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Showing posts with label Progressive Rock Reviews. Show all posts
Showing posts with label Progressive Rock Reviews. Show all posts

5/29/2025

Progressive Rock Review: Jethro Tull-Curious Ruminant

Release Date:  March 7, 2025

Label: Inside Out

Website

Ian Anderson's creativity, a timeless force that has not waned after all these years, continues to shine. His primary vehicle for presenting his creations, Jethro Tull, is still making viable progressive rock, and that legacy is upheld in the most recent recording, Curious Ruminant.

 

As most fans have become intimately familiar with Ian 2.0 and his voice, the music's strength carries him into the future. He sings/talks his way through his storytelling, a familiar and comforting journey that works just fine as far as I am concerned.

 

The subject matter presented here can be deep and reflective for a man nearing 80. He hints in the liner notes that he is still here and plans to continue, but you never know what tomorrow may bring. So, as a long-time fan, I appreciate what he continues to do more with each passing year.

 

Curious Ruminant is an excellent addition to the Jethro Tull catalog. The one song that amazed me was the nearly seventeen-minute "Drink From The Same Well."  It was on the level of some lengthier prog rock classics, such as Thick As A Brick. It was not nearly as long, just reminiscent of that musical muscle stretching out like the earlier version of the band, and what it was known for.

 

"Puppet And The Puppet Master" kicks off the journey with a soft beginning, then into a flute intro. His playing of that instrument remains captivating. The pace gradually increases with fluidity, yet is restrained and quite effective. A splendid solo from the electric guitar is a highlight, albeit short, as the other positions also get their chance to announce their arrival to the mix.

 

"Curious Ruminant" begins with an excellent bass and guitar. The music is fantastic and rocks, with some holding back on exuberance and intensity. Acoustic interludes find their way into the mix, and the electric guitar lines weave into the tapestry of multi-hued sounds. A melodic flute coursing through brings pleasantries as more electric guitar fills the space.

 

"Dunsinane Hill" features a mellowed-out flute piece casually inviting you in. Intricate guitar notes float over that beautiful instrument as the bass and drums precisely keep the path clear for Ian's skillful approach to every composition. Some catchy rhythms and lovely flute passages keep your interest.

 

"The Tipu House" immediately starts with a faster tempo with the flute. A tempered guitar lends elegance as the bottom end holds on strong and true. Keyboard flurries are catchy here and firmly in place, giving it all a prog-like feel. A "shut the door" ending finishes out the track.

 

"Savannah Of Paddington Green" immediately brings the acoustic guitar to the front, accompanied by Ian's lyrics. The tempo increases with a colorful amount of music, changes direction, and returns to where it started. The lyrics reach you through the perfected instrumentation and Ian's subdued delivery. It's important to note how understandable Ian is, which is key in interpretation, where he is coming from, or always implying, to make you feel and reflect more.

 

"Stygian Hand" rang out in a celebratory atmosphere as if the court jesters had entered to entertain the royal family. It felt like an old English setting in the days of castles, moats, and drawbridges. Some rhythmic guitars, acoustically driven, take hold with superbly magical flute playing. Andrew Gidding does a fantastic job on the keys, as he always does. A well-placed electric guitar, albeit just a taste, closes out this side of the platter.

 

Side B is where things get more interesting, intense, and colorful from start to finish. The first side set the tone, and now they take it all to the next level.

 

"Over Jerusalem" begins the second half of this musical journey with acoustic strings accompanied by the flute, a perfect marriage. Soft backing music prevails as Ian sings. The halfway point brings some great electric guitar kicking in, with the flute blended in nicely. This is very JT-like as the electric guitar lets loose for the first time for some exciting licks. The mix is extraordinary as the flute and acoustic guitar answer each other. The best of both worlds comes at you, bringing a wonderfully energetic opener.

 

As I mentioned, "Drink From The Same Well" is impressive. A beautiful flute and an acoustic piano introduce this multiverse of music. The changes in direction during the track's run are significant. The flute takes a more aggressive stance with consummate elegance and precision, and as the changes develop, you recognize the instrumental bliss of it all. Sudden stops provide more turns in the road as the flute is dancing its way into your heart. This is an instrumental work of art. The bass then becomes prominent. As if to say, "I want to let you know it is still a key component in driving this musical ship."

 

A lovely piano interlude adds an extra layer of ambiance. Then, there is a short pause as Ian begins to speak and offer the words of importance: "I drink from the same well as you." This is a prolific humanitarian message to us all. The energy shifts yet again to a more upbeat tempo as the flute sounds inflected with jazz for a short period, which was an entirely different twist. After that, it returns to the more colorful notes we enjoy. The track turns into an excellent mover with varying tempos and tones. The progressive rock holds you spellbound as there is another pause, then Ian goes into the closing out of the recording, reciting "Interim Sleep."

 

Curious Ruminant features all the facets of a Jethro Tull album you would expect, including acoustic and electric guitar moments and embellishments of many other instruments for color and texture.


This is everything one could ask for at this point in the band's career, including moments of progressive rock that you will remember fondly. That is very satisfying as a music lover and a lifelong band fan.

Keith “MuzikMan” Hannaleck-PMR Reviews Founder

May 28, 2025

Tracks:

Side A:

Puppet And The Puppet Master [4:04]

Curious Ruminant [6:00]

Dunsinane Hill [4:17]

The Tipu House [3:31]

Savannah Of Paddington Green [3:13]

Stygian Hand [4:16]

Side B:

Over Jerusalem [5:55]

Drink From The Same Well [16:42]

Interim Sleep [2:33]



Progressive Rock Review: Jethro Tull-Curious Ruminant

Release Date:  March 7, 2025

Label: Inside Out

Website

Ian Anderson's creativity, a timeless force that has not waned after all these years, continues to shine. His primary vehicle for presenting his creations, Jethro Tull, is still making viable progressive rock, and that legacy is upheld in the most recent recording, Curious Ruminant.

 

As most fans have become intimately familiar with Ian 2.0 and his voice, the music's strength carries him into the future. He sings/talks his way through his storytelling, a familiar and comforting journey that works just fine as far as I am concerned.

 

The subject matter presented here can be deep and reflective for a man nearing 80. He hints in the liner notes that he is still here and plans to continue, but you never know what tomorrow may bring. So, as a long-time fan, I appreciate what he continues to do more with each passing year.

 

Curious Ruminant is an excellent addition to the Jethro Tull catalog. The one song that amazed me was the nearly seventeen-minute "Drink From The Same Well."  It was on the level of some lengthier prog rock classics, such as Thick As A Brick. It was not nearly as long, just reminiscent of that musical muscle stretching out like the earlier version of the band, and what it was known for.

 

"Puppet And The Puppet Master" kicks off the journey with a soft beginning, then into a flute intro. His playing of that instrument remains captivating. The pace gradually increases with fluidity, yet is restrained and quite effective. A splendid solo from the electric guitar is a highlight, albeit short, as the other positions also get their chance to announce their arrival to the mix.

 

"Curious Ruminant" begins with an excellent bass and guitar. The music is fantastic and rocks, with some holding back on exuberance and intensity. Acoustic interludes find their way into the mix, and the electric guitar lines weave into the tapestry of multi-hued sounds. A melodic flute coursing through brings pleasantries as more electric guitar fills the space.

 

"Dunsinane Hill" features a mellowed-out flute piece casually inviting you in. Intricate guitar notes float over that beautiful instrument as the bass and drums precisely keep the path clear for Ian's skillful approach to every composition. Some catchy rhythms and lovely flute passages keep your interest.

 

"The Tipu House" immediately starts with a faster tempo with the flute. A tempered guitar lends elegance as the bottom end holds on strong and true. Keyboard flurries are catchy here and firmly in place, giving it all a prog-like feel. A "shut the door" ending finishes out the track.

 

"Savannah Of Paddington Green" immediately brings the acoustic guitar to the front, accompanied by Ian's lyrics. The tempo increases with a colorful amount of music, changes direction, and returns to where it started. The lyrics reach you through the perfected instrumentation and Ian's subdued delivery. It's important to note how understandable Ian is, which is key in interpretation, where he is coming from, or always implying, to make you feel and reflect more.

 

"Stygian Hand" rang out in a celebratory atmosphere as if the court jesters had entered to entertain the royal family. It felt like an old English setting in the days of castles, moats, and drawbridges. Some rhythmic guitars, acoustically driven, take hold with superbly magical flute playing. Andrew Gidding does a fantastic job on the keys, as he always does. A well-placed electric guitar, albeit just a taste, closes out this side of the platter.

 

Side B is where things get more interesting, intense, and colorful from start to finish. The first side set the tone, and now they take it all to the next level.

 

"Over Jerusalem" begins the second half of this musical journey with acoustic strings accompanied by the flute, a perfect marriage. Soft backing music prevails as Ian sings. The halfway point brings some great electric guitar kicking in, with the flute blended in nicely. This is very JT-like as the electric guitar lets loose for the first time for some exciting licks. The mix is extraordinary as the flute and acoustic guitar answer each other. The best of both worlds comes at you, bringing a wonderfully energetic opener.

 

As I mentioned, "Drink From The Same Well" is impressive. A beautiful flute and an acoustic piano introduce this multiverse of music. The changes in direction during the track's run are significant. The flute takes a more aggressive stance with consummate elegance and precision, and as the changes develop, you recognize the instrumental bliss of it all. Sudden stops provide more turns in the road as the flute is dancing its way into your heart. This is an instrumental work of art. The bass then becomes prominent. As if to say, "I want to let you know it is still a key component in driving this musical ship."

 

A lovely piano interlude adds an extra layer of ambiance. Then, there is a short pause as Ian begins to speak and offer the words of importance: "I drink from the same well as you." This is a prolific humanitarian message to us all. The energy shifts yet again to a more upbeat tempo as the flute sounds inflected with jazz for a short period, which was an entirely different twist. After that, it returns to the more colorful notes we enjoy. The track turns into an excellent mover with varying tempos and tones. The progressive rock holds you spellbound as there is another pause, then Ian goes into the closing out of the recording, reciting "Interim Sleep."

 

Curious Ruminant features all the facets of a Jethro Tull album you would expect, including acoustic and electric guitar moments and embellishments of many other instruments for color and texture.


This is everything one could ask for at this point in the band's career, including moments of progressive rock that you will remember fondly. That is very satisfying as a music lover and a lifelong band fan.

Keith “MuzikMan” Hannaleck-PMR Reviews Founder

May 28, 2025

Tracks:

Side A:

Puppet And The Puppet Master [4:04]

Curious Ruminant [6:00]

Dunsinane Hill [4:17]

The Tipu House [3:31]

Savannah Of Paddington Green [3:13]

Stygian Hand [4:16]

Side B:

Over Jerusalem [5:55]

Drink From The Same Well [16:42]

Interim Sleep [2:33]


5/19/2025

Progressive Rock Ambient Vinyl Review: Envy of None-Stygian Wavz

Release Date:  March 14, 2025

Label: KScope

Website:  https://envyofnone.com/

Alex Lifeson needs no introduction if you are familiar with his former band, Rush. If, on the other hand, you are not familiar with this man's abilities on the guitar, then I have a place where you can start and work your way back.

The second album from his band, Envy of None, Stygian Wavz, was released in January of this year. This unique album, which I had the pleasure of reviewing in its half-speed master vinyl LP format, is a must-listen for any music enthusiast.

Envy Of None Are:

Alf Annibalini – Guitar, Keyboards, Programming

Andy Curran – Bass Guitar, Background Vocals, Guitar, Programming

Alex Lifeson- Guitar, Mandola, Oud, Programming

Maiah Wynne – Lead Vocals, Background Vocals, Keyboards

Besides some of the names you may be familiar with, this band has a member who stands out clearly as one of its stars: the lead vocalist, Maiah Wynne. Her breathy, atmospheric vocal style adds ambient sound layers to their diverse offerings on this magnificent recording. I call it progressive ambient rock. That does not explain everything you will hear on Stygian Wavz. 

I will provide the breakdown, and you can listen to the stream and decide for yourself what you want to call it; however, the bottom line is that this is excellent music.

Side one opens with "Not Dead Yet." It is a powerful choice of words for a title. A great opening bass line sets the tone for the album, accompanied by atmospheric music and vocals. Alex gets heavy with his guitar work, then reverts to more tasteful notes. Various cool synth sounds fill the space, accompanied by excellent drumming.

"The Story" explodes with fuzzy, chunky chords flying off Alex's strings. The music has a driving feel, with the synth and lower tones fluttering away, and it provides numerous transitions— a feature you become accustomed to in every song. As they range from subtle nuances to driving rhythms and echoing guitar sounds, Maiah's vocals are a constant complement, regardless of the music's direction. That thread weaves its way throughout this listen and is a credit to this lady's incredible talents. The layering of the music is genius, and Alex constantly reminds you of his greatness with the various instruments at his command.

"Under The Stars" features a different intro this time, which is subdued with a prominent bass line. Guitars with effects are highly effective in complementing the lyrics. Some great leads come again from Alex, which are short and sweet, then they return to the core of the composition's sound. A special treat is Joe Vitale on drums (he was on some of the great early Joe Walsh solo albums). 

"Thrill Of The Chase" is a total departure from the previous sounds, as the drums provide the opening door to an upbeat, fast-moving number. Once again, they alternate between rapid movements and a slower tempo, incorporating more subtle layers to keep things interesting. There are always many different sounds interspersed with this music, making it a complete track with a lot going on to take in. Steady bass and drums always provide a solid foundation for the other instruments. Alex offers a retro sound on his guitar around ¾ of the way into the song. It reminded me of the 1960s.

"Handle With Care" brings the sound of the digital age to your speakers, featuring a computer-generated voice that floats over ambient layers, accompanied by driving bass and drums, and silky-smooth vocals that complete the sound. As side one closes out, you have heard something different in every track, so get ready for more when you flip the LP.

Side two opens with "That Was Then," and we are off to a good start, and all signs are pointing to a continuation of excellence. The sound reminded me of late 80s Bowie —a danceable, industrial kind of sound. The drum rhythms are key here. It's a sound with a definitive edge to it. Alex comes in with a bluesy guitar run to give some more flavor and spice. 

"Raindrops" features another sonic shift, with a funky bass and guitar that complement the vocals, which float beautifully over the top. Background vocals by Maiah provide yet another layer of ambiance to the mix. The ever-shifting music is brilliant.

"New Trip" brings some country-inflected notes to the mix, once again surprising the listener with their seemingly endless resource of influences and sounds. The rhythm section laid down a soft carpet of a backbeat for those amazing vocals to float upon. Echoing soft guitar lines are gorgeous and fill all the space perfectly, as the vocals consistently enhance their sound and change.

"Clouds" of ambient textures, accompanied by gentle piano and synths, with nicely placed guitar, provide emphasis on the fullness of their music and tastefulness. Maiah's vocals are superb, and she also reaches some higher range on this one, particularly towards the end when the guitar cuts loose. They do rock enough throughout, but are equally adept at flipping the script during this album.

"The End" begins with a reflective introduction that seamlessly transitions into their excellent layered sound, featuring some nice picking from Alex. The synth in the background keeps pace as the drums and bass provide their usual excellence. Mesmerizing sounds and vocals are their forte, and they take you to dreamland within each track.

"Stygian Waves" begins with a rock-solid bass line and understated guitar, then undergoes a significant change (no surprise there) as it accelerates in tempo with the keys. The amazing vocals and elements of Middle Eastern influences abound. An avalanche of sound pours down on you, then a short reprieve, then back again with some powerful wordless vocals. It's like a musical rollercoaster, catching you off guard at every turn, much like the unexpected reunion between Jimmy Page and Robert Plant in 1994 and the sound on No Quarter. It's an incredible way to close out this recording with something so different and fresh.

In conclusion, Stygian Wavz is a monumental achievement of musical art and diversity. I must give credit to Alex Lifeson for keeping the creative fires burning after Rush disbanded. I know I didn't mention the rhythm section by name (although it appears that the drums were programmed in). However, their importance is no less than the two stars out front. Alf Annibalini and Andy Curran are the two parts that make up the whole, forming a musical entity. 

These four extremely talented individuals have recorded one of the albums of 2025 that will never be forgotten.

Keith “MuzikMan” Hannaleck-TFOV Founder

May 17, 2025

Tracks:

Side A:

Not Dead Yet [03:29]

The Story [04:41]

Under The Stars [04:32]

Thrill Of The Chase [03:40]

Handle With Care [04:14]


Side B:

That Was Then [03:46]

Raindrops [03:33]

New Trip [03:55]

Clouds [04:02]

The End [03:58]

Stygian Waves [03:37]



12/07/2023

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


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


10/18/2023

Derek Sherinian and Simon Phillips - Sherinian/Phillips Live Review

Release Date: August 25, 2023

Label: ‎ Inside Out Music

Website

Twenty years in the making, Sherinian/Phillips Live is documenting a special concert recorded at The Grape in Ventura, California, on August 29, 2022. There were 500 people in attendance.

Receiving the vinyl version of the release for review was a real treat for the ears. 

The Line-Up for the recording includes:

Derek Sherinian (keys/synth), Simon Phillips (drums), Ron ‘Bumblefoot’ Thal (guitar), and Ric Fierabracci (bass). That qualifies as a supergroup as far as I am concerned.

Side A begins with "The Vortex." The track is an energized opener. The listener enters their vortex of sound with a series of rapid-fire keyboard strokes, a rock-solid rhythm section, and Bumblefoot at his best with his double-neck guitar. Of course, Simon's drumming keeps the engine running, which always drives this musical machine in top form with the help of Ric's bass during the entire performance.

"Empyrean Sky" opens with a heavy introduction and turns to a lower amperage to allow the six-string to sing. Catchy rhythms and melodicism are featured as Derek builds on it with his talented fingers. The rest of the instrumentation answers the call steadily and consistently. 

"Temple of Helios" has a solid bass line as the track goes through the paces of change. Powerfully blended prog rock is in their command, with touches of jazz peppering the composition. Derek shows how diverse he can be as different high points and drawing back on the volume and intensity make for more changes. The track is colorful and eclectic, and it reminded me of Return To Forever.

"Inertia" begins with computer-age sounds of electronics as it builds steadily, then Bumblefoot cuts loose with some riffs, and Derek adds a soft layer in the background and then steps it up to match the intensity of the guitar wailing away. The swift guitar playing is impressive, along with the keys, to keep it all intact. The bass and drums hold down the back end with steady hands. The ongoing exchange between the guitar and keys reaches a crescendo of sound.

"Alpha Burst” features a guitar intro that calls to the keys again and gets an answer, while the rhythm section holds firm and accurate. Compact and constantly moving, the side closes in a flourish of sounds!

Side B starts with "Barnacus" as the drums begin with tremendous authority as Simon leads into a heavy opener where the entire group's strength merges. Then it takes a mellower tone shift as the guitar offers some nice lines to enhance the track further. The keys change the course and then revert to the softer approach. The bass turns on the spotlight with a solo as Ric shows how much talent he brings to the stage. Jazz tones enter the mix briefly, then back to the stinging guitar lines to set the tone for the B side of the platter.

"Seven Seas" gives the listener time to sail away on the open water of sound. The music paints the necessary picture to mirror the track title with some tasteful guitar. The six-string leads the way as the keys add a layer. Then it takes off, and everything is moving at hyper speed. It was a reminder of the kind of song Liquid Tension Experiment would do!

"Ascension" is quick, clocking in at 2:48. A little ditty on the keys, then some guitar flexing with some pedal effects lead into the next track, "The Phoenix." The energy level again is like the phoenix being reborn out of the ashes. The instrumentation engages with a rhythm section that continues forward like a juggernaut on a mission.

Then, a short intro to the band addresses the audience as their epic "Aurora Australis" finishes the recording with plenty of musical fireworks. All their colors and talent are displayed for the audience as they hear 11:27 of masterful progressive metal.

Sherinian/Phillips Live is a superb live album and sounds fantastic on vinyl. This kind of performance is one that everyone involved will never forget. It is a must-have for your vinyl collection if you love prog metal or prog rock.

Keith “MuzikMan” Hannaleck-PRMR Founder

October 16, 2023

Side A:

1.The Vortex (04:43)

2. Empyrean Sky (04:20)

3. Temple of Helios (06:17)

4. Inertia (04:32)

5. Alpha Burst (04:01)


Side B:

1. Barnacus (03:32)

2. Seven Seas (05:51)

3. Ascension (02:48)

4. The Phoenix (04:55)

5. Introduction (00:31)

6. Aurora Australis (11:27)




3/03/2023

Progressive Rock Review: Jethro Tull-Rok Flote

Release Date: April 21, 2023

Label: ‎ Inside Out

Website

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Ian Anderson found great interest in exploring his ancestral roots, which turned into the forthcoming Jethro Tull release Rok Flote (Rock Flute), their 23rd album. 

Ian Anderson (Flute, Guitar, Bouzouki, Mandolin, Harmonica, Vocals), Joe Parrish (Guitar), Scott Hammond (Drums and percussion), John O’Hara (Orchestral conductor, piano, keyboards, and accordion), David Goodeier (Bass guitar and double bass) have created a stellar exhibition of prog rock.

 

What starts as an interest turns into a commitment to excellence and the musical journey of yesteryear for Ian and the band. 

 

Ian stated: I am not here to promote the old Norse religion or, indeed, any religion. My own preference is for the ultimate esotericism of Panentheism (the belief or doctrine that God is greater than the universe and includes and interpenetrates it). I see no need for imaginary man-made visual representations of God. No need for symbols, idols, icons, relics and the ritual of prayer to an interventionist god. Problem is, it might make for rather a dull rock music album....

 

Whether you are in sync with the creator of this music or have no opinion, the music and lyrics paint an accurate picture of the subject matter. You even get a taste of some of the Scandinavian dialects. As expected of any Jethro Tull album, the lion’s share of this release moves along and rocks progressively. Superlative flute and guitar lead the way, as the bottom end is a rock-solid foundation for them to remain consistent from start to finish.

 

The movements in each track range from fast-paced to joyous, profound, and outright toe-tapping rhythmic flute passages. Keeping that all in mind, you will not get any bombastic 6 to 8-minute-long tracks, the longest being “Wolf Unchained,” complete with the said wolf baying at the beginning and end of the track and clocking in at an economical 4:58. It is one of the best songs along with “The Navigators,” “Ithavoll,” and “Guardians Watch.” If anything, I was surprised by how quickly each track passed. That did not seem to matter; it made an impact and was completely enjoyable for this long-time fan.

 

Elements of Rok Flote reminded me of some of my favorite JT albums of the 70s (Warchild, Minstrel In The Gallery), particularly with the guitar passages. The flute, as usual, is outstanding and fits like a glove with the rest of the music, serving as the engine that drives this unstoppable locomotive of prog rock. This is one of the essential JT classics that should not be missed!

Keith “MuzikMan” Hannaleck-TFOV Founder

March 3, 2023


Tracks:

01. Voluspo

02. Ginnungagap

03. Allfather

04.The Feathered Consort

05. Hammer On Hammer

06. Wolf Unchained

07. The Perfect One

08. Trickster (And The Mistletoe)

09. Cornucopia

10. The Navigators

11. Guardian’s Watch

12. Ithavoll


3/27/2022

Progressive Rock Review: Mobile Fidelity- Electric Light Orchestra-Eldorado

Release Date: April 8, 2022

Label:  Mobile Fidelity

Website

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Mobile Fidelity Sound Labs, or Mo-Fi, is a label known to many music enthusiasts worldwide. They know how to take music and bring out its best for discerning ears.

Audiophiles will be buzzing once they have a chance to purchase Electric Light Orchestra's classic progressive orchestrated rock album Eldorado.

This version is the 180-gram single LP, cut at 33RPM and pressed on SuperVinylTM. Mastered from the original analog master tapes, pressed on 180-gram SuperVinyl at RTI, and housed in a tip-on jacket, Mobile Fidelity's numbered, single-LP edition. There are other editions to choose from as well here.

It has been many years since I had the opportunity to work with Mo-Fi, and I am grateful for the opportunity. The detailed and critical process to produce this pristine vinyl is priced at $79.99 for the single LP version I received for review. What I found fascinating about this black vinyl is when you hold it up to the light, you can see it in a transparent black. The process of pressing each of the copies individually allows for this quality.

I got the album when it was released in 1974. At the time, I was not too impressed because of my need to be a teenager and rock out. I still like to rock, but my mind has expanded considerably since that time. Eldorado receives an injection of new life through the Mo-Fi process. For those younger fans in the audiophile audience, the picture on the cover is from the original Wizard of Oz movie.

Side one begins with the short-lived and epic beginning "Eldorado Overture (Instrumental)" then segues right into the immensely popular "Can't Get It Out of My Head," which still sounds great to this day. It is one of their most memorable and beloved tunes. Every track segues into the next on the entire album, with no pause to cue you that a new one is starting; you have to get a feel for it, which comes with time. I could tell when there was a change into the next track, even though the album is full of many distinct and progressive changes.

"Boy Blue" has a regal intro like the queen is entering the palace to her receiving line, and they all are bowing to her grace and symbolic power. The changes come quickly in an upbeat fashion with some solid rock and an excellent rhythm section. There are some lovely transitions over to some piano, then to guitar, and a mixture of violin and cello (which you will frequently hear throughout). That particular element lends a definition and substance that would be nonexistent.

"Laredo Tornado" enters with a cool synth, which is gentle and funky at the same time. There is no storm going on here, as the title would suggest. There are good rhythms, Jeff Lynn's vocals rang true, and he elevates the instrumentation to higher highs. His voice could get relatively high. Strong guitar lines, albeit occasional, come and go, and the drums are outstanding and shine in this mix.

"Poor Boy (The Greenwood)" closes out side one with some nice acoustic guitar as the track quickly takes flight and continues to gather momentum with elements of pop, then to a strong closing.

Side two begins with "Mister Kingdom," and you can hear the Beatle's influence. The moptops were one of Jeff Lynne's main influences. The synth comes in with help to the movements that reach highs and lows for the ears to absorb. Jeff's vocals are passionate as he gives meaning to the lyrics. The synth is steady throughout, and the sounds are atmospheric layers where every musician has an opportunity to be heard.

"Nobody's Child" has the repetitive lyric of "painted lady" followed by some honky-tonk piano (something you would hear on ELP's Brain Salad Surgery, for instance). That rollicking sound gives way to the ELO orchestral pieces, and many changes come about, then it flips over to some toe-tapping rocking sound before introducing the next track.

"Illusions in G Major" is short and sweet but tasty and without all the changes and complexities of prior tracks. I enjoyed it quite a lot.

"Eldorado" is filled with consistent movements of ballad territory; however, it again illustrates the eclectic style presented by this amazing group of musicians and their output for the time.

There are not so many swift changes, and the progressiveness is left behind, then the orchestrations come in to open the door to the curtain closer to "Eldorado Finale."

If you search for a classic slice of progressive rock handled with care and delivered with fantastic sonics, colors, and subtleties you had not previously heard, this Mo-Fi masterpiece will be a revelatory experience.

Keith “MuzikMan” Hannaleck-PMR Founder

March 26, 2022



Side One:   
1. Eldorado Overture (Instrumental) 2:12
2. Can't Get It Out of My Head 4:21
3. Boy Blue 5:18
4. Laredo Tornado 5:29
5. Poor Boy (The Greenwood) 2:57

Side Two:
6. Mister Kingdom 5:50
7. Nobody's Child 3:40
8. Illusions in G Major 2:36
9. Eldorado 5:20
10. Eldorado Finale 1:20

 

5/02/2020

Crossover Prog Review: Long Earth-Once Around The Sun

Release Date: March 16, 2020
Label: Grand Tour Music
Website

Once Around The Sun is the title of the second release by Long Earth, and is the follow-up to the debut, The Source, in 2017. At first glance, a person might think that this is a new young band to the prog scene, but that would only be partially correct. Long Earth is a new band, but these guys have been around the scene for a good number of years. (I’m not sure I should say exactly how long.) The band comprises 5 members, Gordon Mackie (bass), Ken Weir (drums), Mike Baxter (keyboards), Renaldo McKim (guitar) with Martin Haggerty (vocals since 2018) replacing Neil Mackie (vocal and guitar on the debut) and have known each other from different bands over the years. Three were in Abel Ganz, two were in Identity Crisis and Mike, Ken, Gordon, Renaldo and Hew Montgomery (Abel Ganz/Grand Tour, as well as being the motivating factor of Long Earth, and co-producing both releases) all played at the same Glasgow festival in the ’80s, albeit with different bands.

To sum up, Long Earth is a new band, but there is a wealth of musical experience in the band. The debut, The Source, was eagerly awaited by the crowds of prog followers that knew of Long Earth and had seen them live, and it was very well received upon release. The follow-up, Once Around The Sun has consolidated Long Earth as being a leading light in the modern prog community.

Once Around The Sun, is a 6 track album clocking in at just under 67 minutes (66:55), with track 3, “Man In The Mirror,” the shortest track at 4:16 minutes and the final and title track, the longest with a running time of 33:06 minutes. This track is also split into 4 parts, Spring, Summer, Autumn, and Winter.

The opening track, “We Own Tomorrow” (8:06), starts by generating a little hook and a superb bass riff by Gordon, then into a soaring keyboard passage. New vocalist since 2018, Martin Haggerty, has a powerful voice and the overall effect is of excellent prog music which the listener becomes very quickly comfortable with. Recurring little hooks and Martin’s voice takes the song on with the return of that superb bass riff from Gordon around 5:15 minutes and a chance for Renaldo to show his superb guitar skills from 5:50 minutes and to then escort the track to the end of it’s running time. A wonderful start to a stunning album and the listener is eager to hear more.

The epic finale to the album, the 33:06 minute “Once Around The Sun” is split into four parts, spring, summer, autumn, and winter. The four seasons cover a year, hence the album title, as it is the time taken for the Earth to orbit the sun. The storyline mirrors the seasons as it tells the tale of a romance encompassing the hope and joy of the fledgling relationship in spring, the building of the relationship in summer, the start of doubts in autumn, and finally the ending of the relationship in winter. The lyrics convey the journey excellently and the very expressive vocals supplied by Martin, together with the sympathetic music, carry the story line majestically.


Musically, the suite goes through phases with spring being represented by an acoustic start and a very simple melody. Summer has excellent keyboard passages underpinning the vocal as the story unwinds. As summer draws to an end, the music becomes very atmospheric and melancholic as it weaves to an ending. Autumn begins with an orchestral feel before again echoing the melancholic section 2, which fits the lyrical content beautifully. The final section, winter, commences with a superb melodic opening with some excellent strings adding to the atmosphere. There is a repeated series of verses, guitar passages and keyboards plus string sections prior to Martin taking the storyline to its inevitable conclusion. Renaldo has a beautiful repeating guitar passage just before Martin brings the ending with the lyrics, “Once around the sun, but no further on. Once around the sun and our race is run.”

A stunning ending to a superb album where all the musicians have excelled. Mike with majestic keyboards, Gordon with those excellent bass runs, Ken keeping everything firmly anchored on drums, Renaldo with some exquisite guitar work and finally, Martin providing the evocative, emotive vocals.

All in all, this is a stunning follow-up to the debut, showing how the band has evolved into an excellent unit. Don’t delay, just go and get a copy of Once Around The Sun and sample what is a masterpiece of modern prog with huge leanings to the “old style,” played by musicians who have dreamed the dream and have now delivered the dream. The dream has a name, and the name is Once Around The Sun.


Jim “The Ancient One” Lawson – Prog Rock Music Talk Staff
April 28, 2020


Tracks: 
1. We Own Tomorrow. (8:07)
2. My Suit Of Armour. (5:03)
3. A Guy From Down The Road. (12:00)
4. What About Love?  (4:23)
5. The Man In The Mirror. (4:16)
6. Once Around the Sun. (33.06)