Reviews

At first you're impressed with an artwork. No, no dragons and queens - it's art working for music, philosophic and for best comprehension supplied with comments. Experimental stuff based on synthesizers and sampling. If you're in for bright melody, you're immediately out. Part I of the suite is called "To The Enlightened Man". It is, but not for Buddahs - although enigmatic to the same extent. The band states "Endless Forms Most Beautiful". Very tongue-in-cheek because they don't get lost in the loops and know their target well. It's on the surface further on, in "The Face In The Mirror" consisting of ten pieces, intricated but beautiful. The most magical is Indian-toned snippet with female voice. Even KULA SHAKER fans will go for it. And organ sounds magnificient, too. Moreover, the fact that speaking voices go well with music we know since "The Wall".

Blurred boundaries, ECHOES say? Ah, bag it - boundaries are clear, keeping music as music and not letting it go for free form. What's really blurred is your counter as every Part include sub-parts and you can't follow the titles. "Wild Imaginings" as they call Part V. But should we ask for more?

*****

Starting metal-like, music immediately gets as much progressive. "So Be It" is tight with its Arabic tune but with "It Has Been A Long Time" band go improvising while retaining this Eastern feel, the trick's repeated later with authentic "Eternal Resonance" and "Road To Damascus". Vocals are introduced only on the fourth track, light and catchy "Underneath The Roswell Sun" which makes me think of TRAFFIC. I won't be surprised if guitarist Bill MacKechnie appears with any major name.

Well, "More Weight" is indeed heavy and it's clear that ANUBIS just try everything they think could suit them. What fits the most are compositions with warm guitar as of "Gone West" rather than cold one, though FLOYDian "Ransom" sounds good anyway. But what's annoying is how some instrumental pieces abrupt with no fade out, however ballad "Talisman Of The Dreamer" compensates impression to a certain extent.

Epic title track ends the CD very strong and if ANUBIS concentrate for the next album it'll be terrific.

****

Don't start thinking of NAZARETH, you can't smell Scotland in this band. Their idols are KISS and AEROSMITH, though sometimes HOTD get heavy to SABBATH extent. And it's clear yet the result tastes good. Which can't be said of the album's cover so remindful of HEEP's "Conquest". "Rise" is the band's second album, the debut was out three years ago. And while the first was made in hurry, this opus took much more responsibility - just look at the producer's name which is Michael Wagener.

"Rise" presents a quality mix of melodism and riffs and make tracks like "Color Me Fire" and "I Can't Fight You" very memorable. The quartet don't forget to pay homage to their gods having recorded "I" off the KISS' "Elder". And not only, there's a hidden track, an acoustic version of "Out Of Control" stuck to the tape at the drinking session. It smokes.

****

Well, the sign @ in the albums titles starts to be annoying. Internet is a good thing and helpful for promoting the music yet it hardly should be let into the music. OK, while the boys play good, nothing else matters. And this band CAN play having Ross Friedman in the line up. Yes, it's the same Friedman who had his share of fame under Ross The Boss moniker - but, boy, don't expect from this new group "true metal" of the MANOWAR or THE DICTATORS kind. THE SPINATRAS are for rock'n'roll, a heavy sort of, sure. Something like STATUS QUO.

Lyrics pretend to be clever though. "Comfort Zone" tells about nowadays teenager's life hardened by parents not liking the child's piercing and tattoos. Title track, of course, has chats and role game as its subject while "Gene Genie" (stay calm, Bowieheads!) deals with genetics. So, everything's on the surface. Music, fortunately, is less serious but nevertheless boring. And it's just a doubt whether this effort was worthy a year's work.

***

Had ASH RA TEMPEL been KING CRIMSON they would come up with some fantastic title for the mighty composition this disc contains. But Manuel Gottsching and Klaus Schulze duo called this exquisite piece as poignant as it is. The music sounds quite sparse being certainly no "Larks' Tongues". But little by little it gets intensive. In places it's hard to tell phased guitar from synthesizers, a real Seventies effort which nevertheless is extremely modern in its ambience. There are just snippets of melodies TEMPEL are capable of, overall music is experimental and jazz-tinged. Considering the fact it's all recorded live (at Royal Festival Hall, at Julian Cope's Cornucopea festival) one can only wonder how good Klaus and Manuel feel each other's drift to follow and complement it the best.

This double album should make every serious progfan's collection. Very rarely we have such a great live collection of real masters - old and young ones. Sound quality may be not so good but the efforts really are. John Wetton gives it all as usual - and this is the only John's live recording with Billy Liesegang on guitar. Liesegang turns "In The Dead Of Night" in totally different way than we used to hear. The "Rendezvous 6:02" version sounds much rougher in comparison with others seven I have. The same goes for "Starless" which band makes as bluesy as possible. Strangely, there's no Wetton's solo stuff but hearing so peculiar renditions of prog classics is worth it.

But it was a mistake to put Wetton in the beginning as his tunes are melodically richer than those from LE ORME which look like Dylan's songs played by PFM. At least, vocal parts make this impression being no balance for intricate instrumentals - as in "Madre Mia/Prima Acqua". And having not heard the band before one can unmistakably say they're Italian - harmonies and pathos tell it quite overtly. And it makes sense to compare epic "Felona E Serona" with Wakeman's "Stella Bianca".

ARENA sound somehow thin yet both "Medusa" and "Sirens" presented here are wonderful - especially latter, the mighty one, with brilliant Clive Nolan's and John Mitchell's soloing. FLOWER KINGS start their "Metropolis" in best "Watcher Of The Skies" tradition but make it too atmospheric rather than dense studio approach, just near the end the band comes up with Frippian cutting edge, and "Humanizzimo" is even more uninspired. On the contrary, SPOCK'S BEARD's vocal polyphony of "Thoughts" kicks in powerfully as does insrtumental madness in "Go The Way You Go" - unless BEARD become too GENESIS-like, jazzy section grooves though.

The most versatile and prolific of the piano players that grew in rock came up with new album. Dedicated to new century, not Millenium - a good sign.

Pure poignant piano and nothing more. It's not the first Rick's record of this kind - there were some before, remember wonderful "Country Airs". Wakeman seems to have given up being a rock'n'roll prophet and delved headlong into music he calls new age. And having in mind how many albums veteran releases a year it's much better to listen to "Preludes" filled with strong melodies rather than those "Trilogies" Wakeman became a master of.

Rick goes back to basics, to his first and beloved instrument, and just lets it go. "A Waltz Of Life" may not be a waltz as such and "The Dancing Piano" may not be so dancing but it doesn't matter as long as the melody flows. Some might think these pieces smell of melancholy while they're not and "Preludes" should satisfy both, regular music lovers and - a hard task! - Wakeman's fans. Yes, close listening to, say, "Forever More" will show familiar tones of "Guinevere" yet "Waiting For God" is on par with Rick's best tunes of the Seventies.

If only new century be as quiet and beautiful as these "Preludes"...

*****

A kind of concept album. You may presume it's metal but TEN JINN present something as arty as "Thick As A Brick". The album opens with lenghty title track consisting of eight parts. Classic prog rock at its best, folk motifs mixed with baroque stuff. Musicians work for music, modest and extremely melodic. It can be compared to JETHRO TULL or GENESIS - but only in terms of keyboards playing and harmonies, traditional ones, off mountains and doles, arresting and soothing. Even guitar solos go quietly. Don't think there's no memorable tune, here it is, "Byzantine Fire", serious and easy at the same time. "Theater Of The Vampires", theatric indeed - yet in the RENAISSANCE vein, being a mighty suite deeply rooted in classical music while solo reminds of CAMEL's "Rhayader". Well, vampires aren't strictly for Alice Cooper and King Diamond.

"Run Away" is a step aside to hard rock but the second proper track, "Lost In The Money", comes from folk dance. Never thought late TULL could be an ispiration - having listened to "Blind Athority" I changed my mind. Atmospheric "I Can't See" wraps you up by melody bright and compelling and together with "Lay Down Beside Me" sound very modern yet retaining all the genre signatures. I'm really in for the next one, JINN.

*****

At last we have the possibility to hear RENAISSANCE in full glory because all the previous releases represented the great ensemble in concert with orchestra. Well, that was pretty great but to hear the stark band was the thing all fans dreamed of. The sound quality is not top-notch and the CD shoddily packaged - without even indication on what and where was recorded, undoubtedly, it's from the late Seventies (1977, I'd say) - but music leaves it all behind.

If to compare GREYHAVEN to anything else the closest approximity would be calling it a cross between CAMEL and UK. The music, mostly soft and crawling into your mind, is progressive to the core. "Ride The Horizon", exquisite instrumental intro, sets the mood for delving into the web of synthesizers and guitars. Guitars seem to play just supporting role even when they go solo. Good contrast to the nowadays progressive which tends to get as much heavier! There's no multiple time changes, they're given up in favour of melodies. The band might follow GENESIS in this pattern, clearly seen in "Mirror My Eyes" that easily could be on "Wind And Wuthering". The problem is that quite pleasant melodies are not so bright to remember. "Shards Of Sky", the mighty epic, shows the real heart of GREYHAVEN and influence of RUSH though heaviness doesn't really fit the band - they shine in acoustic guitar spots while keyboards remind of Wakeman's new age opuses. Progressive metal fans will hardly be impressed - but those into atmosperic feel will. Strong statement.

***1/5

The CD is not a commercial release though should be it. This promotional compilation, a kind of greatest hits collection, aims strictly at those like me who just feel ashamed having overlooked such a great band. OK, it's impossible to listen to all the music in the world... On the other hand, my view can be a little fresher than that of a fan which I'm staring to become.

Of all the Wetton's live album this one is the best, mostly due to the great balance of electricity and acoustic. And the live atmosphere heard in sligtly out-of-tune in places Dave Kilminster's guitar. Ah, if your counter shows 12 tracks instead of 14 listed, it's OK, all of them present - from the Vivaldi intro up to encore and even "Good evening" that John said in Russian, not Polish.

"The Last Thing On My Mind" cuts in with mighty bass you expect from John's records. It's this track that sets the mood, not intro. How modest yet powerful "Last Thing" is with every musician easily playing his part for all to enjoy. Three-voice a capella start marks a different approach to ASIA's "Soul Survivor", sung very relaxed. And yes, there IS that keyboards spot in the middle you may worry about. Martin Orford of IQ and JADIS fame knows his business very well. He's even given a proper solo number - as every band member. Martin's "Tatras" shows his influences and sounds much like old days Wakeman. I'd love to have the whole album of stuff like that.

Orford's flute sparkles in CRIMSON's "Book Of Saturday" perfectly complementing Wetton's acoustic. In the same manner "Emma" is done with the line that gave this album its title. A gentle piece, very close to the "Arkangel" version. As a contrast, "In The Dead Of Night" sounds heavy as in the UK days, but there's a little of the song's jazzy feel retained now, though Kilminster does his best on solo. Dave's an amazing player shining in his and Orford's acoustic "The Birth Of Igor" and, earlier, in "Bygosh!!".

Don't know this one? Instrumental based on guitar supported by cymbals, then keyboards get in and you start recognizing the "Easy Money" riff. The band goes back to CRIMSON's basics while there's no frenetic improvisation. And Fripp never was keen to rely on acoustic guitar as well. Is "Rendezvous 6:02", the only song present on every Wetton's live CD, played by two pianos? Looks like it is. Did I tell you Martin's great? Nothing new to that ballad - it just can't get any better.

"After All" - a fitting grand finale, quiet and strong. But for audience's sake band gives another spin to "Starless", with guitar decorating familiar tune with new frill. And here's one more classic, John plays acoustic guitar and sings "The Night Watch" in the most impressive way he ever did.

A highly recommended album - even for those who never heard neither Wetton, nor any of the thousand bands he was in.

*****

It's not metal as it may seem. Yes, there is a hard edge but to the same extent as in URIAH HEEP output. "Sgt. Pepper"-like harmonies make the songs very catchy yet psychedelic. BIG ELF is a band of KULA SHAKER kind, deeply rooted in late Sixties. So the heaviness as in, "Change", comes directly from THE KINKS, the source that feeded THE RAMONES as well. Sitar effects of "Crazy" remind of the pre-ZEP YARDBIRDS while vocal is very Lennon-esque.

Sometimes ELF lack energy but it's just a mix method. SABBATH's influences could easily be traced in "Frustration" - especially in Iommi-ish solo - and Blackmore and Lord are responsible for "Salvation" instrumental storm. In the title track the band gets heavy, closer to, er, doom and goes off the track.

Four bonus tracks of rare stuff make a good addition to the very short album, that teases but not feeds enough.

****

"Sellout" melts progressive and classic hard rock hooks quite good while "Neuropsychopatic Eye" is pure "Walrus meets Crimson King" thing. The same goes for catchy "(Another) Nervous Breakdown)" released as a single.

"Death Walks Behind You" hardly adds something new to the ATOMIC ROOSTER's classic song but if this version helps to turn headbangers to Vince Crane's combo... "The Bitter End" appears to be good for closing the album but, again, lack of bright melody makes it a bit bitter.

****

Needless to say that this mini album is a must have for every classic hard rock fan, not to say SAB-obsessive one. The first reason is that there are just four official live albums, two by original line up with the earliest one recorded in 1973. "Black Mass" comes from 1970, from the interim between "Black Sabbath" and "Paranoid" albums and features "Black Sabbath" from debut, two tracks, "Paranoid" and "Iron Man", from the upcoming release and... Carl Perkins' "Blue Suede Shoes". The tracks were recorded at the Beat Club, Germany.

The foursome sound here very fresh with Ozzy in top form, belting out their classics at full throttle. By the way, what now about the story that "Paranoid" was composed in the last minute prior to album's coming to press? All the lyrics are already there while guitars parts in places go somehow different. "Shoes" is a big surprise as SABBATH very rarely did pure rock'n'roll - and here's Oz improvises with the words he always forgets. And Tony is just great in these Scotty Moore guitar loops.

The CD is enhanced with video footage of the "Mass" and the booklet sports rare pictures - one with moustacheless Iommi.

*****