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

Review Source Link 

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

 

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

 

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

 

The lineup at the time was as follows:

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

Martin Barre: electric guitar.

John Evan: piano, organ, synthesizers, speech.

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

Barriemore Barlow: drums, glockenspiel, marimba.

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

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

Side 4, mixed by Ian Anderson.

 

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

 

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

 

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

 

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

 

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

 

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

                                                                                                                    

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

Keith “MuzikMan” Hannaleck-PMR Founder

February 10, 2024

Tracks:

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

   1) The Big Top                                                                     

   2) Scenario                                                                          

   3) Audition                                                                            

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

   5) Sailor                                                                               

   6) No Rehearsal     

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

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

   1) Left Right                                                                         

   2) Only Solitaire                                                                   

   3) Critique Oblique (Part I)                                      

   4) Critique Oblique (Part II)

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

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

   1) Animelee (1st Dance)                                                       

   2) Animelee (2nd Dance)

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

   4) Law Of The Bungle (Part I)                                             

   5) Tiger Toon                                                                       

   6) Law Of The Bungle (Part II)  

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

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

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

SIDE 4 (Original Released Mixes):

   1) Scenario [1988 mix]                                                        

   2) Audition [1988 mix]                                  

   3) No Rehearsal [1988 mix]

   4) Only Solitaire [1974 mix]          

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

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

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

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

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

Release Date: August 26, 2023

Label: Bomber Records

Website

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

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

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

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

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

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

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

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

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

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

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

Keith “MuzikMan” Hannaleck-MuzikMan.net Founder

December 6, 2023

Tracks:

1. Crazy Peace 5:26

2. Release Me 7:02

3. So Deep 5:28

4. Help Me Through This 8:29

5. Something's Wrong 4:25

6. It's Over 8:44

7. Karma 9:34

8. Take a Hike 11:24

9. Lucky Man 10:07

Progressive Rock Vinyl Review: Trevor Rabin-Rio

Label: ‎ Inside Out Music

Release Date: August 5, 2023

Website

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

 

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

 

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

 

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

 

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

 

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

 

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

 

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

 

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

 

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

 

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

 

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

 

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

 

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

 

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

 

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

Keith “MuzikMan” Hannaleck-TFOV Founder

November 12, 2023

Side One:

1. Big Mistakes

2. Push

3. Oklahoma

Side Two:

1. Paradise

2. Thandi

3. Goodbye

4. Tumbleweed

Side Three:

1. These Tears

2. Egoli

3. Toxic

Side D: Etching

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

Release Date: May 6^th, 2022

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

Website

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

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

 

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

 

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

 

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

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

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

 

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

 

Jim “The Ancient One” Lawson

Oct 13th, 2022

Tracks:

1.  Die Before You Wake (19:32)

2.  Amnis Flows Aeternum (19:11)

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

4.  Wicked Delights (Single Edit 2:40)

5.  Guiding Voice (Single Edit 3:31)

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

Progressive Music Review On Vinyl: Pink Floyd-Animals

Release Date: September 16, 2022

Label:  ‎Warner Music (Sony Music outside Europe)

Website

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

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

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

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

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

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

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

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

Keith “MuzikMan” Hannaleck-Progressive Music Reviews Founder

July 18, 2022

Tracks:

Side One:

1. Pigs on the Wing (Part One)

2. Dogs

Side Two:

3. Pigs (Three Different Ones)

4. Sheep

5. Pigs on the Wing (Part Two)