Accept and Striborg

Okay I listened to Striborg and Accept today.

HOLY FUCK did you say you have never listened to Striborg? That album sounds like ASS. In a good way, because it is necro as hell. Pretty awesome overall, actually. Uses the shitty sound as an important quality rather than a gimmick. Or maybe it is a gimmick and I just can't tell. Anyway. this is dirty shit that crawls around in the mud and is not epic at all.

Also listened to the Accept album, forget the name. It was great. I don't have much to say, just pretty standard thrash sound but done very well with some awesome guitars and very above-adequate thrash vocals.

MUSIC REVIEW: Yes - Yessongs

"Live majesty."

I didn't think that Yes' supra-complex, textured studio recordings preceding this live set would be translated effectively to the live setting. It's not perfect, but the inadequacies created by the limitations of playing live are part of Yessongs' charm. And while the songs are occasionally missing small ingredients that flesh them out so well on the studio versions, the band's heaving energy more than makes up for it. You can especially hear it in Jon Anderson's singing. His voice is often delicate on studio albums, but here he's surprisingly powerful, singing full-force over his equally lively buddies, who jam with fervor exploding from their instruments. And man, there are lots of jams! Songs are often extended by five minutes or so for soloing, and although many would find it tiring, I think the intensity makes it totally exciting.

The songs cover three of the band's best albums: The Yes Album, Fragile, and the progressive monster Close to the Edge. This is the best lineup the band had (Anderson, Howe, Wakeman, Squire, Bruford/White), all of whom clearly feel the deeply spiritual, stirring nature of their music. Their most recent studio album, Close to the Edge, is especially well-represented, which is a marvel given the complexity of the music. The 19-minute title track is as beautiful and moving as the studio rendition. "Siberian Khatru" has tenfold the zeal. Disappointingly, "And You and I" is notably weaker than the studio version because Howe uses an electric guitar throughout, not the acoustic, which sucks away some of the original's subtle textures and simple charm.

Perhaps the most exciting songs come from The Yes Album. "Perpetual Change" blasts off after a lengthy jam interlude in the middle, returning to the exciting verses and impelling on Squire's rumbling bass lines. Wakeman's solo on "Starship Trooper" is killer, and when Howe came in with his lead, the crowd must have been slain. Fragile too gets covered well. After a stunning excerpt from Wakeman's "The Wives of Henry VIII," the band moves into a high-energy version of their biggest hit to that point, "Roundabout." "Heart of the Sunrise," with exciting drum & bass interplay and emotional vocals, makes for one of the best moments on the album.

Certainly the best live album from this era of progressive rock.

MUSIC REVIEW: Rush - Roll the Bones

"Get busy with the facts."

Although the overall quality of songcraft is a notch or two below Presto, Roll the Bones is similar in style -- very melodic rock, although this one has a tendency to rock a little harder. I suppose this might be attributable to producer Rupert Hine's influence (he worked on Presto, too). If you liked Presto, you should like Roll the Bones, although if Presto wasn't your cup of tea Roll the Bones may still be likable given the harder edge.

In terms of melody, the band still shines. The title track is a positively groovy number with a killer vocal hook in the chorus. There's also...ready for this?...a rap section in this song! It's weird, but it's pretty funny and has its own element of charm, and heck, it fits perfectly. While that melodic sensibility is still here, the more hard-hitting production charges inspiring songs like "Dreamline" and "Face Up" with an absolutely infectious quality. One also has to appreciate the band's first instrumental in 10 years with "Where's My Thing?" It's not the same virtuoso material as "La Villa Strangiato" or "YYZ," but the arrangements are stellar and the solid melodies are present. "Bravado" is one of the few Rush songs with vocal melodies I'd call beautiful, and "The Big Wheel" has an ultra-catchy chorus and fun verses. And, it's been awhile, but Lifeson's guitar solos are suddenly energized like they haven't been in a long time. There's a lot of power in the solos here, especially on the first two songs.

I don't think there's any filler here...the songs are either great or good. No, it's not Hemispheres or Moving Pictures...it's Roll the Bones, and it's different...but still awesome.

MUSIC REVIEW: Rush - A Show of Hands

"Slick songs with an edge."

It bewilders me that people say the songs here sound identical to their studio versions. I couldn't disagree more. In most cases, I think the performances on A Show of Hands catch fire, injecting considerably more energy than was present on the studio renditions. Though not quite the unadulterated intensity of All the World's a Stage, due to some glossing with overdubs and some added maturity, A Show of Hands is still exciting and emotionally charged. Take, for instance, "Subdivisions," a song whose energy breaches the ceiling with a crunchier presence of Lifeson's guitars, fiery drumming, and Geddy's passionate delivery. Actually, on each song here Lifeson's guitars have a bigger presence than the studio versions. That alone boosts the intensity level. Yes, the incidence of overdubs detracts strongly from the imperative, genuine live feel, but I'd still say there's more than enough energy to compensate. "Marathon," one of my favorite Rush songs, never gave me more goose bumps (that final chorus just soars!). "Closer to the Heart," a requisite concert staple, gets a new jam tagged onto the end, and it's a strong conclusion to a strong live album. Sprinkled throughout are songs that showcase the lighter, melodic side of the band. "Time Stands Still" and "Mystic Rhythms" sound infinitely better here than on the studio versions, thanks to a powerful, emotional performance. Peart's drum solo "The Rhythm Method" is sure to have a few jaws hitting the floor. The man is the master! If you didn't like Rush's "synthesizer era," don't buy this unless you're a completist. But if you do like those albums, definitely get this one.

MUSIC REVIEW: Symphony X - The Damnation Game

"Wimpy production blights intense, powerful music."

With a more powerful production, you know, a bit more "OOMPH", The Damnation Game could have been so much better than it is. It's sad that guitars buzz instead of crunch, drums click instead of slam, and the overall power just isn't there.

The Damnation Game, SyX's second album, brings god-like metal vocalist Russell Allen into the ranks. Although his ability never really shines through in this production, one can immediately see the promise in this man's pipes. Sounding like a younger, more vicious Ronnie James Dio, Allen fits SyX's aggressive music direction much better than the hopelessly bad Rod Tyler (from the debut).

In the song department, the band has their frantic songwriting more under control, with tighter arrangements and more intensity. The neoclassical element is still strongly evident, although the band is now exploring more interesting avenues. "The Edge of Forever" is a beautiful song with fast and slow passages, lamenting poetry, and inventive melodic progressions. It really sets the tone for the band's later brand of progressive/neoclassical metal found on Twilight In Olympus and V. Michael Romeo, one of the reigning champs of metal soloing, has his neoclassical leads coming fast and furious, with technique that might cause our good friend Yngwie to take notice. Romeo's partner in devastating soloing is the lightning-fast Michael Pinnella, whose blistering keyboard leads smoke through the song and arrest one's attention as much as any guitar solo. Songs feature trademark SyX features... majestic harmonies, symphonic textures, and killer leads, but the band has yet to explode. On the next several albums, they certainly erupt with all the ambition and quality hinted at here.

You've probably discovered SyX with either The Divine Wings of Tragedy or V. [Ed.: Or maybe one of their newest albums. This review was originally published a long time ago.] If that's the case, be sure to add The Damnation Game to your collection. It is flawed, but it's great moments give it the "must-have" status. And if you're new to Symphony X, start with one of the aforementioned albums.

MUSIC REVIEW: Rush - Exit...Stage Left

"Killer songs and performances."

Suitably enough, Rush recorded a live album to top off the most successful period in their careers. Permanent Waves and especially Moving Pictures had secured reams of popularity for the power-prog trio, so a high-energy live compilation was the perfect coda to this hallowed chapter in the band's history.

The tracks here cover a fairly broad range of Rush's catalogue up to this point, but skip over the debut and Caress of Steel. Although this collection largely covers the band's shorter, more commercial songs, they never forget the progressive rock wings on which they once soared. I'd say the song selection is perfect. Alongside hits like "Freewill," "Tom Sawyer," and "The Spirit of Radio" are progressive epics like "Xanadu" and "Jacob's Ladder." One of my favorite moments on the album comes with "La Villa Strangiato," an astounding instrumental tour-de-force that concretizes the band's standing as musicians' musicians. Live, this song SMOKES. Lifeson's first solo in this song is infused with tenfold the passion of the original, and I can't help but get chills up and down my spine listening to it. Still, while the energy is there and the songs are great, there is major overdubbing that renders the album a wee bit too polished, and the band's blazing live ebullience is diluted somewhat.

Still, this album many wonderful moments. The precise, stunning drum solo during "YYZ," "Closer to the Heart" with the entire crowd joining in with Geddy on vocals, the ultra-high energy performance of "Red Barchetta," the serene melodies of "Broon's Bane" as a seque into the hard-rocking "The Trees"...the list is endless.

I was kind of disappointed by the album's dubious representation of the concert experience. At the end of most tracks, the sound fades out and then comes back in for the next song. It's like it's taking snippets from several concerts instead of capturing the seamless performance. Most live albums cut superfluous crowd noise and chitchat, but blend crowd noise together so that it flows smoothly from song to song anyway. This works better in preserving the feel of the actual show. Annoyingly, here you'll often hear silence between the tracks and it creates a frustrating disjointed "concert" experience.

But it's not so bad. As a high-energy live "greatest hits" type package, Exit Stage Left can't be beat. Rush rules the world, and this captures them at their best.

(Oh, and make sure you get the Remastered edition, which has "A Passage to Bangkok," a rockin' song that was not included on some of the earlier pressings.)

MUSIC REVIEW: Ozric Tentacles - Jurassic Shift

"Space rock... and DINOSAURS!"

Ah, yet another trippy excursion into the Ozrics' twisted world of swirling synthesizers, quirky guitar intonations, ethnic influences, and one of the tightest rhythm sections around. This album captures all of the best Ozric qualities, making it one of their best. The title track totally rules, being an imaginative piece that sets a busy climb of slow, ambient soundscapes sprinkles with jagged guitar quotes, giant bass lines, and strokes of wacky synths that culminates in an explosive climax. "Feng Shui" is much the same, but concurrently very different. It spends a good eight minutes building to its exhilarating finale, which is perhaps the closest this band gets to a heavy metal riff. "Vita Voom's" middle section is one of the band's most beautiful moments, despite the heavy, thumping bass and drums at the beginning. Colorful washes of synthesizers and acoustic guitar create a sublime musical canvas. What more can be said? Ozrics rock, and this is one of their best. Apparently this music is wild on acid or whatever, though I've never tried that. I can say it's pretty killer with your senses intact, though.

MUSIC REVIEW: Loreena McKennitt - The Book of Secrets

"An evocative musical quest."

Ah, what a wonderful album. Loreena McKennitt's voice is a marvel, synthesizing the superhuman accuracy and strength of operatic soprano with the rich narrative quality of folk singers. Her skill as a composer is likewise impressive, as she stacks ethnic influences on a foundation of tried-and-true Celtic resources that makes for beautiful and compelling songcraft. The pristine recording quality heightens the album's mystique, making every instrument perfectly clear in even the broadest arrangement. And isn't that voice beautiful?

Each song tells its own story, but the beautiful, exotic soundscapes lend themselves very much to the listener's imagination. "Marco Polo" might evoke images of Oriental landscapes, while "Skellig" generates lamenting -- and somewhat romantic -- imagery. If the gorgeous and elegiac "Dante's Prayer" doesn't give you goosebumps, you must be a zombie. Especially noteworthy is the tragic ballad "The Highwayman" set to music. This ten-minute piece seems a bit repetitive for the first few listens, although you'll later find that the immaculately crafted composition subtly builds in intensity, adding the presence of stronger percussion and a more desperate, emotional flavor. I can't explain it, but "Night Ride Across the Caucasus" means a lot to me deep down. It must be something in the heavenly poetry, the exquisite melodies, or the stunning vocals. The chorus really is the best thing ever...well, almost!

And she sings like an angel, doesn't she?

Additionally, this CD features a great set of liner notes that sports little bits from McKennitt's journals, highlighting some of the influences for these songs, which I found very interesting. Some of those ethnic touches are hard to put your finger on, so having it pointed out helps. Great cover art too...really sets the tone for the album, I think.

And DAMN her voice sure is gorgeous, isn't it?

MUSIC REVIEW: Metallica - Master of Puppets

"Proto-prog-metal milestone."

Master of Puppets illustrates why Metallica was one of the most important metal bands ever.

After giving birth to real thrash with Kill 'Em All, Metallica began refining their innovations with Ride the Lightning, which added a bit more maturity and compositional quality. Master of Puppets is a much larger step in the same direction, and had the band incorporating more progressive elements into their music. It'd be hard to count the metal bands doing half the pioneering things Metallica was doing.

The acoustic, quiet introduction to "Battery" explodes under an aggressive onslaught of hyperkinetic, muscular riffs and thick, heavy arrangements that characterize the entire album. That's not to say it's redundant, though. All eight songs are excellent, featuring enough variation of tempo and texture to ensure that they never get boring, which is crucial when some songs extend for eight minutes ("Master of Puppets," "Disposable Heroes," "Orion"). The result is like a thrash symphony of proto-prog-metal. Cripes, you could dissect the riffery of the title track and probably create half a dozen normal metal songs. That's part of Metallica's appeal: they cram a ton of ideas into their music, but all songs are perfectly crafted without the slightest sense of disjointed songwriting.

Speaking of the title track, it in particular sports a dynamic composition, where its middle section diminishes into a quieter, evocative guitar solo (one of the few played by Hetfield) before taking off all over again. "Welcome Home (Sanitarium)" mirrors "Fade to Black" in its progression of intensity. It starts with haunting melodies, turning up the crunch for the chorus, then kicks into high gear with a weighty, fast riff and a glistening lead that carries the song to its vengeful apogee. Hetfield isn't quite a master lyricist, but for the first time in Metallica's career, the lyrics were insightful with effective diction. Note the telling and vitriolic "Disposable Heroes" or "Leper Messiah." Hetfield was never a great singer, but he was a good metal vocalist. Although his ferocity was tempered by youthful pipes, he still managed to convey the viciousness required of music so heavy, so furious.

And even when the band eschewed words and singing, they could impress. "Orion" is a marvel of metal songwriting, being an eight minute instrumental with precise, articulate solos (including a short-but-sweet one from the late bassist Cliff Burton) and big, chugging riffs. Most metal bands wrote instrumentals that were three or four minutes long...never eight. But Metallica did it, and they did it well enough to make songs like "Orion" and "To Live Is To Die" (from ...And Justice) among my favorite metal instrumentals.

Add my voice to the many, many fans who have rated this album five stars. If Master of Puppets isn't the best metal album ever, it's very very close.

MUSIC REVIEW: Nevermore - Dreaming Neon Black

"Bleak, fierce metal."

Nevermore clearly stands in an echelon above its peers in the metal wasteland. This is fierce, heavy stuff, but the band members also possess an important degree of genuine musicianship that other bands are sorely lacking. There is also a passionate vision looped around vocalist Warrel Dane's lyrical and musical ideas. The album's concept affirms this: it seems to be the story of a man losing his love to a cult of goofy mystics. Dane -- sounding like a blend of Matt Barlow (Iced Earth) and Geoff Tate (Queensryche), though not as good as either -- infuses the music with sincere feeling that comes through well, despite some overly emotive singing and some unsubtly pushy lyrics. Still, it's to Nevermore's credit that they capture any element of emotion with music so heavy. And it IS heavy, although songs like the title track and "Deconstruction" mix in softer acoustic moments for mood. The production raw and powerful, although it feels oppressively thick at times, which is unfortunate because it compromises some great vocal melodies from Dane. Songs like "Beyond Within" and "Poison Godmachine" are positively bloodthirsty, with devastating riffs and exciting leads. I liked the addition of female vocals on the title track. It wasn't her voice I liked, but the way she harmonized with Dane to heighten the atmosphere. Very nice. By all means check this out. Listen to some samples, and if you think you might like it, you probably will.

MUSIC REVIEW: Rush - Presto

"Up there with the best the band has to offer."

As the self-designated music snob and uncompromising progressive rock fan, you might have expected me to hate Rush's mega-synthesizer laden phase that began with Signals and ended with Hold Your Fire. Well, not quite. I love all those albums, and Hold Your Fire especially sits comfortably with Rush's other greats. The 80s was a time when Rush drifted farther away from their progressive roots, and began writing more melodic, groovier songs. Although Presto is very different from the four preceding records, I believe it captures that melodic quality best. It goes a bit more towards the "rock" than the "synth-fest". It is one of my favorite Rush albums.

Lifeson and Lee, who write the music, clearly have an incredible ear for melody. This album is just bursting with hooks...every song features an infectious chorus, an ear-catching guitar lick, or a tuneful arrangement...though, often, it's all of the above. Here, they've toned down on the use of synthesizers, although they are still present, but now they add a subtle texture to the music. Instead of driving the song, they supplement it, like on "Superconductor" where the keyboard helps elevate the song's intensity as they build under the song's catchy refrain. Lifeson's guitar is back in the forefront on many most, although his riffs seem more designed for tight, hooky rhythms and not technical flash or big crunch. Here, it's all about fantastic melodies. There are also a lot of simple piano chords that set a nice melodic foundation on songs like "Available Light." And lyrically, Peart would be hard-pressed to match the quality here. "The Pass" is some of his most touching writing. Also, his call for environmental awareness on "Red Tide" isn't cheesy like it is with other lyricists who tackle the issue. The song rocks too. I've also noticed "Chain Lightning" doesn't get a lot of praise, but I think it's a great song with an unforgettable melody.

I could discuss every song individually, but I don't see the need. Each track is a perfectly crafted song, concise, musically arresting, with superb vocal melodies with an emotional redolence that sometimes evades Rush's music. I must say one thing though. I resent Peart for telling me "The mirror always lies" (from "War Paint") when basically every other "mirror" song I've heard says the mirror _never_ lies. This makes me screw up the line when I try and sing along. Shucks... But ah well. It's a stupid, dumb complaint, and it doesn't change the fact that this is one of my favorite albums from one of my favorite bands.

MUSIC REVIEW: Marillion - Radiati0n

"I was horribly surprised."

Almost invariably, I tend to really enjoy the Marillion albums everyone else seems to rag on. Holidays In Eden, This Strange Engine, and even Marillion.com are all good or great albums to my ears. (Of course, they don't hold a candle to Afraid of Sunlight or Brave.) So when the chorus of derision descended on Radiation, I was comfortable in thinking it would be at least pretty good despite the criticism.

Unfortunately, that is not the case. While there is some good songwriting present, it is low in volume, with a more limpid production than any other Marillion album. In fact, the production is one of the big detriments to the CD. The individual notes of Rothery's guitar gets buried under the thick, messy sound quality; Kelly's keyboards barely have any presence in the mix; and Hogarth's great voice is suffocated by murky textures. But even if this album had a crystalline and visceral production, it wouldn't help much since the songwriting lacks the magic of their better work. Songs like "Under the Sun" and "These Chains" exhibit catchy songcraft, but the lyrical matter is frequently uninspired (especially "Under the Sun"). "The Answering Machine" is the worst song they've ever done, with a cluttered arrangement and lyrics so bad I am embarrassed on the band's behalf. It's affixed to an ugly riff that seems to characterize most of the songs, and all throughout Rothery's soloing -- one of the best elements of Marillion's music -- is emotionally tepid, inciting no more reaction than Hogarth, whose voice the production can't seem to get up into the forefront.

I love Marillion. They are one of my favorite bands, and many of their albums are all-time favorites of mine. It's very disappointing to me that I can't "connect" with any of the songs here. "Now She'll Never Know" is nice to listen to...it's quiet and soothing...but while it's easy on the ears, I can't say I actually like it. The ten minute piece "A Few Words for the Dead" is interesting and eclectic musically, with some Arabic drumming, ethereal synthesizers and good vocal melodies, and I like listening to it, but I don't feel that "pull" I feel with the band's better writing. "Under the Sun" is swell...I like the whistling synth, the chorus is simple, but catchy and fun to sing with, but it doesn't have that same endearing quality of similar songs that they've done, largely due to the production, but also because there's undertones of weak writing. I don't want to say "passionless," because that word is too strong, but it does creep into my mind as I write this.

It's strange though...for an album that I don't find terribly good, I've listened to it quite a bit. Go figure. I guess I was just optimistically thinking the album was good and I couldn't recognize it as such. Unfortunately, the album just isn't all that good at all. Disappointing Marillion release overall.

MUSIC REVIEW: Joe Satriani - Live in San Francisco

"Awesome songs get intense live treatment."

Where did this come from? I consider myself a big Satriani fan, although I didn't even know this was coming out, and there's a DVD for the same concert! I guess I wasn't paying attention, but what counts is that this album caught my eye when I slid into the record store to shuffle through the bargain bin (which sometimes holds inconspicuous treasures). Naturally, I made the purchase, and was later blown away by the great performance captured on these two discs.

The power of Satch's infectious, virtuoso music is caught so effectively here, thanks in part to Eric Caudieux contributing the rhythm guitar section, which was often a neglected factor of Satch's live shows. The techno element of the Engines of Creation songs is buried under a raw, robust performance, so if you didn't like the last album for being "too techno", you'll probably love the iterations of its songs compiled here (which consumes a chunk of Disc 1.) Stu Hamm's compelling bass occupies a big space in the mix, which is cool because although Joe's arresting virtuosity is the highlight, his songs are often anchored to cool bass lines. An enjoyable solo spot also underscores Hamm's tasteful ability, where he integrates a quote from Beethoven's "Moonlight Sonata" and really gets the crowd going with some galloping grooves.

"Time" can be forgiven as a somewhat tepid opener (great song, though), for it segues into the aggressive attack of "Devil's Slide," which blisters with intensity and sounds more visceral with real drums and a speedier take on the song's big crunchy riff. From there, the song selection is great, covering almost 150 minutes of Satch songs, from concert staples "Satch Boogie," "Summer Song," and "Surfing with the Alien" to newer tunes like the beautiful "Until We Say Goodbye," the quirky, sparkling "Borg Sex," and the dynamic, sizzling "Crystal Planet" (with a cool piano intro). Joe's hairpin soloing is often embellished live, so keep an ear open for elaboration, and he has fun with the crowd too. All the songs are treated with a favorable production that effectively balances clarity with rawness, and each song is performed awesomely. I would have liked to hear "Up in the Sky," because it's probably a smokin' live song (it'd be a good opener), and I wish he'd perform "Motorcycle Driver," because it's one of my favorites, but those are wishes, not detriments. Buy this...it just might become the most listened to Satriani album in your collection.

MUSIC REVIEW: Explorers Club - Age of Impact

"Largely bloviate ostentation with a few great moments."

Age of Impact is progressive songwriter Trent Gardner's side-project featuring some big name progressive musicians (Steve Howe, John Petrucci, Terry Bozzio, Billy Sheehan). Gardner comes from the band Magellan, who isn't my cup of tea at all, but this album's appeal came to me because of some familiar talent involved. Gardner seems to be writing an album about progressive rock, not just a progressive rock record. It's almost a form of oblation, where Gardner's songwriting tries to cover as much ground as possible and acknowledge the progressive greats of the past. In fact, it's more of a homage to prog than prog itself. There is some metal elements here, but I wouldn't call it a "prog metal" album. You can also pick up some interesting themes in the lyrics, like the challenges a contemporary progressive musician faces.

Musically, Explorers Club has a rich mine of talent. There's some stunning soloing from the eight (!) soloists involved, with John Petrucci's work being especially great. A pair of his wonderful solos illuminate the echoic "Fading Fast" with amazing emotional acuity, which help make it my favorite on this disc. Elsewhere, there's some unnecessarily flashy guitar and keyboard acrobatics undermine some interesting songwriting...I mean, there's more than 30 solos here and the album isn't even more than an hour long. An important lesson to learn is that there's more to "progress" than being a technical monster with lots of long solos.

The vocal talent, like the instrumental talent, is also here in spades, but I must say that the singers don't have much to work with. The vocal melodies are super-awkward, which is a defining characteristic of Gardner's writing. He doesn't write very interesting vocal melodies, and sometimes they are pretty rough on the ears. Like I said, "Fading Fast" is my favorite track...it's an interesting, ambient composition with a lengthy intro that uses some Arabic drumming and vibrant synths and guitars. Matt Bradley's the singer on this one, and he does a good job, sounding almost ghostly over those moody synths. On this one, the lyrics aren't too clumsy. James LaBrie is a fabulous singer, but given songs without hooks or good melodies, he's talent is squandered. (The production handicaps his voice, too.) DC Cooper has a good, rich voice, and he gives the best vocal performance on the album, I'd say, although his track ("Time Enough") is spliced uncomfortably by a discomfited solo from James Murphy that seems out of place.

While I am being critical, one must not lose sight of some great stuff here. The quiet, luminous solos (Garner, Sheehan, Bemesderfer, Howe) in the middle of "Time Enough" are sublime; some frenetic work on the final track "Last Call" is ostentatious but still captures an ingredient of amusement; and other bits scattered throughout.

Age of Impact is like a Big Mac meal. It's not great food, but it's good for a diversion once in a while, with "Fading Fast" as the burger, "Time Enough" the fries, and Petrucci's solos on "Fading Fast" as the toy. It's not a progressive masterpiece, but it's fun once in a while.

MUSIC REVIEW: Marillion - Clutching at Straws

"Hardly clutching at straws."

After Misplaced Childhood, Marillion frontman Fish found success a difficult thing to cope with. You wouldn't think that he could get anymore personal than he did with the previous album, but here the lyrics are often seriously disquieting as they reflect upon drug abuse and alcoholism unraveling a man's life and corroding his self-respect. It's gritty and lucid with that special, distinctive Fish lyrical prose, which is just a part of what makes Fish-Marillion's music so special. And although few of us experience the problems the character "Torch" goes through, Fish has a good knack for making us empathetic with the songs. It's hard not to be a little stirred by the sad "Warm, Wet Circles," the directionless wandering of "White Russian," the abyssal misery and forlorn fragility of "Going Under," or the lamenting, plaintive "Sugar Mice."

Of course, the accompanying musicians aren't slouches by any means. Rothery, as always, evokes an incredible degree of emotion from the gallant chords that sing from his guitar. While I think the most individually impressive Rothery solo is that from Seasons End's "Easter," Clutching At Straws is his most emotionally powerful work to date. His guitar is Fish's second voice. Rothery's ability to isolate and preserve Fish's emotions is unmatched by anyone. It is possible only through a collegial magic and musical connection that these men share. Keyboardist Mark Kelly is equally important, not being much for pizzazz, but being remarkably effective in subtle tones of atmosphere and feeling.

Clutching at Straws was the last Marillion album with Fish before the band separated (not counting the live La Gazza Ladra). It's thankful that they didn't let themselves record an awful album during this wild and stressful time, and their schism ended on a high note, establishing a faultless legacy as a precursor to their separate ways. It's probably the tension between the musicians that helped create the thick threads of emotion in this release. Now, Fish enjoys a fine solo career, and Marillion brought in the different but still wonderful Steve Hogarth to take the reins.

MUSIC REVIEW: Marillion - This Strange Machine

"Not so strange."

"Coming down" from Afraid of Sunlight, one of my favorite all-time albums, This Strange Engine is good, but leaves a bit to be desired. Songs are quieter, often less ambitious and diverse, and the album misses an element of cohesion found in Brave and Afraid of Sunlight. The epic title track is missing an integral musical theme to hold it together. This is no Afraid of Sunlight.

Given time, I realized that it didn't matter. There's some great work here, some of the band's best writing, I'd say. "Man of a Thousand Faces" is one of their best album openers ever, I think -- quite simply a GREAT song. Driven by acoustic guitar and piano flourishes, think "King of Sunset Town" with acoustic guitars and you're close. Actually, Rothery uses lots of acoustic on this album. "80 Days" and "Estonia" are wonderful songs both anchored in acoustic guitar melodies.

The title track in particular is totally beautiful. Quite simply, it is a progressive songwriting showcase of huge proportions, and certainly one of my favorites of theirs. Rothery's slow, sparkling guitar solo near the end is gorgeous, with sonic grandiosity and innovative arrangements building up to it. The song reads in at a little over 30 minutes, but in reality there is only about 16 minutes of music. This is followed by a long moment of silence before some piano chords chime in and there's some creepy laughter. Did they think it was funny tricking us like that? It was mean, very mean! That's the most progressive thing on the album, although "Estonia" is fairly reminiscent of the "classic" Marillion sound, as well.

I always find myself liking songs no one else enjoys. "Memory of Water" is a spooky, haunting arrangement where Hogarth's voice is the main instrument, supported by quiet synthed violin and what might be cello and some flute. There's also some, uh, provocative lyrics in the form of, "Your taste is blood and ecstasy | But I must drink you all alone." I have mixed feelings about some of the other work, though. "One Fine Day" has an overly pushy guitar riff for a song with those quiet vocal melodies and rosy lyrics. "The Accidental Man" is pretty good, but "Hope for the Future" is too unlike anything they've ever done for me to appreciate -- it just doesn't fit. The refrain "Carrying a message" is overused and overall the music sounds like it belongs on someone else's record.

So it's an album of peaks and valleys, but those peaks are certainly some of their best moments.

MUSIC REVIEW: Rush - All the World's a Stage

"In the flesh."

Wow... I've never heard a live recording where the crowd whistles so much. Anyway, that's not so important. Rush had just released their pivotal power-prog release 2112, which featured the phenomenal side-long title track based on the writings of Ayn Rand. And the highlight of this live release is, in my opinion, an awesomely energetic performance of that epic. Some parts are cut out, reducing the song to 16 minutes, but it still rocks, man. At this stage in their career, Rush was rockin' hard, evident with crushing cuts like "Bastille Day," "Something for Nothing," and "Working Man," which has one of Lifeson's most exciting guitar solos to this day. The band also performs "By-Tor and the Snow Dog," which features some sublime instrumentation in the middle. Neil Peart's drum solo is interesting and very musical...I mean, it's more than just a guy hitting stuff. This is a great live album from the days when Rush was young and gushing energy.

MUSIC REVIEW: Rush - Power Windows

"Attack of the 80s, part deux."

This is part two of what I call "The Rush 80s Trilogy," preceded by Grace Under Pressure and followed by Hold Your Fire. (Signals really felt like a transition.) With all three of these albums, Geddy's keyboards were BIG, sometimes cheesy, and sometimes more important than Lifeson's guitars as the source of power for the songs. Of the 80s Trilogy, Power Windows is the hardest rocking of the bunch, and the mix of New Wave in with their staple hard rock direction made for some good music.

What's important here is that the synths are lumped back with the feel they had in Signals -- that is, a better balance is struck between the guitar riffs and the keyboards. The bass sounds bigger on this album too, so I'm thinking that Peter Henderson (from P/G) wasn't the right producer for Rush.

To me, there are few Rush songs better than "Marathon." This song has the tremendous power to raise mood with its high spirits. This song just gushes power...anytime you're feeling down and out, just throw on "Marathon" and everything will be cool. Peart's lyrics are inspirational, and the intensity of Lifeson's solo raises the song to dizzying heights that peaks with the final chorus, incorporating vocal harmonies, choral synths, and real strings. It's just awesome.

There's a bunch of other good stuff too. On "Middletown Dreams" is a good anthemic cut with some of Lee's most interesting synthesizers. Lifeson's guitars here work in bursts that works neatly with the synthesizers. "Mystic Rhythms" is one of the band's most magical compositions, with echoic percussion and synths and ambient guitars. It's sort of ghostly but beautiful. "Manhattan Project" is gutsy and evocative with cool keyboard speckling. "Territories" uses some world influences to spice up the composition, but unfortunately the chorus lacks any punch and the lyrics are pretty ambitious. "Big Money" is the extensive opener with fiendishly catchy riffs and lyrics. "Grand Designs" and "Emotion Detector" are fine songs as well, but I'm tired and running out of things to say.

Not everyone likes this form of the former power-prog trio, but for the rest of us, it's another rockin' album from Rush. Now, what is the best album of the 80s Trilogy is up for debate, but Power Windows definitely has the best song. ("Marathon.")

MUSIC COMMENTARY: Yes lyrics

I don't know what it is with people. They seem to think it establishes their "serious reviewer credentials" if they ridicule ostensible ridiculous sounding prog lyrics. Specifically, Jon Anderson's Yes lyrics. And more specifically, the lyrics from the amazing epic tune "Close to the Edge".

For example, some dinkus from Amazon:

"With Anderson the thing is to always enjoy his soaring tenor voice and forget about the inane lyrics; try explaining 'A seasoned witch could call you from the depths of your disgrace / And rearrange your liver to the solid mental grace / And achieve it all with music that came quickly from afar / Then taste the fruit of man recorded losing all against the hour.'"

Okay then, let's look at these lyrics. We will see they really aren't that retarded. They are just weird. Even though they were probably written after a few bong hits, we should be charitable and assume that Anderson did have a specific meaning in mind.

"A seasoned witch could call you from the depths of your disgrace."

Disgrace is a condition people find themselves from time to time. It is a state of ignorance, sorrow, dishonor, humiliation, or whatever. A witch...well, witches aren't necessarily evil. They are people who can draw upon powers beyond the natural world. Seasoned means to have been around for a while. So, you will be called from the depths of your disgrace, but you will not be taken from it. That's something you have to do yourself.

"And rearrange your liver to the solid mental grace."

This is the line for which Yes is most often ridiculed. But it's actually quite smart. What is the liver? Well, one of its functions is the detoxification of drugs, poisons, and endogenous toxins. However, these are physical maladies. There are greater impurities than those of the corporeal form -- like those of the mind and the spirit. Of course, the use of the word "liver" is highly metaphorical here; what's important is that we must purify our minds and spirits. Putting the first two lines together, we see that something will call us, so we can elevate to a state of mental/spiritual grace (which is the opposite of disgrace). (I think the adjective "solid" is just used to aver the strength of the mind.)

"And achieve it all with music that came quickly from afar."

What is this "music"? I think Anderson is only using this word in a metaphorical sense. It could be God (afar=not of this world; quickly=through prayer), or it could be some other form of spiritual revelation. Now I'm not sure on Jon Anderson's religious background, but he seemed like a pretty new-age-y spiritual fellow, so I think this makes sense. In any case, this line tells us that spiritual revelation, divine or otherwise, is the way to rise above the depths of disgrace. Another interesting point is music "came," not music "comes." This implies that this spiritual strength has been here all along for those who wish to seek it.

"Then taste the fruit of man recorded losing all against the hour."

Fruit...that's something we produce; it's the results of our efforts. Depending on where you see the song going from here, you might think that this fruit of man is virtues like love, benevolence, compassion...you know, all that good stuff. Unfortunately, many people have lost touch with virtues. There are many morally gray people in today's world. But rising up from the depths of our disgrace, we can again taste the righteousness of man's life. So without some kind of spiritual epiphany, we cannot get back on the right path.

That's my take on those four lines. There's so much more depth to the lyrics of this song, and I'd like to share it, but I don't have the time nor the space with the 1,000 word limitation. But hopefully this little review has given some of you something to think about -- hopefully you're reconsidering the idea that Yes' trippy lyrics have no value beyond their sound.

"Close to the Edge"'s music is brilliant; it's absolutely brimming with tasteful complexity. Yet the composition works harmoniously to express the song's deeper meaning. Note how the song is cyclical (which corresponds with the "Seasons Of Man" theme), and the music moves from the oh-so-chaotic opening to a more melodious arrangement. The concord between music and lyrics is part of what scores the album five stars. Were it to only consist of the title track, it's still enough to qualify for the highest rating possible here at Amazon. "Close to the Edge"'s lyrics may be "inane," but they are still better than your average crap rock lyrics.

Queensryche humor.

See here for hilarious ridicule of Geoff Tate's current "i m so aewsmoe and sexxy" attitude and his contamination of the hardcore Queensryche attitude!

MUSIC REVIEW: Rush - Grace Under Pressure

"Rush rocks the 80s!"

Grace Under Pressure is not an exact copy of its predecessor Signals, but it seems to have been painted with the same broad strokes. It's synth-heavy, with a liberal nod to the 80s rock scene, and a compliant attitude to pop/rock. Although the songwriting is mostly strong, my biggest problem with the album is the way it was produced. Terry Brown out, Peter Henderson in. Lifeson's guitars seem suffocated by the production, whereas on Signals the synths and guitars worked well together. I don't know if this was deliberate or inadvertent, but I don't like it. The songs don't seem to rock as hard as they should. The overall sound is a little more tepid as a result.

Despite that, this is a great album from a characteristically great band. You can really here the 80s influence in this one, which isn't that bad because Rush handles it well. Each song sounds good to these ears, and there's a good deal of diversity, although a threatening and gloomy feel permeates the lyrics and the soundscapes. With the synths more important than before, it's good that Geddy's keyboards are a little more interesting than they were in Signals (although Signals may be the better album).

I have no direct complaints, because there is no song that I dislike. The catchy and rockin' "Kid Gloves" is the only song where Lifeson's guitars really take the musical vanguard, and it's a great song. I love the lush rhythms and emotion of "Afterimage," the big sound of mammoth organ synths in "Distant Early Warning," the acutely atmospheric "Red Sector A," and dynamic synths and melodies of "Between the Wheels," which I think is one of the band's most underrated songs. The chorus is especially great. Also worth mentioning is "The Enemy Within," the end...err, beginning of Peart's FEAR trilogy. Geddy's main bass lick gallops along with a frenetic tempo, backed by forceful guitars and precise drumming. Even the weird "Red Lenses" and lyrically silly "The Body Electric" are good songs, thanks to interestingly quirky music on the former and slick vocal hooks on the latter.

Like I said, no direct complaints, but I can fault Grace Under Pressure habit for some directionless ideas. For instance, "Afterimage," which is one of my favorite songs here, starts with a shadowy riff and a moody synth, but out of nowhere come these weird, staccato synth chords that sound out of place. It kind of throws the song off a bit. There are moments like this all throughout the album. Still, it is a great disc that I'm more than happy to own.

MUSIC REVIEW: Rush - Signals

"Rush hits the synths hard!"

There is a chorus of voices that aver Rush went downhill after Moving Pictures. I like all of Rush's work, so I would instead say that they changed without depreciating in quality. Deftly merging with the 80s' music climate, Rush's synthesizers -- which, up to this point, had always added texture and ambience -- now became one of the band's main thrusts, working alongside Lifeson's groovier, lighter rhythms. Lee was singing at much lower ranges, and many were finding that he had a very pleasant voice when he wasn't shrieking. Hey, I love his old voice, but it was a bit much for some people.

The fantastic MTV hit "Subdivisions" opens the album with an urgency propelled by lush synthesizers and big hooks, which sets the tone for the rest of the disc. Alongside this commercial triumph is the other radio hit, "New World Man," which is a catchy blend of rock and reggae. "Chemistry" is similar in style to this one, but the lack of a vocal or lyrical hook kills the song. Other highlights include the sad "Losing It," which includes delightful electric violin and some of Peart's most touching lyrics; "Digital Man," which is up-tempo yet mellow and catchy; and the superb "Analog Kid," which rocks hard with the verses but slows to a placid exquisiteness with the unforgettable chorus.

The overall feel had altered, but Rush retained their passion and songcraft that allowed them to survive -- and prevail -- with the change in bearing. That's why this is a great album.

MUSIC REVIEW: Rush - Moving Pictures

"The crush of Rush."

I find it delightfully ironic that Rush, a band critics loved to hate, released Moving Pictures, the album I'm sure critics hate to love -- it had them eating their words, after all. An undeniably great album from those pretentious and nerdy progressive rockers? Yeah right! Seriously, it is difficult to contest this disc's perfection, which is the logical extension of its predecessor, Permanent Waves (it could very well be called Permanent Waves Part II). Moving Pictures is a highly engaging, accessible, and timeless piece of work.

Although the touted folds of progressive rock were being peeled off, the improvements over their previous releases are manifold. Very importantly, Lifeson's solos are more melodic than ever, but the style is still unmistakably his. The songwriting is intense and the musicianship is brilliant, but this is catchy stuff. This is probably the most welcoming progressive rock album ever recorded. I mean, you didn't have to like progressive rock to like Moving Pictures. That's part of this record's magic...but only part, mind you. We all know Rush is terrific in terms of ability, but we would have never guessed they could write such great songs? Yes, we had hints of it with "The Spirit of Radio" and "Freewill," but here the songs are better than you'd be led to expect. (Although I must say I prefer Permanent Waves to this, on the whole...heresy, I know!!)

Moving Pictures is ultra-sleek, commercially accessible but not-necessarily-commercially-directed songwriting is done impossibly well. The album's production is perfect, hitting the right balance between Rush's power and clarity, which is just right for this kind of release. (Before this, rawness and power were good...after, clarity and slickness were preferable.) Rush's lyrics were changing to accommodate the shift in musical direction. Less broadly philosophical, more modern and "normal," but still intelligent and socially intuitive. "Red Barchetta" is the last sci-fi song Peart ever penned (unless the you count the robot songs). The concept seems simple, but there's an interesting bit of underlying commentary that we expect from Peart. "Witch Hunt's" lyrical message is fairly acidic because of the scathing metaphor involved. Clever stuff. What I always liked about Peart is that it was easy to understand what his songs were about, but his diction and intelligence were always inspired.

Some call it the best Rush album. Some call it the best rock album. I'll avoid the extremes and just say it's a must-have classic that belongs in the musical library of any rock n' roll or progressive rock fan. Oh yeah, and if you like Rush but you don't have this, something's seriously wrong with you.

MUSIC REVIEW: Ozric Tentacles - Waterfall Cities

"The band from another dimension!"

When I listen to the Ozrics, I think that these guys are really aliens masquerading as humans. These aliens have a liking for many different styles of earthling music, and as such they blend the psychedelic space rock with many eastern influences, a mutated form of New Age, and some of the "watery" electronic textures of techno. Their music is out of this world, so unlike anything else that it's difficult to compare. Their music mystifies and excites like nothing else.

This is only my second Ozric Tentacles CD, as I am new to their music. I also own their newest, The Hidden Step, which I like better than this one. These songs are little more cosmic but a little less colorful. My favorite track is the hyperkinetic "Waterfall City." It's 11 minutes in length, driven by crystalline synth lines and ballistic guitars that swim atop a hammering layer of throbbing bass and electrifying drums. One thing I noticed about this disc is that the drumming and bass lines seem a little more repetitive. That's unfortunate, since it detracts some the dynamics of the songs. Still, this is an excellent release well worth owning.

MUSIC REVIEW: Tori Amos - Crucify [EP]

"Tori Amos' covers will make you forget the original song."

Tori Amos is quite simply a wonderful musician. Her music comes from the heart, she truly uses her voice like an instrument, and her singing just melts me. Because I highly respect Tori musically, I enjoy hearing covers that reveal her own musical qualities and her distinctive revision of songs she likes. "Angie," a song from the Rolling Stones' more decadent days, is tremendously beautiful with the implicit intimacy of Tori's effortless singing. Great piano arrangements too. "Smells Like Teen Spirit" is truly radical compared to the original. Instead of Kurt Cobain's loud, crass delivery with ringing guitars and pounding drums, Tori sits down at the piano and sings it quietly and beautifully. Finally, Led Zeppelin's "Thank You" gets the Tori-treatment. The piano is achingly good here, and Tori's voice...well, its awfully pretty. Funny how I've never really loved Led Zeppelin, but covers of Led Zeppelin songs are almost always excellent.

The EP version of "Crucify" is, in my opinion, superior to the album version. Although this one is shorter and lacks some of the piano flourishes of the "real" version, I think this is a more compelling arrangement, with the added guitars. The EP version of "Winter" is unchanged, which is fine, because you shouldn't mess with perfection.

MUSIC REVIEW: Tori Amos - Hey Jupiter [EP]

"Music this good can speak for itself."

Tori Amos' singles/EPs are usually good treats because they feature interesting remixes of the eponymous album versions, and sometimes some great covers and superb b-sides. Hey Jupiter is no exception, making it an inviting disc for the collection. "Hey Jupiter" from Boys For Pele is an utterly gorgeous song, and I thought it was inappropriate to remix something so...perfect. The EP version doesn't surpass the original -- it adds some harrowing drum programming and almost an industrial vibe. Yes, it's cool, but it overwhelms the simple intimacy of the original, which was basically just piano and voice. The four live cuts are very worthwhile: both "Sugar" and "Honey" are great songs (it's truly a shame that "Honey" didn't make it on Under The Pink). "Professional Widow" is considerably more delicate until the end, but it retains that weirdly lovable vitriol. This little disc culminates in a beautiful (and I mean BEAUTIFUL) rendition of "Somewhere Over the Rainbow." Judy Garland would be quite humbled to hear this. Tori's graceful fragility and shimmering emotional precision just kill me on this song. Heck, the EP's worth the 8 bucks just for this song.

FILM REVIEW: Born on the Fourth of July

"Powerful, earnest, and wrenching antiwar film."

Oliver Stone explored the effects of the Vietnam war with three movies: Platoon, Heaven and Earth, and Born on the Fourth of July. Most regard Platoon as the best of this "trilogy," although I always preferred this one. Platoon was gritty and realistic, but this was powerful and more emotionally driven. Until I saw this film, I didn't have much respect for Tom Cruise as an actor, but everything changed afterwards. Cruise goes through a number of critical changes throughout this film, from a patriotic young man to a bitter, crippled veteran, and he does it better than you could imagine.

Cruise is the young athlete Ron Kovic, an idealistic and patriotic American who joins the Marines to fight in the Vietnam War. When he gets there, his brash eagerness is diluted by horror when he accidentally kills one of his own men. The pains in his heart are compounded by a bullet wound that leaves him paralyzed from the chest down. Returning home, he steadfastly clings to his national spirit, which puts him in conflict with the populace's growing aversion to the mess in Vietnam. He winds up in Mexico as a tormented drunkard, then reforms and becomes an anti-Vietnam activist, writing the autobiographical book on which this movie is based.

This movie is tremendously powerful because of its acute historical significance, strong anti-war message, and Tom Cruise's stunning acting. The movie is sad and wrenching, but it ends with an uplifting note of someone who rises above the pain and hate to a stronger condition. This is Oliver Stone's best film, I think. I also love the score by John Williams; the movie's theme does an incredible job evoking the feelings behind some of America's most painful years.

This film is also relevant in our modern times as the American public begins to turn against the lie of the "war on terror." Kovic's journey mirrors the blind patriotism after 9/11 that is now starting to see clearly at last.

MUSIC REVIEW: Eternity X - Mind Games

"Close to The Edge."

Mind Games is the bridge between the straightforward metal of Zodiac and the progressive masterpiece The Edge. As such, the band's progressive aspirations are gaining a little more of a foothold in the music. That's not readily apparent however. The album opens with the upfront, crunchy spitfire attack of "Firestorm," with vocalist Keith Sudano's plosive phrasing sounding dubiously like Geoff Tate (although his actual voice is very different). From there, the album becomes more challenging, with less direct approach to songwriting: the wet, gray textures of the sad "Despair"; the steady, suspenseful progressions of "Endless Journey." Thematically the album explores endless conflict within the mind. This exemplified best with the title track, punctuated by aggressive, crunchy riffs and cool lyrics... "I am your nightmare, I am you." Mind Games is an important album in observing the nascent potential ready to be commanded by Eternity X.

MUSIC REVIEW: Marillion - Anoraknophobia

"Changing the face of neo-progressive rock?"

Listening to Anoraknophobia, one really gets a feel for how Marillion has changed over the years. It's been a long time since they paralleled Genesis (with Fish at the helm), and now after a decade with Steve Hogarth, the band is entering the twenty-first century with something quite different from their previous works. In fact, as you can infer from reading Marillion's biography at their site and checking out Barry's "dislikes" on the back insert, they are trying to distance themselves from the whole neo-prog thing (which they helped invent).

Perhaps you can see it coming. Lay out all your Marillion albums, from Script for a Jester's Tear to Marillion.com, then look at the cover for Anoraknophobia. It doesn't quite fit, does it? And just like the clashing cover, the music within is really dissimilar to their previous albums, although it is a reinvention that feels natural, with no contrived deliberation to sound effervescent and cool.

There's a welcome element of diversity here. Songs such as "Map of the World" and "Between You and Me" are warm commercial tracks with undeniably hooks to boot that are far more honest and "real" and the manufactured tripe on the radio these days. Also spread thickly throughout are wonderful, evocative songs like the beautiful and contemplative "When I Meet God" and the ambient "This is the 21st Century." "If My Heart Were A Ball It Would Roll Uphill" sounds like the title belongs on a Meat Loaf album, but fortunately the track is nothing as awkward as Jim Steinman's work. (If you like Meat Loaf... you have my sympathies.) I initially found this song noisy and hard on the ears, but persistence paid off...it's perhaps the most interesting musically, with that densely layered composition and heavy production.

Marillion's latest often tackles unusual song structures, and journeys down paths new to them. This has them straddling lines between a number of styles, which separates them from the masses and keeps them away from being a "me too" band. The trance-like "This is the 21st Century" is a lengthy (11 minutes), spacey song with Hogarth's subtle inflections effectively calling attention to the details of the arrangement. "When I Meet God" is just gorgeous stunner worthy of the band's most sensitive moments, with Kelly's exquisite synth chords giving me goosebumps near the end. "Quartz" is another long one, nearly reaching ten minutes with compelling bass & guitar interplay, dynamic Hogarth vocals, and ambitious melodies.

I'll be honest though -- I was really expecting to be blown away on the first listen. It didn't happen. I liked track 7, because I was familiar with it already (having downloaded it from mp3.com awhile back), and of course the instantly likable "Map of the World," but it took quite a while for this album to really sink in...and it's still got a ways to go, I'm sure. But I've noticed the best albums are like that. For now, anyway, I'm sincerely enjoying what they've put together, and I'm readily cognizant of the long-term listening pleasure this will give me.

MUSIC REVIEW: Ozric Tentacles - Arborescence

"Beyond words."

If anyone's been paying attention, I've done four reviews for Ozric Tentacles albums to date, and each time I've struggled to describe their music. Again, I will give it a shot (futile though it might be). Most people put them together with the good ol' instrumental progressive/space rock category, but there's so much more to it. It's got that ambient factor of electronica and the "bumpin'" element of techno, but it's unmistakably rock music. Yet still there's the African, Eastern, and Arabic influences that further distinguish this wacky bunch of virtuosos.

So throw it all in the blender, and what do you get? Something truly unique and mystifying, served up smooth. Hell if I know what to call it, but it's damn cool. Although there aren't really hooks, the music is aurally addictive. Each song is weirdly evocative and intense, with unparalleled dynamics of tempo and texture. All songs are great, but ya gotta give special mention to the longest song, which in this case is "Yog-Bar-Og." It undulates in intensity, all the while building to a wicked climax! It's 10 minutes of what the Ozrics do best, but again, what that is is difficult to describe. Some words that come to mind when listening are: "Trippy," "Fuzzy," "Plosive," "Glistening," "Smooth," "Watery," "Magical," "Steamy," "Groovy," "Cosmic," "Spacey," "Celestial Jungle Power," "Rawkin,'" and "Monkeys." Yep, there's my helpful review...I'm sure it told you everything you wanted to know, hoi hoi.

MUSIC REVIEW: Ozric Tentacles - Strangeitude

"OUT OF THIS WORLD!"

This album is absolutely incredible. Here, the Ozrics' diverse amalgam of styles comes together in some of the most logical, coherent, and especially exciting ways. If you've never heard this band before, imagine (if you can) a band playing instrumental progressive rock, techno, world music, and psychedelic crazy bits and you've got a bit of an idea of what these guys are like. Ultimately, they defy classification...you just have to listen. Their songs range from groovy, atmospheric "jungle jams" (does that make sense?) to out-of-this-world space rock with some of the neatest synthesizers I've heard.

Compared to other Ozrics albums, this is one of the better ones. Their albums are all pretty similar, so it's difficult to pick out individual constituents and identify the better qualities...there's just something ineffably "right" about this album. And it's killer! There is absolutely no other band I know of that sounds anything like this, which adds to their alluring mystique. I don't know what else to say...it's just freakin' good.

MUSIC REVIEW: Rush - Fly by Night

"Enter Peart."

Fly by Night signals the departure of John Rutsey and the recruitment of superlative rock drummer Neil Peart. Peart's membership helped guide this band to a more progressive, powerful trio than they were with the debut. His contributions musically and lyrically were HUGE. But it's important to keep in mind that in being an important album, Fly by Night is not necessarily a great one.

The record begins with "Anthem," a fiery-played rocker with Peart's first lyrical input. He lacked subtlety at this point; his Randian lyrics come across as pompous and hollow when too direct. (With "2112" and "The Trees," for instance, the lyrics work well because he's more clever.) "Rivendell" reminds me of a medieval minstrel's song. Gentle acoustic guitar accompanies Lee's most limpid vocals. I actually like this one, although many others don't care for it. I also enjoy the peppy riffs and catchy chorus of the title track, and the Zeppelin-esque "In the End."

I'd say the best song here is "By-Tor and the Snow Dog," a seminal progressive suite for the band. Although people say the instrumental interlude is aimless and boring, I like it a lot. The band uses their instruments in resourceful ways to convey the battle between By-Tor, the prince of the underworld, and the Snow Dog, a beasty-monster-thing. In that respect, it's somewhat like Yes' "The Gates of Delerium," but not quite as good. (On their live album All the World's a Stage, the band extends the instrumental section and makes it more interesting.)

Rush still required growth, some focus, but they were on the road to success.

MUSIC REVIEW: Marillion - marillion.com

"Go! give it a chance. The truth lies within!"

Many have derided Marillion for the pop-factor on marillion.com. I actually enjoy well-done pop music, so I wasn't so apprehensive about getting this. Plus, I thoroughly enjoy Holidays In Eden, which is one of the band's "poppier" releases.

I initially enjoyed marillion.com, aside from the contrived rock infusing "Built-In Bastard Radar," but I wanted to make sure my satisfaction wasn't ephemeral as it sometimes is with albums like this. So I wanted to give it plenty of time before reviewing it.

Now I can comfortably say that it's a good album, but not quite up to par with the best the band has to offer. Of course, the song in question is "Interior Lulu," the 15-minute epic. Hogarth's singing at the beginning of it reminds of Tori Amos (that's good!). The second passage begins with some off-the-wall keyboards that remind me of a carnival funhouse (that's bad!). All in all, though, it's a very satisfying epic that takes a good deal of time to fully sink in, with a wonderful Rothery solo at about 8 & 1/2 minutes into it and all the tight instrumental interplay that's characteristic of this band.

As for the other cuts, I have no compunctions about saying that Marillion knows how to write good, commercially viable songs (although none of it would ever get on the radio). The opener, "A Legacy," is a great song that's easy to sing with. The ballad "Go!" highlights the emotive power of Hogarth's voice, in sharp contrast to the preceding track "Deserve," which is a more insistent rocker with a great hook. "Rich" is similarly catchy, and "Tumble Down the Years" is a beautiful song with an incredible chorus. The album comes to an end with "House," the 10-minute song that feels much shorter than 10-minutes. It's sort of surreally jazzy and mellow...and great way to bring things to an end. I wouldn't miss "Built-In Bastard Radar" if it suddenly vanished off the face of the album. Although there are some interesting melodies, it seems a little forced and Hogarth's voice on the chorus is suffocated by the arrangement.

It's a little shallower than works like Afraid of Sunlight and Brave, and in some ways it might be a little too unlike their other work, but .com is a great album from a band that continues to grow and impress. Since this gets mixed reactions from Marillion fans, you will have to judge it for yourself.

MUSIC REVIEW: Dream Theater - Scenes from a Memory (reconsidered)

"Progressive metal's finest hour (or 78 minutes)."

There are a lot of great progressive metal bands around these days. There's the symphonic and stylish Symphony X, the increasingly evolving Fates Warning, the original and daring Pain of Salvation, the technical powerhouses Power of Omens, and many others.

But among them all, Dream Theater remains the best. To me, no one else defines progressive metal like these five brilliant musicians. They strike an incredible balance of power, technique, emotion, and melody with a unified vision possible only with the remarkable degree of chemistry these guys share. And, in many ways, Scenes From A Memory is their best work.

Here's the skinny: It's a 78 minute concept album whose story stems from the original "Metropolis" mystique from their breakthrough album Images And Words. This is the album Dream Theater wanted to make all along, with no pressure from their label, and no regard for commercial success. It's a feast for the music lovers, with a good enough ear for composition and melody that the technique never overshadows the song. Dream Theater's critics love to attack them for going overboard with solos and instrumental sections, but it's never bothered me simply because they play with a lot of heart. John Petrucci is an outstanding guitar player who never restrains his technical ability, but most importantly he plays with a tremendous amount of soul. The encouraging heroics of his solo on "The Spirit Carries On" encapsulate this idea better than anything. It's pure beauty in music.

DT may not be able to repeat the greatness of SFAM in the future, but if they continue to make the music they love, there will never be another good-but-flawed Falling Into Infinity. They will continue to take great strides beyond their peers and continue crunching the mold to their image while making some of the best music out there.

MUSIC REVIEW: Ozric Tentacles - Tantric Obstacles / Erpsongs

"SUPERB!"

I can honestly say I love Ozric Tentacles' music like Oprah loves Big Mac combos -- I get powerful cravings, and then I want to eat the music! But for the life of me I can't describe it accurately. I usually think of it as an amalgam of progressive rock, electronic (less of that here, though), world music, new age, and other touches that defy classification. So I can't pigeonhole it, but I can say it's great music.

Erpsongs and Tantric Obstacles were the band's first releases, both on cassette back in the 80s. Here, you get both on CD for about 2 hours of definitive Ozric tunes. That's means it's a TWO-FER, which is awesome by default. But it's especially awesome when you are dealing with an Ozric two-fer. At this early time in their careers the band had much shorter songs, generally assembled around just a few musical ideas as opposed to the longer, more diverse works they would later write. As always, it keeps you guessing...they are always adding cool Eastern progressions, quirky synths, exotic percussion, and other things that make for eclectic yet undeniably cohesive music.

MUSIC REVIEW: Tool - Lateralus

"Rich and challenging."

I'd always figured Tool was a lame "nu-metal" band with reams of angst and minimal talent.

However, this album had become the focus of a discussion among progressive metal fans whose opinions I highly respected. I was hearing some interesting adjectives applied to them: "intricate," "original," "intelligent," "progressive." I was interested, but still skeptical. These guys were popular, after all, and I assumed that they were appealing to the lowest common denominator like so many""nu-metal" bands.

My curiosity was compounded when I saw the phenomenal music video for "Schism" on MTV. It was a delightfully surreal pictorial essay with a theme of renewal and emotional interaction (I think). Although the video is excellent, the music also captured my ear. I was unable to get that final menacing line, "I know the pieces fit," out of my head. The song possessed interesting progressions, complex syncopations, and good deal of musical muscle. I could tell these guys were more than a "let's scream and bang on guitars and drums and sound angry" band. (Also known as a "nu-metal" band...if that stuff is your cup of tea, you are at this point invited to disregard this commentary).

So I bought Lateralus. Initially, it appealed to me because of the mystery of the compositions, and the understated imagination of their music. I found it self-consciously alienating, for it is very dark and eschews melodic hooks. I suspected the album was a challenge, so I persevered. The excellent production lends to that mystery...it is very bass-heavy and Keenan's distinctive voice is sometimes barely audible, like a forlorn spectre. At other times, he's incredibly visceral and venemous, with a telling, indignant quality that perfectly fits with music so oppressively bleak. With each listen, I found something new, and as I began to follow the lyrics (note: get them from the Tool's site), things began to click. I started understanding the deliberate austerity of the music and appreciating it from an artistic perspective. It's experimental, somewhat unsettling, and tense.

And this is not the kind of stuff that beats you over the head with a loud, raucous song in four minutes. The average song length here is 8 minutes or so (not including the segues and track 13). This allows the band to express more lush ideas with their music, and be more experimental. Many songs contain hard, crushing moments balanced by slower, quieter moments. It only rarely "rocks"...Tool likes to draw you in with hypnotizing rhythms, sweeping textures, and crafty orchestrations instead of "rocking out."

And I am tremendously impressed by their work. This isn't progressive metal in the same vein as Dream Theater or Symphony X. In fact, I hesitate to call it metal. It IS heavy, but it's very subtle and insinuating. However, it is _progressive_ in that it does new things, pushes boundaries of categorization, and challenges the listener. This is the kind of music that requires some effort to "get" (as in understand), but it's a satisfying achievement to experience it.

Probably the best album out in 2001, I'd say.

MUSIC REVIEW: Rush - Rush

"Hard to review."

Rush's first recording isn't a Rush album, per se. It's actually a little hard to judge fairly as it is pretty forgettable in the grand scheme of Rush's career.

Before Neil Peart joined, before Rush gained notoriety as a respectable progressive rock band, they were a becoming Led Zeppelin-esque band that rocked hard. And they rocked hard well. Former drummer John Rutsey was no Peart, but it doesn't matter. This is rock n' roll, with no trace of the progressive ambition the band would later embrace with Peart's vision.

So what does it offer? Sleek guitar licks, melodic and lyrical hooks, and energetic arrangements and performances. Some of the lyrics are embarrassingly banal at times, and in many ways the album is disappointingly straightforward, but what the album lacks in instrumental pyrotechnics and progressive factors, it makes up for it with the infectious exuberance of a band's first album. Even at this first step of their career, the band shows high spirits and a good knack for songwriting.

The band would quickly change for the better with the departure of Rutsey and the arrival of Peart. Although many dismiss this album as the forgettable debut, I can't help but be amused by its simple charm. It does nothing to show how they were destined for greatness, but the music is good. Isn't that what matters?

MUSIC REVIEW: Yes - Going for the One

"The last hurrah of Yes' classic prog."

Until recently, Yes had always been my favorite progressive rock band. They've had their ups and downs, but when they were good, wow...they were really something. Going For The One was the band's final moment of greatness, serving as a coda for their prosperous epoch of the 1970s, which began with The Yes Album several years before. After this record, Yes never did anything as consistent or interesting.

I never liked any of Yes' work as much as Close to the Edge, but Going For The One just might be my second favorite. For the first time since Fragile, we get songs under ten minutes, and the band again shows they don't have to put together a colossal epic to write great music. The title track has a killer vocal hook and Steve Howe playing a C&W-esque riff on steel guitar (I don't think many other prog rockers used that thing). "Turn of the Century" is a wonderful, elegant ballad as only Jon Anderson can do them.

It's clear that Rick Wakeman (who's back on this album) likes the organ. There's a lot of it on this album, and it was recorded at St. Martin's Church in Switzerland. You wouldn't think an hulking organ - generally ascribed to moments of beauty and majesty - could be a rock n' roll instrument, but Wakeman turns it into one. Just listen to "Parallels." It's definitely unconventional, which is part of what makes it so interesting.

The 15-minute "Awaken" is one of the band's best epics, and that's no mean feat, because they have a lot of great ones. After the opening piano segment, it goes into the usual Yes characteristics: many layers of synths, guitars and bass playing out complex melodies in a pseudo-orchestral fashion. Anderson's lyrics are strange as always, but the diction is delightfully spiritual, and his radiant singing - love it or hate it - is critical for this evocative and spacey song. The ambient middle instrumental section before the "Master of..." lines is one of Yes' most sublime moments. Anderson's busts out the harp for some appreciated flourishes that add considerably to the atmosphere and magic of the song.

The original recording's production sometimes had problems balancing the vocals and the instruments. There were frustrating moments when it was hard to make out what Anderson was singing if you didn't already know the lyrics. So, the remastered edition is a good bet.

MUSIC REVIEW: Eternity X - The Edge

"A transcendental progressive metal masterpiece."

Before getting The Edge, I had read countless for reviews for it, and invariably they lauded it one of the best albums in the progressive metal category. With that kind of praise, I knew it was something I had to hear for myself.

Expectations were high, and I was in no way disappointed; The Edge encapsulates greatness in progressive metal. Lots of emotional power, grandiosity, virtuoso performances, incredible vocals, and great songwriting. It is a concept album about people on the "edge"; people who question the meaning of life, people who are pushed past the breaking point, a society on a precipice of aberration. Lyrically it is very good. Musically, very good. Vocally, also very good. But The Edge is better than the sum of its impressive parts -- this truly is an extraordinary musical work.

Lead vocalist and songwriter Keith Sudano is a very talented man. Superhumanly accurate, rich and narrative while evoking a romantic power, his voice is a marvel. He is like an actor who becomes different people with each song. At times, he sounds like Mike Baker (from Shadow Gallery), except with far more range, emotional expression, and power. As a songwriter, he has a great sense of complexity and melody and he commands a vast musical vocabulary.

"The Edge - Introduction" is the harrowing overture to this astonishing album. The gothic organ that opens this track sets a dark, haunting tone. In the middle interlude, the instrumental interplay is inventive and exciting. One might first suspect that the album is gearing up for nothing more than an accomplished foray into progressive metal's conventional territory. They would be wrong....

"Fly Away" is the paean of The Edge. Laden with piano and sweeping string synths that accompany the powerful guitars, this song is very moving. The chorus is memorable and beautiful, and Sudano's delivery is breathtaking. The heroic guitar solo is absolutely incredible. The high spirits of this one are very infectious.

"The Confession" had me thinking it was a lost song from Operation: Mindcrime. The thought of this song's premise gives me shivers: it's about a man who kills clergymen in confessionals to avenge his daughter, who was raped and murdered by a priest. Sudano's soaring vocal style of the first two songs changes completely here. Now he isolates the emotional distress of the character and sounds like a normal -- if mentally distraught -- fellow. The anger, the anguish...so perfectly captured by the Sudano's vocals and the cutting instrumentation. The inclusion of "Fortuna Imperatix Mundi" in the intro was an appropriate touch to set the tone.

"The Edge II - The Looking Glass" explores a medieval direction, both musically and lyrically. Jamie Mazur's keyboards establish the atmospheric orchestral backdrop, and Sudano's lyrics are cryptic metaphors for ethical issues. The spitfire guitar riffs build up the urgency before the vocals get start up. The chorus is shocking: Sudano sings an operatic falsetto. It's cool, but at that range Sudano's pronunciation comes apart. That is my only complaint with the entire album.

"A Day In Verse" begins with a sublime piano passage that I love. Sounds a lot like Styx's "Come Sail Away." Sudano's vocals are quieter and almost fragile, but he remains an expressive, visceral wonder. For the most part, "A Day In Verse" is a beautiful ballad, although the middle of the song is more aggressive. The instrumental interlude -- with the heavy throbbing bass, a charging guitar riff, and flamboyant strokes of piano -- is pure genius. It then returns to the quieter theme of the song that is oh so incredible in its evocative power and flow.

By now, Sudano and co. have proven to be infallible songwriters. It seems fitting that they now offer the difficult and mysterious "Imaginarium," which reminds me of Queensryche's "Roads to Madness." This 10-minute track opens with a dark acoustic guitar line, layered by a quiet mesmerizing synth, while the lyrics and vocals are elegiac. Slowly, almost teasingly, the song begins to build in intensity, then things explode into a speedy riff and fiery vocal lines. This undulating arrangement is repeated. Interesting melodic progressions and engaging, high-energy arrangements make this one great.

"The Edge III - Existence Chapter 1,000,009" is a quieter, eclectic piece with lushly pressing instrumental interplay and a subtle, galloping groove. The band shows off some dazzling instrumental interplay during the interlude where they quote classic Beethoven themes.

"The Edge of Madness" is the best recorded depiction of insanity you'll ever hear. Sudano effectively becomes the madman in the song, using close to ten different voices to convey unadulterated dementia. Melody shifts move from staccato guitar strikes to quiet piano passages to accompany the unpredictable change of bearing. It's stunning...but it gets better. In the middle section, Sudano starts cursing the band and the listener themselves! Who are they to tell his story and make money off it, or just sit their and listen to it to get some jollies? The leads in this song come hard, fast and furious.

"Rejection" seethes with anger, again conveyed perfectly in both a musical and vocal sense. You won't hear unqualified rhythmic violence or vocal fury like this from many progressive metal songs.

"Baptism By Fire" is compositionally colorful with mixes of exquisite piano, impassioned vocals, and mid-tempo riffery. Lyrically, it is about being enraged by the world but finding solace in the single, special person whom you love. It fits, given the way the song goes through so many melody shifts.

"The Edge, Legacy/Reprise" closes the album fittingly. By the time the reprise rolls around, you're almost saddened that the CD is ending. However, the dark, enigmatic tones of this album assures that it will prove fruitful for long-term exploration. You'll be listening to this one for a long time. In terms of diversity, the heterogeneous songs ensure that you'll never get bored. This album leaves an indelible mark, and is a must have.