WARNING! People who suffer from a heart condition or severe depression should listen to this CD with the greatest of caution!!!
When I first popped this disc in my CD player, I was waiting at a bus stop near the post office where I had received it. By the time the bus arrived, I was barely able to remain standing! I had been warned that this solo album by Kansas front man Steve Walsh would be a mind-boggling experience, and my fellow fans were right! I was stunned, in awe, and totally overwhelmed by the end of the first song!
I’m known for being critical of Steve’s songwriting skills. Perhaps I compare him to Kerry Livgren unfairly. Steve has not always had the same depth and insight as his former band-mate in the distant past. However, all that has changed in recent years. I am very pleased with Steve’s efforts on the Freaks of Nature and Always Never the Same CDs, but now he has gone a step, no, a LEAP, further to search the deepest, darkest depths of his soul. So much pain and agony are purged on this album, creating his most powerful material ever!
It’s very hard to describe Glossolalia because it’s impossible to categorize its songs. It has a little bit of everything, from alternative to country to rap to where it turns you inside out and upside down! Fasten your seat belts... it’s going to be a bumpy ride!
The first song is the title track, which rips your brain into shreds immediately with its sharp death-metal edge. Before you have time to recover, you are sent into emotional despair in “Serious Wreckage”, and then tossed onto a dance floor in a disco-rap thriller called “Heart Attack”. Listen to the way Steve’s voice cracks in “Serious Wreckage” (a song about a drunk driver who has killed a child) with the line "Don’t tell me it’s alright, don’t tell me it’s going to be fine." If you still have any sanity left, you suddenly realize this is Steve Walsh...sweet, little "Dust-In-the-Wind" Stevie from Kansas! We always knew he had a dark side, but this is very extreme!
The song “Kansas” continues the emotional roller coaster as a beautiful, eerie tribute to American Indians. The music and the mood in this song are amazing, especially the piano and drums. In fact, the whole composition is breathtaking! Its spooky ending shocked me at first, but now I’m used to it. Don’t play this song around small children; the angry voice will give them nightmares! Read the lyrics to them instead. (Or even better, read the book "Bury My Heart At Wounded Knee" to them!)
While the shock of Kansas still resonates in your bones, the countryish “Nothing” brings you down real fast. It is so bleak and depressing, you almost want to skip it, but by now you’re addicted, sucked into the twisted anguish that Steve is expressing. This song will make you feel helpless, unable to ease his pain.
Next we have my favorite track on the album, “Haunted Man”! This song pulled me in the first time I heard it because of the deep, tortured lyrics, but when I noticed him screaming in the background, I literally gasped out loud! (Lord knows what my fellow bus riders thought of me, sitting there with my eyes round as saucers and my jaw on the floor!) The desperation in this song is very compelling and traumatic. If you are an empathetic person, you will have a difficult time holding back tears.
If that one doesn’t convince you of Steve’s deep misery, get ready for a punch in the stomach! “Smacking the Clowns”, a song about a circus burning down, is a tale that will haunt you for the rest of your life. You will be on the floor in a fetal position by the time his voice cracks during the line..."Maybe the old cliché isn’t far from true. Maybe there’s a silver lining." I go into a cold sweat just thinking about this song, even when I’m not playing it! I am totally serious and sincere when I say that this is the best piece of work Steve has ever written in his entire musical career!
Finally, we get some relief with a change of mood! “That’s What Love’s All About” is a fun, funky, hard-rocking love song that makes you want to jump up and dance! (I actually do in my living room!) It’s a very sexy song, and it gives me a delicious chill up my spine whenever I hear it. Play this song LOUD...it deserves to be heard by your neighbors!
Just when you’re hoping that the positive vibe will carry on, along comes a depressing, bittersweet ballad to bring you down again. By the time you are halfway through the bluesy “Mascara Tears”, you won’t know whether to commit suicide or run out and have sex with the nearest suitable partner! Your mind will be lost, caught in a vortex that offers no escape! Great piano work here, by the way. Steve has never lost his great keyboarding skills!
Finishing out the album is a more relaxing, sensual song called “Rebecca”, a nod to a great novel of the same name. I especially love the gurgling sounds at the beginning, as if Steve actually were underwater..very chilling! (I recommend the original Hitchcock movie to curious listeners.)
I can’t end this review without giving great applause to Mike Slamer, the lead guitarist on this remarkable album! What cave has he been living in, that the world knows virtually nothing about him?! How can any human being play guitar the way he does on “Smacking the Clowns”, much less any of the other songs on Gloss? (Mike Slamer also played guitar for Steve's former band, Streets, and on the Seventh Key albums, sung by Kansas bassman, Billy Greer.)
Congratulations, you have survived Glossolalia! As a prize, you get your sanity back, but you are a changed person forever. This album is much better than a day at Disneyland! With one amazing song after another, you are laughing one minute and crying the next. I try not to play this too often to keep its shock value fresh, but sometimes, I just can’t help myself...it’s too addictive!
More than ever now, Steve Walsh has my deepest respect and admiration, not just as a musician and songwriter, but also as a human being. I used to roll my eyes while listening to his cheesy songs on the Kansas albums Power and In the Spirit of Things, but the man has totally grown, changed, and matured with Glossolalia. I urge potential listeners to be prepared for its intensity!
Monday, July 25, 2011
Steve Walsh - Schemer Dreamer
Track List:
1. Schemer Dreamer/That's All Right (5:25)
2. Get Too Far (4:32)
3. So Many Nights (4:23)
4. You Think You've Got It Made (4:21)
5. Every Step of the Way (8:34)
6. Just How It Feels (3:43)
7. Wait Until Tomorrow (5:59)
Schemer Dreamer is the first solo album by Kansas front man, Steve Walsh. It is basically a mainstream rock album with limited prog elements and only one song that would remind the listener of Kansas. However, I feel it is unfair to compare this endeavor to Kansas; after all, it is a solo album! As it stands alone, it’s not a bad effort on Steve’s part, especially if you remove any thoughts of Kansas from the mix.
He starts off by purging some angst on the title track...life as a rock star isn’t so glamorous when you have to deal with difficult people! The song has a good rocking beat, however, and a nice cover of Elvis’s “That’s All Right” at the end. Steve’s frustration continues with Get Too Far. It seems he was angry at EVERYTHING back in those days! The flute is a nice touch, however. (Or is that a keyboard trick?)
I don’t cringe at the next song. In fact, I remember liking “So Many Nights” a lot when this album came out. The sweet melody makes up for the overly sentimental lyrics, but I believe Steve was being sincere with these words. This is one of his better love songs. In sharp contrast, “You Think You Got It Made” seems to be a leftover from the bitter songs her wrote for Audio-Visions. Oddly enough, I can’t tell if he’s singing to another person or singing to himself!
The next track is my favorite on the album! “Every Step of the Way” is an intense, introspective autobiography of his life on the road. It’s a sweet rocker, musically, and he shows great maturity in the lyrics. Awesome guitars here, plus a touch of Kansas-like organ, to boot! This is a much better glimpse of our ‘young Steve’. It’s a great song!
The introspection continues on “Just How It Feels”. In fact, I believe it to be one of the finest songs he’s ever written! At first, I didn’t think it fit on this album, but then I realized that Schemer Dreamer is all about reflection of his life. How strange that way back then, he was experienced enough to be so contemplative and sentimental. The violin is very pretty.
Albums were way too short back in those days, especially non-prog productions. The last song “Wait Until Tomorrow” is the only prog song on Schemer Dreamer, but it’s a very nice tribute to the genre that made Steve a star. This one could easily fit on a Kansas album, in spite of its gloomy lyrics. Killer guitars and great vocalization here, but it all ends too soon!
The kid done good on his first solo effort, even if half of the songs are too "whiney". He was too young for that "woe is me" mentality...that came much later in his wild life!
1. Schemer Dreamer/That's All Right (5:25)
2. Get Too Far (4:32)
3. So Many Nights (4:23)
4. You Think You've Got It Made (4:21)
5. Every Step of the Way (8:34)
6. Just How It Feels (3:43)
7. Wait Until Tomorrow (5:59)
Schemer Dreamer is the first solo album by Kansas front man, Steve Walsh. It is basically a mainstream rock album with limited prog elements and only one song that would remind the listener of Kansas. However, I feel it is unfair to compare this endeavor to Kansas; after all, it is a solo album! As it stands alone, it’s not a bad effort on Steve’s part, especially if you remove any thoughts of Kansas from the mix.
He starts off by purging some angst on the title track...life as a rock star isn’t so glamorous when you have to deal with difficult people! The song has a good rocking beat, however, and a nice cover of Elvis’s “That’s All Right” at the end. Steve’s frustration continues with Get Too Far. It seems he was angry at EVERYTHING back in those days! The flute is a nice touch, however. (Or is that a keyboard trick?)
I don’t cringe at the next song. In fact, I remember liking “So Many Nights” a lot when this album came out. The sweet melody makes up for the overly sentimental lyrics, but I believe Steve was being sincere with these words. This is one of his better love songs. In sharp contrast, “You Think You Got It Made” seems to be a leftover from the bitter songs her wrote for Audio-Visions. Oddly enough, I can’t tell if he’s singing to another person or singing to himself!
The next track is my favorite on the album! “Every Step of the Way” is an intense, introspective autobiography of his life on the road. It’s a sweet rocker, musically, and he shows great maturity in the lyrics. Awesome guitars here, plus a touch of Kansas-like organ, to boot! This is a much better glimpse of our ‘young Steve’. It’s a great song!
The introspection continues on “Just How It Feels”. In fact, I believe it to be one of the finest songs he’s ever written! At first, I didn’t think it fit on this album, but then I realized that Schemer Dreamer is all about reflection of his life. How strange that way back then, he was experienced enough to be so contemplative and sentimental. The violin is very pretty.
Albums were way too short back in those days, especially non-prog productions. The last song “Wait Until Tomorrow” is the only prog song on Schemer Dreamer, but it’s a very nice tribute to the genre that made Steve a star. This one could easily fit on a Kansas album, in spite of its gloomy lyrics. Killer guitars and great vocalization here, but it all ends too soon!
The kid done good on his first solo effort, even if half of the songs are too "whiney". He was too young for that "woe is me" mentality...that came much later in his wild life!
Kansas - Freaks of Nature
Track List:
1. I Can Fly (5:21)
2. Desperate Times (5:25)
3. Hope Once Again (4:34)
4. Black Fathom 4 (4:34)
5. Under the Knife (4:54)
6. Need (3:59)
7. Freaks of Nature (4:05)
8. Cold Grey Morning (4:14)
9. Peaceful and Warm (4:14)
I like to refer to Freaks of Nature as the album that saved Kansas. After a seven-year dry spell of no new material, the band gets hit with a thunderbolt in 1995. David Ragsdale enters, Steve Morse departs, and Steve Walsh greatly improves his songwriting! His lyrics no longer whine about the women who have dumped him. Instead, he launches a new era of healing and self-discovery, finally maturing in his mid-40s.
Amazing and refreshing, Freaks of Nature tantalizes all the senses, due mainly to the intensity of the music and the seriousness of the lyrics. It’s a heavy album, but has upbeat moments all throughout. From beginning to end, it takes you on a wild ride and leaves you feeling wobbly afterward, as if you had just ridden a very thrilling roller coaster! As a hard rock album, there isn’t much ‘Classic Kansas’ here, although the title cut sounds a lot like the song “Belexes” from their first album. There are bits of proggy moments in various songs, most notably in “Hope Once Again” and “Cold Grey Morning”.
Thank God the violin has returned, even if it isn't Robby Steinhardt. David Ragsdale really shines here. I can’t say enough good things about him. Not only did he co-write several of the songs, but he plays lead guitar on the title cut. I don’t need to keep emphasizing my appreciation for his unique style on the violin, but I can’t help being impressed by such deep, emotional talent. He must have eaten a good breakfast every morning before going into the recording studio because the energy he puts out on this album is unbelievable.
Freaks of Nature hits hard from the beginning with “I Can Fly”, a song that could humble the most modern metal head, and continues with terrific sequencing all the way through to the painfully wistful “Peaceful and Warm”, which is one of the best songs Steve has ever written! Rags does beautiful work at the ending...the entire song can choke me up at times.
The sweet and slow “Hope Once Again” is a big fan favorite, and “Black Fathom 4” and the title cut keep you rocking in spite of their dark lyrics. Equally dark is “Under the Knife”, which I suspect is an autobiographical view of Steve’s painful road to addiction recovery. The lyrics on “Cold Grey Morning” are severely depressing, one of the bleakest songs Kerry Livgren has ever created for Kansas, but the soaring proggish elements in the music save it from the skip button.
My favorite song on this album is “Desperate Times” because of its wild tempo and odd lyrics. Fans might joke about rocket sleds, but I think it adds a cool sci-fi feel to the song. Steve’s vocal echoes at the end send chills up my spine! Kudos to Phil Ehart for the excellent drum solo, too brief as it was. He needs to show off his amazing skills more often, ala “Incomudro”!
The darkness of this album is balanced by the pure emotion of the music. The frankness and honesty of the lyrics are a testament to the growth and healing that Steve was going through at the time. Ragsdale’s intensity pulls it all together.
Overall, it was an awesome experiment with a different sound, yet it fit in well with the alternative and new metal movements of the 90s. Freaks of Nature is a damn fine album and would have sold millions had it gotten radio airplay. All of its songs are strong, effective, and fascinating. It remains one of my favorite Kansas albums of all time.
1. I Can Fly (5:21)
2. Desperate Times (5:25)
3. Hope Once Again (4:34)
4. Black Fathom 4 (4:34)
5. Under the Knife (4:54)
6. Need (3:59)
7. Freaks of Nature (4:05)
8. Cold Grey Morning (4:14)
9. Peaceful and Warm (4:14)
I like to refer to Freaks of Nature as the album that saved Kansas. After a seven-year dry spell of no new material, the band gets hit with a thunderbolt in 1995. David Ragsdale enters, Steve Morse departs, and Steve Walsh greatly improves his songwriting! His lyrics no longer whine about the women who have dumped him. Instead, he launches a new era of healing and self-discovery, finally maturing in his mid-40s.
Amazing and refreshing, Freaks of Nature tantalizes all the senses, due mainly to the intensity of the music and the seriousness of the lyrics. It’s a heavy album, but has upbeat moments all throughout. From beginning to end, it takes you on a wild ride and leaves you feeling wobbly afterward, as if you had just ridden a very thrilling roller coaster! As a hard rock album, there isn’t much ‘Classic Kansas’ here, although the title cut sounds a lot like the song “Belexes” from their first album. There are bits of proggy moments in various songs, most notably in “Hope Once Again” and “Cold Grey Morning”.
Thank God the violin has returned, even if it isn't Robby Steinhardt. David Ragsdale really shines here. I can’t say enough good things about him. Not only did he co-write several of the songs, but he plays lead guitar on the title cut. I don’t need to keep emphasizing my appreciation for his unique style on the violin, but I can’t help being impressed by such deep, emotional talent. He must have eaten a good breakfast every morning before going into the recording studio because the energy he puts out on this album is unbelievable.
Freaks of Nature hits hard from the beginning with “I Can Fly”, a song that could humble the most modern metal head, and continues with terrific sequencing all the way through to the painfully wistful “Peaceful and Warm”, which is one of the best songs Steve has ever written! Rags does beautiful work at the ending...the entire song can choke me up at times.
The sweet and slow “Hope Once Again” is a big fan favorite, and “Black Fathom 4” and the title cut keep you rocking in spite of their dark lyrics. Equally dark is “Under the Knife”, which I suspect is an autobiographical view of Steve’s painful road to addiction recovery. The lyrics on “Cold Grey Morning” are severely depressing, one of the bleakest songs Kerry Livgren has ever created for Kansas, but the soaring proggish elements in the music save it from the skip button.
My favorite song on this album is “Desperate Times” because of its wild tempo and odd lyrics. Fans might joke about rocket sleds, but I think it adds a cool sci-fi feel to the song. Steve’s vocal echoes at the end send chills up my spine! Kudos to Phil Ehart for the excellent drum solo, too brief as it was. He needs to show off his amazing skills more often, ala “Incomudro”!
The darkness of this album is balanced by the pure emotion of the music. The frankness and honesty of the lyrics are a testament to the growth and healing that Steve was going through at the time. Ragsdale’s intensity pulls it all together.
Overall, it was an awesome experiment with a different sound, yet it fit in well with the alternative and new metal movements of the 90s. Freaks of Nature is a damn fine album and would have sold millions had it gotten radio airplay. All of its songs are strong, effective, and fascinating. It remains one of my favorite Kansas albums of all time.
Kansas - Point of Know Return
Track List:
1. Point of Know Return – 3:13
2. Paradox – 3:50
3. The Spider – 2:05
4. Portrait (He Knew) – 4:38
5. Closet Chronicles – 6:31
6. Lightning's Hand – 4:24
7. Dust in the Wind – 3:28
8. Sparks of the Tempest – 4:18
9. Nobody's Home – 4:40
10. Hopelessly Human - 7:17
This is as "classic" as Classic Kansas gets! Point of Know Return was met with such high acclaim in 1977, even some of the snooty kids at my high school were known to have owned it! It’s pure prog all the way through. In fact, it sounds like one long song, the tale of a fantastic journey through time and space. This is the way prog should sound...to me, anyway. Like the two albums that sandwich it (Leftoverture and Monolith), there are no "skip" songs on this one. In fact, I call these three albums "The Big Three" because they showcase the band at its finest!
This is one of the most popular album covers of all time in the music industry. Just about every die-hard Kansas fan has the t-shirt, and a few brave souls sport a tattoo of the ship going over the edge. I especially love the pencil sketches of the band members...six handsome, talented men who rocked my world all those years ago!
Point of Know Return starts off with the title track, a fantastic song that invites the listener into the storyteller’s mind, sort of like that poem we all had to learn in high school, "The Rhyme of the Ancient Mariner", only the ending is less gruesome. Even I, as a female, have dreamed of sailing away to some point of "no" return. I guess its part of my adventurous spirit.
The fun continues with “Paradox”...there is no way you can sit still for this one! I’ve seen early concert clips of Steve Walsh bouncing all over the stage during this song, and it’s no wonder! The violin is fierce...both Robby Steinhardt and David Ragsdale smoke seriously on this one! The lyrics continue in the adventurous vein...both Kerry Livgren and Steve Walsh must have been eating plenty of oatmeal when they wrote the songs for this album. It’s too bad they don’t perform this one live anymore. I would certainly love to see it, but I suppose Steve would need a lot more oatmeal these days!
Next is a song I like to call "the primordial soup" of all Kansas songs. “The Spider” is an instrumental that incorporates all the basics that Kansas had created and performed up until that time. Our little Stevie done damn good with this one! I can’t help wondering if he was channeling Keith Emerson at the time he wrote it! My only regret is that “The Spider” is way too short. I could use another 10 minutes of this, at least!
“Portrait (He Knew)” is a great song, too, but I’m not as crazy for this one. Perhaps I am not into biographical tunes, even though Einstein was a pretty cool dude! (I am known to be fussy about lyrics, a trait most poets have, I suppose.) It’s got a good, rocking beat, but it just doesn’t turn my crank as much as other Kansas songs do. Likewise, “Closet Chronicles”, another biographical song, leaves me lacking, too. However, let me go on record by saying that the music on this track is phenomenal! The entire band showcases their awesome talents as individual musicians, and for this reason alone, I do not skip this song. Still, though, the mundane lyrics are about a mundane man...Howard Hughes never thrilled me.
“Lighting’s Hand” is the hard rock song of the album. This fun, little fantasy takes you out the depression caused by “Closet Chronicles” and gives you a “Belexes”-style beat that makes you bop around your living room...well, MY living room, anyway! Robby’s voice is exceptional, as always. Kudos to Steve for cool lyrics, too.
So now we come to the song that made Kansas a household name. There can’t possibly be a soul on the planet over the age of 30 who has not heard “Dust In the Wind”! (I bet they even know this song in Outer Mongolia!) Every mother has sung it to her babies, and many funerals conclude with it, thus it is heard at the beginning of life and at the end. We die-hard fans may be a little tired of it, but Kansas isn't Kansas without this song.
“Sparks of the Tempest” is another staple of the Kansas diet, an all-around good song with great musical elements and dark lyrics to make you ponder. Although it is not one of my favorites, it’s a "piece of the same", fitting in with the adventurous theme of the album. However, the next song does not quite fit in as well. I find “Nobody’s Home” to be somewhat depressing lyrically. It does have a pleasant rhythm to it, though, which keeps me from skipping it. Robby’s violin is very sweet here. It would be a pretty song if the words weren’t so miserable!
“Hopelessly Human” makes up for that, though! It’s an achingly beautiful song, and Kerry’s lyrics give us hope in our humanity, instead of the bleakness of a dead Earth on the previous song. It’s very inspirational and contemplative, one of his best songs ever! The music is terrific here, too, mixing slow and fast elements that are conducive to good Prog rock. The bells at the end are a nice, little touch. It was very difficult to choose a favorite song on this album, but this one is it for me!
And so we have here an album that has stood the test of time, remaining a favorite throughout the decades, not just of hardcore fans, but mainstream listeners as well. It was a favorite of mine for quite some time during the late 70s and helped me through some tough times back then. I'm glad it's still around today!
1. Point of Know Return – 3:13
2. Paradox – 3:50
3. The Spider – 2:05
4. Portrait (He Knew) – 4:38
5. Closet Chronicles – 6:31
6. Lightning's Hand – 4:24
7. Dust in the Wind – 3:28
8. Sparks of the Tempest – 4:18
9. Nobody's Home – 4:40
10. Hopelessly Human - 7:17
This is as "classic" as Classic Kansas gets! Point of Know Return was met with such high acclaim in 1977, even some of the snooty kids at my high school were known to have owned it! It’s pure prog all the way through. In fact, it sounds like one long song, the tale of a fantastic journey through time and space. This is the way prog should sound...to me, anyway. Like the two albums that sandwich it (Leftoverture and Monolith), there are no "skip" songs on this one. In fact, I call these three albums "The Big Three" because they showcase the band at its finest!
This is one of the most popular album covers of all time in the music industry. Just about every die-hard Kansas fan has the t-shirt, and a few brave souls sport a tattoo of the ship going over the edge. I especially love the pencil sketches of the band members...six handsome, talented men who rocked my world all those years ago!
Point of Know Return starts off with the title track, a fantastic song that invites the listener into the storyteller’s mind, sort of like that poem we all had to learn in high school, "The Rhyme of the Ancient Mariner", only the ending is less gruesome. Even I, as a female, have dreamed of sailing away to some point of "no" return. I guess its part of my adventurous spirit.
The fun continues with “Paradox”...there is no way you can sit still for this one! I’ve seen early concert clips of Steve Walsh bouncing all over the stage during this song, and it’s no wonder! The violin is fierce...both Robby Steinhardt and David Ragsdale smoke seriously on this one! The lyrics continue in the adventurous vein...both Kerry Livgren and Steve Walsh must have been eating plenty of oatmeal when they wrote the songs for this album. It’s too bad they don’t perform this one live anymore. I would certainly love to see it, but I suppose Steve would need a lot more oatmeal these days!
Next is a song I like to call "the primordial soup" of all Kansas songs. “The Spider” is an instrumental that incorporates all the basics that Kansas had created and performed up until that time. Our little Stevie done damn good with this one! I can’t help wondering if he was channeling Keith Emerson at the time he wrote it! My only regret is that “The Spider” is way too short. I could use another 10 minutes of this, at least!
“Portrait (He Knew)” is a great song, too, but I’m not as crazy for this one. Perhaps I am not into biographical tunes, even though Einstein was a pretty cool dude! (I am known to be fussy about lyrics, a trait most poets have, I suppose.) It’s got a good, rocking beat, but it just doesn’t turn my crank as much as other Kansas songs do. Likewise, “Closet Chronicles”, another biographical song, leaves me lacking, too. However, let me go on record by saying that the music on this track is phenomenal! The entire band showcases their awesome talents as individual musicians, and for this reason alone, I do not skip this song. Still, though, the mundane lyrics are about a mundane man...Howard Hughes never thrilled me.
“Lighting’s Hand” is the hard rock song of the album. This fun, little fantasy takes you out the depression caused by “Closet Chronicles” and gives you a “Belexes”-style beat that makes you bop around your living room...well, MY living room, anyway! Robby’s voice is exceptional, as always. Kudos to Steve for cool lyrics, too.
So now we come to the song that made Kansas a household name. There can’t possibly be a soul on the planet over the age of 30 who has not heard “Dust In the Wind”! (I bet they even know this song in Outer Mongolia!) Every mother has sung it to her babies, and many funerals conclude with it, thus it is heard at the beginning of life and at the end. We die-hard fans may be a little tired of it, but Kansas isn't Kansas without this song.
“Sparks of the Tempest” is another staple of the Kansas diet, an all-around good song with great musical elements and dark lyrics to make you ponder. Although it is not one of my favorites, it’s a "piece of the same", fitting in with the adventurous theme of the album. However, the next song does not quite fit in as well. I find “Nobody’s Home” to be somewhat depressing lyrically. It does have a pleasant rhythm to it, though, which keeps me from skipping it. Robby’s violin is very sweet here. It would be a pretty song if the words weren’t so miserable!
“Hopelessly Human” makes up for that, though! It’s an achingly beautiful song, and Kerry’s lyrics give us hope in our humanity, instead of the bleakness of a dead Earth on the previous song. It’s very inspirational and contemplative, one of his best songs ever! The music is terrific here, too, mixing slow and fast elements that are conducive to good Prog rock. The bells at the end are a nice, little touch. It was very difficult to choose a favorite song on this album, but this one is it for me!
And so we have here an album that has stood the test of time, remaining a favorite throughout the decades, not just of hardcore fans, but mainstream listeners as well. It was a favorite of mine for quite some time during the late 70s and helped me through some tough times back then. I'm glad it's still around today!
Kansas - Masque
Track List:
1. It Takes a Woman's Love (To Make a Man) – 3:08
2. Two Cents Worth - 3:08
3. Icarus - Borne on Wings of Steel – 6:03
4. All the World – 7:11
5. Child of Innocence – 4:36
6. It's You – 2:31
7. Mysteries and Mayhem – 4:18
8. The Pinnacle – 9:44
I was surprised to find out that the band is not particularly fond of this album! In addition to the ‘big four’ (“Icarus”, “Child of Innocence”, “Mysteries and Mayhem”, and “The Pinnacle”), I believe there is a lot to be proud of here. While the "Big Four" are staples in the regular Kansas diet, other treats should not be overlooked.
The distinct southern rock/pop sound was very popular in the mid-70s, and Masque fit right in with the opening cuts, “It Takes A Woman’s Love (to Make a Man)” and bluesy “Two Cents Worth”. “It Takes A Woman’s Love” has been vilified by many Kansas fans, but I actually like it! Normally, I’m a big critic of Steve Walsh’s love songs, but this time, the fun and funky beat seem to jibe well with the lyrics. The piano work on this song is excellent! Too bad it did not go very far as a hit single.
I like to call “All the World” the band’s ‘hippie song’. The lyrics are beautiful and reflect the politics of that era. The violin is incredible, too. While some might find it ‘mushy’ by today's standards, it's still a strong song to give us hope for world peace.
The magical genius of Kerry Livgren is so evident with the ‘big four’; I feel he truly was honing his songwriting skills on this album. “Icarus” instantly became my favorite Kansas song the moment I first heard it. Robby’s violin is fantastic, and the guitars do not disappoint. I truly loved this song at that time and still do today!
“Child of Innocence” is a powerful song, both musically and lyrically, and the hard rocking “Mysteries and Mayhem” is over the top (and a personal favorite of mine). The popularity of these two songs alone should have made this album more successful. “The Pinnacle” is a slower song, but nevertheless, sends chills up my spine with its strong, creative imagery! It is obvious that Kerry was seriously exploring Christianity at this time, but somehow, these songs are not a turn-off for most non-believers. The lyrics can speak to anybody; one of the reasons Kerry is one of my favorite all-time songwriters!
So, what’s the problem here, guys? I don’t see a problem at all! This is just another great Kansas album that rocks my socks! The ‘big four’s prog sound mixes well with the other funky, bluesy songs and balances out the whole album. Masque has a flavor that needs to be tasted more often.
1. It Takes a Woman's Love (To Make a Man) – 3:08
2. Two Cents Worth - 3:08
3. Icarus - Borne on Wings of Steel – 6:03
4. All the World – 7:11
5. Child of Innocence – 4:36
6. It's You – 2:31
7. Mysteries and Mayhem – 4:18
8. The Pinnacle – 9:44
I was surprised to find out that the band is not particularly fond of this album! In addition to the ‘big four’ (“Icarus”, “Child of Innocence”, “Mysteries and Mayhem”, and “The Pinnacle”), I believe there is a lot to be proud of here. While the "Big Four" are staples in the regular Kansas diet, other treats should not be overlooked.
The distinct southern rock/pop sound was very popular in the mid-70s, and Masque fit right in with the opening cuts, “It Takes A Woman’s Love (to Make a Man)” and bluesy “Two Cents Worth”. “It Takes A Woman’s Love” has been vilified by many Kansas fans, but I actually like it! Normally, I’m a big critic of Steve Walsh’s love songs, but this time, the fun and funky beat seem to jibe well with the lyrics. The piano work on this song is excellent! Too bad it did not go very far as a hit single.
I like to call “All the World” the band’s ‘hippie song’. The lyrics are beautiful and reflect the politics of that era. The violin is incredible, too. While some might find it ‘mushy’ by today's standards, it's still a strong song to give us hope for world peace.
The magical genius of Kerry Livgren is so evident with the ‘big four’; I feel he truly was honing his songwriting skills on this album. “Icarus” instantly became my favorite Kansas song the moment I first heard it. Robby’s violin is fantastic, and the guitars do not disappoint. I truly loved this song at that time and still do today!
“Child of Innocence” is a powerful song, both musically and lyrically, and the hard rocking “Mysteries and Mayhem” is over the top (and a personal favorite of mine). The popularity of these two songs alone should have made this album more successful. “The Pinnacle” is a slower song, but nevertheless, sends chills up my spine with its strong, creative imagery! It is obvious that Kerry was seriously exploring Christianity at this time, but somehow, these songs are not a turn-off for most non-believers. The lyrics can speak to anybody; one of the reasons Kerry is one of my favorite all-time songwriters!
So, what’s the problem here, guys? I don’t see a problem at all! This is just another great Kansas album that rocks my socks! The ‘big four’s prog sound mixes well with the other funky, bluesy songs and balances out the whole album. Masque has a flavor that needs to be tasted more often.
Sunday, July 3, 2011
Porcupine Tree - Stupid Dream
Release Year: 1999
Track List:
1. Even Less (7:11)
2. Piano Lessons (4:21)
3. Stupid Dream (0:28)
4. Pure Narcotic (5:02)
5. Slave Called Shiver (4:41)
6. Don't Hate Me (8:30)
7. This Is No Rehearsal (3:27)
8. Baby Dream In Cellophane (3:15)
9. Stranger By the Minute (4:31)
10. A Smart Kid (5:22)
11. Tinto Brass (6:17)
12. Stop Swimming (6:35)
At first, I was only a casual Porcupine Tree fan. I owned In Absentia and Deadwing and knew they were special albums. I even saw the band in concert. in 2005. However, I had put PT on the back burner simply because fully embracing them would take up a lot of my time and emotion.
Then I heard Stupid Dream, and my heart was broken.
From the first song, “Even Less”, to the last, “Stop Swimming”, I was caught up in a drama that turned out to reflect my own life story. The lyrics are deep, honest, sincere, and painful. Who is this Steven Wilson and how can he possibly know my pain?
Stupid Dream is pure, raw emotion that cuts deep into my soul, releases all the negative energy I have stored, and makes me clean and whole once again.
While the music is sweet and dreamy, it falls far short of being cheesy. In fact, there are brief moments when the guitars actually "rock", but Porcupine Tree can't be defined as a rock band, or an alternative band, or even a prog band, for that matter.
There isn't a bad song on this album. My favorites are “Pure Narcotic”, “Don't Hate Me”, and “Tinto Brass”, which has to be one of the coolest instrumentals I have ever heard.
Originally released in 1999, this virtually unknown treasure was recently remastered in 5.1 surround sound and high-resolution 24-bit stereo. It sounds pure and clear on my cheap CD player, so it must sound heavenly on proper stereo equipment.
So now I consider myself a true fan of this wonderful, creative band, and will continue to collect their works. Stupid Dream, however, has become my favorite PT album and will likely remain so.
If you are unsure about liking this album, take a chance and buy it anyway. I don't understand how any sentient being could not be moved by this beautiful, sensual music.
Track List:
1. Even Less (7:11)
2. Piano Lessons (4:21)
3. Stupid Dream (0:28)
4. Pure Narcotic (5:02)
5. Slave Called Shiver (4:41)
6. Don't Hate Me (8:30)
7. This Is No Rehearsal (3:27)
8. Baby Dream In Cellophane (3:15)
9. Stranger By the Minute (4:31)
10. A Smart Kid (5:22)
11. Tinto Brass (6:17)
12. Stop Swimming (6:35)
At first, I was only a casual Porcupine Tree fan. I owned In Absentia and Deadwing and knew they were special albums. I even saw the band in concert. in 2005. However, I had put PT on the back burner simply because fully embracing them would take up a lot of my time and emotion.
Then I heard Stupid Dream, and my heart was broken.
From the first song, “Even Less”, to the last, “Stop Swimming”, I was caught up in a drama that turned out to reflect my own life story. The lyrics are deep, honest, sincere, and painful. Who is this Steven Wilson and how can he possibly know my pain?
Stupid Dream is pure, raw emotion that cuts deep into my soul, releases all the negative energy I have stored, and makes me clean and whole once again.
While the music is sweet and dreamy, it falls far short of being cheesy. In fact, there are brief moments when the guitars actually "rock", but Porcupine Tree can't be defined as a rock band, or an alternative band, or even a prog band, for that matter.
There isn't a bad song on this album. My favorites are “Pure Narcotic”, “Don't Hate Me”, and “Tinto Brass”, which has to be one of the coolest instrumentals I have ever heard.
Originally released in 1999, this virtually unknown treasure was recently remastered in 5.1 surround sound and high-resolution 24-bit stereo. It sounds pure and clear on my cheap CD player, so it must sound heavenly on proper stereo equipment.
So now I consider myself a true fan of this wonderful, creative band, and will continue to collect their works. Stupid Dream, however, has become my favorite PT album and will likely remain so.
If you are unsure about liking this album, take a chance and buy it anyway. I don't understand how any sentient being could not be moved by this beautiful, sensual music.
Genesis - Wind and Wuthering
Release Year: 1976
Track List:
1. Eleventh Earl of Mar (7:39)
2. One for the Vine (9:59)
3. Your Own Special Way (6:15)
4. Wot Gorilla? (3:12)
5. All in a Mouse's Night (6:35)
6. Blood on the Rooftops (5:20)
7. Unquiet Slumbers for the Sleepers… (2:23)
8. In That Quiet Earth (4:50)
9. Afterglow (4:10)
There was a time when I considered myself a Genesis fan. This was long ago, in the late 70s/early 80s, when progressive music was giving way to arena rock and hair metal. I wallowed in the ecstasy of Duke and drifted off to “Home By the Sea”, but as Genesis became more and more pop, I made a 180-degree turn. By the late 80s, they had lost the magic.
It didn't occur to me at the time to explore their earlier works... albums from Foxtrot up through Trick of the Tail. I had discovered Genesis with And Then They Were Three in the summer of 1978, and never gave a thought to who the fourth and fifth band members had been. Peter Gabriel became a huge solo artist and Steve Hackett a less famous one, but my mind was on the wonderful music Phil, Tony, and Mike were making... for awhile anyway.
In recent years, I have returned to my progressive rock roots and discovered it had not died in the 1980s after all. I have found a vast universe of music waiting to be explored, and I have had a wonderful journey so far. This genre of music has introduced me to many terrific new friends, some who have encouraged me to discover the REAL Genesis, and Wind & Wuthering was suggested as my starting point. I was also informed that this album is related, more or less, to the novel Wuthering Heights, which ironically happens to be my favorite novel of all time!
This version of Genesis contains Phil Collins, Steve Hackett, Mike Rutherford, and Tony Banks... four, not yet three. ;-)
So, decades after its original release, Wind and Wuthering finally arrived in my mailbox. After reading the lyrics in the booklet, I was a confused at first. It seems that all the songs are about war, not timeless love! Ah, but look closely and remember the novel it is based on... two souls locked in a passionate battle with each other, both with too much pride to admit their deepest affections until it's too late.
This appears to be Tony Banks' album. His beautiful keyboard work is all over every song, from soaring synthesizers to sweet piano, turning gruesome lyrics into haunting melodies, along with Phil's smooth voice and Steve's distinctive guitar.
This is a sensual, dramatic, passionate album, no doubt about it. “One for the Vine”, “All in A Mouse's Night”, and even “Wot Gorilla” show off Tony's amazing flexibility on the keys. However, Hackett's song, “Blood On the Rooftops”, is the clear winner here. Take away the ‘modern’ lyrics, and you find the song is incredibly sweet.
I especially love “Your Own Special Way”. Following the allusion to Wuthering Heights, the lyrics make me think of Heathcliff crying out to Cathy's ghost... "don't ever leave me!"
I see subtle connections to the novel everywhere, whether or not that was intentional by the band. It's my belief that the last song, “Afterglow”, represents Heathcliff the best. This line gives me chills... "But I, I would search everywhere just to hear your call, and walk upon stranger roads than this one. In a world I used to know before, I miss you more." While I admire “Blood On the Rooftops”, I think “Afterglow” is my favorite song on Wind and Wuthering. It's a good way to end the album.
Before “Afterglow”, though, there are two short instrumentals that will break your heart, even if you don't know the story... “Unquiet Slumbers for the Sleepers” and “In That Quiet Earth” (the second song not so quiet.. this is a very proggy tune!). These are references to our romantic couple that wander the ghostly Yorkshire moors, together at last, yet in death.
I don't know how many people experience this kind of love... the kind that burrows down deep into your soul and psyche, beyond obsession, and lasts beyond the grave, but somehow Genesis captured its essence and set it to music. Even if you are not empathetic or understanding to the passion of the story, you will at least understand the passion in the music.
I am enjoying exploring the earlier Genesis and finding a treasure trove of wonderful music. Wind and Wuthering is just the tip of a beautiful iceberg!
Track List:
1. Eleventh Earl of Mar (7:39)
2. One for the Vine (9:59)
3. Your Own Special Way (6:15)
4. Wot Gorilla? (3:12)
5. All in a Mouse's Night (6:35)
6. Blood on the Rooftops (5:20)
7. Unquiet Slumbers for the Sleepers… (2:23)
8. In That Quiet Earth (4:50)
9. Afterglow (4:10)
There was a time when I considered myself a Genesis fan. This was long ago, in the late 70s/early 80s, when progressive music was giving way to arena rock and hair metal. I wallowed in the ecstasy of Duke and drifted off to “Home By the Sea”, but as Genesis became more and more pop, I made a 180-degree turn. By the late 80s, they had lost the magic.
It didn't occur to me at the time to explore their earlier works... albums from Foxtrot up through Trick of the Tail. I had discovered Genesis with And Then They Were Three in the summer of 1978, and never gave a thought to who the fourth and fifth band members had been. Peter Gabriel became a huge solo artist and Steve Hackett a less famous one, but my mind was on the wonderful music Phil, Tony, and Mike were making... for awhile anyway.
In recent years, I have returned to my progressive rock roots and discovered it had not died in the 1980s after all. I have found a vast universe of music waiting to be explored, and I have had a wonderful journey so far. This genre of music has introduced me to many terrific new friends, some who have encouraged me to discover the REAL Genesis, and Wind & Wuthering was suggested as my starting point. I was also informed that this album is related, more or less, to the novel Wuthering Heights, which ironically happens to be my favorite novel of all time!
This version of Genesis contains Phil Collins, Steve Hackett, Mike Rutherford, and Tony Banks... four, not yet three. ;-)
So, decades after its original release, Wind and Wuthering finally arrived in my mailbox. After reading the lyrics in the booklet, I was a confused at first. It seems that all the songs are about war, not timeless love! Ah, but look closely and remember the novel it is based on... two souls locked in a passionate battle with each other, both with too much pride to admit their deepest affections until it's too late.
This appears to be Tony Banks' album. His beautiful keyboard work is all over every song, from soaring synthesizers to sweet piano, turning gruesome lyrics into haunting melodies, along with Phil's smooth voice and Steve's distinctive guitar.
This is a sensual, dramatic, passionate album, no doubt about it. “One for the Vine”, “All in A Mouse's Night”, and even “Wot Gorilla” show off Tony's amazing flexibility on the keys. However, Hackett's song, “Blood On the Rooftops”, is the clear winner here. Take away the ‘modern’ lyrics, and you find the song is incredibly sweet.
I especially love “Your Own Special Way”. Following the allusion to Wuthering Heights, the lyrics make me think of Heathcliff crying out to Cathy's ghost... "don't ever leave me!"
I see subtle connections to the novel everywhere, whether or not that was intentional by the band. It's my belief that the last song, “Afterglow”, represents Heathcliff the best. This line gives me chills... "But I, I would search everywhere just to hear your call, and walk upon stranger roads than this one. In a world I used to know before, I miss you more." While I admire “Blood On the Rooftops”, I think “Afterglow” is my favorite song on Wind and Wuthering. It's a good way to end the album.
Before “Afterglow”, though, there are two short instrumentals that will break your heart, even if you don't know the story... “Unquiet Slumbers for the Sleepers” and “In That Quiet Earth” (the second song not so quiet.. this is a very proggy tune!). These are references to our romantic couple that wander the ghostly Yorkshire moors, together at last, yet in death.
I don't know how many people experience this kind of love... the kind that burrows down deep into your soul and psyche, beyond obsession, and lasts beyond the grave, but somehow Genesis captured its essence and set it to music. Even if you are not empathetic or understanding to the passion of the story, you will at least understand the passion in the music.
I am enjoying exploring the earlier Genesis and finding a treasure trove of wonderful music. Wind and Wuthering is just the tip of a beautiful iceberg!
Genesis - Duke
Release Year: 1980
Track List:
1. Behind the Lines (5:31)
2. Duchess (6:37)
3. Guide Vocal (1.21)
4. Man of Our Times (5.35)
5. Misunderstanding (3.16)
6 Heathaze (5.00)
7. Turn It On Again (3:52)
8. Alone Tonight (3.58)
9. Cul-de-sac (5.05)
10. Please Don't Ask (4.02)
11. Duke's Travels (8.41)
12. Duke's End (2.10)
When I was 19, life was still pretty confusing for me emotionally. I had always depended on music to carry me through my difficult days. In 1980, I was just a young adult facing a hard world and having no idea just how bad it would get. I remember when I had rough days, laying on my bed and pushing PLAY, and all the pain and sorrow would melt away into this bliss. Like most other Prog I listened to back in my youth, the music just carried me away on waves of beauty and fantasy. Other people might reach for drugs or alcohol or sex or whatever to medicate their angst, but for me, it was music, and Duke was an album that made the big bad world melt away. It was my escape, my balm, my therapy.
So, I recently decided to buy Duke in its CD format and relive the magic that I tried to remember was there. Now here I am, floating on this vast sea of beauty again, and all the comfort I felt all those years ago has come back into an old brain that almost forgot. I knew there was a reason why Duke was my favorite Genesis album, but I couldn't remember why... until now.
I'm very sensitive to keyboards, and Tony Banks is definitely one of the greats. It's his amazing ability to utilize the diversity of multiple keyboard systems to find the right sound. He has the ability to take me immediately "off planet". One note is all it takes for my seratonin level to spike! It's the keyboards that definitely carry this album, along with the intensity of the drums and Phil Collin's amazing vocals, and way back there, you hear it... the thump, thump, thump of an incredible bass. Mike Rutherford is too under-rated, which is a shame.
Here's my track-by-track analysis (which I have also posted at www.progressiveears.com in a Genesis - Duke thread):
Behind the Lines - I heard this track on the internet recently, and I smiled, remembering the pomposity of the opening lines, bars, movement. (Sorry, I don't know the technical terms for music, I just know when a note instantly makes me feel good.) Listening to it on the album in its full, remastered glory, I am still smiling. What I love most is how the instrumental track smoothly seguays (sp?) into the vocal part, seamlessly, and then Phil starts pounding away on the drums. At the end of the song, Tony starts in... oh God, is that not an orgasmic little piano or whatever he's playing? So sweet and delicate next to the bopping notes (is that a drum or also keys?)...
Duchess - ... moving seamlessly into the next song, it sounds like raindrops, and then we hear the snare drum, and the tone changes, and Phil bursts into vocals. I never cared too much for the lyrics of this song. It's the music that carries this tune, and the tone of Phil's voice. I find the lyrics very sad. I remember feeling that way at 19 and now that I am MUCH older, they hit a little too close to home. A lifetime wasted struggling, dreaming... anyway, sorry, didn't mean to get maudlin. Anyway, so, here's our little raindrops again...
Guide Vocal - ... into bittersweetness. A ballad whose lyrics I've never understood, but I like it. It's like a little bridge from soft Duchess into the harder Man of Our Times.
Man of Our Times - An awesome song! It's so complicated, I can barely separate out the instruments, other than the obvious drums. The guitar is very subtle, yet it's THERE, holding down the melody. Once again, lyrics that confound me, but Phil's voice is deeper and... dare I say... sexier.
Misunderstanding - Then suddenly... THUNK! The whole mood stops cold, and we are launched into a totally different vibe. Phil had to interrupt the beauty with a She-Done-Me-Wrong song. Now, I don't HATE this song. Far from it. I actually understand (no pun) what this song is all about... broken hearts and disappointment and failed expectations. At 19, I had no idea relationships were so complicated. Surprise! That being said, I can put aside the lyrics and appreciate it as a peppy, poppy tune. Unfortunately, it was put in the wrong spot, and perhaps even the wrong album.
Heathaze - And just as suddenly, we are sent back to our sweet, little cloud, floating on air, the weight of the world slipping away again. It's incredible that such a gentle, little song could have so much impact. The depth of emotion in the tone of the music, and the way Phil switches from a soft voice to a rough voice and back again... it totally fits with the mood of the album. I remember being lost in the melody at 19, dreaming of being on the darkened moors of Yorkshire, like in my own Bronte novel. (Pardong me for being a girl!)
Turn It On Again - Believe it or not, this jolt is not as bad as Misunderstanding, at least to my ears. Tony's keys help to soften the blow immensely. but still, the lyrics are a far cry from the tone of the album. As a stand-alone song, I absolutely love it! The beat, the instrumentation... it's a Genesis song you can actually dance to! Just as its unfortunate stepbrother, though, it doesn't quite fit in the spot.
Alone Tonight - And THUNK, here we go, back to bittersweetness. This is such a sad, desperate song, but I don't dislike it. It's just a bit of a downer right after the upbeat Turn It On Again. I love the sweet organ (or whatever instrument Tony is playing during the chorus), and of course, I'm very empathetic to the lyrics. I don't like the way it fades off in the end, though, especially without blending into...
Cul-de-Sac - ... the most delicious track, Tony-wise! As a Keys Girl, I really appreciate the diversity of Tony's work and consider him one of the great Keyboard Gods of Prog! The mood is back, and I really love it. Once again, befuddlement over the lyrics, but the music is very strong, and the keys set the tone, and here we softly move into...
Please Don't Ask - ... another heartbreak song. This one, however, holds so much emotion in the lyrics, that we almost forget the intricacy of the music, the suble keys, the amazingly funky lead guitar (can you hear it? Subtle in the background) and some excellent bass work there, too. But this is Phil's song all over, with words that make you want to cry. I didn't understand the song when I was young, but now in my dotage, I understand broken love very much. Ignoring the lyrics, you can really FEEL the low notes in the music. You know this is a serious song. This song fits musically with the mood of the album, unlike Misunderstanding, and therefore, it passes my approval.
Duke's Travels - Wow, wow, wow, what a beautiful, dazzling piece of work, once again carrying you away on imaginary waves... and then the drums come in, almost like thunder, and the keys come in like a storm chaser. What an amazing song! Very climactic to the album! Phil's powerful drums just keep carrying you away, like you are caught in a rapids, and Tony's just tinkling like hard raindrops. This is clearly the most Proggy of all the tunes on this album. You are definitely traveling somewhere, so the title is aptly named. And so, we go faster and faster down this river of sound... Tony and Phil, Tony and Phil, Tony and Phil, back and forth, and if you listen closely, Mike is just beating the shit of that bass guitar, and it's all flowing together, faster and faster... and then Phil's vocals come in, repeating the words from Guide Vocal, and it starts to slooooow down, sweetly, softly, the thunder moving away...
Duke's End - ... into a sudden, quick, fast reprise of Behind the Lines and a soft background of Turn It On Again, turning into a crescendo that abruptly ends, like a sudden orgasm that leaves you breathless for a few seconds and then the feeling subsides.
And that is Duke. A fantasyland, a warm blanket on a cold Alaskan winter's night, a comfort zone, a little niche I often crawled into so many years ago. I had forgotten all about it, other than a few drifting memories, until now. Duke is a beautiful place, and I'm glad I rediscovered it. Now I remember why it's my favorite Genesis album!
Track List:
1. Behind the Lines (5:31)
2. Duchess (6:37)
3. Guide Vocal (1.21)
4. Man of Our Times (5.35)
5. Misunderstanding (3.16)
6 Heathaze (5.00)
7. Turn It On Again (3:52)
8. Alone Tonight (3.58)
9. Cul-de-sac (5.05)
10. Please Don't Ask (4.02)
11. Duke's Travels (8.41)
12. Duke's End (2.10)
When I was 19, life was still pretty confusing for me emotionally. I had always depended on music to carry me through my difficult days. In 1980, I was just a young adult facing a hard world and having no idea just how bad it would get. I remember when I had rough days, laying on my bed and pushing PLAY, and all the pain and sorrow would melt away into this bliss. Like most other Prog I listened to back in my youth, the music just carried me away on waves of beauty and fantasy. Other people might reach for drugs or alcohol or sex or whatever to medicate their angst, but for me, it was music, and Duke was an album that made the big bad world melt away. It was my escape, my balm, my therapy.
So, I recently decided to buy Duke in its CD format and relive the magic that I tried to remember was there. Now here I am, floating on this vast sea of beauty again, and all the comfort I felt all those years ago has come back into an old brain that almost forgot. I knew there was a reason why Duke was my favorite Genesis album, but I couldn't remember why... until now.
I'm very sensitive to keyboards, and Tony Banks is definitely one of the greats. It's his amazing ability to utilize the diversity of multiple keyboard systems to find the right sound. He has the ability to take me immediately "off planet". One note is all it takes for my seratonin level to spike! It's the keyboards that definitely carry this album, along with the intensity of the drums and Phil Collin's amazing vocals, and way back there, you hear it... the thump, thump, thump of an incredible bass. Mike Rutherford is too under-rated, which is a shame.
Here's my track-by-track analysis (which I have also posted at www.progressiveears.com in a Genesis - Duke thread):
Behind the Lines - I heard this track on the internet recently, and I smiled, remembering the pomposity of the opening lines, bars, movement. (Sorry, I don't know the technical terms for music, I just know when a note instantly makes me feel good.) Listening to it on the album in its full, remastered glory, I am still smiling. What I love most is how the instrumental track smoothly seguays (sp?) into the vocal part, seamlessly, and then Phil starts pounding away on the drums. At the end of the song, Tony starts in... oh God, is that not an orgasmic little piano or whatever he's playing? So sweet and delicate next to the bopping notes (is that a drum or also keys?)...
Duchess - ... moving seamlessly into the next song, it sounds like raindrops, and then we hear the snare drum, and the tone changes, and Phil bursts into vocals. I never cared too much for the lyrics of this song. It's the music that carries this tune, and the tone of Phil's voice. I find the lyrics very sad. I remember feeling that way at 19 and now that I am MUCH older, they hit a little too close to home. A lifetime wasted struggling, dreaming... anyway, sorry, didn't mean to get maudlin. Anyway, so, here's our little raindrops again...
Guide Vocal - ... into bittersweetness. A ballad whose lyrics I've never understood, but I like it. It's like a little bridge from soft Duchess into the harder Man of Our Times.
Man of Our Times - An awesome song! It's so complicated, I can barely separate out the instruments, other than the obvious drums. The guitar is very subtle, yet it's THERE, holding down the melody. Once again, lyrics that confound me, but Phil's voice is deeper and... dare I say... sexier.
Misunderstanding - Then suddenly... THUNK! The whole mood stops cold, and we are launched into a totally different vibe. Phil had to interrupt the beauty with a She-Done-Me-Wrong song. Now, I don't HATE this song. Far from it. I actually understand (no pun) what this song is all about... broken hearts and disappointment and failed expectations. At 19, I had no idea relationships were so complicated. Surprise! That being said, I can put aside the lyrics and appreciate it as a peppy, poppy tune. Unfortunately, it was put in the wrong spot, and perhaps even the wrong album.
Heathaze - And just as suddenly, we are sent back to our sweet, little cloud, floating on air, the weight of the world slipping away again. It's incredible that such a gentle, little song could have so much impact. The depth of emotion in the tone of the music, and the way Phil switches from a soft voice to a rough voice and back again... it totally fits with the mood of the album. I remember being lost in the melody at 19, dreaming of being on the darkened moors of Yorkshire, like in my own Bronte novel. (Pardong me for being a girl!)
Turn It On Again - Believe it or not, this jolt is not as bad as Misunderstanding, at least to my ears. Tony's keys help to soften the blow immensely. but still, the lyrics are a far cry from the tone of the album. As a stand-alone song, I absolutely love it! The beat, the instrumentation... it's a Genesis song you can actually dance to! Just as its unfortunate stepbrother, though, it doesn't quite fit in the spot.
Alone Tonight - And THUNK, here we go, back to bittersweetness. This is such a sad, desperate song, but I don't dislike it. It's just a bit of a downer right after the upbeat Turn It On Again. I love the sweet organ (or whatever instrument Tony is playing during the chorus), and of course, I'm very empathetic to the lyrics. I don't like the way it fades off in the end, though, especially without blending into...
Cul-de-Sac - ... the most delicious track, Tony-wise! As a Keys Girl, I really appreciate the diversity of Tony's work and consider him one of the great Keyboard Gods of Prog! The mood is back, and I really love it. Once again, befuddlement over the lyrics, but the music is very strong, and the keys set the tone, and here we softly move into...
Please Don't Ask - ... another heartbreak song. This one, however, holds so much emotion in the lyrics, that we almost forget the intricacy of the music, the suble keys, the amazingly funky lead guitar (can you hear it? Subtle in the background) and some excellent bass work there, too. But this is Phil's song all over, with words that make you want to cry. I didn't understand the song when I was young, but now in my dotage, I understand broken love very much. Ignoring the lyrics, you can really FEEL the low notes in the music. You know this is a serious song. This song fits musically with the mood of the album, unlike Misunderstanding, and therefore, it passes my approval.
Duke's Travels - Wow, wow, wow, what a beautiful, dazzling piece of work, once again carrying you away on imaginary waves... and then the drums come in, almost like thunder, and the keys come in like a storm chaser. What an amazing song! Very climactic to the album! Phil's powerful drums just keep carrying you away, like you are caught in a rapids, and Tony's just tinkling like hard raindrops. This is clearly the most Proggy of all the tunes on this album. You are definitely traveling somewhere, so the title is aptly named. And so, we go faster and faster down this river of sound... Tony and Phil, Tony and Phil, Tony and Phil, back and forth, and if you listen closely, Mike is just beating the shit of that bass guitar, and it's all flowing together, faster and faster... and then Phil's vocals come in, repeating the words from Guide Vocal, and it starts to slooooow down, sweetly, softly, the thunder moving away...
Duke's End - ... into a sudden, quick, fast reprise of Behind the Lines and a soft background of Turn It On Again, turning into a crescendo that abruptly ends, like a sudden orgasm that leaves you breathless for a few seconds and then the feeling subsides.
And that is Duke. A fantasyland, a warm blanket on a cold Alaskan winter's night, a comfort zone, a little niche I often crawled into so many years ago. I had forgotten all about it, other than a few drifting memories, until now. Duke is a beautiful place, and I'm glad I rediscovered it. Now I remember why it's my favorite Genesis album!
Cryptic Vision - In A World
Release Year: 2006
Track List:
1. - In A World:
I - Overture
II - Creation
III - The Source
IV - All Is Well
2 - This Dream (Part One)
3 - Common Ground
4 - Merkaba
5 - All Along
6 - The Space In Between
7 - I Am the Energy
8 - Point of View
9 - Power to Mend:
I - Infamous Moment
II - Not Alone
III - Darkness Fades
10 - Find
11 - The Balance
12 - This Dream (Part II)/In a World Reprise
When I first heard Cryptic Vision, I was impressed with a few of their songs on internet radio. I obtained their debut album, Moments of Clarity, and while I enjoyed it and thought it was a good album, it just didn't grab me with overwhelming excitement.
When Cryptic Vision was chosen to play at CalProg 2006, I dusted off Moments of Clarity and let it steadily sink in. When their second album, In A World, was released in June 2006, I ordered it immediately, but barely had time to listen to it before jetting off to CalProg. However, I could tell immediately that this CD was much more vibrant than their first.
I was more than surprised by their performance at CalProg. In fact, I was completely overwhelmed! While the band performed a couple tunes from Moments of Clarity, the bulk of their set was from In A World. They rocked the place so hard, I could barely stay in my seat!
The music struck me as being very powerful, full of soaring keyboards, crunchy guitars, and gutsy vocals. Add the deep, philosophical lyrics, and you have the bastard love child of Kansas and Styx! While Cryptic Vision does lean toward "art rock", they have the ability to carve their own niche and stake a claim in the vast genre of progressive music.
The delightful, skilled mastery of keybaordist Howard Helm makes all the difference. Cryptic Vision would not be a strong without his Midas touch. The opening strains of the title track on “In A World” combine the flair of Keith Emerson and Steve Walsh that will remind the listener of the song “Musicatto” by Kansas. Mr. Helm adds his own finesse to the entire album.
Another treat is the blow-you-away vocal talent of Todd Plant. His range is incredible! He can hit deep, soulful notes in the song “All Along”, and also soar into a glass-shattering tenor voice during “Point of View” and “The Balance”.
The real genius of Cryptic Vision, however, belongs to drummer Rick Duncan, founder and driving force of the band. Not only can he tear the skins to shreds, but he is also the main songwriter, as well.
In fact, it is the lyrics to this album that clench my soul more than the music. Uplifting, positive, and metaphysical, the words manage to bridge all the world's spiritual faiths into one common philosophy. I could likely write an entire review on the lyrics alone, delving into the deepest meaning of universal consciousness and creative energy. Someday, I'd love to discuss these views with Mr. Duncan. In the meantime, I can only thank him for combining these powerful, beautiful thoughts with such exciting, dramatic music. (To be fair, Mr. Plant and bassist Sam Conable also contributed lyrics to this project.)
My favorite songs are “Common Ground”, “I Am the Energy” and “Point of View”. Did I mention that David Ragsdale, currently back with Kansas, provides the violin tracks on this album? In A World is bursting with great talent!
So yes, I now call myself a "Visionary", and have caught the fever! Cryptic Vision has a fantastic future ahead of them, and I am excited to tag along for the ride!
Track List:
1. - In A World:
I - Overture
II - Creation
III - The Source
IV - All Is Well
2 - This Dream (Part One)
3 - Common Ground
4 - Merkaba
5 - All Along
6 - The Space In Between
7 - I Am the Energy
8 - Point of View
9 - Power to Mend:
I - Infamous Moment
II - Not Alone
III - Darkness Fades
10 - Find
11 - The Balance
12 - This Dream (Part II)/In a World Reprise
When I first heard Cryptic Vision, I was impressed with a few of their songs on internet radio. I obtained their debut album, Moments of Clarity, and while I enjoyed it and thought it was a good album, it just didn't grab me with overwhelming excitement.
When Cryptic Vision was chosen to play at CalProg 2006, I dusted off Moments of Clarity and let it steadily sink in. When their second album, In A World, was released in June 2006, I ordered it immediately, but barely had time to listen to it before jetting off to CalProg. However, I could tell immediately that this CD was much more vibrant than their first.
I was more than surprised by their performance at CalProg. In fact, I was completely overwhelmed! While the band performed a couple tunes from Moments of Clarity, the bulk of their set was from In A World. They rocked the place so hard, I could barely stay in my seat!
The music struck me as being very powerful, full of soaring keyboards, crunchy guitars, and gutsy vocals. Add the deep, philosophical lyrics, and you have the bastard love child of Kansas and Styx! While Cryptic Vision does lean toward "art rock", they have the ability to carve their own niche and stake a claim in the vast genre of progressive music.
The delightful, skilled mastery of keybaordist Howard Helm makes all the difference. Cryptic Vision would not be a strong without his Midas touch. The opening strains of the title track on “In A World” combine the flair of Keith Emerson and Steve Walsh that will remind the listener of the song “Musicatto” by Kansas. Mr. Helm adds his own finesse to the entire album.
Another treat is the blow-you-away vocal talent of Todd Plant. His range is incredible! He can hit deep, soulful notes in the song “All Along”, and also soar into a glass-shattering tenor voice during “Point of View” and “The Balance”.
The real genius of Cryptic Vision, however, belongs to drummer Rick Duncan, founder and driving force of the band. Not only can he tear the skins to shreds, but he is also the main songwriter, as well.
In fact, it is the lyrics to this album that clench my soul more than the music. Uplifting, positive, and metaphysical, the words manage to bridge all the world's spiritual faiths into one common philosophy. I could likely write an entire review on the lyrics alone, delving into the deepest meaning of universal consciousness and creative energy. Someday, I'd love to discuss these views with Mr. Duncan. In the meantime, I can only thank him for combining these powerful, beautiful thoughts with such exciting, dramatic music. (To be fair, Mr. Plant and bassist Sam Conable also contributed lyrics to this project.)
My favorite songs are “Common Ground”, “I Am the Energy” and “Point of View”. Did I mention that David Ragsdale, currently back with Kansas, provides the violin tracks on this album? In A World is bursting with great talent!
So yes, I now call myself a "Visionary", and have caught the fever! Cryptic Vision has a fantastic future ahead of them, and I am excited to tag along for the ride!
Monday, June 27, 2011
Ambrosia - Somewhere I've Never Travelled
Release Year: 1976
Track List:
1 - .And... (:27)
2 - Somewhere I've Never Travelled (4:12)
3 - Cowboy Star (6:24)
4 - Runnin' Away (3:31)
5 - Harvey (1:29)
6 - I Wanna Know (6:02)
7 - The Brunt (5:29)
8 - Danse With Me George (Chopin's Plea) (7:51)
9 - Can't Let A Woman (4:24)
10 - We Need You Too (5:33)
Most music fans know about the ‘sophomore curse,’ where a band’s successful first album is followed by a flop. I am grateful that Ambrosia is an exception to that stereotype. In fact, I consider their second album, “Somewhere I’ve Never Travelled”, to be their absolute best! Like their debut effort, this album also got a well-deserved Grammy nomination for Best Engineered Album! Two in a row is nothing to sneer at.
It starts off with a simple, short piece called “And...”, written and sung by drummer Burleigh Drummond, which leads directly into the title track. The two songs are a perfect combination, taking the listener down a breathtaking path. You will find yourself wishing it would never end, and will probably play it twice in a row as I often do. It is one of their best tunes overall, and a good example of “symphonic prog”.
The path eventually leads to time travel in the next song, “Cowboy Star”. This fantasy piece includes a dazzling, orchestrated interlude inspired by classical composer Aaron Copeland and written and arranged by guitarist David Pack. Ambrosia deserves much credit for the unbelievable talent it took to pull off a complicated composition like this!
After all that drama, you are treated to a light, breezy song. “Running Away” is more pop than prog, but it fits in well with the diversity Ambrosia expresses in their music. This is followed by the equally sweet yet pensive “Harvey”. It is an interesting fact that Pack and bass player Joe Puerta have similar voices, although Puerta’s is slightly lower. Sometimes it is difficult to distinguish between the two men, but it makes for interesting harmony vocals.
Those two ballads are followed by a powerful rocker, definitely one of the best of their “hard” songs. “I Wanna Know” is deeply emotional, both in lyrics and in music, and once again, Pack has written and arranged the sweeping orchestral background. He doesn’t let up on guitar for a minute! Pack and Puerta were a solid song-writing team back in these early days. Their combined genius speaks for itself! This song is so popular among fans that one of their online mailing lists carries its name.
The sequencing of Ambrosia’s albums is one of the band’s many charming characteristics. Just when you are being enlightened by a serious, soaring composition, they throw in a twisted, quirky tune just to see if you are paying attention. The fun of progressive rock is to always keep the listener guessing. “The Brunt” is a perfect example of this. A Zappa-style, metaphorical song about the “urban jungle”, it will delight you with its odd sound effects, complete with African chanting and a charging elephant!
You won’t have time to recover from “The Brunt” because the next song will shock you, delight you, offend you, and make you giddy. “Danse With Me, George (Chopin’s Plea)” has to be one of the oddest songs ever recorded on a rock album! This is a fun, romantic, silly tune about the relationship between composer Frederick Chopin and notorious novelist George Sand. It doesn’t amaze me that Ambrosia came up with a song that combines pop, classical, jazz, history, and literature all within 8 minutes! It’s all indicative of the band’s extraordinary talent. (If you are confused by the story, I recommend the movie “Impromptu”, starring Hugh Grant and Judy Davis.)
The next song might be more 70s rock than you want, but “Can’t Let a Woman” contains excellent guitar riffs. I feel the lyrics are a bit shallow, but the hard driving music more than makes up for it. This is followed by a dreamy, contemplative tune with serious lyrics and a bittersweet melody. “We Need You Too” is a nice ending to a phenomenal album.
While I consider Ambrosia to be a grossly under-rated band, they did have some success with this album, especially on the college radio circuit. Sadly, Somewhere I’ve Never Travelled was the last of their prog productions. They started drifting more toward pop and mainstream ballads on their subsequent albums. They still included a few quirky surprises, but they never again achieved the magic and charm of their first two albums. I miss the glockenspiels!
Track List:
1 - .And... (:27)
2 - Somewhere I've Never Travelled (4:12)
3 - Cowboy Star (6:24)
4 - Runnin' Away (3:31)
5 - Harvey (1:29)
6 - I Wanna Know (6:02)
7 - The Brunt (5:29)
8 - Danse With Me George (Chopin's Plea) (7:51)
9 - Can't Let A Woman (4:24)
10 - We Need You Too (5:33)
Most music fans know about the ‘sophomore curse,’ where a band’s successful first album is followed by a flop. I am grateful that Ambrosia is an exception to that stereotype. In fact, I consider their second album, “Somewhere I’ve Never Travelled”, to be their absolute best! Like their debut effort, this album also got a well-deserved Grammy nomination for Best Engineered Album! Two in a row is nothing to sneer at.
It starts off with a simple, short piece called “And...”, written and sung by drummer Burleigh Drummond, which leads directly into the title track. The two songs are a perfect combination, taking the listener down a breathtaking path. You will find yourself wishing it would never end, and will probably play it twice in a row as I often do. It is one of their best tunes overall, and a good example of “symphonic prog”.
The path eventually leads to time travel in the next song, “Cowboy Star”. This fantasy piece includes a dazzling, orchestrated interlude inspired by classical composer Aaron Copeland and written and arranged by guitarist David Pack. Ambrosia deserves much credit for the unbelievable talent it took to pull off a complicated composition like this!
After all that drama, you are treated to a light, breezy song. “Running Away” is more pop than prog, but it fits in well with the diversity Ambrosia expresses in their music. This is followed by the equally sweet yet pensive “Harvey”. It is an interesting fact that Pack and bass player Joe Puerta have similar voices, although Puerta’s is slightly lower. Sometimes it is difficult to distinguish between the two men, but it makes for interesting harmony vocals.
Those two ballads are followed by a powerful rocker, definitely one of the best of their “hard” songs. “I Wanna Know” is deeply emotional, both in lyrics and in music, and once again, Pack has written and arranged the sweeping orchestral background. He doesn’t let up on guitar for a minute! Pack and Puerta were a solid song-writing team back in these early days. Their combined genius speaks for itself! This song is so popular among fans that one of their online mailing lists carries its name.
The sequencing of Ambrosia’s albums is one of the band’s many charming characteristics. Just when you are being enlightened by a serious, soaring composition, they throw in a twisted, quirky tune just to see if you are paying attention. The fun of progressive rock is to always keep the listener guessing. “The Brunt” is a perfect example of this. A Zappa-style, metaphorical song about the “urban jungle”, it will delight you with its odd sound effects, complete with African chanting and a charging elephant!
You won’t have time to recover from “The Brunt” because the next song will shock you, delight you, offend you, and make you giddy. “Danse With Me, George (Chopin’s Plea)” has to be one of the oddest songs ever recorded on a rock album! This is a fun, romantic, silly tune about the relationship between composer Frederick Chopin and notorious novelist George Sand. It doesn’t amaze me that Ambrosia came up with a song that combines pop, classical, jazz, history, and literature all within 8 minutes! It’s all indicative of the band’s extraordinary talent. (If you are confused by the story, I recommend the movie “Impromptu”, starring Hugh Grant and Judy Davis.)
The next song might be more 70s rock than you want, but “Can’t Let a Woman” contains excellent guitar riffs. I feel the lyrics are a bit shallow, but the hard driving music more than makes up for it. This is followed by a dreamy, contemplative tune with serious lyrics and a bittersweet melody. “We Need You Too” is a nice ending to a phenomenal album.
While I consider Ambrosia to be a grossly under-rated band, they did have some success with this album, especially on the college radio circuit. Sadly, Somewhere I’ve Never Travelled was the last of their prog productions. They started drifting more toward pop and mainstream ballads on their subsequent albums. They still included a few quirky surprises, but they never again achieved the magic and charm of their first two albums. I miss the glockenspiels!
Ambrosia
Release Year: 1975
Track List:
1 - Nice, Nice, Very Nice (5:52)
2 - Time Waits for No One (4:58)
3 - Holdin' On to Yesterday (4:16)
4 - World Leave Me Alone (3:17)
5 - Make Us All Aware (4:28)
6 - Lover Arrive (3:12)
7 - Mama Frog (6:06)
8 - Drink of Water (6:29)
Ambrosia is one of the most talented and creative bands to emerge from the post-psychedelic Los Angeles music scene of the early 70s. It is unfortunate that they are under-rated and virtually unknown in progressive rock circles. Hopefully, you will be compelled to give them an honest try after reading this review.
Don’t be fooled by their Top 40 reputation in the early 80s. Ambrosia’s roots are firmly planted in peculiar soil, as their first album, the self-titled Ambrosia, clearly reveals. Released in the early winter of 1975, it was so incredibly engineered, mixed, and produced (with the assistance of Alan Parsons) that it was worthy of a Grammy nomination for Best Engineered Album! You will understand why after your first listen.
The first track, “Nice, Nice, Very Nice”, was influenced by author Kurt Vonnegut Jr., who had become good friends with the band. While the lyrics are amusing, it is the quirky music that will draw you in. A variety of odd instruments are used here, including an attempt at the bassoon by drummer Burleigh Drummond, but the next song has even more diversity. “Time Waits for No One”, inspired by T.S. Eliot and dedicated to renowned composer Leonard Bernstein, includes Javanese gongs and a Russian balalaika ensemble!
The following tune, “Holdin’ On to Yesterday”, might seem like a mushy love song to many new listeners, but once again, it is the quality of the music that sends you off into another plane of existence. Its haunting melody, soaring vocal harmonies, and beautiful violin will capture your soul. It was this song, a big hit on the radio, that first made me notice the band. I bought the LP because of it, and Ambrosia instantly became one of my favorite groups.
“World Leave Me Alone” is a feisty rocker that displays the amazing skill of guitarist David Pack. He is a gifted musician as well as a singer/songwriter, yet his talent on the strings has been unjustly overlooked. This song is followed by the dreamy, introspective “Make Us All Aware”, which includes contemplative lyrics and a lively interlude complete with harpsichord. The wistful mood carries through to the sensual, sultry “Lover Arrive”, a song that is sure to stir more than just your soul.
The next track is the highlight of the entire album! “Mama Frog” is a fantastic, mind-blowing journey that excites all the senses! Both the lyrics and the music reveal the creative genius that is Ambrosia. With a reference to Lewis Carroll, this song inspired me to read more classic literature at a young age (I was 13 when this album was released), and spurred my love for reading in general. I am an English Major because of this song! I also named my fan website after it.
The fun-house ride soon comes to an end, but you will not be disappointed in its follow-up. “Drink of Water” is an amazing song! If the music doesn’t give you chills, the lyrics certainly will. It’s a breathtaking ballad that showcases the unbelievable vocal talent of bass player Joe Puerta, whose voice is just as golden as Pack’s, if not more so. The song includes a pipe organ skillfully played by keyboardist Christopher North. I truly believe he belongs on the same level as Keith Emerson, Rick Wakeman, and Dennis DeYoung. His energy level is dazzling!
Thus ends the first album by an exceptional group of young men. Inspired by English bands such as Yes and Traffic, Ambrosia added their own spin and originality and emerged as a front runner on the American prog scene. I urge fans of all musical genres to listen just once to this incredible album. It’s a beautiful thing!
Track List:
1 - Nice, Nice, Very Nice (5:52)
2 - Time Waits for No One (4:58)
3 - Holdin' On to Yesterday (4:16)
4 - World Leave Me Alone (3:17)
5 - Make Us All Aware (4:28)
6 - Lover Arrive (3:12)
7 - Mama Frog (6:06)
8 - Drink of Water (6:29)
Ambrosia is one of the most talented and creative bands to emerge from the post-psychedelic Los Angeles music scene of the early 70s. It is unfortunate that they are under-rated and virtually unknown in progressive rock circles. Hopefully, you will be compelled to give them an honest try after reading this review.
Don’t be fooled by their Top 40 reputation in the early 80s. Ambrosia’s roots are firmly planted in peculiar soil, as their first album, the self-titled Ambrosia, clearly reveals. Released in the early winter of 1975, it was so incredibly engineered, mixed, and produced (with the assistance of Alan Parsons) that it was worthy of a Grammy nomination for Best Engineered Album! You will understand why after your first listen.
The first track, “Nice, Nice, Very Nice”, was influenced by author Kurt Vonnegut Jr., who had become good friends with the band. While the lyrics are amusing, it is the quirky music that will draw you in. A variety of odd instruments are used here, including an attempt at the bassoon by drummer Burleigh Drummond, but the next song has even more diversity. “Time Waits for No One”, inspired by T.S. Eliot and dedicated to renowned composer Leonard Bernstein, includes Javanese gongs and a Russian balalaika ensemble!
The following tune, “Holdin’ On to Yesterday”, might seem like a mushy love song to many new listeners, but once again, it is the quality of the music that sends you off into another plane of existence. Its haunting melody, soaring vocal harmonies, and beautiful violin will capture your soul. It was this song, a big hit on the radio, that first made me notice the band. I bought the LP because of it, and Ambrosia instantly became one of my favorite groups.
“World Leave Me Alone” is a feisty rocker that displays the amazing skill of guitarist David Pack. He is a gifted musician as well as a singer/songwriter, yet his talent on the strings has been unjustly overlooked. This song is followed by the dreamy, introspective “Make Us All Aware”, which includes contemplative lyrics and a lively interlude complete with harpsichord. The wistful mood carries through to the sensual, sultry “Lover Arrive”, a song that is sure to stir more than just your soul.
The next track is the highlight of the entire album! “Mama Frog” is a fantastic, mind-blowing journey that excites all the senses! Both the lyrics and the music reveal the creative genius that is Ambrosia. With a reference to Lewis Carroll, this song inspired me to read more classic literature at a young age (I was 13 when this album was released), and spurred my love for reading in general. I am an English Major because of this song! I also named my fan website after it.
The fun-house ride soon comes to an end, but you will not be disappointed in its follow-up. “Drink of Water” is an amazing song! If the music doesn’t give you chills, the lyrics certainly will. It’s a breathtaking ballad that showcases the unbelievable vocal talent of bass player Joe Puerta, whose voice is just as golden as Pack’s, if not more so. The song includes a pipe organ skillfully played by keyboardist Christopher North. I truly believe he belongs on the same level as Keith Emerson, Rick Wakeman, and Dennis DeYoung. His energy level is dazzling!
Thus ends the first album by an exceptional group of young men. Inspired by English bands such as Yes and Traffic, Ambrosia added their own spin and originality and emerged as a front runner on the American prog scene. I urge fans of all musical genres to listen just once to this incredible album. It’s a beautiful thing!
Mars Hollow
Release Year: 2010
Track List:
1 - Wait for Me (9:30)
2 - Midnight (5:05)
3 - Eureka (9:20)
4 - If I Were You (7:30)
5 - In Your Hands (6:34)
6 - Wild Animal (7:08)
7 - Dawn of Creation (12:22)
When a person I befriended on the Progressive Ears message board mentioned he had a band, I thought to myself "you and everybody else". There's a lot of budding Prog rockers out there, and to be honest, I didn't think Kerry Chicoine's band would be any different than the others I had heard on YouTube or MySpace. I was so wrong, dead wrong! There is something quickly and easily likeable about Mars Hollow. This hot, little band out of Los Angeles does not waste any time and gets straight to the punches!
The opening track instantly blows you away with its odd "marco polo" game between keys and guitars. After a few minutes of fun, the song launches into the mellow sweetness of John Baker's voice which sets the tone for the whole album. Compared by many to Geddy Lee and Dennis DeYoung, Baker's tenor sends chills with its passion and sincerity. He has the perfect voice for Prog. The words to “Wait for Me” reflect a bittersweet love song, which also sets the lyrical theme for the album. Next comes my personal favorite, the haunting and beautiful “Midnight”. While I identify with the loneliness of the lyrics, I am drawn to the guitar work, for which Baker does very well. There's a nice keyboard sound at the end, which adds to the melancholiness of the song, but somehow, I feel Baker's influence dominating this tune.
The third song on this amazing debut album is “Eureka”, and now we finally hear the great talent of keyboardist Steve Mauk shining through. This is totally his song! You can also clearly hear drummer Jerry Beller pounding away on this one. The lyrics are somewhat serious and introspective, moreso than the rest of the album, but I feel the music overshadows the lyrics here. Next comes “If I Were You”, which has become a fan favorite. Yes, this band has fans, and we love Mars Hollow! What makes the fourth track so popular is that it has the best of everything, music, lyrics, and just the overall vibe of the song. We can all relate to a bad relationship, after all.
After that comes a fun, poppy song called “In Your Hands”, sung by bassist Chicoine, and could easily be a radio hit if Mars Hollow were so lucky! This song also has the best of everything, music wise. The keys and guitars are in perfect sync here, along with Beller's powerful drumming, and it appears the whole band is doing backup vocals, which adds to some nice harmonies. What's not to like? “Wild Animal” is the sixth song on the album and is easily the most "sexiest" song, not that Mars Hollow is oozing with it, or maybe they are in a subtle way. Wild Animal just puts out that vibe, and it gets noticed by listeners! I especially love Baker's passionate and sly voice, which definitely sends a chill.
The final song is an epic that could easily rank amongst the great Prog epics, and I'm not just saying that to flatter the band. “Dawn of Creation” is truly a gem, and perhaps the most profound love song I have heard in years! The listener is easily caught up in the dramatic beginning keyboards which lead into soaring guitars. Then Baker launches into the main song with extremely clever word play in the lyrics. I believe that is what delights me the most... the words to “Dawn of Creation” make Walt Whitman look like a Hallmark poet! As for the music, this song could easily compete with anything Rush or ELP has done, and I am sincere with that statement!
Overall, this band has everything that works... tight musicianship, creative lyrics, and a vibe that pulls you in. You won't even have time to click your seatbelt... you are in for a great ride! I owe Kerry Chicoine an apology! Never doubt for one minute that the "boys next door" can pull off a terrific album and get invited to several music fests around the USA and Mexico. I see great things for this extremely talented band, and look forward to their future musical endeavors.
Track List:
1 - Wait for Me (9:30)
2 - Midnight (5:05)
3 - Eureka (9:20)
4 - If I Were You (7:30)
5 - In Your Hands (6:34)
6 - Wild Animal (7:08)
7 - Dawn of Creation (12:22)
When a person I befriended on the Progressive Ears message board mentioned he had a band, I thought to myself "you and everybody else". There's a lot of budding Prog rockers out there, and to be honest, I didn't think Kerry Chicoine's band would be any different than the others I had heard on YouTube or MySpace. I was so wrong, dead wrong! There is something quickly and easily likeable about Mars Hollow. This hot, little band out of Los Angeles does not waste any time and gets straight to the punches!
The opening track instantly blows you away with its odd "marco polo" game between keys and guitars. After a few minutes of fun, the song launches into the mellow sweetness of John Baker's voice which sets the tone for the whole album. Compared by many to Geddy Lee and Dennis DeYoung, Baker's tenor sends chills with its passion and sincerity. He has the perfect voice for Prog. The words to “Wait for Me” reflect a bittersweet love song, which also sets the lyrical theme for the album. Next comes my personal favorite, the haunting and beautiful “Midnight”. While I identify with the loneliness of the lyrics, I am drawn to the guitar work, for which Baker does very well. There's a nice keyboard sound at the end, which adds to the melancholiness of the song, but somehow, I feel Baker's influence dominating this tune.
The third song on this amazing debut album is “Eureka”, and now we finally hear the great talent of keyboardist Steve Mauk shining through. This is totally his song! You can also clearly hear drummer Jerry Beller pounding away on this one. The lyrics are somewhat serious and introspective, moreso than the rest of the album, but I feel the music overshadows the lyrics here. Next comes “If I Were You”, which has become a fan favorite. Yes, this band has fans, and we love Mars Hollow! What makes the fourth track so popular is that it has the best of everything, music, lyrics, and just the overall vibe of the song. We can all relate to a bad relationship, after all.
After that comes a fun, poppy song called “In Your Hands”, sung by bassist Chicoine, and could easily be a radio hit if Mars Hollow were so lucky! This song also has the best of everything, music wise. The keys and guitars are in perfect sync here, along with Beller's powerful drumming, and it appears the whole band is doing backup vocals, which adds to some nice harmonies. What's not to like? “Wild Animal” is the sixth song on the album and is easily the most "sexiest" song, not that Mars Hollow is oozing with it, or maybe they are in a subtle way. Wild Animal just puts out that vibe, and it gets noticed by listeners! I especially love Baker's passionate and sly voice, which definitely sends a chill.
The final song is an epic that could easily rank amongst the great Prog epics, and I'm not just saying that to flatter the band. “Dawn of Creation” is truly a gem, and perhaps the most profound love song I have heard in years! The listener is easily caught up in the dramatic beginning keyboards which lead into soaring guitars. Then Baker launches into the main song with extremely clever word play in the lyrics. I believe that is what delights me the most... the words to “Dawn of Creation” make Walt Whitman look like a Hallmark poet! As for the music, this song could easily compete with anything Rush or ELP has done, and I am sincere with that statement!
Overall, this band has everything that works... tight musicianship, creative lyrics, and a vibe that pulls you in. You won't even have time to click your seatbelt... you are in for a great ride! I owe Kerry Chicoine an apology! Never doubt for one minute that the "boys next door" can pull off a terrific album and get invited to several music fests around the USA and Mexico. I see great things for this extremely talented band, and look forward to their future musical endeavors.
Dream Theater - Score (DVD)
Disc 1:
1. The Root Of All Evil (9:32)
2. I Walk Beside You (4:10)
3. Another Won (5:40)
4. Afterlife (7:28)
5. Under A Glass Moon (7:27)
6. Innocence Faded (6:16)
7. Raise The Knife (11:51)
8. The Spirit Carries On (9:37)
9. Six Degrees Of Inner Turbulence (41:26)
10. Vacant (3:03)
11. The Answer Lies Within (5:36)
12. Sacrificed Sons (10:36)
13. Octavarium (27:29)
14. Metropolis Pt 1 (11:16)
Disc 2:
The Score So Far [20th Anniversary Documentary] (56:23)
Octavarium Animation (3:06)
Bonus Tracks:
1. Another Day (4:46)
2. The Great Debate (13:38)
3. Honor Thy Father (9:47)
Over the years, Dream Theater has put out some very good DVDs. It’s only natural for a high-performance band to showcase their remarkable musical abilities in this way. So, just when you think you have seen DT perform at their finest in the comfort of your living room, along comes a complete upgrade that gets you out of your easy chair and closer to the television! Score is their finest DVD to date, hands down.
Rather than making things seem too slick and polished, Score shows a natural perfection of the music and the performers. It’s so lifelike, it’s like watching high-def on an old push-button tv set. You can see the muscles straining in James LaBrie’s throat, the intense concentration in John Myung’s face, and the sweat fly off Mike Portnoy’s head as he bangs those cymbals. It’s as close as you can get without actually being there.
The set-list spans a variety of tunes from their 20-year history, which takes up nearly three hours of viewing, so pop plenty of popcorn and mix up a whole pitcher of margaritas…this is a long DVD, folks, and you will get your money’s worth. While some fans may wonder why their favorite songs were left out, others will revel in hearing great classics like Afterlife and the entire second half of Six Degrees of Inner Turbulence. There is something here for everyone to enjoy.
Score comes in a two-disc set, the first being a full concert filmed at New York ’s Radio City Music Hall in April 2006, and the second being a disc of extras. I especially enjoyed the second disc because of the band history/documentary and the Octovarium cartoon. I will never be able to listen to Octo now without thinking of cute little bugs or Jordan Rudess as a wizard, or Portnoy as an octopus. The second disc also has a few songs from previous filmed concerts.
If you are a die-hard fan, this is a must for your collection because the quality of the filming is so top-notch! If you are new to the band, or just want to check them out, Score is a fine introduction and overview of their musical history.
Dream Theater - Score is sheer delight for both eyes and ears. Get this DVD…you will not be disappointed!
DVD Reviewed by Melissa Palmer on October 17th, 2006 (Taken from http://prognaut.com/reviews/dream-theater.html by permission of course)
1. The Root Of All Evil (9:32)
2. I Walk Beside You (4:10)
3. Another Won (5:40)
4. Afterlife (7:28)
5. Under A Glass Moon (7:27)
6. Innocence Faded (6:16)
7. Raise The Knife (11:51)
8. The Spirit Carries On (9:37)
9. Six Degrees Of Inner Turbulence (41:26)
10. Vacant (3:03)
11. The Answer Lies Within (5:36)
12. Sacrificed Sons (10:36)
13. Octavarium (27:29)
14. Metropolis Pt 1 (11:16)
Disc 2:
The Score So Far [20th Anniversary Documentary] (56:23)
Octavarium Animation (3:06)
Bonus Tracks:
1. Another Day (4:46)
2. The Great Debate (13:38)
3. Honor Thy Father (9:47)
Over the years, Dream Theater has put out some very good DVDs. It’s only natural for a high-performance band to showcase their remarkable musical abilities in this way. So, just when you think you have seen DT perform at their finest in the comfort of your living room, along comes a complete upgrade that gets you out of your easy chair and closer to the television! Score is their finest DVD to date, hands down.
Rather than making things seem too slick and polished, Score shows a natural perfection of the music and the performers. It’s so lifelike, it’s like watching high-def on an old push-button tv set. You can see the muscles straining in James LaBrie’s throat, the intense concentration in John Myung’s face, and the sweat fly off Mike Portnoy’s head as he bangs those cymbals. It’s as close as you can get without actually being there.
The set-list spans a variety of tunes from their 20-year history, which takes up nearly three hours of viewing, so pop plenty of popcorn and mix up a whole pitcher of margaritas…this is a long DVD, folks, and you will get your money’s worth. While some fans may wonder why their favorite songs were left out, others will revel in hearing great classics like Afterlife and the entire second half of Six Degrees of Inner Turbulence. There is something here for everyone to enjoy.
Score comes in a two-disc set, the first being a full concert filmed at New York ’s Radio City Music Hall in April 2006, and the second being a disc of extras. I especially enjoyed the second disc because of the band history/documentary and the Octovarium cartoon. I will never be able to listen to Octo now without thinking of cute little bugs or Jordan Rudess as a wizard, or Portnoy as an octopus. The second disc also has a few songs from previous filmed concerts.
If you are a die-hard fan, this is a must for your collection because the quality of the filming is so top-notch! If you are new to the band, or just want to check them out, Score is a fine introduction and overview of their musical history.
Dream Theater - Score is sheer delight for both eyes and ears. Get this DVD…you will not be disappointed!
DVD Reviewed by Melissa Palmer on October 17th, 2006 (Taken from http://prognaut.com/reviews/dream-theater.html by permission of course)
Lisa LaRue - Fast and Blue
Release Year: 2011
Track Listing:
1 - Mystery of the Rose (1:09)
2 - Prometheus (17:58)
3 - Tryptych (4:54)
4 - Jam Jehan Nima (12:50)
5 - Lament of the Cerokee/Ruins of Home (7:29)
6 - Fast and Blue (5:11)
7 - Recurring Dream (7:17)
There's a simple reason why I'm a huge keyboard fan. It's a multi-faceted insrument that sends chills up my spine and creates wonderful fantasy worlds in my mind! Lisa LaRue is more than capable of achieving this effect. The award winning musican has the smarts and the chops to pull off an amazing keyboard-based album called Fast and Blue with an All Prog Star cast to support her.
The impressive line-up includes:
Lisa LaRue - Keyboards
Steve Adams - Guitars and Bass
Merrill Hale - Drums
Michael Alvarez - Cello
With contributing guest musicians:
John Payne - Vocals
Michael Sadler - Vocals
Maxi Nil - Vocals
Ryo Okumoto - Keyboards
Mitch Perry - Guitar
Don Schiff - Chapman stick
This is not the first time she has collaborated with some of these musicians. Her recent album, World Class, also hosted many of them, including Mr. Payne. I am not able to compare Fast and Blue with her previous releases, having never heard them before, but that is a situation I will soon remedy. She is a rising star in the Progressive Music movement and should be taken seriously by fans and fellow musicans, as well as industry leaders.
The album starts out with Mystery of the Rose, a lively, short number with tribal influences, and continues on to Prometheus, a true epic in the Prog sense. Mysterious and spooky at first, it ends on a happy note with a serious Kansas influence. The third song, Tryptych, is a very sweet and pastoral tune with pretty piano and cello. It might be my favorite of the instrumentals on this album.
Jam Jehan Nima has strong Asian influences, complete with a Tibetan-type chant, which then melds into a lovely guitar. It has a variety of movements within the song, leaving the listener wondering what comes next! The fifth song, Lament of the Cherokee/Ruins of Home is perhaps her most dramatic, symphonic track on the album. It has metal edges that mellow out to cello, complete with a vocal narrative describing the Native American experience.
The last two songs feature singing and lyrics. The title cut, Fast and Blue, is a lovely power ballad with strong synths and drums, with tinges of metal guitar. Sung by John Payne, this could easily be a single! The album winds down with Recurring Dream, which has a gorgeous keyboard/guitar duet morphing into a beautiful love song. It's very dreamy and perfect for Michael Sadler's voice.
Prog fans and keyboard fans alike should dish up this wonderful, tasty album It's the sort of music you can daydream by, which is why it is one of my favorite releases of 2011. Please order this album from the"shop" at her website http://www.lisalaruemusic.com/ , which also comes in a deluxe edition with DVD and a magazine describing the album. Unfortunately, I don't have that magazine, so my review is probably missing some obvious key elements.
In any case, I can't wait to explore her previous works! I hope she will contunue to make beautiful Progressive music for many years to come.
Track Listing:
1 - Mystery of the Rose (1:09)
2 - Prometheus (17:58)
3 - Tryptych (4:54)
4 - Jam Jehan Nima (12:50)
5 - Lament of the Cerokee/Ruins of Home (7:29)
6 - Fast and Blue (5:11)
7 - Recurring Dream (7:17)
There's a simple reason why I'm a huge keyboard fan. It's a multi-faceted insrument that sends chills up my spine and creates wonderful fantasy worlds in my mind! Lisa LaRue is more than capable of achieving this effect. The award winning musican has the smarts and the chops to pull off an amazing keyboard-based album called Fast and Blue with an All Prog Star cast to support her.
The impressive line-up includes:
Lisa LaRue - Keyboards
Steve Adams - Guitars and Bass
Merrill Hale - Drums
Michael Alvarez - Cello
With contributing guest musicians:
John Payne - Vocals
Michael Sadler - Vocals
Maxi Nil - Vocals
Ryo Okumoto - Keyboards
Mitch Perry - Guitar
Don Schiff - Chapman stick
This is not the first time she has collaborated with some of these musicians. Her recent album, World Class, also hosted many of them, including Mr. Payne. I am not able to compare Fast and Blue with her previous releases, having never heard them before, but that is a situation I will soon remedy. She is a rising star in the Progressive Music movement and should be taken seriously by fans and fellow musicans, as well as industry leaders.
The album starts out with Mystery of the Rose, a lively, short number with tribal influences, and continues on to Prometheus, a true epic in the Prog sense. Mysterious and spooky at first, it ends on a happy note with a serious Kansas influence. The third song, Tryptych, is a very sweet and pastoral tune with pretty piano and cello. It might be my favorite of the instrumentals on this album.
Jam Jehan Nima has strong Asian influences, complete with a Tibetan-type chant, which then melds into a lovely guitar. It has a variety of movements within the song, leaving the listener wondering what comes next! The fifth song, Lament of the Cherokee/Ruins of Home is perhaps her most dramatic, symphonic track on the album. It has metal edges that mellow out to cello, complete with a vocal narrative describing the Native American experience.
The last two songs feature singing and lyrics. The title cut, Fast and Blue, is a lovely power ballad with strong synths and drums, with tinges of metal guitar. Sung by John Payne, this could easily be a single! The album winds down with Recurring Dream, which has a gorgeous keyboard/guitar duet morphing into a beautiful love song. It's very dreamy and perfect for Michael Sadler's voice.
Prog fans and keyboard fans alike should dish up this wonderful, tasty album It's the sort of music you can daydream by, which is why it is one of my favorite releases of 2011. Please order this album from the"shop" at her website http://www.lisalaruemusic.com/ , which also comes in a deluxe edition with DVD and a magazine describing the album. Unfortunately, I don't have that magazine, so my review is probably missing some obvious key elements.
In any case, I can't wait to explore her previous works! I hope she will contunue to make beautiful Progressive music for many years to come.
Mars Hollow - World In Front of Me
Release Year: 2011
Track Listing:
Walk On Alone (12:31)
Voices (6:23)
Weapon (6:52)
What Have I Done (5:56)
Mind Over Matter (2:27)
Prelude (1:48)
World In Front of Me (11:18)
Riding on the success of their debut album, which was received with much enthusiasm by the Progressive Rock community, Mars Hollow is back with another collection of exceptionally good music. World In Front of Me was presented at the Rites of Spring festival (Rosfest) in Gettysburg, Pennsylvania on May 21, 2011, where the band played to an appreciative audience. This second album shows no symptoms of a “Sophomore Curse”. In fact, it exceeds the quality of their debut album in music, lyrics, and production.
One of the first things a listener will notice are the amazing vocal tracks. Lead singer, John Baker, delivers clarity and control of every note, with an occasional genuflection emphasizing certain letters, especially “r” and most vowels. This is his signature sound and sets him apart from the more famous vocalists to whom he has been compared. Mr. Baker shows more passion and emotion on this album, bringing the deep lyrics to life. There also are some amazing harmonies on this album with the rest of the band, most notably Kerry Chicoine. The first song, Walk On Alone, starts off with all four members singing a few lines in perfect harmony and includes sounds later in the song where they are singing “under water”. (The song involves a lost love, perhaps by drowning?)
Mr. Baker is also a fine guitarist, demonstrating precise finger play on the fret board, especially when the music gets more complicated. Keyboardist Steve Mauk shines with amazing symphonic talent and sets the mood for each song, which are mostly dark. He infuses the music with an uptempo energy throughout the album. Bassist Kerry Chicoine provides a strong foundation for much of the music. While he displays fun showmanship on stage, he is serious in the studio. He is never lost in the mix. In fact, he leads it! Listeners can discover the obviousness of this by turning up the bass on their car stereo and feeling every beat going up their spine. Likewise, hard working drummer Jerry Beller delivers the goods on each song, in partnership with Mr. Chicoine, providing exceptional rhythm for this album.
The songs themselves are intense and personal. None of them are weak or filler material. Each one tells a story, some of which are twisted, such as the assumed drowning in Walk On Alone, and the mentally insane serial killer in Voices. (I say “assumed” because there is are no lyrics in the liner notes, so one must interpret the themes based on the emotions each song conjures up.) All this darkness ends in light, however, on the title cut at the end of the album. It offers up a far more positive theme beginning with Mr. Mauk’s sweet Prelude and then soaring higher into the brighter World In Front of Me.
My personal favorite is What Have I Done, which is possibly the most “radio friendly” song on the album, should the band go that route. It appears to be about a complicated relationship, and it is delivered with such bittersweetness that it tugs on the listener’s heartstrings, regardless of gender. One can only imagine the creative experience of Mr. Baker, who is the main lyricist for band, to provide material for these songs. I will assume he is an emotionally strong person.
Impecibly produced by Billy Sherwood and engineered by Dave Morse, this album sounds lush and vibrant. I urge both die-hard fans and curious music lovers to give World In Front of me a try. If you even remotely liked their first album, you will fall in love with Mars Hollow with their second. This is a band that can go places if they choose to do so, but even if they keep their day jobs, they will continue to have a loyal following. Talent like this should never stay in a garage.
Track Listing:
Walk On Alone (12:31)
Voices (6:23)
Weapon (6:52)
What Have I Done (5:56)
Mind Over Matter (2:27)
Prelude (1:48)
World In Front of Me (11:18)
Riding on the success of their debut album, which was received with much enthusiasm by the Progressive Rock community, Mars Hollow is back with another collection of exceptionally good music. World In Front of Me was presented at the Rites of Spring festival (Rosfest) in Gettysburg, Pennsylvania on May 21, 2011, where the band played to an appreciative audience. This second album shows no symptoms of a “Sophomore Curse”. In fact, it exceeds the quality of their debut album in music, lyrics, and production.
One of the first things a listener will notice are the amazing vocal tracks. Lead singer, John Baker, delivers clarity and control of every note, with an occasional genuflection emphasizing certain letters, especially “r” and most vowels. This is his signature sound and sets him apart from the more famous vocalists to whom he has been compared. Mr. Baker shows more passion and emotion on this album, bringing the deep lyrics to life. There also are some amazing harmonies on this album with the rest of the band, most notably Kerry Chicoine. The first song, Walk On Alone, starts off with all four members singing a few lines in perfect harmony and includes sounds later in the song where they are singing “under water”. (The song involves a lost love, perhaps by drowning?)
Mr. Baker is also a fine guitarist, demonstrating precise finger play on the fret board, especially when the music gets more complicated. Keyboardist Steve Mauk shines with amazing symphonic talent and sets the mood for each song, which are mostly dark. He infuses the music with an uptempo energy throughout the album. Bassist Kerry Chicoine provides a strong foundation for much of the music. While he displays fun showmanship on stage, he is serious in the studio. He is never lost in the mix. In fact, he leads it! Listeners can discover the obviousness of this by turning up the bass on their car stereo and feeling every beat going up their spine. Likewise, hard working drummer Jerry Beller delivers the goods on each song, in partnership with Mr. Chicoine, providing exceptional rhythm for this album.
The songs themselves are intense and personal. None of them are weak or filler material. Each one tells a story, some of which are twisted, such as the assumed drowning in Walk On Alone, and the mentally insane serial killer in Voices. (I say “assumed” because there is are no lyrics in the liner notes, so one must interpret the themes based on the emotions each song conjures up.) All this darkness ends in light, however, on the title cut at the end of the album. It offers up a far more positive theme beginning with Mr. Mauk’s sweet Prelude and then soaring higher into the brighter World In Front of Me.
My personal favorite is What Have I Done, which is possibly the most “radio friendly” song on the album, should the band go that route. It appears to be about a complicated relationship, and it is delivered with such bittersweetness that it tugs on the listener’s heartstrings, regardless of gender. One can only imagine the creative experience of Mr. Baker, who is the main lyricist for band, to provide material for these songs. I will assume he is an emotionally strong person.
Impecibly produced by Billy Sherwood and engineered by Dave Morse, this album sounds lush and vibrant. I urge both die-hard fans and curious music lovers to give World In Front of me a try. If you even remotely liked their first album, you will fall in love with Mars Hollow with their second. This is a band that can go places if they choose to do so, but even if they keep their day jobs, they will continue to have a loyal following. Talent like this should never stay in a garage.
Styx - Equinox
Release Year - 1975
Track Listing:
1 - Light Up (4:23)
2 - Lorelei (3:26)
3 - Mother Dear (5:32)
4 - Lonely Child (3:54)
5 - Midnight Ride (4:23)
6 - Born for Adventure (5:19)
7 - Prelude 12 (1:23)
8 - Suite Madam Blue (6:32)
Is it possible that one album can have such an effect on a young teenager's mind that it will influence her taste in music for the rest of her life? As teenagers, we seek a connection with something or someone that will define us and give us meaning. For me, it was music, and the album was Equinox by Styx!
I was already a Styx fan by the spring of 1975, having heard their song “Lady” on the radio and collecting their first four albums, Styx, Styx II, The Serpent is Rising, and Man of Miracles. I found them to be a fun, quirky band. By the age of 13, I had developed a love for Blues-based rock, mainly Led Zeppelin, Grand Funk Railroad, and Bad Company, but I had heard music by other bands that would eventually be labeled as "Progressive Rock" and found it to be fascinating! I was starting to develop a love for keyboard and synthesizer sounds, thanks to Yes, ELP, Pink Floyd, etc. So, when Equinox appeared later that year, I was curious and excited to hear what else Styx had come up with. What I found was an album that changed everything I loved about music!
Starting with “Light Up”, the keyboards dominate the entire sound of this album. They soar, they plummet, they waver and warble. I instantly fell in love with Dennis DeYoung! “Light Up” is a very likeable and popular song about a very popular subject. It is interesting to note that I attended a Metallica concert in Portland, Oregon in 1998, and “Light Up” was played over the PA system right before the opening act took the stage! Even people who hate Styx seem to love this song!
“Lorelei” comes next, another fun, keyboard-based song that was released as the album's only single. While it is not my favorite, it's a sweet love song that continues to be part of their set list even decades later. “Mother Dear” is perhaps John Curulewski's best song! The music is a blend of synths (which John also plays) and great guitars. One thing is clear, Curulewski and James Young made a tight guitar team for Styx back in those early days. I also enjoy the vocal harmonies of Curulewski and DeYoung on this song.
Of all the Styx songs I had heard up to and through this album, it was “Lonely Child” that turned them into my favorite band! Track four on Equinox was the clincher. The lyrics stunned me and then comforted me. As a social outcast at my school with few friends otherwise, I had turned to music for my salvation. “Lonely Child” was an invitation to love something tangible... a band and its music. "Come spend your life with me!" The music to this song is also phenomenal. Once again, that magical blend of keys and guitars set the tone for what I love best about Styx. Somehow, it just takes me to another place.
“Midnight Ride” is a change of pace, concentrating on James Young's excellent guitar skills and bold lyrics, describing an encounter with a groupie. Less magical than the previous love songs, but somehow, it still fit into the overall vibe of the album. “Born for Adventure” comes next, and wow! Looking back now, I can see it was DeYoung's tribute, more or less, to the pomposity of British Progressive Rock. At the time however, it was just an incredibly fun story, Three Musketeers-style, set to great music. How could I not love Styx after hearing this song?
The last two songs on Equinox blend into a tribute, or rather a warning, to American politics. The subject matter contrasts with the light-heartedness of all the previous songs, but it's a beautifully arranged piece of music, dominated by Curulewki's blissful guitar intro in “Prelude 12” and DeYoung's sweet and strong vocals during the main song. The synth interlude is worth mentioning, too. “Suite Madame Blue” continues to be a fan favorite decades later. Personally, I am a bit ambivalent about the theme, but that's just me. It's a haunting song in any case.
So, what makes Equinox my favorite album of all time? Not just the amazing keyboards, blazing guitars, lush vocal harmonies, and fun (and sometimes serious) lyrics, but a combination of all of these. It was the overall sound that Styx put forth that caught me up and took me to a place where I could escape the painful reality of my early teens and become a princess in my own dream world.
Sadly, this was the last album with John Curulewski, whom I believe contributed much to the "progginess" of Styx's early sound. When he left, the band started drifting from the quirkiness that first attracted me and steered toward their Art Rock sound when Tommy Shaw came on board. That's okay, because the band continued to put out great albums with great songs. However, to me personally, their first five albums were their best, and thanks to that sound, I am a better music fan in my all around taste for Progressive and Classic Rock. I continue to be a Styx fan today, even with the frequent changes to their line-up and their musical vibe, but my memories of Equinox still dominate my love for this band.
Track Listing:
1 - Light Up (4:23)
2 - Lorelei (3:26)
3 - Mother Dear (5:32)
4 - Lonely Child (3:54)
5 - Midnight Ride (4:23)
6 - Born for Adventure (5:19)
7 - Prelude 12 (1:23)
8 - Suite Madam Blue (6:32)
Is it possible that one album can have such an effect on a young teenager's mind that it will influence her taste in music for the rest of her life? As teenagers, we seek a connection with something or someone that will define us and give us meaning. For me, it was music, and the album was Equinox by Styx!
I was already a Styx fan by the spring of 1975, having heard their song “Lady” on the radio and collecting their first four albums, Styx, Styx II, The Serpent is Rising, and Man of Miracles. I found them to be a fun, quirky band. By the age of 13, I had developed a love for Blues-based rock, mainly Led Zeppelin, Grand Funk Railroad, and Bad Company, but I had heard music by other bands that would eventually be labeled as "Progressive Rock" and found it to be fascinating! I was starting to develop a love for keyboard and synthesizer sounds, thanks to Yes, ELP, Pink Floyd, etc. So, when Equinox appeared later that year, I was curious and excited to hear what else Styx had come up with. What I found was an album that changed everything I loved about music!
Starting with “Light Up”, the keyboards dominate the entire sound of this album. They soar, they plummet, they waver and warble. I instantly fell in love with Dennis DeYoung! “Light Up” is a very likeable and popular song about a very popular subject. It is interesting to note that I attended a Metallica concert in Portland, Oregon in 1998, and “Light Up” was played over the PA system right before the opening act took the stage! Even people who hate Styx seem to love this song!
“Lorelei” comes next, another fun, keyboard-based song that was released as the album's only single. While it is not my favorite, it's a sweet love song that continues to be part of their set list even decades later. “Mother Dear” is perhaps John Curulewski's best song! The music is a blend of synths (which John also plays) and great guitars. One thing is clear, Curulewski and James Young made a tight guitar team for Styx back in those early days. I also enjoy the vocal harmonies of Curulewski and DeYoung on this song.
Of all the Styx songs I had heard up to and through this album, it was “Lonely Child” that turned them into my favorite band! Track four on Equinox was the clincher. The lyrics stunned me and then comforted me. As a social outcast at my school with few friends otherwise, I had turned to music for my salvation. “Lonely Child” was an invitation to love something tangible... a band and its music. "Come spend your life with me!" The music to this song is also phenomenal. Once again, that magical blend of keys and guitars set the tone for what I love best about Styx. Somehow, it just takes me to another place.
“Midnight Ride” is a change of pace, concentrating on James Young's excellent guitar skills and bold lyrics, describing an encounter with a groupie. Less magical than the previous love songs, but somehow, it still fit into the overall vibe of the album. “Born for Adventure” comes next, and wow! Looking back now, I can see it was DeYoung's tribute, more or less, to the pomposity of British Progressive Rock. At the time however, it was just an incredibly fun story, Three Musketeers-style, set to great music. How could I not love Styx after hearing this song?
The last two songs on Equinox blend into a tribute, or rather a warning, to American politics. The subject matter contrasts with the light-heartedness of all the previous songs, but it's a beautifully arranged piece of music, dominated by Curulewki's blissful guitar intro in “Prelude 12” and DeYoung's sweet and strong vocals during the main song. The synth interlude is worth mentioning, too. “Suite Madame Blue” continues to be a fan favorite decades later. Personally, I am a bit ambivalent about the theme, but that's just me. It's a haunting song in any case.
So, what makes Equinox my favorite album of all time? Not just the amazing keyboards, blazing guitars, lush vocal harmonies, and fun (and sometimes serious) lyrics, but a combination of all of these. It was the overall sound that Styx put forth that caught me up and took me to a place where I could escape the painful reality of my early teens and become a princess in my own dream world.
Sadly, this was the last album with John Curulewski, whom I believe contributed much to the "progginess" of Styx's early sound. When he left, the band started drifting from the quirkiness that first attracted me and steered toward their Art Rock sound when Tommy Shaw came on board. That's okay, because the band continued to put out great albums with great songs. However, to me personally, their first five albums were their best, and thanks to that sound, I am a better music fan in my all around taste for Progressive and Classic Rock. I continue to be a Styx fan today, even with the frequent changes to their line-up and their musical vibe, but my memories of Equinox still dominate my love for this band.
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