PENDRAGON

Pendragon is an English neo-prog rock band that was established in 1978 in Stroud, Gloucestershire, England as Zeus Pendragon by guitarist/vocalist Nick Barrett. The word "Zeus" was removed before the band began recording, as the members decided it was too long to look good on a T-shirt. There were some personnel changes in the early days, but since 1986 the line up has remained relatively stable with only the drummer changing several times since then. The band is still active today remaining as one of the former bands of the neo-prog style and one of the most important too.

"Utrecht?The Final Frontier" is the second or the third live album of Pendragon and was released in 1995. It was their second live album if we don't consider "The Very Very Bootleg Live In Lille France 1992" as their second live album. In reality and despite its name, "The Very Very Bootleg Live In Lille France 1992" isn't in fact truly a bootleg but an official fan club release. The recordings were taken from the band's live performance in Lille, France in 1992. As the recordings were never been remixed or dubbed, we probably can consider it a quasi official release. It's something between both.

"Utrecht?The Final Frontier" was recorded and released when the band made their "The Window Of Life" live tour. It became as the most extensive live tour that Pendragon ever made until that date. They played on the prestigious Muziekcentrum Vredenburgh in Utrecht, Holland in 30 April 1994. The recordings for this live album were taken from this live show. Pendragon played together with their compatriots Jadis and the German band Everon. Which is more interesting is that ten years before they performed in the same place with Marillion. However, ten years after Pendragon was the support band of Marillion's "Misplaced Childhood" tour, but now they returned to Vredenburgh as headliners.

Beyond this live concert in Utrecht, Holland in April, the "The Window Of Life" tour comprised other places. So, in the same month they played in Lille, Paris, Besancon, Lyon, Grenoble, Bordeaux and Marseille, all in France and Barcelona in Spain. On May they played live in Andernach, Stuttgart, Nordhausen, Hanover, Hamburg and Wiesbaden, all in Germany, Milan in Italy, Zabrze and Warsaw in Poland and Plymouth, Winchester, Rotherham and London, all in UK.

The line up on "Utrecht?The Final Frontier" is their classical line up. So, we have on "Utrecht?The Final Frontier" the performance of Nick Barrett (vocals and guitars), Clive Nolan (backing vocals and keyboards), Peter Gee (backing vocals, bass guitar, Taurus bass pedals, Olw Korg keyboard and guitar) and Fudge Smith (drums and percussion).

"Utrecht?The Final Frontier" has seven tracks. The first track "Kowtow" is the title track song that was originally released on their second studio album "Kowtow" in 1988. The second track "Breaking The Spell" was originally released on their fourth studio album "The Window Of Life" in 1993. The third track "The Mask" was also originally released on "Kowtow". The fourth track "The Last Man On Earth" was also originally released on "The Window Of Life". The fifth track "Am I Really Losing You ?" was also originally released on "The Window Of Life". The sixth track "The Voyager" was originally released on their third studio album "The World" in 1991. The seventh and last track "Nostradamus (Stargazing)" was also originally released on "The Window Of Life".

It wasn't a coincidence that Nick Barrett says at the beginning of show: "It's great to be back in Holland". The band has a large and enthusiastic fan base in Holland. In a sold out house and if we compared it to the live recordings that have been released to date, "Utrecht...The Final Frontier" can be reconciled in terms of sound, pressure and a real energy.

The album opens with a very animated version of "Kowtow" that almost sounds the same as the studio version. The live version of "Breaking The Spell" is very good. Especially the guitar sound is better compared to the studio version. "The Mask" is a very common Pendragon's song with a very good chorus. This is a great version. "The Last Man On Earth" has always been great and this live version is even better. The instrumental part proves why this is a great live version. "Am I Really Losing You?" is close to the album's version. "The Voyager" has always been a great song and this live version is played very aggressive without losing its impact. "Nostradamus" (without the ballad intro), was played as an encore and this version is better than the album's version. It's very enthusiastic and a very rocky version.

Conclusion: Comparing "Utrecht?The Final Frontier" with "9:15 Live", we can say that "Utrecht?The Final Frontier" is, without any doubt, a better album than "9:15 Live" is. In general, this is an album with better songs and the band at that time is much better, confident and more mature when playing live. However, there will be better Pendragon's live albums very soon. The only problem of this live album is that it was released in a very short format. Unfortunately, it represents only one part of all the live set. Nevertheless, "Utrecht?The Final Frontier" is a great live album with some great live versions of the original studio versions. We may say this was a night to remember for all who were present.

Prog is my Ferrari. Jem Godfrey (Frost*)

However, don't be afraid; the melodic, lyrical qualities that make Pendragon so special are still very much present. You can take it for granted that this is a guarantee that extends beyond the front door. The robust nature of the music comes through in three aspects. For instance, Barrett's voice has an appealing rawness at times, and that same rough-edged sound can be heard in his guitar chords, though not constantly. It's not that he plays with some standard distortion; his stringed friend sounds raspy, impressively wide, open, gritty, and sparkling all at once. The third source of power (and perhaps the most important) is the then-new drummer, Scott Higham. With his decisive playing style, he's practically the Mike Portnoy of neo-prog. What a driving force he is.

The album contains only five songs, each divided into seven tracks. Indigo opens the album, and Pendragon immediately silences anyone who has ever accused the band of staying in their comfort zone. The first few minutes unfold as described above. Then, Barrett delivers a gem of a guitar solo. Experts unanimously agree that this is the band at its best. Eraserhead, which follows, is by far the album's roughest track. The lyrics and the angry way of singing don't lie. The epic Comatose reveals a distinctly authentic Pendragon. The three tracks of this piece are atmospheric and varied. Then comes the upbeat The Freak Show with a catchy rhythm and Barrett unleashing one of his most infectious guitar themes ever. That's great, especially since the album closes with the subdued It's Only Me. A beautiful guitar solo at the end and a smile on your face leave you with a good feeling.

Everything about "Pure" is spot-on.

Orginally posted on www.progenrock.com

"Concerto Maximo" is a live album of Pendragon and that was released in 2009. It was released based on a live show recorded at Theater Slaski IM. Stanislawa Wyspianskiego, in Katowice in Poland, when the band made their "Pure Live Tour" in 13 October 2008. The "The Pure Live Tour" comprised many other places. So, in September they made two concerts on Riff's UK Pure Launch Weekender. In October, beyond this live concert in Katowice in Poland they played live in Verviers in Belgium, Zoetermeer in Holland, Bielefeld, Reichenbach, Munich, Aschafenburg and Oberhausen all in Germany, Poznan, Gdansk, Bydogoscz, Warsaw, Krakow and Biala all in Poland, Prague in Czech Republic, Milan and Rome in Italy, Lyon, Paris, Bordeaux and Strasbourg all in France, Pratteln in Switzerland, Barcelona and Madrid in Spain and Lisbon in Portugal. In November they played three more live concerts in UK in Wath, Bilston and London.

The line up on "Concerto Maximo" is Nick Barrett (vocals and guitars), Clive Nolan (backing vocals and keyboards), Peter Gee (backing vocals, guitar, bass and bass pedals) and Scott Higham (backing vocals and drums). As you can see, this isn't more the classic line up of the group. Scott Higham substituted Fudge Smith on the drums. So, "Concerto Maximo" became the first live album of the band with the presence of Scott Higham. The Scott Higham style is more close to what is usually used by the heavy metal bands. The final result of all this is that on "Concerto Maximo" the sound of Pendragon became definitely more dynamic, powerful, modern and probably more progressive than ever.

"Concerto Maximo" has seventeen tracks. The first track "The Walls Of Babylon" was released on "The Window Of Life". The second track "A Man Of Nomadic Traits" was released on "Not Of This World". The third track "The Wishing Well" was released on "Believe". The fourth track "Eraserhead" was released on "Pure". The fifth track "Total Recall" was released on "Kowtow". The sixth track "Nostradamus (Stargazing)" was released on "The Window Of Life". The seventh track "Learning Curve" was released on "Believe". The eighth track "Breaking The Spell" was released on "The Window Of Life". The ninth track "Sister Bluebird" was released on "Fallen Dreams And Angels", a leftover from "The Window Of Life" sessions. The tenth track "The Shadow" was released on "The Masquerade Overture". The eleventh track "The Freak Show" was released on "Pure". The twelfth track "The Voyager" was released on "The World". The thirteenth track "It's Only Me" was released on "Pure". The fourteenth track "Masters Of Illusion" was released on "The Masquerade Overture". The fifteenth track "The King Of The Castle" was released on "The Masquerade Overture" as a bonus track named "The King Of The Castle (The Shadow Part 2)". The sixteenth track "And We'll Go Hunting Deer" was released on "The World". The seventeenth track "Queen Of Hearts" was released on "The World".

The consistently same structure of the songs, quiet beginning, slow build-up of tension and bombastic finale, may disturb the neutral observer, but certainly not the fans that have been loyal to Pendragon for so many years. And the audience in the Wyspianskiego Theater is correspondingly enthusiastic, in a way you don't see frequently. There's clapping, bobbing and singing along, which is a joy to all their fans. The set list offers a good overview of Pendragon's entire career. "The Walls Of Babylon" is a great way to start the concert as the audience is clearly engaged right from the start. Barrett and Nolan's synchronous riffs at the beginning start the song with a flourish and the chorus is irresistible. The lovely "Man Of Nomadic Traits" with its haunting melody has always been a favourite of mine and this live version is no different. Barrett's vocals and guitar picking are very good and Higham absolutely shines on drums. The dynamic "The Wishing Well" is an epic piece that combines the best that Pendragon has to offer. From heavy to pastoral atmospheres this song has it all. "Eraserhead" sees the band firing with all cylinders. This time its Nolan's turn to shine and Higham's use of cymbals is very nice. Other highlights include "Sister Bluebird", "Breaking The Spell", "We'll Go Hunting Deer" and a masterful rendition of "Queen Of Hearts", which is a fine way to end this great concert.

Conclusion: Finally Pendragon did it. Finally they made a true live masterpiece. Forget all about you heard about "9:15 Live", "Utrecht?The Final Frontier" and "Live In Krakow 1996". In spite of "9:15 Live" is really a good live album and "Utrecht?The Final Frontier" and "Live In Krakow 1996" are excellent live albums, "Concerto Maximo" is another thing. The band practically revisited their entire musical career with songs from almost all their studio albums. Besides, we have here a true live album with a very extensive concert. Finally, the band played live with energy and dynamism that we had never heard before. Sincerely, I'm firmly convinced that the presence of their new drummer makes all the difference. If Pendragon keeps in this high level, the older better, we have band for many more years. "Concerto Maximo" is a great Pendragon's concert full services for all fans and, yes, somehow the statement of a likeable band.

Prog is my Ferrari. Jem Godfrey (Frost*)

Similarly structured to "Believe," PURE features several shorter tracks, a few longer and a multi-suite midsection that showcases the band's new found freedom in diversifying its explorations however PURE delves even further into the realms of progressive metal with more frequent excursions into raucous guitar riffing and heavy angsty tempo build ups. Laced with the same passional vocal performances of Nick Barrett and the band's classic neo-prog arpeggiated guitar majesty, PENDRAGON jettisoned none of classic trademarks but rather simply turned their straw house into one of more durable bricks as if the band suddenly merged with Porcupine Tree as the metal is more in line with it's chug heavy space prog than anything else.

"Indigo" starts off confidently in an upbeat mode as the album deftly balances the atmospheric keyboard swirlies of neo-prog with psychedelic guitar lead before bursting into a melodic rock explosiveness that PENDRAGON tames into a melodic circus act. Despite the heavy musical backdrop, Barrett's vocals remain as tender and controlled as ever without ever jumping into any sort of metal vocal style. The near 15-minute track sets the tone for the entire album by not only showcasing a greater expansiveness into beefier rock performances but also a newfound creative touch in keyboard dexterity and sound effects without sacrificing the fundamental neo-prog touches that band had made its own. While "Believe" was only an occasional metal dabbler, PURE proves to incorporate a more aggressive guitar heft into almost every track with the following 9-minute "Eraserhead" following suit with the now established rotisserie effect of proggy metal, slowed down space rock and neo-prog underpinnings.

The three part "Comatose" which collectively adds up to about 17 minutes of the album's 53 minute run features some of the most dynamic and dramatic moments starting with a retro PENDRAGON neo-prog sound of piano led vocal narrations with heavy synthesized atmospheres but proves itself a shapeshifter of varying musical motifs that slowly ratchet up the tension in suitable chord progressions, keyboard programming dynamics and thundering heavy metal uproar. Higham's drum contributions are notable as it propels the more relaxed approach of yore into a more energetic rock proficiency with clever drum rolls and percussive ingenuity. Likewise these three tracks flow luxuriantly through various creative passages that allow all kinds of art rock possibilities to flutter in and out of the scene with the most outlandish resulting at the end of "I - View From The Seashore" which ends with a classical musical addition that would make Mozart proud.

"The Freak Show" follows the suite with another round of grungy metal heft accompanied by electric atmospheres and Pink Floydian space rock techniques cementing PURE as the heaviest overall album experience PENDRAGON had engaged in up to this point. The closing track "It's Only Me'" is really the only track that seems a bit too saccharine for its own good with a guest harmonica performance and the least heavy track of the album. It feels a bit out of place amidst the ballsier tunes that precede but demonstrating that PENDRAGON has lost none of its melancholic balladry in the midst of turning up all the amps to full deciblage. While many simply write off the period from "Believe" to "Passion" as a bad turn for the band, if you accept these albums on their own terms they are cleverly crafted quite brilliantly actually with PURE being my favorite of the lot. While many are adverse to change i relish in it and find this unusual new rendition of PENDRAGON to be quite satisfying.

Pendragon is a British progressive rock band. The band was founded in 1978 as Zeus Pendragon. The name "Zeus" was dropped before the band started recording, as the members decided it was too long to look good on a T-shirt. The style of the band is closest to Genesis and Marillion (Fish time period). Although Pendragon's name recognition is much lower than those two bands, it's a very big name within the neo-prog genre. Pendragon is one of the founder bands on the neo-prog genre with their compatriots Marillion, IQ, Pallas, Galahad, Twelfth Night, Solstice and Quasar. They became as one of the best and most important neo-prog bands. Pendragon is a band that still exists even today.

"Live In Krakow 1996" is the fourth live album of Pendragon and was released in 1997. It was released from a live show recorded live in Krakow, Poland, when the band made their "The Masquerade Overture Live Tour" in 1996. This live tour even took the band to America which wasn't very usual. This live album has a lot of "The Masquerade Overture" tracks and even played live it's difficult to find great differences with the original album's studio versions. Like some other neo-prog bands like Arena or IQ, Pendragon doesn't sound very different on stage than on studio. However, it's always pleasant to hear and see Nick Barrett and his band with their very emotional and professional live style of playing.

The production and the sound are very good and professional what is usual on all their works with the hand of Karl Groom. This live show also appeared on their video "Live?At Last" also released in 1997. It appears that video was recorded and filmed at a secret concert at Studio Leg in Krakow, Poland, on the band's "The Masquerade Overture Live Tour" in 1996, in front of a TV audience. Still, it's the same recording of the show on the live CD "Live In Krakow 1996".

The line up on "Live In Krakow 1996" is their classic line up. So, we have Nick Barrett (vocals and guitars), Clive Nolan (backing vocals and keyboards), Peter Gee (backing vocals, bass guitar and keyboards) and Fudge Smith (drums).

"Live In Krakov 1996" has eight tracks. The first track "As Good As Gold", the second track "Paintbox" and the third track "Guardian Of My Soul" are three tracks that were originally released on their fifth studio album "The Masquerade Overture" in 1996. The fourth track "Back In The Spotlight" was originally released on their third studio album "The World" in 1991. The fifth track "The Shadow" was also originally released on "The Masquerade Overture". The sixth track "Leviathan" was originally released on their debut studio album "The Jewel" in 1985. The seventh track "Masters Of Illusion" was also originally released on "The Masquerade Overture". The eighth and last track "The Last Waltz" was originally released on "The World" named "Queen Of Hearts". "Queen Of Hearts" is a song divided into three parts "Queen Of Hearts", "?A Man Could Die Out Here?" and "The Last Waltz", which is the part played on this live album.

Since the previously released "The Masquerade Overture", which logically also contains the majority of the songs on this recording, isn't only tailored to the guitar, there are also a few fast keyboard solos by Clive Nolan for a change, which suits the songs quite well. So, the band uses the same procedure as happens usually with Pendragon that also applies in other respects, which is the highly melodic neo-prog which is presented professionally and routinely. So, there's nothing here to complain about in terms of quality, as happens with their compatriots IQ, Pallas and Galahad.

About the live performance, "As Good As Gold" and "Paintbox" are played in a very easy way. On these tracks you can hear that Pendragon has also developed into one of the best live bands in the progressive rock scene nowadays. "Guardian Of My Soul" is a very good live version with very good backing vocals and some extended guitar and keyboard parts. It's probably better than its studio version. "Back In The Spotlight" is a very nice version with a great bass line. "The Shadow" is a good common live version of the song. "Leviathan" is a great live version, one of the best you can hear here. "Masters Of Illusion" is played with even more power than on the studio version because they left off the intro part. The band extended the last minutes instead and it works very well, really. This is a great song in the way they played it live. They end the show in a great way with "The Last Waltz", the third part of "Queen Of Hearts".

Conclusion: On "Live In Krakow 1996" all the songs of "The Masquerade Overture" are present, except its overture song, the title track, and the short track on the album "The Pursuit Of Excellence". Thus, practically all its magical moments are here. Besides that, the band included some other tracks that belong to two of their studio albums that were released at the time, "The Jewel" and "The World". Unfortunately, none of the tracks of "The Window Of Life" were included. Anyway, "Live In Krakow 1996" is a great live album with a great live performance. It's better than "9:15 Live" and slightly better than "Utrecht?The Final Frontier". With this live album, we see a band improving and progressing, which makes of Pendragon one of the leaders in the prog rock music and that can get better as they are getting older.

Prog is my Ferrari. Jem Godfrey (Frost*)

Pendragon is an English progressive rock band that was established in 1978 in Stroud, Gloucestershire as "Zeus Pendragon" by guitarist Nick Barrett. The name "Zeus" was dropped before the band started recording. Their music is characterised by Barrett's virtuoso guitar playing and his highly emotional, if unique, vocal performances. There were a few personnel changes in the early days of Pendragon, but since 1986 the line up has remained relatively stable.

"9:15 Live" is the debut live album of Pendragon and that was released in 1986. It was recorded live at the Marquee in London on 24, 25 and 26 July of 1986. After a full album, their debut studio album "The Jewel" released in 1985 and one mini-album, their debut EP "Fly High Fall Far" released in 1984, two of the founder members of the band were replaced. The keyboardist Rick Carter by the well know keyboardist Clive Nolan and drummer Nigel Harris by the drummer Fudge Smith. This would be the only change of the band's members on the group for a long time, for about twenty years. That last since this live album until their eighth studio album "Pure" released in 2008, where Fudge Smith was substituted by their new drummer Scott Higham. Higham also participated on their ninth studio album "Passion" released in 2011.

So, the line up on "9:15 Live" is Nick Barrett (vocals, Les Paul Custom and Ibanez Roadstar II Guitars, Mesa Boogie Amplification, Ibanez Harmoniser and Boss Effects Pedals), Clive Nolan (Korg DW 800, Roland JX 8P, Roland Juno 106, Korg Polysix Synthesizers, Ensonic Mirage Sampling Keyboard, TX7 Module, KX5 Portable Controllerr and Akai MT 30 Midi Patch Bay), Peter Gee (Fender Jazz bass, Shergold Custom Twin Neck Guitar, Fender Stratocaster, Trace Elliott and Marshall Amplification, Moog Taurus II, Bass Pedals and Boss Effects Pedals) and Fudge Smith (Aria Drums, Paiste and Ziljian Cymbals, Simmons SDS8 Electronic Drums and Assorted Percussion).

"9:15 Live" has eight tracks plus two bonus tracks. The first track "Victims Of Life", the second track "Higher Circles", the third track "Circus" and the fourth track "Leviathan" are four songs that were originally released on their debut studio album "The Jewel". The fifth track "Red Shoes" was a song originally released on their second EP "Red Shoes" released in 1987. The sixth track "Alaska" and the seventh track "The Black Knight" are two songs that were also originally released on their debut studio album "The Jewel". The eighth track "Please" is a left over song from their earlier studio recordings. And from what I know it never was released on any of the studio albums of the band. The two bonus tracks included on "9:15 Live" aren't actually two live tracks but two studio tracks. So, the ninth track "Dark Summer's Day" and the tenth and last track "Excalibur" are two songs that were originally released on their debut EP "Fly High Fall Far". "Dark Summer's Day" and "Excalibur" are the two only songs released on the side two of that EP.

The usual Pendragon fare is offered on "9:15 Live". I'm talking about solemn rock songs that are very melodic but mostly not too overly complex rock songs. Another trademark of the band is the rather thin voice of Nick Barrett, which highlights during "Alaska" and "The Black Knight" that are quite convincing. Live, the guitars are a bit more dominant on their sound than you might be used to from Pendragon. Clive Nolan contributes with pleasant keyboard sounds too.

About the tracks on "9:15 Live" the quality that is offered increases more and more all over it. After the instrumental beginning of "Victims Of Life", you have "Higher Circles". Musically it's nice and beautiful with anthemic keys and the sing along refrain by Nick Barrett. "Circus" is a nice track, but that doesn't even offer anything exciting. "Leviathan" is better, especially because of the quite aggressive guitar work in the usual Pendragon's standards. "Red Shoes" follows a genuine rock'n'roll that somehow seems out of place. But, the live versions of "Alaska" and "The Black Knight" are really great. In addition to a certain complexity in the arrangements, good keys and guitar work, there's a convincing singing by Nick Barrett. As an encore there's an instrumental called "Please" that knows how to please with a beautiful, calm melodic line. About the two studio bonus tracks, the poppy "Dark Summer's Day" isn't really great mainly because of the bad production and Barrett's underground singing. "Excalibur" is a very nice instrumental piece with all sorts of genre typical ingredients like anthemic keys and marching rhythm drums. Everything is arranged very tastefully here.

Conclusion: "9:15 Live" is a nice live album that shows what a great band can be at the stage. After intensive touring as a support act for Marillion and their close connotations with that band, with this live album Pendragon shows their own foot print. This live album was a gift for all Pendragon's fans and gave a good view about Pendragon's live capabilities at that time. "9:15 Live" also shows that the new band's members fit very well in Pendragon's music. It also shows classic Pendragon's songs such as "The Black Night", "Alaska" and "Leviathan". However, "9:15 Live" can't be considered an essential album in the career of the band. Despite the presence of Clive Nolan have added something new to "The Jewel" songs, I don't think that the final result can be so different that it deserves to be rated with 4 stars.

Prog is my Ferrari. Jem Godfrey (Frost*)

Pendragon was formed in the progressive rock revival of the 80's with other British prog bands such as Marillion, IQ, Pallas, Galahad, Twelfth Night and Solstice. All of them formed what would be called the neo-prog style. Like their peers, soon and often, they appeared as support acts of major prog bands. Pendragon released their first original work the EP "Fly High Fall Far" in 1984. In 1985 they released their debut studio album "The Jewel" and in 1987 they released their second EP "Red Shoes". The band pursued a more commercial direction and released their second studio album "Kowtow" in 1988. In 1991 Pendragon released their third studio album "The World" and the third EP "Saved By You" returning to the prog style. Next, they release three studio albums, "The Window Of Life", "The Masquerade Overture" and "Not Of This World" in 1993, 1996 and 2001, respectively, and three EP's, "Nostradamus", "Fallen Dreams And Angels" and "As Good As Gold" in 1993, 1994 and 1996, respectively too. From this point, the band has improved and despite they were a bit obscure in their home country, they had a significant following in Europe, particularly in Poland.

"The History 1984-2000" is a compilation album of Pendragon and that was released in 2000. "The History 1984- 2000" has ten tracks. The first track "The Walls Of Babylon" was originally recorded on "The Window Of Life". It starts with a very bombastic organ sound before the very typical Barrett's guitar sound. This is a great song with great chorus and a great guitar work that opens "The Window Of Life", and this compilation too, in a strong good way. The second track "The Shadow" was originally recorded on "The Masquerade Overture". It's a relaxing song, almost a ballad with nice sensitive lyrics. This is calm and beautiful, with some nice vocals and beautiful keyboard and guitar works. The third track "Total Recall" was originally recorded on "Kowtow". It's a lengthy progressive emotional track with a good guitar work and some beautiful piano work added by Clive Nolan. I like very much of this song that represents one of the best progressive moments on that album. The fourth track "The Voyager" was originally recorded on "The World". It's a kind of an epic ballad with great keyboards and beautiful acoustic guitar work that could create a harmonic and engaging colourful pallet of sounds. The fifth track "The Black Night" was originally recorded on "The Jewel". It's a lengthy track surprisingly full of musical changes all over the song. This is an excellent track that gives perfectly well the glimpses of what would be the later Pendragon's music style. The sixth track "And We'll Go Hunting Deer" was originally recorded on "The World". It's a great relaxing song, a real lovely and gentle piece that opens with a relaxing atmosphere mood with some very nice piano passages and a beautiful guitar driven solo in the end. The seventh track "Am I Really Loosing You?" was originally recorded on "The Window Of Life". This is a soft smooth ballad with a nice, emotional and repetitive guitar solo. It's emotional and poignant and where the final guitar break is extremely melodic and catchy. The eighth track "The King Of The Castle" was never originally released on any of their studio albums. However, there are two versions of the song on two studio albums from them as two bonus tracks. "The King Of The Castle (The Shadow Part 2)" appears on "The Masquerade Overture" and an acoustic version appears on "Not Of This World". It's the acoustic version that appears on this compilation album. It's a nice track and a great addition to this compilation. The ninth track "Paintbox" was originally recorded on "The Masquerade Overture". It's an excellent track with a nice musical atmosphere, great melodies and a memorable chorus. It has a good keyboard work and a superb guitar playing by Nick Barrett. This is a great symphonic track. The tenth track is very special, indeed. It corresponds to a video of "The Last Waltz" which was originally recorded on "The World". It's the third part of the piece "Queen Of Hearts". This piece is the first attempt of Pendragon to make an epic progressive track. It's a pleasure to hear this track so beautiful and great. It's a brilliant song that alternates between gentle musical passages and a very powerful guitar work. There are plenty of great melodic moments scattered throughout the entire piece and where "The Last Waltz" is only a part.

Conclusion: "The History 1984-2000" is an excellent compilation album of Pendragon and is well representative of the band, in those times, with songs from their first five studio albums. This is a lengthy compilation and the inclusion of the two acoustic tracks "The King Of The Castle" and "Paintbox", which have been recorded solely for this compilation and its video section with "The Last Waltz", make of it an even more interesting release. The avid fan might want it for these bonuses, the collector will want to add it to his collection anyway, but "The History 1984-2000" is more than this. It's a great introduction to the beginning of the career of Pendragon. Therefore, it's highly recommended for all who are yet to purchase a release by this great progressive rock band. However, if aren't already a connoisseur of the band's work, especially in this phase, my recommendation is that you get one of their studio albums in those times, instead of this compilation, preferably "The Masquerade Overture", which is, probably, their best work until the end of the 90's.

Prog is my Ferrari. Jem Godfrey (Frost*)

Pendragon was formed in 1976, in the small town of Stroud, Gloucestshire, England, by the young enthusiast Nick Barrett and some schoolmates. Initially the band's name was Zeus Pendragon, which would be shortened two years later. The band struggled hard to stand out among hundreds of other bands that formed almost daily in the British Isles. A big force came when the group was invited by another big name, Marillion. The two bands got along so well that Marillion invited Pendragon to open their shows at the London's prestigious Marquee Club. With Marillion's concerts attracting a large number of many new fans, the group began to establish their own identity and audience. Due to that, Pendragon became as one of the biggest names in the neo-prog sub- genre and made a very impressive musical career.

"Love Over Fear" is the eleventh studio album of Pendragon and was released in 2020. The pattern of the last two few Pendragon's albums have been an alternation between an experimental album followed by an album where all the new elements crystallise, and the band reaches a new plateau. But, with this new album, Pendragon breaks the pattern, and is instead a dramatic shift in mood, leaving behind the raw anger of "Pure" and the resigned darkness of "Men Who Climb Mountains". So, this is a true unexpected treat to hear the familiar Pendragon's elements in an uplifting context.

The line up on the album is Nick Barrett (vocals, guitars, Roland V-Piano, Nord Stage 3 piano, mandolin and keyboard programming), Clive Nolan (keyboards), Peter Gee (bass guitar) and Jan-Vincent Velazco (drums and percussion). The album had also the participation of Zoe Devenish (backing vocals and violin) and Julian Baker (saxophone).

"Love Over Fear" has two editions, the standard edition and the limited edition. The standard edition with one CD or two LP's has ten tracks plus two bonus tracks. The limited edition, besides the CD's of the standard edition, has two more CD's, an acoustic CD and an instrumental CD, with the same tracks. My review will be about the standard edition.

So, as I mentioned before, the standard version of "Love Over Fear" has ten tracks. The album opens with the power of "Everything", an in your face a blast of keyboards, guitar, bass and drums. It starts off with a fast beat and a heavily influenced 70's organ, but soon the song moves into its own more familiar territory. "Starfish And The Moon" is a nice captivating song where the focus is on Barrett's vocal performance. This is well combined with the piano and the guitar melodies, in addition to a string support. Everything makes of this a work of extreme smoothness and beauty. "Truth And Lies" is a classic, an intelligently constructed and powerful symphonic track with a compelling guitar solo by Nick. The rhythm section of Gee and Velazco provides the foundations and the Nolan's elegant keyboards the added layers of class. "360 Degrees" is a nice bright and breezy track that sees Pendragon goes with the folk. It's a track full of joy and bonhomie, a pleasant surprise extremely fun and with very high spirits. "Soul And The Sea" has a great atmosphere showcasing the band's talents where the strings and Nolan's keyboards combine effortlessly before the track breaks open with an uplifting guitar riff and a dynamic rhythm section to deliver grandeur and splendour. "Eternal Light" is a great track where once again the band have created a wonderful journey composed of epic components that combine together to deliver something quite wondrous. The inspiring chorus is divine and transcendent living up to the name. "Water" is an insouciant and a laid back track that gradually is building up as a piece with a slightly darker atmosphere, as shown so far. It has its main attraction and another excellent guitar solo. "Whirlwind" is a wistful, contemplative and nostalgic track. It's another piece dedicated to the piano and certainly another surprise for the listener. It has some chords with great influence of jazz, especially due to an excellent saxophone work. "Who Really Are We?" has a little bit of everything the band does. It's the only moment on the album that we can say is a nod to their most recent heavy albums. A song that epitomises what a truly dynamic progressive rock track should be all about. "Afraid Of Everything" closes the album in a thoughtful and slightly melancholic mood with an achingly beautiful anthemic repeated theme. It finishes with a delightful, thought provoking instrumental section. This is an extremely beautiful and emotional ending.

Conclusion: "Love Over Fear" is great Pendragon's work. Not only are there no fillers among the ten tracks, but each song succeeds confidently and supports the flow of the whole. The diversity in songwriting keeps the listening experience fresh. While we can see references of previous albums it's also full of new and pleasant surprises, being an album where it's difficult not to get carried away by the positive energy of both in its themes and its tones. Verses, choruses and instrumentals are all rich in melodies. The instrumentation is wonderful and diverse, in addition to having a varied and well-structured dynamic. This is, without any doubt, one of the highest points in the career of one of the biggest bands in the neo-prog scene. I find it hard not to please any fan of the band. This is an album not to be missed.

Prog is my Ferrari. Jem Godfrey (Frost*)

3 Dark Summer's Day with a syrupy atmosphere, bass, keyboards which imprint the sound while the guitar arrives, flowing drops of water overflowing from a waterfall. Final guitar solo on bluesy rather than progressive notes, the origin ultimately 4 Excalibur with a Marillionian, muscular start, which imposes a fat sound... that of the 80s of neo prog; finished the 70s with the extended intros, here it's more nervous to help set the mood more quickly; yes the trauma of the punk wave had passed by; brief 2 minutes of grandiloquent intro and the military drums emerge, the synth gives a bucolic air while Nick's spleen guitar vibrates deeply, beauty on a melancholic base, the one that makes aching hearts capsize; a magnificent instrumental which already shows that the sound is well established with the solo which rises, orgasmic; yes there is often a link with enjoyment in listening to very beautiful music, and there we get right into it.

The Rest of Pendragon hasn't had an update since it originally came out in the early 1990s - when it was one of the first releases on Toff Records, the band's own label - and more recently, the Fly High, Fall Far tracks have found a new home as bonus material on the latest rerelease of The Jewel. Thus, rather than simply remaster and rerelease the compilation (selling the same four tracks to fans twice in rapid succession), the band have reconfigured the collection, removing the Fly High, Fall Far tracks but substantially expanding it by tacking on their two major EP releases of the 1990s, Fallen Dreams and Angels (clue's in the title!) and As Good as Gold.

None of this material qualifies as what I'd call top-tier Pendragon goodies, but they're all pretty pleasant, and taken together showcase a slightly poppier side of the band (especially in the 1980s material) than was captured on their studio albums. Keen fans will want this. Those not sold on their 1980s and 1990s album releases won't find this B-grade material convinces them.