Archive for September, 2011

“A Dramatic Turn Of Events” by Dream Theater

September 23, 2011


Sampai detik ini belum sempet tulis review DT terbaru ini. Bagi yang mau beli CD nya, sudah beredar rilis lokal. Namun harus pandai BERTANYA jangan hanya melihat yang dipajang di rak CD karena di Duta Suara Sabang disembunyikan di Kasir. Yang diapajang adalah edisi impor (bonus DVD) dibandrol Rp. 192.000,- (namun sekarang sudah ludes). Edisi lokalnya musti minta di Kasir dan tinggal satu (katanya si Kasir ….). Saran saya, beli yang lokal aja biar semakin banyak band prog dicetak lokal.
Dream Theater A Dramatic Turn Of Events album cover
Ini saya ambil foto dari CD lokal:
Sementara waktu, baca ulasan John Petrucci tentang album ini:
On The Backs Of Angels

“From day one it was always going to be the first track on the record. It’s also the first song that Mike Mangini really brought to life, so right there it’s special.

“I came up with the intro guitar riff while I was playing an acoustic at home by the fire. I was thinking, How should this record begin? What should be the first thing that people hear? The idea that came to me was a little bit Pink Floyd – moody, foreboding, this drifting arpeggiated guitar pattern.

“We were very conscious when writing the song that it should reflect the signature sound of the band. We wanted it to have all of the elements of Dream Theater. It would be progressive, it would be metal, and it would be melodic. There would be some big shred moments mixed with very dramatic breakdowns. It’s got everything that we love to do as a band.”

Build Me Up, Break Me Down

“This song and Bridges In The Sky were written pretty far into the album. We felt as though the record needed some balance to it, some songs that were more driving and in your face. There were many progressive elements happening already, so we wrote a couple of songs that were direct and full of attitude.

“The hook at the end of the chorus is very interesting. I sang an idea to James, but I didn’t know how he would finally go about it. Basically, I shouted the words into a microphone and sent the demo to him.

“What James wound up doing was a three-layer hook, which I totally love. The chords were already written, but he picked up on the keyboard line that was there. I should also point out the work of John Myung, who created a bass riff that he perfectly integrated into the song. John’s a very quiet guy, but he always comes up with parts that knock you out.”

Lost Not Forgotten

“To me, it’s one of the most technical songs on the album. It has a lot of twists and turns and some crazy ideas that were confusing to us as we were writing and recording. It took a while to get it all under our fingers.

“Guitar-wise, it’s the one song where I tune down to D. I thought it would sound heavier that way. And it does – I think the song kicks some serious ass!

“One of the things that was a lot of fun to do is this diminished passage of unison playing. I wrote it out and built it piece by piece, programming drums as I went. I showed it to Jordan, who said, ‘That’s crazy!’ He learned it and put a harmony to it.

“We played it for some of the people from Roadrunner who came by as we were recording, and they went crazy. One of them remarked that the diminished section was like being tickled – that feeling you get where you’re saying, ‘Stop, stop!’ but somebody keeps tickling you anyway. So we started referring to that part as ‘The Tickle Section.’

“The mood of the song always reminded me of an old-time epic film like Ben- Hur. So I wrote lyrics that are somewhat historical about this ancient Persian elite fighting force that kind of died out. Again, a good example of my love for storytelling and linking music to words.”

This Is The Life

“I demoed this song early on and brought it to the band. I had an idea for a ballad, but when I sent it to the guys I definitely said that I was open to anything, all thoughts and suggestions.

“I worked a lot with Jordan on bringing the middle bridge section to another place. He’s such a master at coming up with the coolest chord and melodic movements. It cascades in ways that you don’t expect, the way the chords are modulating and moving. From the demo process, we kept a Moog solo that Jordan did – I absolutely love it.

“The title came about one day when I was driving in the city with my mom. My sister was about to have a baby. So we were stopped at a light behind this pickup truck, and on the truck was a bumper sticker in Spanish that I interpreted as ‘This is the life.’ At the same time, I was playing the song for my mom. Right then, I looked at her and said, ‘That’s the title of the song: This Is The Life.’”

Bridges In The Sky

“A total riff factory. One of the challenges that I like to present myself with on a song like this is to try to make each riff original and unique and have them weave in and out of different syncopations. As they go by, no pass is ever the same; they’re constantly changing.

“Doing this can be tricky, because it makes everything harder to play and difficult to remember. But I think that’s ultimately what makes the song original and interesting – putting that kind of thought into it.

“The cool thing about Mike Mangini is he’s very aware musically of whatever everybody’s doing. He matches things so effortlessly. Even if it sounds like a groove is going by, he catches little rhythmic elements with his kick drums, or he’ll match fills that go in the same direction as the guitar. And he’s constantly changing things up as well. Seeing and hearing him work his magic is incredible.

“Actually, right at the end is one of the sickest drum parts I’ve ever heard. It’s like a machine gun, the intensity. When he would play it, I would be watching and listening to him, and I was in awe. ‘How is this even happening?’ I said to myself. ‘How is a human being doing this?‘ He’s remarkable.”


“Another example of writing a song with a specific purpose. We wanted Outcry to be the anthem for the album, so it has a very strong theme, and it’s totally insane instrumentally. It’s like Dream Theater defined, but way over the top!

“I was playing a riff while we were doing drummer auditions, and it really inspired me. So I programmed the drums and played the riff over it, but I ended up changing it around quite a bit, making it larger and more anthemic.

“In a song like this, the goal for Jordan is to come up with a keyboard part that’s right out of the movies, like a big John Williams soundtrack, something that’s strong and that everybody will be able to sing and remember. Because he’s so amazing, Jordan always has five million ideas, so we tweak and work on things until the melody is right there.

“After the intro, the theme kicks in. The way it made me envision flying through the air in slow motion really influenced the lyrics, which are about the uprisings in the Middle East, people fighting against oppression.”

Far From Heaven

“This is James’ centerpiece, for sure. There is bass on the track, along with a string section, but for the most part it was written as a piano/vocal.

“Jordan and I intended it to be a ballad, but it would also be the Part 1 for the next song, Breaking All Illusions. In fact, in Breaking All Illusions, we use the themes that are in Far From Heaven. Doing that isn’t new to Dream Theater.

“For a few days James, Jordan and I worked on the vocal melodies. James had some very strong ideas, which were great. He recorded his parts up in Canada with Rich Chycki. We never did anything like that, where I as a producer wasn’t present when the vocals were being sung, so it was a bit of an experiment.

“I was blown away when I heard what they had done, not only by the vocal sound but the emotional quality that James put into it. He has such a beautifully unique voice. The way that Andy Wallace mixed it, putting James right up front, gives me shivers.”

Breaking All Illusions

“It’s the Part 2 of the previous song. We specifically wanted to write a more epic piece, and when we do that, we know that we’re not bound to any sort of structure as far as verses and choruses.

“Arrangement-wise, it’s very non-traditional, so you hear a lot of breakdowns. There’s a great John Myung moment where he does an ostinatto part in the first verse. He’s going in something of a circle, and it has a real hypnotic effect, drawing everybody in.

“The song is extremely proggy, with a lot of keyboard breaks. As a guitarist, I had a great time on the section that’s very La Villa Strangiato [by Rush]. It starts out kind of bluesy, then it’s kind of jazzy, and it builds and builds. I got a chance to use so many aspects of guitar playing: phrasing and melodic elements, blues, jazz, shred. It was very satisfying to record. Alex Lifeson was definitely in my mind as I was playing.”

Beneath The Surface

“Beneath The Surface is the last song we wrote for the album. We had tracked all of the drums on the other cuts, and I think we were working on keyboards. At this point, we realized that the record needed something. Everything else was very intense, so a cool-down felt right.

“With the exception of This Is The Life, I was writing about very heavy topics: political unrest in America, uprisings in the Middle East, ancient Persian armies, shamans. For the closing song, a lighter, more poignant lyrical message was in order, something that would reach deep into your soul in a very honest way.

“Actually, I wrote the lyrics without the music; it was before we even went into the studio. Once we started working on the song, I had a guitar part that seemed like it would work, but I ended up changing it around. There was a bit of a process with marrying the words to the music. I demoed the song and recorded it, and the guys were totally open to it.

“It’s mostly acoustic, and it could exist as an acoustic/vocal song. We did put an arrangement to it. I really like the keyboard solo in the middle. We searched for just the right Moog-esque sound, picturing the lighters, or I guess cell phones, coming out in the audience. It takes it away from being a folkish ballad and makes it more Genesis or ELP. I love it. I think it’s a great way to end the record.”

AR’s Dream Express Box Set

September 22, 2011

By Apec

Dear, om gatot dan semua progger

Mohon maaf baru bisa kirim gambar mengenai Box Set Dream express sekarang,sebab berusaha mencari DE nomer seri 8 yang ketlisut dan sampai sekarang masih belum ketemu. Kuatirnya anak saya yang kecil ,umur 3 tahun mainkan kaset-kaset tersebut,sebab hobinya nyusun kaset untuk dibuat rumah2an..
Box set ini sebenarnya belum lama saya dapatkan,sekitar setahun yang lalu,itupun hanya dapet no 1-8…Saya pikir ya hanya 8 nomer itu,gak tahunya beberapa bulan kemudian waktu lagi memilah milah di rumah salah satu penjual kaset, menemukan no  9..
Dream ekspress seri 9 ini unik karena font hurufnya berbeda dari seri sebelumnya. Apalagi ada beberapa lagu yang sepengetahuan saya jarang masuk kompilasi-kompilasi seperti Episode-nya Pavlov’s dog, New lamp for old-nya Procol Harum, maupun teo toriatte-nya Queen.. Dream Ekspress seri 8 seingat saya berisi Salty dog-nya Procol harum, You have tour own special way-Genesis dan I can Quit you baby-led zeppelin..Mohon doa semua agar kaset segera saya temukan,he..he..

Seri 1-6 seharusnya ada bukunya yang berisi lirik,chord gitar beserta terjemahan lagunya,tapi saya belum beruntung untuk mendapatkannya,hanya bisa ngiler liat milik teman saya. Nah,mulai seri 7,Atlantic Records mengubah modelnya,yakni cover kaset menyatu dengan booklet,demikian pula hingga no 9. Keuntungannya booklet tdk gampang hilang, namun kaset menjadi jauh lebih tebal karenanya. Dulu paling suka dengerin yg seri no 2 ( sepertinya no 1 dan 2 ini yg banyak beredar di pasar kaset bekas) krn berisi Epitaph-king Crimson, onward-Yes,July morning-Uriah heep..Yang unik pada DE seri 3,yaitu Since I’ve been loving you dinyanyikan Lead Zeppelin,bukan Led Zeppelin,ha..ha.. Gimana jika kaset ini sampai ditemukan Robert Plant yo?
DE seri 7 ada 1 penyanyi yang saya tidak kenal sebelumnya,yaitu Joe yamanaka. Adakah yang mengenal penyanyi ini? mohon disharing..mohon maaf bila foto DE 7 agak kabur
Dari segi cover,yang nuansamatik ( meminjam istilah Om Gatot) adalah yang seri 1-5,gaya khas foto musisi jadul.. sedang seri 6-9,sudah berbau modern menurut saya..
Demikian sedikit komen yg bisa saya berikan pada hasil buruan saya..

Pink Floyd “Dark Side of The Sky”

September 16, 2011

By Hippienov

Alo mas G, maaf lagi-lagi aku mengganggu dengan email-ku ini,hehehe..

Sebelumnya aku rasa dan yakin kalo album ini pasti sudah muncul di situs ProgArch dan mas G sudah memberi review yang detail, deep serta obyektif 🙂
Tapi gak ada salahnya aku coba ulas ala kadarnya,semoga berkenan.

Album ini gak sengaja aku temukan pas lagi belanja untuk keperluan kantor di mangga 2 mall. Disana banyak “lapak” penjual cd bajakan. Nah seperti biasa aku kerap mampir sekedar liat-liat sambil berharap nemu cd musik yang nyeleneh dan prog. Gak nyangka waktu itu bisa nemu cd bajakan album ini dan harganyapun cuma 6 ribu perak. Kayaknya si penjual gak ngeh kalau yang dia jual adalah cd album group prog legendaris yang bernilai tinggi,hehehe..lucky me..
Album ini bisa dibilang versi live dari “The Dark Side Of The Moon” tapi album ini unik karena merupakan bootleg dan konsernyapun diadakan sekitar 1972 sebelum album “TDSOTM” resmi dirilis. Dari yang aku baca konser ini semacam uji coba ato introduction Pink Floyd untuk album “TDSOTM”. Dalam album live ini semua lagu dibawakan sesuai urutan album resminya nanti tapi yang unik adalah versinya agak slightly different dari aslinya, apalagi lagu “the great gig in the sky” jauh beda. Dalam beberapa blog musik album ini dikatakan “a must have n a musical picasso” karena kita bisa dengar versi beda dari “TDSOTM”.
Ada pula tambahan lagu “atom heart mother” yang dibawakan persis seperti versi studio nya dan lagu “if” sebagai penutup. Kalo gak salah baca 2 lagu ini disunting dari konser PF tahun 1970.

Sayang karena bajakan saat peralihan dari satu track ke track berikutnya gak mulus, keputus sebentar dan nyambung di awal track berikut. Padahal aslinya semua track seperti medley gak ada jeda. Kualitas print cover nya pun gak gitu baik dan lagi aku gak tau kualitas cd yang dipakai untuk copy album ini karena umumnya cd bajakan pake cd blank kualitas yang relatif seadanya. Mungkin kalo ada kesempatan mau aku copy ulang ke cd yang bagusan biar awet..

Thanks for taking your time reading it,guys..

Prog On Earth..

Sent using a Sony Ericsson mobile phone

My 1600th Review: Return to Childhood by Fish

September 16, 2011

Tanpa terasa, saya telah menulis 1600 review di ProgArchives. Kok ya pas kebetulan review no 1600 adalah live album dari Fish membawakan album Marillion yang legendaris ‘Misplaced Childhood’ (1985). Tahun 2005 Fish menggelar tour memperingati 20 tahun album Misplaced ini.

Fish Return to Childhood  album cover

Live, released in 2006

Songs / Tracks Listing

Disc 1 (53:11)
1. Big Wedge (6:25) 
2. Moving Targets (7:16) 
3. Brother 52 (5:00) 
4. Goldfish and Clowns (6:49) 
5. Raingods Dancing (4:46) 
6. Wake Up Call (Make It Happen) (3:18) 
7. Innocent Party (5:07) 
8. Long Cold Day (6:26) 
9. Credo (8:04) 

CD 2 (71:28)
1. Pseudo Silk Kimono (2:35) 
2. Kayleigh (4:04) 
3. Lavender (2:57) 
4. Bitter Suite: Brief Encounter / Lost Weekend / Blue Angel (8:28) 
5. Heart of Lothian: Wide Boy / Curtain Call (5:26) 
6. Waterhole (Expresso Bongo) (1:58) 
7. Lord of the Backstage (1:52) 
8. Blind Curve: Vocal Under a Bloodlight / Passing Strangers / Mylo / Perimeter (13:04) 
9. Childhoods End? (4:33) 
10. White Feather (4:45) 
11. Incommunicado (5:10) 
12. Market Square Heroes (6:58) 
13. Fugazi (9:38) 

Total Time: 124:39


Search FISH Return to Childhood lyrics

Music tabs (tablatures)

Search FISH Return to Childhood tabs

Line-up / Musicians

– Fish / lead vocals
– Frank Usher / lead guitar
– Andy Trill / guitar
– Tony Turrell / keyboards
– Steve Vantsis / bass
– John Tonks / drums
– Deborah French / backing vocals

Releases information

2CD Snapper Music #: SMACD923 (2006)


Review by Gatot
SPECIAL COLLABORATOR Honorary Collaborator

4 stars For me personally, the primary motive having this double album from Fish was of course Disc 2 of this package. Misplaced Childhood means a lot to me not because of this is Marillion’s best selling or highly acclaimed album but it’s more on emotional reason. First, it’s a concept album where the music flows seamlessly from one track to another until it reaches the end of one side vinyl and continued with the second part which basically also collection of songs that flow seamlessly also. At the end, basically we have only two long parts like Jethro Tull ‘Thick as a Brick’ or ‘A Passion Play’. Second, compared to previous two albums of Marillion (Script and Fugazi) I had a very long time enjoying Misplaced because it took Marillion two years to come up with the next album ‘Clutching at Straw’. So, almost everyday I played Misplaced Childhood’s cassette until I repurchased the cassette because the first one was exhausted being played all the time. By that time, CD was a luxury product. In fact, I started CD collection with the purchase of Misplaced Childhood when I travelled to Singapore. This serves a very long introduction about how I have been so attached with Misplaced Childhood.

I was actually not excited when Fish announced that he would release this CD because I did not think it would be as good as when the early Marillion line-up played it (Mark Kelly, Steve Rothery, Ian Mosley, and Pete Trewavas). That’s why I did not pre-order the album because I was afraid I would be disappointed. Another reason, sometimes I compared Fish with Peter Gabriel. I knew Peter Gabriel is the kind of guy would never look at the past – he never played Genesis song during his concert. I think he has a good reason because his solo work has different kind of music than when he was with Genesis – so why should he play it? That’s a good reason and I salute him for his consistency. While Fish is different, he always look the past success of the days when he was part of Marillion. That’s OK … Each of them has reasons for not doing or doing it.

He did it differently and …excellent!

To my surprise that I find this CD package is interesting and I have full of joys enjoying this live album. At first I kept playing the Disc 2 all the time and never had a chance to play Disc 1 because I don’t quite like The Big Wedge (the opening of Disc 1). The Disc 2 starts right away with the Misplaced Childhood concept album. The keyboard opening of ‘Pseudo Silk Kimono’ (2:35) takes longer than the original studio version and I like it. Even though this track is short but it’s strategically important to me as it helps set the tone of the overall gig. I really enjoy the opening part as the howling guitar work of Frank sounds great combined with the keyboard work. It goes straight to commercial tune ‘Kayleigh’ (4:04) which sounds almost the same with Marillion’s live except the guitar solo that sounds more dynamic. In fact Frank also insert great guitar fills in the music which it was not available at the original version. The transition to another pop song ‘Lavender’ (2:57) is also nicely done. ‘Bitter Suite: Brief Encounter / Lost Weekend / Blue Angel ‘(8:28) starts nicely with drums solo like the original version but this time the guitar work is wilder than the original. I like the guitar solo, really. Of course I like the part with ‘It’s getting late ….” which flows nicely to ‘Heart of Lothian: Wide Boy / Curtain Call’ (5:26). The first set of isplaced Childhood has been done excellently by the band.

I was wondering how Fish band can perform the opening of second set ‘Waterhole (Expresso Bongo)’ (1:58) as it requires dynamic drumming / percussion at the opening part. Thanks God … the band does it wonderfully! The drumming work sounds very dynamic and the guitar work is really great. ‘So when you think it’s time togo, don’t be surprised!!!’ … Whoooaaaaa….. great!!! It then flows excellently to ‘Lord of the Backstage’ (1:52) and ‘Blind Curve: Vocal Under a Bloodlight / Passing Strangers / Mylo / Perimeter’ (13:04). ‘Last night you said I was cold …untouchable …” oh man …. It’s a wonderful part, Fish! Excellent!!! Well, I really enjoy the second part of Misplaced Childhood.

Emotionally, I am so satisfied with the Misplaced Childhood set performed by Fish band. My worries for the band for not being able to perform and create the nuances of Misplaced Childhood are gone and I love this version of live set as I love the version of Marillion’s ‘The Thieving Magpie’. I ever imagined if Marillion with Hogarth plays this set…. I don;t think they can create the nuances of the album because Hogartj voice is more suitable to crossover prog kind of music …something like Radiohead, Cold Play. While Fish has proved himself that he could deliver the full nuances of the album EVEN THOUGH he is backed with non- original members of Marillion (Mark – Pete – Ian – Steve). Congratulations Fish! It’s excellent really! I keep playing this Disc 2 because of my liking of Misplaced Childhood live.

The rest, actually I don’t really care. But, when I happened to spin, it’s not bad at all and it’s good that I have Incommunicado, Market Square Heroes and Fugazi. To my surprise also that I find Disc 1 is very good as well. Those tracks that I do not like as per studio album, it’s much better being performed live here at this set. Its really an excellent double live album that I highly recommend you to have it in your prog collection. The music is performed differently and it’s excellent. Overall rating is 4.5 stars. This is an excellent addition to any prog music collection. Keep on proggin’ …!

Peace on earth and mercy mild – GW


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Posted Thursday, September 15, 2011



Van der Graaf Generator by Bootleg Records

September 15, 2011

Blog ini akhirnya jadi blog kaset jadoel ya? Gak masalah …ha ha ha ha ha … Ini aku juga mau berbagi info tentang perekam kaset BOOTLEG RECORDS yang tentunya langka. kenapa perlu ditampilkan? Dia juga seperti Yess, hanya merekam terutama musik prog. Ini adalah kompilasi dari VDGG (Van der Graaf Generator) yang salah ketik jadi “Graff” …wis jan nggladrah tenan. Meski sudah punya semua album VDGG dalam versi Yess saya tetep beli kaset ini dulu karena rekaman lain yang prog juga. Rasanya jadi orang gedongan nih …. ha ha ha ha ha …

Dream Express 2

September 14, 2011

By Hippienov

Guten morgen mas G, moga-moga ndak bosen aku email-in terus ya,hehehe..

Menjelang akhir libur Lebaran lalu aku nyambangi kios kaset loak milik mas Doddy di Detos. Niatnya cuma mau liat-liat karena “amunisi” di dompet waktu itu ngepas banget. Sambil liat-liat koleksi beliau sembari ngobrol ngalor ngidul tiba-tiba mata ini nyangkut sama kaset bersampul dominan hijau dengan judul “dream express 2”.
Sudah aku kuat-kuatin gak nanya berapa harganya tapi tak kuasa lidah ini berucap juga tanya harga. Setelah nego yang alot dan si empunya gak mau turun sedikitpun akhirnya aku ambil juga kaset ini. Alhasil aku pulang dengan dompet kosong blas, sisa uang hanya cukup untuk bayar parkir,hehehe..

Kualitas kasetnya sudah gak terlalu maknyus lagi, agak mendem n jamuran. Mau gak mau gak bisa langsung didenger tapi aku rendam pake air sabun semaleman n dijemur dulu (minjem ilmunya bro Apec). Setelah itupun kualitas suaranya gak bisa jadi ok banget tapi lumayan lah..

Aku tertarik dengan pilihan lagu-lagunya ada beberapa yang progrock dan sisanya truly classic rock, plus ini kali pertama aku denger lagunya Lucifer’s Friend (hehehe..ngakunya progger tapi belum pernah denger Lucifer’s Friend) dan juga pertama tau “oh daddy” nya Fleetwood Mac.
Sayang lagu “july morning” Uriah Heep gak full durasinya, menjelang solo panjangnya dibuat fade away karena keterbatasan pita.
Cuma kenapa gambar cover depannya ngambil Bee Gees ya? Jadinya kurang klop dengan isinya yang top markotop.

Sebenarnya topik ini sudah out of date karena pasti sebelumnya pernah dibahas oleh rekan-rekan seniorku, tapi mungkin ini bisa sekedar jadi media refreshing n flashback of how great the music was in the past..

Make peace and prog not war..

Sent using a Sony Ericsson mobile phone

Spock’s Beard “the kindness of strangers”

September 13, 2011

By Hippienov

Alo mas G,permisi mau nyumbang tret lagi jika boleh 🙂

Aku mungkin termasuk telat kenal Spock’s Beard. Kira-kira tahun 2001 rekan kantorku (cewek) yang ternyata progger juga cerita tentang band ini dan dari situ aku mulai tertarik pengin tau. Beberapa waktu berlalu dan gak sengaja pas maen ke lapak kaset loak di blok m mall aku liat kaset Spock’s Beard rilisan Aquarius. Surprise juga karena aku gak pernah nemu kaset Spock’s Beard di toko kaset padahal rajin jagongan di toko-toko kaset.. Tanpa pikir panjang (setelah nego harga tentunya) aku beli kaset ini. Kualitas suara n pitanya masih ok dan sampei sekarang masih aku rawat baik-baik.

Waktu pertama dengar album ini lumayan kaget juga karena aku nemuin suara hammond dan mellotron yang hampir di tiap lagu muncul. Kagetnya karena gak nyangka ada band relatif baru yang main musik prog dengan elemen hammond/mellotron, padahal waktu itu lagi rame-ramenya band nu-metal ala linkin park dan limp bizkitz atau korn dan modern rock yang maen distorsi rock lurus-lurus aja tanpa solo guitar.

Beberapa tahun  berikutnya berlalu, pas aku ke Aquarius PI ketemu cd album ini lagi diskon, dan dengan lugunya aku beli lagi.
Bedanya di format cd ada extra tracks single/edit versions tp ada 1 lagu yang cuma ada di kaset dan gak ada di cd: “into fire”. Ini yang bikin kaset ini cukup berharga buatku.

Enough talking, enjoy the prog..

Have ourselves be pleased with progrock..
Sent using a Sony Ericsson mobile phone

Kaset Jadul “Hard Rock”

September 12, 2011

By: Hardani Kristanto

Libur Lebaran kemarin, saya sempat mampir ke toko kaset jadul kemludul DU-68 di jalan Dipati Ukur Bandung.
Cukup asik juga menikmati koleksi kaset2 kuno yang dipajang mengelilingi ruko ukuran 2x4m tersebut. Semula saya hendak hunting kaset rekaman Yess yang cukup mudah terlihat karena warnanya yang berbeda dan khas gradasi hijau atau biru itu, hasilnya beberapa kaset Yess yg memang saya belum punya, macam Steve Hackett (Highly Strung), Pendragon (The Jewel) atau UK (grupnya John Wetton & Bill Brufford) saya angkut.
Ditengah2 keasikan pencarian, mata saya tiba2 “nyasss”  menangkap satu kaset warna kemerahan yang buat saya pribadi sangatlah akrab di memori otak, kaset tersebut bertajuk “Hard Rock”.
Ingatan saya langsung kembali ke akhir tahun 70-an (mas Hippienov blom lahir nih …), di mana kaset (yg udah ilang entah kemana) ini selalu jadi top list di kamar saya di kampung yang penuh dengan poster bonus majalah aktuil/top.
Gimana gak nuansamatik, lha covernya saja sangat artistik jaman segitu, biarpun gak nge-prog kayak roger dean punya. Covernya (yang ternyata kemudian saya kenal sebagai grup Nutz), waktu itu sampai2 pernah saya tiru/gambar di karton saking kagumnya, opo tumon ???
Kaset rekaman Perina ini 100% memang mengusung lagu2 berirama Hard Rock (yg konon dipopulerkan oleh Deep Purple era Gillan). Melihat list lagunya aneh juga, LHA dirilis sebagai rekaman kompilasi tapi 8 track diantaranya ternyata punyanya grup Inggris NUTZ (yang kemudian juga saya ketahui dari salah satu album, Hard Nutz), well bagaimanapun lagu2 Nutz tersebut memang sangat top kemlotop aransemennya, gak percaya ? coba saja di youtube, hehehe … Sayang sekali setelah rilis dua (2) album grup rock ini gulung tikar.

Lagu pembuka, “Beast of the Field” yang nge-rock diawali dengan intro yg jaman segitu agak aneh tapi “canggih” (opo iki ?), sementara    track 3, masih Nutz, “One More Cup of Coffee” (lagunya Bob Dylan) dibawakan secara indah oleh Mick Devenport dkk, dgn sesekali hentakan yang membuat lagu ini terkesan lembut tp nge-rock.
Selain nomor2nya Nutz, dari dulu saya sangat tertarik dgn lagu track 2 dan 7 yang dibawakan oleh grup Amerika, DRIVER (hehehe, saking nggak dikenalnya, grup inipun di wikipedia gak pernah disinggung), dan lagu mereka “Boxful of Love” dan “Love and a Man” huenak tenan didengerin sampil ngangguk2in kepala, dibalut dengan irama driving rock yang catchy dan jempolan.
Dari track list yang ada, mungkin yang masih dan banyak dikenal cuma grup KISS dgn “Detroit Rock City” dan UFO “Too Hot to Handle”. (Gara2 kenal lagunya Kiss ini, dulu buku2 pelajaran sekolah juga saya tulisin “Babrix Rock City”, nama Babrix atau Babrik adalah desa kecil tempat aku lahir dan besar di sana, huahaha …).

Grup lainnya macam Dirty Angels dan Artful Dodger (setauku yg terakhir ini seniman kontemporer !) lumayan juga dgn aroma rock 70-an.
Lagu terakhir, “Blind Boy” sebetulnya grup yang bawain adalah grup Jerman, Lucifer’s Friend, sementara yang tercetak, Mind Exploding, adalah salah satu album rilisan grupnya John Lawton tersebut.
Terimakasih buat yang empunya blog, yang sudah bersedia dirusuhin tulisan sekenanya ini.
Keep on Rockin’ …

Koleksi Gentle Giant milik Hippienov

September 9, 2011

Alo mas G,apa kabar? Pas libur Lebaran kemarin aku puas-puasin dengerin kaset dan cd prog, wuih rasanya maknyus tenan mas..Hehehe..
Nah salah satu band yang aku puter adalah Gentle Giant. Sedikit banget koleksi kaset GG ku, cuma 4:
1. Octopus
2. Missing Piece
3. Acquiring The Taste/Gentle Giant
4. Live/Playing The Fool.

Tapi yang bikin aku happy karena kasetnya rilisan Yess dan dulu huntingnyapun gak gampang plus harus rayu-rayu si empunya dulu biar dapet murah,hehe..

Saking kesengsemnya aku sampai beli lagi cd GG yang sama, album piece-aquiring n octopus, tapi walau kaset dan cd nya sama aku tetap gak bosen dengerinnya dan gak nyesel punya kaset + cd,hehe.. Weird, isn’t it?

Ada cerita yang aku selalu inget mas seputar cd GG ku. Waktu itu boss di kantor lama tau aku suka banget musik dan one day gak tau kesambet apa dia tanya “nov, elo mau cd apa? Gw mau kasih elo hadiah nich..”
Walah! Tanpa tanya-tanya lagi (walau sebenarnya bingung apa bener ini..) aku langsung bilang kalo aku lagi nyari cd GG “acquiring the taste”, pikirku pasti susah didapet dan agak mahal jadi mungkin gak jadi dibeliin.. Eh taunya beneran boss-ku dapet cd-nya dan dia beliin. Besoknya dia kasih ke aku..wuih senangnya rek!
Sampai sekarang aku rawat bener jangan sampai lecet..
Kenangan indah banget..

Ok mas G, gitu dulu ya. Suwun sudah meluangkan waktunya ngebaca email “lebay” ku ini,hehe..

Prog rules..
Sent using a Sony Ericsson mobile phone

Le Orme “Felona E Sorona”

September 9, 2011

Racun Italian prog berlanjut … Monggo ….

Le Orme Felona E Sorona album cover

Studio Album, released in 1973

Songs / Tracks Listing

1. Sospesi nell’incredibile (In Between) (8:43) 
2. Felona (1:58) 
3. La solitudine di chi protegge il mondo (The Maker) (1:57) 
4. L’equilbrio (Web of Time) (3:47) 
5. Sorona (2:28) 
6. Attesa inerte (The Plan) (3:25) 
7. Ritratto di un mattino (The Balance) (3:29) 
8. All’infuori del tempo (Return to Naught) (4:08) 
9.Ritorno al nulla (3:34) 

Total Time: 33:39


Search LE ORME Felona E Sorona lyrics

Music tabs (tablatures)

Search LE ORME Felona E Sorona tabs

Line-up / Musicians

– Aldo Tagliapietra / vocals, bass, guitar
– Toni Pagliuca / keyboards
– Michi Dei Rossi / drums

Releases information

LP Philips 6323 023 (1973)
Late 70’s Philips / Successo (6323 023)

GW Review:

Review by Gatot
SPECIAL COLLABORATOR Honorary Collaborator

5 stars This is a masterpiece Italian progressive rock album by Le Orme (one of three progressive acts from Italy with other acts were Banco & PFM). The music is original in style even though there are styles that remind me to bands like The Nice, ELP, Refugee, Genesis and Yes. The key elements of the composition comprising keyboard as major act while bass guitar is also quite dominant, followed with drums. They wrote the music with tight composition, dynamic time signatures, quite complex yet the melody has been maintained catchy and there are heavy influences of classical music.Melodic Symphonic Prog, in Dark Mood ..The album opener, “Sospesi Nell Íncredibile (In between)” (8:43), is an inspiring and challenging to observe. It starts with ambient yet energetic organ work in symphonic style reminiscent of ELP or the Nice or Refugee followed with drumming in dynamic way plus bass guitar work. The first 2 minutes plus, the music deals with acrobatic nature of organ work until at approx minute 2:25 when the vocal enters in dark mood. The organ follows the music at background. In the middle of the track there is stunning organ work augmented by tight bass lines .and later, the drumming enters dynamically and combined together they make great progressive sound. It’s one of my favorite tracks.

“Felona” (1:58) is basically an acoustic guitar, accompanying vocal, while the next track “La Solitudine Di Chi Protegge Il Mondo (The maker)” (1:57) which has catchy melody demonstrated by vocal, backed up beautifully by piano touches in classical music style. The organ solo at the end of the track is really a great embarkation point to higher energy track “L’Equilbrio (Web of time)” (3:47) which flows brilliantly at the end of previous track, seamlessly. This is another great composition as the music style changes from one segment to another. The keyboard work at approx minute 0:38 demonstrates symphonic nature of the song. And the bass guitar plays dynamically here. The keyboard work at minutes 1:22 is quite similar with Genesis “The Fountain of Salmacis”. Influenced? It might be . as “The Fountain of Salmacis” is from “Nursery Cryme” album released in 1971. But overall, this track is superb!

“Sorona” (2:28) is a very melodic and nice song in acoustic version, no drumming, with dark mood. I like the way how simple keyboard work augmented by simple guitar fills provides great foundation for “melodic” vocal to enter the music. It’s so sad in nuance, dark, but it’s truly a nice melodic vocal line. Especially, because it’s said in Italian language and I think Italian is the best language for progressive music. It’s better than English, really. Just compare this track with ELP’s “The Sage”. I think you will honestly say that “Sorona” is much better. Don’t believe with me? Try it now!

“Sorona” flows wonderfully to next track “Attesa Inerte (The plan)” (3:25) which starts ambient with great symphonic multi-layered keyboard sound augmented by nice bass guitar work. At 0:48 the music changes the style and .. oh my God! The vocal line enters brilliantly here, in similar vein like “Sorona”. Again, the use of Italian language has made the song sounds so solid. The music turns to ELP-like with its keyboard-driven work. The song moves seamlessly to “Ritratto Di Un Mattino (The Balance)” (3:29) which the first half is an acoustic keyboard work and the later half comprises drums and other instruments.

“All Ínfuori Del Tempo (Return to naught)” (4:08) sounds like different style than the previous tracks even though still in the corridor of Italian typical prog. It uses acoustic guitar and vocal in straight forward composition. Full music only appears at the end of the track. The album concludes with “Ritorno Al Nulla” (3:34) through the sound of long sustain keyboard followed with brilliant organ work and drumming that reminds me to The Nice or Refugee. This last track is a nice instrumental.

Overall, what can I say about this masterpiece work with killing melody in almost all individual track? Considering the year of release, you might compare this album with Genesis “Selling England By The Pound” or ELP “Brain Salad Surgery” and this album is at par excellent with those two legendary albums. I consider the music of this album is a melodic symphonic prog with dark mood. Keep on proggin’ ..!

Peace on earth and mercy mild – GW (i-Rock! Music Community)

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Posted Monday, September 22, 2008