Archive for May, 2010

Colosseum II

May 31, 2010

(Maaf, tret ini saya update tgl 1 Juni 2010 dengan menambahkan album lainnya yaitu “Strange New Flesh” krena album ini dahzyat dan sayang kalau ndak di”include”kan …. Jadi, judul tretnya ya disingkat jadi Colosseum II ajah …)

JRENG!

Atas permintaan mas Yuddi, maka saya bikin tret Colosseum ini meski sudah dibahas panjang lebar di tret Menggapai Pelangi. Tapi tak apalah, namanya pun blog gemblunk…ngomongin Dio bisa nggladrah kemana-mana malah sampe ke Colosseum dan John Mayall pulak.

Saya sendiri kalau tidak ada kaset Yess jaman dulu ya ndak bakal kenal kelompok Colosseum II, bentukan dari Jon Hiseman (ex Colosseum yang bubar tahun 1971). Wah sejak denger kasetnya, saya kagum banget sama band satu ini karena musiknya rancak banget. Dari kaset ini saya kenal nama-nama seperti Gary Moore dan Don Airey (meskipun ini orang baru benar2 beken setelah gabung Deep Purple karena Jon Lord uzur).

Monggo dibahas band ini ….

Kasetnya masih mulus mas ...

Studio Album, released in 1977

Songs / Tracks Listing

1. Put it this way (4:54)
2. All skin and bone (3:49)
3. Rivers (5:48)
4. The scorch (6:02)
5. Lament (4:38)
6. Desperado (5:58)
7. Am I (4:15)
8. Intergalactic strut (6:00)

Total Time: 41:24

Lyrics

Search COLOSSEUM II Electric Savage lyrics

Music tabs (tablatures)

Search COLOSSEUM II Electric Savage tabs

Line-up / Musicians

- Don Airey / keyboards, synthesizers
- Jon Hiseman / drums, tubular bells, Latin percussion, gongs
- John Mole / bass
- Gary Moore / vocals, guitars

Releases information

Lp. MCA Records MCA-2294 / Cd. One Way Records OWCD 22081 (1993)

Kenal Gary Moore dan Don Airey

4 stars Electric Savage had received little attention for me personally by the time it was released for relatively simplistic reason: it has no vocalist and not really rock. It’s totally wrong assumption as I finally found that prog does not necessarily mean having vocals. I only enjoyed this album in great details about four years later when I first identified that the musicians involved in this album were really talented. In fact after I knew and could fully enjoy this album, I chased the albums where the musicians involved in this band at their future activities. This included Don Airey whom later visited my country to performed a live concert with Deep Purple replacing Jon Lord – three or four years ago, I guess.

The opening track “Put it This Way” (4:54) has no compelling name but the music demonstrates the kind of caliber the musicians involved in the band. Gary Moore whom I knew more in the arena of rock and blues, unexpectedly plays pivotal part in the whole composition of this track as well as the whole album. “All Skin and Bone” (3:49) starts ambient with the exploration of gong – I guess it’s played by Jon Hiseman. The music features guitar solo with relatively steady rhythm section but with energetic and inventive drumwork by Hiseman. Really cool!

“Desperado” (5:58) delivers a music which blend fast speed jazz-rock fusion and abrupt music styles featuring great soloist: stunning electric guitar solo by Gary Moore and rapid fire finger punching keyboard by Don Airey. You can observe the virtuosity of drummer Jon Hiseman as well through this track. His work is not just augmenting the music flow and keeping the beats but it also includes giving the rich texture of the music. Definitely Desperado is one of the best tracks in progressive music vein! “Am I” (4:15) provides some sort of musical break from high speed music because the track starts with a slow tempo music featuring simple keyboard and guitar. The guitar enters the scene and brings the music into higher notes in a bit bluesy style. The electric guitar solo is really stunning – augmented with chopping chords of keyboard with jazzy rhythm style.

“Intergalactic Strut” (6:00) starts wonderfully with dazzling work by Hiseman on his drum set. It’s an energetic opening because his style is truly dynamic and energetic. When the full music containing guitar, keyboard and bass enter the music, this song offers relatively fast tempo jazz rock fusion stuff with interlude part featuring guitar solo in medium tempo. But the music then turns out to be complex and speedy when the keyboard takes role as soloist in fast tempo style. It’s a great tempo changes that combine diverse styles. It’s one of my favorite Colosseum tracks.

If you love jazz rock fusion music, this album is highly recommended! You will find the virtuosities of musicians involved as well as energetic music with excellent composition. Keep on proggin’ ..!

Peace on earth and mercy mild – GW

——————————————

“Strange New Flesh”

Colosseum II Strange New Flesh album cover

Studio Album, released in 1976

Songs / Tracks Listing

1. Dark Side Of The Moog (6:17)
2. Down To You (9:05)
3. Gemini And Leo (4:48)
4. Secret Places (3:59)
5. On Second Thoughts (7:30)
6. Winds (10:23)

Total Time: 42:02

Track listing of Castle 2CD remaster (2005):

Disc 1: (67:16)
1. Dark Side Of The Moog (6:17)
2. Down To You (9:05)
3. Gemini And Leo (4:48)
4. Secret Places (3:59)
5. On Second Thoughts (7:30)
6. Winds (10:23)
7. Castles Version 1. (previously unreleased demo 1975)(11:09)
8. Gary’s Lament (previously unreleased demo 1975) (7:00)
9. Walking The Park (previously unreleased demo 1975) (7:05)

Disc 2: (79:01)
1. Night Creeper (previously unreleased demo 1976) (3:46)
2. The Awakening (previously unreleased demo 1976) (11:43)
3. Siren Song (previously unreleased demo 1976) (6:55)
4. Castles Version 2. (previously unreleased demo 1976) (5:00)
5. The Scorch (previously unreleased demo 1976) (4:39)
6. Rivers (previously unreleased demo 1976) (4:27)
7. Interplanetary Slut (previously unreleased demo 1976) (5:32)
8. Dark Side Of The Moog (BBC session, In Concert, June 1976) (9:00)
9. Siren Song (BBC session, In Concert, June 1976) (12:13)
10. The Awakening (BBC session, In Concert, June 1976) (15:46)

Total Time: 146:17

Lyrics

Search COLOSSEUM II Strange New Flesh lyrics

Music tabs (tablatures)

Search COLOSSEUM II Strange New Flesh tabs

Line-up / Musicians

- Don Airey / keyboards, synthesizers
- Jon Hiseman / drums, tympani, gongs
- Gary Moore / guitars, vocals
- Neil Murray / bass
- Mike Starrs / lead vocals

Releases information

LP Bronze Records ILPS 9356
CD OneWay Records OWCD 30647
2CD Castle Music CMQDD 1198 (2005)(Digitally remastered by The Town House)

5 stars This debut album of a newly reformed band was truly a progressive rock band to the corner! The music is a blend of jazz rock fusion in the vein of RETURN TO FOREVER (“Romantic Warrior” album, especially), GONG as well as classic rock music in the vein of JAMES GANG (“Bang”, “Straight Shooter” albums, especially) and also TRAPEZE – Glenn Hughes era (Medusa album, especially) or TOMY BOLIN (“Teaser” album, especially) or collaboration work of Carmine APPICE, BOGART and Jeff BECK, or FRUMPY. But of course there are plenty of prog elements of their own that cannot be compared with others. The vocal quality of MIKE STARRS is similar to GLENN HUGHES with a more jazzy style. I find that each track has a very unique music style so that I need to comment one by one.

The opening track “Dark side of the Moog” blew me at fist listening. It has a dazzling and powerful keyboard / moog works combined with stunning guitar fills by Gary MOORE. Honestly, it was this track that cause me to buy the CD due to our local classic rock radio station M97 aired “The Dark Side of The Moog” sometime in 2000. This track has a full of energy and frequent changing tempos. The first half of the track is an upbeat, fast tempo music that reminds me to AL DI MEOLA early works (“Racing with the Devil ..”?). When it reaches the middle of the track, suddenly the mmusic changes to a moderate tempo. Overall, I can sense bits of RETURN TO FOREVER and GONG. It’s a powerful and uplifting instrumental track. The solo keyboard is really fascinating – played in a high speed and combined with great electric guitar. This is the DON AIREY and GARY MORE collaboration – their instruments dominate the track.

“Down to you” is a mellow track with melodic guitar fills. The music is heavily influenced by a blend of classic rock, jazz and classical music. It has a dazzling keyboard in the vein of Chick Corea plus unique voice of Mike Starr. It’s definitely an enjoyable track.

The music then moves to an upbeat “Gemini and Leo” track – an interesting track whereby the music is heavily influenced by jazz, funky and rock; it reminds me to a song “Superstition” performed by Carmine Appice, Bogart & Jeff Beck; not in terms of similarities, but more on the nuances and energy. Even this track is much more energetic. MIKE STARR singing style in this track is really superb. For those of you who love classic rock, I assure you that you would definitely enjoy this track. The bass line by NEIL MURRAY is also excellent. At the concluding part of the track you will find an interesting short piece with a nice harmony. This track is killer!

“Secret places” is still performed in similar vein as previous track in relatively moderate tempo. I find the electric guitar solo is more in the vein of classic rock music but the singing style is in jazzy and funky style especially when it is accentuated by keyboard sounds. Overall, this track is composed in one tagline melody with moderate changing tempo.

“On second thoughts” intro almost reminds me to the intro of “Mean Mistreater” of GRAND FUNK RAILROAD – a classic rock band of the 70′s. It has different melody though; in fact the music is totally different. It’s a mellow and nice track with soft electric guitar touch at the opening part. Again, MIKE STARR singing style is excellent – accompanied with keyboard based music . This track is relatively popular in my country as it sometimes was aired in local classic rock radio station, M97. The electric guitar solo during interlude is fascinating. This track reminds me to “This Time Around” by Deep Purple. They are not the same but they s hare similar “nuances”.

The concluding track “Winds” is really fabulous! This is really the final ecstasy of overall enjoyment pleasure listening to this album in its entirety. Opened with a fantastic solo drumming of Jon HISEMAN that reminds me to BILLY COBHAM (especially in the intro of “Stratus” where he collaborated with TOMY BOLIN) or STEVE GADD. Hey, I have been listening to the CD of this album eleven times before I write this review and I had no experience of getting bored even a little bit. And this track deserves high mark as it concludes overall presentation of the band in excellent manner. You name it, any instrument and vocal line performs excellently in this track. The bass line is so dynamic, accompanied with punching keyboard work and filled with electric guitar work plus .. dazzling drum works by Jon Hiseman. Mike Starrs voice is so powerful!!! Oh my friend .. I’m so speechless on how how should I comment about this wonderfully crafted track! BTW, I’m writing this review while listening to this track and it really moves up my emotion, positively! It’s a very energetic and soulful track!

Well, what should I say with this album – especially having reviewed track by track? It’s a masterpiece, my friend. Yeah .. it’s a masterpiece! I don’t mind to be blamed as being so naïve, but I TRULY believe that this album has been UNDER-RATED. It should have been considered as a LEGENDARY PROG ROCK album. The rationales are: it has very strong and tight composition, well structured melodies, optimum balance between melody and improvisation, great musicianship, excellent performance and .. excellent production. So, it’s a FULL FIVE STAR rating for this album. I assure you that if you listen to this album, you will definitely give at least four star. It’s impossible that you would rate less than 4 star, impossible! The band would not allow you to rate this album less than 4 star as they have produced a masterpiece album! Yes, I’m a neo prog lover and this kind of prog is actually not in my cup of tea. But, I have to be honest and fair that this album is wonderful! I can’t wait to review the other two albums: “Electric Savage” and “War Dance” that I have in my collection as well. Oh man .. life is so beautiful with this kind of great prog music as this band has produced.

Spock’s Beard “Octane”

May 26, 2010

Ini memang bukan album terbaiknya Spock’s Beard, namun saya suka album ini karena musiknya bagus plus di album ini mereka membuktikan diri sebagai band yang masih bisa memberikan karya musik berkualitas setelah pentholannya, Neal Morse, keluar. Di album ini juga ada lagu indah yang setara dengan “Heart of Lothian” nya Marillion, judulnya adalah “Of The Beauty of It All”. Luar biasa sekali.

Di tahun 2005 saya pernah diminta me review album ini oleh situs prog terkenal, yaitu DPRP (Dutch Progressive Rock Page) bersama dua orang reviewer lainnya. Ini lah tulisan saya itu.

Spock's Beard  - Octane'

Studio Album, released in 2005

Songs / Tracks Listing

1. The Ballet Of The Impact (5:34)
(I) Prelude To The Past (4:53)
(II) The Ultimate Quiet
(III) A Blizzard Of My Memories
2. I Wouldn’t Let It Go
3. Surfing Down The Avalanche (3:43)
4. She Is Everything (6:46)
(I) Strange What You Remember
(II) Words Of Forever
5. Climbing Up That Hill (3:31)
6. Letting Go (1:52)
7. Of The Beauty Of It All (4:53)
(I) If I Could Paint A Picture
(II) Into The Great Unknowable
8. NWC (4:16)
9. There Was A Time (4:58)
10. The Planet’s Hum (4:42)
11. Watching The Tide (5:07)
12. As Long As We Ride (5:35)

Total Time: 55:50

Special Edition Bonus Disc:
1. When She’s Gone
2. Follow Me To Sleep
3. Game Face
4. Broken Promise Land
5. Listening To The Sky extras from “A Flash Before My Eyes”:
6. Someday I’ll Be Found
7. I Was Never Lost
8. Paint Me A Picture
9. The Formulation Of Octane (video)

Lyrics

Search SPOCK’S BEARD Octane lyrics

Music tabs (tablatures)

Search SPOCK’S BEARD Octane tabs

Line-up / Musicians

- Nick D’Virgilio / lead vocals, drums, percussion, guitar, bass, programming, keyboards
- Alan Morse / guitar, theremin, saw, cello, vocals
- Ryo Okumoto / keyboards, vocals
- Dave Meros / bass, bass pedals, French horn, vocals

Releases information

CD Inside Out

Cut Paste dari DPRP:


Visit  the Official Spocks Beard Website

Introduction

Monday 31 January 2005 sees the European release date for the Beard’s Octane and as we did back in 2003 with the release of Feel Euphoria we are undertaking another Round Table Review to mark this event. Octane is the 8th studio release from the band, but more poignantly the second since the departure of Neal Morse. After Feel Euphoria, there was much debate on how the Beard’s would sound without the considerable input of Neal. Some critical leniency may have been afforded the guys on Feel Euphoria, and all in all the album was favourably received, however one always felt that the acid test would be their second release. So two years down the line, how will Spock’s Beard fair with Octane and what, if any, changes might the band have made to their sound and song writing style?

As with many of InsideOut Music’s releases, this album comes in two formats. A standard version (reviewed here) and a Special Edition version. The Special edition offers two discs instead of one, a digibook instead of jewel case, a booklet with 24 pages – bonus tracks, and a multi media section.

Ed’s Review

A Flash Before my Eyes is an epic of roughly half an hour. Now, probably half of you are thinking “Yeah, great ! Another big one !”, while the others might think “Oh, no, not again ! What’s wrong with keeping songs under ten minutes ?”. As far as Spock’s Beard is concerned I’m probably in the latter group and I found Guy Called Syd a very forced and weak attempt to write a big epic in the Morse vein. Hearing that the band was working on another one that would fill half the album had me a bit worried. I shouldn’t have been. This epic is much more like a handful of songs that share the same theme and just a few recurring melodies. It’s not your regular ‘let’s turn 10 minutes of music into 30′ affair. As a matter of fact, most of the songs stand up very well on their own. Also, most of the highlights of the album are indeed incorporated in this ‘epic’, making the other songs feel almost like filler material.

One thing which becomes very clear while listening to A Flash Before My Eyes is that the Beardy Boys have shaking off their legacy and instead of trying to recreate the old ‘Morse Beard’ sound they have chosen their own path. This means that the typical Morse sound, time signatures and quirkiness is gone and has been replaced by a more accessible, mainstream sound. However, don’t fear. There’s still enough proginess to detect and there’s still loads of keyboard and guitar solos. Overall though, the band sounds more like e.g. Salem Hill than the old Beard. So if you, like me, liked the first half of the previous album and/or also liked Nick D’Virgilio’s solo albums, you will not be disappointed by this CD. It’s not a classic, but a very descent album which is much more enjoyable to listen to than forcing yourself to hear recycled music all the time (if you know what I mean). If however, you were disappointed with Feel Euphoria and think that Neal Morse’s last two solo albums were God’s gift to mankind (pun intended), than you might want to steer away from this album.

Someone who did not steer away was the protagonist in A Flash Before My Eyes, who dies in a car crash and sees his life pass in a flash before his eyes. Most of the epic therefore is a flashback of moments that made a big impression in his life; childhood, adolescence, falling in love, the works. Well, not the most original idea for a concept, but it does offer some beautiful subject matters to tie together a few song.

The Ballet of the Impact opens quite heavily with Mellotron, powerful guitar and drums, a very Genesis-like quiet intermezzo with flute (‘hold on, did I put Foxtrot on by accident ?’) and introduces some of the heart wrenchingly beautiful melodies. I Wouldn’t Let it Go is an accessible but nevertheless wonderful semi-ballad while Surfing Down The Avalanche is one of the heaviest things the band has ever done. Being sandwiched between these other beautiful songs it did take me a while to get used to it, but eventually I got to appreciate the almost Metallica-like greasy riffs, thunderous bass lines and grunted vocals. Maybe the ballad which follows, She is Everything, is all the more beautiful after this musical violence. And beautiful it is ! I did find it resembled Morse’s It’s All I Can Do a bit, although this new song is far superior. It also features an almost Floydian guitar solo by Al Morse at his best.

Climbing Up That Hill brings us back in the up-tempo range and could easily have been taken from D’Virgilio’s solo album, as some of the other songs on the album. A real toe-tapper ! Letting Go is a nice instrumental organ intermezzo and finally Of The Beauty of it All brings back the melody from the opening tracks and leads into the obligatory big guitar and synth finale. Indeed, some things don’t change in this band.

As mentioned, the other songs almost feel like fillers on the album. Which doesn’t mean that they are bad though, although I never get the same attention-grabbing quality as with A Flash Before My Eyes. NWC is a great instrumental that would work quite well as a show-off energizing show opener. It’s almost as if you’re listening to an old vinyl album again, where you need a really impressive opener to get you in the mood again after having flipped the record.

There Was A Time is another straightforward tune that could have come from Nick’s solo album, but again a very good one at that.
The Planet’s Hum is a another difficult one. It’s got some great stuff like a fine bass intro and fugue style flute and acoustic guitar before some amazingly heavy riffs kick-in, followed by aggressive grunted vocals. This song is to the second half of the album what Surfing Down the Avalanche is to the first. And there’s so much happening in less than 5 minutes, it’s almost overwhelming. I guess this is a good piece to play in certain moods (read: those moments you like to jump around the living room like a brainless baboon – what ? you never get that ?).

Watching the Tide is a fine ballad that I feel could definitely have been on a solo album by Nick if Morse had still been in the band. Finally, As Long As We Ride is a typical American AOR rock tune. One of those tunes that has Route 66 written all over it. Nothing wrong with that, consider it a light-hearted way to close off the album. Oh, and before I forget to mention it, it’s got some marvellous scatting-acoustic guitar interplay.

Seemingly bass player Dave Meros wrote a lot of material for Octane. I was already very impressed with his compositional contribution on Feel Euphoria but Octane once again proves that this guy should have been let out of the can much earlier. All in all Octane is a fine album and definitely gets a recommendation. As said, it’s not an instant classic but a highly enjoyable album nevertheless deserving full respect !

Gatot’s Review

When I listened to the sample of The Beauty Of It All through the band’s website – it really blew my mind, as the music was melodic and beautifully crafted. I thought the band had pushed their music forward into a more symphonic vein. Then I received the promotional CD and spun it right away for appropriate scrutiny that I hoped would kill my curiosity. I was surprised with the fact that the album offered a wide variety of styles from hard rock, ballad and symphonic prog. As this new album represents the band’s second release in post Neal Morse era, I think it’s fair to compare with their previous album: Feel Euphoria. In terms of musical styles both albums are similar. Then I spun the CD on and on and I experienced some shifts in emotions about the music. The first write-up I completed right after five spins and I revised it again after 8 times. It has grown on me steadily until it settled down firmly at spin 10 onwards, and I think I’m ready to give my final view, having listened to it approx 14 times.

As their previous album had an epic called A Guy Named Sid, the first seven tracks of this new album form an epic too: A Flash Before My Eyes. I expected the epic would contain a stream of music through seven songs that build up into a cohesive whole. My first five spins of this CD did not sound that way. Each tune seemed like a stand-alone piece that had a loose – or even none – tie with the others. It’s OK if the tagline melody for each tune is different, as it supposed to be, but it must have had a smooth transition that connects to the next tune. Good examples are: Marillion’s Misplaced Childhood or Rick Wakeman’s No Earthly Connection. But, it has then grown slowly on me with the more spins I did. Now I can see some sort of connections of loose ends through musical nuances, even though most of them were not properly polished in such a way that create smooth transitions. I would say, it lacks structure and coherence as an epic. This does not mean each track is a bad one – most tracks are excellent. Beside the epic, the other five songs also vary in styles and compositions.

Let’s have a look on track by track basis …

The Ballet Of The Impact – is a rocking track with a driving rhythm section. It blew my mind at first listen and made me curious about the next tracks. It starts off with a Mellotron sound, reminiscent of GenesisWatcher of The Skies intro, but in a more modern sound. The howling guitar in the background soars and gives the music a rocking style – a blend of Hackett and Fripp – it’s really stunning, Alan. It has a relatively long intro in fast tempo and an excellent sound harmony from all instruments used. The opening tagline melody brought by guitar and keyboard is really catchy and uplifting for my personal taste. Approaching the two minute mark the Mellotron brings the music down smoothly followed by keyboard and piano section. I’m touched with the catchy melody created by keyboard / Mellotron that sounds softly like a flute. What a killing melody this line is! It’s amazing. It reminds me of the 70s prog music mixed with modern technology. Great work, Ryo. “When Nick’s vocal enters the music, it projects a strong nuance of the music with his powerful voice. Honestly, I prefer Nick’s voice than Neal’s. It’s excellent- one of my favorite tracks! It flows to second track in an ambient style with distanced bell sound.”

I Wouldn’t Let It Go is a ballad pop song that reminds me of The Distance to The Sun off the Day for Night album performed in happier mood. Acoustic guitar rhythm dominates the music augmented with symphonic keyboard / organ and guitar-work. The music flows straightforwardly with relatively minimum melody variation, ending up with a nice church organ sound. My appreciation towards this track has built up slowly (and firmly) with many spins. The song has successfully created a strong nuance especially through orchestration in the background.

Wow! Surfing Down The Avalanche – what a great rocking tune! It starts with Dave Meros’ fantastic bass line followed by rocking guitar sound that blasts the music off in up-tempo. The music reminds me to Led Zeppelin / Audioslave. I think the band has pushed their style further with this tune – it combines the classic rock sound with a touch of prog vibe excellently. The guitar riffs remind me to Tony Iommi of Black Sabbath and Tom Morelo of Audioslave. The vocal line is excellent with great high and low registers – I salute Nick on this. I love the interlude part where the powerful vocal is accompanied with dynamic drumming and dazzling bass lines. This track reminds me of opening track of Feel Euphoria album: Onomatopoeia. It’s an excellent track that will put the band in competition with hard rock (instead of prog) bands! Regardless of the musical boundary, I love this track very very much!

The opening part to She Is Everything is an ambient music with a rhythm that reminds me to Peter Gabriel’s music (to be specific: the intro part of The Rhythm of The Heat live version). The keyboard / Mellotron that produces a sort of flute sound before vocal line has accentuated the song beautifully. It reminds me to Arena’s The Visitor album. It’s a moderate / mellow tempo song with, again, powerful and clear voice of Nick augmented with excellent backing vocals. Stunning solo guitar reminds me of neo prog music interlude with some Gilmour’s style. It’s an excellent song for my personal taste. Well, I guess this song is accessible to wide variety of listeners – be it a proghead or music listener.

The Climbing Up That Hill track combines hard rock and prog styles. As far as the rhythm and melody concerned there is no question that this is straight forward rock music. But when I observe how the bass guitar is played, it produces an image of prog sound. Fantastic work, Mr. Meros! The drum and guitar works are also excellent. All musical instruments accompany rocking voice line in excellent harmony. Clearing off all musical boundaries, this is an excellent track! One of my favourite tracks!

Letting Go is a short track which consists of keyboard / Mellotron work that serves well as concluding part of previous track and it could have been made as part of it. Left alone as a track by itself, as it is, it fails to provide a smooth transition to the next track that represents the last one of A Flash Before My Eyes epic: Of The Beauty Of It All.

Of The Beauty Of It All is a superb track! It kicks off with an excellent and melodic vocal line backed with a soft keyboard sound that reminds me of Mike Rutherford’s solo album. The opening line flows smoothly and it continues with a very catchy keyboard sound (minute 0:58 onwards) right after the lyrical section “… of the beauty of it all …”. What a magic melody! This catchy melody has made me totally hooked to this track (for me, this part reminds me to “It’s getting late …” part of Heart of Lothian in Marillion’s Misplaced Childhood). That’s not the end of my ultimate satisfaction. The next excellent segment is when the music shifts into a faster tempo with stunning guitar, dynamic bass line, great drumming augmented with Mellotron and orchestration (this part reminds me of “Wild boys! … “ part of Heart of Lothian). Wow! It’s a top notch musical composition: tight structure and very strong melody. For my personal taste, this is the best track of this album. This is the kind of music that I want the band to pursue in the future and craft it as Spock’s Beard sound.

NWC is another track that has amazed me even at first listen. It’s a great instrumental tune opened with a spacey soundscape followed by symphonic keyboard with firm drum beats augmented with stunning guitar rhythm. Simple opening but it works well to set the overall nuance of this tune. It turns to a complex piece with punchy keyboard / effects and returns back to original rhythm. The interlude part with African music influence is really great. The solo guitar was mixed thin so that it appears only at background but it serves really well to accentuate the music. This is the kind of music that fully satisfies my need. Awesome!

Nothing special about There Was A Time as this is a straight forward ballad with minimum prog element at all. It’s probably the interlude that I may consider that it has a bit of prog element. It reminds me of the bands like Lynyrd Skynyrd, Eagles and the like. This track does not fit Spock’s Beard sound, I think. Therefore, it should have been removed from this album as it ruins the structural integrity of the album.

The opening part of The Planet’s Hum is stunning; it combines dynamic bass line in jazzy style with stunning acoustic guitar work and flute sound with classical music influence. It turns then to a thumping beat music with excellent harmony vocals and instruments. It’s an interesting composition as the main rhythm of its body is a hard rock music, augmented with complex acoustic guitar work. Not bad but it’s not my favourite track.

Watching The Tide is a ballad pop song with excellent vocal and nice piano touch reminiscent of Marillion, Hogarth era in terms of musical nuance. It’s probably a break after rocking track. The music builds up slowly into high register with some orchestration. It’s good but it’s not my cup of tea and does not attract me to repeat.

As Long As We Ride is the only track that I hate its existence especially in this album. It has a very thin prog touch (only in a short duration during interlude). Be it as a straight forward rock tune, I do not enjoy this track at all. If I may suggest to the band, this should not be in the album at all as it ruins its cohesiveness. It’s a big regret that the band has ever created this tune. It does not even qualify as a bonus track. It’s hard to accept the Beard plays this tune.

In conclusion, this album has demonstrated the band’s positive progress compared to previous work. There are excellent tracks with symphonic prog as well as hard rock styles. Some tracks are mediocre and do not stand out as excellent compositions. The album fails to identify the musical identity – the Beard sound – post Neal Morse era. It’s obvious that the band has put a concerted effort to offer two alternatives of music for its listeners (past, current and future). First, being a hard rock band with some flavour of prog – especially during interlude part – as it’s been clearly indicated by strong influence of Audioslave, Led Zeppelin in some rocking tracks with more guitar sound: Surfing Down The Avalanche, Climbing Up That Hill, The Planet’s Hum, As Long As We Ride. Similar tracks also appear in the band’s previous album such as opening track Onomatopoeia. Second, being a melodic symphonic prog band – as indicated by tracks like: Of The Beauty Of It All, the second-half of The Ballet of The Impact, She Is Everything and NWC.

This album has not indicated any clear direction on which pathway the band would pursue in the future. They might play safe by offering both types of music, that I don’t think is a wise decision as it serves well, only during a transition period and will only serve to confuse the listeners and fans in the long run. As for my personal taste, I would love the band to pursue the second alternative as it’s more prog and it carries the soul of Spock’s Beard sound. The rocking tracks can be maintained by putting some prog elements or combining them with symphonic style. The Ballet Of The Impact and NWC are good examples. The band has to make up their mind for their next album – before it’s too late.

Tom’s Review

Although Octane is officially Spock’s Beard’s eighth release, its easier to see it as the ‘new’ (i.e. Neal Morse-less) Beard’s second album, and judge it on those merits. The fact that many were still reeling from Morse’s departure, and were grateful that the band had still decided to carry on without him, meant that Feel Euphoria was probably greeted with (in my opinion) more enthusiasm than it merited. Granted, there were a couple of excellent tracks (The Bottom Line and Ghosts Of Autumn), and much of the rest was pleasant listening, but the record was hamstrung somewhat by two main factors: first, the album attempted to cover too many bases in one go (including trying to make sure they included all the elements of the ‘trademark’ Beard sound – witness the rather forced ‘epic’ A Guy Named Sid), and secondly, the strength of the song writing simply wasn’t that strong. We all know these guys can play, and they are certainly capable of penning strong melodies and good choruses, but too often songs seemed to drag, or go off on tangents. The end result was an album that, whilst by no means bad, had only limited appeal. I quite enjoyed it at the time of the release, but haven’t felt compelled to play it much since.

So, have these flaws been eradicated on Octane? Unfortunately, I would largely say no. Thankfully the attempts to recreate the sound of the Morse-era has largely been abandoned, but the record still has a rather confused and disjointed feel – there’s simply too many ideas and styles present (some of which are attempted decidedly half-heartedly) for things to properly gel. Once again the song writing is a little uneven, and many songs seem to drag past the five or six minute mark because that’s what is expected of a prog band, when they would be better being three or four minutes in length. The end result is very much like Feel Euphoria – a generally pleasant listen, but nothing much more.

This is all the more frustrating because the CD kicks off very strongly indeed. The first seven tracks form a suite of songs titled A Flash Before My Eyes. The songs seemed to be connected more in terms of common lyrical content than musical, although the opening and closing sections do see recurring musical themes examined. The Ballet of The Impact gets the suite off to a very strong start. The introductory overture is great; very atmospheric, with a classic symphonic/ progressive feel, things come to a crescendo before gradually subsiding and building again as Nick D’Virgilio’s vocals enter the fray. This is vintage Beard – well crafted, with strong melodies and an imaginative yet unfussy arrangement.

Unfortunately, after this great opening, the Beard then destroy all the good work with a couple of the worst tracks on the album – I Wouldn’t Let It Go is a dull, country-flavoured rock song, with D’Virgilio seemingly basing his vocal style from The Eagles, whilst Surfing The Avalanche is a rather tuneless and badly structured up-tempo rock song, with a strange time signature; granted its heavy, but something tells me that the Beard’s heart isn’t really into this heavier direction (which is noticeable on a number of the tracks). The band seems much more at home on She Is Everything, a strong, atmospheric ballad, with something of an 80’s AOR feel. The guitar solo from Alan Morse which dominates the second half of the song is graceful and (relatively) restrained, although (as with much on the album) is rather overlong.

A couple of OK if unexceptional tracks follow – Climbing Up That Hill is an up-tempo track with a rather weak verse section but a good chorus, whilst Letting Go is a classical piece that seems there just to segue into the last song, The Beauty Of It All. Here again the quality meter goes back up, as themes established in the opening section return and are embellished over the course of what is a fine track. Overall then, this suite is decidedly hit and miss.

The five ‘stand alone’ tracks that complete the album are of similarly diverse quality. The instrumental NWC, for instance, is great – there’s another classy atmospheric intro, before a strong lead riff kicks in. The track has some good grooves and strong lead work from Alan Morse and Ryo Okumoto. There Was A Time is also quite good, a relatively simple, almost folky pop song with a good chorus which features particularly strong vocals from D’Virgilio. Less good is the rather messy The Planet’s Hum, although it does have some good moments, whilst Watching The Tide, a piano-led ballad in the late period Genesis mould, never quite delivers the strong chorus you’re expecting, instead just drifting along rather aimlessly. The album ends with the ‘feel-good’ rock of As Long As We Ride, which breezes along nicely; nothing outstanding, but its one of the better ‘heavier’ tracks.

Overall then, its clear that Spock’s Beard are far from a spent force without Neal Morse, as shown by the (too few) strong moments on the album. However, it’s becoming equally clear that they aren’t likely to reach the heights of the late nineties. Octane remains a frustrating album, merely a pleasant listen which is unlikely to get many repeated spins, whereas the band have shown that they are capable of better. I haven’t given up on them yet, but they need to produce stronger work than this to ensure they have a successful long-term future.

Martien’s Review

When Neal Morse left Spock’s Beard after the release of Snow, I really thought that the prog scene would loose another great band… However when Feel Euphoria hit the stores I was not dissatisfied at all, in fact I truly liked the album a lot, and I liked it even better after the Beard performed the songs live in Tilburg. Octane is their second effort without Neal and I can honestly say that I love this album. It is much better than FE and if you compare Octane with One (Neal’s second solo album after he left SP), then The Beard is the “winner”, without any doubt at all.

Their new album is filled with surprises, although a lot of die-hard proggies might by scared of, or disappointed, by the more (hard) rock approach on Octane. However the albums opens with the superb epic A Flash Before My Eyes, a song divided into 7 different parts. This is probably the absolute highlight of this album; it opens with a fantastic Mellotron intro, before this track evolves into one of the best Beard songs ever. Especially the guitar solos/melodies and the keyboard passages are of outstanding quality. Part 3: Surfing Down The Avalanche, is the heaviest SB piece of music I have ever heard and I really like it, as it reminds me of my favourite prog metal band Dream Theater; just check out those riffs by Alan Morse!! Nick’s varied vocal parts give this prog epic another magnificent dimension, especially the ballad-like passages as in part 2 I Wouldn’t Let It Go are sheer brilliance.

The other five remaining tracks are most of the time of the same high musical quality, although I think that Watching The Tide would have been better if the song would have been two minutes shorter… The instrumental track NWC is another highlight on this rather “heavy” album, as that one is filled with amazing rhythm changes and excellent guitar and keyboard solos. Spock’s Beard also knows how to touch an emotional “snare” with the breathtaking almost ballad As Long As We Ride. The more I listen to this album the more I appreciate it and I even discover some new musical aspects and refinements as I push the re-play button after the CD has ended. Octane is probably not what the “old” Beard-fans expected, but it is a superb album, more hard rock than progressive rock, but without any doubt, a wonderful musical roller coaster ride of one of the best bands at this moment. Well done, guys, and I am really looking forward to the new SB tour. Furthermore I will be sure that Octane will find a place in my top 5 of 2005; a great release at the beginning of a hopefully wonderful prog year.

Conclusions:

ED SANDER : 8+ out of 10
GATOT WIDAYANTO : 8.5 out of 10
TOM DE VAL : 6 out of 10
MARTIEN KOOLEN : 9 out of 10

Menggapai Pelangi

May 23, 2010

Minggu, 16 Mei 2010, salah satu legenda rock dan metal dunia, Ronnie James Dio, meninggal dunia. Meninggalnya orang yang memperkenalkan simbol devil horn ini membuat terhenyak para penggemar musik cadas di dunia.

Berikut komentar mereka :
Mike Portnoy – Drummer (Dream Theater):”This is one of the saddest days in metal ever.
Ralph Santolla – Guitarist (Obituary):”There’s not a person in metal today that doesn’t owe something to Ronnie James Dio

Scott Ian – Guitarist (Anthrax):”He always had a kind word and a smile and he LOVED the Yankees

David Coverdale – Vocalist (Whitesnake):”So very sad to hear of Ronnie’s passing… My thoughts, prayers and condolence to his family and friends.

Sebastian Bach – Vocalist (ex-Skid Row):”Dio died this morning and he was a major, major part of my life. I got to do shows with him and work with him and I loved Dio my whole life

Twisted Sister:”Ronnie was one of the most supportive and gracious members of the music community”

Apapun komentar mereka, bagi saya pribadi Dio telah berjasa dalam memberikan warna tersendiri dalam kehidupan masa remaja saya. Makanya begitu mendengar dia meninggal, ingatan saya langsung flashback di akhir 70an tepatnya saat2 SMA. Masih jernih di benak saya pertama kali denger Dio ya dari kaset Perina yg merekam album Ritchie Blackmore’s Rainbow punya kakak saya, mas Jokky. Sering banget “The Temple of The King” diputer saat itu oleh mas Jokky.

Kepergian Dio kali ini saya peringati dengan memutar “Catch The Rainbow” yg liriknya bagus dan musiknya manis, sweet rock. Saya suka lagu ini terutama liriknya yg mengingatkan saya pada saat menyiapkan ujian masuk perguruan tinggi (Perintis 1) di tahun 1979. Saat itu tiap malam saya begadang memecahkan soal2 masuk ITB hingga sampe jam 3 atau 4 pagi, hampir tiap hari. Saya selalu belajar bersama teman dekat, Gatot Djatmiko, sambil memutar kaset2 rock atau radio pemancar gelap Dji Sam Soe. Catch The Rainbow sudah pasti masuk dalam playlist.

When evening falls,
She’ll run to me.
Like whispered dreams,
Your eyes transcieve.
Soft and warm,
She’ll touch my face.
A bed of straw
Against the rays.

Lirik pembuka tersebut memberi gambaran tibanya senja, saatnya menyiapkan diri dengan buku2, soal2 yang mana yang akan dipelajari dan dikerjakan malam itu. Biasanya diawali dengan Maghrib dan makan malam . Gatot Djatmiko kadang-kadang datang ke rumah di Jl Sumatra 26 Madiun saat saya dan ibu sedang makan malam. Kadang dia bergabung ikut makan juga. Setelah itu pertunjukan dimulai: belajar mati-matian buat menembus ujian saringan. Saya dan Gatot biasanya belajar di kamar depan dengan jendela dibuka lebar dan lampu belajar dinyalakan terang benderang. Musik rock mengalun menemani kita belajar. Paling sering ya nyetel radio Dji Sam Soe dengan penyiarnya, mas Pri dan Itok, yang setia memutar lagu-lagu rock. Kalau malem2 laper, kita ke warung kopi Pak Tuk di Setasiun (gak jauh dari rumah) sekaligus makan sego pecel. Nikmat. Jam 3 pagi biasanya kami selesai belajar dan kemudian baru shalat Isya disambung tahajjud.

Bagian chorus dari lagu ini lebih menyentuh lagi:

We believed
We’d catch the rainbow -
Ride the wind
To the sun.
Sail away
On ships of wonder.
But life’s not a wheel
With chains made of steel,
So bless me!
Come the dawn!
Come the dawn!
Come the dawn!
Come the dawn!

Ini jelas menggambarkan suatu optimisme menggapai pelangi, meraih keberhasilan meskipun menyadari bahwa kehidupan tak sekedar hubungan kausal garis lurus: bila bekerja keras pasti berhasil. Banyak dijumpai justru sebaliknya, orang merasa frustrasi karena kerja kerasnya tak membuahkan hasil. Ini karena hidup bukan seperti roda yg terdiri dari komponen2 baja belaka. Di sinilah puncak perenungan bahwa ada “invisible hands” yang maha mengatur seluruh kehidupan ini. Dialah Allah SWT. Skenario kehidupan ini sepenuhnya ada di Dia Yang Maha Kuasa. Manusia bisa merencanakan kehidupannya sesuai yang diinginkannya, namun Allah mengetahui apa yang terbaik baginya yg seringkali tak sesuai dengan yang diharapkannya. Di sinilah ketaqwaan kita diuji, mampukah kita menjalani ujian ini? Bukankah kegagalan maupun kesuksesan ini hanya masalah label saja? Artinya, kita atau manusia juga yang memberikan label bahwa sesuatu itu berhasil atau gagal. Kita sering tidak bisa melihat bahwa apa yang kita beri label gagal justru itu yang terbaik bagi kita karena Allah tak pernah memberikan yang setengah-setengah. Allah selalu memberikan yang terbaik bagi kita.

Catch The Rainbow ini saya putar berulang-kali mengenang Ronnie James Dio, meskipun secara musikal saya lebih cenderung ke musik prog ketimbang yang straight rock seperti Rainbow. Suara Dio sangat khas dan sulit dicari tandingannya. Yang paling saya suka justru pada saat dia membawakan “Stargazer” di album kedua Rainbow “Rising”.

Meski tak fenomenal, bagi saya Dio tetap merupakan vokalis yang mengesankan dan sekaligus mewarnai kehidupan saya, terutama masa remaja. Saya juga tak mengikuti perkembangan karirnya kecuali sampai di Black Sabbath dan tak serius menyimak album solonya.

Long live rock’n’roll! Keep on proggin’ …!!!

Salam,
G

Pembahasan sebelumnya:

Ritchie Blackmore’s Rainbow

Review album Rainbow lainnya di ProgArchives:

Rising

Long Live Rock’n’Roll

Kuliah Humaniora ala Raja Bunga

May 17, 2010

JRENG lagi!

Ceritanya saya beberapa bulan lalu ujug2 mak gedhandhut – ora ono opo, ora ono angin ribut, ora ono jam dinding sing owah – saya terima SMS dari nomer yang tak terdaftar di ponsel saya dan tak menyebutkan siapa pengirimnya. Yang pasti SMS tersebut bertutur tentang kecintaan si pengirim terhadap musik PROG. Wah, langsung rambutku njegrag lan adrenalinku muncrat karena sesama pencinta prog. SMS selanjutnya sang pengirim menulis identitasnya. Dia adalah pencinta prog dari nJombang, dimana nDiwek berada di sekitarnya. Namanya mas Edi. Karena ndak ada nama panjangnya, maka nomer tersebut langsung saya simpen aja di ponsel saya dengan nama Edi Prog Jombang. Gak percaya? Siniyo ….ntar tak duduhi ponselku ada nama ini …kuak kak kak kak kak …

Sejak itu saya sering SMSan sama beliau sekaligus mengajak beliau komentar di blog gemblunk ini. Beliau mau komentar asal grup prog baru dibahas di blog ini. Lha kok ndilalah to yo …kemarin itu saya lagi pasang lagu epik kesukaan saya selain Gates of Delirium atau Supper’s Ready, yaitu Humanizzimo dari album The Flower King karya Roine Stolt. Makanya saya bikin aja tret ini.

Whooaaa… Humanizzimo adalah komposisi musik prog yang dahzyat dimana Roine Stolt begitu cantiknya meramu unsur jazz, psikedelik, blues dan rock menjadi rujak cingur nan indah dan bikin sukma menjadi klametan terus-menerus menikmati alunan indah melodi maupun komposisinya. Doahzyat nih lagu… Sangat pantas disandingkan dengan Gates of Delirium maupun Close To The Edge.

dengan alunan merdu musik bernuansa jazzy dibalut dengan permainan kibor halus nan nunjek ulu ati, musiknya berherak lambat mengantarkan vokal untuk masuk. Selanjutnya musik bergerak menuju tingkat kerumitan lebih tinggi namun pola melodinya masih tertata dengan manis dan “siul-able”.  Wis pokoke dijamin ngguweblak kalau denger lagu ini. Kalau gak nggeblak berarti udah gak punya hati nurani. Itupun kalau lagu udah habis maunya dimainkan ulang saking indahnya. Udahlah pokoknya mendengarkan kuliah humaniora ala Stolt di album ini sungguh sangat nikmat.

Oh ya, ngomong-ngomong apa ada yang tahu siapakah Stolt itu?

Itu baru satu lagu dari album The Flower King, sedangkan lagu lainnya juga nyamlenk kumamplenk tenaaan … Gak percoyo jal? silakan simak reviewku di progarchives:

Roine Stolt The Flower King  album cover

5 stars A True Masterpiece!

“We believe in the light we believe in love, every precious little thing. We believe you can still surrender, you can serve the Flower King”.

Well . where have I been man? How come I only knew the power of this album only couple of days ago? It’s a pity because I have been collecting every album of The Flower Kings (the band) from “Back in The World of Adventures” until the last one “Adam and Eve” – and is now expecting “Paradox Hotel” and never pay any attention to this album? And now I realize that “the Flower King” album is truly the basis, the foundation, of what The Flower Kings (the band) music is going to sound like. I know exactly why I never pay any attention to this important album – because I never owned it, it happened that I borrowed the CD from my prog colleague and had no time to enjoy it. But when I purchased the CD couple of weeks ago .. oh I was amazed with the music even at the first time I spun the CD. It blew me away! It’s a true a masterpiece prog album.

This album offers great music from opening track “The Flower King” until the last one “Scanning The Greenhouse” (which later became the title of The Flower Kings compilation album) with various styles combining jazz, rock and a bit of blues in its composition. Musically, it’s nothing different at all with the music of The Flower Kings (the band). Roine Stolt is one of great and talented prog musicians.

The opening track “The Flower King” (10:28) is probably the most accessible piece of music this album offers because the music is quite straight forward with a blues based rhythm section. The power of this track is on its nice melody that makes the listeners emulate the segment especially during chorus line “We believe in the light we believe in love, every precious little thing. We believe you can still surrender, you can serve the Flower King”.. Oh . what an excellent segment! Even though there is practically little variation in terms of tempo changes but this track is good enough to pump up our prog soul especially during stunning guitar solo. The intertwining Hammond sound played by Roine Stolt is also enjoyable.

“Dissonata” (9:57) is a logical continuation of the opening track where the song starts with nice soft keyboard work with Hackettian style guitar at the background. The music enters in relatively medium tempo where the excellent vocal line is accompanied with howling guitar wonderfully played by Roine Stolt. The music seems ambient during opening part but it moves smoothly into a symphonic prog composition with good combination of guitar and keyboard.

“The Magic Circus of Zeb” (7:05) is a track with faster tempo, led by the stunning guitar work combined with the work of xylophone. As the sleeve mentions there are only two musicians play this track: Hasse Bruniusson on TAMA Artstar Drumkit while Roine Stolt does the rest: Gibson ES175, Les Paul Goldtop & IBZ guitars, Shergold Bass and keyboards. It’s an excellent instrumental track exploring guitar and keyboard.

“Close Your Eyes” (3:10) is a one man band where Roine Stolt plays all instruments and also sings. Through this track he seems to provide a sort of musical break because the track is mellow and slow in nature.

“The Pilgrims Inn” (9:11) kills me really! From its touchy opening – combining a very nice and smoothly played soprano sax, guitar and flute-like sounds which probably played through keyboard – this song brings me to the ultimate musical orgasm. Oh man .. The melody, the combined sounds of soprano sax and stunning guitar sounds have made me truly “stunned”. No no no .. I’d rather use my local term here . nggeblak! Yeah man . my mind really paralyzed when I enjoy the beauty of all instruments played here. In a way the nuance of this song reminds me to “Starless and Bible Black” of King Crimson and the flute-like sound reminds me to the music of Sinkadus. Nothing similar musically but the nuance! (please don’t get me wrong). The guitar solo augmented with soprano sax is killing me. The ending part of this track seems like “disjointed” from the original tagline melody. But the more I listen to this track, it grows on me and I accept the change of style started with acoustic guitar.

“The Sounds of Violence” (5:53) demonstrates how Roine can play great keyboards with Hammond sound. It reminds me to ELP but the style is truly The Flower Kings (band) style. I like the pulsating keyboard sound combined with guitar work. Not only that! The melody is really touchy! It’s a great instrumental track.

“Humanizzimo” (20:55) is to me like Yes’ “Close To The Edge” or “The Gates of Delirium”. Not because of the duration of this track is very close with Yes’ but it’s more on the structure and style. The opening part with soprano sax combined with stunning guitar is really a thread for me. This is the kind of music that kills me! Especially when the vocal starts to enter the music “Midnight, you take me down to the waters. Slowdown, I’ve seen too much and too soon .”. Oh my God . this is really good. As an epic with seven parts this track offers a blend of styles with many tempo changes from one part to another. All parts form the overall music cohesively. It’s a great epic.

“Scanning the greenhouse” (3:32) concludes the album with memorable segment of “the flower king” put into the music, i.e. the part with “we believe in the light ..etc.”.

Overall, it’s highly recommended. For those of you who claim The Flower Kings (band) fans must have this album. I don’t have any clue of not giving this album with a full five stars rating. Keep on proggin’ .!

Peace on earth and mercy mild, GW

—————————————————–

Studio Album, released in 1994

Songs / Tracks Listing

1. The flower king (10:28)
2. Dissonata (9:57)
3. The magic circus of Zeb (7:05)
4. Close your eyes (3:10)
5. The Pilgrims Inn (9:11)
6. The sounds of violence (5:53)
7. Humanizzimo: (21:05)
a) Twilight flower
b) The messenger
c) The nail
d) Only human
e) This is the night
f) The flower of love
8. Scanning the greenhouse (3:32)

Total Time: 69:53

Lyrics

Search ROINE STOLT The Flower King lyrics

Music tabs (tablatures)

Search ROINE STOLT The Flower King tabs

Line-up / Musicians

- Roine Stolt / lead voice (1-2,4,7-8), guitars, (all), bass (1-3,5-8), keyboards (all), percussion (3-4,7-8)
- Hans Fröberg / vocals (1,8)
- Ulf Wallander / Soprano saxophone (5,7)
- Hasse Brunisson / drums (3,5,7-8), percussion
- Jaime Salazar / drums (1,2,6), percussion (2,6)
- Dexter Frank Jr. / keyboards, electronics
- Don Azzaro / bass guitar & Moog Taurus

Releases information

CD Foxtrot FOXCD 011 (Sweden 1994)

CD Inside Out Music IOM 052 (1998) SPV Records 085-31822

CD Inside Out TACS 003 SPV 087-31828 ‘The Artwork Collector´s Serie’ (2004)
All CD´s in this series coming in a special 7″ sized
cover and include a poster and postcards.
This CD is strictly limited and numbered to
only 3000 copies worldwide. A true collectors item.

Repent Walpurgis

May 16, 2010

JRENG!

Terkait dengan playlist yg saya pakai buat sepedahan. Kok ya ujug2 saya kepikir memasukkan lagu instrumental nuansamatik dari Procol Harum ini ke dalam salah satu dari tiga playlist masing2 berdurasi dua jam. Whoaaa … Ternyata seharin ini saya kok bersenandung “Repent Walpurgis” terus-menerus, ada apa ya? Lha wong kenangan khusus sebenernya sih ndak ada. Masa kecil dan remaja saya belum mengenal Procol Harum sejauh ini karena saat itu baru kenal hits mereka “Homburg” dan “A Whiter Shades of Pale” aja. Itupun dari koleksi kaset kompilasi Prambors “Memory”. Sebetulnya “A Whiter Shades of Pale” itu ngetop di Madiun karena radio Gabriel dan Moderato sering memutarnya.

Repent Walpurgis mengingatkan saya saat sering kumpul di Radio M97. Wah seneng sekali rasanya saat itu ketemu sama pencinta claro yg tergabung di M-Claro dan sering bertukar informasi tentang musik prog dan claro. Masa yang singkat karena akhirnya radio itu tinggal kenangan aja …

Yang membuat Repent Walpurgis itu memiliki kesan mendalam adalah:

1. Melodinya mengalun manis melalui alunan Hammond organ disambing solo gitar elektrik nan menawan.
2. Perpindahan antar segmen lagu terasa manis dan “smooth” ditandai dengan balutan drums serta bunyi grand piano.
3. Nuansamatik. Artinya lagu ini membawa ke nuansa tujuh-puluhan nan mengesankan dan sulit dilupakan musti telah melalui brain surgery sekalipun. Ditanggung kalo denger lagu ini pasti inget masa2 majalah Aktuil, Top, Muzik Ekspres dll.

Hayo, apa komentar Anda tentang lagu ini? Monggo …

Salam,
G

Ndon Kil De Weil sambil Nyepedah …

May 4, 2010

Jreng lagi!

Pagi ini saya ngonthel sepedah dengan ditemani iPod dimainkan berdasarkan “Songs” dan saya pilih mulai dari abjad D. Eh kok ternyata Don’t Kill The Whale nya Yes dari album Tormato. Adem banget mulai ngonthel sepeda dibuka dengan lagu nuansamatik kemlitik ini. Wah ini lagu Yes yang tergolong unik dan saya langsung jatuh cinta pertama kali beli Yes “Tormato” di toko kaset Kuda Sembrani, Madiun.

Pagi ini saya begitu semangat dengan lantunan suara Jon Anderson, bebunyian gitar nyeleneh dari Howe dan solo kibor ngawur tapi huwenak tenan dari Rick Wakeman. Lagu ini sebenarnya sarat dengan pesan cinta lingkungan dan cinta kepada hewan. Lagian, ngonthel sepeda buat menuju ke tempat kerja kan juga bagian dari cinta lingkungan, ya nggak? (Sambil alis mata naik turun 3x pas bilang “ya nggak?” …opo ora tamvah gemblunk to jal?).

Wah saya bener2 menikmati onthelan pagi tadi menuju tempat kerja. Keren banget! Sebenernya lagu yang sama dimainkan oleh kelompok Magellan juga keren lho. Cari aja di kaset “Tales from Yesterday” …ada tuh lagu di situ. Rada ngedisko, tapi tetep nunjek meski slengekan membawakannya.

Semangat banget ngonthel sepeda pagi ini… Pekerjaan juga lancar diselesaikan dg semangat lagu ini. Thanks Yes!

Salam,
G


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