This album came over a year ago. So why am I just talking about it now? Maybe it was because a recent conversation reminded me that I had not done so yet. Maybe it was because I wanted to write about something but was struggling with what to write about. Maybe it’s because a year later, this album’s brilliance shines brighter as the world trudges along through another year of the pandemic, and the feeling of isolation grows.
Whatever reason, I’ll try to keep my gushing of this album brief. There are many great reviews of it, so I hope this one is unique.
Pain of Salvation has always been a Prog band in the true sense of the word. Where other “Prog” bands find a groove and stick to it, Daniel and company love to keep us guessing. From rock opera’s, to acoustic albums, the 70s blues rock worship, and back to the Prog metal that made them famous, Daniel wears his love for Mike Patton as he traverses different styles, musically and vocally.
Panther conceptually fits this theme, an album about the outcasts of the world. Those who take the road less traveled. A metaphor for the band themselves, while perfectly coming during the COVID lockdown. Musically, it’s darker, heavier, and almost industrial style gave that “noir city” vibe, or as we like to say in my band, “coldly calculated”.
The first song “Accelerator” lives up to its name. A driving syncopated rhythm, with the timing of Meshuggah, the warm guitar and drum tones from the Road Salt albums, and a nostalgic keyboard tone from 90s R+B, with just enough catchiness in the vocals. “Unfuture” is a groovier track with industrial and bluesy elements, conjuring up the heavy moments of Remedy Lane, Be, and Scarsick. Its “welcome to the new world” hook is sure to get stuck in your brain.
“Restless Boy” starts off as an trip hop like song, complete with vocoder style vocals. It’s chill groove lulls you in so it’s second half catches you completely off guard. The syncopated Meshuggah like rhythms of the first song return, this time of steroids. It is one of the craziest moments for a band who has made a career of interesting transitions.
“Wait” is the beautiful ballad we know to expect for POS, and yet catches us off guard every time. combining the theatrical elements of Be, the classic rock/folk sound of Road Salt, and the pure emotion of their previous album, it is lush, gorgeous, perfect.
“Keen to a Fault” is an interesting combination of late 70s and 80s electronic keyboard tones with some ferocious fingerpicking on an acoustic guitar. Interestingly the feelings of isolation Daniel described in the hospital room on their previous release feels similar to these lyrics of feeling isolated in the world. Songs like this one as well as “Wait” could very well have fit on it, and some songs from In the Passing Light of Day could have fit well here.
I say that with no disrespect to either album. They are both brilliant in their own ways.
“Fur” is a short instrumental interlude that provides some necessary breathing room before one of the album highlights, the title track. The track that embraces Daniel’s rap/hip hop style the most since the Scarsick album, these songs are always controversial in the POS fanbase. I personally think it’s brilliant, with lots of groove, attitude, and a simple chorus perfect for singing along to.
“Species” is a very simple song, but in doing so, really showcases a perfect blend of past Pain of Salvations combined. The anger of Scarsick. The classic rock feel of Road Salt. The melodic tendencies of their early albums. It shows a band aware of the past, not afraid to say what they have to say, and continuing to push on. I wouldn’t even say it’s one of their best songs, but that’s how good this band is if this is a weaker track on the album.
The album finishes with a epic that acts similarly as the closer of their previous album. When Prog fans see long songs, we expect to hear as many notes crammed in as possible. When POS has long songs, they usually have the opposite effect. They take their time, and provide some beautiful and introspective moments. After a piano melody and a deceptive heavy riff, it comes back down for a soft verse and chorus. It teases breaking out into chaos many times, but never loses sight of its few simple melodies. This provides an excellent guitar solo, something that seems to be rarer on their albums, so that the band can deliver their best ones rather than their flashiest.
Daniel’s soulful delivery towards the end of the song is nothing short of spectacular. It will please the old school fans of the band and give them lots of nostalgia. The band have become masters of looking back and foreword at the same time. Always evolving but never losing themselves completely. Panther is another stellar release from a band who may have briefly isolated their fan base from Be to Falling Home. But they gladly came back to prove that they never lost their heaviness, experimental tendencies, but most of all their songwriting abilities. This album is a joy to return to, and makes me so excited for what comes next.
Like the previous two releases by the band, it’s hard to explain this new release by Zeal and Ardor without explaining how the band first got it’s start.
Manuel Gagneux would post on 4chan, asking people to combine two genres together. He would then make a song blending the two styles, as a challenge to himself. When someone posted black metal, and another posted n***** music, he could have gotten mad, but instead, he ran with it, and asked the question, “what if American slaves embraced Satan instead of Jesus?”.
The result was a song in 2013, a demo in 2014, and a full length in 2016.
Two albums later, Zeal and Ardor sounds like no other band. The heaviness, instrumentation, and darkness of black metal combined with the soul and power of negro spirituals, not to mention the influence of some industrial music. They were able to confront a part of history that wouldn’t feel right by almost any other metal band. And despite the racist parts of black metal brought in by NSBM bands (National Socialist Black Metal), Gagneux said there was a lot of similarities in the two styles fueled by rebellion.
But the year 2020, brought something else to the forefront, during the COVID 19 pandemic. While the world was in lockdown, the murder of George Floyd brought protests, civil unrest, and frustration. And while deaths of black people by the hands of white cops was something that had sparked controversy in the past, the lockdown and social media took it to heights it had never seen before. The world took notice, and protests happened everywhere.
Emanuel wrote a batch of songs in response to what he was seeing, and knew that it had to be its own thing. It wouldn’t fit with the new Zeal and Ardor material he was working on, and yet, Zeal and Ardor had to be the metal band to talk about it, like they were with slavery.
This become Wake of a Nation, and the artwork said it all; two police batons creating an inverted cross.
The album starts with “Vigil”, and the piano ballad element sounds like a complete transformation before their quintessential sound comes in on the chorus. It does not hide, or shy away. It directly starts out:
You took all we had away You’re quick to call it sick But we’ve been damned to say “I can’t breathe, it’s a cellphone Please don’t shoot, I need to get home I’m on my knees begging please”
So you’re just following orders They just keep falling on us How many more will it last? Why not just take all of us?
Due to its intense nature, I can see this one becoming not only the favorite of this EP, but a standard in Zeal and Ardor setlists for years to come.
Next is “Tuskegee” which is about the infamous Syphilis Study from 1932 to 1972. 600 African American men were observed for untreated syphilis. 399 of them were diagnosed with it, but were never told what they really had (they were told they had “bad blood”), they were never treated despite syphilis becoming treatable by penicillin in 1947, they did not receive the free health care they were promised, and were given placebos and other ineffective treatments. They were never warned of the symptoms, or the fact that it could be spread to others. 128 of them died to complications, 40 wives had contacted it, and 19 children had it passed on to them.
You can see why this is such an angry song, compared to the sadness snd frustration of the first one, and we quickly see both sides of Zeal and Ardor’s arsenal. This contains some of the best black metal shrieks and low growls in the band’s short existence. It also ties to what we are currently seeing with vaccination rollout, as communities of color continue to struggle with trusting healthcare officials after so many instances like this one. An informative, and hard hitting song.
“At the Seams” keeps a steady rock beat as it goes back and forth between a two piano note ballad feel to it’s heavy black metal counterpart. The softer parts show the diversity of his singing voice with harmonies snd some nice lows. The heavy moments feel like the climax of a post rock song. It even has spoken German at the end saying:
“He told you he couldn’t breathe For eight minutes A scream in the dark”
Before letting out an appropriate bloodcurdling scream to finish the song.
“I Can’t Breathe” is a minute long interlude with real soundclips from protests, news reports, and cellphone footage on top of an industrial rhythm and some emotional wordless vocals. My only complaint is that it comes at a weird place, when I feel it would have had more effect at the beginning or end. This goes straight into:
“Trust No One”. Probably the most similar song to their past two releases, it has the call and response elements of the clean vocals, then switches to black metal, for the remainder of the song. It is sludgier than “Tuskegee”, and reminds me of Deafheaven, who must have rubbed off a bit on their tour a few years ago.
The final track is the title track, which sees the call and response at its most complex. This is all done over some NIN bass/keyboard tones, and is heavier than any song with hand claps should be. The layering is incredible, and again, it could have been a great opener, but is interestingly placed as the closer.
My problems with the album are solely with the length and track order. Almost every song feels too short. Some could have benefited from another verse or chorus. Some could have benefited from an extra section. Some could have benefited from switching locations. But that said, every song brings something special to this release. They all could be done live and will enhance their already excellent live show. And maybe that’s where these songs will really flourish. But this EP as a whole leaves me wanting another song at least. The material is good and worthy of praise. And I’m sure there’s so much more that the band could have said.
I guess, as is the case with most EPs, it will hold us over until the next release. But I also think it was a very smart move to get it out as quickly as possible to be with the times as they were happening. It is a time stamp, and will always elicit emotions upon each re-listen, as we are transported back to the spring and summer of 2020.
I would love to see the band tackle more material like this, but even if they don’t, this was a powerful release, and one that shouldn’t be forgotten. We are fortunate that Zeal and Ardor took it up to themselves to say something for the metal community during these trying times, and release an album in the name of George Floyd, Eric Garner, Michael Brown, and so many others.
At the time of this review, it’s coming up on four years now since Chris Cornell left us, and it still is one of the hardest celebrity deaths I’ve had to deal with in my 30 years on Earth. Chris had an undeniable powerful and soulful voice. He had an eye for working with talented musicians, as seen by his time with Soundgarden, Audioslave, and Temple of the Dog. But he also had a deep appreciation for the music that came before him. This was something more explored with his solo albums and acoustic tours towards the end of his life.
As such, his legacy continues to grace us with the release of a 10 song cover album called No One Sings Like You Anymore Vol 1, released digitally in 2020 and physically in 2021. This leads to the hope that there will be more volumes to follow, but if this were to be the last thing we are left with in terms of new music from Chris, it would be a fine closing statement to his diversity, as well as his musical ability. For people who associate him as just a rocker, he was so much more.
Right off the top we are treated to a rendition of a song made famous by Janis Joplin, “Get it While You Can”. And while hers was a gospel inspired ballad, Chris found a way to bridge the gap of old and new. The r+b is still there, but it also has a tinge of the indie pop style that is currently dominating the airways. The keyboards could have been straight from a Twenty One Pilots song, but is pushed aside for the Joe Cocker like backing vocals of the chorus.
Next is a Harry Nilsson tune that aside from its uses in films and tv (such as Goodfellas) doesn’t get as much recognition as it should. Chris’s cover is pretty faithful to the original. The biggest difference is the use of distortion, especially fuzz on the bass which gives an almost NIN meets U2 contrast, and the lack of the extended drum solo from the original (Chris basically stops right before this in his version, making his about 3 and a half minutes shorter). Otherwise it is still a great upbeat rock tune sure to bring out some nostalgia for people who haven’t heard it in a while.
The next song is “Sad Sad City”, originally by Ghostland Observatory. The duo from Austin, Texas was known for their blend of electronic dance music, funk, pop, and rock. Chris uses this, like he did with the Janis Joplin cover, to update it, and combines the electronic elements with the indie-folk style that is currently popular (think bands like The Lumineers). While the originals of the previous two songs have their merits, Chris absolutely destroys this one. I can only hear it his way, even when I listen to the original.
The next few songs I feel are the major draws to the album. The bread and butter if you will. It all starts with his version of “Patience” by Guns N’ Roses. This is one of my favorite songs of all time, and his version is absolutely beautiful, but I am biased. I miss the length of the original. I miss the solos, the break, the buildup. His is a little more even and consistent throughout, which is why fans of pop music would prefer his. More straightforward with less risk so to speak. But I have to give it credit, I love the ambient sounds in the background of the chorus, and his vocals are spot on as always.
We had already heard him cover “Nothing Compares 2 U” before in live version, but it’s always appreciated to have a definitive studio recording of it, especially alongside such a wonderful track list. Originally a Prince song, and made famous by Sinead O’ Conner, it sounds exactly as you would expect it to, and you wouldn’t trade it for anything. All 3 version are essential listening. It’s not fair to choose. Chris completes the holy trinity with one equally as emotive, bringing out the brilliant lyrics.
John Lennon’s “Watching the Wheels” was originally a piano led ballad, as we often saw from him. Chris transfers it to acoustic guitar, which gives it more of a country feel as well as a perceived faster tempo. But while the guitars are double timed, the vocals are never rushed, and it’s all worth it just to hear his voice soar on the lyrics “I just had to let it go”. Doesn’t bring much else, but like the last two, they didn’t really need to.
Some songs on here are more for their imaginative interpretations, some to introduce younger generations to older artists, and some just to hear what Chris’s voice sounds like on famous tunes.
An example of Chris illustrating a relatively unknown artist is on “You Don’t Know Nothing About Love” by Carl Hall. A singer who found work as a session vocalist and on stage in musicals, he unfortunately was never able to break through, and few of his recordings exist. But his gospel inspired and soulful range of 4 octaves is nothing short of breathtaking, and Chris courageously attempts it, while implementing his own vocal style to the song. if his change in the Janis Joplin tune was to let this one shine a little better, it was a brilliant decision.
Electric Light Orchestra (ELO) was a unique band, bringing together elements of classical music, Prog rock, and 70s/80s electronic. “Showdown” was almost disco, like the Eagles had done with “One of These Nights”. Chris forgoes the orchestra elements instead for a traditional rock band configuration. The modern electronic elements replace the distinct sound of electronic music from about 50 years ago. But he does retain the brilliant harmonies on the chorus and he also brings in the attitude of modern rock/blues outfits such as The Black Keys.
“To Be Treated Rite”, originally by Terry Reed, is famous for its inclusion on The Devil’s Reject. Reed was a British folk artist with elements of country and rock. Chris speeds his version up a bit, but it still feels relaxed and comfortable. He takes out the harmonica solos, and in doing so, shortens his version to half the length of the original. The orchestra elements in the background are extremely beautiful in each version, and they fill up the empty space left by the voice and guitar. This is a gorgeous tune, and gives off vibes of traveling through the desert.
And finally, “Stay With Me Baby” was originally sang by Lorraine Ellison, famously last minute after Frank Sinatra cancelled studio time and Warner Brothers had already booked the 46 piece orchestra. Another gospel inspired soul/r+b tune, It is the perfect closer. Chris reminds me of Jeff Buckley’s brilliant work on “Lover, You Should Have Come Over”. The powerful musicianship and church organ compensate well for the lack of a full orchestra, and I prefer his version because of its pacing. I feel like things are too drawn out in the original, but that is just personal preference.
In retrospective, fans of Chris’s hard rock/heavy metal elements might be disappointed. Hearing about a Chris Cornell cover album may give the impression of all classic rock covers. But this showcases his love for all kinds of genres, old and new alike. We know he has covered many songs that did not even appear on this, such as his live cover of “Thank You” by Zeppelin and “Billie Jean” by Michael Jackson, so we can only imagine what a volume 2 could give us.
His vocals are so adaptable throughout, and his interpretations are also unique. For a man who has given us so much in his life, he continues to leave us wonderful gifts even after his unfortunate passing. For people unfamiliar with some of these songs, it will surly provide some great discoveries to new artists. And for people unfamiliar with Chris himself, it will provide insight into what made him so great. It’s also a fast listen. 10 songs, 36 minutes, and not a bad moment.
Godspeed You! Black Emperor might be one of my favorite bands to talk about. The name alone comes from a 1976 documentary about Japanese motorcyclists. Starting as a trio and playing occasional live shows, it grew to a collective of musicians who came and went as they pleased before settling in a 9 person lineup.
Despite a lack of lyrics, their albums (due to song and album titles, use of field recordings, and artwork and notes in the packaging) give off a very strong political message. It’s like a puzzle left up to the listener/viewer to decide. Their live shows use film loop projections to accentuate the music, and they are taper-friendly, allowing bootleg copies of all their shows.
This has given the band a cult following, as well as some brief moments of mainstream recognition. For instance, their song “East Hastings” made an appearance in the horror movie 28 Days Later, and director Danny Boyle said their music had an effect on the writing itself. They were also briefly mentioned as a joke by Seth Rogan in the movie Pineapple Express, as he made fun of his high school girlfriend for going to college during their “break-up” phone call.
After a limited release (33 cassettes) demo in 1994, the band began writing for their debut. Containing material from as early as 1993, this 1997 release was just two long (20 and 17 minute) songs. It caught the attention of Chicago independent record label Kranky, who offered the band to re-release it on CD. The band returned to the studio, added new material, reorganized the album, and it was eventually released on CD in 1998.
Now because of this, there are two different versions that exist in the world, the CD and the vinyl. I have listened to the CD version for many years, but thanks to a birthday present from my buddy Jimmy, I now own the vinyl version as well. We are going to do a side by side comparison of the two.
What the vinyl lacks for in length, it brings more to the experience with its little bag of goodies. There are three different vinyl covers in existence verses the one CD cover. The vinyl also contains a silk screen picture of a train, an old handbill of an early Godspeed show, a page with linear notes and album credits, an image of a hand-drawn image by guitarist Efrim Menuck, and a crushed penny, presumably by a train.
The vinyl contains no individual track names. The names of each side are etched into the dead wax. Side one is called “Nervous, Sad, Poor…”, and side two is called “Bleak, Uncertain, Beautiful…”.The CD contains track information for both the CD and the vinyl, the hand-drawn picture, as well as other pictures and linear notes. The CD’s album cover is a darker and enlarged version of the road sign vinyl cover. The three sections that are found on the CD are called “The Dead Flag Blues”, “East Hastings” and “Providence”, respectively.
Focusing solely on the music, the two versions start the same. What’s known on the cd as “The Dead Flag Blues (Intro)” begins with drone, and a voice setting the stage with its apocalyptic like poetry. This is followed by country inspired guitars. You hear one with twang, some with slide, and some tremolo picking that’s associated with post-rock. You also hear the wonderful use of violin. The voice briefly returns and you hear train sounds. This leads to the strange sounds of “Slow Moving Trains” and eventually the beauty of “The Cowboy”.
This leads us to our first major difference. While the cd would go straight into “The Dead Flag Blues Outro”, a short happy sounding segment, the vinyl goes into a segment called “Drugs in Tokyo” which is dark reverberated sounds. The vinyl then goes into “The Dead Flag Blues Outro” and then an untitled section not on the CD of just random vocals and banjos.
Looking at this difference, I prefer the CD version. The transition from “The Cowboy” and the “Outro” closing this piece feels more natural to me. The inclusion of “Drugs in Tokyo” here, then the “Outro” then the “Untitled” track feels more unsure, and uncertain, and not in a good way. Almost like the band didn’t know how to fill time.
Now we turn to side 2 on the vinyl, and the second of three segments on the CD. They both begin with ““…Nothing’s Alrite in Our Life…”/The Dead Flag Blues Reprise”. This contains bagpipes and someone yelling indistinctly as cars and people pass by. They both lead into “The Sad Mafiosa” the iconic section. However, there are some major differences on both versions.
The CD version is almost twice as long. It builds and builds to a heavy and climatic ending. The vinyl version introduces the ideas, and then softly and slowly drifts away. Again, the CD version feels like what the vinyl wants to be. Like the vinyl had good ideas, but didn’t know how to execute them properly. If it wasn’t for the CD version, the song definitely would not have had the same impact in 28 Days Later, or in live shows. And I wouldn’t consider it one of the greatest post-rock songs of all time (like I do with the CD version).
Still it’s an interesting take. It’s softer, airier. Doesn’t contain the wordless vocals, and the background effects are more present, unlike the CD which puts a lot of emphasis on the one guitar at the beginning. It’s great to hear it both ways, but definitely left me wanting more. The vinyl goes on to a haunting section called “Kicking Horse on Brokenhill” which brings with ghostly vocals before going into a big climatic section. This is definitely what the vinyl version has been missing so far since pieces like “The Cowboy” and “The Sad Mafiosa” have softly drifted away. This really ties the vinyl version together.
The vinyl continues with “String Loop Manufactured During Downpour”, which is self explanatory. Utilizing guitar sounds, rain sounds, and the return of the ghostly vocals repeating “where are you going?”, it eventually makes its way to a funeral procession-like section, with tape warbles, crackles, pops, and drone. It ends with a built in locked groove, that as the name of the album suggests, plays F# and A# forever.
On the contrary, after the 10 minute CD version of “The Sad Mafiosa” we get the “Drugs in Tokyo” section that came after “The Cowboy” on the vinyl. There’s also an addition spoken section (radio transmission) not found on the vinyl, as well as a dark drone section called “Black Helicopter” also not found on the vinyl. But it all works after that incredible band performance on the extended version of “The Sad Mafiosa”.
The CD’s 3rd section starts off with two pieces that are not found on the vinyl version. “Divorce and Fever” is a field recording of someone (who makes a later appearance on their next release) being asked about the end of the world while on a street corner, before going into the hauntingly beautiful “Dead Metheny”. It’s definitely sad that there is corresponding section of this on the vinyl. It builds up with great drum work and Spanish style trumpet leading the way, as well as emotional guitar work with just the right amount of delay.
8 minutes later it stops, but getting the “Kicking Horse on Brokenhill” right after it is a welcome double whammy. And like the vinyl, it goes straight into the “String Loop Manufactured During Downpour” section to close it all out. The CD obviously does not have the locked groove so this piece ends after about 4 and a half minutes. The CD version then has 3 and a half minutes of silence before a hidden track obviously not on the vinyl. “J. L. H. Outro” is 4 minutes is another looped section (piano this time) before a one final climatic section brings it all to a close with crashes and feedback.
Before the vinyl’s locked groove, it clocks in at about 38 minutes, while the CD’s total runtime is well over 63 minutes. Obviously, because of this the CD is the definitive version of you want to hear all that this era of the band has to offer. More material, more post rock climaxes, and smoother transitions. The only thing you’re missing out on is the short “untitled” section that closes the first half, which isn’t essential anyway, and the locked groove experience at the end. That being said, for any fan of the band, it is a fun experience to see the development of these songs as well as hearing sections in different places.
And for any fan of collecting vinyl, who can pass up on that kind of packaging?
The thrilling conclusion to the my last post. As stated in my previous entry (I suggest reading that one before reading this one), I have taken liberty with some terms, and essentially combined what some would call Neo-Prog (new bands influenced by 70s Prog) and Post-Prog (bands inspired by other styles that have progressive tendencies) together to make a more cohesive list.
Aside from that, Nothing else new needs to be said so let’s get right to it! Starting at #9!
9. Riverside – Second Life Syndrome
Riverside are Poland’s greatest progressive export, and picking an album by the was actually even harder than picking one by The Flower Kings. I love every album by these guys equally. Every album so far has shown a different side of this multi-faced band. So I tried going with the one that I felt covered all the bases, while still demonstrating the Riverside sound.
Their debut Out of Myself shows the boys at their most Pink Floyd with a soft and delicate sound on most tracks. Rapid Eye Movement introduced a dark electronic sound. Anno Domino High Definition was their most compact and frantically paced, while Shrine of New Generation Slaves was their most organically classic rock. And Love, Fear, and The Time Machine is probably their best choice as most balanced.
But Second Life Syndrome will always be the essential Riverside album in my mind. Taking the ambience from their debut and adding in inspirations from Tool and Dream Theater, this album is a monster of a listen. From the iconic intro (“After”) into an all out showcase of what this band is capable of (“Volte-Face”) and then bringing it down with a beautiful ballad like “Conceiving You”, they are only mentally preparing you for the 15+ minute masterpiece that is the title track. Divided into three parts, it is everything you love about the band: relatable lyrics, aggression, emotional soft spots, and an experimental jam session.
The second half is equally impressive with another ballad (“I Turned You Down”), a progressive instrumental (“Reality Dream III”), another epic track (“Dance with the Shadow”), and the fragile but intense outro “Before”. You can’t go wrong with this insanely talented band, but I always return to this one as my personal favorite by them.
8. Neal Morse – Sola Scriptura
I already made the Genesis connection with my Spock’s Beard review in part 1 of this list. But I’ll reiterate it here. When Neal Morse left the band, they got drummer Nick to replace him on vocals. And Neal’s solo career has done as well as “The Beard” as they’ve continued on their way, like Peter Gabriel’s did. The big difference is obviously that Neal’s solo career incorporates Christian Rock, after finding Jesus, detailed on his Testimony albums. And Neal has balanced his time between Christian solo albums, and Prog solo albums, among other projects.
I know many people who get turned off by the Christian aspect, but they are missing out on some really great music. And it doesn’t get better than his concept album about the life of Martin Luther. This 4 song album contains three epics (2 of them passing the 20 minute mark) and one lone ballad. Fans of Neal’s work won’t be surprised by either. He is a master of multi-part epics with all his projects (“So Many Roads” from Lifeline and “World Without End” from Momentum almost helped pushed their respective albums on this list alone!), and his albums usually contain at least one orchestral/emotional ballad to provide a breath between all the prog.
This particular albums contains some of the heaviest riffs and moments that Neal has ever been a part of, as well as some of the most incredible melodic and simultaneously technical musicianship that you will ever come across. This is thanks to an all star cast consisting of Randy George on bass, Mike Portnoy on drums, and Paul Gilbert on occasional guitar solos. Everyone gets their moment to shine. Neal gets his keyboard and piano solos, Randy has his aptly titled “jam”, and Paul’s three sections are among the highlights.
To try breaking down each section would be too long. This album is full of memorable melodies, brilliant transitions, and some of the best performances these musicians have ever put to record (and with their extensive individual histories, that’s saying something!). I invite you to get past the lyrics if Christianity or talk of God is not your thing, because the musicianship will astound you, and Neal’s sense of composition will leave you all feeling warm inside. From the overture to the last lines of the album, this album is perfection.
7. Frost* – Milliontown
How do I follow up such bold allegations on my last review? With the brilliant debut of one of the most under-appreciated bands on this list. That being said, this band might have the most to do (besides Marillion) with the actual definition of Neo-Prog, since many of the people who have played in it have also been members of Arena, IQ, It Bites, and Pendragon. So how did Frost* come to be?
It was formed by Jem Godfrey who is more known as a producer responsible for many British #1 hits such as “Whole Again” by Atomic Kitten. But Jem showed his own chops when Frost* released this album in 2006. Frost* has changed lineups, broken up, reformed, and changed sounds on each of their albums, and while their second one Experiments in Mass Appeal might actually be my personal favorite by them (I tend to flip flop back and forth), I can’t deny the mastery of the album that started it all.
It all starts with “Hyperventilate”, a 7 and a half minute jam session with equal parts of melodies and technicality. “No Me No You” starts off almost sounding punk before going into an explosive chorus. “Snowman” is a ballad that shows that what makes this album so brilliant is the production. The songs would sound simple if it wasn’t the ever present electronic elements filling up the empty space. And the tones Jem gets out of his keyboard are unreal.
The other brilliant trick is going back and forth between John’s warm vocals and Jem’s sharp ones. “The Other Me” picks it up again, starting with some interesting blues slides. “Black Light Machine” is a masterpiece, with one of the greatest guitar solos of all time (easily a top 10 for me) and its unique multi-part structure is a roller coaster of emotions. But it all leads up to the 26 and a half minute title track, that starts with a perfect movie soundclip to set the stage, and goes through a serious of memorable sections that rivals any of Neal Morse’s 20+ minute epics. Not bad for a band’s debut album!
6. Transatlantic – The Whirlwind
What is the formula for an album to beat some of the already incredible albums on this list? Easy. You make a supergroup featuring 4 band members that have already been on this list, with other bands of course. Transatlantic is the incredible combination of Neal Morse, Mike Portnoy, Pete Trewavas from Marillion and Roine Stolt of The Flower Kings. This is their third album, and honestly, their 2nd one, Bridge Across Forever could have easily been its place. That album is structure very similar to Sola Scriptura. 4 songs, 3 epics (2 over 20 minutes), repeated themes and motifs throughout, and the lone orchestral ballad. So, why did I choose this one?
The Whirlwind is something all its own. This 77+ minute epic song is split up into 12 parts, each of them memorable on their own, but of course this album is accomplished off of the sum of all its parts rather anything individually. Every member of this band is familiar with concept albums, and every member is familiar with “suite” composition. So it’s no surprise how well all the parts fit together.
From the “Overture” and the uplifting “Whirlwind”, to the gorgeous “The Wind Blew Them All Away”. Through the jam session of “On the Prowl”, the Flower Kings sounding “A Man Can Feel”, and the Spock’s Beard sounding “Rose Covered Glasses”. And onwards through the dark and emotional “Is it Really Happening?” to the grand finale of “Dancing with Eternal Glory” and the “Whirlwind Reprise”. It is an absolute ride.
It is a band that utilizes all the strengths of all the members. All 4 provide vocals at different times. Mike’s drums sound organic and full. Roine and Neal fully take command with their alternating vocal styles as well as their well thought out guitar and keyboard solos. And Pete always knows when to shine through, either with his warm vocal tone or standout bass tone. And for those of us in the year 2020, it seems like they will be revisiting this album’s style and structure on their next album in 2021, so be on the lookout for that!
5. Steven Wilson – Grace for Drowning
Where do I start with summarizing my love for all things Steven Wilson? Most known for his work in Porcupine Tree, Steven has had a career some of us can only dream about. Between No-Man, Blackfield, Bass Communion, Continuum, IEM, Storm Corrosion, and his solo career (not to mention his guest appearance amd wonderful remixes of classic albums), he has had the ability to work with some of the greatest musicians on the planet, experiment, and satisfy all his creative desires in regards to different styles of music. From prog, to pop, to drone, he has done it all. And while his fans cry for the return of Porcupine Tree, his solo albums have pushed him into uncharted territory.
I struggled between this and Hand.Cannot.Erase, which would probably be the fan favorite. And why not? It was a brilliant concept album inspired by a documentary of a true story and contains some of the most exciting moments he’s ever done. However, Grace for Drowning is still my personal favorite, so I’m going for it.
The beauty of this album is that it is 2 albums, both around 40 minutes each. Steven listened to his own advice and didn’t make an album of emotional depth too long. Instead, he split up the songs, creating two well-crafted albums, each with their own unique flow. They both start with contrasting instrumental build ups (the gorgeous and lush title track and the haunting “Bella de Jour”, named after one of my favorite movies).
“Sectarian” is a dark and heavy jam session, showing off the chops of the incredibly talented musicians. I forgot to mention that Steven has quite the group of guys backing him up on these discs (Jordan Rudess on keys, Theo Travis on flute and sax, Tony Levin AND Nick Beggs on bass, Steve Hackett from Genesis, Trey Gunn AND Pat Mastelotto from King Crimson, as well as others). Each album has its own gorgeous title track (“Deform to Form a Star” and “Like Dust I Have Cleared From Eyes”), which are the first song with lyrics and the last song on the last album, respectively.
“No Part of Me” is an electronic based song with a dark and heavy second half. Similarly, “Track One” is an acoustic piece with a surprising dark ambient second half. “Postcard” is the typical gorgeous but sad Steven ballad. But it is the darkest moments that really set this album apart: The uncomfortable industrial sounding “Index”, the hypnotic dark jazz “Remainder the Black Dog” and the centerpiece, the 23+ minute “Raider II” about the BTK killer. Steven brilliant introduces the motif on disc 1 with its 2 minute prelude, which simultaneously acts as a break for that album. But when it comes back, it’s a full force song of heavy riffs, flute solos, anxiety raising quiet moments, and quite possibly Steven’s heaviest vocal delivery (aside from Porcupine Tree’s “Futile”).
If you haven’t heard this one in a while, it demands another spin. I guarantee, you’ve forgotten how good this one is.
4. Anathema – Weather Systems
I think the greatest irony of this album being so high is that Anathema has never considered themselves Prog. In fact, aside from Pink Floyd, the members admit to never growing up with bands like Rush or King Crimson. And yet, they constructed an album that is so perfectly a Prog-like concept album, that it became one of my top 2 favorite albums of all time. If I had to do “desert island pick”, BTBAM Colors would be my heavy pick and this would be my soft pick. Unfortunately, I had to leave behind my personal bias, and rate this fairly.
Anathema started out as a death/doom metal band, and over the years slowly transitioned from goth, to alternative rock, to this gorgeous blend of orchestral rock. Having more in common with Coldplay and Radiohead than Jethro Tull and Genesis, they released a string of albums from 2010 to 2014 that in my opinion is hard to beat. And while We’re Here Because We’re Here and Distant Satellites are just hairs below in my opinion, this album has a beauty that is just unmatched.
The overall theme simultaneously compares the the loss of a loved one with the changing of the seasons. Comparing the powerful emotions felt between two connected human being with the powerful effects of Mother Nature conjures up a ton of beautiful imagery. And the music and the lyrics work hand in hand to compliment the touchings of such a heartfelt subject. It starts with the two part “Untouchable”, in a brilliant format that they recreated on their next album with “The Lost Song”. Starting off with an in your face acoustic melody, it is a string of upbeat emotional melodies building up to a climax. When the song drops, part two comes in, and a ballad version based on the melody and lyrics is sung, first by Daniel (male) and then by Lee (female). This call and response is like a communication with the other side.
“The Gathering of Clouds” returns to the fast paced, almost frantic acoustic style and the transition into “Lightning Song” is genius. This song showcases Lee’s ethereal vocal style with some of the best harmonies and a huge ending. “Sunlight” brings it down for a bit, but the incredible balance of post rock, indie, hard rock, and folk keeps you on your toes. “The Storm Before the Calm” breaks all that with a dark turn from left field, with its hypnotic electronic element.
“The Beginning and the End” and “The Lost Child” counter all the brightness of the early songs, almost like the winter of the album. It shows their goth influence but in a more mature way than that of their early albums. They’ve got beauty, restraint, and a blistering guitar solo by Danny in the former, while the latter ends with some vocals in the stratosphere. This all leads to one of the best ending songs I can think of.
“Internal Landscapes” starts with a soundclip of a man recounting his “near death experience” before the band comes in and ties the album all together with its final lyrics, “I was always there, and I will always be there”, sending you off with a feeling of peace and hope. All in all, one of the most emotional experiences and one of the best ways to spend 55 minutes of your life.
3. The Mars Volta – Francis the Mute
One of the more well known bands on this list, The Mars Volto broke through the mainstream despite their eclectic and experimental sound. One of two bands formed from post-hardcore band At The Drive In, this new project allowed the band to branch out into more progressive territories. They famously stated wanting their debut to sound like Pink Floyd’s Piper at the Gates of Dawn, and while that’s not the album that comes to my mind, an hour long concept album was not a bad start for them!
Utilizing the incredible flow of the first album, they tried a different approach with their second album, and this is where they really shined. Frances the Mute at heart is a 5 song album, though the title track did get left off and the last song was split up on CD and Digital versions. But this album’s structure has always reminded me of another classic Prog record: In the Court of the Crimson King. So if you’ll indulge me, let me explain.
Frances the Mute starts with a bang. After lulling you in, it surprises you with its blend of jazz, hard rock, avant-garde, and Prog. It alternates between English and Spanish lyrics and has some of the most unique dynamic transitions of any album on this list. There are long ambient transitions between each song, including analog style tape warping and loops. If “Cygnus” is this album’s “21st Century Schizoid Man” with its heavy jazz, then it brings things down with its 2nd track ballad “The Widow”.
And while it may sound nothing like “I Talk to the Wind”, it creates the same effect. At heart, “The Widow” is an ambient blues jam, with a ripping solo to prove it. Things pick back up with “L’Via”, a heavy but catchy song with Latin rhythms and a haunting soft section. And again, has nothing remotely to do with King Crimson’s masterpiece “Epitaph”, they both have that middle album boost, because track 4 in both cases, are where things get really similar.
“Moonchild” and “Miranda” both start off with few quiet lyrics before extended tinkering sessions, or in Volta’s case, their attempt at a Spaghetti Western. In both cases, an unexpected hit signifies the fifth in final track; in Crimson’s case, the epic title track, and in Volta’s case, the 33 minute “Cassandra”. Cassandra might not be the band’s signature song, but it is epic beyond all belief. Flute and saxophone solos that would make Crimson happy, multi-part sections, and a fusion of genres inspired by albums like Bitches Brew by Miles Davis.
The point of this comparison is not to show that they cheated. It’s to show that despite mainstream success, The Volta’s forward thinking approach and unique combination of sounds ties everything together, just like it did when Crimson came out with their groundbreaking approach in the late 60s. This is a monster of an album and deserves to be on a list alongside more “traditional” Prog bands like Marillion. Not to mention it has Flea from the Chili Peppers playing trumpet, John Frusciante on two guitar solos, and cover art by the late great Storm Thergerson. What more do you want?!
2. Radiohead – Ok Computer
If you were to look at the song lengths of this next album alone, you’d think I was crazy for putting this so high on a Prog list. But there’s just no denying the importance of OkComputer. Radiohead is without a doubt the most well known band on this list, but have always tried to find a way to push or reinvent themselves with every release. When this album came out in 1997, grunge and Brit pop were all the rage. And while this album has elements of both, it’s progressive tendencies introduced a whole new generation of music listeners to forward thinking styles of music.
Referred to as “The Dark Side of the Moon of the 90s”, it really does feel like a revamped version of the themes tackled on that classic album. To all the things that already made us go crazy (war, time, money, literal mental illness), we could now add the growing developments of computers and the foundations of cyber wars, fear of micro-chips, chat rooms and eventual social media groundwork, as well as substance abuse of any kind of mind altering narcotic, and so much more. And the music pushed all this.
Between Thom York’s slightly off, but also hypnotic vocals and the wide range of guitar tones and production techniques, the band was in the perfect balance between their early guitar-driven rock and their later experimental/electronic phase. Starting off with “Airbag”, drawing you in gently with a slightly upbeat rhythm the way “Planet Telex” did on their previous release, it is an introduction to the kinds of weird tones and unique melodies that you’re in for. But that all changes with “Paranoid Android”.
Possibly one of the greatest songs of all time, it is a dark, nihilistic journey through 3 distinct sections with some of the best transitions I’ve ever heard in my life. Think of it as a grunge “Bohemian Rhapsody”. Not operatic, but just as exciting. “Subterranean Homesick Alien”, a play on a Bob Dylan song name, is an ethereal tune with some of nicest use of octaves on a guitar (alongside “Killing in the Name of” by RATM). “Exit Music (For a Film)” is one of the saddest sounding songs I can think of, which is unusual placement before the catchy “Let Down”, but somehow works.
“Karma Police” is a classic everyone has probably heard with a chord progression straight from “Sexy Sadie” by The Beatles. Next is a brief interlude spoken by “Microsoft Fred” (Im dating myself by remembering this) before picking up with “Electioneering”, the most rocking song on the album. “Climbing Up the Ways” is a “wall of sound” style song with elements of drone, trip hop, dub, and punk. “No Surprises” is a ballad that plays around with pop music of the 50s and 60s, conjuring up the “white picket fence American dream”.
“Lucky” is another dark ballad, with beautiful use of Mellotron sounding choirs, tremolo, slide guitar, and a soaring solo, and in that sense, probably has the most to do with Prog aside from “Paranoid Android”. It all ends with “The Tourist”, which has a slight jazz feel to it. Like the lyrics, everything “slows down” and gently lulls the listener to a full and complete stop before it is ok to take off their seatbelts or lap bar restraint. And though the songs aren’t your traditional “prog songs” it’s hard to deny the diversity and thought process involved.
With influences ranging from Bitches Brew by Miles Davis, to Elvis Costello, to REM, to PJ Harvey, to CAN, The Beach Boys, even Ennio Morricone, Radiohead (as Steven Wilson once described) “snuck up” on music journalists with ambitious albums that proved that concept albums could be cool again. And if it wasn’t for Ok Computer, we probably wouldn’t have had this next one…
1. Porcupine Tree – Fear of a Blank Planet
I tried to balance this list with influence, mainstream appeal, ambition, uniqueness, as well as personal bias. That being said, there was no way this wasn’t going to be #1. One of my top 5 favorite albums of all time, and Steven Wilson’s second appearance on this list. If Ok Computer was Dark Side of the 90s, here’s Ok Computer of the 2000s.
By 2007, Porcupine Tree had already released a string of great albums and were getting more and more popular with every tour. What once was a joke side project for Steven while he worked in No-Man had now become his main focus. In Absentia and Deadwing were already being viewed as modern classics and were going to be hard to top. But while both of those albums balanced the pop aspects with their new found appreciation for heavy metal (courtesy of working with Opeth and the discovery of Meshuggah), Fear of a Blank Planet (a nod to the famous album by Public Enemy) pushed them into darker territories.
Fear of a Blank Planet is a concept album based on the book Lunar Park by author Bret Easton Ellis (famous for Less Than Zero and American Psycho). It’s lyrics describe a lost generation stumbling around malls with no real direction in life. Self medicating with prescription pills or other forms of drugs, as well as alcohol and sex just to pass the time. It is a dark and nihilistic look at growing problems with a generation raised on social media and only knows of what they are shown. In other words, the album does justice to the Bret Easton Ellis writing style.
The 6 song album is paced beautifully, taking hints from the Court of the Crimson King structure I mentioned above. The first song is the title track, which might be the most punk rock sounding song the band has ever done. Aggressive guitar playing, in your face lyrics, a Robert Fripp style guitar solo, Gavin’s incredible drum fills scattered throughout, and Colin’s bass and Richard’s keys filling in all the empty space gracefully.
The second song is a simple ambient ballad called “My Ashes” providing breathing room between the monster third track “Anesthetize”. This three part song is “Paranoid Android” on steroids. They both start with mid tempo sections and unusual chord progressions, the middle section is by far the heaviest, with some truly crushing riffs seemingly coming out of nowhere, and the last section is the soft reflective moment.
“Sentimental” was originally going to be another multi-part song before being cut down to a second ballad to provide more rest before the last two songs. It is among the catchiest Porcupine Tree choruses. “Way Out of Here” starts out soft before blasting with a string chorus. impressive middle section, and another fantastic guitar solo. And “Sleep Together” is one of the darkest songs by the band, with its unusual sounds, Middle Eastern and Indian influence, and climatic buildup towards the end. A fitting finale.
I’m tempted to break it down more and talk about every little thing I love on it, but it is best experienced as a whole. It perfectly encompasses the pop sensibilities of bands like Coheed, Dear Hunter, Radiohead, and Mars Volta, while equally paying tribute to the Prog that has come before it. Influenced from 70s bands like King Crimson, Rush, and Pink Floyd, while balancing modern influences like Tool and Nine Inch Nails, and even incorporating electronic and industrial music like Tangerine Dream and Massive Attack. It is one of the most perfectly balanced albums I can think of.
Well, it looked like my last list caused a bit of controversy but also was helpful to a few people. So I’ve decided to speed up the process for my next list. The difference between Prog Metal and Neo-Prog Rock is essentially that while Prog Metal (as the name would suggest) is a combination of the progressive genre with heavy metal (that started with Dream Theater, Queensryche, and Fates Warning but has grown substantially from there), neo-Prog is essentially a resurgence of the classic 70s Prog sound of Yes, King Crimson, Genesis, and many others.
Neo-Prog started in the 80s with Marillion, and still continues to this day. I must admit (at the risk of losing my credibility) that I did not include albums from a lot of other founding neo-Prog bands, because they didn’t have the same widespread influence, so let me give them a shoutout right now (I’m so sorry Jadis, Pallas, IQ, Arena, Pendragon, Twelfth Night, and a few others. You all deserve better). The reason I choose to specifically focus on Neo-Prog is because…
Well… frankly…. the progressive genre has expanded so much that there are so many different kinds of Prog these days. Bands that have very different approaches and inspirations are all kind of lumped together, from Muse to Opeth, from Mastodon to King’s X, to Karnivool and Periphery, Prog has become kind of blurred. And that’s not a problem for people who are now learning of new bands that way. But for a reviewer making a list, I strictly want to focus on bands that created albums that have a very direct link to the 1970s classic Prog sound.
Now many of these bands may still have their own approach, and may have included techniques or styles that would never have happened in the 70s or appeared on a 70s album, but that’s ok. as long as the link is direct and make sense, I’ll allow it.
Also, I’ve decided to split this up into two parts because of how long the last list came out to be. So here we go! Here’s my list of the 18 essential Neo-Prog Rock albums!
18. Dredg – El Cielo
Dredg had one of the more interesting string of albums to look at (5 from 1998 to 2011). What makes them so interesting is how much they changed from album to album while still retaining the band’s character. From the harsh heavy sound of their debut, Leitmotif (which looking back isn’t too far off from that of their good friends Deftones), to the alternative rock on Catch Without Arms, to the electronic pop sound on their final album Chuckles and Mr. Squeezy.
But it was their 2nd album El Cielo that is considered a crowning achievement. A concept album about dreams and sleep paralysis, it is inspired by one of Salvador Dali’s most famous paintings. It is a diverse album with unique transitions (done mostly by a series of interludes). It ranges from pop, hard rock, and post rock influences, but is always focused. From the catchiness of “Same ol’ Road” and “Sanzen”, to darkness of “I’m Sorry But it’s Over”, and ends on the glorious high note of “Whoa is Me” and “The Canyon Behind Her”. It starts off strong, ends strong, and takes you through many wonderful places throughout.
17. The Dear Hunter – Act II: The Meaning of, and All things Regarding Ms. Leading
We continue this list with a band who is more likely to be called indie rather than prog, but that doesn’t take away from the truly progressive things that these guys are doing. Multi-album concept albums based on a story that the singer created, 9 EPs with 4 songs each based off of moods and feelings associated with each color in the color spectrum, live transitions/jam sessions between songs that would make any band jealous, and a lack of fear when it comes to attempting/incorporating new styles of genres into their already diverse sound.
Act II is the 2nd in a 5 album concept cycle. Musically and lyrically picking up where the first part left off, we follow a boy who travels to the city after the death of his mother. There he falls in love with a prostitute and encounters heartbreak, one of many tragic events in this characters life. The band compliment with hard rocking tunes like “The Procession” “The Church and the Di’e”and “Dear Ms. Leading”, vaudeville style songs like “The Oracles on the Delphi Express” and “Vital Vessels Vindicate”, progressive moments (“The Lake and the River” and “The Bitter Suite”), ballads (“”Evicted”, “Where the Road Parts”, “Black Sandy Beaches”, “Red Hands”), and even upbeat pop tunes like “Smiling Swine”.
It is a phenomenal record, worth every second of every listen, and blends genres like folk, rock, blues, and jazz like it’s nobody’s business. The lyrics are emotional and require multiple spin to full digest.
16. Coheed and Cambria – In Keeping Secrets of Silent Earth: 3
Like The Dear Hunter, Coheed is probably more well known as an indie or “emo” rock band due to the pop punk aspects of their first album. And while those aspects are still a part of the band to this day, they have more than proven their Prog credentials.
This second release (and continuation of their “Amory Wars” saga) by the band not only shows improved songwriting and production, but also longer songs, and concepts within concepts. Starting with the epic battle cry that is the title track, we are treated to a few shorter tracks ranging from upbeat happy tunes, to darker songs with great dynamics and transitions like “The Crowning”. And aside from the well-known hit single “A Favor House Atlantic”, the second half sees the band channeling the attitude of bands like Rush.
From “The Camper Velourium” Trilogy which gets darker and angrier with each song, to the two 9+ minute epics “The Light and the Glass” and “21:13”, the band shows their knack for melodies, harmonies, instrumental moments, riff-writing, chord progressions, and tie-ing stories together by bringing back motifs from earlier songs.
15. 3 – The Ghost You Gave to Me
Poor 3. This band has never been given the recognition they deserve. Perhaps they were cursed with the hardest band name to “google”. But anyone who’s seen them live knows that they are a talented group of musicians, who interestingly blend funk, flamenco, hard rock, and space rock, all in a tight package that sounds like no other band.
Going into this list, I thought I was going to put their 2007 release The End is Begun. That or 2004’s Wake Pig perfectly showcase the balance between the band’s early sound and their later darker and heavier style as well. But their most recent release (which is now 9 years old) is the most focused released in terms of their Prog side. With a string of catchy hard rock tunes, they showcase their odd times and syncopation. But the real champions of the album are “One With the Sun”, “It’s Alive”, and “Only Child”, which showcase the band’s transitions, bright and ambient tones, build ups, and songwriting.
Plus, ending with the brilliant all-encompassing lyrical ballad of “The Barrier” really brings the album closure, as it almost acts as a recap of everything the band had done so far. The world needs more 3!
14. The Flower Kings – The Sum of No Evil
Going into this list, I knew this was going to be one of the most challenging tasks: picking a single album by The Flower Kings. These prog masters not only have an extensive catalog, but consistent as well. Known for long albums, double albums (Paradox Hotel, Unfold the Future, Stardust We Are), albums that flow through like 1 long song (Flower Power, Space Revolver) it is impossible to pick an essential album by the band.
So out of pure bias, this one has always stood out in my mind as my personal favorite. The problem with most albums by the band is that with so much material and lots of short interludes, their albums can sometimes feel overbearing and all over the place. In my opinion, this is the band at their most focused. No filler. Just 6 great songs.
With only one song written by Thomas Bodin and the rest written by frontman Roine Stolt, it doesn’t have as much diversity as some of their albums do, but it is no slouch. The album is full of beauty, melody, technicality, musicianship, moments of flash, moments of much needed rest, and hints of the darker tone the band started using. This is one of the best starting points for a new fan and is still a fan favorite as well.
13. Beardfish – Destined Solitaire / Mammoth
Since this is unlucky #13, I’m gonna go ahead and cheat on this one. Actually it has nothing to do with the number and everything to do with the fact that I literally can’t pick a winner between this two. It’s not that these are the most perfect albums ever, but they are so equally matched together that it would be a great injustice to separate them. These two albums represent the band’s transition from their sprawling double albums to the dark and heavy albums they ended their career with.
Beardfish are a Swedish progressive rock band with traces of everything 70s. From Genesis and Zeppelin, to Deep Purple and Frank Zappa. Perfectly blending the hard rock elements with the quirkiness and technicality of their heroes, they reached acclaim with Sleeping in Traffic Part 1 and 2.
Both albums start with strong progressive instrumentals, “Awaken the Sleeping” harkens back to Gentle Giant and Focus, “The Platform” showing hints of modern metal like Mastodon. Both albums have their signature songs (“Destined Solitaire”/“And the Stone Said: If I Could Speak”) ballads (“Tightrope”), grooves (“In Real Life There is No Algebra”), and plenty of epics that showcase so many styles of the band. They always know when to bring it down with a short time, but there’s so any catchy melodies on these albums that it’s hard to even know how to summarize them.
RIP Beardfish. Many hopes that the world gets to see you again some day.
12. Antimatter – Fear of a Unique Identity
This might be a divisive choice. Some might say that this band isn’t even progressive. Some might say that this isn’t even the band’s most progressive album. Antimatter started out as a collaboration between Mick Moss and Duncan Patterson, formerly of Anathema. This album was the first without Duncan, and was Mick’s time to prove that he could lead the band all on his own.
He exceeded all expectations, with an album that was heavier than anything the band had done thus far. Combining the electronic, dark wave, gothic, and acoustic elements of previous albums, Mick tied it all together in a very Pink Floyd-like way. A clear and focused theme of modern life, excellent production, beautiful tones, emotional delivery, and a strong album from start to finish.
While it may not have anything to do with Yes or Jethro Tull like many of these albums do, it is a rare treat to hear such a well put-together album, and that is very 70s of Mick and the boys. One of my all time favorite albums and worthy of the recognition.
11. Spock’s Beard – Beware of Darkness / X / Brief Nocturnes and Dreamless Sleep
If you thought my answer for Beardfish was cheating, you’re gonna hate this one. Spock’s Beard is one of the most loved American progressive rock bands to be influenced by the 70s style. Coming out of Los Angeles in 1992, they had the talent, the counter-melodies of Gentle Giant, and a twisted/dark sense of humor. They’ve also been blessed with the ability to reinvent themselves multiple times.
After a string of successful albums with Neal Morse, they pulled a Genesis and had their drummer Nick become their singer. After he left, the band recruited Ted Leonard from Enchant. And so I give you my pick of the essential albums from each era of the band, because each accomplished singer deserves a shoutout for what they all brought to “The Beard”.
Beware of Darkness is their second album with Neal and the most balanced in my opinion. I could have picked any from the Neal era really because they are all so unique, but this one has always stood out to me. It features a George Harrison cover in their style, the quirky “Thoughts” which continued in parts on later albums, the epic “The Doorway”, a showcase of the band’s classical style guitar sounds, a ballad, a band staple in “Walking on the Wind”, and a heavy and epic closer with “Time Has Come Today”.
Nick took a while to fit in, if you ask me. Some of the albums drag on and don’t gel quite right. But X shows the band at the most confident that they had been in quite some time. Three epics full of introspective lyrics, technicality, and beautiful moments (“Edge of the In-Between”, “From the Darkness”, and “Jaws of Heaven”), a fun song in “The Emperor’s Clothes”, the excellent instrumental “Kamikaze”, and the remaining two or three songs (based on the version you get) are catchy and memorable. From start to finish it’s a joy to listen to.
Ted Leonard made quite the impression with his first album with the band. Continuing the confidence and strong songwriting of the previous album, it felt like he had been in the band for years. His emotional and heartfelt delivery highlighted the band’s playing. From Enchant sounding songs like “Hiding Out” and the ballad “Submerged”, to the Nick led Spock’s Beard sound of “A Treasure Abandoned” and “Something Very Strange” even back to the Neal era sound of “I Know Your Secret” and “Waiting For Me”. It even has another edition in the “Thoughts” saga.
If I had to pick just one I’d give the Neal album the nod for the classic sound, but I have to give props to all three eras/singers.
10. Marillion – Misplaced Childhood
Picking a single album from Marillion’s discography is not an easy task, and yet, Marillion fans would most likely gravitate towards this one. Despite its love and acclaim, it doesn’t truly show all sides of Marillion. The first two albums were straight Genesis worship. The next two was the band’s “classic sound”, the next few saw the band’s new singer trying to continue that sound while also trying to be more mainstream, and since then the band has balanced long progressive albums with the introspective alternative rock sound similar to U2, Coldplay, and Radiohead. And while not every album is a classic, they’ve adapted beautifully with the times.
And while I wanted to pick one album that showcased singer Steve Hogarth and all he’s done for the band, I just couldn’t pick one album that reaches the same level of acclaim of this Fish-era masterpiece. Breaking away from just their love of everything Phil Collins and Peter Gabriel, the band showed that they were competent songwriters with Fish’s emotional lyrics and Steve’s Gilmour-like solos. The first of two Marillion concept albums written by Fish, the album looks at love, success, acceptance, and lost childhood.
The album starts with the gentle and delicate “Pseudo Silk Kimono” and travels through some of the band’s most memorable songs: its biggest hit “Kayleigh”, the touching “Lavender”, the multi-part “Bitter Suite”, and the triumphant “Heart of Lithuanian”. The second side flows as well as the first side, not as mainstream but equally as memorable. The upbeat “Waterhole” and “Lords of the Backstage” lead to the epic “Blind Curve” and the album ends on a high note with the title track and “White Feather”.
I would love to do an in depth review of this one and a few of the Hogarth releases such as Brave, Afraid of Sunlight, Marbles, and Somewhere Else. For now, enjoy this album and my in depth review of Clutching at Straws, which is also on this blog spot.
That’s it for part 1. Stick around for part 2 with albums 1-9. I should have it up soon.
Fates Warning are the unsung heroes of the progressive metal genre. Never reaching the mainstream appeal of their peers such as Queensryche or even Dream Theater, despite being just as influential, they have continued throughout the years, releasing great album after great album.
With the announcement of a new album, we knew it would be no different. Even before their hiatus they had already adjusted with the times, and incorporated many modern elements to their 80s Prog sound. This was in part of the influence of Kevin Moore adding electronic keyboard elements, but is also a testament to their lineup,which has been a part of many other projects and find a way to bring all of those styles together in a cohesive sound. Despite the changes, it’s all still Fates Warning, and the fans wouldn’t want it any other way.
Long Day Good Night is their 13th release. It is 13 songs long, and if you add all the numbers in its length together (72:22 – 7+2+2+2) you get…… well you get the idea. It continues very much in the style of their last few albums. Combining heavy modern sounding riffs, big catchy, anthemic choruses, some electronic elements, at least a ballad, and at least one long song. And this formula works, because it showcases all the different sides of the band. The band even stated that was their particular goal for it.
Lyrically, it all deals with the idea of “home” which is very fitting for the state of the world that we are currently living in. During this Coronavirus Lockdown of 2020, we have spent more time at home than we ever have before, and the idea of the word changes. For bands, maybe home is being back on stage. Maybe the isolation means that home is just being back with your friends. Either way, this is the 2nd album in a row that I’ve reviewed that feels like it has been directly influenced by the quarantine, as Islands by The Flower Kings was as well.
Even the cover works on two fronts. Yes it fits the title and theme, but it also acts as a “return to home“ in the sense that it is their first album back with Metal Blade since FWX in 2004, and bears a striking resemblance to the cover for that one.
Musically, it takes a minute for the first track, “The Destination Onward” to get going, but once it does, it is followed by an excellent build up. The drums, guitars, and vocals are mixed beautifully and it gets you very excited about what’s to come. About 3 minutes in is where it really picks up and it keeps this heavy upbeat pace for the next 5 minutes. It is one of three long songs on the album, and showcases the bands technically, groove, and ability to write a memorable chorus. I can imagine them playing it live and everyone is singing along to the “I gave everything I had” lyric. Plus, it has one of the best guitar solos on the album.
Now if the first song showed glimpses of heavy with its start stop riff during the verses, the next two songs continue that and take it even further. “Shuttered World” might be one of the heaviest songs the band has ever done, in a groove that reminds me of the band Nevermore. This is counter-balanced with another melodic chorus that makes it an album standout. These first two songs will be fan favorites.
“Alone We Walk” closes out the opening heavy trio with a classic Fates Warning sound superimposed over a down tuned guitar riff. Less memorable than the first two, but still with its share of great lyrics and harmonies. This trio of songs starts the album off so strongly that you’d swear this was their best album so far!
But the problem is, there’s still a long way to go! So the band knows they have to change it up a bit. The next trio of songs is more focused on the softer ballad like moments. “Now Comes the Rain” sees the band doing their best Queensryche impression. No, it’s not a blatant rip-off, but it is a nostalgic late 80s early 90s sound that reminds me of classics like “Another Rainy Night” and “I Don’t Believe in Love”. A welcome change of pace to the album.
“The Way Home” starts off like a beautiful ballad, and makes you think you’re getting another song like “Pleasant Shade of Gray Part IX”, but then switches up to a more progressive second half, much like they did with “The Eleventh Hour” from Parallels. Unfortunately, the second half isn’t as memorable as its first and might have worked better as two separate songs. But maybe it needs a few more spins.
*Edit* it has grown on me with more spins!
The heavy section is important though cause it breaks up the previous ballads with another beautiful ballad, this time complete with actual string instruments. “Under the Sun” reminds me of 80s ballads that you would hear from pop bands or alternative rock bands, not necessarily just from metal bands. It is very emotional and can become quite the ear worm for the listener.
The next section of the album seems to be where it starts to lose some listeners. With the trio of heavy and trio of ballads, we get four classic heavy metal songs in a row, split up by one electronic influenced song. With the bands technicality and emotion leading the way, it seems kind of a step back to just do catchy heavy metal songs. But, as the band stated, there’s something for everyone on here. So let’s get through them.
“Scars” was the first single so many of us Fates fans had already heard it. It still holds up with its placement in the album. It is the classic Fates sound we’ve come to expect from their last couple of albums and holds well against tunes like “Pieces of Me”, “Simple Human”, and “White Flag”.
“Begin Again” starts off with a bluesy sounding riff. It’s got a decent pre-chorus and chorus, with hints of Tool and Porcupine Tree, but not the same melodic memorability as previous songs. The most unique section is the off time counter melodies right before the guitar solo, which I’m still not really a fan of.
“When Snow Falls” breaks up to sequence of heavy songs with one of the albums highlight performances. Sounding like an OSI song with Ray Alder on vocals, Gavin Harrison’s drumming fits in perfectly. The tones are brilliant as are the uses of effects such as delay. I always love when Fates steps into this territory and wish we got to see it more (either that or we just need another OSI album soon. Jim and Kevin I’m talking to you!).
But the album goes back to its comfort zone with the song “Liar”. In most of the reviews I’ve seen, people point out its length as its biggest weakness. They say that this track or “Begin Again” (or both) could have been cut and it would have been a more enjoyable experience. I agree, but it also depends on how you listen to it. In one sitting, yes it’s too much. But individually every song is good. So if you need a long album in the car or these songs are on shuffle in a playlist, you don’t mind them as much as you do all at once.
Either way, “Liar” has its moments and “Glass House” is a shorter more straightforward song with probably the catchiest chorus since “Scars” so it’s just enough before we get to the meat and potatoes of the album. “The Longest Shadow of the Day” (also the longest song of the record) is 11:30 seconds.
The majority of it comes from its extended intro where we get jazz style guitar licks, excellent bass solos, and shred guitar solos, while Bobby on drums and Joey and bass do what they do best and hold it all together. Once you get to the vocals, it is actually a pretty simple and straightforward song, with just a few verse and repeated lines. Still, one of the bands best moments in a long time.
The album finishes with the classical inspired ballad, aptly titled, “The Last Song”. This lulls the listener out after the technical mastery and showmanship of the previous tune, and leaves fans of the band hoping that they don’t mean the last one forever.
All in all, this album has me scratching my head where I would place it in my favorites by the band. There is a ton of great material on it. And the only thing it has going against it is it’s length. There’s not a bad song on it, but there are better songs on it than others. And because if that, the band does have better “put-together” albums. Still, it’s not gonna leave any fans upset at its existence. There’s more than enough material to hold people over, plenty of songs are gonna be great live, and everyone will have their own unique favorite song from the album.
It will hold well for many years to come. It doesn’t over take the spot of my favorite by the band (“Darkness in a Different Light”), but halfway through, I really thought it would. Definitely a contender for album of the year, and a must check out for any fan of metal and Prog, whether old or new.
By 1976, Genesis was already a leading figure in the Progressive Rock scene, thanks to 6 albums, 5 of which are Prog Essentials. After their commercial flop of a debut album, they began their streak with Trespass in 1970. These albums showcased that the band was able to put whatever they could possibly fathom onto a record. They created a number of Prog classic songs, and they were also able to establish themselves as a wildly entertaining and unexpected live act.
This was part of the somewhat flamboyant and over-the-top persona of Peter Gabriel, which like Ian Anderson of Jethro Tull was prog’s answer to the emerging Glam Rock genre, which gave way for the likes of David Bowie. And it very much worked for Genesis, as the quirky singer matched their musical technicality and proficiency.
This was most obviously achieved in the form of their 1974 double album, and a Prog opera reminiscent of Tommy by The Who, The Lamb Lies Down on Broadway. I won’t go too into this one because I’ll probably be tackling it soon, but it was the perfect example of the band’s cinematic and play-like stage performance coming to fruition through their music. Unfortunately it was not a big hit at the time, despite later achieving cult classic status, and may have played a very small role in the departure of Peter Gabriel, amongst other things.
So, with the band trying to follow up this album, they now had to prove that they could still write a hit even after the lineup change. They quickly got to writing new material and listened to many audition tapes for replacement singers. But it was the band convincing Phil Collins to sing the song “Squonk” that brought about his transfer from drummer to singer.
Now luckily, the music was still in the band’s style as some of the pre-Lamb albums, so the band found that the music came together quickly. Phil did his best Peter impression vocally while still finding and discovering his voice. But he was also inspired by Peter’s lyrical approach. The albums blends some songs of a tongue-in-cheek nature, with some that are fantastic and whimsical, and even some that are more serious and poetic.
This demonstrated all the facets of the band, and the music naturally followed suit. What this album does is kind of act as a showcase, not only acting as the transitional album between Peter and Phil, but also of Genesis past, present, and future. It has the progressive songs of the past but also greatly foreshadowed the pop sound of Genesis to come. Even though there was still one more Prog album left out of these guys before the drastic tonal change of …And Then There Were Three…. in 1978, it still has some of the bands poppiest, catchiest, and most melodic moments thus far into their career.
The album begins with an absolute classic. One of the best first songs on an album in my opinion. Listening to this, you instantly knew the band was going to be just fine. “Dance on a Volcano” has a memorable two part intro. Part playful, part orchestral, it has a unique transition to its frantic but controlled verse with gives way to its memorable “chorus” and “bridge” section. The song continues with some technical wizardry in the second half before transitioning smoothly into the second song.
“Entangled” is a beautiful ballad that provides some down time after the upbeat opening piece. It is 12 string driven acoustic song with a memorable verse and a beautiful chorus that is straightforward for its first 4 minutes. The last two and a half minutes are led by the synth, bass pedals, and the Mellotron. It’s hypnotic, and it’s simplicity is what makes it effective.
“Squonk” is a song about a mythical creature, but musically has been called one of the band’s heaviest songs. It is a deceptively simple song due to its subtle changes and its jam session ending, but it goes back and forth between two very catchy melodies, that can be seen as verse and chorus sections despite a lack of repeated lyrics. Phil has stated that his drums were inspired by John Bonham, and they definitely stand out on this track.
“Mad Man Moon” would be the other most progressive tune on this album aside from “Dance on a Volcano” in my opinion. Starting out as a simple and beautiful ballad with a bright uplifting sounding chorus, it takes a left turn with its middle section in the form of an extended keyboard part before Phil Collins comes in with his fast paced vocal delivery. The song returns to its verse and chorus and ends very strongly.
Side 2 is more straightforward than side 1, and therefore might have some of the most memorable songs for the casual listener. It starts with “Robbery, Assault, and Battery” which sometimes feels like the odd song out in my opinion. It’s a fun one on its own, does a great job of telling a story, and it’s got its moments of catchiness as well as its progressive middle section where the band goes all out, but to me it doesn’t match up with the more serious and delicate songs.
“Ripples” for example, might be one the most beautiful things Genesis ever did. This 8 minute masterpiece doesn’t stray far from itself. The middle section fits well with its verses and choruses, and despite being the longest song, is one of the more straightforward tunes on the album. A gorgeous and lush sounding ballad that hints at later Genesis, as well as Phil’s solo career.
This is followed by the equally catchy but more upbeat title track, which also hints at these things to come. A very Beatles-esque, playful tune, that returns to lyrics of beasts as “Squonk” did. But it’s hook might even have you forget all about this as you patiently await to sing along with “they’ve got no horns and they’ve got no tail” part. This two songs really balance the album well, giving something for everyone.
Having accomplished an album with some pop sensibility, some beauty, and lots of technical musicianship, all that’s left is to go out with a bang, and that’s exactly what “Los Endos” is. An instrumental grand finale with parts of “Squonk”, “Dancing on a Volcano”, and a song that didn’t make it onto the album but was released as a b-side. They even through a nod to Peter Gabriel at the end. A fitting tribute to the past, and a fitting closure to an album that was looking onwards and upwards. It provides a rest in the sense that it doesn’t throw too much new information at you, after having to digest so much already, but properly closes out the album after the simplicity of the title track.
So, my overall thoughts on the album?
Revisiting it on vinyl a few times has made me appreciate songs that didn’t use to stand out to me. I always loved “Dancing on a Volcano”, “A Trick of the Tail”, “Entangled”, and “Ripples”. I now have more appreciation for “Squonk”, “Mad Man Moon”, “Los Endos”, and even for “Robbery, Assult, and Battery” despite what I said about it above.
There is a lot happening on this album. They cover a lot of ground and everyone gets their moment to shine. For a band who’s future was uncertain, they passed the test with flying colors. Many fans still view this as their favorite album and rightly so. The production was much better than previous albums and you get the best of both worlds with Phil paying tribute to Peter while showing his own strengths. The band is at the top of their game and their songwriting really shows it, with its balance of melody, harmony, and showmanship.
Off the top of my head, this is always my go to as favorite albums by them, but we’ll see if some in depth revisits of their older albums change that. As a whole, my only gripe is that I usually start to fatigue around the midway point, but the last three songs pick up so strongly that it quickly hides any of that away. Otherwise, this is probably the closest Genesis got to a perfect album…
The Flower Kings have been a force in the progressive rock seen since 1994. That is the year that Roine Stolt, famous for his work in Swedish band Kaipa, put together a live band for his third solo album. The band released their debut album the following year. Over the years, the band has done about everything you can imagine a band influenced by 70s Prog rock to do:
Double albums, 20+ minute songs, 30+ minute songs, whole album length songs that flow together despite different tracks, jazz, blues, rock, circus music, ballads, interludes with field like recordings, etc.
But most importantly, these guys know how to write a song, as they’ve proven in the past with some very catchy selections from their catalogue. Even with the different lineup changes, with Roine at the helm, they’ve continued to release interesting albums. And while I definitely enjoy every album by them In some form or another, there are some that just stick out way more than others.
That is because some of these albums can kind of forget the songwriting in order to focus on the flashiness. Those albums suffer in my opinion. But that is ok, because if their discography has shown us anything, it’s that they always bounce back. They always make an album for every kind of fan in their fan base. And in the instance of their latest release, I didn’t expect it to be so soon!
To give a bit of backstory, the band started out consistently releasing an album every year or two, before their first major rest period from 2007 – 2012, after what is probably my favorite by them, The Sum of No Evil. Focusing on touring and solo albums, the band bounced back with The Banks of Eden and Desolation Rose with new drummer Felix Lehrmann. Whether his influence or the influence of the Prog metal around the band, they signified a darker/heavier influence while still sounding like the band.
The band then went onto hiatus #2, this time not only returning with a new drummer Mirko DeMaio, but also a new keyboardist, replacing longtime contributor Tomas Bodin. Zach Kamins on paper seems like an interesting choice for keyboardist of the Flower Kings, receiving acclaim for his own instrumental/progressive metal band An Endless Sporadic. But his wide range of influences and technicality fits right in.
Their first release with these two members, Waiting For Miracles, came out about a year ago at the time of this review, and while his technicality worked well (and I admittedly need to give it a fairer chance with more listens), I wasn’t initially grabbed the same way I was with many of their other albums.
When they announced ANOTHER new album less than a year later, I was surprised, but also captivated by the YES-influenced album cover, as well as some of the details about the album. Written and recorded during the COVID pandemic, it was assembled by the members from their homes all over the world. The lyrics of loneliness and isolation, inspired by these events, and the fact that the songs were short but made to flow through as one, made me think of a darker more modern version of their classic Flower Power. This made me excited to delve in.
The 21 short songs, split into two CDs, are all very unique, and very much their own parts. This really helps boost this album’s memorability above many of the more technical and tedious Flower Kings albums. There’s no 20 minute songs to try and remember all 5 or 6 of its movements. This will help the band as well when they start playing live again and have a wealth of songs at their disposal instead of having to decide which epic to play next.
I can see why some fans won’t like this album, because they will see a lot of these songs just coming and going with no real substance. I can agree to some extent. I feel like some of these movements might have actually benefited from stringing them together. That way, some cool transitions would have given the songs a bit more purpose rather than just starting and stopping randomly. I’ll explain that a bit more in my quick (at least I hope it will be) rundown. But I will say that as fan who was fatigued by a few of their albums, this one was a really welcome surprise.
It all starts with”Racing with the Blinders On”, which after 14 seconds of silence starts off with some random jazz/funk style hits before delving into an overture leaded by Roine’s guitar and Zach’s keys with the bass and drums holding it down behind them. 2 and a half minutes in, we have a catchy melody that builds and ends with the next song slowly coming in (a transition that could have been fixed in my opinion).
“From the Ground” is a beautiful pop/hippy style Flower Kings song that made me nostalgic of their early albums. Definitely a highlight. “Black Swan” is a quirky vaudeville style song with enough memorable melodies, and early on we know a few things. Zach and Mirko feel very comfortable on this one. Hasse and Roine’s vocals are gel-ing the best that they have done in years, and we are in for a treat with the rest of this album.
From the country style of “Morning News”, which they do an excellent job of, to the perfect blend of classic Prog and modern rock of “Broken” which was released as a single. This song has an excellent middle section that shows their talent, but is almost among the catchiest the band has released in a long time. The lyrics of the album as a whole were apparently written during the writing sessions which can be seen while listening, but is also a part of the charm. If they were more fleshed out, maybe there’d be more focus on the melodic parts and the memorable lyrics, but there is also a very raw, honest, and open style that we have only seen glimpses of in their discography.
“Goodbye Outrage” is Roine’s voice singing emotionally over an orchestra arrangement for 2 and a half minutes, and “Journeyman” is a quick jazz fusion jam session that shows not only Zach’s chops, but also his writing ability. “Tangerine” is a simple, smooth, and soulful tune, “Solaris” is the longest song on the album with an excellent spacey middle section, “Heart of the Valley” is another 70s pop/Prog tune and “Man in a Two Piece Suit” is an instrumental guitar solo that closes Disc 1.
If you need to take a break before continuing to Disc 2 I understand. I need a break before I continue writing about it.
Ok! I’m back! Almost a week later, and ready to tackle Disc 2. So let’s get on with it!
Disc 2 starts right away with an upbeat, almost alternative rock song written and sung by Hasse, called “All I Need is Love”. A unique song, different than much of their catalog. Also, my girl told me it kind of sounded like Mana, and now I can’t I hear that, so it had to make its way into the review. This is followed by a true Prog instrumental called “A New Species”, with space tones and unique transitions.
The next song, “Northern Lights” takes its time to build up with hints of middle eastern and Spanish touches behind the vocals, and a wonderful fret less bass tone. It returns to The Flower King Sound on the chorus and is a very catchy tune once it gets going. It also has an excellent drum break towards the end. It is followed by a short progressive sounding transition called “Hidden Angels” which is another one of those moments that felt like it could have been touched up a bit, but also showcases more of Zach’s amazing talent and knack for fusion inspired compositions.
“Serpentine” is one of the most interesting pieces on either disc. It is complete with syncopation, jazz style saxophone solos, vocal effects, counter-melodies, and an upbeat, almost frantic pace. Maybe not the best songwriting or lyrics, but it’s stand-out sound might make this a fan favorite in live settings, just to watch the band pull it off. And honestly, who won’t crack a smile during its “are you happy?”section?
“Looking For Answers” is another excellent Prog jam session, that’s almost instrumental until it’s repeated phrase towards the end. “Telescope” is an emotional ballad with memorable lyrics, catchy melodies, and some of the lyrics especially tie together ideas that we’ve already heard in the album. “Fool’s Gold” is another upbeat and driving song with some funky rhythms that is good on its own, but honestly, this is where the album starts to drag a little bit.
The idea to end the album with so many ballad-like songs is probably its greatest downfall. Even though they all have their own unique styles and they come and go in their own directions, Disc 2 just doesn’t end as strongly as Disc 1. “Between Hope and Fear” is saved by its majestic melody that kind of acts like a chorus and an outro, otherwise the quirky verse with the vocal effect is a bit forgettable.
The album ends with its title track, which like the ending of Disc 1 is another excellent guitar solo piece. That being said, we’ve seen Roine do this a million times by now, and the fat could have been trimmed a bit if you’ve looking at the entire experience. If you’re only looking at each disc separately, then it works because the discs compliment each other so well and both albums give you a little bit of all that the band has to offer you.
Both discs have their catchy choruses, their Prog moments, their beauty, their solos. Both showcase the talents of all the members. So listening to either disc on its own is exceptionally easy and enjoyable. But if you’re supposed to listen to it all together like the band intended it to be, it might just be a bit too much to digest all in one sitting.
If they really wanted to sell a two disc – 1 song concept album idea, it could have used some smoother transitions, trimmed the “fat”, or a few more memorable moments.
Still, I can’t complain too much. It’s one of my favorite albums by them, and definitely their best in a long time. While the last few albums seemed like they were just trying to capture the magic of the album before, this one feels new, unique, and yet, strangely familiar. It reminds you of the old Flower King output. And that’s a good thing. Because sometimes it’s necessary for bands to remind you why you got into them in the first, even during times of experimentation.
This album allows them a lot of freedom. It allows them the chance to keep taking risks on future albums, cause its gives fans so much catchy material in the meantime. It is their easiest listen in a very long time, and will have a lot of playability. You can listen to it over and over again and still enjoy it. Even with the faults that I’ve mentioned, I’ve found it hard to take it out of my CD player and listen to other albums I need to review.
So overall, it’s got its faults, but for an album that was written so quickly, it actually was very close to being perfect. It will excite their old fans, and will be the perfect introduction for new fans just discovering them. Let’s hope it ushers in a new era for the band. One without any 5 year breaks!
By 1975, Bob Dylan had already had a career most musicians would be envious of. Since his debut album in 1962, he was responsible for bringing many traditional songs and songs of musicians he admired to the public, drawing attention to his heroes as well as himself. He had many critically acclaimed albums, became the voice of a generation, a symbol of protest, a hero to folk music, and created controversy with a trio of rock albums (that at the time were received as a betrayal but are now seen as among his best work). He made movie soundtracks, collaborated with many artists including The Band, and reinvented himself again with a few country and rural inspired albums.
In fact, by 1975, he had already released 14 studio albums and several live albums. So what was next? How about an album that was seen as a return to form? That’s right, Dylan returned to folk (and also returned to touring) around the time of his 15th release, Blood on the Tracks, an album whose lyrics have been heavily talked about due to its autobiographical, and very honest depiction of his deteriorating relationship with wife Sara Dylan. So much so, that his son Jakob famously commented that the album sounded like his parents talking.
Initially critics gave it mixed reviews, partly to the mixed recording style (some songs were recorded in New York and some in Minneapolis, and it does show), it has since become the benchmark for Dylan’s career since, and has been considered one of rocks great comeback albums. So with all of that said, how does it feel…..to revisit this album?
One of the interesting things to note is how close this album came to being in the electric style of his 60s trio of albums, which explains a lot about some of these songs, which could have used that diversity in my opinion. The album alternates between folk tunes, love songs, ballads, blues, and each side of the vinyl contains one long song (“Idiot Wind” – almost 8 minutes on side 1, and “Lily, Rosemary, and the Jack of Hearts – almost 9 minutes on side 2).
In fact, the sides really mirror each other well, which was a technique many bands used in those days, but is quite noticeable here. Each side starts strong. “Tangled Up in Blue”, the album opener, might be one of his most well known songs, and “Meet Me in the Morning” on side 2 is one of my personal favorites from him. (Side note: I discovered this song originally by an amazing Jason Becker electric cover, so this is one I could imagine benefitting from a rocking format).
Each side has a beautiful ballad in the form of “You’re Gonna Make Me Lonesome When You Go” on side 1 and “If You See Here Say Hello” on side 2. Each side has what I would consider to be lesser known Dylan hits (“Simple Twist of Fate” on side 1 and “Shelter From the Storm” on side 2). And each side has what I would consider to be the unsung hero or lesser known but still good songs (“You’re a Big Girl Now” on side 1 and “Buckets of Rain” on side 2).
Now, that doesn’t mean it’s all perfect. In my opinion the album does suffer from a slump. Starting with a song as great as “Tangled Up in Blue”, the next three songs all start to fall flat. Even though I like the next two, they become more of the same. And frankly, “Idiot Wind” is my least favorite song. It suffers from Dylan’s all over the place vocals, where he tries too hard to keep a long song interesting, but instead, could have just cut it down.
OR,
This could have been the section of the album that really could have benefited from the electric instrumentation. Any form of diversity would have done to pick it up.
But the album does get back on track, ending side 1 with an excellent ballad and starting side 2 strong. Side 2’s long song also handles much better than “Idiot Wind” does, whether that’s because of the strong melody or the excellent storyteller lyrics (or both). Side 2 is much stronger than side 1, and it’s rare that you can say that about an album.
As I’ve stated, the album IS one of Dylan’s best, but it’s NOT the best. With such an impressive output of albums during the 60s, it’s hard to top. But this album DOES resonate with so many people because of the relationship focused lyrics. The people who think of Dylan only writing political songs forget that the man could write a love song. And it is a wonderful showcase of an album completely written by him, rather than his mixed bag early albums which were mostly covers.
It’s impossible to pick out lyrics from even one song, let alone the whole album, that will do it justice. It is so chocked full of emotion, real people, places, ideas, stories, and so many allusions to Bob and Sara’s life together. While I can’t recommend listening to every song on the album (especially if you’re not a Dylan fan), I feel like everyone should read through the lyrics. It’s pure poetry, like the rest of Dylan’s discography.
So even if it’s not MY personal favorite Dylan album, I can understand why it is for so many people, and in that regard, I have to give it its props. Not bad for a musician on his 15th studio album. Very few people can create something special that far into their career.
View of the Sunrise 