Tag: John Wenlock-Smith

Review – Orion – The End Of Suffering – by John Wenlock-Smith

I seldom fail to be impressed with folks who take the huge step into the unknown and are prepared to present to the world the music they have created from thoughts or dreams they have held sometimes for many years. I know several who have done this to a great reception and widespread acclaim.

Obviously everyone would like that, which is why reviews can matter through helping to raise awareness and, hopefully, allow an artist to gain traction and, in their profile being raised, generate both interest and push sales forward. I certainly hope this is the case for this Orion album, ‘The End Of Suffering’, as it is most definitely worthy of attention.

A little background might help here, Orion is the name chosen for Ben Jones’s concept album that came about after he read Eckhart Tolle’s book The Power Of Now, which deals with how we address our own internal dialogue between the past and the present. It talks about a personal awakening and enlightenment which incorporates the Buddhist concept that enlightenment is the beginning of the end of suffering. Quite a lofty concept but one rooted in the aspect of how time controls us and makes us slaves to its demands as we struggle to get done what we need to in the time allotted to us. It’s a never ending game of cat and mouse and one that drains, frustrates and depresses on a daily basis. As we are forever chasing our own tails, all for the Mammon at the end of the day/month/year, it’s soul destroying really and this album addresses that cycle in its lyrics.

This album was 20 years in the making, with the book being a pivotal moment towards personal enlightenment and  acceptance. Furthermore, the album was entirely self financed, performed and recorded by Ben Jones, with no intent other than to get the album completed and out to a world and see what happened as a result. Ben also made the CD available on bandcamp at a most reasonable price to encourage folks to listen for themselves. All of which is very laudable but is it any good?

Well this reviewer finds it is a really good listen and, once you understand it’s concepts and ideas, it’s both satisfying and musically very rewarding indeed.

The album begins with a gentle piano motif that is recurrent at times throughout the whole record before a huge riff commences that really opens the sound vista wide. It’s a very impressive riff that really works well and fades to some frenzied fretwork before resuming and then quietening down a little, more power chords then play the track out. As an instrumental opener Now  is a very strong and gripping track, this fades to fast strummed acoustic guitar that opens the second track, In The Beginning. This is a pretty epic song with that great recurring acoustic guitar and a great bass part to it. There is a blistering middle section with lots of frantic bass and crunchy riffing guitar parts and a tidy but brief solo, it sounds double tracked and all the better for that too,

Tomorrow is about how what we do leaves its mark in time and that we should do all we can to make that impression a good one. Again, this has a lot going on throughout and also has a fine solo. It’s a very strong track taken at a pace that doesn’t let up and, with great vocals, it’s one of my favourites thus far. The Hurricane is about the the battles of middle life and keeping control during it. There is another monstrous riff running through it all, making it quite a hard number but a powerful one that leads into Yesterday and its melancholy for the middle years and the opportunities that now seem squandered, again this is a rather epic song of regrets and missed chances.

Out Of Time is about the realisation that it’s too late and time has gone for you, a rather sobering  song really as it faces that difficult reality. Myself and I is about the enlightenment and that time is an illusion of the mind and Out Of Time pt. 2 is the reality that time is a concept and how he is not constrained or beholden to it any longer. The End Of Suffering is the last track of the album and brings us back full circle as it has a similar opening as the beginning of the album and is an excellent closer to a most unusual and somewhat different album. This track has a wall of sound effect at times, similar to Devin Townsend’s dense sound. This track has everything happening at once it is manic and urgent despite being a mid tempo piece. It really is most impressive I really like it.

There is great musicianship and intelligence to this album, okay, it might help to have read the book to fully understand the concept, something I will do for myself in the coming weeks. All in all ‘The End of Suffering’ is a most wonderful release, I highly commend it to all, especially those who like their prog harder and less symphonic.

More info at:

Orion Music – Home (orion-music.co.uk)

Released 5th June, 2023.

Order from bandcamp here:

The End of Suffering | Orion (bandcamp.com)

Review – An Evening Of Innocence & Danger – Live In Hamburg – The Neal Morse Band – by John Wenlock-Smith

Well, this is very different! this set details the first, post-covid, expedition for The Neal Morse Band and was recorded in Hamburg in 2022. Unusually for InsideOut, the set has no accompanying live DVD, which is a pity as the band are on fire for this show. Maybe it was because of them being lockdown totally because of covid but they definitely rose to the occasion here in Hamburg. The show was in the latter stages of the tour so the band were very comfortable with playing these two sets, one of the ‘Innocence and Danger’ album and the second set of longer pieces, The Great Similitude Medley, which features highlights of the band’s previous two albums, ‘The Similitude Of A Dream’ and ‘The Great Adventure’ in an extended sequence. This allowed space for extra parts and for some great improvisation to happen, no doubt all pre-rehearsed and ordered, a band like The Neal Morse Band cannot afford to make errors of judgement and so would have sorted things for such an event.

The album kicks off with a brief overture of about 2 minutes before leading into the opening track Do It All Again, which faithfully reproduces the album version, adding nothing new except the excitement of the live arena, which is itself very good, as is the reception it receives. Obviously the end of lockdown and the return of live shows was important for the band and for the German crowd, who are solidly behind the band. The album continues with excellent recitals of Bird On A Wire, Your Place In The Sun and Another Story To Tell before we are treated to a superb version of The Way It Had To Be with a brilliant, extended guitar section from Eric Gillette, who can sure plank the plank, combining elements and touches of David Gilmour, amongst others. His playing is graceful, melodic and utterly engrossing and captivating. He is a rare talent amongst an outstanding ensemble, also noticeable are the fabulous keyboards of both Neal Morse and Bill Hubauer, whose performance throughout is equally solid and exciting.

Next up is an epic version of Bridge Over Troubled Water (yes, the Simon and Garfunkel classic) which is skilfully delivered, staying true to the original but with prog flourishes like the wah-wah guitar that plays in the opening part. This really is a fabulous version of a really great song, delivered beautifully and with conviction. We are then treated to a rare outing for Waterfall, from ‘The Grand Experiment’ album, this delicate acoustic number also closes the first set.

The second set is spread across discs 2 and 3 and covers Not Afraid Pt. 2 and Beyond The Years from ‘Innocence and Danger’ and also the The Great Similitude Medley. These three track last for over eighty-five minutes so you may need to dig deep for these epic tracks! Expect odd time signatures, excessive soloing and many impressive moments as these pieces are modern day prog at its finest from a group of seasoned professionals. There is a lot going on here including the growling bass of Randy George and the metronomic precision of Mike Portnoy (the man never misses a beat!). This is all highly accomplished and delivered with sincerity and style, the vocals are strong and also clear, the sound is exceptionally defined and focused. Unusually for Neal Morse, these songs are not overtly Christian in their lyrics, which may or not be a good thing depending on your own viewpoint. Rather these songs are possibly more spiritually attuned but open to interpretation by the listener, if so, that is a decision I approve of, no one wants to be preached at, especially at a celebration of music like this.

Not Afraid Pt. 2 is an interesting track with lots of moods in the music and some great sections that together make for a really strong song, it is really an epic performance and there is even more to come, how good is that? The song ends with notes of triumph and resolution, it’s an earnest track that is very well developed and  delivered with style. Beyond The Years is another epic, multi-part suite that together make sone song. As you would expect, this is no shrinking violet of a track it, it has seven parts, one of which is an instrumental section, and lots of words. The song is somewhat oblique in its meaning, although there is religious imagery mentioned in the track. The whole song is complex and takes some listening and attention really. Whilst that’s not a bad thing, it does require effort on the listeners part as it’s not background music, it warrants and requests your full attention to get the most out of it really. This effort is rewarded though with some really inspired playing and sentiments expressed that are within the song.

The final track, The Great Similitude Medley, is a skilful amalgam of songs from ‘The Similitude Of A Dream’ and ‘The Great Adventure’. This encore is just shy of thirty minutes in duration and is a concise distillation of what the NMB are all about. Epic music, usually with a Christian message at the heart, all played with panache and seldom boring or understated. For those who follow the NMB there is so very much to enjoy in the epic concert and 3CD set.

‘An Evening Of Innocence & Danger – Live In Hamburg’ is rather stirring stuff all told and is an unqualified success for the group who have played flawlessly and with real passion on this track making it a remarkable feat. Now, either you like Neal Morse and his band or you don’t and, if you do, you are in for a feast with this album. If NMB aren’t your thing then you will miss out on a great performance of some quality musical statements.

Released 14th July, 2023.

Order from Burning Shed here:

An Evening Of Innocence & Danger: Live in Hamburg (burningshed.com)

Review – The Emerald Dawn – In Time – by John Wenlock-Smith

This highly impressive album will land in September and is already hotly anticipated and I’m sure will be well received as, over the past few years, this Cornish symphonic prog outfit have been wowing crowds from Penzance to North of the border. Quite rightly so too as they have a unique sound, excellent musicianship and offer music of class and quality. Everything is self-produced and they even do their own artwork, although they have a formidable and talented artist in Tree Stewart who has the ability to create artworks that really draw you into the musical adventure. 

This album is their fifth and, once again, you are taken on a magical musical journey. This journey is about the passage of time and how it goes past so quickly that we should make the most of the time allotted to each of us. The album has just three tracks of eight, fourteen and twenty three minutes in duration. Within these tracks lie much skill and invention, take the track Out Of Time, which combines a haunting graceful piano motif with wah wah guitar lines and elements of world (Arabian music) and jazz rock into a unique melting pot but a pot that cooks up a hearty meal. I could go on and on about how exciting and captivating the middle section is with its complex rhythmic sections showing the depth of talent, imagination and skill the group have and exhibit on this track but I think you are best hearing this for yourself when the album is released in September. You will enjoy the recurring melody that carries the song along so very gracefully. It is simply exceptional. Around all this are floating layers of sumptuous keyboards, a jarring Sax and the fluid guitar runs of Ally Carter. Add the breathy vocals of Tree Stewart, the subtle and solidly inventive bass work of David Greenaway and the sturdy and effective drums of Tom Jackson and you can see that this ensemble really know how to create an atmosphere for sure.  

I really love this track and the sentiments that it addresses, making memories that matter and that can sustain you. As one who is personally afflicted with dementia, this music is important and crucial and much needed, although I suspect most of the western world will fail to appreciate and catch the beauty contained in this album but, for those that do, you will find a veritable pot of gold here. Truly impressive and staggeringly wonderful a real joy to behold, I suggest you reserve your copy now and await your time to hear this masterpiece. 

Timeless is a slow burner of a song that tells of a day too quickly over and a day that never ends, our state of mind exudes the pulse on which our time depends! Which are pretty sobering and honest words really. This is a shorter track, well if you call fourteen minutes short! The final track The March Of Time is about how time waits for no man, it merely marches on, nothing lasts forever except the memories you have saved. Running for just over eight minutes, this is a fabulous conclusion to the journey you have undertaken and this album truly is a journey into enlightenment. I feel it calls us all to be responsible stewards of our own time, to seize the day and also to make the most of our time whilst we can. These are welcome sentiments in a busy modern world where we are always hurrying against the clock and yet never winning, somehow this album is a message to us all. The song works to a strident marching track and has an epic guitar solo at the where Alan channels his inner Gilmour whilst Tree sings behind his playing reciting the line, “As time goes marching on.” 

This is all delivered in style and alongside some really great music which, when you take the album as a whole experience, offers a very profound and moving musical journey. Tome, it’s totally different to their previous albums but with enough in common to let you know who they are. This is a really, really good album with great songs and performances. It is all beautifully produced with glorious artwork and I’m sure the vinyl version will look exquisite but, for us shiny disc lovers, this will do just fine.  

Released 23rd September, 2023.

Pre-orders provisionally open on 4th August, 2023 here:

Merch | The Emerald Dawn (bandcamp.com)

Review – The Michael Dunn Project – Bridge Across The Years – by John Wenlock-Smith

One of the best things for me in this strange world of progressive rock is the emergence over the past few years of folks who have revisited their musical dreams and have released their music to the world. Often with collaboration with established musicians, they create some often remarkable, confident and satisfying music. I’m thinking of the likes of Stewart Clark and John Holden who have both offered some truly fabulous music. 

Well, to that list add the name Michael Dunn who, using the ‘project’ moniker, has delivered a prog associated album with lots of AOR influences clearly showing in its blood, think REO Speedwagon, Boston etc. and you’re in the right ball park. Michael, who is 64, is a late bloomer who, after retiring from many years in sales and marketing, has devised a system that allows independent musicians to make a good living from their craft. To test this system, he finally stepped up to make the music he had always wanted to make with assistance from the likes of Andy Tillison, Amanda Lehmann and Joe Deninzon, all of who lend their talents towards making this such a strong, interesting and varied album. 

I came across the album via friends on Facebook who were raving about this great release and also saying what a gracious and splendid fellow Michael Dunn is. Being the person I am, I just had to hear this for myself and I can concur that Michael is a really great guy, friendly, open and passionate abut the music he has made and deserving of a wider audience that he would possibly receive elsewhere. As such, I consider it my duty to do what little bit I can to help this album receive the recognition that it is most worthy of. 

In a year that has seen some great releases from bands like Yes, The Dave Foster Band and Ruby Dawn, to name but a few, this album can proudly stand with its head held high for its six tracks offer varied moods and styles but are all anchored in top notch songwriting and assured delivery with excellent musical support from Michael and his friends in the Project. 

What shines through on this album is the commitment to creating a musical statement that is well conceived, crafted and ultimately delivered convincingly. For a first album to be that assured and confident is to be applauded and recognised. This album may have been 40 years in the making but the results are definitely spectacular and rewarding to hear, especially on the album’s centrepiece Bridge Across The Years, which has three parts to it, how proggy is that? 

The album kicks off in strong form and style with the excellent I Draw The Line, which also introduces the excellent vocals of Diego Viramontes, who sounds slightly like Klaus Meine of The Scorpions, his voice being clear and punchy and having great power to it. He is an excellent foil to Michael’s fluid guitar, also important is the rhythm section of Ginger Pimental (bass) and David Anania (drums) who drive the song along firmly. Better still is the second track Turn Of The Cards which has a great bassline to start with and crunchy guitars firing. This song actually is full of great guitars and has a fine solo that reminds me of Ronnie Montrose’s Gamma albums, it has much power to it as it plays out, there is really something special here as the song ends on a sustained guitar note. 

Then we have the song Let Me Be which features Andy Tillison on Hammond Organ where it sounds truly glorious. The organ swells really are most impressive, they make a song that grows into a slow burning masterful track. When the tune changes tack and the guitar is set free, the organ is there close by adding significant support and style. It really is most impressive, as are the bass of Joe Alvaro and the vocals of George T. Montebruno, whose style is a great fit for the track. Tomorrow Is Today, unsurprisingly, has more than a hint of Kansas (Joe Deninzon is their new violinist), I wonder if this album and track were instrumental in that? One can but wonder, it would be great if it was as his playing here is exceptional and adds gravitas to this impressive track. Another Day In The Modern World follows and this is another slow burn of a song, one with strong lyrics, agreat delivery and more of Michael’s fleet fingered guitar lines!  

This really is an album that delivers on so many levels, strong impassioned music and performances, all of which make this album nothing less than interesting and often inspired. The three part epic album closer, Bridge Across The Years, opens with acoustic guitar and the keyboards of Marc Gladstone and the ever impressive vocals of Diego Viramontes with additional harmony from Amanda Lehmann. Part two of this epic is an instrumental featuring gentle guitar and swirling keyboards from Marc before the final section shows us how to rock once more with a touch of Styx and that great Hammond Organ of Andy Tillison again. This section also has superb harmony vocals from Catherine St Germain and Amanda. This is a fabulous closing piece with lots of powerful performances and great music.To me, what it does lack is a final guitar solo to finish things off but, even so, it’s a great ending section to a great album.

Its especially worth reading The Dream Team page on the website (link below) which details more info about the players on the album and you can see why he is viewed as being a great guy from his comments about his fellow musicians. In short this is a highly recommended release and will invariably end up in my best of the year list somewhere, it really is that impressive and special. 

Released 26th May, 2023.

You can find out more about Michael and order the album here; www.MichaelDunnProject.com 

Review – Gamma: What’s Gone Is Gone, Complete Elektra Recordings 1979-1982 – by John Wenlock-Smith

Last year Cherry Red released a ‘Complete Montrose Recordings’ boxset over 6 CD’s with various single edits and two live studio recordings. After four albums with Montrose between 1973 and 1977, plus a solo album in 1978, Ronnie Montrose formed Gamma with Davey Pattison in 1979. So, in the same tradition, comes this 3 CD boxset of the three Gamma albums made for Elektra before Ronnie Montrose called time on the band, (they did return for a fourth outing in 2000 with ‘Gamma 4’, not included here sadly, nor is there the live album that is currently about from a show in Denver in 1979 when the band were promoting their debut album). 

What is here is good, although the booklet is a little light in background information, somehow it merely reproduces the various album artworks and details the musicians playing. The music is, however, truly sensational, I bought the first few Gamma albums on vinyl and thoroughly loved them, especially the first and third. For some reason. I never really clicked with ‘Gamma 2’ but certainly do within this boxset, the album being a revelation here, sounding crisp and punchy and rocks like a b*****d!

Gamma existed at a time when rock music was undergoing a dramatic remaking. After punk had done its thing, and before the 80’s got into gear, there was a new wave of rock music emerging on American radio rock, with the likes of Bon Jovi poised to change the airwaves considerably. That process was already happening with the likes of Foreigner and Boston taking over the airwaves. 

Gamma were Ronnie Montrose’s own attempt to gain some commercial foothold and offered music that easy on the ear but still had an edge to it. Much of this came about because of his joining up with Glaswegian born Davey Pattison, who had relocated to Los Angeles to further his own career after a sojourn with Robin Trower. He was noticed by Ronnie and invited to join the project that became Gamma. 

‘Gamma 1’ was released in 1979, Pattison’s muscular vocals giving restrained power to tracks like Thunder And Lightning and the awesome epic Fight To The Finish, alongside the twisted tale of streetlights in Razor King, a song possibly inspired by the Glasgow Pattinson had left behind, and a freak instrumental in Solar Heat. There was also the distinctly poppy I’m Alive that, despite its lightweight nature and it vocoder vocals, pummelled along at a cracking pace. 

Pattison reveals himself to be a fine vocalist who has a great tone to his voice. Ronnie Montrose is very active on guitar throughout with punchy rhythm and fills galore. Razor King is a dark tale of violence and some nefarious behaviour, again this song has lot of guitars in it, it is a good track with a great guitar break from Ronnie that powers it along, especially when the guitars compliment Davey’s vocals. Ready For Action is a solid rocker with atmosphere and muscle, the production is busy and bustling with space for great dynamics and muscular bass from Alan Fitzgerald, another ex Montrose member and, once again, Pattison is in fine voice throughout. There is then a bluesy take on Wish I Was by Mackey Newbury and the final track is the brooding, sprawling epic Fight To The Finish which is full of energy and fire along with an epic guitar solo from Ronnie that peaks and the peaks again. It is a marvellous track that was always a favourite of mine back in the day and rounds out what is a varied yet consistent album, as does the second solo that draws the song to a close, a truly great song.

‘Gamma 2’ came out in 1980 and, straight from the off, it is a harder sounding album, still with lots of keyboard embellishments but also with muscular guitar work, Mean Streak being a particularly powerful opener. Again, Pattison is on cracking form, the months spent touring had definitely helped his vocal prowess develop even further. Here he is confident and assertive, with his voice soaring and floating over everything easily and gracefully and commanding respect in the process. The material he is working with is equally assured and the guitar work is fluid and powerful while also melodic and memorable to boot. Overall it makes for a winning combination. 

Dirty City is another gritty number with a strong chorus and excellent keyboard textures that turn into a driving beat amid the lyrics of streetlights tales and the dirt of it all and another blistering solo makes the track fly. Voyager is different again, having, as it does, more of a blues shuffle feel to it. This allows room for lots of blues fills as the song details the loneliness of an astronaut away from earth for a long time. This, of course, was around the time of the initial space shuttle launches when space travel was a distinct possibility once more. The song is hinged on a walking bass line that rumbles throughout in a great manner, it is a great performance that really impresses. I used to have this album on vinyl but never really took to it as well as the debut. Well, the intervening 42 years have now revealed this to be a really strong record, one that has power, muscle, attitude and brawn in spades and makes for a really enjoyable and rewarding listening experience.  

Cat On A Leash is the first sign of a track that promises but somehow fails to deliver, although the closing moments have a spark of life to them. Skin And Bone has beef and brawn to it. Great keyboard textures and more moody bass lines, with Ronnie’s sustained guitar lines, sound very effective indeed. The synth keyboard solo is a bit twee really but it is of its time and doesn’t distract to much. When the power chords charge in the song moves style and impresses greatly. A superb solo closes out the track well leading us into the riffing opening chords of Mayday, an instrumental opening section that Gamma do so well, with fiery guitar before Davey’s strong vocals begin, it closes the album in good form. 

‘Gamma 3’ come out in 1982 and, this time around, there was more emphasis on keyboard textures and sounds. Although the guitar is still present, it plays a less upfront role, with the fireworks largely saved for solo sections. The sound is a lot more radio friendly and focused, although the solo on opener What’s Gone Is Gone is glorious, as is the long sustained note like in Don’t Fear The Reaper, both most impressive indeed.  The album is a lot lighter in tone as a result, although there are undercurrents of power in play. Gamma we’re after a more commercial sound, one that would raise their stature beyond that of a perennial opening act, indeed I saw the band open for Foreigner in Birmingham on the ‘Tooth And Nail’ tour where they were fantastic. Sadly the change of approach failed to deliver any significant benefits with the result that Ronnie Montrose lost interest and split the band up to make more instrumental guitar albums.   

The rest of ‘Gamma 3’ is all fairly lightweight, electronic new age pop music with only occasional moments of merit. It’s a pity that the band went off on a tangent that didn’t really work for them for, while Stranger is a solid instrumental, what we really want are more rocky vocal tracks. Still, you can’t have them all I guess?

The boxset is good but a bit of a missed opportunity really as, without ‘Gamma 4’, it feels incomplete but certainly of interest, if only for ‘Gamma 1’ and ‘Gamma 2’, both of which are excellent.

Released 30th June, 2023.

Order from Cherry Red here:

Gamma: What’s Gone Is Gone, Complete Elektra Recordings 1979-1982, 3CD Boxset – Cherry Red Records

Review – The Book Of Revelations – The Plumes of Encheladus

The Book of Revelations – ‘The Plumes of Enceladus’ is a very interesting release and is the brainchild of one Gerard Freeman who has, for many years, wanted to make an album in which he could entertain his version of early Genesis music. He has done this mainly on his own but with some assistance from Russ Wilson of Genesis tribute act Visible Touch.

Gerard became entranced by the music of Genesis after playing his older brother’s record collection and seeing Curved Air in Sheffield in 1971. He uses samples of vintage keyboards, synths Mellotrons etc. to craft a truly authentic sound, indeed so well constructed and performed is this music that one could believe that you have discovered a hitherto unknown or unreleased Genesis album. Gerard also has a very Gabriel-esque vocal style along with elements of Fish.

Overall this record is captivating, being the best Genesis album you’ve never heard. If imitation is the finest form of flattery then Gerard has triumphed here for sure, he even has the lyrical style of Steve Hackett and the dexterity of Anthony Phillips in the guitar parts. There is more than a passing nod to the likes of ‘The Geese And The Ghost’ with its beautifully layered sound and its overall lightness of touch, it really is most impressive stuff.

The main theme of the album is that of Greek Myology and the tales of Zeus, brothers Prometheus and Epimetheus and Pandora and their tales of destruction and control. The story is not simple and I found it hard to follow. With its subplots of violence, torture and incest, it’s like an prog episode of Eastenders, just with a progressive music soundtrack rather than the Mitchell brothers infighting and it has sections of great intricacies and beauty that really draw you in.

The keyboard work is obviously very Tony Banks influenced and it shows with lots of delicate sections and big chords and sounds. Good use of sampled analogue equipment gives an authentic sound and feel to the music too. Greek mythology was a big part of early Genesis music as the classical trained public schoolboys used that form as an inspiration for much of their earlier years. So this theme works well for Gerrard, it’s like an updated sonically improved version of what had gone before. As a teenager Gerard and his friend transcribed ‘The Musical Box’ and in doing so learnt it’s composition. This was all pre-internet and was very laborious work, it was also very rewarding and satisfying to him and Gerard has redrafted music in a similar style and vein. 

The album has seven tracks, the first five form a suite called Malice À Forethought (a cautionary tale in five parts), there’s another track titled Love Letter from a Newspaper to a Coffee Shop and a further, four part, concept piece entitled The Chthonic Deities Of Vengeance, which is a really great multi-part piece of over eighteen minutes duration and has a real whiff of Supper’s Ready to it. The song has a very dark tone to it but that just adds to its intensity as it uses Mellotrons and synths to fine effect, along with an epic and skilled keyboard break that has distinct echoes of Firth Of Fifth. It is beautifully delivered, although it lacks the majestic guitar solo that elevates that particular song. This track does have a lot going for it, it is sweeping, epic and very good indeed. 

The album’s title was taken from a space related program that Gerard saw where they discovered water in an ice form on one of Jupiter’s moons, Enceladus and, Gerard being interested in that sort of thing, made note of it as a possible title for the album. 

This is a great album and one that I am sure many would relish as it has a slew of treats in a style many would enjoy and embrace.Apparently there is more planned but for now, sit back, embrace and enjoy this rather exquisite epic music as there are such excellent passages and sections to this amazing album. It has a good booklet with lyrics to follow as you listen and excellent artwork. In all, this is a classy album and one I would highly recommend to all.

Released 21st April, 2023.

Order the album here:

The Book of Revelations – The Plumes of Enceladus (slinky.to)

Review – Dave Foster Band – Glimmer – by John Wenlock-Smith

According to the dictionary Glimmer means to shine faintly with a wavering light, which is interesting as I think Shimmer would be an equally meaningful title for what is a rather fascinating album from the Dave Foster Band.  This release is one that uses lots of strong musical passages to get its point across. Through the entire album Dave Foster himself glimmers on the guitar, proving that his association with Steve Rothery is a symbiotic one in which both parties gain significantly in the process.

Take …Or You Steal Some with its creeping bass lines and it’s arpeggio guitar lines that form the thrust of the track. Vocalist Dinet Poortman’s excellent, breathy, and often fiery, vocals add much power and passion to the music the band offer. The song has tasteful guitar work from Dave and a solid rhythm section playing throughout, it’s a rather splendid track that draws you into the music. As does Chasing An Echo which has heavy bass keyboards and slide guitar from Dave that weaves it way through the track hypnotically. This song grows on you with repeated plays, as indeed does the whole album. It’s is a very mesmerising with lots of great highlights and is very ‘Marillion’ in parts, in the sound sculptures it paints, yet it has its own identity and uniqueness retained. Dive In is a little lighter but with a funky backbeat to it, it is a very bouncy number with crashing power chords that elevate the track once again. Dinet’s vocals really grab the attention with her great bland of power and subtlety proving a winning formula. Again, Dave delivers some snake slide guitar that impresses greatly, as does the really excellent solo he offers in the closing moments, blistering stuff! 

Opening track Every Waking Moment is another blistering assault on the ears with lots of feedback and sustained chords and notes being used to good effect. Although it is when the song opens up sonically that the real crunch takes effect, and it is very satisfying when it does. The skill being employed here is very high indeed, especially when Dave delivers another fiery guitar break over a strong throbbing bass part and keyboards. This is really strong and exciting music being played here, barnstorming even. Memory Box is, on the face of it, a somewhat lighter track but don’t be fooled as within its grooves are some searching lyrics about keeping secrets and not being open. This is definitely a radio friendly track with lots contained within its four minute running time. Run is similar with real presence and punch. Again, this rocker is very satisfying, the more I hear this album, the more impressive it becomes. It is a definite grower, the synths looping on this song are most memorable and create a great atmosphere and add to a really good track.

Stigma is another hard hitting track with good power chords alongside a powerful lumbering bass line and good keyboards. This creates a fantastic sound, harmonious and yet powerful at the same time. There are good guitar fills from Dave in this track too, this is a very powerful performance that has melody and dynamism. Another excellent solo rounds the song out well. I love this guitar solo over the crunching rhythm section. I really like this track, it’s possibly the best on the album. The Rules Have Changed is hinged on a spidery guitar riff and more crunchy chord work that drives the song along nicely. The riff is repeated again, as are the punchy chords, which, combined with Dinet’s excellent vocals, work really well and create a great atmosphere. More guitar lines are added as the riff powers up before another fine Dave Foster solo really impresses.

This album has really grown on me over the past few weeks as I find much to appreciate and to enjoy within its grooves. It is a very accomplished and well produced set of songs where nothing outstays its welcome. Several of the tracks are absolute belters and make the album highly worthy of your attention as it is really very good indeed. I highly recommend it, now to check out his earlier releases I think.   

Released 19th May, 2023

Order digital from bandcamp here:

Glimmer | The Dave Foster Band (bandcamp.com)

Order CD & vinyl from Burning Shed here:

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John Wenlock-Smith interviews Steve Howe

John Wenlock-Smith: Good day Steve, trust you are well?

Steve Howe: Hello John, yes, I’m fine thanks, trust you are too?

JWS: Let’s talk about the new Yes album, ‘Mirror To The Sky’. 

SH: If you have questions, I should have the answers!  

JWS: Is there an underlying theme to the album? 

SH: Yes have only done one themed album (‘Tales From Topographic Oceans’), other things we have talked about but aren’t really thematically related as such. 

JWS: I’ve heard the new album, I like it and the fact that you are doing longer songs. Once again, I think it is an approach that really works for you. 

SH: After ‘The Quest’ and the good reaction it received, we were inspired to carry on and content to make more new music as we had songs written to work with. This album is the result of that time. 

JWS I saw you in Manchester, it was very good and I enjoyed it a lot. You turned in a good show that day.

SH: Thank you, glad you enjoyed it. We enjoyed that short run of shows and it went down well, apart from York which didn’t go so well, I’m afraid.

JWS: I have a question from my friend who asks about your involvement with Queen’s ‘Innuendo’ album. How did that come about? 

SH: I was in Montreux in a restaurant that I like when a guy called Martin spotted me and invited me to the studio (Mountain Studios, where Yes recorded the ‘Going For The One’ album). As I’d finished my meal, I happily went with him to the studio and the band wanted to play me the album. After which they asked me to play on the track Innuendo, as they wanted something extra in the guitar department.

When I pointed out that Brian had done lots of guitar they said they’d still like me to play on it and gave me free rein to play whatever I liked. So they played me the track and I just improvised as I am quite used to doing that, jumping in and creating on the fly. They liked what they heard so, after we’d had dinner together, we returned to the studio and put the two takes together, making what you hear on the album. It was a fun day with great friends. 

JWS: I have a question about GTR. Wow come you didn’t record a second album? Is that something you would consider revisiting 30 years on?  

SH: Well we did record a live album for King Biscuit Hour in Germany, I think? (it was actually in Los Angeles in 1996) but we split the band after that and, whilst certain parties wanted us to do it again, it adds a certain complexity with managers and timings etc. Finding time in what I’m doing now means doing it all again would be a huge undertaking. I’ve moved on from those days, although I did enjoy that time, we had a lot of fun doing those tours. It was easier to revisit Asia actually but, again, I had to curtail that as I was busy with Yes. 

JWS: So, Yes is your main focus these days then?  

SH: It is really, especially as we are on a creative roll at the moment, things are going well, plus I still have my solo stuff around to keep me occupied. 

JWS: So the tour this year was postponed because of insurance issues? I was looking forward to the ‘Relayer’ shows actually.

SH: Yes, we decided to postpone those shows after a few years of uncertainty over them and the insurance was a major factor, but not the only factor.

JWS: You probably have lots of demand on your time with everything you are involved with? 

SH: Well, actually, I don’t. I have Yes and my solo stuff and I control what I do so that I run it, not the other way around.  

JWS: I’ve written a review about it (the new album), I was generally positive about it, I said that Genesis and King Crimson have ended and Deep Purple and BOC are nearing the end and, really, we should respect that and appreciate you while we still have you.

SH: Good perspective and insight for us all, I think! 

JWS: Well, I think that’s it from me apart from to say thank you for your time and trust the album goes well for you and hope to see you next year in Manchester  

SH: Thank you John.

 The new Yes album, ‘Mirror To The Sky’, is out now and available to order here:

Mirror To The Sky (lnk.to)

  

 The band will be performing ‘The Classic Tales of Yes’ Tour in 2024:

Review – King’s X – In The New Age – The Atlantic Recordings 1988-1995 – by John Wenlock-Smith

King’s X first came to my attention through an article in Kerrang, of which I was a regular reader, they certainly sounded intriguing. This was proven when I found a promo copy of their debut album ‘Out Of The Silent Planet’ in a local record store, well it was actually a tiny shop tucked in a very narrow street, Swordfish in Needless Alley in Birmingham City centre. Neither of these exist there now and have been replaced by another shopping mall. Swordfish relocated, as I discovered last year, and is still an interesting place to visit. 

Back to King’s X , this set is a collection of their first six albums for Atlantic, ‘Out Of The Silent Planet’, ‘Gretchen Goes To Nebraska’, ‘Faith Hope Love’ , ‘King’s X’, ‘Dogman’ and ‘Ear Candy’, along with a whole slew of single versions and live tracks that complete the package. There is also a tasteful and informative booklet that gives more information about the band and the history surrounding these albums. 

The music is, in the main, sensational, although I do feel that the band made a misstep with the overly grungy ‘Dogman’, an album that disappointed me greatly upon its release, time to see how I feel about it twenty-plus years later… 

The debut and sophomore releases albums both sound excellent and prove that this group had value and that they could deliver live on stage, as was proven when I saw them at Nottingham Rock City in the early 1990’s. They were crafting a different sound, one in which melody and harmony were met with real crunch and power to make something special. The distinctly Beatles influence in the harmonies and voices made for a very unusual sound and one that really worked, along with the fiery and often psychedelic guitar of Ty Tabor and the solid whump of Doug Pinnick’s muscular bass driving the music forwards, this was a new style of rock, a very impressive one too! ‘Out Of The Silent Planet’ contained some great songs like Goldilox, which has great vocals and great guitar tones and solos. This was 1988, to be fair, but listening again thirty-four years on you can still sense the sheer brilliance and innovation the group offered the casual rock fan. Unsurprisingly the U.K. took them to their hearts and, whilst they may not have become huge, they certainly garnered much acclaim. 

Even better was their sophomore album, ‘Gretchen Goes To Nebraska’, which carried the style further, marrying crunching guitar and multi-part harmonies in a truly exciting amalgam, as displayed on the blistering rocker Over My Head and the gorgeous Summerland, both of which had the magic combination. Also of note is the funky take Everybody Knows a Little Bit of Something, which is another fiery performance. Over all of this you hear all sorts of influences, apart from the Beatles you can detect the funkiness of Sly Stone, Jimi Hendrix like guitar virtuosity and James Brown, to name but a few. There are also delicate acoustic parts like in The Difference (In the Garden of St. Anne’s-On-The- Hill) that allow this band to make one of the outstanding albums of the late 80’s and one that still impresses today. 

King’s X continued by making the third excellent album in three years with ‘Faith Hope Love’ in 1990. Opening with the strong, stirring We Are Finding Who We Are to kick things off in style. Doug Pinnick’s bass and vocal really drive this track along, the Beatlesesque It’s Love follows with its blend of vocal harmonies melded to a solid riff. I have to say this album has its moments but is not a strong as the previous two, maybe they were running out of ideas or the touring had taken its toll. Moanjam is still a great workout/jam for the band and things improve with I Can’t Help It, Talk To You. We Were Born To Be Loved and the nine minutes of Faith Hope Love with its spirituality clearly present. Whilst King’s X had christian faith, they wisely didn’t let that define them. These things are individual and personal, they recognised that and acted accordingly.

The next we heard from the band was their self-titled, fourth album which was another strong set of songs, although heavier and moving towards the grungy sound that they would explore more fully on the ‘Dogman’ album. This album brought changes, they split from long-time friend and manager Sam Taylor and opted to employ Brendan O’ Brien’s services as producer. He had previously produced albums for the likes of Pearl Jam and The Black Crowes and he bought a 90’s grunge rock sheen to the band. This the album on which I lost interest in the band as I didn’t feel their sound worked for me any longer. That was 1994, so nearly thirty years ago now, and, in retrospect, that was possibly a misjudgement on my part as upon rediscovering this album, it is far better than I recall. Whilst the sound may be more brutal and harsh, it still rocks strongly. In addition, much of what endeared me to those earlier albums is still present in places. The song Shoes, for example, rocks with a vengeance. In fact, overall, the album is a slow burn that sneaks up and overpowers you making a solid impression and I actually like it now. 

The final album in this set is 1996’s ‘Ear Candy’, an album I completely ignored despite my friend Steve saying it was a good one. Well, surprise, surprise, he was right. Although it disappointed the critics, ‘Ear Candy’ is a great album full of psychedelic touches, strong songs and inspired tracks like opener The Train, that has more than a whiff of Enuff  Z Enuff about it. A Box is anther fine song on offer here but, sadly, this album was to be their last for Atlantic after which they spent most of the next two decades on independent labels, releasing a lot of albums that  sank without a trace until 2005 when they were signed to Inside Out (prior to that becoming part of Sony Music) and released the excellent ‘Ogre Tones’ and ‘XV’ albums and a live set. Recently they have released ‘Three Sides Of One’ which is a definite return to form. 

King’s X continue still and, whilst much older now, they are still making good music that mixes psychedelic rock, some progressive elements and fabulous harmonies. This set is an excellent summation of their days with Atlantic as you will find much strong, vibrant music and is highly recommended, especially for fans of the band.

Released 10th April, 2023

Order from Cherry Red here:

King’s X: In The New Age – The Atlantic Recordings 1988-1995, 6CD Box Set – Cherry Red Records

Review – Djabe & Steve Hackett – Live in Györ – by John Wenlock-Smith

I guess most musicians have the need for another outlet for their talents, whether that comes via guest appearances, collaborations or side projects. Think of projects like GTR or Squackett ,which both feature Steve Hackett in a role very different to his own solo career. Steve has always looked for such opportunities and, when he guested on an early album by the Hungarian jazz/rock band Djabe, ‘Sheafs Are Dancing’, in 2003, Steve enjoyed the experience so much that he was happy to appear with Djabe in 2004 in London. Their friendship continues to this day with both acts working together to create a whole raft of excellent releases, a lot of which are live sets captured in Djabe’s native Hungary and Sardinia, among others. This meeting of kindred spirits extends to Djabe band members appearing on Steve’s own albums regularly, with their own world jazz stylings helping Steve explore different sounds and textures.

Djabe are all very accomplished musicians in their own right and their work with Steve Hackett is certainly a symbiotic relationship with both parties benefiting. This new 2CD & Blu-Ray set ‘Live In Gyor’ certainly proves the point, containing, as it does, several tracks from the ‘Back To Sardinia’ and ‘The Magic Stag’ albums, alongside selected Genesis songs and Steve Hackett solo tracks. What is very apparent from the start is just how this outside role elevates Steve’s own playing, with some very tasty, expressive and fiery guitar on show, the band are on excellent form and all seem to be relishing the experience.

The album that accompanies the Blu-Ray is a very fine one too with three extra live tracks that round the set out. For me, the one noticeable difference is that, on this show, Steve is playing a Fernandes guitar with a floating bridge/tremolo so he can really hit the whammy bar vigorously, which he does to great effect throughout. Normally Steve uses his Gold Top, so this change is an interesting one, the sound is immaculate and enjoyable to hear and watch, the visuals being equally as strong. If you have ever wondered if Steve can repeat the epic solo on Firth of Fifth on a strategy style guitar the answer is here, you can watch him do it with style, alongside seeing his famous tapping style, a skill that Eddie Van Halen utilised and elevated to an art form.

Also worth of note is the extremely dextrous bass playing of Djabe’s Tamás Barabás, whose playing is the anchor on which everyone can pivot, along with Gabor Olah on drums. Together they hold everyone together and give them a perfect solid platform from which to soar and fly. Seldom have I witnessed such sheer joy like this excellent and skilled performance. It’s such a strong set with  chance for everyone to shine, the music is world jazz music with Hungarian touches and instrumentation. This excellent set offers lots of extra features and extra music and I can’t recommend it enough as it really is an excellent set of performances with songs played by musicians who are at the top of their game and not afraid to let the music do the talking. This music certainly talks loudly and demands your attention.

As with a lot of these Djabe/Hackett sets there is a degree of overlap but, even so, there is enough new stuff to make this an essential and worthy purchase. As always the packaging and attention to detail is very impressive as, of course, is the sound which is exemplary with great separation and clarity. The whole show is beautifully captured and must have been truly magnificent and unique.

No doubt there will be more to come from this union and I personally  am very hopeful for further magic from these hugely talented parties. So, my advice is to get a hold of this great set as soon as possible and appreciate seeing some masters at work. Play and enjoy it in the confines our your own home and let the music tell its own joyful story for you. This really is a most worthwhile album especially if you like world music, jazz/fusion, Steve Hackett or even all three!

Released 28th April, 2023.

Order from Cherry Red here:

Djabe & Steve Hackett: Live In Gyor, 2CD & Blu-Ray Edition – Cherry Red Records