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According to many people Blackwater Park is among the most accomplished of Opeth's releases, or even their best album. This is often because Blackwater Park shows a more melodic Opeth than ever before, and the album has a better production than the band's earlier releases (Porcupine Tree's Steven Wilson is responsible for this, for a part). I completely agree with these things, but apart from them I don't see what makes Blackwater Park such an exceptional album. Most of the songs are just decent, with some obvious exceptions, and I think the album sounds kind of blank compared to some of Opeth's other releases.

Many of the songs on this album are good, but nothing more. "The Drapery Falls" for example is a song that sounds excellent for a minute or two, but it just can't keep me interested, while a lot of other Opeth songs definitely can. The same thing can be said from the entire second half of the album. "Dirge For November" is probably the best on the second half. The song starts ot soft, but will turn into a much heavier song. It is nothing more than a good song though. "Blackwater Park", the title track, is also decent, though just like "The Drapery Falls" just doesn't really do anything to me. The second half also features "The Funeral Portrait", which is one of the few Opeth songs that I don't like at all. The songs acoustic intro is the only thing that sounds nice.

Fortunately there is some great music on the album as well. "Harvest" is one of Opeth's more accesible and mellower songs. It sounds very melancholic and is a very beautiful piece of music. "The Leper Affinity" is one of Opeth's heaviest songs. From the crushing first guitar chords to the melodic soling later in the song, it all is great. The song is, though being fantastic, not as brilliant as "Bleak". "Bleak" is more straight forward than the usual Opeth song, but really features some killer riffs and music. The song also features Porcupine Tree's Steven Wilson on the vocals. Those vocals (that sound very different from Mikael's) being combined with Mikael's growling makes the song sound very interesting and diverse.

Definately not as great as I expected it to be. Blackwater Park is a nice album nevertheless, and therefore I rate it three stars. I would recommend it to anyone who likes Opeth, though I think they have made much better music than what's on this album.

Fool's Mate was my first Hammill solo album. I got it soon after finding Pawn Hearts and Godbluff, almost 25 years ago. Time Flies. I've always found it a most satisfying album with an exciting VDGG-lite sound that you will not find on anything else featuring Perter Hammill. Only Nadir's Big Chance represents a similar attempt at basic ballad and rock song writing, be it in a much rougher jacket there.

Fool's Mate is not only the lightest; it's also the brightest moment in Hammill's catalogue. It sure features a lot of beautiful melancholic ballads but how many other Hammill songs do you know that are sheer fun like Imperial Zeppelin, Re-awakening or Sunshine (the title alone)?

I guess appreciation will largely depend on the moment you came to listen to this album. For me it's always been an excellent and unique album, a first 4-star in an endless series of 4-star Hammill solo albums.

Continuing decline with synths.

What a pity for such a musician like Mike Oldfield! QE2 is something like a soup of different sounds being introduced by Mike Oldfield. Unsuitable mixture of genres and especially ideas and instruments. The music sounds very... (I would say) meatless. The musicianship almost lacks here. The songwriting is subordinated to the past albums of MO and draws it's sensation from these past ideas. There isn't any intensity of the sound. All songs aren't memorable, except the first one - Taurus 1. The folk influence have transformed into amateur new wave music. I'm trully surprised with this high rating of the album. Obviously, there are enough people to like it. For me it's just an album in my collection! 2 stars.

Deliverance is one of Opeth's heaviest albums, which is the excact opposite of Damnation, which was released just slightly after it. Many people accuse the album of not doing anything new, having bad songwriting and being kind of blank. I don't agree with any of these, and I think Deliverance is a very good piece of music. It is slightly more straight forward than most other Opeth releases, and does have some sort of cheesy sounding riffs, but what's important that it all is done very well, resulting in a very enjoyable record.

The album opens with the rough "Wreath". A more typical metal song that's not as progressive as most of Opeth's songs. It also is one of their heaviest, featuring lots of heavy, distorted guitar playing and growling vocals. It is by no means a bad track, though far from the bands best. The title track, "Deliverance" is a much more excellent composition. The song is very progressive, as it combines heavy parts with softer parts, and has some very technical musicianship in it. The final minutes are absolutely wonderful, and among the best Opeth has ever done. Just as much as "Deliverance" I enjoy "Master's Apprentices", that just like "Wreath" is less progressive than most Opeth has done. The song starts of incredibly heavy, with a typical metal riff and double bass druming. After a while it becomes more variated and mellow though, which results in a very enjoyable song.

"A Fair Judgement" is a softer track, though still having its louder moments. The song features a nice piano intro, but the song doesn't reach the greatness of "Master's Apprentices" and the title track. "For Absent Friends" is a short instrumental interlude. It gives us a soft break from all the roughness on the album, and is a nice little piece. Unfortunately the album isn't all good. "By The Pain I See In Others" is a song I don't like at all. The opening riff sounds terribly annoying, and although being pretty diverse, the song doesn't do anything to me at all. A very weak ending of an excellent album.

Apart from the final track the album is full of good music. It isn't the bands best effort, but it definately is enjoyable and has some brilliant moments. I would recommend this album to anybody who likes the heaviest side of Opeth and doesn't mind a some less progressive metal than an album like Blackwater Park. I will rate Deliverance four stars, as it is far from perfect but still very good.

— First review of this album —

Like most collections of previously unreleased material gathered from a variety of sources, "Going Where the Music Takes Me" is one for the fans. What makes it more interesting is that it traces the many permutations of AMAZING BLONDEL's members over the course of 2 decades and reminds us that the lack of releases or record company deals did not equal lack of creative output. On the downside is the persistence of alternate versions of previously released song, most of which do not add to the cause, especially when still more original work remains in the vaults. Another issue I have with the compilation is that the liner notes reveal a chronological order ignored by the compilers, who seem to have proceeded with their task willy nilly. I recommend sequencing them on your friendly device according to date of production

We can see how much was lost when main singer/songwriter John David Gladwin left in 1973 for personal reasons, and it is truly amazing that the remaining duo persisted with quality output for a few more years. Here the most engaging and enduring songs come from Gladwin's studio sessions between 1973 and 1978. Whether he is performing in the olde Englishe style ("Charades", "Fine Knacks for Fair Ladies", "Rendezvous") for which he was best known in the group proper, or a more modern folk rock mode in a surprisingly rich tone ("Airport Song", "Going Where the Music Takes Me", "No Ordinary Love Affair"), the quality rivals the best of the band's output in their heyday.

Edward Baird is no slouch either, although his work is uneven, ranging from mundane and lyrically inane pop ("Crazy Woman", "Hangover Love", "I've Got News for You", which bears no relation to the fine number of the same name from the same period which appeared on the "Inspiration" album) to classy 70s soft rock of the type that graced later Blondel albums ("So Long", "Funny", "Walkin' Through the Night", "Chinatown"), replete with acoustic dimensions that would make the American purveyors blush. His "Dedication to Felix" is the highpoint of the set, blending the Gladwin-influences with his own, concocting a sumptuous mix of the old and new Blondels while combining a sensitive song and a worthwhile tune. The members may have brought their own ideas to the table when the group came together organically near the end of the 60s, but their common vision was so acute that it's sometimes hard to tell a later Gladwin tune from one by Baird.

Terry Wincott did the least writing and singing, but contributes the noteworthy and somewhat harder edged "Old Man" that alludes to the writer's own mortality and changing roles that come with age and can be adopted gracefully. On the flipside, his "Love on the CB" is as dated musically as materially, even though it is the most recent song in the compilation, hailing from the late 80s. The earliest work here is also a dud, "That's the Way Love Goes", which does have historic value for documenting Gladwin and Wincott's willingness to play other people's music in the mid 60s if it meant scoring a record contract. Similarly, Baird's 80s kerfuffle "All Right by Me" was an ill-advised turn to the blues.

As with the later similar single CD "On with the Show", the live recordings of their studio work are generally not adding to the cause, with the possible exception of "Young Man's Fancy" incorrectly labeled here as "The Leaving of the Country Lover". Even the Gladwin re-covers are dispensable. Given that entire albums by this fellow seem to have remained unreleased, to include yet another version of "Shepherd's Song" is baffling.

The bonus to the proceedings is a 3rd disk, a DVD consisting of an informal interview with the three principals recorded in 2002. Humor, grace and genuine love of their craft shine forth, and, watching it alone as a longtime fan, I was alternately laughing out loud and fairly moved to tears. Indispensable for the afficionado and not the best place to start for a newbie, "Going Where the Music Takes Me" is a valuable historical document that epitomizes a long gone era, with its close-in associations and necessary pull backs, and the ubiquitous idealism of the day, where the music took one far...quite far indeed.

This is what most people would call an experimental or avant-garde album. It really sounds as if Vangelis decided to have fun poking on a keyboard or having fun with his latest toy synthesizer. It really could be worse : maybe he was fed up with his record company and threw this album out just to satisfy a record deal. So, this is probably a bored Vangelis messing around with sounds. Just listen to other albums like Spiral or Albedo and you'll be shocked by the difference. I tried really hard to listen to this album, setting the volume higher but it never worked for me. This album is really for completionists and is to be avoided by all means for beginners if you don't want to be put off. His next album was a return to a more melodic album.

Decline begins

Yes, decline begins, but no, this is not compilation album instead of the name - Platinum. I think this name doesn't suits good for this album, except the first song Airborne - the best and the sole significant track on the album. The second song - Platinum, is first Mike Oldfield's commercial single and last reasonable on the album. After that it is followed by mediocre song after mediocre song. This album is the first touch of MO with pop, disco and so on. His attempts are fairly not the best examples of these genres. Except all these negative thoughts, there is worse - From this album on, most albums consist of very bad reconstructed old ideas of Mike. It means making money without fair labour! The biggest example of that is Punkadiddle. Airborne and Platinum doesn't help the album of passing the 2,5 stars verge!

I became aware of this band through "The Spagetti Epic" where they composed an over 20 minute track for that venture.I was so impressed that i wanted to check out one of their albums, so this is the one.Their vocalist has apparently left so they have seven guest singers for this one(both male and female). It's a concept album with plenty of samples and variety.Much of the music here comes off sounding more like a Scandanavian band like ANGLAGARD,ANEKDOTEN or WHITE WILLOW with the dark atmosphere,mellotron,angular guitar and other vintage keyboards.So naturally i am very impressed although the middle section of the album is a bit of a mixed bag.Still i think there's plenty here to warrant 4 stars. "680819DP" sounds like were listening in on a baby's baptism or something.Then female vocal melodies join in before this amazing soundscape comes in that is dark and heavy with mellotron.Angular guitar and bass follow. "Symphony For A Shadow" features more guitar as female vocals join in.It's Sofia(i've seen her name spelled three different ways) from PRESENCE.Keyboards arrive as the heavy sound continues.Vocals are back later.Great tune. "The Mirror Room" opens with children's voices then adult voices as the guitar plays in the background.A calm follows then male vocals(Clive from BLACK WIDOW who also plays flute and sax on this track) with drums and angular guitar before 2 minutes.Mellotron too.Incredible sound! Flute 4 1/2 minutes in as the guitar grinds it out then sax joins in. "The Echo Of The Dark Side" opens with water sounds and flies buzzing around.The music kicks in with female vocals.This is fairly laid back with a waltz-like melody.Some organ before 4 1/2 minutes. "Nocturnal(Pt.I)" opens with piano as male vocals join in followed by guitar and drums.Then a calm before it kicks in again.Contrasts continue. "Promenade Avec La Nuit" is a short track of female vocal melodies,waves and piano. "Alter Action" continues with the waves until this strange noise takes over then other instruments join in.Nice bass 2 minutes in.It's building.Drums start to dominate.A change 5 minutes in.This is better.Mellotron a minute later.Nice. "Eclipse" opens with a phone ringing and this person walking out of the house not answering it.Nature sounds can be heard as he continues to walk away.Male vocals follow.It's heavy after 3 minutes(it comes and goes).Synths before 5 minutes. "Nocturnal(Pt.II)" is a great tune that opens with water sounds then this heavy soundscpae takes over with male vocals.Check out the organ and mellotron! "A.M.I.G.D.A.L.A." opens with strange sounds.The music kicks in with angular guitar.Powerful sound 2 minutes in.Check out the guitar that starts before 5 minutes then starts ripping it up before 5 1/2 minutes.it settles after 7 minutes and the waves are back.Female vocal melodies 8 minutes in before it turns heavy a minute later.Fantastic instrumental. This is certainly different but in a good way.Lots to digest and enjoy.I highly recommend this dark trip.

Mandylion is an album that has been a true companion from the moment it was released. I often return to it, not only because it moves me every time, but also because it serves as a touchstone that can be used to test many styles of rock music against.

Let's start with the vocals, the most obvious asset of this Dutch doom metal outfit. For me, Anneke Van Giersbergen vocals are the most expressive, commanding and beautiful vocals ever to grace a rock album. On later albums she would become more versatile but here she is in full epic glory. Yet she sings so gracefully and spontaneous, never straining her voice, never overdoing it. She's pure emotion and melody. Her vocals are the benchmark for any vocalist attempting this style.

The rest of the band is much criticized here. Obviously they do not attempt anything that demands advanced studies in musical proficiency, but that is not the issue I'd say. The point these guys are making here is how their instruments can be applied to maximize the perfection of the songs.

Don't get me wrong. Most of the music I listen to has a high musical complexity, but for me the emphasis on serving musicianship here gives a refreshing view that will filter out all self-important bragging from my CD collection. Not only that. It also works in the opposite direction. Not much 'easy' rock music works for me, so whoever wants to impress me with basic chord progressions will have Mandylion's standard to live up to.

This is one of my all-time favourite mood-albums. Not sure though if I should give it 5 stars. For the progressive rock fan, the more diverse If Then Else from 2000 might be more interesting.

Continues exploring progressive music.

Mike Oldfield makes a little well-deserved break after Ommadawn. He comes back with this huge epic album called Incantations after 3 years of absence from releasing new works. This album looks like absolutely to Tales from Topographic Oceans in its structure. In its quality it is not so different to TFTO, too. It's not just the last very good album for long time being made by Mike Oldfield, but it is even the last somewhat good Mike Oldfield's album for long time. As a tradition for his contemporary progressive rock musicians and bands he got into a long crisis in 1980. It's unique how so much bands and musicians fell apart namely in the year of 1980, with the beginning of the 80s (with awful releases).

If we speak about this one, it is far from awful. I mean it is one of the best MO albums. He continues exploring progressive rock music with strong folk influence as he did it before. This time he uses four epics over 15 minutes and it works. It's full of passion and ideas, and contains a lot of instruments appropriate for the realization of the project. The music is charming and beautiful, but I give 4 stars, instead of 5. I have to explain why...

Really the music is charming and beautiful, and when I listened to this album for the first time I said uau!!! After that with some new listenings the albums begins to show its flaws. The most important are two. The first one being frequently repetitions and the second one being extremely spreaded musical ideas. I think this flaws are ordinary for so long album consisted of four so long songs. And yet I'm staying in front of superb album. 4+ stars