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 Revolver by BEATLES, THE album cover Studio Album, 1966
4.38 | 866 ratings

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Revolver
The Beatles Proto-Prog

Review by DamoXt7942
Forum & Site Admin Group Avant, Crossover & Neo Teams

4 stars The seventh album "Revolver" is one of my favourite creations by The BEATLES, both as for the content and as for the sleeve, but simultaneously I guess every Beatlemania might have got bewildered with such a political, introspective, and depressive, and especially innovative soundscape. In 1966, they decided to quit gigging upon stage and to exert much concentration upon studio-based recording. Using tape loops or reverses frequently, they (especially John) would have dug more and more psychic, psychedelic inner world out. Aside from a sweet love song "Here There And Everywhere" or a funky relaxing stuff "Yellow Submarine" (this stuff is flooded with effective sounds or noises quite novelly though), every single track in this album is thoughtful, and tough to digest linearly. And their novelty upon melodic, rhythmic, and directly auditory presentation would have completely ignored the audience's mind (the audience completely followed the bizarre combo, nonetheless!).

The first attack "Taxman" is one of George's masterpieces featuring his loud, powerful, exciting guitar grandeur. Quite dry melody and sound along with political, cynical lyrics is kinda difficulty, we could not often listen to in those days. On the other hand, the following "Eleanor Rigby" composed mainly Paul is crazy introspective and complex, against loneliness around life and death. We can feel such a severity in the life via his simple composition, complicated lyrics, and instrumental set / formation. This severity itself can be heard in another gem "For No One" by Paul. Both tracks feature instrumental simpleness indeed. "Got To Get You Into My Life", covered by Earth Wind And Fire later, is characterized with bombastic brass sounds and Paul's intensive shouts. John launches splendid psychedelia through "She Said, She Said" that notifies us of serious life and death, and "Tomorrow Never Knows" under starry, meditative condition produced by hallucinogenic agents maybe. Even if these songs only are in, this album is worth purchasing and listening to, let me say.

Anyway my fave upon this lp is a superb salubrious, danceable one "And Your Bird Can Sing" honest to say. ;)

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 Caravan (Kitaro & Pages) by KITARO album cover Singles/EPs/Fan Club/Promo, 1983
3.00 | 1 ratings

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Caravan (Kitaro & Pages)
Kitaro Progressive Electronic

Review by Matti
Prog Reviewer

— First review of this album —
3 stars There's a bunch of vocal tracks in Kitaro's discography; for example Dream (1992) features lyrics and vocals of Jon Anderson on a couple of tracks. 'Caravan' is however a special case, as it turned Kitaro's original synthesizer music into a radio-friendly pop song. I'm not sure if it entered the charts, but I remember hearing the song on the radio occasionally. I always wondered who is the good-voiced singer since he was never mentioned on the radio. Now as I added this single here, I learned that Kitaro was teamed up with an American group called Pages. The names of the musicians are printed on the cover -- with the strange exception of the vocalist, but some years ago I found out that he is Richard Page, an unfamiliar name to me. His other groups include Mr. Mister, which I have at least heard of, if not listened to.

'Caravan' is based on the track 'Caravansary' -- featured on the B-side of this single -- from the 1983 album Tenjiku (Silk Road IV). Already the intrumental itself feels very much like a *song* in its sincere melodicism. The beautiful, slightly melancholic main melody is simply "sung" by a synthesizer. The vocal version feels like the most natural thing and actually makes one wonder if the composition was right from the start meant to become a vocal song as well. I don't know how the collaboration between Kitaro and Pages started, ie. whose idea it was to record this song. But it's a lovely [non-prog] song. A peaceful, dreamy pop ballad with rather spiritual lyrics. "Caravan, journey in the sky / As the sun comes out from the day / Caravan, we know who we are..."

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 Reconceive by QUIET ROOM, THE album cover Studio Album, 2000
2.48 | 8 ratings

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Reconceive
The Quiet Room Progressive Metal

Review by UMUR
Special Collaborator Honorary Collaborator

3 stars "Reconceive" is the 2nd full-length studio album by US, Denver, Colorado based progressive metal act The Quiet Room. The album was released through Metal Blade Records in April 2000. The band was founded in 1992 and released two full-length studio albums before they disbanded in 2002. Since the release of "Introspect (1998)" there have been quite a few lineup changes as lead vocalist Chadd Castor has been replaced by Pete Jewell, bassist Josh Luebbers Luebbers is replaced by Rob Munshower, and drummer Mike Rice is replaced by Graeme Wood. The remaining members from the lineup who recorded the debut are George Glasco (guitars), Jason Boudreau (guitars), and Jeff Janeozko (keyboards). So that's 50% of the members who have been replaced since the last album.

The lineup changes have resulted in quite a different sound to the rather traditional progressive metal sound of "Introspect (1998)", and it's especially due to the vocal style of Pete Jewell. The instrumental part of the music is a combination of traditional keyboard laden 90s progressive metal combined with harder edged riffs and rhythms (delivered with relatively complex tempo- and time signature changes). There's an occassional tribal/alternative vibe about the music (listen to "Choke on on Me" for an example of this), but it's just an element of the overall sound. As mentioned it's in the vocal department, that "Reconceive" stands out the most though. Jewell is quite the versatile singer and can do both clean and more gr gruff vocals. He predominantly performs the latter though, which makes "Reconceive" quite a different sounding pr progressive metal release. He doesn't growl or do anything too extreme, but he has a raw shouting delivery, which is quite at atypical for a progressive metal release.

The musicianship is generally on a high level, and the album is also relatively well produced (the guitar tone could have been more pleasant and the guitars could also have packed a bit more punch), so "Reconceive" is overall a pretty good quality album. I'm not sure the most conservative progressive metal listener will find this in his/her taste, but if you enjoy your progressive metal with a groove laden and alternative element, this might be the thing for you. Personally I find "Reconceive" an interesting yet not perfect release, and a 3.5 star (70%) rating is deserved.

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 Live in Montreux by AGORA album cover Live, 1975
3.60 | 32 ratings

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Live in Montreux
Agora Jazz Rock/Fusion

Review by sturoc

3 stars I stumbled across Agora 'Live In Montreux' during my many forays thru You Tube Channels in search of old distant unknowns of Progressive Rock . Yes they are more Jazz Rock the Progressive but Agora gives us a fine album and live to boot. What was most striking and something I cant believe was not mentioned in other reviews is the strong resemblance to Soft Machine. The track details and history I'll not repeat as it has been covered by others . Give them a listen and if you like, and I mean really like Soft Machine and the early 70s Jazz Rock era you will appreciate this release I gave it 3 stars only because they are is not really Progressive Rock .

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 Cloud Born by ART IN AMERICA album cover Studio Album, 2018
4.00 | 1 ratings

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Cloud Born
Art In America Symphonic Prog

Review by CFlynn

— First review of this album —
4 stars To Quinino, you may have this post deleted, if you desire, if you would like to update the credits info on our Cloudborn album page.

Cloudborn Album Production:

1. Tracks 1-6 Produced by David Hentschel 2. Tracks 7-10 Produced by Chris Flynn 3. Tracks 11, 12 and 13 Produced by Jim Kuha

Chris Flynn: guitar, keyboards and vocal Shishonee Flynn: Lyon and Healy pedal harp, Koto, Tambura Dan Flynn: Fibes Drums Tony Levin: bass guitar (tracks 1-6) Jim Kuha: bass guitar (tracks 11, 12, 13) Garry Galloway: keyboard (track 13) Karyn Ormiston: keyboard (tracks 11, 12, 13) David Hentschel: additional keyboard (tracks 1 - 6)

Album art: Ioannis/Dangerous Age

Cheers! Chris Flynn from Art in America

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 We Lost The Skyline by PORCUPINE TREE album cover Live, 2008
3.44 | 235 ratings

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We Lost The Skyline
Porcupine Tree Heavy Prog

Review by TCat
Prog Reviewer

4 stars This is a recording of a live remote done at a music store in Orlando, Florida in Oct, 2007. Originally, the remote performance was to feature the entire band, however, because of space issues, only Steven Wilson and John Wesley were able to attend. What resulted is a very warm and intimate 33 minute mini-concert in front of 200 very lucky fans, which is the subject of this album.

Steven Wilson performs alone in the first 3 tracks, singing and playing both electric and acoustic guitars. John Wesley doesn't appear until the 4th track. As the performance continues, Wilson opens up to the crowd and you get so involved in the intimacy of the concert, that you feel like you are there. You hear songs that you wouldn't expect to hear in this kind of a setting, namely the verses from "The Sky Moves Sideways" which turns into a beautiful and pensive song, Even Less, and Drown With Me. There are also some you would expect to hear, which retain their beauty, but give them a new life, namely, "Waiting", "Trains" and "Lazarus".

You know exactly when Wesley joins in during the middle of "Waiting", and he comes in at the right time, exactly when you want to hear that extra guitar support. At the beginning of "Normal", Wilson really warms up to the audience and relates a great story about him and Robert Fripp, and he even jokes around with his performance. The riff intro to "Waiting" is heard as the complex and difficult riff that it is. Wesley's voice gets it's due in this song as he sings counterpoint to Wilson's main verses.

This album is a definite must to Porcupine Tree fans, and is an excellent addition to anyone's music library, especially to lovers of acoustic and bare bones music. These performances bring out the soul of the songs and shifts the focus to the lyrics and the hearts of the songs. It may not be a masterpiece of progressive music, but it is one of the most intimate and most enjoyable acoustic sets that have been recorded. Highly recommended. Honestly, I only have a few acoustic performance albums that I consider my favorites, and this is one of them.

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 Baby Snakes by ZAPPA, FRANK album cover Live, 1983
3.26 | 95 ratings

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Baby Snakes
Frank Zappa RIO/Avant-Prog

Review by TCat
Prog Reviewer

2 stars This 'Baby Snakes' album is really a partial soundtrack of the DVD recording of the concert that this music comes from. Even though the concert is great, full of energy and great and hilarious music and other antics, and the music on this CD reflects that, the CD is not even 40 minutes long. Yeah, it's a good reflection of the concert, but you would be better off either getting the DVD, which is excellent, by the way, or getting the 2012 CD release which contains the music from the entire DVD. So, this CD is now pretty much obsolete, but collectors will still be interested in it.

So anyway, the CD is well produced and recorded, the music is great, but it is now pretty much obsolete. Also, the CD version has an Intro Rap which is not available on the LP version. The Intro Rap relives the story of how Warren Cuccurillo got to be introduced to FZ and eventually be part of the band. It segues right into 'Baby Snakes', which happens to be the exact same version as the one on the 'Shiek Yerbouti' album, just in an edited version. However, the 'Intro Rap' is not on the 'Shiek Yerbouti' album, so there you go. Confused yet?

Anyway, the antics and music continue on after this, reflecting a very enthusiastic and well done show, which is much better reflected in the DVD version. The CD does include the part of the devil played by Terry Bozzio in the hilarious adaptation of 'T*tties and Beer', the outstanding and nearly impossible to perform performance of 'Black Page #2' which is a song that was originally a drum solo that FZ rearranged for the full band, resulting in a manuscript page that was nearly black from all of the notes on it, hence the name, you also get to hear Adrian Belew (later from King Crimson) in action along with Patrick O'Hearn, Terry Bozzio, Peter Wolf and all of the other excellent band members. This is one of FZ's tightest band line-ups, which makes this performance that much more enjoyable and exciting to watch.

So, yes it's a good performance, but you would be better off getting the DVD or the newly reissued full performance on audio. This particular CD is obsolete and short, let alone the fact that it is only partial. So unfortunately, I can only give this one a rating for collectors only, but you should get yourself hooked up with one of the other available releases because this is an excellent performance, essential for any Zappa fan or anyone curious about his performances as it is a great example of Zappa in a live setting.

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 Living the Dream by URIAH HEEP album cover Studio Album, 2018
4.58 | 13 ratings

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Living the Dream
Uriah Heep Heavy Prog

Review by Einwahn

5 stars There is a very old English folk tradition called Morris Dancing, and proponents of this melodeon-based genre say it's not enough to churn out the notes - your music needs something special called "lift". Probably very few people would connect Uriah Heep with Morris Dancing, but "lift" is exactly the term I would use to describe the music in this album. Whether or not you happen to like the songs, the almost overpowering energy of the delivery is undeniable.

And the extraordinary thing is that in 2019 this band will celebrate its 50th anniversary. The surviving original member Mick Box is no less than 71. I remember seeing him perform at an outdoor pop festival in 1972 - that is 46 years ago. Unbelievable. Maybe it is his birthplace of Walthamstow in East London - scene of a much-loved song on this site - "Along the Forest Road there's hundreds of cars - luxury cars...".

And the music is great, I love these songs where the band seem to be trying to out-do themselves in heaviness while always keeping a melody underneath. Bernie Shaw (aged 62) is one of the best operatic rock vocalists ever.

I am shocked that just one week ago I uploaded a review for Phideaux's brilliant new 'Infernal' and said that if a better album came along in 2018 I would be very pleasantly surprised. I am in two minds now.

Verdict: talk about the 'endless river'...

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 Baby Scooter by MOTORPSYCHO album cover Singles/EPs/Fan Club/Promo, 1997
3.00 | 1 ratings

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Baby Scooter
Motorpsycho Eclectic Prog

Review by TCat
Prog Reviewer

— First review of this album —
3 stars "BabyScooter" is another EP from Motorpsycho originally released in 1997. It was released as the first of a series of EPs, the 2nd was "Have Spacesuit Will Travel" and the 3rd was "Lovelight", all 3 released in very limited quantities. Later that same year, the 3 EPs were released together as the album "Angels and Daemons At Play", thus making the 3 EPs collector's items, but also rendering them obsolete.

"Sideway Spiral" kicks off this EP with a very psychedelic sounding tune. The vocals and supporting wordless vocals are processed and supported with a processed strummed guitar and other synth sounds. A nice organ finishes off the track with wild percussive sounds.

"Walking On the Water" is a more traditional sounding track with a great heavy guitar and bass riff starting off. This track sounds more like Motorpsycho of the past, but there are more progressive leanings here with some tricky rhythm patterns and a sense of psychedelia. This track is a very nice mix of traditional and progressive sounds and a wicked drum break. Excellent track.

"Heartattack Mac" builds itself off of a solo guitar playing at first, then the rest of the band suddenly erupting in what becomes a great stoner/psychedelic rock feel. That funky scratching sound in the background is a nice touch. This one also has the gruff vocals I love from this band. This track is very heavy, but I love it. The second instrumental break has some great dissonance in the beginning, and then dueling guitars play off of each other as they build to an explosive wall of sound before it all falls apart to a softer interlude and continuing hints of another explosion threaten, but never quite happen. At over 7 minutes, this could have even gone on longer.

"Pills, Powders and Passionplays" is a more psychedelic/jazz vibe. Nice acoustic guitar and drum circle sounding track which even adds a Beatle-esque sound when the sitar joins in, or it sounds like a sitar, but one isn't noted in the credits, so I'm not sure what it is.

"In the Family" goes back to the progressive/hard rock sound accentuated with a nice heavy bass. A great progressive interlude in the middle builds off of U2 style repetitive guitar notes, but with a lot more intensity. It all falls apart in a feedback frenzy and then an oscillating sound persists to the end.

This is an excellent EP with not a single weak track at all. However, it is a good idea to search for the full album, because this 23 minute EP will only leave you wanting more. Excellent music is what is on this EP and you hear the beginnings of the band experimenting with progressive and psychedelic music. If this EP wasn't obsolete, it would have easily won 4 or 5 stars, but don't pass it up if you do see it. This is quality hard progressive music. But get the full album if you can.

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 Live@Barby, TLV by TELIOF album cover Live, 2017
4.00 | 1 ratings

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[email protected], TLV
Teliof Eclectic Prog

Review by DamoXt7942
Forum & Site Admin Group Avant, Crossover & Neo Teams

— First review of this album —
4 stars Actually I've been very curious how TELIOF would have reproduced their briliiant sound appearance launched upon their one-off studio-based album "Is It?". Suggest their play upon stage should be incredibly cheerful and delightful, and this live album could never betray me. Regardless of a live recording, their recording management, mixing, and production ... all are fantastic.

The first shot "Intro", getting started with a phrase via the last part of "It Is", sounds quite full of vivacity. Such an uptempo, dramatic, heavy but dreamy stuff lets me know another charm of TERIOF. Pretty complex, diverse but favourable and acceptable soundscape should be their musical basis really. Oh anyway, wondering why this album amazingly be veiled in more bluesy atmosphere than the previous album. "I Dream", featuring hard-egded female voices and flute drawing of comfort, is another rockin' heaviness indeed, but mysteriously catchy and much of fun.

"Twisting" cannot be heard ten years ago at all, filled with slowtempo, bluesy, but theatrical, heartwarming melody lines. I'm surprised they could (can) shoot such a serious melodic counterpart. Through "Never Really Here" lots of powerful phrases and sticky melodic attack knock me down completely. My pleasure, flooded with deep bombastic sound texture (but not simply heavy rock obviously), love this track much. The last one "It Is" is kinda real revival of their lovely suite, completely brought back to me into existence ... as if I would enjoy as an audience in front of their stage.

In conclusion, this album cannot win their previous "precious" album "Is It?" but should be worth listening to and attending. Hey Yuval, why not you come to Japan? ;)

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