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Review – Heavy Metal Kids – The Albums 1974 to 1976 – by John Wenlock-Smith

The history of rock is strewn with endless tales of wild antics, excessive outrageous behaviours, substance & alcohol abuse and sheer unmitigated heartbreak and sadness. This was certainly the case with the Heavy Metal Kids who were a force while also being touted as the next big thing and the possible progression from the premier league of Pink Floyd, Yes and Led Zeppelin and the ilk to a rapidly changing musical scene, one with the emerging, inevitable and possibly much needed paradigm shift to a simpler, angrier and punk fuelled regime that shook the musical world significantly.

So it was into this maelstrom and vortex that Gary Holton and his crew set sail, emerging in 1973 and garnering the attentions of Dave Dee (yes, him of 60s pop idols Dave Dee, Dozy, Beaky, Mick & Tich) after being spotted by his staff at a speakeasy in London’s West end. Holton having beenextricated from his previous group Biggles, who were a jazz rock outfit with connections to Emerson, Lake and Palmer, their drummer being Carl Palmer’s brother,

Holton was from Wembley and had been a member of the touring Hair ensemble and also has his sights on an acting career, he had been in theatre at the Old Vic and had done some Shakespeare along the way. Atlantic Records saw something in this lot and they were offered a contract with Dave Dee as producer, this resulted in their first two albums, ‘Heavy Metal Kids’ and ‘Anvil Chorus’.

Their name was, however, misleading as their music was not heavy metal at all but was in fact more a mixture of hard rock, glam and, unsurprisingly, vaudeville. This was a very different sound to what their name suggested, however the band live were certainly powerful and this is clearly shown on tracks like Rock ‘N’ Roll Man and It’s The Same, both of which have a definite swagger to  them. The album was critically acclaimed yet, as is often the case, this didn’t translate into record sales. The band set off on an ambitious touring schedule and were well received in America and Japan. The debut is a good album in parts and when they rock they do so convincingly with the added bonus of having a great keyboard player, Danny Peyronel, who’s honky tonk piano embellishments added much to the groups sound. That the album is largely overlooked and unknown by the masses is a tragedy as there is much to appreciate, the four bonus tracks here are being very good indeed.

For the second album, their name was shortened to The Kids , although there was a sticker that said ‘Featuring The Heavy Metal Kids’, the album is a little more consistent and is more rock oriented. You Got Me Rollin‘ is carried on a lumbering bass line that carries the song along wonderfully as does the following track On The Street, bass player Ronnie Thomas really shining on the tracks, indeed his prominent bass really impresses throughout. The songs are stronger and sound energised and inspired with great guitar fills and a solid rhythm section, all with the added colours of Danny’s keyboards to make a cohesive sound. This is sublime and worthy music, however, despite more US touring with the likes of Rush, Kiss and Alice Cooper, the album still failed to gain traction and had disappointing sales which led to them being dropped by Atlantic.

Help came from an unexpected quarter as Mickie Most of Hi Ho Silver Lining fame and teenyboppers Mud, Suzie Quatro and the RAK organisation offered to record their next album in France for his label. The resulting album appeared many months later in 1977 and again failed to really make an impact, even a Top of the Pops slot for She’s No Angel couldn’t save them and the band, despite touring with Uriah Heep on their high and mighty tour, had pretty much called it a day by 1978 when Holton quit for a short and ill feted solo career and also a more successful venture into TV & Film. A final gig at the Speakeasy with a difficult and unruly Holton brought things to a less than glittering close. The band decided to continue without Holton and went through a succession of singers, including a short return by Holton, and, thereafter, by the likes of Phil Lewis and John Altman.

Looking back to ‘Kitsch’ again, you can hear how new keyboard player John Sinclair changed the sound, making it more classical at times, and tighter than before. The album is more symphonic and more musical, this is certainly the case with the opening Overture and Chelsea Kids, in which the band marry punk aggression and rock sensibility to make an intriguing hybrid of styles. From Heaven To Hell And Back Again is another good track with the inclusion of other instruments to round out the sound further used to good effect, it really impacts well. Cry For Me has some superb guitar played to great effect along with tubular bells chiming.

The album was mixed and partly reconstructed by Mickie Most as his final statement and a kind of reaction to modern pop music, he wanted something grander and saw the Heavy Metal Kids as part of that statement and, to be honest it, it does have some very good moments and the 5 bonus tracks make interesting listening. All this is embellished with a very informative booklet that tells the whole story in fine detail. This set is really very good and an excellent reminder of the vagaries of life and that things that look good and sound good are sometimes beyond the ordinary person. Mass appeal music has its place but sometimes what is overlooked and undervalued can actually be of more worth and value.

Released 20th January, 2022.

Order from Cherry Red here:

Heavy Metal Kids: The Albums 1974-1976, 3CD Expanded Edition – Cherry Red Records

TRANSATLANTIC launch live video for ‘We All Need Some Light’; taken from ‘The Final Flight: Live at L’Olympia’

TRANSATLANTIC – the Prog Supergroup of Neal Morse, Mike Portnoy, Roine Stolt & Pete Trewavas – recently announced the release of a new concert set entitled ‘The Final Flight: Live At L’Olympia’ for the 17th February 2023. It was recorded and filmed in France on the last stop of a tour to promote the band’s fifth and most audacious album to date, ‘The Absolute Universe’. This was the multinational group’s first outing in eight years. 

Today sees the launch of the live clip for ‘We All Need Some Light’, originally featured on the bands debut album. Watch it now here: 

Watch the band perform ‘Rose Colored Glasses’ here: https://youtu.be/2mXpcl9fQZI

Watch the band performing ‘Owl Howl’, a highlight from ‘The Absolute Universe’ album, here: https://youtu.be/7kHEtZNPtsQ

Released in February 2021 to unanimous praise, ‘The Absolute Universe’ came in two alternate formats; an abridged 64-minute record known as ‘The Breath Of Life’, and a companion piece entitled ‘Forevermore’ that added a further four songs, clocking in at an hour and a half. Though the foundations of both were shared, each format featured lyrics and music independent of the other. 

However, when Transatlantic finally hit the road they opted to perform a third format of the album, a full-bells-and-whistles, 96-minute Blu-ray culmination of both takes known as ‘The Ultimate Edition’ that had been released in 5.1 surround sound. Following that segment of the show Transatlantic took a short intermission and returned to the stage for a rollercoaster trawl through the remainder of their lavish catalogue. From the first note of ‘Overture (The Absolute Universe)’ through to the medley based around the first two Transatlantic albums that closes the evening, the performance comprised 3 hours of music in total.

“Ever since the start of this band we have played for three hours, so that’s something we’re all used to,” states drummer Mike Portnoy, who grins whilst describing his own experience as “butt-numbing”. However, Roine Stolt is ready to admit that this time felt very slightly different. 

“It was a great tour,” acknowledges the guitarist and multi-musician, “but when you include our spot at Morsefest [where besides performing ‘The Absolute Universe’ the band also revisited their 2009 album ‘The Whirlwind’ and revised a cover of Procol Harum’s ‘In Held (’Twas) In I’ that had featured on their debut from 2000, ‘SMPTe’] I felt the challenge of learning, or re-learning, three-and-a-half hours of music before leaving Sweden. Now that I am getting slightly older, I was a little worried about playing for that long – it requires a lot of concentration: ‘Is this one in 7/8 or 9/8? Maybe we’ll play it in 13/8 and in a different key?’ But of course, once we got out there onto the stage, those thoughts went straight out of the window.”

With a chuckle, vocalist and keyboard wizard Neal Morse reveals that as the tour found its feet Transatlantic threw an additional curveball. “We started playing songs slightly differently to the way you’ve heard them on ‘The Ultimate Edition”, he grins. “So what you get with this live album is similar, but essentially it’s a fourth version [of the record]. When you play live, from night to night it helps to keep things fresh by jamming a bit and changing things up as you go. There are a few examples of that, for instance, the beginning of the last section that starts with ‘Belong’ is quite different than the record – partly because we couldn’t remember it! So we made up a new structure.”

“We’re always as well prepared as we can be but in a way Transatlantic is kind of a show band” points out bassist Pete Trewavas. “Playing alongside Mike who is a powerhouse on the drums, there is this raw power. If he wants to raise the energy that’s what we do. We’re all taking solos here and there, though we get the songs across we’re all showing off as much as we can”.

Filmed by Paul Green (who also shot their ‘Whirld Tour 2010: Live in London release), and mixed by longtime collaborator Rich Mouser, this set will be available as a Special Edition 3CD+Blu-ray Digipak (incl. 5.1 surround sound) & as a Gatefold 180g 4LP release. Both feature artwork by Thomas Ewerhard & photos by Nidhal Marzouk. Pre-order now here: https://Transatlantic.lnk.to/TheFinalFlight-LiveAtLOlympia

Tracklisting:

1. The Absolute Universe Intro

2. Overture

3. Reaching For The Sky

4. Higher Than The Morning

5. The Darkness In The Light

6. Take Now My Soul

7. Bully

8. Rainbow Sky

9. Looking For The Light

10. The World We Used To Know

11. MP Intro

12. The Sun Comes Up Today

13. Love Made A Way (Prelude)

14. Owl Howl

15. Solitude

16. Belong

17. Lonesome Rebel

18. Can You Feel It

19. Looking For The Light (Reprise)

20. The Greatest Story Never Ends

21. Love Made A Way

22. The Whirlwind Suite

23. NM & RS Intro

24. We All Need Some Light

25. The Final Medley

Line-Up (on this recording):

Neal Morse – Keyboards, Acoustic Guitar & Vocals

Mike Portnoy – Drums & Vocals 

Roine Stolt – Guitar & Vocals 

Pete Trewavas – Bass & Vocals 

With:

Ted Leonard – Guitar, Keyboards, Percussion & Vocals  

Review – Echo Us – Inland Empire

“Exploring Echo US’ deep and ethereal past uncovers an ‘Inland Empire’…”

Echo Us is a musical concept project active since the turn of the century. Begun by American composer and multi-instrumentalist Ethan J. Matthews, “Echo Us” literally means “to answer”, or “to connect”. The current format of the project began in 2001. Echo Us would become a vehicle for Matthew’s forays into the world of metaphysics, as much as it was a continuation of his musical and creative world that had begun a decade earlier.

“I certainly believe in going within to find a connection with the outer world. To find the ‘child’ within where everything is open to speculation and wonder…it’s a sort of ‘psychic’ connection for me, and music is simply part of the process.”

‘Inland Empire’ is Echo Us’ seventh full length studio album, and 2023’s epilogue to the original trilogy that ran from 2009-2014. The music compiles almost everything that didn’t fit onto the trilogy – comprising material from ‘The Tide Decides’ (2009), ‘Tomorrow Will Tell The Story’ (2012) and ‘II:XII, A Prior Memoriae’ (2014).

If you’re a fan of ambient, flowing, introspective music along the lines of Mike Oldfield, David Sylvian, Brian Eno and Robert Fripp then Echo Us’ gorgeous ethereal soundscapes will delight you. Deep and meaningful with music that will touch your very soul, the ten tracks on this release all combine to deliver a compelling, cinematic musical journey that you must consume in one sitting. Like the parts of those infernal puzzles that must all be solved before enlightenment reveals itself, these delicate pieces fit together perfectly to give an hour of amazing peace and wistful solitude.

When I normally review an album I will take particular tracks and describe what they mean to me and how they make me feel but, if I tried that approach with this release, I would be doing it a huge disservice. Geddy Lee once sang on Rush’s track Prime Mover, “The point of the journey is not to arrive..” and I feel that is wholly pertinent to ‘Inland Empire’, it’s not where this album takes you, it is what happens to you while you are listening to it. I feel that I’m transported to another place, a wistful, alien land where all is calm, collected and we are one with nature.

Every note and every gossamer thin vocal has a place and they combine perfectly to give us something that is almost alive, sentient and aware of its own existence. I would go so far as to say that I actually stopped living for sixty minutes and just existed in my most natural form.

Echo Us create something that isn’t just music but also some sort of metaphysical experience and a shelter from the harsh realities of life. Yes, we will have to come out into the real world at some point but, until then, I couldn’t think of many better places to be.

Released 7th March, 2023.

Order from:

www.echous.net

Asia Release 3 LP Version Of ‘FANTASIA, LIVE IN TOKYO 2007’ on 24th February

Multi-platinum selling English supergroup ASIA announce they are to release for the first time ever on vinyl ASIA ‘FANTASIA, LIVE IN TOKYO 2007’ as a 3LP set.  Recorded on Asia’s 25th anniversary 2007 world tour, and featuring the reformed original line-up, FANTASIA, LIVE IN TOKYO 2007 is to be issued on vinyl as a 3LP set with booklet, including band photos, and sleeve notes through BMG Records on 24th February 2023.

Pre-order it here: https://asiaband.lnk.to/fantasia3LPPR

Celebrating the 25th anniversary of ASIA’s formation, this exciting 18-track live show from their 2007 world tour features the reformed original line-up pooling the talents of lead vocalist/bassist John Wetton (King Crimson), Steve Howe (guitars, Yes), Geoff Downes (keyboards, Yes and Buggles) and drummer Carl Palmer from Emerson, Lake & Palmer.

The setlist focusses on their globally successful 1982 debut album Asia and features key tracks Only Time Will Tell, Sole Survivor and their worldwide anthem Heat Of The Moment along with select tracks from their second LP Alpha and one song each from the band members’ previous bands – Video Killed The Radio Star, Roundabout, Fanfare For The Common Man and The Court Of The Crimson King.

Album artwork is by legendary designer Roger Dean, who produced all the ASIA original albums covers.

By simultaneously celebrating their debut album alongside the legacy of their foundational bands, the four band members crafted a standing testament to their collective impact on the world of music. Fantasia is a clear reminder of the majestic legacy of this incredible band and to the artistic pedigree of the four original members of ASIA.

For ASIA fans, this exciting live show is an indispensable set.

Tracklist:

Side A

1.Time Again

2. Wildest Dreams

3. One Step Closer

Side B

1. Roundabout

2. Without You

Side C           

1. Cutting It Fine

2. Intersection Blues

3. Fanfare For The Common Man

Side D

1. The Smile Has Left Your Eyes

2. Don’t Cry

3. In The Court Of The Crimson King

4. Here Comes The Feeling

Side E

1. Video Killed The Radio Star

2. The Heat Goes On

3. Only Time Will Tell

Side F

1. Sole Survivor

2. Ride Easy

3. Heat Of The Moment

About ASIA

Pooling the talents of bassist/vocalist John Wetton, drummer Carl Palmer, keyboardist Geoff Downes and guitarist Steve Howe, ASIA immediately became the epitome of a supergroup of rock aristocracy and the natural heir to its members’ legendary bands of the 70s – King Crimson, Emerson Lake & Palmer, The Buggles and Yes.

Leaving behind their progressive roots, ASIA embraced the commercial FM rock sound that dominated US airwaves and took that, and the new MTV video channel, by storm.  The single Heat Of The Moment was a world-wide monster smash and their eponymous 1982 debut album spent an incredible 9 weeks at No. 1 on the Billboard chart as Asia became the biggest selling album of the year and world tour dates sold out.

A second album, Alpha, was released in 1983. The four original members reconvened in 2006 for a world tour, to celebrate the 25th anniversary of that incredible success, and the album Phoenix followed.

While the members were still heavily involved in other projects, they came together again to record Omega in 2010 and XXX in 2012, both albums were acclaimed by their faithful fans and supported by more world tours.

Steve Howe stepped back from ASIA to concentrate on his work with YES and was absent for 2014’s Gravitas. Following this tour came the news of John Wetton’s treatment for cancer, a fight he sadly lost in 2017.

ASIA – FANTASIA LIVE IN TOKYO 2007 – 3 LP SET – out 24th February 2023

Website: https://originalasia.com/

2022 Progradar’s Best Of The Year – John Wenlock-Smith’s Top 20

Yesterday saw the editor’s top twenty albums of 2022, today we see what made respected contributor John Wenlock-Smith’s list….

John says, “It’s been a great year for music, especially prog, with many fine releases from established and also newer acts. Here are twenty that really struck a chord with me, in no particular order but all worthy of inspection and consideration.”

D’VIRGILIO, MORSE, JENNINGS – TROIKA

In which well known prog aficionados beguile us with their inner CSN&Y. It’s all acoustically in the main but a very strong collection of songs that must warrant a second visit – here’s hoping so at least!

Hats of Gentlemen It’s Adequate – The Confidence Trick 

A wonderful and diverse set of songs around the concept that we are being led by arrogant fools whose overconfidence is actually severely dangerous, examples being Trump, Johnson and, more recently, Liz Truss whose overconfidence nearly destroyed any chance of economic growth.

Stuckfish – Days of Innocence 

A simply marvellous album that impressed many with its thoughtful lyrics and excellent music.

SiX By SiX – Self Titled

A bit of Saga, a bit of Saxon, add Robert Berry’s muscular bass and you have a blistering rock album with very progressive elements and leanings. Again this one impressed greatly.

Kaipa – Urskog

The long established Swedish folk-proggers delivered a truly graceful album with several epics and more than a touch of vintage Yes, a great set of songs.

Derek Sherinian – Vortex 

In which the ex-Dream Theater keyboard man delivers a captivating, electric set of tracks supported by several big name friends including Steve Stevens, Nuno Bettencourt, Bumblefoot and Joe Bonamassa, to name a few. Blistering in parts and excellent overall.

The Mighty Ra – All Secrets Known 

A new band of mainly Welsh prog musicians who began writing together with this rather fine album being the result. An excellent new album with great promise.

Verbal Delirium – Conundrum

This was new to me but what a find! A very classy album with a great vocalist, strong songs and great playing from all, definitely one to discover.

Arc Of Life – Don’t Look Down

The second album from Yes spin off Arc of Life. Jon Davison and Billy Sherwood delivering the album that Yes maybe should have. Epics like Real Time World and Arc of Life were standout tracks in an album of importance and strength.

The Bardic Depths – Promises Of Hope

Literature loving progressive band deliver a fine second album about suicide via a fictional tale of a suicidal queen whose death is prevented by the Gods. Enthralling and with many guests in tow.

Tribe of Names – Evolver 

Evolutionary album from ex-Tinyfish man Simon Godfrey & colleagues that sees them stretching their legs musically. There’s a welcome strong Rush influence throughout and its a superb album overall. 

Phi Yaan Zek – Interdimensional Garden Party

This very strange but satisfying album occupies a realm the sadly departed and much missed Frank Zappa would have graced with its blend of instrumentals and strong songs. Wonderful weirdness is obligatory with such stunning tracks as Wickety Wickety being enough to make anyone smile. A seriously good album that warrants investigation.

John Holden – Kintsugi 

John lives close to me and he delivers a strong fourth album of various pieces with a stellar assembly of guests, a highly varied and ultimately satisfying and enjoyable album.

Pattern Seeking Animals – Only Passing Through

This is the third album from Spock’s Beard writer and contributor John Boegehold. With excellent support from existing members of the band, strong songs and catchy hooks abound.

Red Bazar- Inverted Reality 

Another unexpected pleasure with a harder edged sound and excellent vocals from Peter Jones, this was very welcome indeed.

Dave Brons – Return to Arda 

Simply divine and beautifully melodic Celtic-tinged music from Dave Brons and friends with a concentration on melody with moments of shredding brilliance. Totally sublime and utterly captivating. 

Ghost Of The Machine – Scissorgames

A triumphant debut from ex-This Winter Machine men who, along with sublime vocalist Charlie Bramald, fuse melody and muscle in a devastating combination. Truly awesome, well received by many and rightly so too!

Clive Mitten – Tales From A Misspent Youth Volume 1

Entirely orchestral versions of songs that inspired Clive whilst growing up. His take on key songs from Pink Floyd, Genesis, Supertramp and Rush really are a must to hear. How he brings out hitherto hidden beauties to much loved pieces is gorgeous.

Evership – The Uncrowned King Act 2

The final part of the tale is a sobering statement of intent from fine US proggers Evership and the additional vocals from Saga’s Michael Sadler impress greatly.

David Longdon – Door One

Posthumously released after David’s unexpected death in 2021, this telling collection reveals his continued evolution as a writer and, whilst short, this bittersweet album reminds us of of the great man we lost last year.

So, there you have it, that’s it for 2022 from John and myself, see you on the other side…

Review – Duncan Parsons – On Earth, As it is – by John Wenlock-Smith

Duncan Parsons is the drummer for the John Hackett Band and bizarrely the bassist for Joanne Harris’s Storytime band, ‘On Earth, As it is’ is his latest album of original material.

The album is not a concept as such, although it has songs that share a common central theme. Much of the music is performed by Duncan, although he has managed to get assistance from some very interesting guest musicians like John Helliwell of Supertramp, Dave Bainbridge of Iona and Lifesigns and his fellow John Hackett Band members Nick Fletcher and John Hackett himself, who both add graceful parts to the lengthy opener Heaven, the album’s longest track at twenty three minutes. The song opens with seven minutes of instrumental music before Duncan’s vocals join in. This is intoned with a pulsating synth bass line which is very ethereal sounding, there is then a section of massed non-verbal vocalisations which add to the atmospheric nature of the track. Then follows an acoustic guitar section which which dissolves into deep keyboard bass and more vocalisations along with Lizz Lipscombe’s string playing. An urgent bass then picks up the pace and creates a strong platform for Nick Fletcher’s fusion guitar part in which he shreds wildly and, as always, immaculately with a great clear tone. This then gives way to synths that lead to another guitar outburst from Nick that takes the track towards its conclusion, the guitar playing on this section is breathtaking, very fiery and highly impressive. The song ends with synths and guitar lines playing, a really strong opener.

This Day follows and has plucked guitar harmonics from Duncan and bass from the legendary Leland Sklar, whose bottom end anchors everything together wonderfully. The track has Duncan playing a washboard and also John Helliwell elegant clarinet. This has a very satisfying jazz elements to it and the saxophone from John also impresses highly. Fissures of Men is a short, dynamic piece featuring violin, viola and cello all set against a sparse piano but it all sounds really good. This is followed by another shorter track, Finish Line, which alludes to a fractured and possibly broken relationship but, ultimately, the song is about how we choose to be.

Unnecessary Kindness opens with an acoustic guitar and is largely a solo guitar instrumental track and very accomplished it is too with plenty of shades of Anthony Phillips in evidence here, at least to these ears. Three Sixteen is more muscular in tone with some crunchy guitar and a simple, but effective, solo halfway through that is ended by the cello as the vocals begin again. This is followed with a mournful violin and some jolly flute as a contrast then a solid tap on what could be a cowbell leads to the last verse of the song. There’s not a little urgency and a comfortable yet easy guitar line leads to the song’s conclusion. This is a very good track indeed, a clear winner. Lead Us Not is another shorter track with the solid bass of Leland gracing proceedings again, along with the graceful flute of John Hackett. The song seems to be about temptation and how we battle with it and how it leads us to where we don’t wish to be.

There is reprise of the earlier Fissures of Men track but it is only very brief, this leads to the last and second longest track, Valediction (Power And Glory) which closes the album out. This song features John Steel on various guitars and is a very atmospheric piece of music with lots of good sounds and textures. It is all fairly free form in nature but very well assembled, with some fabulous acoustic guitar interjections and a great solo that moves over the sumptuous backing and it all sounds really impressive. Along with Heaven, these two epics bookmark what is a most impressive collection of tracks that certainly makes you think as you listen to this fine album. It is one that  most folk will be largely unaware of and more’s the pity, as this is a highly intelligent and articulate album of music.

Released 2nd December, 2022.

Order from badncamp here:

https://duncanparsons.bandcamp.com/album/on-earth-as-it-is

Review Phi Yaan-Zek – Interdimensional Garden Party – by John Wenlock-Smith

I first came across Phi Yaan-Zek as many others may have, through the pages and tracks on Prog Magazine, although at that time it didn’t really grab me. I was probably on a different musical phase ,as is often the way with me. However, I recently read a review of his latest album from a writer for The Progressive Aspect whose eloquent words piqued my interest, hence this review.

In all the years of my life I have never really been a big fan of Frank Zappa, although I can clearly see his influence in this music. I certainly like it here, for sure, and definitely in the humour contained within these tracks. Phi is certainly a very fine musician and can play a very mean guitar line when required. He also enlists an extraordinary cast of collaborators, like Andy Edwards and John Jowitt of Frost* and he also has a couple of Aristocrats in tow to give this music much flair and finesse.

It has strong touches of psychedelia along with certain hippyish elements, but these are woven into the overall sound of the album. I am certainly highly impressed by all of this excellent and exciting music, it is all wonderfully produced with excellent guitar skills on display. The music also has jazz elements at times, giving the sound a definite jazz/fusion blend.

An outstanding track is track Wickety Wickety, which is a cross between a rumbling song, something like Nelly The Elephant but with brass embellishments. It is rather a fun piece but utterly engrossing and captivating. This whole album is different, it is definitely a positive sounding album and will imbue feelings of well being and contentment. Above all, this music is good fun and we should all be glad of that, especially at this time. Also notable is Anomaly Temporal with an almost reggae swing and spoken vocal from , this also has a touch of Star Trek to it and rounds out with an excellent instrumental finale.

I really enjoy the instrumental flourishes that abound throughout this very imaginative album, it really is a fascinating and captivating listen. Phi is a very fluid guitarist, think of folks like Steve Vai and you won’t be far off the mark, but he is also very melodic in tone and, whilst he can shred with the best, he works for the track, not just to stun.

This is clearly shown on My Favourite UFO which combines his fine guitar virtuosity with a strong tune to fine effect. This track has a dreamy type of sound and reminds me of 10CC in parts, it also has great bass from Bryan Beller of The Aristocrats. The song speeds up towards its conclusion and this proves very effective, as is the vocal from Ellie Williams. The next track Floating gives room for some free reign musical improvisation which is taken by Phi with Mike Keneally in tow, along with the fabulous and dynamic Aristocrats rhythm team of Beller and Marco Minneman. With Phi’s guitar floating over the top most efficiently and effectively, it really is a sublime piece of intent delivered really well.

Final track The Puffball That Ate My Village is another monster track with a similar pace to Wickety Wickety but with fiery guitar interjections and interplay between Phi and Chanan Hanspal, who play off against each other in a six string orgy of soloing. It’s all highly effective, especially with Andy Edwards‘ drums and Steve Lawson’s majestic bass playing that anchor it all together seamlessly. The song also features lots of guests adding chant type vocals, which really sounds good. When this track end there is a brief pause of about 2 minutes before A reprise of opener The Interdimensional Garden Party plays, this is a fitting close to an exceptional album but wait, there’s more as there is a brief untitled track that is basically the words spoken backwards deliberately.

This is a truly entertaining album with fabulous music and performances throughout. Definitely one of my album of the year contenders, outstanding. In a year that has seen so many really good albums, this one can truly stand tall and proud and I recommend it without hesitation, especially for its weirdness and sense of fun.

Released 7th October, 2022.

Order from bandcamp here:

Interdimensional Garden Party | Phi Yaan-Zek (pyzmusic.com)

Review -Major Parkinson – Valesa – Chapter 1: Velvet Prison – by John Wenlock-Smith

Major Parkinson are a Norwegian band who are currently making quite big waves in progressive circles. However, they are largely unknown to me hence this review that will tell you how this music affects me as a new listener.

The album has 17 tracks of various lengths and themes, it opens with Goodbye Blue Monday and what sounds like cinema sounds from bygone days, it’s a brief but engaging piece. Behind The Next Door is a piano led song in which you hear the very different vocals of Jon Ivar Kollbotn whose deep voice is very distinctive and possibly a challenge for some. It reminds me of someone, I’m just not sure who. The track is rather good and grows in strength as it proceeds. Saturday Night is also great, like a lost song from the 80’s with its superb synth bass line that moves the song along with good embellishments before a change of pace with some great female vocals. This is like very early Depeche Mode, it’s actually rather jolly in parts, an upbeat, positive track and the vocals work well together. It’s a very interesting and rewarding track. Ride In The Whirlwind is another brief instrumental vignette performed on grand piano, and very effectively at that! There is real skill on display, it’s another 80’s inspired track, albeit with a darker subject matter. Again, this darker song has an upbeat tone with some great effects employed throughout and I really liked it. At times Live Forever sounds like a Bruce Springsteen song, albeit with far more synths and electronics, but it has that sort of surge to it somehow, again, another impressive track. Sadlands is another brief vignette, one that continues the Bruce styling, although this one includes crowd noises, the grand piano and name checks More Than A Feeling.

Intermezzo has a strident drum pattern and ethereal synth sounds with discordant backing vocals. To me, it doesn’t really say much or go anywhere and I think it is a more atmospheric piece really. Jonas is totally different in that it has an almost choral opening set against heavy synth sounds. This is another very 80’s sounding and influenced track and the sparing use of piano works particularly well. The song is about a friend who was seemingly in the military as it speaks about his rifle. Velvet Moon follows, another brief vignette and one that has another subdued vocal from Jon. This sings about the velvet moon and is very evocative, even if I haven’t got a clue about what he is going on about! Irina Margareta is another filmic piece with a very cinematic sound and great vocals from , who again works well in tandem with Jon Ivar Kollbotn, this song is packed full of dynamics flourishes. This House is rather darker still and speaks of the house where it all happened. Obviously it was something dark and troubling, although we are not told what “it” was exactly, possibly childhood memories and probably not good ones at that! All this is set to a brutal and almost ‘dance synth’ bass riff and music, a strong if not a rather disturbing track at that. The Room carries on in a similar vein, at least musically. This album has a lot of electronic touches, not least on next song Posh-Apocalypse, and is very 80’s sounding at times.

Moma is a furious and brutal track with excellent vocals, Lemon Symphony is a strange little vignette, all very keyboard led and with lots of tremolo effects. It shimmers throughout and is very different indeed. We the return to the 80’s soundtrack for Fantasia Me Now!, another unusual track. This is a longer piece and, again, the combination of Claudia and Jon Ivar’s voices blend together exceptionally well. This is another upbeat song, again the theme is unclear so just enjoy everything as it progresses. Final track Heroes is another piano led piece with an interesting vocal line from Jon along with interjections from  Claudia and this closes the album in an interesting way.

In all this album is a very interesting listen, with lots of great touches and strong instrumentation throughout. I’m not sure about all the shorter tracks, although they do add to the atmosphere, even if they somewhat dilute the longer songs somewhat. It is certainly a bold approach to take and you must be the judge of its success though.

Released 7th October, 2022.

Order the album here:

Valesa Chapter I: Velvet Prison (burningshed.com)

Review – Red Bazar – Inverted Reality – by John Wenlock-Smith

This October sees the release of this highly impressive and sonically rewarding third vocal album from Nottinghamshire Prog rock band Red Bazaar, featuring Peter Jones (Tiger Moth Tales) on vocals and keyboards.

The album is fairly political in its subject matter with freedom of speech being a major topic. Now, some folks think that politics and music don’t, or shouldn’t, match but, if  you think about those 60’s protest songs and the more recent political ones like Another Brick In The Wall, you can see the impact such music can have. Personally I really don’t mind, especially if the sentiments expressed are important ones, anyway back to the album…

Opener One Out Of Three is a hard hitting track opening with soaring synths and a furious drum beat that sets the urgency of the song up well. The track also hinges on an angular guitar riff from Andy Wilson. Its subject matter is the state of the music industry and how cynical it is these days, both manufactured and marketed by those in control with their eyes firmly on profit and not quality and originality. This is a sweeping condemnation of the current scene, one that Peter Jones knows from personal experience as he was previously an X factor contender (coming 4th in the first series) before taking control of his own destiny and writing and performing the music he wanted to rather than being told too. A wise decision that enriched us all with the Tiger Moth Tales series of albums. The track is frantic and very fine indeed, as is the second track Spirit Of Man which opens with ethereal keyboards and an echo laden guitar arpeggio from Andy, accompanied by an underpinning keyboard swell before Peter’s vocal starts. The songs seems to be about keeping going against setbacks and mental health issues. It is a fairly positive song though and tells us that you have within you a strong Spirit Of Man. This is in part based on the mock-Latin phrase “illigetimi non carborundum” which is probably more widely known as “don’t let the bustards grind you down”, strong words but a good song nonetheless.

State Of Disgrace is highly political and critical of those in charge as they write the laws that benefit them most, while the rest of us are encouraged to toe the line or face being silenced by the ruling classes. It comments on the lack of morality and the lack of consequences for those in charge, along with the suppression and subrogation of the rank and file, i.e. Us! It is a very political song with elements of George Orwell’s epic ‘1984’ novel with which it shares several common themes. I really enjoyed this track and agree with the issues it so eloquently speaks of. Take Control is also another winner featuring both an excellent vocal from Peter Jones alongside a fabulous solo from Andy Wilson in a rather epic track that has it all in its near 10 minute running time, simply astonishing performances and a fantastic song overall.

Smokescreen follows and is a song based on a John Francombe book in which a man punishes his unfaithful partner by setting fire to their home whilst she sleeps. Quite a dark subject matter but well handled by the group and featuring great bass work throughout by Mick Wilson, who is consistently on form on this album. Final track Stop The World continues the politics as it talks about how politicians are creating division and using it to further their own agendas. This is the album’s longest track, working well as a very good good conclusion to what has proven to be an assured, intelligent and well crafted piece of work. Okay, its themes may be a bit dark and political but, for these times of uncertainty and incompetence, especially with modern political life, this is a very telling set of songs, urging us all to speak out and make our feelings known.

I think it is one of the finer albums of the year. I really enjoyed it and the musicianship is excellent throughout, with great vocals from Jones and great bass and guitar work from the Wilsons along with solid, urgent drumming from Paul Comerie. This is an album that really cries out be be heard by a far wider audience than it will probably receive unfortunately. This really is something special and worthwhile and I heartily recommend to all.

Released 30th September, 2022.

Order from White Knight Records here:

Red Bazar – Inverted Reality (featuring Pete Jones) (whiteknightshop2.co.uk)

Kansas celebrate their 50th anniversary with release of ‘Another Fork In The Road – 50 Years Of Kansas’ 

KANSAS, America’s legendary progressive rock band, will celebrate their 50th anniversary in 2023. To commemorate this landmark occasion, current label InsideOutMusic are pleased to announce Another Fork In  The Road – 50 Years Of Kansas for release on the 9th December 2022. A career-spanning collection, it features carefully-selected tracks from across the bands sizable discography, as well as a new version of ‘Can I Tell You’. Originally recorded and released on their 1974 debut, the song is updated by the current line-up, providing a full-circle perspective on the band’s long and continuing history that has seen them release 16 studio albums and sell in excess of 30 million albums worldwide.

Phil Ehart comments: “We are really honored by the commitment that InsideOut Music has put into ‘Another Fork in the Road.’ This is far more than just another greatest hits album. ‘Another Fork in the Road’ is an in-depth representation of the evolving and winding musical journey of the band KANSAS that’s been 50 years in the making.”

Another Fork In The Road – 50 Years Of Kansas will arrive as a 3CD Digipak collection, including extensive liner notes by journalist Jeff Wagner, as well as pictures of rarely-seen memorabilia and archive material, all overseen by founding member Phil Ehart.

Pre-order now here: https://kansas.lnk.to/AnotherForkInTheRoad-50YearsOfKansas

The full track-listing is below. Please note, due to licensing restrictions there are minor differences between the European & North American release.

Disc 1:

1.     Can I Tell You (new 2022 version)

2.     The Absence of Presence (The Absence of Presence, 2020)

3.     Throwing Mountains (The Absence of Presence, 2020)

4.     Crowded Isolation (The Prelude Implicit, 2016)

5.     Summer (The Prelude Implicit, 2016)

6.     The Voyage of Eight Eighteen (The Prelude Implicit, 2016)

7.     Icarus II (Somewhere to Elsewhere, 2000)

8.     The Coming Dawn (Thanatopsis) (Somewhere to Elsewhere, 2000)

9.     Distant Vision (Somewhere to Elsewhere, 2000)

10.  The Wall (Always Never the Same, 1998)

11.  Dust in the Wind (Always Never the Same, 1998)

12.  Desperate Times (Freaks of Nature, 1995)

13.  Under The Knife (Freaks of Nature, 1995)

EU Version – Disc 2:

1.     House on Fire (In the Spirit of Things, 1988)

2.     Rainmaker (In the Spirit of Things, 1988)

3.     Silhouettes in Disguise (Power, 1986)

4.     Secret Service (Power, 1986)

5.     Three Pretenders (Power, 1986)

6.     End of the Age (Drastic Measures, 1983)

7.     Incident on a Bridge (Drastic Measures, 1983)

8.     Play the Game Tonight (Vinyl Confessions, 1982)

9.     Crossfire (Vinyl Confessions, 1982)

10.  Windows (Vinyl Confessions, 1982)

11.  Hold On (Audio-Visions, 1980)

12.  Loner (Audio-Visions, 1980)

13.  No One Together (Audio-Visions, 1980)

14.  On The Other Side (Monolith, 1979)

15.  How My Soul Cries Out For You (Monolith, 1979)

North America Version – Disc 2:

1.     Fight Fire With Fire (Drastic Measures, 1983)

2.     End of the Age (Drastic Measures, 1983)

3.     Incident on a Bridge (Drastic Measures, 1983)

4.     Play the Game Tonight (Vinyl Confessions, 1982)

5.     Crossfire (Vinyl Confessions, 1982)

6.     Windows (Vinyl Confessions, 1982)

7.     Hold On (Audio-Visions, 1980)

8.     Loner (Audio-Visions, 1980)

9.     Curtain of Iron (Audio-Visions, 1980)

10.  No One Together (Audio-Visions, 1980)

11.  On The Other Side (Monolith, 1979)

12.  Angels Have Fallen (Monolith, 1979)

13.  How My Soul Cries Out For You (Monolith, 1979)

Disc 3:

1.     Carry On Wayward Son (Two for the Show, 1978)

2.     Portrait (He Knew) (Point of Know Return, 1977)

3.     Sparks of the Tempest (Point of Know Return, 1977)

4.     Miracles Out of Nowhere (Leftoverture, 1976)

5.     Magnum Opus (Leftoverture, 1976)

6.     Icarus – Borne On Wings of Steel (Masque, 1975)

7.     Child of Innocence (Mas            que, 1975)

8.     Down The Road (Song for America, 1975)

9.     Song For America (Song for America, 1975)

10.  The Devil Game (Song for America, 1975)

11.  Death of Mother Nature Suite (Kansas, 1974)

12.  Belexes (Kansas, 1974)

13.  Journey From Mariabronn (Kansas, 1974)

Kansas will celebrate their 50th anniversary with extensive touring in North America in 2023. The band is currently comprised of original drummer Phil Ehart, bassist/vocalist Billy Greer, vocalist/keyboardist Ronnie Platt, violinist/guitarist David Ragsdale, keyboardist/vocalist Tom Brislin, and original guitarist Richard Williams. 

 For a full list of upcoming dates, head to: https://www.kansasband.com/tour-dates/

With a legendary career spanning five decades, KANSAS has firmly established itself as one of America’s iconic classic rock bands. This “garage band” from Topeka released their debut album in 1974 after being discovered by Wally Gold, who worked for Don Kirshner, and have gone on to sell more than 30 million albums worldwide. 

Composing a catalogue that includes sixteen studio albums and five live albums, KANSAS has produced eight gold albums, three sextuple-Platinum albums (Leftoverture, Point of Know Return, Best of KANSAS), one platinum live album (Two for the Show), one quadruple-Platinum single ‘Carry On Wayward Son,’ and another triple-Platinum single ‘Dust in the Wind.’ KANSAS appeared on the Billboard charts for over 200 weeks throughout the ‘70’s and ‘80’s and played to sold-out arenas and stadiums throughout North America, Europe and Japan. ‘Carry On Wayward Son’ continues to be one of the top five most played songs on classic rock radio, and ‘Dust In the Wind’ has been played on the radio more than three million times!

The summer of 2020 marked the release of The Absence of Presence, KANSAS’s sixteenth studio album, which debuted at #10 on Billboard’s Top Current Albums chart.  The wide-ranging progressive rock album, released by InsideOut Music, follows-up 2016’s The Prelude Implicit, which debuted at #14 on Billboard’s Top 200 Albums chart.  

Band picture by Emily Butler.