deep," was one phrase. These words, delivered with great harmonies and vocals, resonate deeply, evoking a sense of urgency and the need for vigilance. I do not think they are talking about fish, though.

 

"Enigma of Reason" follows with a mellow beginning, soft acoustics with guitar and percussion. It continues with that steady pace and feeling as they sing, "Walking on hot coals and feeling my feet are cold." It picks up more intensity with the addition of an electric guitar and some faster-paced keys with variable vocalizations ranging from slow to fast. It slows down again, and a smooth sax enters, followed by a trumpet. A notable bass line is apparent, and then a superb acoustic guitar (Al DiMeola) with worldly accents treating your senses. It is progressive in every way. Remember that these tracks are not short and have plenty of space for all the instruments to add their unique sounds and atmospheres.

 

"The Wanderer" closes out the first side with a slow burner. Because of the same accent, the vocals immediately reminded me of Roine Stolt (Flower Kings, etc.). Leslie Mandoki, Nick Van Eede, and Tony Carey provide the vocals. The distinctive backdrop of music for the words and emphasis on how they are presented takes hold of you as they sing, "This land is full of tears after decades of fears." Words of strong meaning come through.

Side two starts with "The Big Quit," which opens with a funkier sound. It is a total departure from previous tracks, but very good. I appreciate the lyrics; they ring true to how we live, and the meaning gets an exclamation point: "Nobody wants to work." Some quick flourishes of picking on the acoustic guitar with an interesting mix of vocal exchanges get your attention. Horns chime in and gather momentum as the guitar continues with fantastic clarity and consistency. It's an exciting and entertaining song. Another line that got me was, "Easy times created easy people; easy people bring us hard times." Then, words are reversed to serve an equally tricky situation in an endless circle. Thought-provoking lyrics and great music are an unbeatable combination.

 

"Devil's Encyclopedia" is the best-lyrically written song on the album. The flute starts, and percussion rings true as they sing, "Dogs of war are howling" and "Social media becomes the Devil's encyclopedia." Those words are so accurate, sad as they have become, and how they have changed our lives. Some good harmonies populate the space given and sync with the rhythms. Those elements put a lot of emphasis on those words of truth. This one was my favorite track. Adequate breaks and pauses on the vocals give you more appreciation for the musicianship and excellent vocalizations when they are there.  I loved the line, "When words fail, the music speaks," and never more accurate as the listen continues.

 

"A Memory of My Future" closes side two with an excellent backbeat and a superb acoustic guitar with all its elegance and color. It is a superior way to end that side with the title track.

 

Side three starts with "I Am Because You Are," which is very soft with a relaxed ambiance and matching music and vocal tones. The track's title is explained well, and the vocals seemingly float over the music with a gentle push.

 

"My Share of Your Life" is dynamic, as they sing, "Sharing life in this much too short life." It hits home. The track's easygoing heartbeat and ever-present acoustic guitar are gorgeous. The lyrics carry a sadness of reality as the music sounds off with some great timing. Some solid electric guitar lines make their presence known. The repeating chorus makes a strong impact. As with all of the tracks, each instrument is recognized, and as a listener, you are very conscious of that and how it fits in shaping the story.

 

Side four begins as we approach the end of this magnificent musical journey. "Matchbox Racing" reminded me fondly of being a little boy and treasuring those little toys. Horns, keys, bass, and guitars merge for a beautiful musical story. All the pieces fit together nicely as they sing this prolific line: "Don't dream your life, live your life." Sage words wrapped around outstanding prog-rock fusion.

 

"We Stay Loud" lives up to its name and is exciting as they sing "Bang it out and stay loud," damn straight! Solid bass lines drive it along with percussion, keeping perfect time. Horns give it an upbeat orchestral feel. I enjoyed the vocals resonating throughout to get the necessary energy flowing and make a believer out of you. I believe!

 

They could not have ended this album with a better-titled track. "Melting Pot" defines who they are and what kind of music you will hear as the fusion of sounds continues with great defining moments. It starts very mildly with a minimalist approach; now, who would have thought that, right? The sax and keys change the mood with added instruments here and there to keep it interesting, which they manage to do on every track. There is no time for boredom or your mind drifting while listening to this music.  This instrumental lets you focus only on the brilliance of all the musicians. And it serves as a reminder of just how powerful music can be in the hands of the right people. Some nice acoustic piano gets in the mix, and it's classically flavored for another surprising twist.

 

So, with Mandoki Souls on A Memory of Our Future, it's more about the choices of words and the music that drive the message. It is great music by a talented group of people, and they prove it in every track. If you want to listen to vinyl and some progressive rock fusion, this is one slice of pie you need to digest all in one sitting.

 

The publicity for this album explains it like this: an intergenerational supergroup of rock and fusion grandmasters with Ian Anderson (Jethro Tull), Mike Stern, Al di Meola, Randy Brecker, Till Brönner, Bill Evans, John Helliwell (Supertramp), Cory Henry, Richard Bona, Steve Bailey, Simon Phillips (Toto), Leslie Mandoki, Tony Carey (Rainbow), Nick van Eede (Cutting Crew), Jesse Siebenberg, and Mark Hart (both Supertramp).

 

How could you possibly miss that stellar lineup? Nope, it's a bullseye!

 

Keith “MuzikMan” Hannaleck TFOV Founder

June 6, 2024

Tracks:

Disc: 1

1. Blood in the Water

2. Enigma of Reason

3. The Wanderer

Disc: 2

1. The Big Quit

2. Devil's Encyclopedia

3. A Memory of My Future

Disc: 3:

1. I Am Because You Are

2. My Share of Your Life

3. Age of Thought

Disc: 4

1. Matchbox Racing

2. We Stay Loud

3. Melting Pot

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

Release Date: March 15, 2024

Label: ‎Chrysalis

Website

Pre Order Link

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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.