VARIOUS ARTISTS (TRIBUTES)

Of the many tribute CDs I own, this is possibly the best.

Why? The musician's here do not, for the most part, try to recreate the original songs, but interpret them into their own styles. This despite the fact that at least three of the musicians here (Robert Berry with 3, Marc Bonilla with The Keith Emerson Band and Boys Club, and Glenn Hughes with Boys Club) have toured with Emerson, and know his arrangements well. Except for Knife Edge which only has a few rhythmic changes, and Tarkus which has been edited down to a much too short version, the songs all sound copletely reworked.

The standout tracks to me are Toccata, which seems to retain only a few melodic bits from the original while retaining and perhaps expanding it's wild feel, and A Time And A Place with Martin Barre and Doane Perry from Jethro Tull and James LaBrie from Dream Theater helping to make this a heavy prog masterpiece.

Criticisms, well, Robert Berry's changed lyrics for Karn Evil 9 sound awkward, and the mixed up lyrics to The Sheriff make no sense. And poor Tarkus.

This is the most original tribute to Genesis I have ever heard. All the tracks sound different and yet remain similar and respectful to the original. I believe this is a dream come true. The Lamb has cradled and rocked both my childhood and teenagehood. And this tribute gives a good reason to listen to this fantastic album once again and re-discover it. "The Grand Parade of Lifeless Packaging" really stands out but there are no weak tracks. Even the "fillers" have become interesting tracks to listen to. So if you've loved The Lamb than you'll love this tribute. And if you've never heard of this mythical album then you'll need to buy both the original and this tribute. This tribute is definitely a must have for progressive rock lovers.

iv always been a big fan of tribute albums because you get a totally different perspective, different arrangement, and different styles(i.e. genre, vocals, musicianship). the first track "Watcher of the Skies" starts totally different than the original and at first you fear that this album will head for a much softer approach to genesis it ends up sounding more like the original about three minuets into the song. "Firth Of Fifth" This song caught me by surprise, because it's very irritating when a band covers a genesis song(or any band) and attempts to copy the voice. in spite of the horrific vocal copy the musicianship is amazing nearly spot on. that being said the whole album follows the same formula, different version that eventually retains the original sound intended by Genesis or the exact music genesis intended. undoubtedly better genesis tributes exist such as "A Tribute to the Lamb Lies Down on Broadway" by Rewiring Genesis (Nick D'Virgilio and Mark Hornsby). this album is not bad by ant stretch of the word, but when you compare it to the original it lacks any interesting quality's.

— First review of this album —

Bach, Shumann, Debussy, Bartòk and... Genesis... For Paolo Chiarandini are the same thing!

My countryman Paolo Chiarandini (from Tricesimo, Udine) is one of the best piano players of Italy and for his first album (in www.paolochiarandini.it is present only this album) creates a tribute to Genesis using the versions for solo piano of David Myers.

In the sleevenotes of this album he wrote that in 70's when he was a student of the Academy of music listened 'Firth Of Fifth' and found in this song Bach, Shumann, Debussy, Bartòk! So, for one of the best Italian piano players (who has played in several important piano feltival) it is logical transport us in this spell. And he succeeds perfectly.

The piano versions of David Myers are perfect transcriptions of Genesis songs that are not simple songs. In fact Genesis plays these songs with a great natural that they seem easy. In these piano versions Rock is present but the songs becomes extraordinary pieces of Symphonic Classic music. But because thse songs are pieces of Classic music.

Interesting is the fact that Paolo Chiarandini is more close to Rick Wakeman to a Classic piano player and this because if his background is in Classic Music Paolo Chiarandini have a great background also in Genesis, king Crimson, ELP, Banco Del Mutuo Soccorso, Premiata Forneria Marconi, etc... and in the fact that he lives the 70's as piano student and so he study also Prog Music.

These songs are magical, for me better than the original versions. It is clear that these songs are not comparable to 100% to the original versions but it is clear that where Genesis are champions of magic, emotions and feelings, these piano versions (not only because istrumentals) are more magical and emotionals.

I note that Paolo Chiarandini able to talk her piano, not dominating. Loving the dialogue that he creates with his piano transpire in clearly and makes us fall in love with this CD.

It is clear that the tribute albums are often sterile attempts to copy the songs and make them its own. With poor results. Here is the opposite. Paolo Chiarandini, because is a classical piano player, manages to create the pathos that every pianist of Classical Music should be created with the compositions: has not written the songs that he performs, he just needs to execute to create the magic that the author has never even managed to create. In this case... Overcoming Genesis themselves.

For who love Genesis this album is a great must. But also for who love RPI I think that find food for his teeth.

This is an album arranged primarily by Spock's Beard drummer (and now singer as well) Nick D'Virgilio. Nick is undeniably an incredible musician with true skills. Few people can make a band like Spock's Beard still produce good album after the departure of their frontman, Neal Morse. So, naturally, I was very excited to hear that he and Mark Hornsby were teaming up to do a different take on one of my favorite albums of all time.

If you are expecting just a modernized version of The Lamb, you are very, very wrong. They made a more jazz/rock fusion version, substituting guitars for trumpets, and synthesizers for strings. And they generally pull it off exceptionally well. As a huge Genesis fan, you would think I might find this to be sacrilegious, and at sometimes I do, but you must realize these guys weren't trying to sound like the original. The wanted to make a jazz rock version of The Lamb, and they do it very well.

The only knocks I can give this remake is that the music occasionally sounds very bare bones. There are some times where it's simply drums, bass, and an instrument soloing. At these times I wish they would have some chords in the background to add some depth to the music. This only happens a few times in the album, but it still is ultimately a problem. I love Nick D'Virgilio's voice. He can sing with such power and emotion, but sometimes he sings a little too whiny for me. Again, this is fairly infrequent, but both of these flaws are ultimately present.

Aside from that, this is perfect. I love the solo in "In the Cage" and the way they alternate an orchestra and trumpet. At some times the arrangements are better than the original. Anyone who has a problem with the recording quality of early Genesis recordings may want to also give this a try. The production quality is a vast improvement over the 1975 version. So if you want good production and a cool new take on a classic prog album, get this!

4/5 stars

— First review of this album —

I have just a few words to say about this album: this is an absolute essential album for any Krautrock lovers or any open minded proggers. Neu!, along with Can and Faust are the pioneers and the best of this mix of organic and electronic contemporary rock music from Germany. Yes still very modern even if the originals were created in the early 70's.

I have to admit that except for one album of Khan and a bit of the Legendary Pink Dots, I don't know the other bands that play on this tribute to Neu!. But everything in this album is beautiful, imaginative, respectful and most important it is an open door to the music of Neu! and to Krautrock in general.

If you want to hear a dream... If you like the sensation of being part of a modern world where peace and harmony is surrounding everything, this is it... dive into this... 4.5 stars!

— First review of this album —

German artist couple Edda B. Lang and Werner Osterrieder now have fullfilled their passion to record an album containing private interpretations of PINK FLOYD songs. Both are influenced by the band for a longer time and this matching preference was obvious soon when they eventually met. Osterrieder is also known for his collaboration with the psychedelic band BACKSTREET ROMEOS. This group produced the album 'Flight To Metaluna' in 1997 which can be treated as an insiders' tip where he's playing moog, diverse guitars and especially arranges the album's oriental components.

So they both began to start their project SARASWATHI-LOUNGE and composed ethno/trance songs with the preference on indo/raga coupled with modern electronic beats. The debut album 'Aarti' was released in 2007. The wish and idea to play PINK FLOYD music grew alongside what they implemented for their live performances more and more. In 2008 multi-instrumentalists Lang and Osterrieder started to record songs for this album which was planned as a single compact disc first but finally reached for a playing time of 160 minutes. Besides some other tracks especially the two albums 'The Dark Side Of The Moon' and 'Wish You Were Here' are completely reinterpreted.

As for the main differences to the originals (they never had the approach to simply cover the music) you will detect a more folksy orientation here and there based on acoustic guitars, Edda Lang's female vocals and oriental exotic sounds coming from the sitar for example. Osterrieder's guitar contributions are gentle here, rocking there and even experimental psychedelic. To mention one aspect he's playing the Sahi Baja, sounding like a synergy of electric guitar and zither. Both musicians are caring for the keyboard/synthesizer elements which are often getting near to the originals with Mini Moog and Solina String by the way. And then bass player Freddi Rösler should be mentioned of course who completes the line-up for some recordings.

Their homage starts - or better to say is embraced - by the eponymous title song of 'A Saucerful Of Secrets', directly pointing to PF's space rock roots. This is followed by the mysterious interlude Basket Case until they finally turn into the whole 'Dark Side Of The Moon' suite. Speak to me holds the electronic beat compared to the original but is also provided with crazy laughs and spoken words by narrator Garry Joynson. The transition into Breathe is perfectly adapted and then the wellknown melody is taking you away for an acoustic interpretation with female vocals and saxophone. The following title Off For Fun is not part of my DSOTM listing but 'On the run'. Never mind - a spacey piece which is excellently performed based on guitars and the bass who offers some hints to the original.

It's a great challenge to interpret Clare Torry's wonderful voice from The Great Gig In The Sky. Edda Lang avoids the slight hysterical touch and appears a bit more relaxed here. The funny Money holds a special funky groove forced by Rösler's bass and loses its mainstream innocence because of Osterrieder's psychedelic guitar contributions. Great one! Any Colour you like should be mentioned provided with a jazzy note but also being the starting point for the use of eastern oriental instruments and the emphasis on a folksy mood furthermore. High Hopes is getting out of the range a little bit because coming from the 90's album 'Division Bell' and No Way Out Of Here is only used for Gilmour's solo experiences what I know.

The second CD is overshadowed by the album 'Wish You Where Here' but starts with a convincing extended version of Echoes as long and spacey as offered on 'Meddle'. Osterrieder reaches the peak here as for the electric guitar work. The first part of Shine On You Crazy Diamond sounds more melancholic as the original to me. The cheerful spacey Welcome To The Machine is enlarged to ten minutes. Dirge Of The Last Ministrel surprisingly breaks up the 'Wish You Were Here' suite and expresses their sense of humour with funny mixed up speech recordings underlaid with weird noise samples. The second part of 'Shine on you ...' (here devided in four sections once more) is worked out with a nice groove partially and oriental flavoured showing the Sahi Baja in action really. Eclectic crimsonesque guitars plus samples are also interspersed - this is really fascinating!

SARASWATHI-LOUNGE offer a quite personal interior view when reflecting their passion. The songs are adapted for listeners who are open-minded enough to leave the common Pink Floyd track and like to explore new versions of their favourite songs. This is courageous - at least for the commercial aspect. However - '... No One Flies Around The Sun' is made up very professional, musically skilled. It takes time to explore this cornucopia of impressions and I'm sure you will always detect something new when starting another spin. A blend of psychedelic/space rock and folk/indo/raga elements, as for some original mainstream tendencies even cleaned up. Cosmic/futuristic images are decorating the art work made with passion for detail. Recommended - 4 stars really!

— First review of this album —

Excellent addition to any Dream Theater music collection. Apocalyptica-like tribute to great songs of DT. This is non-essential for common Prog rock collections mainly because it's a string quartet (very talented one). They reproduce DT's songs entirely, even the sound effects like the beginning of Ouverture 1928, The Dance of Eternity and As I Am. Some parts may seem weird as it cannot rely on the strong drum parts on certain songs, but overall, it sounds great! They sometimes use their instrument to make percussions.

I know there are still some more interesting albums to buy, but this a great side-prog. It is very intersting to hear the string version and then listen to the original one! The Dance of eternity is in my top 3 prefered DT song and is very nicely done here.

My ratings mix my appreciation of the original song and the perfomance/arrangments of the quartet.

1- Ouverture 1928 : 4/5 2- Pull me under : 3/5 3- Lifting Shadows Off a Dream : 3/5 4- As I Am : 4/5 5- Ytse Jam : 4/5 6- The Dance of Eternity 5/5 7- Hell's Kitchen : 4/5 8- Peruvian Skies : 3/5

4.1/5 for DT fans

3.2/5 for others (this is great, beautiful music, somewhat prog by itself, but not rock)

Great arrangments, great work!

So, even French 70's rock scene is now taken by the 'tribute mania' started nearly 15 years ago. The compilation we are talking about right now is nothing but a gathering around one of the strongest musical vision ever born in France, in Europe, in the world, in the whole universe! Remeber it: Magma is, will be and had always been the best band in the universe (and that is written in the booklet of ''Retrospektïw I & II''). More seriously, it was time for a tribute to Magma and its leader, Christian Vander, for the band is an influence for many and had revealed a lot of musicians (Jannick Top, Didier Lockwood, Bernard Paganotti...). ''Hamtaï'' is a double CD, nothing less, with 27 bands. Not surprising when you keep in mind that Magma had been able to create some true jazz/rock/ symphonies. Yet, the various artists worked on small fragments of each standard, otherwise Welcome Records would have to make a four CD boxset! Among the bands, we find several former members of Magma : violonist Lockwood, bassist Top, vocalist Klaus Blasquiz, keyboard players Patrick Gauthier and Benoît Widemann; a lot of French bands: Patrick Forgas, Zaar, NeBeLNeST (I love you guys, but your name is a pain to type), Vital Duo; and some people crossing the seven seas: Koenjihyakkei, eX-Girl, Mats/Morgan Band and Steve Shehan. A nice guest list, isn't it?

But, at the very end, what can we say about this tribute? It seems that the majority of the musicians have choosed to stay in an 'orthodox' path, keeping a jazz-rock feeling in their covers, as if they feared to damage a monument. As examples, the versions of ''Hhaï'' by Post Image or ''Day After Day'' by Troll are not bad, but they lack of personality. NeBeLNeST or Kafka, despite of being close to a heavy metal sound, stay in the footsteps of Vander. Also trying the metal approach, Kramus only manages to make us think of Faith No More... Even the oriental flavor of Sidji Moon doesn't prevent them of being boring. Patrick Forgas is alone with his keyboards on ''Lïhns'' and offers a delicate sound, a bit too mawkish.

But some tracks are truly innovative and striking! Opening the dance, Koenjihyakkei performs a crazy medley, condensing 20 years of Zheul music in 3 minutes and 45 seconds! A reminiscence of Yoshida's previous band Ruins, but a fun thing, like a bunch of open-minded punks. Then, we can hear Klaus Blasquiz ALONE WITH A MIC. Nothing but his voice overdubbed in a manner to create a virtual and powerful virile choir. Tellurical. On the other hand, Cernunos gives us a sunny version of ''Retrovision'', sounding more, let's say, carribean than kobaïan. Refreshing and loveable. The ''M.D.K. / Würdah Ïtah'' medley by Steve Shehan starts as ''aquatic'' and turns to be the most majestuous version ever recorded of ''M.D.K.''. With the same song, Lockwood only shows his technical prowesses, just as Kafka. Not that the Shehan version is perfect: it's suspiciously close to some new age follies. EX-Girl tries ''Rïah Sahiltaak » a cappela (well, it's true that we can hear a few bells and tinkerbells in the background, but there is no other instrument). Not as impressive as Blasquiz (who did the same thing alone, like a grown-up boy), but quite good and original. When Patrick Gauthier hammers his piano and his keybords, he summons ghosts on ''Theusz Hamtaack''! Maybe more repetitive than the original version, Gauthier's ''T.H.'' is a breath-taking trance. Talking about synthesizers, Mats and Morgan prove us that Vander would have been a terrific composer for video games: I can hear the Nintendo feeling in their take on ''Tîlîm M'dohm''! Humorous, enjoyable, funny, you can start the dance! But when coming to Vital Duo's ''La'' Dawotsin... The Payssan brothers open a fascinating historical perspective: what if Vander worked with, let's say, Jon Anderson, Ian Anderson and maybe the guys from Genesis? These seven minutes (not the last ones) are a view on a musical uchronia. A beauty maybe naive, but nevertheless touching and moving. Ending this album, Le Gré des Vents plays the ''Hymne Kobaïen'' (Kobaïan Hymn), a blooming astral flower rooting deeply in the mind: the bagpipes and the hurdy-gurdy join the wonderful voice of Addie Déat in a choir which started with reminiscences of the so-called celtic folklore, but, soon, becomes an example of a possible universal world music, as the influences from soul music softly arise.

As a manner to conclude, we have to wonder if this record is a masterpiece. Many people have listened this tribute album with mixed feelings, and so do I. As I wrote, some versions are not convincing, if not boring or forgettable (even the performances of some former members of Magma!). On the other hand, some other bands have managed to give their own sound to the music of Christian Vander, would it be electronic, acoustic, folkrock-like... If talking only about the music, it would be a three-stars rating. If keeping in mind that this tribute is nearly a ''manifesto'' for the Zheul and the Magma disciples, it would be a four-stars rating: these two discs may have a historical importance for the years to come. As I am honest and tell the truth most of the times, I would say : simply good and well done, but may become essential later.

Rewiring Genesis, De-electrifying the Lamb

Man ... I don't really know where should I start from on how to write my views about this interpretation of the best Genesis album of all time: The Lamb Lies Down on Broadway. Too many things on my head about this version of Spock's beard drummer & singer after Neal Morse left the band. I may end up writing a novel-long review to appreciate this album as created by Genesis and at the same time how brilliant Nick and his friends rewired the concept album wonderfully! By the time I am writing this, I have just been listening to this double CD for three spins in its entirety. It's not that I rarely spin it because the first spin really got stuck at track 2 and 3 "Fly on a Windshield - Broadway Melody of 1974" where i kept repeating it about 6 to probably 8 times because i was amazed with the arrangements.

You might think making a tribute album is quite simple because the basic music has been there and what you need is just to play. But I have another view because it posses two major challenges: First, the-music was not created by themselves so that they have to find the best way to play it. This may or may not be, depends on the complexity of the original composition, difficult. But one thing difficult, for sure, is to discover the soul of the music, especially The Lamb is a masterpiece prog album the world has been talking about for years. By the way, i've just realized that when i am writing this review using my Nokia E90 I am wearing T-shirt with the original Genesis album artwork, while sipping iced cappucino in a cafe at Kemang, Jakarta. Sennheiser PX100 headset is on my ears blasting the music of The Lamb from my old iPod from an mp3 ripped from CD with 320 bit rate. I am really enjoying my time now, really! And, man ... I am not exaggerating that sometime I find tears in my eyes when I listen to my favorite album being replayed in its entirety by NDV and friends. It's so wonderful. It touches my heart.

Second, interpret the music and grab the nuances, under the concept behind its music especially its storyline and rewrite the music with their own understanding and interpretation are not an easy thing to do. This is definitely a tough job because the musicians must think very hard on how putting back the music without jeopardizing the original soul. Thanks God, Nick and Mark have succeeded in this tough test, they come up with something fresh and crispy with their own arrangements. They do not really reinvent the music like you hear Kevin Gilbert did the rearrangement of Back In NYC. Rewiring Genesis focused on rewriting the textures of the music while maintaining original structure and melody. By doing so, it minimizes the risk of losing Genesis die hard fans. But don't worry, you still get something fresh about this album because they have done excellent job in reinventing the textures that surround the music. Man, you must trust me on this: it's a wonderful record that you should not miss!

Let's have a look on how it flows ...

At first spin the opening track did not impress me as it sounded, on surface, very similar with the original version. Nothing created a "wow !" experience for me. Later spin, i found joy as well with this track and found the "wow!" experience at last. But the second track "Fly on a Windshield" followed with "Broadway Melody of 1974" were the ones that made me stuck for hours repeating them many times without any sense of getting bored at all. The more I spin, the more I discover how wonderful NDV and Friends have rewritten these two seamless songs. Well, there must be factor that contribute a lot in making the music so amazing for me, i.e. the original compositions are already wonderful. And with this version I appreciate highly the way NDV interprets the vocal job especially on difficult parts such as when Gabriel sung "Klu Klux Klan" and ?Smiling at the Majorette, smoking Winston cigarettes? part in the lyrical verses. It's so wonderful version without having to copy exactly how Gabriel sung. So, NDV has successfully performed his vocal job excellently.

The key success factor of this concept album is the flow of the music and the roles of bridges between songs. And, this project has successfully managed them very well by putting deeper textures especially on bridges like "Hairless Heart" or "Cucko Caccoon" where you have a totally new and fresh experience as if you listen to new record. Musical instruments wise you will find a different role of electric guitar, the significant roles of violin to create string arrangements that replace symphonic keyboard sound and interesting additions of brass section (trumpet, sax, etc) to fill various roles of keyboard and sometime guitar.

De-electrifying The Lamb?

The overall textures of the music demonstrate concerted efforts that have been put by the musicians who have collaborated in this wonderful tribute album. One significant dimension that I discover is the efforts to replace something electric to become "less electric" such as the use of string arrangements with violin, brass section and Grand piano. That's why I call it something like de-electrifying or making more acoustic, less electric, version of the original album. So, the music sometimes sounds like an orchestra with vocal but sometimes like a big band in jazz vein. It's really rich in textures.

On some parts they sound weird at first listen, but it will be OK after second or third spin because you will discover the beauty. The bridge that connects to ?Fly On A Windshield?, for example, there is basically no keyboard is used. They use violin to replace keyboard to maintain the symphonic nature at the beginning of the track. The electric guitar playing in this version sounds much rockin? and energetic as compared to the original release. The typical howling guitar work usually played by Steve Hacket has been removed. The very great part of the ?Broadway Melody of 1974? is the additional string section that plays as background while Nick sings ?Echoes of The Broadway Everglades??.. The acoustic guitar and flute work at ?Cuckoo Caccoon? are excellent.

The keyboard-based ?In The Cage? has been approached differently by this project by replacing the keyboard with a combination of string section (violin) and brass. The guitar riff is also different, it all sound really nice. The string and brass arrangements make us forget the original taste of the song and this arrangement sounds really excellent. The wonderful keyboard (original version) part at minute 3:18 has been replaced brilliantly by speedy string section at the same tempo as Tony Banks played with his keyboards. Wow!!! It?s really wonderful man! Hey look ?!! Observe how great the inclining note that usually played by keyboard at minute 4:11 is now replaced by high register note trumpet work in long bars. I really admire the trumpet players (Steve Patrick & Jeff Bailey) who can play such high note in long sustain period. It reminds me to the style of Bill Chase (of CHASE fame).

On ?The Grand Parade of Lifeless Packaging? the music tends to be jazzy with the use of percussion at the intro augmented with choirs that might remind you to Manhattan Transfer style. ?Hairless Heart? has been rearranged wonderfully with great string section and stunning guitar fills. The touchy keyboard part is now replaced by piano. Oh man, the combined work of guitar, string and piano has produced great sound experience to my ears. When the music reaches "Counting Out Time" there is a tremendous change in music style to something like Dixie music which is totally different with original version even though the main melody is not changed.

The eerie keyboard intro in original version of "The Carpet Crawlers" is now replaced nicely by soft piano touch augmented by nice violin work at background accompanying great vocal line of Nick. The guitar work at "The Chamber of 32 Doors" has been made different and it sounds nice. One thing needs to note is the way guitar is played in this version, it?s not somewhat similar in style or whatsoever with the original. But it sounds really nice. It?s like a fresh sound of guitar but it still maintain the soul of original music.

There is no compromise on this version because the whole album in its entirety has been played by the band including the haunting ?The Waiting Room? with their own interpretation. It moves nicely to ?Anyway? which sounds brilliant on piano and string section. The guitar part is really rockin? and kickin? here. Another favorite of mine ?The Lamia? has been rewritten wonderfully. The intro part with acoustic guitar and vocal line sounds great. There is additional female vocal that takes part on the second verse of the lyrics. Their interpretation of "The Colony of Slipperman" is also nice especially on the replacement of keyboard with string and brass section. "Riding the Scree" has also been revamped totally with somewhat jazz-rock fusion style while maintaining original structure and melody. As this song has drums-intensive part, I like Nick's drumming here. The dynamic part at approx at minute 0:47 has been performed brilliantly with jaw-dropping drumwork and brass section. Wow! It?s a great segment here.

In Conclusion

Just purchase this CD! Why troubling yourself with this novel-long review if the music in itself is excellent already. No one argues that The Lamb is a great album by Genesis and Nick d Virgilio is an excellent musician. Nick D Virgilio and Mark Hornsby, the key initiators of this project as the sleeve says so, have done a great job in interpreting this legendary album and rewriting it back differently but without jeopardizing the original soul and nuances of the music. If you really love The Lamb album, too bad .. you have no other choice: you got to buy the CD. I have been listening to this album in its entirety more than seven times and I am still planning to do it again, because it?s excellent, 4.5 stars! Keep on proggin' ...!!!

Peace on earth and mercy mild ? GW