A few months ago I wrote a review of Journey's foul "Infinity" album from 1978 and I have no doubt that I insulted every one of their fans with my scathing assessment of it. It was vocalist Steve Perry's first LP with the band and I found it to be such a despicably blatant attempt at being commercial that I gave it .01 stars. It was as if Journey was massively codependent and desperately wanted everyone to like them. "Escape" came out in the summer of 1981 and by then Mr. Perry had fully acclimated himself into the group's Top 40 motif so the record is much more cohesive than those that had preceded it. Plus, they were one of the most popular acts in the biz so they knew exactly what their audience expected from them. The addition of Jonathan Cain on keyboards (replacing the burned-out Greg Rolie) gave them a bit of a creative boost, as well. All that being said, however, they were still about as progressive as George Strait. But I will concede that there are a couple of tracks on "Escape" that I can not only tolerate but actually enjoy so this critique won't be quite as disemboweling.

Wisely they open with what may go down in history as the most recognizable and memorable of their songs ever, "Don't Stop Believin'." While this is 100% pop rock from beginning to end it's still hard to say anything untoward about a tune as well-crafted and true to its intended purpose as this one is. I remember when I first heard it blaring from my car radio I was thinking how great it was to hear a number that featured a dominant bass guitar line up front in the mix for a change. The catchy chorus notwithstanding, I believe Russ Valory's contribution is the real key to the song's success and longevity. Like it or hate it, the tune is a gem of production and performance. "Stone in Love" is next and it's a reversion back to the brand of unsavory, faux "rawk" that I've come to identify this band with over the years. It has all the tired ingredients: vapid lyrics, calculated-to- dazzle-the-easily-dazzled dynamics and Neal Schon's wholly predictable guitarisms that appeal only to the lowest common denominator. "Who's Crying Now" follows and, despite it being a half-decent, inoffensive AOR tune overall, I find it impossible to be objective about it because it brings to mind my first wife. She went out and bought the LP with cash pilfered from our paltry music fund because she wanted to learn Neal's guitar solo on her rusty flute left over from high school. Since our marriage eventually ended badly even the mention of this particular ditty conjures up nauseating memories I'd rather not entertain. "Keep on Runnin'" is typical of the soulless drivel the dawning of the empty 80s decade brought to the rock & roll table, helping to foster a lot of the inane hair band crap that was so soon to flourish and drive decent prog fare off the music industry's map. "Still They Ride" is a slick, bluesy ballad that might've been acceptable to my ears had someone with grit like Rod Stewart sung it but everything slow-paced that Steve Perry warbles always comes off as a syrupy cocktail lounge number that only induces sleep.

The title track, "Escape," is an example of formula rock at its most pedestrian. At least the ensemble tries something a tad more adventurous during the middle instrumental segment but when it ends up being sandwiched between two thick slices of plain white bread as it does here it is relegated to the realm of the inconsequential. "Lay it Down" is next wherein their tried, true and trivial composing methodology is painfully exposed once again. Schon starts with his heavily stacked guitars playing a simple riff and then Steve Smith's boring drums jump in just before they embellish the track with Perry's high-pitched chirping and a big hook. I'm sure their devotees were happy as fish to hear it. "Dead or Alive" follows, a driving rocker coupled with what sounds like New Wave-ish vocal lines emanating from Steve. Compared to some of the other filler on the album it's not bad but that's not to endorse it as anything gratifying by a long shot. "Mother, Father" is one of the band's gallant attempts at manufacturing an epic anthem. Unfortunately there's just not enough substance lyrically or musically to hold this overblown piece together and it fails miserably to enthrall. The close out with "Open Arms." This staple of classic rock and adult contemporary radio stations is adorned with a beautiful melody that Perry delivers with class while the rest of the group manages to not clutter up the atmosphere unnecessarily. I've always admired a polished, unpretentious love ballad when I encounter one and this one deserves respect.

"Escape" was the first Journey album to rise to the very top of the charts and it further solidified their status as an arena-packing, multi-platinum act that made the shareholders of Columbia Records a lotta moolah (and still does). Yet by 1981 whatever progressive roots they once proudly sported had shriveled up and deteriorated completely so their presence on this site may surprise the prog neophyte who comes across them while scanning through the roster. Their prog-related tag is a stretch. If sales impress you and fill you with "Glee," then the fact that this album has sold over 12 million copies worldwide to date will be staggering to comprehend. But here in Progland the number of units shipped means next to nothing so I have to be honest and give it the rating I think it has earned. 1.8 stars.

Hailing from New-Zealand, Mice on Stilts play a music covered in melancholy, where the complex alternative country of 16 Horsepower meets comfortably the space rock of Pink Floyd and the dark atmosphere of King Crimson. The instrumentation is rich, as, besides the usual bass/drums/guitar trio, other instruments abound, like piano, saxophone, viola and to a lesser extent accordion, mouth-organ, trumpet, Rhodes and organ. All these instruments are played slowly, thus being each a brick of of the wall of sadness. A few more luminous moments intersperse the prevailing desolation, such as the enchanting guitar backed by the jolly drums in "Syds Socks", some upbeat piano notes as well as the optimism that soars from Nick Wright's mouth in "Tuatara Lawn", and last but not least the lovely female choirs in "Binocular bath". In line with the lyrics of the closing track ("we are endlessly in torment") and the imploring cry of "Binocular Bath", the music is in the end tormented yet delivered in delicate ambiances, where instruments, staying in harmony despite their abundance, are accompanied by a beautiful pleading voice.

After the remarkable Magnification, which featured a full orchestra, it only made sense to record a concert in the same vein, and it's fascinating to hear many Yes classics accompanied by such an ensemble. While I agree that "The Firebird Suite" is Yes' official entrance theme, I appreciated their use of the stunning introduction to "Give Love Each Day" to begin the concert.

Symphonic Live boasts three epic masterworks. Opening with "Close to the Edge," the band performs this at a pace that doesn't quite suit the energy the piece deserves, although I find Steve Howe's cleaner tone more enjoyable than his tone on the original. "The Gates of Delirium," from that peaceful beginning to that peaceful ending and all the cacophony in between, is always wonderful and welcome. Clocking in at nearly a half an hour, "Ritual" features extended bass soloing and a nod to "The Ancient."

Three traditional Yes songs are rendered better here than on any other live album I have heard. "Long Distance Runaround" is light and dashing, with Alan White brightening the song considerably. "Starship Trooper" is full-bodied and ethereal. Finally, "And You and I," with that phenomenal orchestral backing, transports the listener to another world.

Two songs, however, just don't belong in the set list. Of all the stellar material on Magnification, the band opts to include "Don't Go," which is the second weakest piece from that album (that adjective, of course, belonging to "Soft as a Dove"). I would have preferred to have heard the uplifting and progressive masterpiece "We Agree" instead. And as much as I enjoy "Owner of a Lonely Heart," the song seems inappropriate among everything else on the album. "Hearts" (from the same album, 90125) would have been a stirring penultimate song. Still, the inclusion of these two songs is hardly anything to fuss over.

This is one of Yes' greatest live offerings.

The Lost Broadcasts offers a historical look at early Yes. All but one of the performances are for the German program The Beat Club, the exception being "Time and a Word." It's a treat to be able to hear Yes' Ritchie Havens cover in its unadulterated form, with no orchestra swirling about the rock. Alas, Peter Banks' guitar is buried in the mix. Jon Anderson shows that, even in 1969, his between-song banter was rather cheesy and sometimes embarrassing.

"Survival" is my favorite song from the Peter Banks-era Yes, one I wish would have been performed live with Yes' more modern sound. It sounds like Chris Squire flubs the introduction a bit, after which Tony Kaye offers an unexpected organ solo. It was interesting to see how the band would "fade" into the quiet guitar that introduces the first verse; I was impressed to hear them throttle back into a quiet mist to allow Banks to emerge with his halcyon strumming. Kaye treats us to more soulful psychedelic playing. However, the vocals all around are pitchy, and Anderson actually misses a beat during the second refrain. I found myself paying more attention to Squire's groovy jamming than I did to the vocals anyway. Watching Bill Bruford is amusing, as his expressions alternate abruptly between opiate and tonic.

When "Time and a Word" arrives, so does the color, but the "live" element departs momentarily. The viewer may note immediately that no one- not even Anderson- is playing the acoustic guitar clearly heard, and later, a spectral orchestra materializes. That's because this is merely the band pantomiming to the studio version of the song.

"Yours is No Disgrace" is visually upsetting, with pink and yellow seizure-inducing flashes cut with a rotating head evoking the cover art of The Yes Album, worse even than the "psychedelic" interjections that make Keys to Ascension almost unwatchable. Speaking of strange visuals, what is that furry thing that crawled on Kaye's face? The sound is raw, and the synthesizer in front of Anderson doesn't help matters. The final "lost broadcasts" consist of three takes of "I've Seen All Good People," with "Your Move" out of the picture. The third is the finest, as the band is visible the entire time.

Heaven and Hell for Yes fans Previous comments have outlined the weaknesses of this album: Lack of dynamics and energy. Weak song writing (Was this really the best material available after all those years? If yes, why not engage brilliant songwriters such as Neal Morse for help? Yes has always been a great arrangement band, they practically re-invented "America"!!) Weak lyrics that sound like they are trying to emulate Jon Anderson's lyrical ambitions. On "Fly from here" they did stay away from that and did much better. Feeling that they are going through the motions, attempts to repeat past glories without new ideas. Why did they have to rush the production? If record sales don't matter anymore and they can only make money by touring, they might as well not have put out this record and done more concerts. The best I can say is that "Heaven & Earth" sounds surprisingly like a weak Jon Anderson Solo Album. 1.5 stars

I almost never submit ratings only - this review of Tormato will come in under 100 words. In fact, this is only the second one I've done. I simply believe that Tormato deserves a better fate than an overall rating of less than 3 stars. No, Tormato's not Fragile, or even Going for the One, but it is a Yes album. That almost guarantees that it's worth investigating. There are some fine songs here; I'm giving Tormato 3 1/2 stars rounded up. I'm being generous, but this is a better album than many people regard it as.

Ancestry was a great progressive rock band from Italy (I don't think they are still active) with two albums in their pockets so far. The second offer from 2003 is Discendenze and is a good example of melodic, complicated lush progressive rock tour de force iwith beautiful warm vocals added as cherry on the cake, what else a definetly winner for me. Long elaborated arrangements, with the opening Colori dell'Età Sorgente being the highlight, in places evokes bands such Yes, Camel or italian school PFM or Le Orme. Their is some energic and very well played sections on every tune, featuring top notch keyboards waves and guitar parts. The contrast between softer moments with ones more energic and riffy is done in avery profesional way. Good album with many memorable parts, is sad because they are so unkown, this album is for a good aquisition. 3 stars rounded to 3.5

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3.5 stars really

La Rossa a forgotten and little known progressive act from early '80 from France with one album released in 1983 named A fury of glass, re issued on CD by Musea a decade after. This band is a curiousity for me, the line up was made by french and german musicians, the title of the album was in english and they were known in Tunisia for example, as much as in France, but in the rest of the Europe they were pretty much unknown. Anyway the music is quite great and eclectic, with influences from french prog school , from british school like Gentle Giant or Van Der Graaf Generator and from classical music aswell the result is a myriad of great moments with innspired songwriting. All pieces are short, I mean all are under 6 min, but each one brings the best in french scene around that time, pieces like Cosy chutte with ELP influence brings what La Rossa had best. Also their is a strong and energic rhythmic section and a good voice. All in all definetly a good towards great release in a period when prog was big time in the shadow of other genre. 3.5 stars for sure.

AVARUUSKORPRAALI PAHA HIRVI (= Space Corporal Bad Moose) is a Finnish quartet who seem to have a joyful, loonie attitude in making Space Rock. On the back cover the young men dance merrily in a backyard at night wearing just shorts. The music is however very well done. This second album was re-released on vinyl in 2012; 200 numbered copies with a colourful painted version of the same front picture, much better than the original you see here. The title means "From the world of a night nurse", but considering the track titles there isn't a clear concept.

The barely 2-minute 'Intro' features wailing synths and a brief spoken narration about, hmm, sexual contacts with space flies & worms. Over-the-top fantasy humour! 'Avaruus, avaruus' (= "Space, space") is 9 minutes of pure, HAWKWIND-like Space Rock with a steady beat. The exciting, electronic soundscape can be associated with the spaciest rock acts of 70's Krautrock too. 'Kauniit silmät' (= "Beautiful eyes") has slower tempo, being no less hypnotic slice of spacey psychedelia. It's slightly reminiscent of Cyclone / Force Majeure -era TANGERINE DREAM.

The B side starts with 'Avaruustissit' (= "Space tits") which is built on a simple, endlessly repeated rhythm pattern. Certainly it has groove and nice sounds, but is perhaps a bit too long and monotonous. The next one (= "Interdeath") features no drums for change. Being close to Ambient / New Age it offers a welcome variety to the album. 'Munakello' (= "Egg timer") has a slow tempo and a melancholic, nocturnal atmosphere. The gentle guitarwork takes completely over synths. Excellent, not far from e.g. ORESUND SPACE COLLECTIVE. And finally comes "The Waking of Sexuality" (Yes, these rather silly titles are obviously from a young male mind!). The drums and the strong beat are again central, but synths and guitars have no difficulties to send the music into outer space.

Naturally it depends on the listener whether this music is hypnotic or boring. Hopefully my review helps you to estimate which reception you'd have. If you enjoy the mentioned bands and genres, you'll probably find a lot to enjoy in this meaty, groovy, ambientish and deeply psychedelic Space Rock. 3½ stars.

— First review of this album —

"Live from Manticore Hall" is a live 2010 show featuring legendary Prog specialists Emerson Lake & Palmer members without the Palmer. No brilliant drums basically but this is awesome stuff and I wish I could have seen the show. Lake spells it out to the captivated audience in the intro that this is going to be a concert where they invite the crowd into their studio where they experiment and create things, looking back to the halcyon days of King Crimson and The Nice and of course ELP. The band explain many things as they explore their past glories and it is a wonderful journey they take us on.

For the first time since 1969 they perform I Talk to the Wind that appeared on that little known album "In the Court of the Crimson King". Say no more. From the Beginning is the opener and no one can complain as its one of the greatest of the many Lake ballads that surfaced over the years.

Bitches Crystal is given a classical piano treatment and it's very cool, Emerson being a master of the ivories bar none. He slams those keys with staccato glee and it jumps along with familiar melody and extended piano concerto vibes. It is sans bass and drums but still works as a compelling piece.

The Barbarian from the first ELP is a great choice, "a catchy and annoying tune, that grows on you" according to Lake. He pulls out the Hammond sound on this one, and there's drums, by some unknown muso. The piano interlude is fabulous too. This is great to hear after all these years; a genuine triumph. "Listen they're whistling it already" says Lake at the end of it.

Take a Pebble is one of my favourites so to hear this revamped version was a joyous experience. Lake's dreamy vocals carry it along beautifully. The piano is welcome and at times this sounds like old school ELP. It's an edited version at 5 minutes 20 but it's still wondrous to hear. It segues immediately into Tarkus.

Tarkus is here. Tarkus! A 17 minute version so there's plenty to indulge in here. This is so beloved you can imagine the crowd adoring this. It is a bit unrecognizable at the start with a lone grand piano instead of the bombastic wall of sound on the original masterpiece. Emerson is just enjoying himself as he strolls through this criminally complex piece of music. Lake comes in as the Mellotron strings enter with Stones of Years. It is refreshing and again it must have been extremely moving and uplifting to be in the audience as this washes over you. Emerson tinkles away with unabashed virtuoso style capturing the greatness of the epic. Lake touches the guitar at times to maintain the off kilter rhythms. The echo on his voice is effective, and overall he is sounding the same as he did all those years ago "The weaver in the web that he made!" It's interesting to hear this version of Manticore too. The track really picks up with The Battlefield, into Aquatarkus with pounding drums and squelchy synths. Emerson pulls out the electronic synth wall for this one and blazes away into full flight like he used to and I wonder if he dragged a synth out stabbed it with a knife here. This captures ELP glory and undeniably is a crowd pleased. I suspect a standing ovation followed. Brilliant to hear Tarkus played with so much dynamic energy and passion!

The melancholy C'est Le Vie is next and brings things down to a calmer level after the previous blitzkrieg. Though not one I like, the song is still sounding similar to the old version with acoustics and relaxing strings for a peaceful atmosphere. An accordion sound comes in too for a Parisian touch. "Merci Beaucoup" indeed Mr Lake.

Pirates is a surprising choice from "Works" and it certainly progs along nicely at 13 and a half minutes. Opening with narrative and ethereal keys it fires up into familiar territory along the allegorical seas of turmoil and adventure. The keys sound similar to the original version, right down to the percussive crashes and flutes. The drums are great here, but who is playing them? The whimsical melodies of sea shanties drift along nicely,

The concert closes with a Moog Solo and then into a glorious rendition of Lucky Man. Lake tells us that Keith "wanted to like it but" it as not initially received well. Is that swirling psychedelic synth solo present at the end? This is the "retro-spective" version and Keith dusts down the old Moog, the same one to produce some mind bending psyched up sounds.

Overall this is a glorious return to the prog brilliance of ELP, with smatterings of The Nice and King Crimson sprinkled over the top. At little more than 78 minutes one has to wonder what the rest of the concert was like and what was omitted on the CD release. Some research reveals that on this tour the omitted songs were Prelude to Hope, Malambo, America and Rondo. A 2 CD release might have been appropriate to include these, especially America and Rondo. This is the setlist they played in 2010 in the USA both at Rams Head On Stage, Annapolis in April, and at The Birchmere, Alexandria in May, respectively. It leaves one slavering for more as the concert cruises by so rapidly. It is a joyous concert, an intimate night out with the prog legends Emerson and Lake.