Instrumental Rock Review: Marty Freidman-Tokyo Jukebox 3

Release Date: April 16, 2021
Label: 2021 Mascot Label Group / The Players Club  
Website

Hot off the presses of his latest installment, now a trilogy of his Tokyo Jukebox collection, Marty Freidman kicks it into high gear with Tokyo Jukebox 3. The album is Friedman’s take on many J-Pop hits that burst at the seams with his guitar shredding skills emboldening with his traditional techniques. Marty even went as far as to go all-out traditional stylings for the album artwork. Dressed in a kimono and kabuki make-up, the guitarist finds himself exploring every possible facet of Japanese culture in the making and styling of this record.
 
Now to the music. As the lead guitarist for one of rock and metal’s most notable and revolutionary band, Megadeath, Marty Friedman contributed to much of the success of the group at the height of their career for 10 years; until eventually leaving the band in 2000. To this day, Friedman resides in Tokyo, Japan where he has become a household name, and dabbled in Japanese government affairs, all while maintaining several album releases and touring multiple times since his move overseas.

Tokyo Jukebox 3 stands alone from traditional heavy metal music. Oftentimes, at least from my experience, thrash-metal/speed-metal bands and their albums tend to have a feature of identical sound where, if there is no lengthy pause between tracks, it remains unknown to the listener that a new song has begun. Friedman, being the aficionado that he is with his guitar, combines his skill and precision of thrash-metal with J-Pop melodies to create something truly unique. His capability not only to make every track sound different and leave a little wonder in each track is stunning.

“Makenaide” starts mainly as traditional Friedman’s work would show, with a consistent powerhouse guitar playing just with some J-Pop melody thrown in. On “Senbonzakura,” you get your first dose of change-ups and nuances. As the song plays, it feels like a crescendo with a sudden brief lull, only to pick right back up again and burst around the four-minute mark. The short and mystifying release of a lighter guitar-playing shocks the listener to engage in amazement. “Gurenge” while not a personal stand-out track, plays well to keep the listener’s interest and sensation going, especially as Freidman goes full-on beast-mode throughout.

“Kaze Ga Fuiteiru” sounds like a combination of a sing-song poem, rock concert, and cartoon series theme song all blended into one. Marty told of one of one of his near and dear friend’s opinions of the track, calling it…rightly, ‘grand and elegant.’ It’s almost as if the piece is written into three different stages. “Echo” is a breakaway from the chaotic thrashing in the beginning, with an intriguing static radio-play. As it plays through, it’s a cool back-and-forth between traditional thrashing and easier mellow strumming; once again, built back up to powerful chords to end out the song.

“The Perfect World, featuring Alfakyun” is the only vocal track but very captivating in dreaming of one day finding the perfection they are longing for. It’s a piece that could strike at the heart of any listener not only for the purpose of love but, perfection overall; particularly in the times that we had been facing this past year with the pandemic. “U.S.A.,” rightly titled, is an epic story-teller piece that hits every high note imaginable along with the 4-minute tune while engaging the listener for more.

“Shukumei” pairs well with “Gurenge” while it offers quite a few different opportunities for more somber or dramatic moments. “Shukumei” has several different tones to it whereas, “Gurenge” is more neutral sounding. ”Ikuze Kaitou-Shoujo” is possibly the heaviest-loaded track on the album. Not only would it appeal to the J-Pop fan base and thrash-metal crew alike, but it strikes a chord with the heaviest of rockers and metal-enthusiasts too.

Things begin winding down on “Sazanka,” or at least as the song begins. It has a little aggressiveness to its sound but, not nearly what the rest of the album entails. It is a very soothing record on the album with the keyboard as its supporter to the guitar match-up. “Time Goes By” keeps with the more steady and mellowed tonality. However, it seems to be more somber with points of crescendos and climaxes to build up intensity and excitement for the track. All the while, the ending becomes a surprise fade-out which separates the song from the rest of the record. The last song, “Japan Heritage Official Theme Song,” is a lighter, airy, and free-sounding lead-out track. The strings to this record give it a balanced and unique twist that actually compliments the rest of the record quite nicely.

Tokyo Jukebox 3 is one of those records where initially you may not think there is a spot in YOUR ear for this album, yet there is truly something for a wide variety of listeners. Marty Freidman remains on top of his game when completing this trio of ‘jukebox’ jams.

Gregg Keniston - MuzikMan.net Staff
April 26, 2021

Track Listing:
01. Makenaide
02. Senbonzakura
03. Gurenge
04. Kaze Ga Fuiteiru
05. Echo
06. The Perfect World (feat. ALfakyun)
07. U.S.A.
08. Shukumei
09. Ikuze Kaitou-Shoujo
10. Sazanka
11. Time Goes By
12. Japan Heritage Official Theme Song

Featured Track: Cheryl B. Engelhardt-Ithaca

Cheryl B. Englehardt has been having quite a creative renaissance with the release of her magnificent album Luminary in 2020 and so many other projects going on simultaneously.

 

Now to follow that up to keep the momentum of her creative process flowing, she has released "Ithaca," a special single track.

 

The song features ambient textures layered around a singular acoustic piano and relaxing synths, provided by Cheryl. And to make it all complete her amazing chanting voice. Cheryl creates all of her music by herself and is not afraid to experiment and try something new.

"Ithaca" is a superb new age track meant for deep immersion into our soul and spirit. Healing is here for the taking and in 3:11 minutes you can find yourself at the doorway of enlightenment. Fair warning, you will want more! If so check out here albums her Website. 

 

"Keith "MuzikMan" Hannaleck 

MORE ABOUT CHERYL:

Press Release: A #1 best selling artist on Amazon and iTunes, Cheryl B. Engelhardt is releasing her latest new age single, ‘"Ithaca" on April 23. A piano/vocal/synth track with no lyrics, Engelhardt explores the healing powers of vocal chant meditation accompanied by light and confident piano patterns, mesmerizing the listener into a deep relaxed state. Hopeful, meditative, and bright, ‘Ithaca’ brings peace and harmony to your day. This is the second single from Engelhardt’s upcoming album A Seeker’s Slumber, her full-length album releasing later this year.

 

Cheryl has recently been featured by Grammy.com, People.com, Harper’s Bazaar, The Hill, and her previous album, Luminary, was named the “Best New Age Album of 2020” by New Age Music Guide. Last week, Muzique Magazine named her a “female artist ready to breakout in 2021.”

 

READ MORE ABOUT CHERYL HERE SCROLL DOWN THE PAGE FOR HER BIO.

Fusion/Contemporary Jazz Review: Michael Whalen-Future Shock

Release Date: April 23, 2021

Label: Michael Whalen Music

Website

Facebook Event: Streaming, Videos and Interviews

Videos:
“Future Shock” / “Memories of You"

Streaming Fan Link

I have covered my share of Michael Whalen’s work but I was in no way prepared to hear Future Shock. This is because everything I have heard to date was new age flavored instrumental music. I took one look at the lineup on this recording and I knew it was going to be entirely different. It is the rhythm section that told the tale, Tony Levin (electric & upright basses, Chapman stick) and Simon Phillips (drums & additional percussion). This is a combination that stands with any of the best in the world. Then you have Bob Magnuson (saxophones, flute & shehnai) for that jazz fusion touch and of course Michael leading the way with a multitude of synthesizers, keyboards, electronic percussion & programming. I have to give the nod to Tom Eaton for another brilliant job with the mastering. What do you have at the end without that meticulous mastering process to show the music in its proper light to be enjoyed fully by a listening audience? That is the final touch that is always needed to solidify the tracks and make the flow cohesive, crisp, and perfect on the EQ.

The title track kicks things into high gear right out of the gate with Michael coming at you full blast and some high-energy gyrations on the keys. It is the perfect way to open the album and sets a high standard moving forward, which by the way I had all the confidence the excellence would continue.

“La Hermosa Noche” is a Latin-flavored track that gave me some memories of Chick Corea (who passed recently) and Al DiMeola’s earlier solo work. That is the highest compliment I could give to Michael. This is jazz fusion at its very best and I loved it. I especially appreciate the Latin influence that gives the number some extra spice and flavor which in turn gets smoothed out with some nice flute from Magnuson. All of it intermingles for an eclectic mix of stylings and it is all done very tastefully.

That track gets your juices and energy flowing as your invited to slip into the easy chair of some smooth jazz on “Lights Of Home.” This is the quiet storm that soothes the soul where you can find all kinds of gems all over the track. Short interjections of synths, smooth as silk sax, and an in-sync rhythm section that sets the foundation so all of it can just glide seamlessly over the top and evolve as the track continues. It’s time to indulge in the sounds like you would savor a delicious piece of chocolate you have been craving all day. It does the trick, sets you straight, and gets you primed for the next track.

“Memories Of You” gives more of a role to the sax and yet another nice lead-in. It picks up the groove and ebbs and tides like the seas that surround our lands. It can be the nature of flowing waters or the human condition that it pays homage to. Whatever and wherever it fits, this music can mold and shape your feelings and thoughts as you jump in and go for a ride into some more contemporary sounds with Levin’s bass laying down a funky groove for all to follow. The track does go through several changes and that is what makes it so good, with all its various colors and energies coalescing into one functional breathing musical being. Did hear some David Sanborn or Tom Scott on that sax in the back of my mind? So again, I get some great memories of the jazz giants at work shaping my tastes and opening my musical vistas back in the 80s. It’s always fun when you have those triggers deeply embedded in your soul and great music flips that switch and makes you smile inside.

Now for another complete step away from the last track comes “Poly Jam.” It starts like a real prog rocker, something that Rick Wakeman or Jordan Rudess would come up with. The keyboards are magnificent on this piece. I know Keith Emerson is smiling in heaven now after hearing this. There are some slower interludes where the rhythm section is clear and crisp and the sax gets introduced once again. Altogether this was a jazz-rock-fusion home run from start to finish. Similarly, “Wanderlust” rocks with some outstanding keyboards and overall contributions of sounds and textures. Those are my two favorite tracks. While they are all good, I found my senses aroused and my energy restored to the level I am accustomed to after hearing those two tracks.

Those kinds of changes and different styles, paces, and approaches are commonplace amongst the ten tracks offered on Future Shock. After grooving to all the music, you are left with some of the cover art and the title of the album. You go from smooth jazz, fusion, rock, Latin, or all of the above coming together in one track. The creativity is at a very high level on every track and Michael composed arranged produced and mixed it all. I love the originality and energy that went into this project and he could not have chosen better partners to compliment all of his songs.

Michael Whalen has created an excellent album and it will come as no shock (no pun intended) to his listeners that Future Shock will be one of the best releases you hear in 2021. This is our healing year people and music will once again lead the way and bring some normalcy back into our lives.

Keith “MuzikMan” Hannaleck-MuzikMan.net Founder

April 23, 2021

Tracks:

01. Future Shock
02. Hop, Skip And Jump
03. La Hermosa Noche
04. Lights Of Home
05. Memories Of You
06. Poly Jam
07. MIracle Mile
08. Morning Song
09. Wanderlust
10. Your Eyes, Your Touch, Your Kiss

Rock Review: Sweet-Isolation Boulevard

Release Date: December 18, 2020
Label: 2020 Andy Scott exclusive / Aviator Entertainment
Website 

If you venture through the ‘80s there’s no telling the endless possibilities of pop, rock, and other music stylings that will take hold of your ear and have you looking like Tom Cruise in Risky Business. The Sweet (then morphed into Sweet)  burst onto the scene from London, England in 1968 but, officially became a recognizable and formidable contender in the music world in 1974 with the release of Desolation Boulevard. Much of that initial record has now been revived into a newly mastered album closely aligned in the title as Isolation Boulevard. It’s the band’s walk down memory lane, combined with their introduction to new, upcoming, rock connoisseurs.

Starting off Isolation Boulevard is the band’s first and most notable hit “Fox On the Run.” The song’s catchy chorus gives the listener a burst of excitement as they chant back at or with the band, especially when performing live. This is the type of song that sticks in your brain for days once you’ve heard it for the first time. “Still Got the Rock” follows as a new song to add to the band’s repertoire. The Sweet is back with vengeance to proclaim they still got the power and the rock that they garnered over the course of their near 50-year career. Meanwhile, “Action” sounds like a track you’d hear during a climax/post-climax or event-type of a scene in a movie or cartoon (i.e. – the chase scenes between the “monster” and the Mystery Inc. gang on Scooby-Doo). Nevertheless, it remains a cool bridge track.

Continuing with “Love Is Like Oxygen,” the song gives off an anthem-like theme, it isn’t too overpowered, and it gives off a more mellow vibe while keeping the listener with build-up and dips of excitement through the song. “Hellraiser” ignites a fire once again as the song clearly hints. With synthesizer effects, thrashing guitar strings, and somewhat storytelling tonality to the song; the song is like the last anticipated second before the fuse lights the dynamite followed by its explosion.

“The Six Teens” is a lyrical mind-game, yet it’s interesting tale of young love gone wrong has a certain appeal to it as well. “Blockbuster” is a secret-to-revelation, mystery track. Much like “Action,” it gives off a film scene imagery. “Set Me Free” is a wild and dark, tongue-in-cheek song that is an enticing song of how loathsome a pairing can become. Yet, all the while, the emotions are high and aggressive as can be almost as if it’s love-to-hate gameplay.

The song “Teenage Rampage” track is a rebellion song if ever there was one to be written. “Come and join the revolution. Get yourself a constitution. And join the revolution now. And recognize your age, it’s a teenage rampage.” This is all about how a clash of the ages and ‘the way it’s been’ vs. ‘change’ is perceived and played out. It also shows that history does, in fact, repeat itself. “Turn It Down” slides in with a jam session that will just keep cranking it up instead as the band moves through the song. The last two tracks offer nothing but pure excitement. “New York Groove” may attract some of the younger viewership with a familiar part of the track being off of Alicia Key’s “Empire State of Mind Pt. 2.” And lastly, if you’ve never lent your ears to “Ballroom Blitz,” then you just don’t know rock and roll. “Ballroom Blitz” is one of those songs that will forever go down in rock history as a frenzy-driven song that is just pure adrenaline.

Sweet remaster all of these hits to capture their best moments once again. The band, while having their share of rotations through the years in members and labels, along with epically tragic events like losing key members like Brian Connolly, Mick Tucker, and Steve Priest; seem to still rise above and come out on top. Though they may feel like they are in a sort of isolation with such loss. The big gain Isolation Boulevard pulls off for them is that of memories, thrill, and a sort of rebirth of the band.

Gregg Keniston - MuzikMan.net Staff
April 14, 2021

Track Listing:
01. Fox on the Run
02. Still Got the Rock
03. Action
04. Love is Like Oxygen
05. Hellraiser
06. The Six Teens
07. Blockbuster
08. Set Me Free
09. Teenage Rampage
10. Turn It Down
11. New York Groove
12. Ballroom Blitz

Blues-Rock Review: Ten Years After-A Sting in the Tale (Deluxe Edition)

Release Date: March 19, 2021

Label: 2021 Deko Entertainment / Ten Years After

Website

From across the waters in Nottingham, England, arises a band that’s name derived from the period that saw a boom of rock & roll exhilaration after Elvis Presley broke through the doors of the genre. The band was launched officially in 1967 but, Ten Years After spent the first six years solidifying their group members and working out the band’s kinks. Heavy touring through the first 5 years was the first lead to their growing success. And, though the band suffered splits, and a less-than-stellar album, Ten Years After ultimately resurrected themselves within a new rise to success even 40+ years later.
 
The album A Sting in the Tale has now been re-released with live tracks to bring the band’s power to life in full force. “Land of the Vandals” starts the album out with a rising tide intro that for a rock record, keeps a soothing but steady-handed tone throughout. “Iron Horse” describes someone with the capacity to outperform those around them with every move he makes. Then, we arrive at “Miss Constable” where he sings of a blood-sucking woman who Is not only seemingly abusive but too, is never happy with how things are around her and the person that stands beside her. The guitar solo in this track offers a sense of levity to how dark the song is overall.

“Up In Smoke” really blows a hole in the listener’s heart. If you could look the definition of blues up in the dictionary, this song would be sitting right underneath. The singer speaks of how it’s too late to save him from the woes that have allowed him to arrive at this point in his life. It is overly apologetic but, sadly he knows that there is still no one listening, even at the very end. “Retired Hurt” is kind of somber like the prior track however, with a constant beat behind it and the fact that it sounds like the first-step process of life admissions, the song does not depress listeners entirely. Rather, it is a song of acknowledgment, even if the singer is still questioning what to do next.

“Suranne Suranne” is love slipped away. Although, with the subject matter being should’ve, would’ve, could’ve, it is a fun changeup from the album so far. If only the woman knew who the singer was, would things have been different? “Stoned Alone” is a cool piece, that depicts a relationship starting and ending all within the same breath and now the singer is left in his emotions (now heightened) alone. “Two Lost Souls” is the most fun and free-spirited track on A Sting in the Tale. Its up-tempo, action-movie-car-chase-styled tone brings levity and funk to the rest of the blues-smothered tracks.

“Diamond Girl” is a reminiscent song of this girl who is ideal perfection that sadly either does not stick around or slips out of the singer’s sights and life completely. It sings of this ideal perfection of a person that many dream up but few, if any, could ever find in life; especially since we are all flawed, to begin with. “Last Night of the Bottle,” “Guitar Hero,” and “Silverspoon Lady” all keep a constant pace to end out the record. “Silverspoon Lady” is a strong way to complete the album as the singer announces that this overly entitled-minded woman will not take advantage of this man and “will not get the best of him.”

So, to include the four live tracks, one of the tracks being a lead hit single that blasted the band to top success off of the album A Space in Time. As stated through one of the band’s press releases, it’s certainly true that “you put it on…you can’t just listen once.”

Gregg Keniston - MuzikMan.net Staff
April 1, 2021 

Tracks:
01. Land of the Vandals
02. Iron Horse
03. Miss Constable
04. Up in Smoke
05. Retired Hurt
06. Suranne Suranne
07. Stoned Alone
08. Two Lost Souls
09. Diamond Girl
10. Last Night of the Bottle
11. Guitar Hero
12. Silverspoon Lady
13. Land of the Vandals (Live)
14. I’d Love to Change the World (Live)
15. Silverspoon Lady (Live)
16. Last Night of the Bottle (Live)

Symphonic Prog Review: The Emerald Dawn-To Touch The Sky

Release Date: March 20, 2021

Label: World’s End Records

Website

I have been an avid follower of the band, The Emerald Dawn, since before the release of their debut album, as I received some demo material for airplay on my radio show. With each release, the band has evolved and grown in confidence with their music and album No 4, To Touch The Sky, raises the bar yet again.

The Emerald Dawn was formed in Edinburgh in 2010 by Alan Carter (Ally) and Katrina Stewart (Tree), both multi-instrumentalists and then the band relocated to Cornwall. Joining Ally (electric and acoustic guitar, guitar synth, tenor and soprano saxophone, keyboards and vocals) and Tree (keyboards, piano, flute, acoustic guitar, percussion and vocals) was Thomas Jackson (drums) and the debut release was in 2014, Searching For The Lost Key. This first album was followed in 2017 by Visions and in 2019 by Nocturne together with some personnel changes. Under
review now is the most recent album No 4, To Touch The Sky.

The band on this newest album is Ally, Tree, Tom and David Greenaway (fretted and fretless basses) and they have produced a superbly atmospheric album. To Touch The Sky comprises just 3 tracks and has a
total playing time of just under 50 minutes (48:39), with the opening track “The Awakening” the shortest in length at 11:15 minutes and the final track, “The Ascent,” the longest at 22:17 minutes. This last track is
also split into 14 sections/parts.

The opening track, "The Awakening" (11:15), starts with a simple piano passage above some excellent bass playing and sympathetic drumming. There then follows some superb keyboard work before the hauntingly beautiful vocals of Tree enters the proceedings. This atmospheric, powerful start to the track will have drawn the listener into the world of The Emerald Dawn and the instrumental passage that follows will have transported them deeper into that realm. Some stunning guitar work by Ally carries the track along with superb support from the keyboards, bass and drums before those ethereal vocals from Tree reappear around the 7:15 minute point, and the guitar takes the lead again just after 8:00 minutes. This is the driving section towards the track finale, and the ending is reached after a short piano and guitar passage.

This has been an excellent opener to the album and should certainly have grabbed the listener by presenting them with entry into the symphonic, cinematic, powerful music of The Emerald Dawn.

Track 2, “And I Stood Transfixed” (15:07), commences with acoustic guitar, electric guitar, drums and bass and continues the aural soundscapes that the opening track introduced. The feeling depicted in this piece of music is uncertainty and of meeting with the unknown. Melodic passages, interspersed with some stunning saxophone playing, those ethereal vocals, orchestral keyboard sweeps and gentle melodic flute hold the listener a little on edge as the music swirls through phases of light and dark. The way the band move from the light melodic passages to the darker more discordant themes and back shows the confidence that The Emerald Dawn now has in their music.

The first two tracks have been setting the scene for the 22:17 minute track, "The Ascent" when our imaginary group start on a climb having passed through feelings of excitement and uncertainty. With 14 parts to this epic track, ranging from “Exordium,” “In The Foothills,” “Passing Through The Final Village With Its Bustling Street Market, They Ponder The Challenges Ahead,” to “The Last Push,” “As The Wind Dies Down And The Clouds Part, They Find Themselves at The Summit,” “On Top Of The World” and “Addendum: The Dangerous Descent Commences,” the music of The Emerald Dawn continues to paint such detailed soundscapes that the listeners are there beside the group, feeling the emotions every step of the way.

The music starts gently before moving into a simple classically-styled piano passage with a flute motif appearing before the piano leads into the electric guitar passage leading to the start of the journey. These themes will be revisited throughout the length of the track. There is a change as those beautiful vocals appear after a stunning keyboard theme to explain that the travellers have glimpsed “The First Sight Of The Mountain." The band released a couple of the parts of "The Ascent" as a sampler/teaser before the pre-order date of To Touch The Sky, and these were part (vii), "While Pausing On A Steep Slope, They Watch An Eagle Soaring Effortlessly Above Them" and part (viii), "Resuming The Climb, They Feel The Wind Rise As The Clouds Close In." I was standing in my kitchen gazing into the distance at the snow-covered Red Cuillin mountains in the sunshine listening to these clips of music and the view, the music and my imagination all combined to produce the "perfect moment." "The Ascent" is a majestic track that shows the musical evolution of this band.

From the melodic to the edgy guitar, the stunning keyboards and piano, the ethereal vocals of Tree, the haunting flute and that superb melancholy, discordant saxophone all underpinned by stunning bass and excellent drumming, I think I have a contender for my “Album Of The Year 2021.” I am aware that it is only March, but To Touch The Sky is a magnificent album that seems to provide evidence that The Emerald Dawn are truly on their way. The first 3 albums showed a progressively evolving style, but this release has taken a quantum leap forward.

My simple advice is to clear a space on your CD shelves to house this masterpiece.

Jim “The Ancient One” Lawson    Prog Rock Music Talk Staff.
March 25, 2021
 

Rock-Blues Review: Cactus-Tightrope

Release Date: April 02, 2021

Label: 2021 Purple Pyramid Records / Cleopatra Records

Website

It’s like old-time classic rock, progressive rock, the ‘60s, and the blues all got together and came up with Tightrope. The album has the perfect blend of contemporary progressive and classic rock sound with a blast from the past. Carmine Appice has now rejoined in attempts to “re-energize the band”. The band has had quite the rollercoaster from the 1970s to now. Truth be told I had never recognized them in my father’s record collection, but, after listening to this record I’m sad that its taken me this long to discover them.

From booming successful beginnings to the death of their original frontman Rusty Day in 1982, to having a revolving door of sorts of members due to varying individual reasons. That is until once again, the band began to see a rebirth of their notoriety and success in 2006. Only, this time Appice is the main driver behind the band’s reformation and a rocket towards hits on the charts once more.

Tightrope’s title track begins the entire record with a crash of the drum that fuels the record and has just enough thrill in the song to come away at the same time as a mellow rock introduction. Then we get into their version of “Papa Was a Rolling Stone.” Now, I may be a bit biased because this is already my favorite song of all time. However, the way they’ve re-done the hit song is completely badass and incorporates an even stronger blues element, fused with rock n’ roll power throughout.

“All Shook Up” follows suit in a foot-stomping good time with an extensive guitar and drum combination solo that marries together the thrashing feeling of the message of the song is “all shook up” while also pumping an adrenaline rush into the track. Then, slowing down with “Poison in Paradise,” the torn-up emotional blues song, causes the singer an internal struggle of what had just transpired in his personal life. “Third Time Gone” is a fun write-off-themed song, showing how the third time is not always the charm.

“Shake That Thing” offers a slowed-down break from the peddle-to-the-metal, headstrong rock show so far. It is quite possibly the most blues-driven track on the album. Afterward, “Primitive Touch” rushes back into a frenzy of high-fueled guitar and harmonica blends. All he wants here is just one thing, of which he can’t escape until he gets what he desires.

We reach “Preaching Woman Man Blues” which expels obvious worldly truth in the beginning, “you’ve got to put in your time, you’ve got to pay your dues.” And then, soon the song progresses to much of an instrumental piece with its heavily guitar-laden work to deviate from the rest of the album. “Elevation” gives off a Led Zeppelin vibe that makes it the highlight track of the entire record. “Suite 1 & 2: Everlong, All the Madmen” is a hauntingly, captivating song that sets the listener halfway in a trance then sings of an aftermath of sorts.

As we round out Tightrope, “Headed for a Fall” finds itself reviving some pop-rock energy that is just pure power and excitement. “Wear It Out” is a great song to come to a middle-of-the-road point. The song isn’t overdone or extremely heavy in its rock roots and yet, it maintains enough composure of energy to wind out the album and leave the listener wanting more.

Gregg Keniston - MuzikMan.net Staff
March 24, 2021
 

Track Listing:
01. Tightrope
02. Papa Was a Rolling Stone
03. All Shook Up
04. Poison in Paradise
05. Third Time Gone
06. Shake That Thing
07. Primitive Touch
08. Preaching Woman Blues
09. Elevation
10. Suite 1 & 2: Everlong, All the Madmen
11. Headed for a Fall
12. Wear it Out
 

Rock-Blues Review: Steve Cropper-Fire It Up

Release Date: April 23, 2021

Label: Provogue

Website

 

If you have any familiarity with Booker T. and the MG’s or all the music coming out of the legendary Stax label, then you know the name, Steve Cropper. All that music I have always appreciated and the craft of Cropper on the six-string leading the way. You won’t hear his name mentioned amongst the greats such as Clapton, Beck, and of course Hendrix. My thought is that he was recognized in his genre and all his contributions to countless recordings including his solo recordings. He played at a very high level and continues to do so as the new release Fire It Up will attest. He is right up there on the list with the big boys as far as I am concerned.

Fire It Up features Cropper at his level best with Nioshi Jackson (drums), Roger C. Reale (vocals), and Jon Tiven (bass, sax, keys, harmonica, background vocals, with shared production duties with Cropper). Some other names contributed that you will recognize as well are Felix Cavaliere, Anton Fig, Simon Kirke, the list is extensive. All of that fine talent coming together to lend a hand gives Fire It Up some flow and cohesiveness that adds to the spark of that amazing guitar playing on display from start to finish.

There are thirteen cuts on the album. After listening to all of them I felt as though there was nothing that seemed out of sync or so different that it stood out as the one track that would be left in the can for future consideration. This is quality rock and blues with a strong underpinning of soul that comes through the vocals nicely.

I think the versatility that Cropper offers on this release is exceptional. “Bush Hog, Pt. 1” is a snappy instrumental to kick things off. The title track is a funky bluesy burner with Reale on vocals to complete the song. As things move along you hear will so many of those sweet crisp licks from Cropper. My favorite amongst many was “Heartbreak Street” and “She’s So Fine,” which sounded like a good choice for a single release to create a buzz about the album.

Cropper is 79 years young and he still has that fire burning in his belly. He floats like a butterfly and stings like a bee (thanks for that line Muhammad Ali) on this recording. The band he pulled together to support him certainly does Fire It Up at every turn making this a classic offering that stands as one of the best releases I have heard this year.

Keith “MuzikMan” Hannaleck-MuzikMan.net Founder
March 22, 2021
 

Tracks:

01. Bush Hog, Pt. 1    
02. Fire It Up        
03. One Good Turn        
04. I'm Not Havin' It        
05. Out of Love        
06. Far Away     
07. Say You Don't Know Me        
08. She's So Fine        
09. Two Wrongs        
10. Heartbreak Street        
11. The Go-Getter Is Gone        
12. Bush Hog, Pt. 2        
13. Bush Hog

Rock Review: The Dead Daises-Holy Ground

Release Date: January 22, 2021

Label: The Dead Daises Pty Limited

Website

The Dead Daisies hold so much street credit both past and present since their breakout in 2012, the revolving door keeps spinning with great music throughout. The current line-up: Dough Aldrich (Whitesnake/Dio), Deen Castronovo (Journey), Glenn Hughes (Deep Purple), and David Lowry (Red Phoenix) came together to offer us, Holy Ground coming from rock legends. Some prior members included: John Corabi (Motley Crue), Darryl Jones (The Rolling Stones), and John Tempesta (The Cult/Rob Zombie). As you can see, the band is a collage of rock and roll greatness.

Listening to Holy Ground, it feels like real music has found its way back to the airwaves and speakers. Having this band rise over the years means not only, that there are people that still crave the realness of music and true musicianship, but more than just machinery and auto-tuned pop or techno beats. The strength and power behind Hughes’ vocals represent just what love and dedication to a musician’s life can showcase grand results.

The album itself is a pure adrenaline rush. The intro and also title track “Holy Ground (Shake the Memory)” is an earthquake of head-banging thrill. Fittingly, “Like No Other (Bassline)” is very much focused on the bass. “Come Alive, “Bustle and Flow,” (one of the main focal tracks), and “My Fate” are all songs that maintain a battle and struggle theme or anthem throughout. The way the album is set up, “Bustle and Flow” is one of the breaks in the album where there is a bit more levity and a slight pop sound to attract a wide audience rather than them sticking to one set group of people. It sets up this back and forth between a darker or more serious tonality like “My Fate” and “Come Alive” and a pure foot-stomping, sing-along-styled “Bustle and Flow” and “Chosen and Justified.” The single “Chosen and Justified” follows as a strong continuation of the prior three tracks, yet this packs a powerful punch to keep the momentum going.

There are cracks within “Saving Grace” but, in a good manner of speaking. The cracks are where the singer proclaims that his other half is the symbol for everything that frees him of the chains that bind him to the world. Not to mention, a guitar solo finds its way to blend into the message of the song to entice the listener to more. “Unspoken” feels like it belongs inside an action movie during a battle scene. Then to follow, “30 Days in the Hole” harkens right back to that ‘80s hair-band feel. It’s the most ‘fun’ track on the whole record, as far as radio-friendly (pop-rock) is concerned. But, songs like this, “Righteous” find hints of Guns N’ Roses blasting through.

While “Far Away” ends the album on a more melancholy note, the concept of calling out to someone during the chorus is exciting on its own; enough to not have it be your typical last track lead-out song. However, taking a look after this album is complete, Holy Ground certainly has the listener feeling like they are reliving the glory days of rock n’ roll once again. Truth be told, I had never heard of The Dead Daises up until this point, and thought very much so, that they would be a Grateful Dead Tribute band. Oh boy, was I in for a much-welcomed surprise. Thankfully, after hearing The Dead Daises the first time around, I cannot wait to go back and listen to their other four records that are bound to send me or any listener on yet another time warp.

Key Tracks: “Holy Ground (Shake the Memory,” “Chosen and Justified,” “30 Days in the Hole.”

Gregg Keniston - MuzikMan.net Staff
March 12, 2021 

Track Listing:
01. Holy Ground (Shake the Memory)
02. Like No Other (Bassline)
03. Come Alive
04. Bustle and Flow
05. My Fate
06. Chosen and Justified
07. Saving Grace
08. Unspoken
09. 30 Days in the Hole
10. Righteous Days
11. Far Away

Prog/Cinematic Rock Review: Esthesis-The Awakening

Release Date: November 14, 2020

Label: Autoproduction

Website

 

Esthesis is a French project formed by Aurelien Goude (keyboards, vocals, guitar, bass) and inspired by 70’s British Rock, especially prog rock. In collaboration with three other musicians, Baptiste Desmares (lead guitar), Marc Anguill (bass) and Florian Rodrigues (drums), the four-piece band have released an EP, Raising Hands, in 2019 and a full-length debut album, The Awakening, in November 2020.

I chanced upon this band by accident, and count myself very lucky to have done so, as I was instantly transfixed by the stunning music found on the full-length debut. I was lucky enough to get hold of one of the limited-edition CDs initially released as they sold out fairly quickly, but the band have now issued a standard CD to allow for the increasing demand for the bands' music.

With repeated plays, it is possible to detect very specific influences, such as Pink Floyd and Porcupine Tree from the UK, Rick Miller (another great discovery I came across late in 2020) from Canada and those Norwegian giants, Airbag.

The Awakening is a six-track release with a total playing time of just shy of 60 minutes (59:39), with the opening track, “Downstream,” the longest at 16:31 minutes and the penultimate track, “The Awakening,” the shortest on offer at 6:26 minutes.

To start a debut album with “Downstream,” a 16+ minute epic, shows the self-belief that the band carry at the moment. An atmospheric start leads to guitarist, Baptiste, gets to show his bluesy side before the vocals of Aurelien appearing, smooth and understated, but so fitting the music. The track progresses with instrumental sections interspersed with those vocals and that blues styled guitar very much the central feature. The band even manage to fit in an atmospheric whistling section, which reminded this reviewer of the whistling section in the “Wind Of Change” track by the Scorpions. This opening track gently transports the listener along on a very subdued, laid back journey. During the journey, the piano of Aurelien, the guitar of Baptiste, the soft gentle vocals of Aurelien and the tight power unit of Marc (bass) and Florian (drums), flow effortlessly. At around the 9:30 minute point, there is a change in tempo increasing the urgency of the track, but the superb guitar playing maintains the atmospheric soundscape. At 11:30 minutes, another change reinstates the piano as the main instrument with the guitar slotting into the background but exerting a huge influence. A bit of vocalization adds to the aural picture the band are setting out for the listener. Entering the last 2 minutes, the track starts to drive toward a finale. Some more aggressive playing takes the track out and sets the listener up for the rest of the album.

“No Soul To Sell” (8:33) track 2 on the album is a very different style and hints at the wide-ranging ability of the musicians. With a chunkier guitar riff, more "in your face" drumming and a superb bass produce a total style contract to the opening track of The Awakening. A heavier riff-laden section fades and the bass reappears away in the distance as the track moves into an atmospheric meander, leading to an acoustic guitar passage before the organ, bass and guitar drive the track to completion.

“Chameleon” (8:06), and the fourth track, starts with an acoustic guitar riff before being joined by the smooth vocals and then some vocal harmonizing. The sound continues to be “fleshed out” by the presence of the bass and drums and ultimately, the organ appears swirling away in the background. Just before the 3:00 minute point, that bluesy style guitar soars over everything before disappearing as firstly the voice takes over and then the organ. A chunkier section of the acoustic guitar then gives way to a simple but sublime organ passage and a little more of the harmonizing vocals. An interesting change of sound style just before the 7:00 minute point ushers in a swirling heavier sounding organ that escorts the track out.

The Awakening is an amazing debut album by Esthesis which is a pleasure to listen to. From the smooth vocals, intense drumming, intricate and chunky guitars, superb bass lines and beautiful piano plus swirling organ, the members of the band grab the attention of the listener at the album outset, take them on a 60-minute journey of discovery before gently returning them as the last few notes fade away.

My simple advice is to grab a listen to The Awakening and then add it to your collection.

By the way, Esthesis has just announced that a trip-hop version of the closing track, "Still Far To Go" will be released on Bandcamp on March 5th 2021.


Jim "The Ancient One" Lawson Prog Rock Music Talk Staff
February 26, 2021

Tracks:
1. Downstream (16:31)
2. No Soul To Sell (8:33)
3. High Tide (10:35)
4. Chameleon (8:06)
5. The Awakening (6:26)
6. Still Far To Go (9:28)

Rock Review: Age of Aquarius-Out There

Release Date: March 3, 2021

Label: 2020 Age of Aquarius

Website

After their seismic debut Dawn of the Age of Aquarius, the band of the same title – Age of Aquarius is back, this time, with an intergalactic sound. Out There, unveils a unique outer space saga that brings about everyday questions of what more could lie beyond this world. What really might lie….out there in the great beyond? The band’s addition of Nakoma Z gives the album an elegant tonality to the record and touches of pop to the progressive-rock base and foundation of the album.

“Anyone out There” starts off the record by playing into the overall theme of extraterrestrial life but, at the same time asks a more direct question pertaining to her own life. Feeling alone, she craves companionship and repeats the question throughout the song, longing for completion. On the intro of “Face of the Unknown,” there is a tinge of bluegrass/country that quickly graduates into a song of pure rock of this image or creature we cannot quite make out but, we are so curious to find and identify. This alludes itself more to the serious note of worldly wonders.

“Mysterious Light Being” is almost like a part 2 to track two. A duet that is a double entendre of sorts, where both individuals are curious of this light being. Yet, the male counterpart  - Peter Cox, could also identify as the mystery being himself. It’s a beautiful expression of longing and attempting to make the best out of the unknown and the longing to know for certain what is real and what is imaginative.

Asking the longing, never-ending questions, “Alone In the Universe” is a more serious-mannered song, tending to the nature of human beings versus other walks of life… or if there should be any at all. The echoed quality of the production, along with the deeper male voice offers a more reflective view of the song’s message. It also goes a little deeper, turning the tables back on our own human ways – asking “What if”?... of a utopian way of life. The effectiveness of this piece has much to do with the melancholy nature of the ballad.

“Fifth Dimension” acts as the bridge of the album in many ways. Not only is it a strict instrumental piece, it too does not vary much in the structure of the song. Although, the song does have a slight roller-coaster feel to it. as the beginning starts slow with a piano note and fading sound, it builds gradually to a guitar solo that plays throughout. Meanwhile, “Non Carbon Life Form” is a blend of keyboard synthesizer and brief spoken-word curiosity of the appearance of a certain specimen, as the guitar glides on through.

“The Men in Black” shifts back to Nakoma Z. She eerily sings of how someone stumbles across what they are not supposed to know. Now, ‘the men in black’ must take care of the individual if he or she should speak a word of what they’ve seen. But, the light piano along the track is slightly misleading distracting from the tone of how she is ordering the person to be assured not to speak or risk serious consequences of the ‘men in black’.

“Atomic Eight” is a twist in the album that still alludes to the spacetime theme of the record, with ever-so-slight feedback vocals, but, there is a harmonious blend too between the progressive-rock sound of the guitar and a jazz-like feel to the track as well. It is a soothing instrumental piece that calms the listener’s mind. “First Contact” is based on the amazing energy of the ‘first contact’ with a supposed alien and then that said ‘alien’ starts explaining the reasons behind her extreme exhilaration of those feelings. All this while the start and finish of the song’s sound, sounds much like a slot machine reel at each end of this rock n’ roll record.

The finale piece, “We Come in Peace,” is probably the most tongue-in-cheek and contradicting piece of the album. “We come in peace. We come to rule your world. Just get down on your knees.” So goes the line in the song, so is the assumption of what a higher intelligent life form might practice on us, should that kind of day ever rear its disturbing head. But, it also does speak to the ease, willingness, and gullibility of many persons in the modern world as well. We are often so easily influenced and convinced of what we are read, told, and ‘suggested’ to do at times; that it could very well be speaking to us in a contemporary light.

Out There offers a combination of action-packed, comic book imagery, along with surprise hints of pop-up styles inside the effects of progressive-rock. “Atomic Eight’s” sparks of jazz horns act almost a reprieve from the interstellar adventure the listener is sent on. “The Men in Black” meanwhile offer a theatrical pop perspective with notes of singer-songwriter/Americana vibes.

Key tracks: “Anyone out There,” “Fifth Dimension,” “Atomic Eight,” “The Men in Black.”

Gregg Keniston - MuzikMan.net Staff
February 22, 2021

Track Listing:

01. Anyone out There?
02. Face of the Unknown
03. Mysterious Light Being
04. Alone in the Universe
05. Fifth Dimension
06. Non Carbon Life Form
07. The Men in Black
08. Atomic Eight
09. First Contact
10. We Come in Peace

Rock Review: Tim Morse-The Archaeology Project

Release Date: October 9, 2020

Label: 2020 Tim Morse 

Website

Typically, I see the word ‘compilation’ in music and I overlook every part of it, often because it signifies “Greatest Hits” or “Best Of.” And as a writer, I usually want more than just the hits of someone because the hidden gems are found outside of the singles. Plus, if you find a song apart from the singles, you don’t grow tired of it as quickly because it does not frequent the radio as promotional singles do. In this case, the compilation of The Archaeology Project by Tim Morse is excellent in presenting a timeline of his work.

With no definitive reason for releasing this record, Morse says,” It seemed like a good time to reflect on the last fifteen years of being a recording artist.” Reflection can be a good way to spark that new creative edge. “Guitar Etude 1” roots from his very first song so, it seems fitting that the bit piece starts off the record. 

“Apocalyptic Visions” is a three-part song that is his longest piece to date. AV is a blend where the keyboard sounds much like an intergalactic travel scene, followed by what could sound like a take from a 90’s Alternative group like Good Charlotte blending with a speed-metal song cut, and ending with a mix of peaceful chime and keyboard but also going back to the powerhouse guitar playing. “Adrift” is a self-reflective journey piece that initially was just an instrumental work for the longest while.

“Rome” contains a Shakespearean-type of imagery that plays to the advantage of the artist and genre quite well. It is the epitome of an epic tale. “The sky is burning. Nero plays on….” Is the perfect symbolism for today’s pop culture/political chaos while giving a temporary historical lesson too. “Voyager,” according to Morse, was “inspired by the Berg and his book on the Lindbergh historic flight.” It is a mainly wondrous instrumental track that takes to new heights.

“Window” winds the first half of the record down with this soothing guitar piece that was thought of as a segue for his prior album Faithscience. The short track calms the listener’s ear down and prepares them, for more to come. “Afterword” keeps with the more melancholy tone but, not for the reasons you may think. Instead of saying goodbye to a love or a relationship of sorts, it’s the foundation for new beginnings moving forward and a reflection of events gone by.

“200 Yards” is a funny ‘crush-gone-wrong’ song that Morse says is the first-time-ever collaboration between him and Bret Bingham on Mangoes. The very tongue-in-cheek, watcher song, is a fun session Morse and Bingham created to simply make music. “My Ally” talks of a friendship that has lasted through the ages. I think it’s THE song I or anyone could connect with so deeply because, as an overly open and friendly person, to begin with, I love the multitude of reasons certain people come into your lives. Friendship is so much more than just a bond, it’s an experience like none other.

“Inertia” is a funky psychedelic feeling song that as the song plays out, causes an expansion of sorts. It crescendos into a musical spacetime continuum. “The Mary Celeste” speaks of the sudden loss all of us experience at one point or another. The hurt is so grand, and sometimes it is impossible to deal with moving forward, we remain still for a while, “lost at sea.”

“The Marquis” is the sign we all read in our own minds in one form or another. We over-analyze our certain actions to which we question if it could’ve been worked out differently, or if it was the correct plan of action in the first place. But the marquis is always hovering above our mind trying to intimidate us to keep on questioning ourselves. 

Originally done by Pink Floyd, “Dogs” was a long desired song to cover for Morse and by molding the song to his artistry, he molds it into more of a singer-songwriter style than its original predecessor. In finalizing the record, “The Corners” is a cleverly-placed track to end out The Archaeology Project. It is a beautifully orchestrated piece representing the excitement to see what lies beyond our lives here on earth.

Key Tracks: “My Ally,” “Rome,” “Dogs,” and “Afterword”

Gregg Keniston - MuzikMan.net Staff
February 14, 2021

Track Listing:
01. Guitar Etude 1 Dec. 1970
02. Apocalyptic Visions
03. Adrift
04. Rome
05. Voyager
06. Window
07. Afterword
08. 200 Yards
09. My Ally
10. Inertia
11. Mary Celeste
12. The Marquis
13. Dogs
14. The Corners

Neo-Prog Review: Fish - Weltschmerz

Date: September 25, 2020

Label: Chocolate Frog Records (Self Released)

Website

The new, and final studio album from Fish (David Dick), is the superb Weltschmerz, which is album No 11 from the ex-lead singer of Marillion (1981-1988). The debut release of Vigil In A Wilderness of Mirrors was issued 30 years ago (1990) and we have now reached the end of the line.

The album is available as a 2CD, 2CD and Blu-Ray deluxe edition, a digital version and a 2-album vinyl version.

The band on Weltschmerz is Fish (Vocals), Steve Vantis (bass/keyboards and guitar), Robin Boult (guitar), John Mitchell (guitar), Craig Blundell (drums), Dave Stewart (drums), David Jackson (saxophones), Liam Holmes (keyboards), Foss Paterson (keyboards), Doris Brendel (vocals), Mikey Owers (brass) and the Scottish Chamber Orchestra (strings). Many of these musicians have been long term members of the Fish band and hence the band members are comfortable with what is required of them.

I have at this point to state that I preferred the Fish led Marillion rather than the post-Fish band, but I was never “blown away” by his solo material. There were some great tracks, but I tended to feel that the consistency of the music could be variable. That state of affairs however changed with the release of Feast Of Consequences, album No 10, which was a superb piece of work, especially the 5 part "High Woods Suite." I have looked forward to this final studio release from Fish for several months before the release.

The title, Weltschmerz, translates as world pain or world-weariness and may well sum up the feelings of the artist at the time, but the contents of this superb double album certainly are a long way from that downbeat title.
 
The Fish voice has been described as both distinct and also as a fusing of Roger Daltrey (The Who) and Peter Gabriel (Genesis), but it is his lyrics, classed as “poetic prose” that add an additional facet to the mans’ music. Fish can and does, interject spoken word lyrics into his music which seem to accentuate the storytelling aspect of his work.

Weltschmerz is a 10 track release with a total playing time of 84:30 minutes, track 5 “Rose Of Damascus” being the longest track at 15:45 minutes and track 4, “This Party’s Over” being the shortest at under 5 minutes (4:22).

The opening track, “Grace of God” (8:19), is exactly what I want to hear when listening to a new album, and that is something that immediately grabs the interest of the listener. There is a sparseness about the music behind the voice of Fish as he ventures into his storytelling, which is somehow very compelling. The lyrics paint such detailed scenarios that the listener becomes immersed in that storytelling.

The longest track, “Rose Of Damascus" (15:45) brings together the aspects that make the area in question such a volatile area to exist in, as seen through a young woman (Rose) who is trying to flee the war-torn area. In under 16 minutes, the listener is taken on a long journey through different sections with those superb lyrics tying everything together and trying to make sense of the problems that exist. The music twists and turns and holds the listener almost spellbound as the storyline unfolds.

Starting the second album is track 6, "Garden of Remembrance" (6:07) and is, for me, the most powerful, emotive track on Weltschmerz. Based on the changes in a relationship due to Alzheimer's, the lyrics are simple but literally oozing emotion as Fish relates the interaction, or rather, the lack of interaction between husband and wife. Musically there is a beautiful melody on piano behind his voice which underpins those lyrics, and latterly, a superb orchestral theme.

As a final studio album, Weltschmerz is an excellent way to bow out of further studio recording. Early in the review, I suggested that with the title translating as world-weariness, that could sum up how Fish must have felt with the personal situations that he had to confront during the recording process. Over the 5 years that Weltschmerz took to get to completion, he has touched on these moments throughout the ten superb, if very different, tracks and has produced a stunning swan song.

If you haven’t already purchased the album, I would humbly suggest that you give Weltschmerz a listen from start to finish and then part with some of your money to add the album to your collection.

Jim “The Ancient One” Lawson Prog Rock Music Staff 

February 9, 2021

Tracks:

CD 1:   1. Grace Of God (8:19)
            2. Man With A Stick (6:27)
            3. Walking On Eggshells (7:18)
            4. This Party’s Over (4:22)
            5. Rose Of Damascus (15:45)

CD 2:     1. Garden Of Remembrance (6:07)
             2. C Song (The Trondheim Waltz) (4:41)
             3. Little Man What Now? (10:54)
             4. Waverley Steps (End Of The Line) (13:45)
             5. Weltschmerz (6:51)