MUSIC REVIEW: Pain of Salvation - Road Salt One

Utter Garbage

Only the most diehard crazy Pain of Salvation fan can defend this album. It is terrible.

The problem with this album is not that it is "different", or that there is "no metal" in it, or anything like that. (In many ways, it's not really that different.) The problem is simply that it is unbelievably boring.

Some have said that many of the best PoS songs are simple, as if to vindicate the first Road Salt. That is a true statement, sure. But an important point is lost if one fails to realize that most simple PoS songs are actually good. They are not boring. Road Salt features songs that are simple and boring. Or complex and boring. They are all boring.

Others have said, "Well, people aren't giving it a fair chance because it's called Pain of Salvation. BUT, if it had a different name, people would judge it on its own merits and like it."

Um... No. If any band released this album it would be garbage.

A boring album is the last thing you'd expect from PoS, because they are genuinely NOT a boring band. They are usually exciting, full of surprises, and good, interesting writing.

"No Way" is the most dull Pain of Salvation opener in the universe. Why anyone thought it was appropriate to open an album with this tranquillizer song I will never understand. The middle section when Gildenlow is singing in a weird time signature sounds so bad. Really though you'll be lucky to fall asleep before this overlong, overwrought grandpa rock gets to the next song because it gets worse. "She Likes to Hide" is slow sleazy song of bluesy boredom, it would be "super boring" rather than "boring" but fortunately it is over in less than 3 minutes. "Sisters" is some kind of weird ballad and it's very long and boring. "Of Dust" will put you to sleep if you are still awake by this point, although you will experience a moment of uncomfortable laughter when the spoken word part kicks in, because you will think, "LOL this is so stupid, what was D/Gildenlow thinking???" "Tell Me You Don't Know" will be skipped every time because you are so embarrassed on Gildenlow's behalf. "Sleeping under the Stars" sounds a Tom Waits song with all the Awesome(TM) removed. "Darkness of Mine" is hilariously over-the-top and laughable. "Linoleum" sounds like extremely drunk Foo Fighters. I'm not even going to finish talking about these songs. This album sucks. The last four songs are all bad. Actually, I will mention "Innocence", the finale, because at times it ALMOST seems like it COULD HAVE BEEN good.

Disclosure: Entropia is my favorite. The first four PoS albums are brilliant. BE was mostly great with some terrible moments. I loved Scarsick, and completely fail to understand why it is so disliked.

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: 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: 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: 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.

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 - 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: 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: 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: Yes - Relayer

"Perplexing, daring, awesome prog."

Yes continued to ride upon their surging undulation of progressive ambition with Relayer, the most experimental of the band's disparate catalogue. As a fan who enjoyed the subtle beauty of Tales From Topographic Oceans, I initially found Relayer's abstruse music opaque and puzzling, in a sense that I couldn't 'get' the songs. After awhile, though, things began to click, and I now find Relayer to be one of the most interesting of all progressive rock albums.

The side long track here is the phenomenal "The Gates of Delirium," which is perhaps progressive rock's most evocative composition. It goes beyond the above any traditional approach to rock in a sense that it - for the most part - forsakes melody and "ROCKING" to generate vivid images and tell a (generalized) story. Innovative in its use of instruments, the song summons forth images of battle: the cacophony of clashing steel, cries of distress, the razing of buildings, et cetera. The percussive assault of Alan White's drums is astonishing, serving as the fundament for the dense tapestry of sounds that invokes the lucid image of war. It's quite amazing; close your eyes and let yourself become inundated in the intricate weaves of instrumental violence. When the dissonance comes to an end, a quiet, ethereal passage concludes the song. Here, Jon Anderson's delicate vocals soar with an ineffable heavenly quality that gives me shivers. Many know this last part because it was made into a single-edit, but believe me, it loses its punch when not preceded by the lengthy span of chaos.

The weird "Sound Chaser" follows. Here, new keyboardist Patrick Moraz's jazz influence is very evident, and Squire's adroit bass and White's meticulous drumming tear through the mix. This song, too, often trifles with dissonance, but with a different effect. This song is peppy and almost fun, and the vocals are catchy and almost evoke Yes Album melodies. Howe's solo is dangerously close to jarring with that grating pitch, but otherwise this is a neat song.

The album finishes with the soothing piece "To Be Over," a quiet aria that can lull me to sleep. Not because the song is boring, not at all. The vocal melodies are radiant, and the arrangements engaging. But the song is so peaceful and gives me a profound sense of mental solace. This song makes me feel like I'm floating...ahhh...

Since Relayer is something of an acquired taste, I think it takes at least five listens to understand the music. Then it probably takes at least a dozen listens to begin appreciating the depth of each composition. It's an involved piece of work, but well worth the effort to make it "stick."

MUSIC REVIEW: Rush - Caress of Steel

"Lack of focus can't undermine quality of material."

Although this is one of Rush's most unfocused records, I've always really liked it. I guess the band hadn't quite cohered entirely at this point, and it's a bit weird to have one song about heroes fighting against an evil wizard and another song about getting old and losing your hair.

The side-long epic "The Fountain of Lamneth" shows that the band hadn't quite mastered the long format. For one, the song FEELS long (and it is, at twenty minutes), whereas later Rush epics seem to zip by. Still, it's got the requisite thematic integration, soft moments, loud rocking moments, and a catchy chorus during "Baccus Plateau". It's a favorite.

"The Necromancer" is basically three separate songs tied together by a little story about an evil sorceror and those who fight him. The narrator is hilarious because his emotion and pacing his so awful, but I wouldn't have it any other way. The song finishes with an triumphantly uplifting riff (the necromancer has been defeated!) that makes me want to raise my fist into the air.

The rest of the album is pretty ok. There is the laughably bad, ultra-generic "I Think I'm Going Bald," but "Bastille Day" is a solid rocker and "Lakeside Park" is mellow and catchy. The album is really worth it for the two long songs. It's easy to forget this one (it was the precursor to 2112, after all), but it's underrated and deserves recognition.