— First review of this album —

DUN AENGHUS is a collaboration of good friends separated by time and space but united by a love of music, specifically progressive and Celtic rock. Presumably they all spent time on the Aran Islands of western Ireland which inspired this work.

The music herein is largely instrumental, something between the ambiance of a 1980s MARK KNOPFLER soundtrack and the majesty of a RUNRIG production, with some MIKE OLDFIELD thrown in here and there ("Inis Mor") via ultra melodic and languid soloing. Warning and spoiler: pipes abound. Initially, a more nebulous almost new age creature envelopes us but not cloyingly so, A more progressive beast asserts itself gradually over the course of the relatively short recording and not so much wins out as energizes the symbiosis "Journey" in particular includes rare vocals and some classic prog aspects like washes of organ and assertive bass lines. "Elders Tale of Aran Part 2" is an uplifting jewel propelled by sparkling lead guitar and percussion.

Whatever obstacles the members of DUN AENGHUS may have faced to achieve this unlikely result , they should know that it has not fallen on deaf ears. Let's have some more tales.

As you might know that I am actually not a big fan of Saga ...but I occasionally spin the CD as I have some of their albums. It's quite funny to me that I love the band from their live album "In Transit" that I consider as one of the best live album in rock history especially with songs like Humble Stance that really explode my adrenalin. Based on the experience with the live album I then started purchasing their studio album CDs and like some of them. I also loved their live album titled as Detours. ANd now I have this Heads and Tales Live album released in 2011 and it performed the Heads and Tales album originally released in 1983 in its entirety. It's another funny thing again as I write this review I have never heard the original version. It's quite awkward isn't it? Never mind ....the reason I am wrting is not to compare with the original studio album as I really like this live version even though basically i don't quite like the songs performed.

And the next question is why am I writing this review? Simple, I am blown away by the live vibes and anergy demonstrated by the band in this live record: it's fantastic. Well .. I am not familiar with each individual song but as I play the music I am really tuned into it deeply. I love the voice quality of Rob Moratti. I think he sings wonderfully in this album as he can perform consistently from start to end of the album. Second, I love the guitar work performed during the performance - they are all stunning really! And ...it's rocking as well! Third, I love the keyboard work as well.

It starts off nicely with an ambient live vibe through what is titled as Intro (1:43) which sets the overall tone of the performance; it continues nicely to the opening track The Flyer (4:03) with full energy vocal-wise and music-wise. As the music moves I enjoy all the transition pieces with guitar as well as keyboard - and ...yeah ...the stunning guitar solo which is quite unique. Cat Walk (4:21) starts nicely with repetitive keyboard sound accompanied by heavy guitar work accentuated with keyboard ...oh it's so rocking man! The Sound Of Strangers (3:55) enters in with another style of riffs with sort of blues-influenced rhythm section. And again the combined guitar and keyboard work sounds wonderfully to accompany vocal. The music flows nicely from track to track The Writing (4:06), Intermission (6:14) and into the straight rocker Social Orphan (3:27). All sound really nice to my ears and also the remaining tracks The Vendetta (Still Helpless) (1:56), Scratching The Surface (5:17) and it concludes with The Pitchman (7:03). Only at the last track that there is a very nice solo combining guitar and keyboard that sounds very unique.

This is the kind of excellent live performance with little improvisation as I do not hear any long guitar or keyboard solo except those embedded in each track which I believe it is similar or the same with its original studio version. Highly recommended as the it's relatively flawless. It's a very dynamic show and I hope I was there during the concert. Keep on proggin' ....!

Peace on earth and mercy mild - GW

a very unique and excellent prog music ..

Well, yeah ... the first time I heard the music I kept laughing at it as the music turned out to be unique and it's something that was very hard for me to describe. It's my bad habit tend to categorize music into genre or subgenre that sometimes make me difficult to classify and at the end, especially with this release, I gave up categorizing it ....as music is played to enjoy and not to categorize or cataloguing them into certain type of genre or subgenre. As this was originally recorded in 1972, the concept work by the British progressive rock group only available one year due to the dispute with Marvel Comics. The Marvel World Of Icarus was a concept work based around the Marvel Comics stable of superheroes. Taken from the original master tapes, this first-ever official reissue (2007) - includes comprehensive liner notes, band quotes and previously unpublished photos - tells the fascinating story behind the album as well as documenting the wider adventures of Icarus during their 1968-72 existence.

Let's talk about the music. You might classify the music under regular classic rock type of thing similar to Captain Beyond even though it's not really similar. Yes, the music is quite raw and not clearly rock in nature but for sure it's a progressive one as I can find many time signature changes as well as style changes. In my case, the music really astonishes me as it blends various kind of music with sort of jazz, rock, pop as well as afro american style as well. The recording style is raw as it was i think intended to be like this - it sounds really great to my ears. The music moves nicely in relatively fast tempo with mostly upbeat style blending stunning guitar, dynamic flutework as well as saxophone solo along many tracks featured. The flute work I really love and it can be found many segments in the album. The basslines are also very dynamic combined with excellent drumming. In terms of style changes the band demonstrates it in various songs for example in Thor (8th track) where the music suddenly changes its style into slow tempo one. I do not read the Marvel Comics but I am very sure that the songs provided here were intended to represent the superheroes characters as described in the comics.

Overall, this is a highly recommended album with full four-star rating as the music is unique, rich in composition and textures, and most importantly it is cohesive as whole concept album from the opening track into the concluding one. As this is based on comics, the musical style heavily based on story-telling with powerful vocal work. This albu has become my regular playlist for months as I really like the style. Do not think of any symphonic or eclectic or any kind of neo prog music .....just enjoy listening the music - and I am sure you will find joy with it. Keep on proggin' ...!

Peace on earth and mercy mild - GW

I have been a huge fan of Ian Anderson/Jethro Tull for over 40 years (yes, I'm that old) so what I'm about to say feels a little like scolding your favorite child. Just my opinion, but Homo Erraticus seems more like a necessary vehicle to have a reason for a 2014 tour, rather than something created out of musical inspiration. Ian seems to have gotten a bit lazy and selfish. By "lazy" I mean he relies more on a formula for producing music. There's nothing new...nothing is "out of the box". The same instruments are used from album to album (I suppose orchestrations are too costly and can be covered by the cheesy synthesizer sounds). By "selfish" I refer to Ian's tight reign on his band mates (if you can even call them that). There is no room allowed for contribution or improvisation by the other players, so the record sounds very similar to recent efforts and almost as if it was generated by a computer program written by Ian. I'm not even sure you can call this work progressive. Is there even one moment where you are surprised by the music? Sorry, but this effort seems more like a business decision than a work of art. But I still love you Ian!

This oddly bifurcated live album presents an intriguing before-and-after portrait of an artist on the brink of ascent, and in full flight shortly afterward. The initial three tracks are from the July 1969 Newport Jazz Festival, when Miles Davis was still playing (mostly) unplugged Fusion alongside the so-called Lost Quintet. The balance of the disc is reserved for his performance at the legendary 1970 Isle of Wight Festival, where the erstwhile Jazz icon shared the marquee with Jimi Hendrix, Joni Mitchell, Jim Morrison, Jethro Tull, ELP, and Tiny Tim (Hawkwind, not invited, played free of charge outside the fence).

The earlier era has been documented more completely in the 2013 "Live in Europe 1969" boxed set. But the abbreviated Newport concert (24-minutes in all) is more exciting, and sounds better, than anything in the later compilation. The incomplete tape is a source of frustration; it opens in the middle of "Miles Runs the Voodoo Down", a much livelier, more dynamic reading than the version later recorded for the "Bitches Brew" album. But the novelty of hearing the quintet playing as an accidental foursome (Saxophonist Wayne Shorter missed the gig, stuck in Rhode Island traffic) makes it a worthwhile footnote to the unfolding narrative of electric Miles Davis.

Fast forward to late August, 1970: thirteen short months later but a world away in musical terms. The quintet has been expanded to a much louder septet, adding Airto Moreira on percussive allsorts and Keith Jarrett on the second keyboard (with Shorter replaced by Gary Bartz). The cross-fade on disc from the enthusiastic applause at Newport to the sound of over 600,000 festival-goers is a dramatic indication of changing times; the half-hour medley that follows is even more so.

The audio alone can't compare to the full visual experience of the same gig captured on the '05 "Miles Electric" DVD. But it's fascinating to hear the trumpet player leading his band with subtle music cues, setting up a tempo here, suggesting a new theme there, and daring the other players to keep up. The ferocious jam in "Spanish Key" is the obvious highlight, ebbing and flowing with relentless energy, more so than the equally thrilling studio version heard on the "Brew" album.

Like so many other posthumous Miles Davis live albums the CD imposes artificial order on the set list, with indexed track titles that didn't exist at the time. On stage in the 1970s Davis never paused for individual songs, and when asked after the gig about the name of the piece, he famously responded, "Call it anything".

Maybe that should have been the title of the album itself. "Bitches Brew Live" is a disingenuous name for this somewhat forced juxtaposition of two orphaned recordings not long enough by themselves to fill a compact disc (and besides, there's a lot of music here unrelated to the 1970 LP). Consider it an extended sampler of sorts, hastily organized and incorrectly annotated (Led Zeppelin did not play at the Isle of Wight), but rewarding as a candid snapshot of an innovative artist approaching his musical zenith.

— First review of this album —

What a fantastic gig with lots of pleasure.

This live album "Under Trucks" was recorded upon November 10, 2013 in an Osakan live venue called Nakatsu Vi-Code (on the stage another Heavy Prog outfit The Brown appeared ... sadly I could not attend though). And one of highly important matters is that this live album was the debut one for a female trumpeter and the specialty Sayaka KAWADA, actually. As Masaharu NAKAKITA (bass) always says, they play much pleasantly and delightfully "for the audience", naturally as artists. This gig got started, with lively audience's voices around the artists. Various gemmy essence of their brilliant sound can be heard here and there although their performance on stage sounds not perfect. Surprisingly mixing this album is splendid, as though we would join this gig and Djamrers would play in front of us. Very amazing indeed.

Sayaka's trumpet sounds relaxed and stretched ... it's obviously natural because she's been a member of Djamra for almost 3 years (she says she's always got strained on stage even now lol). Her instrumental battles with Shinji KITAMURA (alto saxophone) are worth listening to every time really. These battles should make us smile fully, along with her safe and sound appearance. However her play is always exciting, of course in this live lively album too.

The tracks, except the fourth "Phantom Thief Naitoh-san (Kaitoh Naitoh-san)", are well- known for us who usually attend their gigs. All of them sound very vivid and speedy as well, and we cannot avoid feeling their strong intention as professional musicians. They would have shouted on stage "We play and you listen, enjoy!". That's it. Oh don't forget about the fourth (newer) track titled "Phantom Thief Naitoh-san" ... this song is played as the title track of a midnight TV theatre "not on the air yet (lol)" about a phantom thief only midnight (and a taxi driver in the daytime). Kaleidoscopic developments in this song proclaim his activity as a hermit obscurity. The audience would get immersed in such a colourful theatrical draw.

In conclusion, we should go to a venue and listen to their gig directly if we can. But this live album should be one of strategies for some fans who cannot join the gig. Without any suspicion we can consider it's a fantastic album, recommended.

Hey Masaharu, do hope you will distribute worldwide, not only in live venues.

UK band TOUCHSTONE has been releasing new material on a fairly steady basis ever since they crafted their initial EP "Mad Hatters" back in 2006, and have since then issued a full length live album and four full length studio productions. "Oceans of Time" is the most recent of the latter, and was released through the Hear No Evil label in 2013.

Touchstone' choice of label may not be all that obvious to those familiar with Touchstone as a progressive rock band, as the label does appear to specialize in the more mainstream oriented parts of the hard rock and metal sphere. To my ears this appears to be a natural fit though, as Touchstone to my ears do come across as a band with a potential to reach well outside of the arguably limited spheres of the progressive rock universe. Limited in the sense of a buying audience I might add, as everyone familiar with progressive rock are fully aware that there are few if any limitations to that genre in terms of musical expression.

Strong selling points for Touchstone is that they have a compelling lead vocalist in Kim Seviour, and that they explore a type of music that fits her vocal talents very well. Alternating between fairly soft and smooth verse constructions with harder edged, metal-oriented chorus sequences is a specialty of this band judging by this album, and they are not afraid to craft choruses with strong sing-a-long sensibilities either. Compelling bass lines sets the mood and spirit more often than not, a firm and often fairly hypnotizing core foundation in most compositions at hand on this occasion. Keyboards are used to contrast and complement the guitars as well as being the key element when creating richly layered, majestic arrangements, and when exploring gentler territories frail guitar and piano notes are used to good effect for the subtler effects too.

There are many fine songs on this easily accessible piece of AOR-oriented progressive rock with metal edges. Personally I find Touchstone to be least interesting when exploring the more AOR-oriented parts of their repertoire. Well made music, but somewhat lacking in identity as I experience those songs. But whenever they add a few subtle additional touches the end result becomes all the more compelling for it as I experience this band, with title track Oceans of Time and Fragments as the songs I'd highlight in this context, the latter of them most of all and a clear album highlight for me.

Accessible hard rock with half a foot inside heavy metal is what Touchstone provides on Oceans of Time, a production that can be regarded as both of the above, as well as AOR, progressive rock and perhaps even progressive metal. It all depends on the listener, and what frames of reference you want to emphasize. An album that merits a check by those fond of easygoing music that resides in the borderlands of the five genres mentioned, and especially if you have a soft spot for bands of that kind sporting finely controlled, female lead vocals.

Hamadryad whom their previous two albums "Conservation of Mass" and "Safe in Conformity" I have reviewed, is a progressive rock group from Montreal released "Intrusion" as their third studio album. The music of the band was originally quite complex combinening many elements of old school prog heads like Genesis and Yes with some falvour of Gentle Giant especially during their choirs. Their second album was much closer to Gabriel era of Genesis. Both were excellent albums as you might want to read the reviews in this site.

This Intrusion album blew me away with its opening track titled as Funk-A-Trunk (8:55) which has great composition overall, combining excellent tagline melody with great harmonies among all instruments used in this track, dynamic energy and great time signatures from start to end. There are many surprises from each of the segment presented. The vocal part is great, the keyboard solo is superb and making the music really an interesting prog music - remembering the glory days of prog. Hope all songs contained here are like this opening track

Unfortunately not all of the tracks like the opening one, as the second track Pray to My God (11:15) is very weak, composition-wise. I don't really believe how come Hamadryad creates this weak one even though they tried with good guitar fills - but it does not help elevate the musical quality. It continues weakening to the next one Lap of Love (6:34) as well as Sentenced (6:12). Another excellent track is Lost (5:11) especially with its excellent combination of vocal and keyboard work. Well ...it's too late for me to arrive to this track which is positioned at 8th track of the album. Hopefully all tracks similar in energy and composition like this one or opening track.

Even though this album has two key tracks but overall the composition is really weak and all songs sound like disjointed one to another - making it not enjoyable overall. The band must wake-up for the next one to create something as good as their previous first two albums. Keep on proggin' ..!

Peace on earth and mercy mild - GW

"Roxy & Elsewhere" remains my fave Zappa live release of all times. The line-up represents perhaps the most skilled crew of hired hands with great abilities Zappa has ever assembled. This follow up release contains elements of the original album with a markedly different song selection. Tunes that are not generally easy to absorb played quite well here, but in reality, wouldn't be missed. It's more of curiosity value than a long lost masterpiece.

When Frank plays his distorted electric guitar, it's as good as on the original work, yet this appears to be dominated by George Duke's delightfully jazzy synths contributions.

Most of the previously unreleased numbers are pretty much "structured" jamming that leave me between hot and cold. Even Tom Fowler is permitted to play a mediocre solo on his Fender bass. Altogether, pretty good work, but hardly equal to the original piece.

If you are after a great rendition of tunes from Roxy and the best bits Frank has ever recorded, do check out Dweezil Zappa's "Zappa Plays Zappa" instead. That will blow your mind in place of light entertainment presented here. Some parts of this piece would serve selectively well as additional material to the original "Roxy", but altogether remain a poor cousin to that work.

Those who like the band in the seventies would definitely regret with this reunion studio album in 2000. In 2000, Greenslade and Reeves, after considering a full-blown reunion of the original line-up, teamed up with vocalist/keyboardist John Young, and recorded a new Greenslade studio album: Large Afternoon. But unfortunately this album lacks its fundamentals in composing good music where the melody must be crafted carefully and then all the instruments must then be combined together to build good arrangement of the music. The gentlemen here were not sure about what kind of music identity they wanted to pursue. You would not find any unique music like Time and Tide or Bedside Manners are Extra that were excellent during their seventies golden period. This new album is really boring and it's not worth listening at all. It comprises only keyboard work and vocal that do not flow with good melody nor good composition. It's not recommended at all to anyone to own this piece of album. This might be worth for hard core fans who want to complete their collection.

Peace on earth and mercy mild - GW