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After releasing a string of terrific, groundbreaking records, Deep Purple came out with this dud. It is SO hard to believe it followed such masterpiece as Machine Head! In my early teens there were only two bands I was totally fanatical about: Yes and Deep Purple. And yet I still remember how disappointed I was when a friend lend me a copy of Who Do We Think We Are. I tried very hard to like it, but to no avail. I gave the LP back to that friend after a week and never heard or talked about that album again. Until a few weeks ago when I heard the 25th Anniversary Edition.

Again I am glad I didn´t buy it. Ok, it is not a total disaster. Rat Bat Blue, Smooth Dancer and Woman From Tokyo are ok, they have some nice parts, the latter being the only one I can say I fully appreciated (the slow middle part is quite good and unusual for Deep Purple). But nothing here is even close to what they had done before. It is a typical case when you notice they are excellent musicians playing very well a very weak material. No inspiration, nor passion. A very burocratic album and Ritchie Blackmore had every reason to disowed it in public at the time.

The extra tracks add little to the original edition. I liked Painted Horse and I suppose the extended First Day Jam is ok, but that´s about it. Their incredible chemistry was gone and the result sounds like a bunch of leftovers tracks from the previous works put together . A real shame, the weakestt thing DP Mk II ever relasead. Ican only recommend Who Do We think We Are for collectors, hardcore fans and completionists only.

— First review of this album —

"Endless Lunatic" has been a valued part of my collection for a few years now. While it sounds nothing like "Round Midnight" by MOONGARDEN it does give me the same feelings.There's something about the melancholic vocals and atmosphere that makes me feel like i'm home.Hard to describe really but even thinking about those two albums makes me want to play them,just for that feeling.I've never read anywhere that this Polish band named themselves after the RIVERSIDE song "After..." i just assumed it. Check out the two guests on the final track "Kite", a 10 1/2 minute instrumental. The legendary Jozef Skrzek on keyboards from SBB, and Colin Bass on bass of course from CAMEL. "Closed Shame" is such a great opening track with that melancholic atmosphere to open with flute.Guitar before a minute as we get some heaviness.The tempo picks up as it kicks in.Nice.Strummed guitar then vocals before 2 1/2 minutes as the sound changes completely.This is amazing! A haunting calm after 4 minutes then it kicks back in with guitar out in front. "Away" opens with bass and an eerie guitar line.Drums join in then reserved vocals.It kicks in on the chorus.Keyboards arrive as it settles.Contrasts continue. "Between Shadows" opens with strummed guitar as bass joins in then a full sound.it settles some when the vocals arrive.Great chorus on this one, it's so uplifting. Tasteful guitar before 3 minutes that ends after 4 minutes when the vocals and a PORCUPINE TREE-like atmosphere takes over.It kicks back in and it's so emotional as he cries "After night time is over". "Wonderful Mistake" is the song that hooked me on this band.A drop dead gorgeous track.Orchestral keys and a sound that's so rich and lush.Very atmospheric. "I Wounded" features keyboards and reserved vocals. "Dreams Hang On Walls" has a brighter mood to it.Different sounds come and go.Vocals before 1 1/2 minutes.The chorus is catchy and powerful.Melancholic guitar 2 minutes in and flute a minute later.It then kicks in.Great sound. "Spiders" is a SYSTEM OF A DOWN song that they cover.Sad keys to open as drums,bass then vocals join in.It kicks in before 2 1/2 minutes with some killer guitar.Then it settles right down after 3 minutes. "Cleaning From Scars" features those orchestral keys with guitar as drums and vocals join in quickly.Great instrumental sound after 4 minutes. "Kite" is the longest track and the only instrumental.Love the dark atmosphere to open.It turns heavy 2 1/2 mintes in.Incredible! Check out the bass! Go Colin ! It settles around 4 minutes.Guitar comes to the fore 5 1/2 minutes in soloing tastefuly.Atmosphere with people talking in the background take over.The keys are back after 8 minutes. 4.5 stars for this beauty.The next time i want a band added here i'll just ask Phideaux to do it.Thanks Phideaux!

"Deggial tell the truth that man is but a Beast"

With Therion's star rising ever higher, Christofer Johnsson secured even greater funding for the recording of the band's ninth official album. As a result, he brought in a full orchestra for the first time (previous releases had included a strings orchestra only) in addition to the now traditional choirs and soloists. The album took 3 months to record, the emphasis being placed on exploring in even greater depths the symphonic aspects of Therions' music. Once again, Johnsson takes the opportunity to refresh the line up, with Kristian Niemann coming in on lead guitar, Johan Niemann on bass and Sami Karppinen on drums. The arrival of the Neimann brothers would signal the beginning of a relatively stable period in the line up of the band.

The opening bars of "Seven secrets of the sphinx" give little indication of any symphonic aspects, and indeed indicate that this will also be a generally darker and heavier outing for Therion. The following "Eternal return" is more in keeping with albums such as "Theli" and "Vovin", but even here, the sound actually seems a little sparser. It is only when we get to "Enter Vril-Ya" that the symphonic aspects start to come to the fore, the strings and massed choir combining to deliver a piece with true might.

"Ship of Luna" begins with a "Mars" (Holst) like drum rhythm before switching completely to become an acoustic based number. The combination of acoustic foundation and choral voices works well here. As the song unfolds, it reveals itself as one of Therion's most complex, and indeed progressive pieces. The power is notched up further for the regal "The invincible", which floats along on a series of mystical lyrics. Quite why the title track seems a little different is difficult to explain, but while the vocals are of the usual choral type, the instrumentation has an alternative feel to it. Midway through, the song burst open in a rip- roaring romp to the end.

As a title, "Emerald crown" sails close to Rhapsody territory, but the song itself is actually one of the softer ones, more of a ballad really. At less than 1½ minutes, the instrumental "The Flight of the Lord of Flies" is the shortest track on the album by far. The piece seems to be a sort of variation on "The flight of the bumble bee".

"Flesh of the Gods" features guest lead vocals by Hansi Kürsch, the balance of the song leaning back towards the heavier rock orientation of the band. The centrepiece of the album is the 2 part, 9½ minute "Via Nocturna". The pixie inspired lyrics (written throughout the album by Thomas Karlsson) talk of walks in strange forests and a queen of the night called Lilith. The images are well buried though in an epic mix of orchestration, chorales and dramatic guitar blasts. In the best ways of prog, the song take some time to reveal itself, but as it does we discover a magnificent cornucopia of all which defines Therion.

The final track is a cover of Carl Orff's "O Fortuna", an operatic piece which will be familiar even to those who do not recognise the name. The rendition here calls upon all the power of choir and orchestra, while also featuring some fine acoustic guitar.

The album was a commercial success as expected, but despite the major investment this time, it actually sold less than "Vovin". Quite why this should be is not immediately obvious, as the album fulfils all expectations. Perhaps the more of the same aspect meant that some fans felt the originality of Therion was waning. If so, that would be a great pity, as this is a mighty album.

This album is one of my favorite of the new Eloy albums. This is a lot spacier and much more progressive than the last few albums, and has a better concept. Almost returning back to the concept of the Ocean album (which the next album, Ocean 2, will achieve) but the lyrics are style the same style. Two excellent epics on this album make it a must-have in any progressive rock collection. Oh, and this is the first studio album in a while to have that awesome Eloy logo, so amazing.

"The Day of Crimson Skies" is not the best track, but it's the most upfront sounding out of all the songs on here, and is closest to the Destination sound, though the guitar is not nearly as distorted. The lyrics are excellent, as is the excellent vocals. The keyboard sound is really good on this one too. "Fatal Illusions" is one of the two epics from this album, and is my least favorite of the two, but overall, it's near perfection. The intro is really spacey with simmering keyboards trapped over shining and flying guitar harmonics. There is a little solo at the beginning as well, making me remember more of the logos section of Ocean, the 1977 release. It takes about two minutes to get into it and then it really starts to get spacey and very interesting. The bassline and drums keep the rhythm section very well in place, never getting under the mix. The guitars in this song are to die-for, amazing playing by Frank. It takes a little while before Frank starts to sing, but I love the lyrics and I love the tone of voice that he is singing in. "Childhood Memories" is pretty good, nice drumming and soothing guitar and keyboard combo to go with it. It's a farily slow track, but it dosen't really keep it down, honestly. The vocals are really nice on this track, with some really nice lyrics to go with it, nice passionate feeling. Not my favoirte, in fact the worst of the lbum, but it's not too bad, just a little too much drag going on. "Generation of inocence" is alright, not my favorite track from this album, but it's okay. "The Tides Return Forever" is an instant classic. The acoustic intro is excellently played by our very own Frank Bornemann, and it's just beautiful. The lyrics and vocals are so passionated and so intense it just makes you feel like your right there next to Frank while he is playing. I just wish the song was a bit longer, but the music really flows with each other. It takes a while before the drums, keyboards and bass to get it, but it's a good and soothing wait. Thought-provoking music, honestly. "The last in Line" is a farily good pop song, not too bad honestly. The lyrics are good on this one, I'm not too big on the keyboard sound on this one though. The drumming is fairly good, as with the bass playing being up to par, as always. "Company of Angles" is the best epic track on here. Period. The intro is fairly good, with what sounds like an acoustic keyboard instrument (I don't know, honestly, that's what it sounds like to me at least) but the vocals in the intro are really nice too. After the intro, it starts to get into that heavy sound, with a choral sound with all of the vocal harmonies, it's very loud and very forceful. The lyrics that are being sung are intense and make you sweat. This song is pretty much perfection, even that intense ending yet soothing ending.

This album is pretty much the best Eloy has done in years, besides the Chronicles 1 and 2, but those are just re-recorded songs. This album is full of space and prog to share with the world, this album gets a 5 star, easily.

I tend to be quite receptive to many music genres. Actually, I don't care at all what 'genre' a band is tagged with, as long as the music has something valuable to offer I'll be very pleased. However, from experience I've learned that there are a few types of music that I better avoid for medical reasons: rap, Eurovision song contest music, the soul of MTV, disco and power metal. Why? They all give me acute diarrhea.

The reason that most of that kind of music annoys me so much is the total lack of personality and creativity. I find it formulaic, cliché, cheesy and generic. It is made to cater for a distinct target audience; it has to conform to specific rules, dos and don'ts; it always repeats the same tricks; it's commercially manufactured music and it's the death to any possible listening enjoyment on my part.

Well of course I'm generalizing and I'm sure I rambled on about this before, so before I start being repetitive too, let me conclude that this is probably a good album in the genre. So don't be afraid, I don't want to be a spoilsport, nor do I want to poke my nose into others people's audile pleasures (what an image) No I won't go in and rate every album in this style on PA with one star, even though it sounds very tempting :)

No, if I want to hear this type of music I'll stick to my Rainbow and a few Dio tracks. That's all I wanted to say.

Overkill. That could summarize this album in one word for me. There are some really good tunes here, great musicians, extraordinary vocalists and a pleasant mix of Electric Castle era Ayreon with vintage hard rock/space metal but it's just too much.

To summarize it in a phrase, I would say it is even more overstated then its very fitting album art and yet I find myself banging away at its catchy grooves and pathos laden vocals.

For me the album is saved by two factors. First of all, within the musical boundaries chosen for this album (70's Rainbow and 80's Hawkwind come to mind), most songs are really good hard-rock tunes. Secondly, the quality of Damien Wilson, Floor Jansen and Dan Swanö's voices save the project from being just empty epic pathos. The music is professional but as with all Ayreon music it is rather studied and clinical. It lacks organic feel and emotive power. The great singers here compensate for this defect.

Almost 4 stars.

If this isn't a masterpiece then what is ? Okay, this album is not ground-breaking, but Magma by itself is ground-breaking ! They've created a genre on their own ! Now this album is a dream come true. Magma maybe one of the last dinosaurs of progressive rock that has been faithful to its sounds and concepts and has never given in to the commercial aspect of music. Their latest album has all the typical Magma elements inside : fantastic choirs, some singing by Vander himself, awesome bass and drumming... ; epic crescendo music that gives you the goose bumps. This is nirvana ! Let's talk about Vander's voice. All the famous singers that have turned over 50 can't seem to sing as high as they use to. Well, Vander can ! The only aspect you won't find in this new album is the high-pitched growling that one can find in some of their albums produced in the 70s. The music is typical zeuhl and has tends to have more choir singing than other albums. Now for the sound : at last, Magma produces an album with top quality recording, something that their classic albums lack. I wish they would remaster them. Anyway, I'm going to recommend this album very strongly because I believe it has all the ingredients (creativity and musicianship) to become a true masterpiece. Only time will tell of course but you must get this one with your eyes closed and your ears wide open.

In the beginning of the 90's a whole generation of Swedes got together around their jul tree and decided it might be fun to start a whole offspring of high quality prog rock bands. I've worked my way through all Anekdoten, Änglagard, Landberk, Sinkadus and Paatos albums now and I've hardly found one album I would rate below 4 stars.

Riktigt Äkta (later re-recorded in English as Lonely Land) is the first brainchild of a then still premature Landberk. Just like early Anekdoten, the music is very similar to King Crimson, VDGG, and Genesis. In case of Landberk, I also hear a large influence from Kraut rock. Compared to Anekdoten's debut, it is a tad lighter and more playful.

Especially the guitar playing of Stefan Dimle enchants me, very original and captivating. He has a very subtle, almost hesitant touch that is yet very expressive and captivating.

Flawed as it is at times, this is nevertheless one of the most enjoyable 90's retro-prog albums I have heard. By taking in influences from 80's bands like Talk Talk their approach would gradually change in the next releases. They would evolve into something very unique and personal; the way a true prog rock band should do, stretching the boundaries of their music and prog rock in general. A truly underrated band.

In This World and Beyond is the sophomore effort of Italian outfit Narrow Pass. And a good one, if you appreciate their particular mix of musical ingredients.

The band basically seek to blend two rather different types of music here. The aspect most noticeable is that of celtic-tinged folk rock, where acoustic guitars and flute sets up a compelling foundation for the strong, emotional female lead vocals. The other side of the mix here is symphonic prog in the tradition of Genesis, with a strong emphasis on atmospheric elements to the point of almost coming across as vintage Neo-Progressive rock.

Personally I found the celtic part of this mix most compelling, but at best Narrow Pass is an able symphonic outfit as well. And while none of the compositions gets a note of brilliance for me, those fond of Genesis-tinged symphonic prog will find much to please their tastes here - especially if they don't the atmospheric approach. Those among that crowd who generally enjoy celtic-tinged folk as well should take note of this production, chances are that they'll find the combination of the two both pleasing and satisfying.

One of the first bands in Japan to add symphonic elements in their hard-rockin' sound,NOVELA were led by the charismatic figures of Toshio Egawa on keyboards and Terutsugu Hirayama on guitars,both coming from a 70's band with a similar sound,''Schezerade''.Their first LP ''La songerie'' (japanese title is ''Miwakugeki'') was released in 1980 on King Records.

The album is really growing in you during the listening,as the first three tracks have rather a cliche hard rock sound with angular riffs, frenetic rhythms and high-pitched vocals,though all of the three are good compositionaly.Things seem to change with ''Letticia'',which is a track where Egawa shines,having more space to deliver his synth/organ (and a light dose of piano and mellotron) work,while the instrumental parts are pure symphonic prog.''The boyhood'' has a great synth introduction and it gets even more grandiose when the guitars enter at the middle in a FLOYD-ian style.The second part of the track is hard rock-oriented with powerful drumming and furious grooves.The closing eponymous track is a mellotron-heaven ,sounding very far from the previous tracks...it also features a jazzy middle part with nice flutes,followed by the acoustic guitars' beauty and some dreamy keyboard work.Excellent!While ''La songerie'' is an uneven work in term of music style,it can be denied that it contains some great parts,which later established the bombastic japanese symph prog sound.A nice addition, especially for symphonic prog lovers,who don't mind a harder edge in their music.