VARIOUS ARTISTS (TRIBUTES)

One of the most regularly celebrated progressive rock albums came out in 1977, as the massive punk tsunami was about to wash away the "pompous and elitist flash rock", by none other than Anthony Phillips, who had left Genesis after the Trespass album (1970). It was the beautifully decorated "The Geese and the Ghost", artwork from Peter Cross and subsequently reprinted in 1981, 1988, 1990 as well as remastered in 2007, 2008 and 2015 (as a 2CD+DVD deluxe Edition). Not only has it stood the test of time, but its impeccable pastoral, vary English feel was incredibly unique and distinctive, rarely copied or emulated.

Well, that legacy has been perpetuated with "Which Way the Wind Blows- The Music of Anthony Phillips" 2019, a British tribute ensemble with all kinds of famous special guests, such as Steve Anderson, John and Steve Hackett, Noel McCalla, John Helliwell, Nick Magnus and Kate St-John, with more gorgeous Peter Cross artwork. I should be reviewing that one soon as well. In 2022, a dedicated German crew led by the Morgenstern family of Nina and Robin on vocals and multi-instrumentalist Tom, decided to invite a dozen or so guests, namely Steve Hackett (again!) as well as two members of Fauns, Jan-Peer Hartmann on guitars and flutist Kirsten Middeke. They put together a list of highlight tracks from the legendary and ongoing career of a gifted and humble musician worthy of the highest praise. To mirror the Phillips catalog, there are song-oriented tracks as well as instrumental workouts for which he is perhaps more infamous for.

One of the prettiest melodies ever to be found, "Sistine" develops a breezy little jewel that breathes tranquility and reverence, originally presented on the 1984 album "Private parts and Pieces IV; A Catch at the Tables". I could call this "Pristine" and not be criticized, a fluid simplicity that expresses the most genuine of sentiments. Robin's vocal is charmingly effective. Taken from the delightful New England album, "Sanctuary" offers precisely what the title implies, a sense of love longing for eternity, while "God If I Saw Her Now" is a highlight track from "the Geese and the Ghost", previously sung on demos by Ant as well as the rather awesome Phil Collins version on the album, which is a hard act to follow. Robin does another admirable effort here. The album "Dragonfly Dreams" proposes "She'll Be Waiting", another crystalline ballad that shimmers gently. The ghostly "Unheard Cry", the redolent "Stranger", "Lucy- An Illusion" with its majestic synth solo a la Tony Banks, "Moon's Lament for the Sun" and "Master of Time" are all more than meets the ear.

On the instrumental side of things, the prog fan will find quite a selection of sensational excerpts A fascinating piece of memorabilia on "F Sharp", as it was a 1969 demo sketch by Ant and Mike Rutherford that eventually was shaped into this arrangement, furthered into the eventual and instantly recognizable solo on the Musical Box, played by Steve Hackett. This alone is worth the price of admission, a glimpse into the inner workings of musicians creating a masterpiece, in the most natural way possible, hours of work and practice. Needless to state, Hackett does his usual magic here.

On the previously unreleased "Study No.1 in E Major" is Gereon Schoplick on solo classical guitar, very much in the Phillips tradition. A sensational piece is the "Salmon Leap" features a full band workout that jumps out at you (excuse the pun) like a fish out of water. This was part of "the Scottish Suite" from the stunning "Back to the Pavilion" recording which also sits very high in the Ant pantheon. From that same album, Gereon does another admirable turn on the 12-string loaded with reverb with "Postlude: End of the Season"

"Slow Dance" perennially sits in my all-time top 25 albums, often selected for Sunday morning play, the excerpt from Part 1 a subtle reminder just how great this album is played by reverential musicians who can recognize genius when asked to tackle the repertoire. Anthony has acknowledged this album with his usual humble demeanor, stating that many of the tracks chosen were improvements on the original.

4 Illuminations from the Incline.

— First review of this album —

"Au Phil de Naos - Hommage à un lutin Chantant" is a tribute to Philippe Mottée, singer of the french neo progressive band Naos. Phil had hoped for years that Naos would reform to release a third album of which a few tracks had been worked, but nothing was further than the demo level. Phil died in the middle of January 2022, and a few days later Dominique Marrion (from the group Raison de Plus) told me that Phil had sent him seven demo tracks from Naos, hoping that Raison de Plus could record them. With Eric Bonafoux, the last keyboardist of Naos, we decided to call on many musician friends to record these titles while respecting the models. This is how we find on this album all or part of the musicians from the French groups Raison de Plus, Controverse, Magnesis and JPL, and also musicians such as Pat Sanders (English band Drifting Sun), Jean-Philippe Suzan (Gens de la Lune), Dominique le Guennec (Mona Lisa), Achraf Elasraoui (Moroccan singer), Yon Gachet Chevalier and Thierry Bernier. We can hear Phil's singing accompanied by Lucien Pagano (guitarist of Naos) and his wife Marie as backing vocalists in the last track of the album. "Voyage" was taken from a low quality live recording, it was an acoustic track on which Phil sang over a few chords of Lucien's guitar. To have better quality and bring out Phil's voice, Didier Leveau digitally isolated the vocals, re-recorded an acoustic guitar track and added light keyboard layers. All the musicians agreed to work for free, as well as the talented Scottish painter Charlie Roy who created the visual for the album based on a screenshot taken from a video of Naos on stage.

"Well I wasnt expecting that !

You've made many of the tracks sound better than the original, especially the songs which sound much more commercial !

Great singing by your clan and superb playing throughout?.Don't know here to start really, difficult to single out any one player as all so very good ?..! F Sharp is extraordinary and Steve's solo scary !

You make me think i could have done a lot better !

It's a fabulous, brilliant and undeserved endeavour for which i can only thank you ALL deeply !

You've encouraged me to think more seriously (again !) of braving a large-scale album?Am still in demand in library world and others do depend on me in this area as well so a complex picture?..! Let's see"

Anthony Phillips, 8 January 2022 (e-mail was published with permission by the German Genesis fanclub)

— First review of this album —

We could see this film in theaters in April, and only two weeks later, it is now available in a specific retail drugstore in Quebec, at least! This is a box set with a DVD, Blu-ray, and free download for the audio only. This is the music of Harmonium played in 2022 by the Symphonic Orchestra of Montreal, a choir, a guitar player, and three vocalists who are special guests in three songs. The sound was loud and clear in the theater, far from the light sound of the band albums. The various instrumentation gives the music another dimension, a rich, full sound, and it helps to enjoy classical music. It is amazing to see in the booklet how many people worked on this production with 4 pages of credits! It's important to know that this is a movie with some visuals and theatrical elements. The stage settings had the help of someone from the Cirque du Soleil. We can see some characters on stage and in the air to illustrate some of the stories related to the music of Harmonium. In my home, it's impossible to have a better sound than at the theater, but on the other end, you can enjoy the 5.1 mix and the Atmos mix, which, for those who have the equipment, is well done. At the end of the show, there is an emotional moment in a special guest's presence. We can't see this classical tribute to the band's music as a replacement for the original version but a revisited take to bring some nostalgia 50 years later.

Vesa Aaltonen is undoubtedly Finland's most legendary prog drummer. His memoirs were released in 2019 when he had already founded the project Vesa Aaltonen Prog Band to play live the music of the prog acts he was involved in. This "studio live" album contains new recordings of compositions originating from the albums of Tasavallan Presidentti, Pekka Pohjola, Made In Sweden and two more.

The versions are pretty faithful to the originals (I believe you can better tell them by the clean production rather than the musical interpretation itself, but I admit I didn't make concentrated listening comparisons), so the most notable differences concern the vocals. This 12-track album is roughly half sung, half instrumental. The prog maestro Jukka Gustavson -- who also plays the organ on the first piece -- sings on the vocal tracks of Tasavallan Presidentti (originally sung by either Frank Robson or Eero Raittinen). Seemingly Gustavson's vocal credits are mistakenly marked also to the instrumental fusion piece 'Vapour Trails' (from Pekka Pohjola's Visitation, 1979). Ella Tepponen sings on two tracks originating from the album Where Do We Begin (1976) by Made In Sweden, where the vocalist was Tommy Körberg. For me the addition of female vocals is the most welcome fresh detail.

The compositions of Tasavallan Presidentti get the lion's share on the set list. My favourites from them would have been quite different, but generally this album functions very well as a coherent collection of the 70's prog/fusion of the artists in question. For the older generation who experienced that original prog era (or who have found it retrospectively decades ago like me), this project is surely filled with nostalgia, but this music itself is timeless, and this album may open new paths for the young prog-friendly generation to explore further. I'm hesitatingh between 3 and 4 stars; let's say it's 3½ rounded upwards.

P.S. Of the "two more" artists mentioned earlier: The Group was a mid/late-70's fusion group of seasoned prog/jazz musicians. 'Gado-Gado' from their sole album sounds very good and dynamic here. The final piece is 'Peaches En Regalia' originally from the Frank Zappa album Hot Rats (1969). No, Vesa Aaltonen didn't play on Zappa's albums; I suppose this choice refers to Pori Jazz 1982 where Aaltonen momentarily played with Zappa. [This is my educated guess regarding the CD label, sadly it's not easy to affirmate it by googling.]

Mappa Zappa EP was the follow-up to the LP of the same name (2018). Curated by IdiotBastard.com for release by Cordelia Records, both compilations cover Zappa material that has something nominally to do with geography. You can see a bit more context on the above orgs. respective websites, or check out my review of the aforementioned LP for further details. This EP certainly proves concentrated is [often] best.

This Mappa Zappa begins with an apparently extended version of the already-covered "Been to Kansas City in A Minor" as [already] performed by Fred Handl (this recording is nearly 3 minutes longer than their same submission to the LP). Now, if that 7-minute version was way too Blues for way too long to be all that enjoyable to me, how else am I to greet a nearly-10-minute version?... I believe this angry monologue is the same as from the first release. Low and slow, it starts with an acoustic piano solo. Still the saving graces to this track are the later solos, first via mallets, then a crunchy and apparently greatly improved guitar solo. I just don't recall enjoying the latter, at least, as much that first listen. Either way, the song itself is still quite meh to yours truly. Up next is the Zappa Early Renaissance Orchestra's more hurried, modernist take on the Over-Nite Sensation (1973) classic: "Montana Revisited". I'm really enjoying it! Perhaps comparable to some of the renditions by Dweezil's earlier Zappa Plays Zappa group. Their outright embrace of synths in particular, I will add, is extra fresh here. They use an interesting tone approaching the middle that sounded like early-70s Todd Rundgren. Lovely. This is followed by a not-so-extended guitar solo, played most 'Frankly'. I feel this version is an absolutely wonderful addition to Zappa's legacy; and it's not like they did anything way out there, either.

Up next is a very unique version of "Aybe Sea", from the wonderful Caballero Reynaldo. This is such a happy departure for me from the already-fun and -quirky Burnt Weeny Sandwich original (1970). The melody is entirely sung, group-style! Just some fun. And finally, starting off most reminiscent to me of Zoot Allures at large, "Bognor Regis" is most jammy, performed here by the only group not present on the previous LP (though I recognize them from other Cordelia releases), Jerry Outlaw and Friends. I think they kept with the general Zappa plot: plenty of interest herein, from delicious little trills on what I assume synth to the horn arrangement throughout. And then we get this absolutely searing guitar solo, made duet with an equally fiery sax. Fantastic stuff, and a helluva closer! These are true Zappaheads, as this was released later this same year for the first time in the Zappa catalog on The Hot Rats Sessions (2019).

True Rate: 3.75/5.00

— First review of this album —

Time for another Zappa tribute(!!!) released by Cordelia Records, and, from what I've surmised, so thankfully compiled and curated by the good people at IdiotBastard.com. This LP and their subsequent Mappa Zappa EP were apparent companion pieces to Amaretto Mick Zeuner's The Zappa Tour Atlas, an apparently remarkable and, to quote them directly, "most comprehensive listing [ever] of every concert date and venue". Semi-Zappa-Band-frontman and multi-instrumentalist Bobby Martin provides the Atlas's foreword. For me, this is the third Idiot Bastard release I've heard, following a smattering from 2004's Lemme Take You To The Beach (I didn't realize R. Stevie Moore covered "Cruising For Burgers" and that's just amazing) and their 2015 full-album cover Weasels Re-Ripped. Numerous bands and artists from those return for this geography-based compilation.

We're purportedly taken to Romania with our opener, "Transylvania Boogie" as performed by The Todd Grubbs Group (originally on Chunga's Revenge, 1970). And this is a markedly heavy rendition! This is a song that Frank would play frequently live until his last tour, and of course, if you know as I do, those '80s bands would go hard at times on this'n. What's brought to the table more prominently here is a more directly Metal approach to lead guitar. It's married with some fantastic, fresh drums and what sounds like a Hammond organ. To follow, originally on YCDTOSA 5 (1992) and later on Buffalo (2007), "Dead Girls of London" is covered by Gabba Zappa Hey!, with a distinctly Punk sound (I frankly don't remember this one by title). To say the least, I can do without. Unsurprisingly, I'm truly haunted and disturbed by the next [thank god], a clattering avant-garde rendition of the already-eerie "Wolf Harbor" by Evil Dick. The song was originally released on the not-much-earlier Dance Me This (2015). And no one can do this better, in my experience. Evil Dick rules. Fantastic.

Another well-known for its original live performance, "The Purple Lagoon" (orig. Zappa In New York, 1978) as covered by Hans Annellsson follows. Great, natural juxtaposition from "Wolf Harbor" in its avant nature, though switching then to a Synclavier-Zappa-inspired electronica (is this Midi?). If their name didn't inform and prepare you, Tante Tofu ('Aunt Tofu' auf Deutsch) have a very German delivery, offering an equally reverent Doo-Wop version of the certainly-more-famous title track "Tinsel Town Rebellion" (orig. 1981). Happily changing hands to not only an apparently live-recorded group, but also a sizeable group, at that, Bogus Pomp covers another live favorite, "Let's Move to Cleveland" (performed as early as '76, see FZ:OZ; orig. available via its solos on Guitar, 1988). Just a very nice, straight-ahead cover of a great song. Another I'm not quite familiar with (randomly Country-Western Zappa isn't exactly the side I'm most well-versed), "Poofter's Froth Wyoming Plans Ahead" as performed by Muffin Men next--and naturally featuring Mother Jimmy Carl Black(!)--was originally on Bongo Fury (1975), played live with Captain Beefheart, and the vocals here are well-befitted.

Another on the obscure side, though one I'd defend as Zappa Essential to the grave, next is "Phyniox" as performed most acoustically by String Trash. This is another more recent addition to the overall, readily available Zappa catalog, then-just-released in 2014, opening Joe's Camouflage. Frankly, what they do with the track is shockingly boring [Obviously check out the original]. Onto a definite essential, Action Zappa covers "Village of the Sun". All's fairly well-performed, yet these vocals are just... not ideal. Kinda yuck?... Sorry. Though significantly too soft for my tastes, they did manage to get a guitar tone quite resembling of Frank. Regardless, I'm a bit disappointed. A rare acoustic guitar strums along, met with folksy viol on Spannertate's "Cucamonga" (another from Bongo Fury). I like these vocals (even when they get a little... dissident haha)! Anything over that "Village" cover... Still in questionable territory if you're looking for my recommendation (although best of the mid-album 'meh's).

And a thankful turn to the dark and the electro, Fuchsprellen performs "Outrage at Valdez", a return to eerie tune, this time from his overtly Classical catalog (orig. The Yellow Shark, 1993). Highly minimal. Back into the rarer tracks, Fred Handl covers the seemingly-only-available-via-Imaginary-Diseases (2006) "Been to Kansas City in A Minor", starting off with a very aggressive monologue. We cool on down as the instruments come on in, chill and groovin'. This is the Blues, maybe you've heard. It's this purely American phenomenon that's really sweeping the nation /s. The one saving grace to me is the midsection mallets solo. This is followed by the crunchiest guitar solo you might ever done hear. Not bad, but one that's a little too boring-old-Blues for my taste.

Coming to the close, "D.C. Boogie", another title I'm actually unfamiliar with first glance, is performed most excellently by Guranfoe; a sorta soft, post-progressive thing, perhaps? Another rarity of rarities, this instrumental is also only available on Imaginary Diseases. I do recall that being one of the strongest posthumous Zappa releases I've heard (and I've heard most, to gloat, obviously). Coolest thang on the release since... track 6, "Let's Move to Cleveland". Yee... haw... One I'm frankly shocked to hear acoustic, made more folksy-old-timey plus a lil Latin influence, is "San Ber'dino" as performed by Caballero Reynaldo (orig. One Size Fits All, 1975). To me, this is quite fun. And its production is distinctly better than much on the album. Finally we have "What's New in Baltimore?", one of the most satisfying Zappa compositions out there to me, covered by Zappa Early Renaissance Orchestra. And they are being so true to the Frank Zappa Meets The Mothers Of Prevention original (1985). Delicious stuff. They embrace more synthesized sounds here. And likewise of great interest is the special feature of a much older Ike Willis(!). True indeed. Stick around for the surprise, and surprisingly fitting Yes lift from the ending of their song "The Fish" off Fragile! Color me happy.

And that's it! I would warrant this album overall is decent, certainly worth hearing by fans of Frank Zappa, with or without his Mothers. When you have various artists coming together, you're going to have some highlights, and you're going to have some skips.

Berlin School is that kosmische cousin of Krautrock that jettisoned the rock aspects of the scene and was the precursor of ambient electronic music unlike the rhythm focused Düsseldorf School scene that spawned Can, Cluster, Kratwerk and Neu! and would become the precursor to synthpop and techno. The style has remained popular throughout the decades with Tangerine Dream, Klaus Schulze and Manuel Gottsching serving as veritable gods in the genre.

It was sad to lose one of the pioneering legends, Mr Klaus Schulze in 2022 but while he may have joined the great Cosmic Jokers in the sky, it's quite a honor to find a release like this one emerging in the same year as a tribute to his legacy and the music he helped bring to fruition. HISPASÓNICOS: BERLIN SCHOOL was released in September 2022 a mere few months after Schulze's passing to the great kosmische party in the afterlife. This compilation provides the perfect celebratory mood lift that honors his musical contributions although i don't think this was actually intended for that purpose.

This massive album that features 15 tracks, each done by a different artist was the result of a Berlin School music contest that was held at the website hispasonic.com and is available on Bandcamp to be downloaded digitally and the best part about it is that it is totally free if you are too stingy to make a contribution. This collection of retro enthusiasm exceeds the 125 minute mark takes more than a few cues from the legends of the past and adds various modern interpretations of the classic Berlin School scene without losing all the magic that keeps it in its own little nook of the electronic music world.

Each track features the classic ambient elements combined with the squiggly sequenced runs of notes accompanied heavy use of mellotron and familiar tones and timbres based in spacey tripped out repetitive clusters of sound. An all instrumental album except for what sounds like synth-created angelic choir sounds projecting wordless vocalizations, HISPASÓNICOS: BERLIN SCHOOL unleashes the youthful creativity of the modern age while paying tribute to the past masters. The result is a surprisingly excellent album's worth of original Berlin School music interpreted by electronic musics from Spain.

Going into this i wasn't exactly thrilled to check out over two hours of Berlin School music but once i pushed play i actually sat through the entire thing in one go finding myself enthralled by the modern takes on a retro sound. The music on here is very much steeped in all the Berlin School elements that keep the genre well defined but liberally uses the building blocks to construct hitherto unheard musical edifices. The album's range shifts from the spaced out abstract trippiness of tracks like "Angular Momentum" and "Dark Matter" to more melodic numbers such as "Jane Apocalypse" which are more in the vein of Jean Michel-Jarre.

Overall i am blown away by the music on this one as there is not a single bad track on board and it was all done by students who were simply competing in an online contest. It is clear that the Berlin School branch of electronic music is in no way in danger of going extinct now that Klaus Schulze and Manuel Gottsching have left this Earthly plane and the fact that Tangerine Dream's days are numbered as well. The thing most striking about this one is the perfect balancing act of keeping it all traditional while adding new elements and ways of putting it all together. No matter what the intention of this one was, it turns out to be the ultimate tribute to the entire Berlin School scene just as Klaus Schulze checked out. Well worth checking out and as a free download you will definitely get your money's worth!

I can no longer recall how this album came to my attention, but I'm glad it did. This is a full-album multiple-artist cover of the great (truly) Avant-Rock album Weasels Ripped My Flesh. That album, released in 1970, following its sister-album Burnt Weeny Sandwich (also 1970), was the final recorded statement by the original lineup of The Mothers of Invention. In addition to Avant-garde stylings mixed with Rock (for a classic and popular example, see "My Guitar Wants to Kill Your Mama"), Weasels was a statement of early Jazz-Rock Fusion and even Free Jazz (see the hilariously named "The Eric Dolphy Memorial Barbecue").

Our first two tracks are performed by Spanner Jazz Punks, the opener, "Didja Get Any Onya?" having an immediately very interesting approach to the song. Unique is their utilization of the violin here, as a solo instrument. There are quirky group vocals, very jazzy elements (nearing minute 3, it swings hard, for instance). It is refreshing hearing this track I've heard many times before done in a unique and more modern way. To quote the original Mothers: "MOO-AHHH!" Interestingly enough, it was the spacy reed(?) solo in the latter half and other elements that reminded me here of Gong. And just as I said, Spanner Jazz Punks continue on, violin of course at the ready, with "Directly from My Heart To You". I can't say I'm anywhere remotely a fan of the Blues as Frank was, but with Sugarcane Harris' vocals and especially his Blues violin solo (Who's heard of such a thing?!), "Directly" is one of my favorite Zappa tracks, end of the day. The vocals in this cover are distant and weird, and... my mind is going there once again with Spanner (apparently the vocalist here)... he sounds like Daevid Allen (again, of Gong)! Like... you can't make this up, right? Then again, who knows? Perhaps another notable influence for them. There isn't a wild solo on this one and the overall accompaniment is just par-worthy to me, but there's some interesting ideas and effects that were used here.

Up next is "Prelude to the Afternoon of a Sexually Aroused Gas Mask" as performed by Inventionis Mater. Very minimal, this song starts off with arpeggiated acoustic guitar and a soft, distant clarinet. It's really quite beautiful, though minimal throughout. At most, it picks up and then comes right back down. Two vocalists then perform the ridiculousness to follow. Ya know, all the crazy sh*t Roy Estrada did originally. The homage deepens, as they thank the guest vocalists "for the voices inside the piano". We couldn't have a more rightly stark juxtaposition than in Gumbo Variation's rendition of another favorite of mine, the unspoken Conceptual Continuity of "Toads of the Short Forest". This is quite the cacophony! The lead guitar work is quite nice, performed against the loud, wall-to-wall booming from the rest. This ensemble blast dies down around minute 3. We seem to be back into spacy territory on this one, too. Really lovely track, but I was bummed it didn't feature the seemingly Proto-Metal insanity of the original's second half, a favorite Zappa moment, for sure.

First off, until I heard the next, "Get a Little" as performed by Jerry Outlaw and Friends (feat. Todd Grubbs, I had no idea what in the hell Motorhead was saying in the beginning. Oh me, oh my... As for the song, this could almost be a Zoot Allures-era rendition. It's booming and metallic (certainly modernized, in the very least). And then... Evil Dick does "The [aforementioned] Eric Dolphy Memorial Barbecue" and... this sh*t is weird!!!!! Very electronic, and done so in a way I feel Frank would have really been honored. Some of the underlying rhythms (like in minute 1) are almost trance-like. The keyboards play in stride with the mallets (whatever they are specifically). Then we have some... really wildly effected vocals and some... spacy farts? haha. I'm very entertained. What the original Mothers accomplished here was a certain feeling of unsettled, but here, this at times can be downright frightening. Well done.

An even less expected comparison was made in my mind when Fuchsprellen's version of "Dwarf Nebula Processional March & Dwarf Nebula" came on: Gentle Giant?! Around minute 1 it reveals to be more Zappa- brand maximalism than theirs, but the feeling is definitely present (which I love). Wait! Is that an actual sample of Frank's voice I just heard? They really brought a lot of special out of this composition. And there is a lot to take away from and hear out of this cover. Impressive end product, especially as your ears might latch onto the wild multi-performer soloing at one moment and then onto the underlying bluesy rhythm section the next. I really got brought back to reality on the straight playin' of "My Guitar Wants to Kill Your Mama", an interesting and unique rendition by Muffin Men, the first band (with two others) here I had heard of prior. Perhaps this is more inspired by the later bands' plays on the song or performances from alums such as Steve Vai. Hard to say. It's slowed and real cool. If I can say anything at all, I'm not sure I feel this version needed to exist, but, like the others, they did manage to pull interesting elements from the original.

Up next is The Zappatistas' performance of one of the greatest Zappa compositions ever, "Oh No". And right off the bat, totally unlike the original, as a solo and deeply reverberating guitar--performed by the great John Etheridge of Soft Machine Legacy(!!!)--plays on into oblivion. Piano enters in before minute 1 and the theme is continued on the guitar. I'm surprising myself by saying it, but I could go for more minimal Zappa covers like this. Like a stripped down Guitar Fusion (no wonder). Stripped down, that is, until 3 minutes, where percussion enters in and the piece lifts and quickens to a rhythm more discernibly "Oh No" than before. Man, though... I really could have gone for more of what they had there at the end. Either way... And wow!!! The vocals thereafter, on "Son of Orange County" (from Roxy and Elsewhere), are sung in a classical style over the slower ("original") "Orange County Lumber Truck"! A great song, and the version here by Zappa Early Renaissance Orchestra is lively and modern and exciting. I am soooo about this. The drums, I was excited to see, are performed by the excellent Prairie Prince (The Tubes, Journey, Todd Rundgren). Absolutely loved this one. Finally, Zappatika covers the NOISE of our title track, "Weasels Ripped My Flesh". And I honestly love what they chose to do here. Where there was very little to latch onto on the original, they add apparently found-sounds, for instance, to wonderful effect.

I am pleased to report Re-Ripped is a very well performed and fresh take on a wonderful album. I think they all did a great job in honoring the man, Frank Vincent Zappa, here. And I look forward to digging just a little bit (right now, actually) into some of the bands featured here.

True Rate: 3.75/5.00

Very glad I read up on this so I, too, could be enraged by this false advertising haha. Good God. They really were like, "Oh yeah, the excellent Allan Holdsworth, one of the greatest guitarists of all time, is on this album" and he straight up wasn't... Woof. Fortunately, here is a tribute to Mahavishnu Orchestra (and specifically to John McLaughlin) featuring, still, some of Holdsworth's (and McLaughlin's) peers. Released in 2005, the main band throughout features the impenetrable Vinnie Colaiuta on drums, and I can't think of a better person to also honor both Billy Cobham and Narada Michael Walden; a giant to fill the shoes of fellow giants. Vinnie's consistent bandmates on this effort are Jeff Richman, a notable fusion guitarist in his own right, bassist Kai Eckhardt (associated with McLaughlin, Cobham and Vital Information), and Mitchel Forman (associated with McLaughlin and numerous other Jazz greats, including a feature here, Mr. Mike Stern... and Wayne Shorter!). And from song to song there are some phenomenal features, some of the most notable and greatest guitarists of Jazz Fusion (and other Rock idioms, interestingly specifically from Jam bands), as well as Mahavishnu violinist Jerry Goodman on 4 of the 10 tracks. So exciting. Couldn't miss this one.

Our first track is the forever Fusion classic "Birds of Fire" with Steve Lukather... And from the start... this is, indeed, fire. Lukather is of course the guitarist of Toto, likely understating his outstanding ability and expertise on the instrument for those unaware. This track is, unsurprisingly, a refreshingly modern Guitar Fusion take on the original; blazing, beefy and excellent. Crazy good drum solo over the main underlying riff from Vinnie... yeesh... Followed by another low blaze from Forman on synth. Oh f*ck! Goodman's solo to start off "Can't Stand Your Funk"... What am I supposed to say?... This is a much groovier rendition (yes, slinky as hell haha), so therefore, being an excellent song anyways, super fresh! Even still, as to be expected, Goodman's second solo, if you wouldn't have known, straight up sounds like a guitar... Honestly though, Mike Stern, the guitar feature here, plays what I feel is frequently less than inspired...

A much more metal, well-rounded guitarist is up next on "Celestial Terrestrial Commuters", Dixie Dregs' Steve Morse (also of Kansas, Deep Purple and Prog supergroup Flying Colors). This is another funkier rendition compared to the original. The whole rhythm section (of course) is just... crazy haha. And also meeting my expectations, blazing soloing from Morse here. The second half is more of a blues thang, with laxed rhythm and widened organ. Super cool syncopated playing toward the end! Very nice! Super spacy on this version of "Meeting of the Spirits", this'n featuring Jimmy Herring, whom I know (yet don't quite know) from Southern-Fusion Jam giants Widespread Panic. He plays an impassioned solo here... like... wow... I must check out his solo stuff (and... whatever else!). Always great, as McLaughlin did originally on this one, when performers bring out the absolute potential of something that would be otherwise slow and merely 'feeling'. Another one where Vinnie, even in quietness, is just on fire. And then this Hammer-worthy, though super-effected solo from keyboardist Forman! Everyone is matching his energy perfectly during this section... My word...

"Jazz" is actually the first track that I was utterly unfamiliar with, released on the significantly later album Mahavishnu (1984), which originally featured our keyboardist here, Mr. Forman (worth a mention every time) alongside Cobham and the great Jonas Hellborg. This is more explictly a track to more prominently feature the main band member here, guitarist Jeff Richman. Great performances all 'round. Back into exceeding prominence with Frank Gambale on "Dawn". Super upbeat intro here, they get right down to business. And here we have Goodman's next feature (what an awesome opportunity to perform these tracks again afresh). And it's here I must say, excited to dig deeper into Gambale's material. I know very little still. He and Jerry are such a great match. And also here, another opportunity to the rhythm section to shine bright over something low, slow and sweet. Then we're in for the groove and of course more soloing on the backend (freakish soloing). How could I forget?! God, Mahavishnu was something so special.

Next we have "Lila's Dance" featuring latter-day Allman Brothers' Band and Gov't Mule's own Warren Haynes (our second predominantly Jam Band feature). Such a beautiful song, I always wish Visions of the Emerald Beyond didn't feel so unsung. Love it. I find this Goodman feature super interesting as for that album it was the equally untouchable Jean-Luc Ponty on violin originally [I believe this is one of 3 tracks with Goodman playing what were Ponty-features]. This track is... perfect for Haynes. Soulful, feeling and groovy. And yet another honor for him, I'm sure, to play alongside Vinnie and Jerry. I can't imagine it. Excellent performance, excellent soloing. One of the first tracks that feels super true to the original. "Faith" is a little less true, and yet just as great [if not significantly greater], a feature of guitarist David Fiuczynski, one of the youngest performers here, of Screaming Headless Torsos and Hasidic New Wave. I'll be rectifying my ignorance thereof as soon as possible, as this guy is incredible. I mean, this is what I think of when I think 'Guitar Fusion'. Contemporary to guys like Garsed and Helmerich. Excellent, excellent rendition. Everyone is bringing their A(+++) game. One of the many absolute must-hears here.

Coming to the close of the album, Greg Howe is ablaze on "Dance of Maya", and good Lord!!! He is matched with Goodman on his final feature of the album... Again, goodness gracious... These guys... One of the most prominent featurings of bassist Kai Eckhardt. Greg Howe is yet another of the now-renowned, younger players here. Fantastic stuff. To close things out, we have one of my favorite guitarists ever, John Abercombie on "Follow Your Heart", the second track I [thought I] didn't know before. It was originally released in 1970 off the excellent must-hear Jazz release Joe Farrell Quartet, also featuring Chick Corea, Dave Holland, and Jack DeJohnette! If you're a fan of Mahavishnu, and you somehow don't know Abercrombie, highly recommend his debut Timeless, featuring Jan Hammer(!) and DeJohnette (1975), the first Gateway album (1976), Crosswinds (Billy Cobham, 1974), and Lookout Farm (Dave Liebman, 1974) for some of the greatest (earlier) Fusion albums ever. Anyways, a grooving, feeling song to end things out. Overall, a phenomenal tribute. I can't recommend it enough.

A rare, but more legitimate round-up from my True Rate of 4.5/5.0. [I believe I calculated it as ~4.65.]